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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1919 Volume 37, Number 11 (November 1919) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 37, Number 11 (November 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/663
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price 20 cents NOVEMBER 1919 $1.75 a year THE ETTjDE NOVEMBER 1919 Page GSl On December 1st the Price of THE ETUDE will Advance to $2.00 a Year Spaulding Album 1 ) American li The Art of the Piano I FOR the PIANOFORTE Price, $1.00 L’ART DU CLAVIER Composers’ Album TH' PoP.l" PRESSER’S MUSICAL MAGAZINE RENEWAL.-Nc By THEODORE LACK FOR THE PIANOFORTE Il'nt^cTthe date or OPUS 289 p, which serves ai Price, $1.25 A New Work by a Leading French Composer AN examination of and Virtuoso this volume re¬ piano successes by compositions will obtain m many lovers of Spauldings c P , There are veals twenty-twp Price, $1.50 meritorious composi¬ tions that are the ef¬ variety for diversion - ? e^;ng composition m Although^ every possible. care is taken the^publhhe rrms forts of a number ot the best American 1 ™.diun » composers. The pub¬ MONTHLY JOURNAL FOR THE MUSICIAN, THE They cover all the various points of technic m lishers were fortunate MUSIC STUDENT, AND ALL MUSIC LOVERS. ADVERTISING RATES will be sent on ap they cover a divided into seventeen se- in having excellent Edited by James Francis Cooke me°sdearsn follows- Diatonic Scales, Chromatic Scales material available for Vol. XXXVII No. 11 NOVEMBER 1919 the compilation of this I Arpeggios, Holding Notes, Double Notes Repeated ing reveries and ^-alone numbe# and a novel is second-class matter Jan. 16, 1884, at the P. C album which stands as liladelphia, Pa., under the Act of March 3. 1879. a credit to American composhmn’ rendering ** effect make up the Copyright, 1919, by Theodore Presser Co. music. No difficult pieces have been in¬ V°Teachers will do who^avriem had \wrnm cluded, but only those of medium fha^dreJp°afgenXra\b™mtJnd every
factory collection. The World of Music
fmported chorus singers arc classed ns “foreign labor-’ |)v the immigration the Boy Scouts’ training, »s tending 1 Sunny Day Songs many concede authorities and debarred from entering the Increase good feeling and enthusiasm, a: e been the greatest country. It has been reported that the sing¬ well as artistic appreciation. By HELEN L. CRAMM Pictures From .nfffitic .u|,iuuu or an times. That she was ers’ lists of the Opera Houses have been re¬ the most famous of singers of her voice lentlessly cut down by the restrictions made Wounded soldiers arc being music cannot bo doubted. Her extremely long by the government. A strong protest is to be ally educated at the musical settlcmon Price, 75 cents tenure of public approval due to her remark¬ bled against these proceedings by those in- able preserved voice had milch to do with schools all over tire country, under tin Holiday Land j this. One might say that her career lasted Federal Board for Vocational Education. slxty-two .years, as her first appearance in I, Loud FOR THE PIANOFORTE public was made at the age of nine, and The iriglni of i iritoi her last at the age of seventy-one. I’atti out of the old Catholic Choral Soviet: German-made instruments upon the / rnw \ Nicholas Montani, the director of rausi Trilby, Jules Diaz de Loria, has By DAVID DICK SLATER was born at Madrid, February 10, 1843. died. lie was notable as a concert singer 1 lilted States, their overproduction dur¬ She was the daughter of Salvatore Patti and St. John's Church, Philadelphia, will l Pi his day, and was immortalized by Du ing the years of war. The working people Price, 75 cents Catharine I’attl, both singers of ability. The Maurier in his novel. The portrait was so have been urged by the German government child was brought to New York when she was true in its details that the singer was in¬ to allow their wages to lie cut down to four years old, and was brought up In that stantly recognized and his reputation en¬ starvation point, in order that the pianos T^^lmt’stimula^th^chilTr^mpcal^fmagination, city. She made her operatic debut in Lucia may be sold at the lowest possible prices, music Book' in New York in 1830. Shortly thereafter hanced thereby. to undersell all the other pianos in the she sailed for England, where she sang in The N’utional Association of Negro world. Patriotic reasons are put forward I,a Snnambula at Covent Carden, Her suc¬ - the railroad platfor— „„ Musicians was organized recently to en¬ to make the workers consent to this. cess thereafter for the next twenty-five years Orleans, on Sept. 18. Miss Heinrich was courage tire art and composition of the was too tremendous to be described in words. trained entirely by her father, and made colored—'— _ in_ this country.___ They_ 1 — publications In all parts of Europe and America her her debut at the Hamburg Opera House, re¬ drawn their members and directors fr a all every appearance was an ovation. Her fees turning to this country to become a mem¬ states, and propose These Works Present the Best , for performances mounted as high as $3,000. ber of the Metropolitan Opera House forces. ciety, for these purposes. It was reported that she earned over $50,- The Gallo English Opera Company Tor fhe further progress of the littlepianist. In 000,000 during her lifetime. In 18GS she —- the musical world \ 0f the Newest and Most /i began its season in New York Citv with the aim is to promote hearty, correct, and spon¬ iug themselves to the creation of beautiful t-penine with the previous books of Miss Lramm rat married the Marquis de Caux, later she mar¬ famous light, opera. Mikado, of Sir Arthur l Practical Material for /J ried Ernest Nicolini, after whose death she Sullivan. A pleasing and novel feature of taneous congregational singing in the ’ allot music. Even the Symphony Orches- the mti volume has been produced with an artistic St£eeT to fit Ae ^ married Baron Cederstrom, a Swede. Patti the singing of the churches, was held during the past summer cover and binding coupled with good paper and Teachers and Music J was fifty-six and her new husband young rarhtaoff'’fea:d do noYi pu^bs/cles in the way enough to be her son. hut it is said that she i ntll el r. a lyric light printing. Lovers was so very youthful in appearance and of the child in the second and third grade. endurance that she outstepped him in their tue of Paderewski i long walks in Wales. Her voice was flaw¬ Messager, former conductor of the Boston lessly beautiful, of wide range and astonish¬ Symphony Orchestra, is to be produced in ing flexibility, it extended to high F above Chicago, this winter. The libretto is adapted the treble staff and she ascended to this dates and contracts for t note with ease. She confined herself to roles characteristic of the coloratura soprano. Little Tunes A Volume of One Hundred In her advancing years she made appear¬ Presser’s Standard ances in America, and though her voice e :3EH and Twenty-Seven showed a decided falling off in many ways. for It was nevertheless very beautiful In such Pages of numbers as Angels Ever Bright, and Fair CONTENTS FOR NOVEMBER, 1919 will - - _ minimum Orchestra Book and in her famous Home Sweet Home. plaster ornnmen drapery to interfere with and deflect ....’ ”_ ’ hoped that Little People Price of each part, 25 cents His Majesty, the Emperor of Japan, World of Music . 681 Organ Department.E. H. Pierce 7 it will be a model hall for the purpose. Celebrated has recently bestowed the decoration of The Editorials . 683 By FRANCES B. DE LEONE Piano Accompaniment, 50 cents Order of the Sacred Treasure upon four Echoes of Musical Czecho-Slovakia Question and Answer Department The ZIn.ro Ensemble, a group of woman musicians, professors of the Music Josef Stransky 687 Arthur de Guichard 7 Jewish musicians from Petrograd, Price, 75 cents COLLECTION of fourteen gems that ev*y Aeademv of Tokio. His Majesty also con¬ More Money for Music Teachers. 688 Violin Department.Robert Brain e 7 are in this country for a prolonged tour. Compositions A ferred upon them the Sixth Order of Merit Junior Etude .Elizabeth A. Gest 7 Their ambition is the establishment of a average orchestra organization shouidposse^ for their services in musical education. Real Tendencies of Czecho-Rlovak Music National Jewish Temple of Arts in Pales¬ npWELVE recreations in familiar keys for the By The orchestrations are exceedingly well made Vitezslav Novak 688 tine. And to this project the entire pro¬ I pianoforte. Each number is a httle Study and are of easy or intermediate difficulty through If at First You Don’t Succeed MUSIC ceeds are to go. famous composers H. T. Finch 689 Mt There are stirring marches, pleasing waltzes, A piece having a characteristic title and due to Playing Without Looking at the Keys The Tin jioldier...E. R. Kroeger 7 their tunefulness cannot fail to interest Jhe student. Price, $1.00 and rlveriesathat wi/be well accepted wherever M. Payser 690 war-torn countries, are* now beginning used. Each part is a separately bound book, ana ...... Van de Mark, for his energy in Birth of Czecho-Slovak Republic Through Moonlight Reverie ...//. .4. Farnsworth 7 to catch up with their programs. The The studies are graded and in a progressive ma HE title of this collection, Celebrated Compo¬ carrying out the work, and gathering to¬ Song....L. VojSekord-Wetrht 619 Arrival of
BE HONEST WITH YOURSELF. IS YOUR OC¬ IMusic Lessons ^Cbmtmas 0tfts for Ylbuetc Lovere® TAVE TECHNIC WHAT IT SHOULD BE ? If it is not at Special iHoll&as prices emmmMm&P LEO PAALZ’S TECHNICAL OCTAVE STUDIES Price, 75 cents merican ^piano Tur nrvrvi^o THE BOOKS HERE OFFERED SUGGEST WELCOME ADDITIONS TO A MUSICIAN’S LIBRARY completely in ese prices are for cash with order and at these prices cannot be had “On Sale.” This offer expires positively on January 1, 1920 Features of a Unique Work
emimscenees of a^Musician’s Vacation tf**M***************^M**MMMUUUMUMMM^t»» Anecdotes of Great Musicians 1. Practical application of the rotary By L. C. Elgon _d • .... £ il Oil 011 II Till 0* Flirfinnarv nf MucipoI Tnt*iric > By W. F. Gates Regular Price J2. principle in octave playing. 2. Broken octaves—even octave tone doing away with “thumbs only” in simul¬ taneous octaves. 3. Variety of rhythms and consequent avoidance of monotony. You Can Take a Complete 4. Practice in every arm and body move¬ ment of octave technic. Conservatory Course 5. A system of presenting the material Either Students’ or Teachers’ and learn how to play or teach correctly, ■i Tv;- that brings brilliant results with only a in your spare time at home, by the University Extension Method, which reasonable amount of practice. is now used by leading colleges of the country. The First Violin y 'Holiday c«h Price 70 fe^'po*^ $1°° ’ct0 uiano^technic ***Are*you ^'perfect octave Sherwood Piano Lessons hese TECHNICAL OCTAVE STUDIES by Leo for Students it the nail on the bead.” Use them ami you'll when you meet an octave passage. lo» van Contain complete, explicit instruction on every phase of piano 'ire if liou me three. ing. No stone has been left unturned to make this absolutely per It would surprise you to know that Sherwood devoted to each 1< Excellent Oolumes for Gifts H SpIenfclS 0(ft for a musician ve’s Dictionary of Music and f s,a"dard T“hL*J5.. Of course, it is Holiday Cash Price $1.20, postpaid ! V0,umes> in red cloth anc >n for the Best in Music. Sherwood Normal Lessons Specially Priced, $17.00 Here is a system that will do it: INSPIRATION STUDIES for Piano Teachers ByEd. B«J'P*e Ana|yses of Piano Works J
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Ksil” SUITES FOR PIANO BY AMERICAN COMPOSERS Harmony Teaches You to sfefiESSS85"- isr IN MINOR MODE. Twelve P s by REGINALD de KOVEN. W5S&?- SS* Op. 165. Price, 75 cents. st'rSS Advanced Composition A COLORADO SUMMER. A cycle of ten History of Music FROM EDGEWORTH HILLS. A suite of four pieces by ARTHUR co^r«s=ian-Tl £|i^|2|sf?gsa=ss= Unprecedented Special Offer!
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___1C School”Musicf Violinl'c_ THE JOHN CHURCH COMPANY Cincinnati New York London University Extension Conservatory 109-111 West 4th St. 39 West32nd St. 45 Wigmore St., W On December 1st the Price of The Exude Will Advance to $2.00 a Year Page 6S4 NOVEMBER 1919
Harold Bell Wright Vibrant with the local color of the mystic, enchanted Ozarks— Sdi/jon Wood I the Shepherd of the Hills country. Brian Kent, Auntie Sue, Judy and Betty Jo are more than creations —they are actual, human realities. 900 VOLUMES Illustrations by J. Allen St. John THE ETUDE REPRESENTS the highest achievement in the production of the Single Copies 20 Cents VOL. XXXVII, No. II Classics, Studies, Recreations, ‘and Modern Works, in a low-priced NOVEMBER, 1919 The re creation of Brian Kent Edition. Carefully edited, perfectly engraved, printed and bound. First Printing—Forty Carloads-750,000 Copies Among Important Volumes Recently Issued: Why a Czechoslovak Etude? Yet Czechoslovakia is by no means a new country, combin¬ THE RE-CREATION OF BRIAN KENT carries a message that will Why a Czechoslovak issue of The Etude? strengthen human faith to happiness: “The foundation principles of life_ ing as it does Bohemia (the land of the Czechs), Moravia and honesty, courage, fidelity, morality, etc.—are eternal facts. Life must and ITbe 36. jf. Moob flHusfc Go's, Why elect the newest of the World Republics to this ft will go on. You can neither stop it nor turn it back.” In the author’s prominence? What has Czechoslovakia done for Music in the Slovakia (a Slavic country located in the northern part of Hun¬ inimitable, fascinating style this message is like a heaven-sent blessing that PROGRESSIVE STUDIES gary). The Moravian interest in music is manifested by the past and what may it do in the future? will cheer and give courage to millions of weary, storm-tossed souls that The Finest Series of Assorted Studies in Existence have all but gone down in these recent years of world chaos “The Re- musical activities inherited in present generations of descendants Creation of Brian Kent” is a delightful Ozark story of life and love, sweet Book 1. Primary.Edition Wood No. 851 Poland chose its great pianist-statesman as its premier from Moravian settlers in America. The Bethlehem Bach Choir and appealing with pathos, rich in philosophy, masterful in character Book 2. Elementary. “ “ “852 and when Czechoslovakia sought to make its identity known to is located in the heart of a Moravian district and its early ses¬ analysis, charming in description and intensely dramatic, not with physical Book 3. Lower Intermediate . . “ “ “ 853 combat, but with skillful visualization of the clash and conflicts of the in¬ sions were held in the old Moravian church. visible forces of life. Book 4. Intermediate. “ “ “ 854 the world it did not send an embassy of politicians, business Full Cloth, 12mo., $1.50 Book 5. Advanced. “ “ “855 men, scientists, writers to represent it at the initial bow but, In other places in this issue our readers will find a wealth PRICE, EACH, 60 CENTS of all things—an embassy of musicians. of information about the music of this new country which some Subject to the usual professional discounts have described as the land where music is more a part of the Other Novels by Harold Bell Wright—Over Eight Million Sold Last May, about six months after the armistice, the musi¬ That Printer of Udell’s—The Shepherd of the Hills—The Calling A fine series of standard studies from the works of Burgmiiller, Czerny, cal embassy of Czechoslovakia went to London to give a great daily life and ambitions of the whole people than in any other LeCouppey, Bertini, Kohler, CoDcone, Devaux, Sartorio, Berens, Heller of Dan Matthews—The Winning of Barbara Worth—Their Czechoslovak Festival. The expedition consisted of Emmy country of the globe. Yesterdays—The Eyes of the World-When a Man’s a Man Lemoine, Clementi, Jensen, Bach, Scarlatti, Cramer, Moseheles, and others’ The annotations of Jules Devaux are valuable to both teacher and pupil Destinnova (formerly known as Emmy Destinn the renowned Czechoslovakia, territorially considered, is by no means opera singer), Kocian the violinist, Jan Herman and Vaclav Harold Bell Wright’s Books Are Sold Everywhere Send for Catalog of Contents of “Edition Wood,” also Thematic a small country. It is nearly five times as large as Belgium, Catalogues “Teacher’s Book of Samples” Stepan; the famous Bohemian Quartet with Hoffmann, Silk, and much larger than the territory left to Austria. It will ‘'A literarygem*that’wiliflive” The UllCrOWned King 1660CeSsth Herold and Zelenka; the Prague National Theater Orchestra be three times as large as Denmark, four times as large as (ninety members), conductor Air. Kovarovic; the Prague Holland, three times as large as Switzerland. There are up¬ Books AH^Sbifshers FREE We catalog and send by mail, at a tlbe 36. jf. Moob flDustc Co. saving to you, over zo.uuu books of Choral Society of fifty teachers; the Moravian Choral Society wards of ten million Czechoslovaks, according to recent esti¬ other publishers.publish*.. We suddIv the*r 3 largest numhernumber atof °public, privater* V ^ and school libraries 246 Summer Street : Boston and individuals with all books. °ur service is quick and satisfying. Write fe¬ catalog: today. A post el will bring it. Also at New York and London of fifty teachers, and many ladies in national costumes. mates. This is three times the population of Norway. The It made a colorful spectacle in khaki-hued London, and official statistics of the United States Immigration Bureau E WTREYNO?nsSpPP-J COMPANY. Publishers and Booksellers E. W. REYNOLDS, President 231-233 West Monroe St., CHICAGO the programs composed strictly of Czechoslovak music were shows that of all arrivals in this country in 1912 the Czechs expected to be interesting. Judging from the reports of all were among the lowest in percentage of illiteracy. The per¬ the London papers the Festival was a sensational success. The centage was .008875. Our own draft showed .25 percentage of Telegraph classed the Festival as an event of “rare historic in¬ illiterates in enlightened America. terest,” and Mr. Ernest Newinann in the Observer, states that The spirit of the new republic is perhaps best indicated in Used More Extensively the Czechoslovaks “astonished us with the dramatic intensity the concluding words of their “Declaration of Independ¬ Than Any Other Elementary Instructor Pianos of their singing.”_ ence” signed in Paris October, 1918, by President Thomas G. The point is, however, that this Festival of the new republic Masaryk. THE BEGINNER’S BOOK was not merely a musical event, but a distinctly state occasion “The forces of darkness have served the victory of light— SCHOOL OF THE PIANOFORTE - VOLUME ONE With Individuality under the patronage of the King and Queen of England the longed-for age of humanity is dawning. We believe in By THEODORE PRESSER virtually the bow of a new nation to the world. democracy, we believe in liberty, and in liberty evermore.” If You Have Never Used This Work Order a Copy Now for Examination Municipal Organs and be convinced of the real worth of this elementary piano instruc¬ Municipal organs are the talk of the hour. In Portland, Belgian master, Charles Courboin, who has made such a fine tor that has had an unprecedented success. The first grade up to, Maine, where Will C. MacFarlane has been municipal organist, impression in America. This is virtually a municipal organ in but not including, the scales is the scope of this work. the concerts have paid for themselves. In San Francisco, Edwin that it is played daily, and no admission charge is made for the PRICE, $1.00 Lemare, the modern wizard of the organ keyboard, proved pleasure of hearing it. THEODORE PRESSER CO. PHILADELPHIA, PA. “good business,” paying his own salary with the fees from his Cyrus H. K. Curtis, founder of the great Curtis Publishing concerts. MacFarlane has now gone to Melrose, Massachusetts, Company of Philadelphia, gave Portland its municipal organ where, we are told, there is to be a municipal organ rivaling as a memorial to the eminent Portland music teacher, Hermann those of Portland and Springfield. Kotschmar, after whom Mr. Curtis was named. What more Just why the municipal organist should be expected to useful and significant memorial could have been erected than j Harmony Book for Beginners j show a profit, goodness only knows! The city expects the best T v yfars of, exPer*ence back of them; this beautiful instrument—not dead like a granite pile, but people with that cultivated taste for the best; people of service from its mayor and from its judiciary, but it does living with exquisite music every day of the week. Now Mr. who love good music, and insist on having none not ask them to turn in a revenue. Nor does it ask its Board Curtis is planning the erection of an organ, greater than any other invariably turn to the Jesse French & Sons of Health, or its Board of Education to show a balance on the Piano when it is the ideal instrument they want hitherto known, in the new Public Ledger building in Philadel¬ Brief, Simple, Vital, Practical, New and Distinctive credit side of the books. That the municipal organist has been phia. Thus this fortunate city will possess two of the most able to produce a profit under ordinary working conditions is Lays a strong foundation for future musicianship by giving the main have youTchoice oU Grge tmLZZ Y°“ certain evidence of the service he is rendering to the community. wonderful organs in the whole world. 'essentials of the subject in such simple, understandable and interesting manner that It may also be a surprise for our readers to learn that a it will prove invaluable in the class or for self-help work. Easy terms, if In Portland it is reported that the police have found that For Fri the Sunday concerts have relieved them of considerable trouble Philadelphia hat factory (Stetson & Company) possesses a very the makers catalogs of all styles with full particulars write Read this letter from JOHN PHILIP SOUSA, Famous Composer and Conductor: previously aroused through a rowdy element. There appears fine organ, located in a hall designed to seat fifty-five hundred employees. This organ is played by Adam Geibol, the blind The system adopted in your Harmony Book is admirably adapted for the JESSE FRENCH & SONS PIANO CO. to be a belief, amounting to conviction, that the moral tone of student who requires an instruction book that is “ as plain as a pike.” The text the city has been elevated. How can one listen to beautiful composer-organist. is so lucid that he “ who runs may read ”—a decided virtue i,n any text book. -- —ml1 known since 1875" playing upon a great organ without being ennobled? Who knows—perhaps the day may come when the erection I congratulate you on your work and commend it to the student of harmony. 1904-R Ave., New Castle, Ind., U. S. A. The wonderful Wanamaker organ of Philadelphia, “the of a municipal organ will be as commonplace a necessity as the largest in the world,” is to be played next year by the young building of a City Hall. | THEO. PRESSER CO. musk- books PHILADELPHIA, PA. »«»<»«>«»«»«»«» Aladdin’s Lamp plans to startle New York again with a new opera program Hammerstein’s failures were like waves in Ins life. He sailed When Aladdin rubbed his tarnished lamp, a talisman over them and never stopped. Echoes of Musical Czecho-Slovakia which brought him untold wealth, he resided safely in the John McCormack, the Irish tenor of sensational renown, imagination of an oriental dreamer. Yet, ever since, it seems to was brought to America by Hammerstein. But that was not be human to grasp any financial scheme that promises to bring his first visit to our shores. In his recently published auto¬ From an Interview Especially Secured for THE ETUDE with riches in a day. biography he tells how he was taken to St. Lout's to sing in Swindlers know this and trade upon it. A conservative JOSEF STRANSKY the Irish village at the St. Louis Fair at a wage of fifty dollars critic estimates that at least $100,000 was mulcted from the Conductor of the New York Philharmonic Orchestra a Week. This was five years before his debut at the Manhattan i American public through a musical swindle, which though ex¬ Opera House in New York. posed in The Etude many times in the past, seems to be par¬ Now McCormack has earned his million he looks back upon den, Holland and England, he held very important posts in¬ ticularly active just now. nomnosition in Prague with Fibieh and Dvofftk, in cluding that of conductor of the Berlin Bliithner Orchestra. his early days with pleasant contemplation of his many failures \ Editor’s Note.—Born In Ilumpoleo. in Bohemia, 1874. Leipsig with Jadassohn, and in Vienna with Iiobert Fuchs The game is this. The swindler knows that the public has In 1911 he became conductor of America’s oldest orchestra, which lined the road to success. He left St. Louis in a fit of the son of a schoolmaster, Josef Stransky was given a very and1 Anton Bruckner. After passing the state examinations been informed that certain composers have become multi-mil¬ thorough education in the Latin School at Prague and a in medicine he turned immediately to music and started to the New York Philharmonic, and has retained that post indignation because the manager presented a variety-show the Universities of Prague, Leipsig and Vienna (where ne make that his profession. After a sensational df-hnt in the ever since. He has composed an opera, symphonies and lionaires, almost over night, through the composition of some studied medicine). His interest in music was manifested at caricature of the Irishman as a comic relief to the village. (All WaVciirc he became the first conductor at the Royal upeia suites for orchestra, and many songs.] very trifling song. Consequently the swindler advertises for a verv earlv age. As a young man he founded and con¬ in Prague; thence he went to Hamburg. In Berlin, Dres¬ honor to you, John, for holding up the dignity of your race.) ducted a students’ orchestra in Prague. He studied theory songs or song-poems. By his magic method the music will be A characteristic example of the Polka may be His first American experience was a failure, and he went back Therefore, the violin, which can be carried from polished up by “experts” or new music will be written and the With the close of the great war and the general up¬ found in the following extract from Smetana’s Sym¬ to the “old sod” with a rather sour impression of the land that was place to place and played in the woods and in the song will be submitted to leading publishers and perhaps heaval of the map of Europe, many Americans were phonic Poem “Vltava” (Moldau). to lay the basis of his fortune. Then he tells of innumerable fields, is dearest to the hearts of the people. Through¬ published. surprised to learn that a new Republic was created set-backs when he tried again and again at auditions and was out the entire land it is difficult to escape the sound The dupe sends in his doggerel and the swindler actually with the unfamiliar name of Czechoslovakia. Further¬ “turned down flat.” Nevertheless, he kept on and on until ulti¬ more, it was a part of the country (Austria) that had of the fiddle at some time during the day. There is has a hack write some music to it, and it. is printed and pub¬ an old saying among the Bohemian people, that when mate triumph. formerly been our enemy. Who were the Czecho¬ lished in due form. What could be clearer or simpler? Every a child is born they place money in front of the right During the war Mr. McCormack’s services yielded a huge slovaks and what was this land? Bohemia Moravia, detail that the swindler has promised has been complied with, Silesia and a part of Hungary, the part inhabited by hand and a fiddle in front of the left. If the child fortune to war purposes. Time and again he gave recitals, except, perhaps, the distribution of thousands of the copies to Slovaks were assembled into a new nation. Few of us grasps the money it will become a thief, if it grasps tirelessly, to help the country of his adoption—America. All dealers. knew that for years and years the people of Bohemia the violin it will become a musician. My father used in all, he had enough set-backs in his career to floor any ordi¬ had longed for an independent existence as it had been to say to me that I grasped both and therefore be¬ The dupe waits for returns in royalties. The returns never nary man—but McCormack and Hammerstein were not ordi¬ in those days when Shakespeare had made Jus his¬ came a composer. come. Gradually he realizes that he has been charged from When the Bohemian parent finds that his child has nary men. Perhaps the way to identify such a man is to watch toric blunder of calling it a sea-coast country (Twelfth The music of the Czechs and the Slavs is music of one to one thousand per cent, more for what he has received Night). My own father was an intense Republican and an inclination for music he is delighted. If the child how he overcomes disappointments, rebuff's, discouragements extremes. For the most part it is either very sad, than he might have paid if he had himself hired an able my youth was spent with prophesies of the time when very mournful and slow, or else it is very wild, very makes an early success it is a wonderful occasion, as and disasters. musician to write the music and. then had it printed at a regu¬ my native country would be freed from the control fast and very brilliant. There seems to be little of the eventful as would be the case if some American youth were to amass a large amount of money by lar music printer’s. of Austria. , middle road, similar to the Russian music. In Vienna The war has certainly shown that the Czccho-Slovak speculation in Wall Street. Music is considered one The point is this. The swindler takes advantage of the Worry Means Poor Work one finds the dreamy, tranquil waltz with its orderly soldiers think and fight for themselves. Their records quiet measures. In Italy there are innumerable peas¬ of the honorable occupations, something to which one very widespread human conceit that it is the easiest thing in in Siberia and their own country where they adopted The owner of a $10,000 prize laying hen in the middle ant songs expressing the dolcc far nientc of the race. should aspire as a noble position in life. The musical the world to turn out song-poems that may make great for¬ the attitude of the Allies, formed an army of their west was asked how he got such extraordinary egg-laving But Bohemia will have none of that. The music is child is carefully trained and encouraged. He always tunes. The truth is that the combination of words and music own and carried themselves in a heroic manner, indi¬ finds a willing audience if he can play fairly well, results. He replied, “It is because I keep my hens well fed, eitheTvery fast and fiery, or very slow and sombre. that really produces a hit is so rare that the dupe stands about cate the high state of Czech culture. and his practicing is not put aside as a kind of a well cared for and never worried or abused. If I find a hired The Slovak language has relationship to the Czech one chance in a million. The swindler runs no risk whatever, nuisance which must be tolerated. Indeed musical man who goes out to feed the hens and scolds and complains tongue, but it has nothing whatever to do with the ability makes one welcome everywhere in Bohemia. for he demands his pay in cash. and does not treat them sympathetically I fire him at once. If Hungarian language. This relationship accounts for If the half-million readers of The Etude will make it a the bond between Slovakia, which was formerly the I find one who treats them with kindness so that they come to Czech Composers point to discuss this subject among their non-musical friends it upper part of Hungary, and Moravia and Bohemia. know him and cluck happily when he goes among them I raise The Furiant and the Polka are the typical dances The great trio of Czech composers contains the may be possible that information upon this swindle may be Some of the boundaries made by the peace conference his wages. Contented hens lay more eggs.” seem odd in many ways, but one can only assume that of Bohemia. Here is an excellent illustration of the names of Smetana, Dvorak and Fibieh. Smetana sufficiently widespread to curb these heartless swindlers. Furiant taken from the Scherzo of the First Symphony If anything so stupid as the average hen will respond to they knew more about the justice of the matter than should be more widely known in America. Only It frequently happens that the victim is a widow, who, of Dvorak. comparatively few of his works have ever been played kindness—what about children? Surely kindness in practically any one outside. being suddenly deprived of her means of support, remembers here. Who in America has ever heard of his fine all cases is the course which music teachers should pursue. that back in her school days she wrote some verse which was Every Peasant Musical operas, The Secret, The Two Widows, The Kiss, Anything on the teacher’s part that might needlessly irritate admired. Consequently she falls into the toils of the swindler, In no nation of the world is music so much a part Libussa, etc. All of these are remarkable musical or worry the pupil simply is bad pedagogy. of the daily life of the people as in Bohemia. You masterpieces, much better in many ways than many and in several cases of which we have heard, borrows money Music teachers and music pupils often lose more through think that you can understand what I mean by this, of the operatic "novelties” which have recently come, with which to pay for the writing of worthless music. undisciplined worry than they accomplish through years of but you could not really comprehend it unless you from France and Italy. Don’t think of paying for having a composition published, were to take a trip through this remarkable land. Of Dvorak is, of course, well known in America as he work. In the noted book, “How to Live,” by Irving Fisher unless you are wealthy and want to flatter yourself in print. course, the world knows of Prague, as important a deserves to be. The works of Fibieh should, how¬ and Eugene Lyman Fisk, sponsored by the Life Extension First send it to at least a dozen leading publishers. If they music centre as any place in the world, but it knows ever, be far better known here. He cultivated every Institute, which means a staff of many of the most noted little of the musical tendencies of the Czecho-Slovak field of musical composition and produced many works turn it down send it to the waste basket and let it stay there. physicians and publicists of America, there is a chapter on people. From the earliest childhood every peasant of high musical distinction. sings or plays. Music is the very life of the country. worry which music teachers and music students may read with Gustav Mahler must also be counted as a Czecho¬ I remember once passing a farmhouse in a remote slovak composer, although the general character of Success from Disaster profit. After stating that upon investigation most of the so- district near Leipa. I listened and heard the C sharp his works is typically Teutonic. Viteslav Novak is a The ingredients of good luck are surely disaster and dis¬ called cases of “overwork” have been found due to bad air, bad Minor Quartet of Beethoven being played by a quar¬ very original Czech composer of the younger school. I couragement, if we are to judge by the careers of two men asso¬ diet, poisons and worry, and not It all to exceptional or long tet of strings. Entering I found that the players will introduce some of his works in America in the ciated closely in operatic art in this country, although one was continued effort, it indicates were the farmer (also the village schoolmaster) and near future. Oscar Nedbal wrote several delight¬ his three sons, and what a glorious time they were born a Jew in Berlin and the other a devout Catholic in Athlone. ful ballet scores. Ostrcil has written very fine operas “each must learn for himself how best to avoid having with it! and there are many other names that I could mention. Oscar Hammerstein forged ahead over more failures than anger, fear, worry, excitement, hate, envy, jeed- In some of the other cities of the country such as But of what significance are names? America must any man we can cite. Starting as an immigrant tobacconist in ousy, grief, and all depressing or abnormal men¬ Budejovice, Plzen, Liberec and Karlovy Vary (Karls¬ know the music itself to appreciate the innate charm New York he did not permit his strong love for music to suf¬ bad), etc., there are exceedingly fine, but little known of the art creations of Czecho-Slovakia: Now that tal states, fo do so is an art which must be focate. His ingenious inventions in tobacco machinery, his quick music schools, naturally not as important as the Na¬ new interests and new opportunities have been created. practiced, like skating or bicycle riding. It mind and his ceaseless energy enabled him to build four great tional School at Prague, where such men as Dvorak I hope to present more and more of the interesting cannot be imparted merely by reading about it” were in the faculty. At Tepl, near Eger, for instance, works of my native land than it has been my privilege opera houses—two in New York, one in Philadelphia and one in is a colony of musicians which supplied for decades to do hitherto. ' London—to say nothing of various theaters. He then organ¬ Surely, one of the chief daily tasks of anvone engaged in the world with little bands of women musicians often Dvorak has become a great favorite in America, for, ized opera companies, and presented operas in a way to smash the practice of the very exacting art of music or in teaching seen performing at hotels. in addition to the popularity created by his very melo¬ traditions and force the older companies to improvements which it, should be to build up a strong, normal, healthy mind that Strangely enough, Bohemia has no pianist of world¬ dic compositions in the style of the famous Humor¬ might not otherwise have taken place. will ignore daily irritation, annoyance, worry, etc Your book wide renown, although there are many composers, esque and Songs My Mother Taught Me, his New conductors and violinists, such as Kubelik, Sevcik, World Symphony is regarded as a glorification of All this was done in spite of regularly recurring failures seller will tell you of lots of books that will help you in such a Kocian. Nedbal and others. The “Bohemian String America. Although Dvorak spent three years of his of a kind that would have mired any ordinary man in inex¬ task. Sometimes, in the hands of the right person, such a Quartet” is known all over Europe. life in America, lie was over forty when he arrived and tricable discouragement. Just before his death he was making book is worth its weight in gold. While there are a vast number of manufactories had lived most of his previous years in his native devoted to textiles, chemicals, pottery, glass, etc. (the Bohemia, so that he could not be happy anywhere else. glass industry alone employs about 50,000 people), the He used to go down to New York Harbor and. watch chief occupation of the people of the new republic is the ships sailing for Europe, with tears in his eyes, a agriculture. NOVEMBER 1919 Pago 689 TEE ETUDE TEE ETUDE Page 688 NOVEMBER 1910 The Real Tendencies of Czecho-Slovak singular incident for the European who was to write Svatopluk, Czech and Hajek; philosophers such as Massaryk, Krejci and Drtina; are held in the highest the most famous work in larger form, identified with Music regard by world critics who know their works. But the name of America. The wonders which the aver¬ whoever heard of the works of these men outside ot age European peasant finds in the New World, the tall Czecho-Slovakia? That is- the trouble—Czecho-Slovak By Vitezslav Novak buildings and the modern inventions, had little inter¬ art has been retarded—not necessarily suppressed—by est for Dvorak. Consequently, when he wrote his Austria, and not given the support lent to the works [Novak, ou sets, contributed If at First You Don’t Succeed symphony he chose Indian and Negro themes as representing the products of Austria rather than the this article sources of atmospheric inspiration. No doubt he felt products of Bohemia. The new age has now come, years ago.] that this folk-music, like the music of his native Bohe¬ and every country should now develop freely so that With Smetana arid Dvorak, their musical culture By the Eminent New York Critic mia, was a music of extremes, ranging from the negro national "identity in art creations may he emphasized was founded upon nationalism—love of their Czech HENRY T. FINCK "spiritual'’ to the wild negro dances of the levee, now father than suffocated. I am sure that these newly country, and the fostering of the Slav spirit. The corrupted into "Jazz." liberated nations will progress enormously. Among actuating impulse of the men who head the musical Nor did it want his Faust overture, which lie com¬ The art of Czecho-Slovakia is best known to the the leading nations will soon be Czecho-Slovakia. I the age of sixteen he perpetrated an orchestral over¬ movement is based upon this intense and dominant Of all the strange things in the records of music posed after hearing an inspiring performance of Bee¬ world at large through its music, but it must not say this not merely because I was horn there, hut ture so complicated in texture that, in order to facili¬ patriotism. But their actual products are widely dif¬ none is more extraordinary than the almost incredible thoven’s Ninth Symphony 'by the famous Conserva¬ be thought that this country has not great art workers because I know the enormous innate power of this tate the reading of it, he wrote it in three kinds of ink. ferent. fact that Richard Wagner was forty-four years old, and toire Orchestra. The conductor of this orchestra, in other lines. Poets such as Jaroslay Vrchlicky, Slavic nation. red for the strings, green for the woodwind, and black One cannot repeat over and over again, the same had written all but three of his operas and music Habeneck, was willing to try it. but the directors de¬ for the brasses. He himself has related how, at the thing; one may not imitate even a master with servil¬ dramas before a single one of them was produced at clared it “a long enigma” and decided not to play it in performance of this work, the audience was at first Do You Know? ity ; it is absurd to follow too closely the same path.. Vienna, Munich or Stuttgart; that he was fifty-six and astonished at the perseverance of the drum player, who intended for scholars, and was written by a Bohemian, And this truism obtains in the world of musical crea¬ over before Italy, France and England began to stage P Three years (1839-42) Wagner spent in Paris, and Do you know that the Lancers arc just one hundred had to tap his instrument fortissimo every fourth bar years old? The dance was devised in the city of Dub¬ Janowka. Louis XIV thought so highly of Brcssard s tion. We of the Czech nation want to create a truly even his early operas! they were three futile years, except in so far as they throughout the piece; how this astonishment gradually lin by one John Duval. carefully selected musical library, that he bought it for This amazing fact regarding the career of the man gave him welcome opportunities to hear French mas¬ modern art; a school which shall partake of the mod¬ changed to obvious disgust and ended in an explosion Do you know that the piano of Beethoven’s time was who is now universally regarded as the greatest opera ter works splendidly performed at the Opera. an annuity of 1,200 francs. ern French trend, as well as that of the German, yet of general laughter, to the young composer’s great nearly an octave shorter than the piano of to-day? Do you know that four hundred years ago the musi¬ which shall preserve at the same time zealously intact, composer of all times and countries, should be printed Stooping to conquer, and urged on by the pressure of That is. it had ten notes, or keys, less. The added keys on pasteboard in huge red letters and hung up in the discomfiture. poverty and debts, he wrote an ordinary carnival vaude¬ cianship of a composer was judged by the number of the strong, individual, racial characteristics of the More disappointing Still was his first operatic ven¬ in the treble are rarely used, but the additional keys in room of every music teacher and student. It would do ville ; but the actors declared that his music could not parts or voices in which his works were written? Now¬ Czech musical tradition. ture. As conductor of the opera at Magdeburg he the bass are valuable in octave effects. more to teach ambitious young men and women patience adays four parts, soprano, contralto, tenor and bass, Here in Bohemia, in years past, was seen a deter¬ brought out his Novice of Palermo (Liebesverbot, be sung, so it was given up. Do you know that the first musical dictionary was and perseverance than volumes of pedagogic exhorta¬ In despair, he tried to earn his living by seeking a published in 1703? Its author was Sehastien de Bros- seem sufficient for most compositions, but in 1601 Dr. mined stand to protect the Czecho-Slovak art against based on Shakespeare’s "Measure for Measure"). The tions. job ac a chorus singer in a small Boulevard theatre; sard, a Frenchman. A small Latin dictionary of music John Bull found a composition for 40 parts, and. was foreign influence. And this was, in its time, advan¬ second performance was to be for his own benefit. The other day a young American composer indulged but the conductor, in Wagner’s own words, “discovered had appeared two years previous. It was, however, not content until he had added 40 more. tageous, right and perfectly natural. But now we con¬ The audience consisted of the composer's housewife in piteous caterwauling in the musical papers because at once that I could not sing at all, and that he had no sider everything advantageous for a country which and her husband, a Polish Jew in full costume, and a the conductor of one of the great orchestras of this holds our position geographically in the very centre few others. The curtain never rose on this perform¬ use for me.” country couldn’t find time to examine a manuscript he Nobody in Paris wanted his fine settings of sev¬ of Europe, and which intends to profit by this position. ance because of a strike among the unpaid singers, had submitted to him. The composer declared that his eral French poems, so he sent them to Euro pa, a and the composer’s hopes were dashed once more. Let us insist, nevertheless, that however we allow “life ambitions” had been wrecked by this rebuff! periodical published by Lewald, whose terms were $-.50 the influences of surrounding countries upon our na¬ Three years later, when he was in Paris, he tried to This was an extreme case; but the country is full of to $4. In forwarding them, Wagner begged the editor tional art, we shall lose nothing of our Slav individu¬ bring out this same opera at the Theatre de la Renais¬ young composers who think they are being maltreated to be sure and give him the maximum, as he needed More Money for Music Teachers ality. This it is which concerns us the most. And— sance. Everything promised well, when suddenly this because, when they have succeeded in getting a few the money. He also wrote short stones, arranged in spite of the marked differences between the product theater became bankrupt. Thus the score of the Music Teachers Demand Immediate Raise in Rates songs or piano pieces, or an orchestral work printed, the popular operas for piano, and indulged in other forms of such composers as Smetana and Dvorak—it is a Novice of Palermo had the curious fate of being frus¬ whole musical community does not immediately start a of irksome drudgery to pay for his bread. One day. matter of the deepest import to us as a. nation.. trated twice by the failure of an operatic institution. torchlight' procession to proclaim them immortal ge¬ as Praeger relates, he was in such straits that he begged "^4^^-JIIE Philadelphia Music Teachers' Association, probably the largest organ- Generalities aside, what are these influences? What He had gone to Paris because he believed there were niuses. I can sympathize with these poor fellows, for I his wife to pawn her jewels. “I have already done m C\ ization of music teachers (other than Public School music teachers) in shall we choose to learn from the stranger art which much greater opportunities there for an ambitious was in a similar state of mind when my first book, J America, which has been active in enlisting the interest of other associa- we permit to pass over our borderland? What shall so,” she replied. “Romantic Love and Personal Beauty,” was published. young composer than in any German city. Meyerbeer’s tions in other parts of the country in its progressive movements, has we reject—I do not say (understand me) what shall wc I was as sure as sure can be that it would bring me brilliant success there particularly dazzled his eyes. But Ignored and Maltreated at Home taken a decided step at a recent meeting. This may have far reaching results if the admire. I speak altogether of the inspiration—the Wagner was no Meyerbeer—thank heavens! Paris had modus—one might better say the apprenticeship to $100,000 and immediate world fame; for love, I knew, The first ray of encouragement came with the offer teachers in other centers have the stamina to resolve upon a similar course. no use for him—didn’t want either of the two viable technic, the practice that accompanies activity in art— interested young men and women more than anything of the Dresden Opera to stage his Riensi. To pay his operas he had so far composed, Riensi and The Flying The P. M. T. A. a number of years ago issued the “Missed Lesson” slips and that precedes attainment. else in the world, and this was the first historic and way back to Gerniany he sold the libretto of his Flying placards which have had a national circulation of hundreds of thousands through If we would search for a clear presentment as to scientific book on the subject. I soon learned to be Dutchman. Dutchman to a French composer for $100. various publications. There can he no doubt that this has done much to stop a what these influences consist, it is necessary to confess modest and patient. Riensi, in Dresden, was a huge success, great nuisance and save the teachers of the country much valuable time and money. that the evolution of our young musical culture has Had I not learned this then, I surely because it was not Wagnerian, being in It is impossible to estimate how much the teachers may have saved in actual emanated largely from Teutonic sources, and only sec¬ would have learned it lqter on when I the style of Meyerbeer, who was then money through the missed lesson slips, but it must be well up into the thousands ondarily from French and southern. In consequence studied the life and read the letters of the fashion; hut when the first really of dollars. it is quite natural for one who studies our music to Richard Wagner. Job did not suffer as Wagnerian opera. The Flying Dutchman, many misfortunes and disappointments was produced in the same city—it was a The following resolutions were presented at a meeting conducted by Mrs. Frances find a tendency, very marked and significant, toward elaborate polyphony, and at the same lime to observe as the creator of the modern music flat failure. It had previously been re¬ E. Clarke, President of the Association. Many of the foremost teachers and con¬ a rapport with the Teutonic style of leit-motiv. drama. Most people have a vague knowl¬ fused by the managers of the royal opera servatory heads of Philadelphia were present. The resolution was carried On the contrary—and this is in the natural order of edge of the diverse trials and tribula¬ in Leipsic and'Munich. In Dresden, after unanimously. things—the essential individuality of modern French tions he was subjected to. It has occurred its first production, in 1843, it was not September 29,1919 music, the rich colorful orchestration, the untrammeled to me that the more definite knowledge heard again till twenty years later! At to be gained by a bird’s-eye view of these Whereas, the music teachers of Whereas, it is imperative that impressionism, the eccentric syncopations with their Cassel it was brought out five months curious sound effects—all this is fully appreciated by hopes deferred and persistent failures be¬ America are performing an ed¬ the music teaching profession after the Dresden premiere, and at Ber¬ us, but they arc emphatically not the foundation of our fore triumph was achieved, might be wel¬ ucational work of vital import¬ act concertedly: lin, in 1844; then for exactly ten years art. In the final analysis, the question of such influ¬ comed by readers of The Etude, espe¬ ance in every community: no opera house at all produced it. In Therefore be it resolved: ences should mislead no one. We are sons of out cially those who, if at first they don’t Vienna it was not heard till 1860; in That we, the members of the Czecho-Slovak soil—we arc vital units of our land- succeed, need to be exhorted to “try, try Munich and Stuttgart not till 1864 and zee are Czccho-Slovaks. And this is the basic fact in Whereas, in all vocations it has Philadelphia Music Teachers’ 1865, while Hamburg even waited till our musical sentiment. been found necessary to in¬ Association, do hereby deter¬ Failure threatened the very start of 1870, so slowly did his operas travel at crease the amount of income to mine to increase our rates of Wagner’s life—failure to live. One of much in our musical work, is our faculty for under¬ first. meet the vastly increased cost tuition to meet the existing the consequences of the great battle of “You are a genius, but you write such standing sympathetically other modes of musical crea¬ of living, and: conditions. Leipsic was an epidemic of typhoid fever tion. We must regard, indeed, as the prime requisite eccentric stuff it is hardly possible to which carried off Friedrich Wagner when sing it.” This was said to Wagner after No regular rate of advance was determined upon, although many teachers feit that for the birth and development of art, the rapport his little son Richard was only six months the first performance of his next opera, the Association should at once demand a uniform 50% raise in tuition fees. This, loyal and sincere, between the spiritual inner life of old. The babe also had an attack, a Tannhciuscr. by the first Venus, Schroc- it was felt, in many instances, might be excessive, whereas in other instances it the composer and his work. Without this, nothing in art is worth the doing. That which is the outcome of mild one fortunately, so he escaped; but Hanslick Laying Down the Law to Wagner der-Devrient. Tannhauser, also, failed to might not be adequate. It was brought out that living costs in the last five years assumed and insincere sentiment is never of the true for four years the state of his health make its way at once. After its Dresden have advanced over 100%, and few teachers during that time had made any attempt aft‘ . Sen'us of art is not so much capricious as worried his mother. production, four years passed before it to make a sufficient advance in rates. Mr. Theo. Presser, Mr. Charleton L. Murphy, Edward Hanslick, the famous Vienna critic, spent much of his she is falcon-sighted. If there is one flaw in the crys- Parisian Disappointments was heard elsewhere—at Weimar; and Mr. Henry S. Fry, Mr. James Warhurst, Miss Adele Sutor, Mr. Constantin von valuable time in trying to convince his public that the music of there only because the conductor of the none°cff fth|ad°W °f insinceri'y or pose—she will have , Failure was written all over Wagner’s Sternberg, Mr. Camille Zeckwer, Anges C. Quinlan, James Warhurst, Mr. Burton Wagner was a horrible parody on art. Critics are all very well, opera was Liszt, who made it his busi¬ earliest attempts to show the world what T. Scales and Mr. James Francis Cooke, took active part during the meeting in but unfortunately most of them elect to tell others how to do ness to produce the works of neglected pushing this resolution, together with other leading Philadelphia teachers. Dreams" (La vie et les reves). would serve as a. he could do. Largely, this was due to his overweening and precocious ambitions. things which the critic could never succeed in doing. Posterity geniuses. epigram for our creations. For all hear the same spirit Liszt, too, was the first to produce that The ETUDE will gladly cooperate with all organizations desiring to make a similar At the age of five, having decided to learn looks upon most of them as persistent flies, making a great deal Vhe reasTon of our indifference for the must, superlative master work, Lohengrin, which stand. to draw, he wanted to begin by paint¬ e eater. It is also the reason emphatic, why w< of buzzing and stupidly destroying the comfort of good folks. later, for decades, was the most popular LET US ALL WORK TOGETHER ing life-size portraits of kings. At cnr,fl?,LCU tUatl; the music of the church. One must Mr. Finck, however, is a constructive critic and his advice and of all German operas. Dresden had an thirteen he started to translate Homer’s t , ’ “Pon a study both of the Czecho-Slovak peo ideal cast for it; but although Wagner “Odyssey.” wisdom have been an inspiration and a guide to thousands. nnre ld, °f heir,.ar(’ that our *ole domain is that ol was one of the conductors there he could His debut as a composer was as mm;J !f i°r the sake of music-orchestral, chamber not persuade the manager to stage it, mus.c, and the song. It is this for which we seek. humiliating as it could have been. At NOVEMBER 1919 Page 691 THE ETUDE THE ETUDE Page 690 NOVEMBER 1919 caused the composer to withdraw the opera after the more than two or three hours a day, even in the in¬ third attempt at a performance. Net result for him: and the Dresdeners did not hear Lohengrin till twelve spiring air of Switzerland. Studying the symptoms of His royalty was $100 for each performance. Three years after its creation. When it was produced in his illness—dyspepsia, insomnia, rheumatic heart trou¬ 1859 at Leipsic—where Wagner was born forty-six were given, making his earnings $300 for a year s hard ble and erysipelas-in the light of recent books, I have work and oceans of annoyance. This is at the rate of years before—the third performance “was given before come to the conclusion that his trouble was auto¬ an empty house, and so was the fourth at reduced nearly half a dollar a day! However, as I observed toxaemia. The point is of superlative importance in my Wagner biography, “the main thing was that the prices.” This was the city which, as the histories in¬ because experience with over 100,000 patients shows form us, had been raised by the efforts of Mendelssohn Jockey Club had had its fun. Bull fighting was for¬ that three-fourths of all who are not in robust health and others to the rank of the musical center of Ger- bidden in Paris at that time on the ground of cruelty. suffer from the same self-poisoning as Wagner did. rany! Of all obstacles to success, ill health is the greatest. Silent Six Years—and Why? Wagner-Baiting in Germany and America Is it a wonder that for six years after the composi¬ Lamentable Failures in London and Paris “German newspapers have made haste to intone over tion of Lohengrin Wagner did not write another note? For years the Tannhauser overture has been the most To enlighten the world as to his operatic aims and prin¬ the fall of a German in Paris songs of joy,^ full'of popular piece in the orchestral repertory of all coun¬ open or disguised scorn, and hollow tirades,” said a ciples, he wrote a number of literary essays and pam¬ tries. In 1855, when it was played in London for the journal published in Frankfurt. phlets, but nobody paid the slightest attention to them. first time, there were hisses and, as Liszt wrote to Undaunted, undiscouraged, and ever hopeful, Wag¬ He was living in Switzerland and Italy, an exile from Wagner, “Klindworth and Remeny were almost the ner, on hisi return, continued his work on the Nibelung Germany because of his participation in the revolu¬ only ones who had the courage to applaud loudly.” operas. They were to have their first hearing at the tionary uprising in 1848; he knew his operas were being Nevertheless, Wagner accepted an offer of the con- Bayreuth Festival, for which he had been working two horribly maltreated and misinterpreted, but he could ductorship of the Old Philharmonic Orchestra in Lon¬ decades like a beaver amid countless obstacles. We Birth of the Czecho-Slovak Republic not return to Germany to mend matters without risk¬ don. He did this because he was hard up for cash, ing capture and the scaffold. and he was offered $1,000 for the season! This is not now look back on this festival as the biggest event m One of the things he did in desperation was to pub¬ a misprint. One thousand dollars for a whole season the history of music—certainly of German music; but the German newspapers tried in every possible way to Through Song lish a guide to the correct performance of Tannhauser, of Philharmonic rehearsals and concerts Richard Wag¬ thwart it, and three times it had to be postponed a a wonderfully instructive pamphlet, which he sent to ner got in London in the year 1855, when he was forty- year. They even got up a lying smallpox scare^ to the various royal opera houses. It was ignored by all two years old and at work on the Waikure! (Jean de By LUDMILA VOJACKOVA-WETCHE but two or three-of them. In Munich, many years Reszke afterwards got $2,500 for a single performance keep people away. Leading newspapers like the Gar- Mme. Wetche is a Bohemian pianist residing in New York. She has been an accompanist later, the six copies sent by Wagner were found in the in one of Wagner’s operas in New York.) The foolish tenlaube (circulation 400,000) declared that the German library of the opera house with the leaves uncut! (The man even believed that out of that $1,000 he might be nation had “absolutely nothing to do with the Bayreuth for Kubelik. Sevcik and other noted Bohemian artists performances”—this “simian disgrace” (Affenschande), reader will please pardon the frequent exclamation able to save a few hundred francs to take back to marks in this article; but nearly everything the Ger¬ Switzerland! The season lasted 102 days, and his pay as one of the leading critics called it. The financial out¬ mans did to their men of genius, and particularly to come of the festival was a deficit of $37,500. Bear in Except for native garnets ("the blood of Bohe¬ was therefore $9.50 a day ! and everybody stepped into their places naturally and Wagner, is so astonishing that the mere recording" of At that time Wagner was a famous man, else he would mind that Wagner was sixty-three years old, and not mia gone to stone”) and the Bohemian glass, most of “These things shall be a loftier race noiselessly—for the country instinctively recognized her it calls for an !) yet appreciated! But he persevered and hopefully began our home-made wares were marked carefully, “made in not have been invited to London. As a matter of Than ever the world has known, shall rise “knights of Blanik,” who, according to an old legend, I wish all readers of this article who are despondent to compose his last opera, Parsifal. If at first you don t Germany.” And, owing to German names given by course, there were Wagner concerts galore? Not one! i With flower of freedom in their souls had at last risen from their long sleep and freed the because at first they don’t succeed—or don’t have as succeed. . . . That opera, produced in 1882, the year our ever-watchful enemies to our beautiful and world- His friend Praeger saw the directors and found that And light of science in their eyes. country. Immediately all the Austrian “emblems’ were much success as they think they deserve—would peruse before his death was a success, at last, from the start! renowned baths (like Karlsbaad, Karlove, Vary, Mar- they “feared hazarding the reputation of their concerts They shall be gentle, brave and strong torn down, and great festivities made over “drowning pages 365-382 in the first volume of my “Wagner and I do not see how any one can read the romantic, ienbaad, Marianske Lazne, Franzensbaad-Frantiskovy by the devotion of a whole evening to Wagner!” A To spill no drop of blood but dare and burning” the enemy-Eagle and German insenp- His Works”; two chapters headed “A Modern Prome¬ few excerpts from his operas he was allowed in the pro¬ stormful, pitiable story of Wagner’s life without often All that may plant man’s lordship firm Lazne), many tourists never realized at all that they theus” and “The Circus Hiilsen in Berlin.” In the first shedding tears of pity, and of wrath at his countrymen, had actually been in Bohemia, and quite near to grams, but the critics fell upon them like rabid wolves. On earth and lire and sea and air. Pupils and teachers were all united in this wonder¬ who habitually treated him like a criminal. But there the beautiful capital Praha (German Prag, English I attempted to paint Wagner as “a modern Prometheus, Everything he did was censured because he conducted ful transformation, putting up immediately Cech names was much Wagner baiting in other countries, too, in¬ Prague), which Rodin calls “The Rome of the North,” whose vital organs were daily gnawed at by the critics differently from the English music-god of that time, Yes the boys that dared all to free themselves (and on the streets and entwining the United States flag with and Count Lfitzow describes as the city “where every and other Philistines because he had had the audacity Mendelssohn. “I live here,” he wrote Liszt, “like one of cluding ours. Indeed, in the whole history of anti- eventually their country) from the 300-year-long yoke the red and white one of Bohemia; also pulling down stone has its history.” to steal from heaven the fire of genius—a blaze which the lost souls in hell.” Wagnerism there is nothing more disgraceful than the of Austria, and who actually kept 1,000,000 Germans images, where originally Husite churches had stood Even the famous “German” beers, “Pilzner and Bud- showed their own lights to be mere tallow candles.” The tide turned at the seventh of the eight concerts, boycott on Wagner’s works, not only in the opera from entering Paris (this being a historical fact) and stand once more, and always singing, singing, sing¬ weiser” are really “Plzenske” and “Budejovicke,” named His letters to Liszt are full of utterances of despair because of the attitude of Queen Victoria. “She and the houses but in the concert halls of America, after we fought often in rags; for their official uniforms were ing1 The “emblem” of Austria was a two-headed bird, after two Bohemian cities! like these: “My nights are mostly sleepless—weary and Prince,” Wagner wrote to Liszt, “were really the first entered the war. He had been dead thirty-six years, long ago and gladly left behind, together Withi th«r but the symbol of the famous Cech society has only The well-known lecturer, Mr. Burton Holmes, likes miserable. I leave my bed to see a day before me persons in England who dared to come out openly and yet he alone of all the dead masters was shut out for deadly weapons, on th.eir flight to freedom All they one bird “Sokol” (the Falcon). It has a large share to tell of the great hospitality of Praha, for the Bo¬ which is destined to bring me not one joy.” “Oh, that without reserve in my favor;” and at the final concert months—in Boston and other cities for a whole season. in the active and energetic present “as-a guarantee of had with them was their Song, to which hemian people are so pleased when strangers visit them I should not arise from my bed to-morrow, awake no there was an ovation for him. But he did not take any Yet of all the German composers of the past or pres¬ and souls sang as they marched and fought-their the nation’s future,” as its founder Tyrs said: This and show interest in the country that they cannot do more to this loathsome life.” money back to Switzerland, where he resumed work on ent he was the one whom we should have continued Husite Hymn. This was the hymn of the grand old society is founded on the physical training of ancient enough to honor them. Lately a special committee The Circus Hiilsen, as the sarcastic Hans von Biilow the Waikure. Foolish man 1 He didn’t know that he to cultivate and foster; for he was one of us. one-eyed warrior 2izka, with which already in 1431, Greece, and singing naturally takes a large share in its has been elected to welcome strangers, and to look after For twelve years he was an exile from Germany, at the battle of Domazlice 130,000 Crusaders who were exercises and festivals. It takes an interest in popular called the Royal Opera in Berlin, was the scene of the would have to wait twenty years before he could get their wants and interests in every way. Well, already most astounding farce ever enacted over an opera—a condemned to death if caught, for he had taken part sent against the Husites, were put to flight by a mere education; fights corrupting literature and coarse that work performed. “old Goethe” declared: farce so long-drawn-out that Tannhauser was not heard “I must perform a miracle to make the world be¬ in the revolutionary uprising of 1848. On June 14 of handful of “Singing Cechs.” The enemy probably; never entertainments; and wherever it is present no police there till more than ten years after its premiere at lieve in me,” he wrote two years after his London that year—listen to this!—he delivered a fiery address doubted the full equipment and great nuinberjustas are necessary to keep order. But again singing has “Wo mann singt, da lass dich nieder Bose Leute haben keine Lieder.” Dresden, and until after forty other cities had heard it! fiasco. He borrowed two hundred francs of Liszt which was printed as a newspaper extra in Dresden. recently in Siberia. Such is the power of Song and- a large share in exercises and festivals. F. P. Kopta For the details of this farce, which I culled from about for a trip to Paris. In that city and in Brussel, he In it he demanded, besides general suffrage, nothing first of all. There they could sing at last again to writes: “Where folk sing, there fear no wrong— fifty of the letters that passed between Wagner and gave three concerts in I860, with great financial hopes less than the complete abolishment of the aristocracy their heart’s content, all the patriotic songs that had Wicked people have no song.” been forbidden them under Austria, anl even make up “Bohemia! There’s not an art those he had to deal with, there is of course no room Result: a deficit of $1,100. as well as the standing army, and the proclamation of Bohemian working people have been known to give prefer¬ here. They throw a glaring light on one phase of Ger¬ Then a miracle did happen. Napoleon ordered a per¬ Saxony as a republic! new ones, without restraint or restriction. In which thy sons have not excelled; ence to a less well-paying position where they were at liberty Yet as an American minister told his congregation to sing at their work, to a better-paying situation without that man “Kultur”—the habitual maltreatment of genius. formance of Tannhauser at the Opera! Everybody Seventy-one years elapsed before the Great War Thy wares were sold in every mart, freedom. Our great Slovak artist, Alphonse Mucha, showed lately’on his return from Siberia, these men had1 to the writer a little harmonium in his magnificent Pans studio knows what followed; how the members of the Jockey brought about what Wagner had explicitly and ardently- And praise from enemies compelled.” Incredible as it may seem, the same institution re¬ often wait by the water until their clothes were dry— which he purchased with his first-earned peated the same farce, equally prolonged, with the Club, angered by Wagner’s refusal to insert a ballet wished. Yet this man was singled out for an American money as a young and unknown student because they did not possess a _—;—. of art, when other things might have Nibelung operas, two decades later! in the second act, indulged in noisy demonstrations that boycott of his immortal works!! really seemed more necessary to pur¬ change—and their food for six chase—but music was the greatest neces¬ The large cities, like Berlin, Vienna, Munich, Stutt¬ Mr. Finck’s next article in this entertaining series will be "Don’t Be Too Dignified." months consisted of black bread and sity of all to him. Yes, the character gart, were the last to accept his operas. What paltry tea. But they did not complain. of the Cecho-Slovfik is often like the sums he got for the performing nights of his operas heroes in Puccini’s La Bohcme. They One hears the same thing from the care naught for artificial grandeur and may be inferred from the fact that Berlin balked at the pomp; they are children of nature and republic now. Dr. Alice Masaryk.. lovers of beauty in its simplicity. This thought of paying $750 for Tannhauser, and Munich Playing Without Looking at the Keys the president’s daughter, called on is proven by the peasant women, who would not listen to such a sum as $500. Hamburg weave their own poetry of soul into an old lady who had given her hus¬ every object they embroider or paint, so refused to pay $250, while Leipsic (his native city!) By M. Payser band and sons to the war “for Lib¬ that no two Easter-eggs are alike, found $140 exorbitant! Breslau paid about $80; though there be millions ornamented erty,” and had not even any furm- every Spring. Since the dreary Easters Wurzburg gave $37; Cologne could not, for a time, I have read several articles in The Etude advising s left ii 0f war_Helas !—even Gluck would have raise $50 for this opera; and the smaller cities ranged way that when worn by the child the cardboard will l small ration of soup daily. fared badly, for he used to be repaid bv holding a sheet of music under the pupil’s chin and project from under the eyes like a visor. The card¬ eggs (fresh ones!) for his improvised from that sum down to about $25! These payments She showed admirable spirit in this concerts in the Bohemian villages. Even other inconvenient means of shielding the keyboard of board may easily be sewed to the rims of the eye- were made but once, so the “mine” was soon exhausted. hardship; had not a word of pro¬ their wall-designs are pictures of their glasses If the rims are too wide, bend them in or cut most tenderly cherished dreams, or In 1852 he wrote: “I must deem myself lucky if during the piano from the vision of the child who persists in test, but instead, fell on her knees them off on the side next the face. again full of sparkling wit and humor— this whole year I get something from Weimar for The looking at the keyboard. My plan is to take an old pair and begged the daughter visitor to but never are they copies * by the hour This improvised shield enables the pupil to see the Flying Dutchman of spectacles with metal rims and bend the rims of convey to “the little father Masaryk” °l this connection, it might be of in¬ printed music page, yet the keyboard is concealed—used Thus he was reduced to “absolute destitution,” to use the part that formerly surrounded the lenses so that (as the nation loves to call its be¬ terest to the American public to note occasionally it will work wonders. I have spared mv that one of the greatest American pic¬ his own words. “Thanks,” he adds sarcastically, “to the they are parallel with the keyboard. Then I take a loved President) her thanks for pupils much annoyance through this device which tures was painted by a Cech, Brozik; noble assistance of glorious Germany.” Had it not piece of thin cardboard about seven inches long and bringing about freedom. Dr. Alice that Harrison Fisher is a Bohemian, makes it unnecessary to continually remind them to Masaryk herself was imprisoned for and that a Bohemian (Anthony Fiala) been for Liszt, Frau Julie Ritter, and a few other'de¬ three inches wide and fasten it to the rims in such a look at the notes and not at the keys. carried the Star-Spangled Banner to voted friends, that destitution—caused by the fact that a long time as “a ransom” for her the frozen north and to the jungles ot father, who at one time was sen¬ Brazil. A touch of Bohemian humor everything he tried proved a failure—might have driven is in a banner carried by a Bohemian him to suicide, which frequently suggested itself to his The Christmas issue of The Etude will contain a remarkohio tenced to death by Austria., in the war parade in New York, which The Czecho-Slovak Republic came bore the lecrond : “Cheer up. America ! We have been fighting the Germans for mind. Monsignor Caslmiri. leader of ,he Vatican^ChoStom s? pSer^T fZ into being without a single citizen’s CZECHO-SLOVAK I All this time, too, he was tortured by ill health, a thousand years!” and the Sistlae Chapel In Rome, now making a tour of America life having been lost. Everything which often made it impossible for him to compose THE ETUDE xovuiu nun wio “Cechy” and the people “the Cecils.” “Les Tcheqves,” as the French so Mozart felt the artistic spirit of Bohemia, for he wrote his Don Gio¬ politely call them. The new name, vanni in Praha (Prague), where also Czechoslovakia, avoids the unpleas¬ its first production took place. Wag ant and unjust connotation of “Bo¬ ner found inspiration in the moun¬ hemia.” ___ tains of Bohemia; and Weber placed the action of his Freischuts there. Bedrich Smetana, Founder Personal Recollections of a Great Master There is a saying to the effect that at of Modern Czecho¬ birth of a Bohemian the choice is given the child between a violin or a slovak Music A Remarkable Symposium of American Musicians who Knew Dvorak Best sword. The great violin-pedagog, Bedrich (or Anglicized, Frederick) O. Sevcik (“the little shoemaker” be¬ Smetana, born March 2, 1824, was ing the literal translation of his the first Bohemian composer to take name), involuntarily recalling to the a stand for. the music of his native A Thumbnail Biography of Antonin Dvorak mind “Hans Sachs war ein Schuh- land. He may be rightly regarded niacher und Poet dazu,” (H. S. was as the founder of the Czech school Subsequent rungs in liis ladder to world-wide fame years’ course in organ and composition at the Bo¬ a shoemaker and poet as well!) and of musical creation. It is true that Antonin Dvorak, born September 8, 1841, at Ne- hemian capital, Prague. ere: , bis wonderful array of violinists, he did not succeed in incorporating lahozeves (Mulhauscn), Bohemia was the son of W 1884, Dvorak conducted his Stabal Mater in Lon- After his graduation he was thrown upon his own has proven the choice of the former. the native rhythm of the polka into innkeeper, and destined by his father for a butcher. risources, his father having withdrawn his allowance. And the grand old one eyed fighter classical music form, but by his tre¬ The itinerant bands that passed through the village 1885. he was commissioned to write The Spec- Zizka, with his glorious army of mendous originality and intense de¬ He played in cafes and orchestras, becoming acquainted were his first inspiration to music, and he coaxed the Bride for the Won Husites, stands for the choice of votion to the art of his country, lie in this* latter way with Smetana, who was the con¬ schoolmaster to teach him to sing and to play the 1891, Cambridge conferred upon Dvorak the degree the sword, and bravery and fearless¬ MAP OF CZECHOSLOVAKIA brought the Czech music to the atten¬ violin. Later lie sang in church and played violin ductor of the orchestra of the National Theater. ness, in the fight for right and truth. tion of the world and secured for it Both Smetana and another.musical friend, Karel Bendl. of Mus. Doc. . Scale approximately 87)4 miles to an inch. solos upon holidays. fvi 1892. he became the Director of the National Con¬ Whilst touching upon the subject a place in the front rank of great At the age of twelve Dvorak was sent to a school the conductor of a choral society, helped the young servatory. New York City. of names and their verbal meaning, musical creation. Dvorak, more fortunate because of at Zlonitz, where the organist taught him the piano composer in every way to gain command of his art. that of Bedrich Smetana, the greatest of Bohemia’s How the Name “Bohemian” Came Into 1895. he returned to Prague as the Dirc.-tor of tlic the efforts of his precursor, Smetana, won the way and organ, and gave him some idea of the simpler In 1873 he came into notable prominence through a composers, is very expressive, for it means “Cream False Repute for two other forms of Slavic rhythm, the huriant and rules of harmony. Two years after he went toMi.- hymn for men's chorus and orchestra, which was pro¬ Conservatory there. (of music, of course, to the Cech!). When more of 1901 he was made a life member of the Austrian the Dumka. nitz to finish his general education, and incidentally duced with great success..and gained him a money- his glorious works are known, the entire musical world ^ [Bohemians Apropos of Dvorak, it is interesting to know that House of Lords-the first music-an to be so appointed. will agree with the meaning of that name. Smetana is to continue the study of music. Later he gave up grant from the government. This secure stipend en- he was. when quite a young man, a member of Sme¬ everything else (including the career of butchei, which abled him to'devote more time to composition. He died at Prague, May 1, 1904. called “The Bohemian Beethoven,” for he wrote some kind of compound tana’s orchestra, and that the conductor’s influence was of his noblest works after deafness had overtaken him: lime. Wetc-he gives marked in Dvorak’s earlier compositions before lie had The String Quartet, From My Life, and many of his found his own particular metier. Smetana took a keen symphonies and operas. Another well-known Bo¬ The name Bohemian has been greatly misused. For interest in the young composer, and gave him freel \ hemian musician’s name—Cerny (Czerny) means instance, in the fifteenth century, a band of gypsies, of his own insight into matters musical. “black” (with notes, certainly!) Other well-known who had no connection either racially or politically In all the Czech composers, as with the Russian com¬ Dvorak as I Knew Him composers were Black, Le Noir and Schwartz— with Bohemia, emigrated from Roumania to France posers, music and patriotism in the large sense seemed leaving the white keys sadly neglected! and part of them settled in the Latin quarter of Paris. to go hand in hand. Of this coalition Ignaz Paderewski By Jeannette M. Thurber Going back to Smetana, it is a pity that as yet there is The French people, who feared the Husite warriors, is a notable illustration. Smetana’s most dominant de¬ only one opera o£ his really known outside of Cecho-Sloyakia, mistook these ragged gypsies for Bohemians, and it is sire from his life’s beginning to its sad and untimely I suggested that lie write a symphony embodying his because of this error that the word "Bohemian” ac¬ ending, was that Czech music should take its right 1 li 1 sickness, being intensely patriotic. He passed two of experiences and feelings in America—a suggestion quired the meaning of gypsy or person living a dissolute place in the world. His symphonic poem, My Country. In the year 1891 I was so fortunate as to secure his summers in Iowa, at Spilvillc. becaue of the num¬ which he promptly adopted. e Libuse and Dalibor and dissipated life. Just as some people still associate is instinct with affectionate regard and comprehension Bohemia’s foremost composer. Antonin Dvorak, a ber of Bohemians living there. Anton Seidl was prob¬ American public would enjoy his i Bohemians with gypsies, so do some in the old world of his country. This third section of it, Moldau, is per¬ artistic director of the National Conservatory. In h s Some have held that the slow movement of his ' ably right in declaring that the intense pathos of the ^ Devil) v-'-— --- picture Americans as Indians, and imagine buffaloes haps one of the most descriptive composition's in all letter of. acceptance, dated December 12, 1891, there is American symphony was inspired by Longfellow’s slow movement of the New World Symphony was running about wildly and golden dollars growing on music. It pictures the great river Moldavia, from it- a sentence so characteristic of his modesty and naivete Hiawatha, but that was one of his operatic projects. In inspired by nostalgia—by longing for home. It was at trees—but now that the Yanks have been going “over tiny, crystal beginning, to the mighty irresistible flood (he was as free from vanity as his idol, Schubert) one of his letters to me lie says, "As you know, 1 am a there” more and more, they are learning to know and that divides the city of Buda. from Pesth, and then that 1 cannot refrain from citing it: “Mme. Dvorak my suggestion that he composed this symphony. He great admirer of Longfellow’s Hiawatha, and I get so to love the real American. The term Bohemian was sweeps triumphantly out to join the unbound sea. This and my eldest daughter, Otilka, are: very anxious to used to be particularly homesick on steamer days when attached to it that I cannot resist the attempt to write applied to the country probably as early as Roman music has a curious liquid texture, and a gathering see Amerika, but I am a little, afraid that I ^al not he read the shipping news in the Flerald. Thoughts ot an opera on this subject, which would be very good times and was derived from “Boii,” who for some force and weight as it proceeds, that makes one fairly be able to please you in everything in my new position home often moved him to tears. On one of these days fitted for that purpose.” I secured the permission of time before’ the Christian era occupied these regions. behold the river. And above and beyond all, there is As a teacher and instructor and conductor l feel the publishers and of.Miss Alice M. Longfellow for About 450 A. D. the fabled leader “Cech” migrated the. feeling of distinct personality such as that with myself quite sure, but there (are) many other trifles him to use the poem, but Dvorak did not live to carry to the country, dispossessed the non-Slavic tribes of which the ancient Greeks used to invest their streams which will make me much sorrow and gneve-but I out this plan. One may doubt whether he would have Boii, and since then the real name of Bohemia is and woods—a river divinity, of a piece with 'in¬ rely on vour kindness and indulgence and be sure I succeeded so well as lie did with his symphony, for, spirits of nature—the dryads and fauns. shall do all to please you.” outside of Bohemia, his operas have not obtained a There is profound dignity, even majesty, in He kept his promise. From the start he devoted foothold, though there is much beautiful music in this great river of sound, yet withal a kindly himself to his new duties with the utmost zeaVawd he them. He was deeply interested in his project for a sociability with the villages that cluster upon influence he exerted on his many pupils m both the New World opera. One day lie wrote me: "But I am its banks, and the bridges that cross over its vocal and instrumental departments is felt to this day longing for the libretto of Hiawatha. Where is it? If flood. and all over the country. Many of our most gifted I cannot have it very soon—much is lost. ’ Probably the most celebrated of Smetana’s young men eagerly seized the opportunity of studying We discussed the possible librettists, and I took him works is his opera, Prodana Nevcsta (The with him. Among these young students were Harvey to see Buffalo Bill’s Indians dance as a suggestion for Bartered Bride), a so-called “comic" opera Worthington Loomis, Rubm Goldmark. Harry Rowe the ballet. It is really to be regretted that this operatic of the highest type, and replete with lovely Shelley, William Arms Fisher, Harry T. Burleigh and project came to naught. Hiawatha would have been Invitation to Song music from beginning to end. This opera is Will Marion Cook, who now rank with our best com- sung in English. When I first met Dr. Dvorak, in the very antithesis of the Wagner operas in London, he told me that he had wanted to meet me, as •musical style and content. For this reason lie considered I "had made music a possibility in Amer¬ A Literal Translation of a Poem by Tablonsky His greatest achievement in America, it is needless The Bartered Bride was not a distinct success to say, was the composition of the Neiv World Sym¬ ica by having opera sung in the vernacular.” when it was first given at Covent Garden, phony one of the most inspired symphonic works ever On June 25, 1892, lie wrote me from Vysoka, Bo¬ Oh, let us sing sonejs full of love, London, where the Wagner operas had biased created. When he wrote this work he attempted to hemia: “Just now I got a letter from Littleton, of New Bohemian national songs of love; the taste of opera-goers to the exclusion of reproduce in it, here and there, the spirit (though not York, from which I see that you have the splendid idea For as long as Bohemians sing. all other styles. the exact notes) of negro songs. I helped him to the I should write a Columbus Cantata (or something like) Their national life cannot take wing. Smetana wrote much music that is not best of my ability in securing the material, and so did which ought to be given at my first appearance in New Go wander all over our land, known nor performed: Operas, symphonies, Harry T. Burleigh, his pupil, now the foremost com¬ York.” He subsequently did write a cantata. “Amer¬ Over valley and wood-crowned hill. chamber music, songs and piano music. No poser of his race. ica’s Flag,” which is listed as liis Opus 102. It was given, but did not meet with much success. The date There’s not a place without a baud. doubt he would have been still more prolific In looking back over my thirty-five years of activity of his first public appearance in New York was October Or song, like a mountain rill. had it not been for the deafness which, in¬ as President of the National Conservatory of Music The Bohemian lion loved song— creasing with the years, shut out all sound, as of America there is nothing I am so proud of as having 21, 1892. Songs he sang against every wrong; with that other master of music. Beethoven. been able to bring Dr. Dvorak to America, thus being Dvorak was not only one of the most original com¬ And when for his country he fought. One of his string quartets, entitled My Life. privileged to open the way for one of the worlds sym¬ posers of his time, but one of the most emotional. This It was also with song that he taught. is unique in that the composer has pictured in phonic masterpieces, as well as some chamber works was partly due to the depth of his religious feeling. He Even the castle Vyschrad it this tragic and heartrending phase of Sme¬ which are admittedly even better than the chamber was a most conscientious church-goer, and often spent Shook when Zdboj the minstrel sang. tanas life. A shrill note, persistently recur¬ music he wrote in Europe. Well do I remember how hours on his knees in prayer. He had a passion for Like Orfej, upon a green sod. ring in the upper strings, represents the mad¬ the Kneisel Quartet came to the Conservatory'to try Schubert. On Schubert he wrote, in collaboration with War songs that like clear trumpets rang. dening sound which rang in Smetana’s ears, over this music in the composer’s presence! A gala Henry T. Finck (who has been connected with the For this reason Bohemians should sing, exasperating him beyond measure as his deaf¬ dav in New York's concert life was the first perform¬ National Conservatory for three decades), an article for That their national life ne’er take wing. ness grew worse, and becoming louder as the ance of the New World Symphony by the Philharmonic the Century Magazine, concerning which Sir George noise from the outer world dimmed, Orchestra under Anton Seidl. It was the most impor¬ Grove wrote to him that he considered it the best essay Smetana linked in his own life the tragedies tant event in the long history of the Philharmonic. on that composer ever printed. While Dvorak was not of a markedly social disposi¬ of both Beethoven and Schumann, dving in an TVvnrnlr sppmpd to he haoov in his new ■nsane asylum at Prague. May 12. 18«4.— A RARE PORTRAIT OF DVORAK AND HIS WIFE tion, he established intimate friendship with some of the Translated from the French (Musica). NOVEMBER 1919 Page 693 THE ETUDE THE ETUDE Page 69 U NOVEMBER 1919 going back into the past-to Schubert, in fact-and now- you know the durch fuehrung treatment from by expanding his musical ideas into modern melodic eminent musicians associated with the National Con¬ Haydn to me, and if you imitate any composer, you servatory, among them Rafael Joseffy and Anton beidl, are' a bad musician. Now go your own way. f°“Schubert,” he would say, “ah yes, Schubert is too The Great Masters as Music Teachers with whom he spent many of his evenings. Dvorak would sometimes be asked by pupils why Nothing could have given me greater pleasure than long—oh, entirely too long; but for me-not! he had discriminated against certain portions of their It was one of Dvorak’s amiable vanities to take to continue Dr. Dvorak’s directorship indefinitely, but compositions, of which they were personally very after three years with us and a promised renewal of great delight in reading criticisms of his own sym¬ By LOUIS C. ELSON proud and fond: the answer would be: I don t know , phonies. He would chuckle boyishly whenever lie his contract for the fourth year, he found his home only—no!” Therein his judgment was faultless: Ins ties strongest, and in a long letter to me, gave numer¬ found himself compared to Beethoven Such compari¬ ’ .. , . whn the good teachers and who were their decision had been for the pupil's future good and sons, of course, were prompted by lus ear her sym¬ ous family reasons for wishing to be released from development; he had neither time, desire nor academic Nearly all the great masters have spent part of their wes .g £ison's accustomed fascinating style, his agreement, closing with these lines: “Mrs. Thurber, phonies, before he produced the Nezv World, which equipment to go into the mathematics of music. best-known pupils ? This article answers the question in Mr. ms on you know well how much 1 value your friendship, how marked a distinct stage in his development. •: He disliked fugues,- saying, “Yes, that is a good much I admire your love for music, for its development But there was little evidence of this kindly, naive I theme, but why bore your listeners by telling them catedtoyou!” Such a tale is arrant nonsense. Inthe you have done so much, and, therefore, I may hope mood in the class room. There, I have often seen him the same thing over and over again; they-should feel a talent of the first order, and has been called the first place had he ventured such a remark lm wou^ that you will agree with me and that you will kindly pulling his hapless pupils around the room by the In one sense every great tone-master is a music “Father of Piano Technique but « have been thrown out of the castle. Second y, recognize and acknowledge all the above-mentioned insulted!” nose, which he apparently considered a more intimate He advised writing fifteen minutes in the morning, teacher. Wagner, for example, learned immensely that the practical ideas in his Versuch u dictograph recorded this? Neither the pnn«Ss no point of anatomical contact than the time-honored reasons.” for themes and material to be worked out later, say¬ more of the science of composition from the works of Art das Clavier zu spielen, published m 1752, were du Schubert would have told the details. Thirdly, he ing, “If you should be allowed to compose, then will ear lobe. , Beethoven than he did from the unsuccessful essons ffie precepts of that great and inimitable teacher, his did dedicate one of his works to the prmce^ one of I escaped this particular form of pedagogy. But J your ideas be the best and freshest.” given him by Gottlieb Muller, or the successful ones father, for among the great composers Ba“ . the very poorest of his piano works, a composition was not coddled—far from it! Many a time he would Dvorak as I Knew Him He was a great man and rose from being a street taken from Theodore Weinlig. But the object of this tainly the best-equipped as a practical music-teacher without a spark of love or affection in 1 . player upon a violin, to the Bohemian Parliament, of throw my innocent manuscript on the floor and sav¬ arrick isTo examine the value of the great masters in and we may believe that scale lingering, a.peggio the One of the absurdities of musical history is the fact By Harry Rowe Shelley which he was a member at the time of his death, and agely grind his heels into it, while punctuating the actual lesson-giving. Most composers are poor con¬ use o! the thumb, etc., had their real beginnings in the that Chopin once thought of taking piano lessons from performance with grunts like unto those of a wild better still, he became one of that group of immortal ductors. Are they also'poor teachers? teaching of John Sebastian Bach. Kalkbrenner, in Paris. Chopin, the poet o the piano, boar. With such a safety valve, his temper would Dvorak was a child of nature in the class room, composers whose music is the divine inheritance of the The earliest music lessons of which we have any rec¬ We cannot believe Beethoven to have been a good going to th; martinet of the instrument tor instruc¬ soon evaporate, and he would pick up the offending where his decision in the greatness of matters mus¬ world. ord are discovered in ancient Egypt, where they had tor. 1 Chopin was a good and sensible teacher, as Gut- manuscript almost tenderly, and compliment me on a teacher, although some of the pupils oijh.s younger ical was absolute; once his mind was made up nothing an actual conservatory of music in the reign of Amen mann his loyal pupil, has left statement on record. few bars that had miraculously escaped the devastat- days speak in high terms of him. He was t00 imPe‘" could alter his views. To be a successful student hoten IV, a little over 4,000 years ago. There w ous too brusque, to have made a patient guide. Hi He received high prices for his lessons, but gave them under the direction of this man, a thorough knowl¬ Dvorak as I Knew Him statue erected to a vocal teacher in Delphi 2,000 years chief pupil, Ferdinand Ries, was not as great as we ffi^hanIrtiLcratic fashion that he was conhnua^ He played for me the entire New World Symphony ago and the Phonarci of Athens taught elocution, edge of preliminaries was necessary—upon these no should have imagined from so great a ma^ten lt tak in debt, in spite of having many pupils. In those days as he composed it, and later took me to the first oratory and singing. Composition, as a science, prob¬ lime was ever spent by him. His mission lay. in By Camille W. Zeckwer an obedient pupil to develop into a good teacher, and the teacher generally went to the house of the pupil, rehearsals with Seidl. ably began about 700 years ago, but it squired some telling the musical aspirant the good or bad points Beethoven was never that. Haydn called him the and Chopin went there in his own carriage, attended On another occasion when I arrived one. morning two centuries to formulate sufficient rules to give the of the subject material brought for development; great Mogul” because of his rebellious ways and Al- oftentimes by his valet, and wore white kid gloves at My association with Dvorak has always been to me he said: “Ah, my dear Philadelphia” (I was always comooser a real status as a teacher of it William natural key relationship for contrasting themes; breclitsberger, his teacher of counterpoint warned each lesson as to a French visit of ceremony one of the high lights of my existence. Though twen¬ “Philadelphia” to him), “1 have no time to give you DMay the earliest of scientific contrapuntists, scarcely orchestral color best suited to the inception of the ty-five years have passed since I had the great priv¬ other pupils in his classes to keep away from the One of the points of his teaching was that it is a a lesson to-day. But come with me; Seidl will seems to have been prominent in teaching. content of the subject; not setting music haphazard ilege of studying under that wonderful master, the voung Beethoven lest he corrupt their musical ta^e. mistake to tryPt0 equalize the fingers. He considered rehearse my overtures.” (In dcr Natur, Othello, Car¬ The earliest composer who made a reputation as to a certain instrument, but knowing the appropriate memories of that golden era of my passing boyhood Yet ft was Beethoven who turned the tide from the ETSd. «»£, should have „n nival). Linking arms with me, he led me serenely 1" teacher was John Ockheghem (or Ockenheim) born instrument for the music’s demands for expression. remain fresh and vivid in niv mind. That I was to spinet and clavichord to the piano; it was he who a different effect from the forefinger, etc. He believe the hall and seated me beside him as an all-too-willing inthe Netherlands (probably at Bavay) between 1420 be a musician was decided for me by parental edict. in Bach as a thorough technical preparation for all He was insistent upon continuous work, and con¬ audience. and 1430 A dozen of the greatest composers of the My father seemed , to be convinced that I must have piano work, even the most poetic. stant new material from his students, demanding three One day I was told at the Conservatory that Dr. XV century studied with him, and he was idolized iruxsr. new portions of a composition (of large foTm) each inherited the divine afflatus from him, and he could Dvorak was ill. Having come from Philadelphia Schumann was one of the least successful o never understand my lack of native talent. In his pupils grfat composer-teachers. The writer of the present week, saying “when you cannot do that, then are you early in the morning, I was keenly disappointed. But “bisof Martin S Luther, was one of h.s pupils,,a„r“ andJ °EXhe also disappointment, he constantly berated me as the most ambitious piano sonata in existence. article met, long ago, in Germany, an old musician who no composer.’’ I had my suspicions. I trudged over to his house and became a great teacher of composition. W e read ot stupid pupil in his class. Haydn taught in his younger years, and Beethoven took lessons in composition of Schumann at the Leip- He stipulated the right of command cither to teach knocked timidly on .the door. No answer. I went in. Des Pres that he was very particular in the choice o a pupil or to dismiss him because of the lack of talent This continual discouragement naturally reacted on His only illness was a fever of composition. The was among his pupils, although the latter demedever sic Conservatory. He said that if twenty words were his pupils, and those pupils have left it °n record that spoken by the teacher during the lesson it was reinark- in composition, saying “this heartache is only one: it me and dulled what little aptitude I had. However, remains of many past meals were strewn around the he never gave long discourses in the lessons.hesffited learning anything from this teacher. y I became imbued with a fine ambition to win the gold received about twenty cents a lesson from his young able. There was an uncanny silence during the hour, will save you many, bye-and-bye.” room, where he had been barricaded, probably for a few definite rules only, and then went on Charlatanism was to Dvorak especially provocative medal for fugue; but my failure to do so might have several days. My interuption was wholly unwelcome, pupil we think that Beethoven received full value for the teacher taking his pencil and making corrections of disgust. An encroachment by a pupil upon the field ended my musical career then and there, had not Dr. but my earnest pleadings finally won his ear. At what he paid out for tuition. . ,, here and there, but saying nothing. Sometimes, how¬ W. W. Gilchrist whispered some inspiriting words of “^Palestrina confined his teaching chiefly to his family Schubert was not fond of teaching, and his excdaWe ever the teacher would refer to something that ha of another composer; .an inadvertent borrowing of first consenting to examine only a few bars of my cirde Fate seems to have tried him severely m this another’s successful musical thoughts; even a thematic encouragement in my ear. I girded up my loins again work, he ended by keeping me with him for several nature was not that of the ideal instructor We can been brought in during a preceding lesson, which and wrote a piano sonata in four movements. Armed f nreach of his sons died after he had made thorough showed that he had taken notice of affairs m spite of treatment overtly resembling the recognized music of hours. r them_each of them, except one, an imagine him missing more than one appomtamt with some master brought down vials of vituperation from with this, I journeyed to New York and assailed After lesson one day he invited me to take lunch his pupils if he was with a congenial gathering in the his taciturnity. In the class room Schumann sat with the master, and the indignant remark: “yes, maybe— Dvorak himself. with him. Fearing that I should take up too much tavern!* His teaching of the two young princesses in his lips pouting outward, as if he were whistling. He but it is not yours!” The dear old man was seated at a desk in the far of his time. I begged to be excused, and told him the castle of the Esterhazys, at Zelesz.in HungaTT,! had this habit also in his orchestral conducting, so that He found the student in America somewhat different corner of the -room. He glowered at me as if I were that my train left at two o’clock. But he took me the engagement which caused him to ^come acquainted in Ditsseldorf they called him the “Stadtpfeiffer, the in his attitude toward study from those of his native a bill collector, or 'a book agent, and, without a word with him, willynilly. As we neared his home, he put with the gvpsy music of that country, an _ “City-pipfer.” So far as the present writer knows, none land; also lacking in respect toward the general art of greeting, he commanded me to play my sonata. his arm around my shoulders and asked earnestly : Scan readily be traced in some of h.s ~ Had of Schumann’s pupils ever attained to much eminence By this time, my small reserve of courage had well- of music, which he held in the highest esteem: he “What time did you say your train left?” ?”« u something even mote he not taught at Zelesz we should scarcely have had Mendelssohn was, in some respects, the opposite of abhored the popular lilt of the so-called “Viennese nigh completely oozed away, and I played in nervous “Two o’clock.” fhe gloriougs second movement of his C major sym- Schumann. Although the founder of a most important desperation. I gained some small amusement by count¬ for it was the cradle of scientific music teaching. Here, swing,” which he termed “Coffee House.” “Well, you better hurry; it’s quarter after two now.” conservatory, that of Leipsic, he was averse to teach- ing the bars as I played, to see how far I should get too contrapuntal instrumental music was born and He quoted the opinion of Hanslich regarding the I had repeatedly urged him to visit me in Philadel¬ PhRegarding his falling in love with one of his pupils in" personally. In a letter to the Gewandhaus commit¬ without being stopped or even bodily ejected. To my here also were the beginnings of organ playing, the published critique of the three Slavic Dances, which, phia. He finally consented, but just as we were the Princess Caroline Esterhazy, we may dismiss this tee in Leipsic he gives a very clear statement about surprise, I finally discovered myself at the end of the comtneiicement of instrument,, solo, Wh,t a e.tde called the first one the most musicianly; the sec¬ boarding the train, he ran away without a word! I as one of the fanciful tales of music. The story goes this, as follows: first movement. there was there! It began with Adrien W.Maert, the ond, the most national; the third, the most beauti¬ afterwards discovered that he was afraid he would that one day the princess asked him why he had dedi¬ “During my musical career I have always resolved With astonished relief and growing courage, ful ; saying “the critic is right.” not be permitted to go to six-o’clock Mass the next cated works to almost every one of his friends and never to give a concert for my own benefit. You are He played the theme of the largo of the New IP arid I received his command to continue. As I played the never one work to her, and that Schubert stammered morning, as was his invariable custom. probably aware that personally, pecuniary considerations Symphony twenty minutes after he had written it, whole sonata through, the Jovian frown relaxed and and blushed and cried—“Because all that I do is dedi- But a mystery that I never solved was his unre¬ ' would be of less importance to me were it singing the immortal theme with great passion and gave way to expressions of mild approbation. The strained merriment over a perfectly good diminished - not that my parents (and I think wisely) fervor, his eyes bulging out; his blood purple red in real kindliness of the man manifested itself and he seventh chord which he observed in one of my songs. exact from me that I should follow my art the neck veins (years later he died of Bright’s disease offered me a scholarship. He even urged me to take mAnd't^ffiese great teachers there came a When I humbly asked for an explanation, he only as a profession, and earn my living by it. I, from red meat eating), his whole body vibrating as he up my residence in New York and study with him number of German pupils so « German burst into renewed laughter and cried repeatedly with however, have reserved the power of declin¬ played this music to his first listener; saying: “Is it scientific school was founded on the Venetian ing certain things, which, because of my fa¬ My poor father, who was waiting below, made sev¬ vast enjoyment: “Ha, ha! If Brahms could see that!’ not beautiful music?’ It is for my symphony; but— and German organ playing had 2? " ® vorable position in this respect, I will not do. eral frantic attempts to see Dvorak, but was utterly I have never discovered what ailed that poor dimin¬ it is not symphonic music.” Seidl was responsible St Mark’s Cathedral in Venice. Thus Andrea For example, giving concerts or lessons.” unable to gain admittance. The despot was unap¬ ished seventh chord. Nor have I ever elicited the for this movement being marked Largo, which Dvorak Gabrieli taught Hans Leo Hass er; Giovanni Nevertheless, he became the first director had marked Larghetto; Seidl was extremely fond of proachable except at his own sweet will. reason for his insistence that the second theme of Gabrieli taught Heinrich Schutz, and thes' of the Leipsic Conservatory. But as regards As soon as I was installed I was launched into the the first movement of my trio in G minor should be conducting this symphony which was upon the last men transplanted the Italian school to Ger- Conservatory teaching Paris heads the list, program he conducted, and he often spoke of it, say¬ composition of a trio for piano, violin and ’cello. I in A flat major. It is in A flat major to this day and sounds very well in that key, too; but I do not with its national Conservatoire, where tal¬ ing: “It is not a good name: New IVarid Symphony; was made to write nine different developments of the mThere are many parallels to be drawn be¬ ented Frenchmen are instructed gratis, and it is homesickness—home-longing!” first movement, modeled upon. Beethoven’s piano son¬ think that I should permit a pupil of mine to stray tween Bach, the representative Protestant so far from copybook precept. where the most practical musical prizes of Dvorak spent whole afternoons at the Vienna Cafe atas, even to the extent of adapting my own themes to composer, and Palestrina, the chief of the There was always an air of mystery when Dvorak the world are awarded. In that conservatory, with one or two friends, talking music, drinking cof¬ Beethoven’s precis,e modulations and number of bars. Catholic list. Bach’s chief teaching was also spoke of Brahms. That he admired Brahms greatly for example, the Prix de Rome is awarded to fee, an occasional glass of beer, with always a clear My first draft of the slow movement was similarly in his vast family circle. He had 20 children was evident, but I have always felt that, underlying Frenchmen only. The contestants are kept vision of the music under discussion. He produced molded upon the Adagio of the Sonata Pathetique. ranging from genius (William Fnedemann) to After this, my imagination was given freer'rein, and this, was a jecret envy of Brahms: an envy that did a letter- from Zimrock written to him (Dvorak), in idiocy (David), and it may be imagined that confined in a room with table, pen and ink, which the former said that Brahm’s had just told him I was permitted to write an original slow .movement. not tinge Dvorak's wholesome admiration for any and music paper, and thus isolated are to com¬ out of these forces there was plenty of cham¬ how much he admired the music of Dvorak, and An exhaustive study of Schumann gave me the basis other .composer. Perhaps it was because of Brahm’s pose a work for chorus, soloists and orchestra. ber music, and even orchestral work, in the that he wished that he (Brahms) “could write with for the Scherzo, success in his own individual style, which was a On winning the prize the successful candidate closed book to Dvorak. Bach dwelling. The second son, Philipp the same sunshinvness (sonnenshine).” It can readily be seen that Dvorak text-books were is supported by the French Government for the living scores of the great masters. He disdained Emanuel Bach, although not such a genius as Dvorak kept one pupil at work for forty weeks upon As I have indicated, practically all of my master’s two years, one year in Rome, and during this the thematic development (Durch fuehrung) of an the pedagogical treatise. Schubert in particular was instruction was conveyed by reference to Beethoven, the first-born (Wm. Friedemann came to a BEETBOVEN ANU HIS TEACHER MOZART overture, three lessons weekly, during which period his great love. Indeed, he looked upon Schubert as Schubert, Brahms and Wagner. But the inspiration wretched, dissipated, disreputable old age), was the pupil wrote thousands of measures, before the a prophet and often remarked to me, paradoxically, of his own personality was the dominant influence. that we could find the music of the future only by master expressed himself; saying “Now is it right; (Continued on page poo) THE ETUDE NOVEMBER 1919 Page 697 Page 696 NOVEMBER 1919 Marks of Expression tiie etude time he is required to send another composition to the quently got the better of him and he sometimes became committee as a proof of his progress. Debussy’s beau¬ violent. Once he was tamed by the Grand Duchess tiful “Enfaut Prodigue” and many other prominent Helene. She had made some errors in her playing, By Leonora Sill Ashton works are the outcome of such contests. Any pupil when Rubinstein suddenly seized the music and threw winning a vocal prize at the Conservatoire is immedi¬ it on the floor. “One of us must pick it up again,” ately offered a position either at the Grand Opera or calmly remarked the aristocratic pupil. Rubinstein did the Opera Comique. so. At many lessons, when the pupils were floundering, sion? They explajn themselves.” Among the directors of this great institution we find Rubinstein would calm their nerves by crashing his saying. Why Music is the Soul of Czechoslovakia Cherubini. Attber. Ambroise Thomas, and other famous hand furiously upon the keyboard or upon the piano- There is, at least, this to say about them. Like many names. Cherubini distinctly showed the limitations of rack. He did this so frequently that a callous finally self-evident facts of other types, they often stand By Mary Fulton Gibbons the great composer in the field of teaching. He was a gathered upon his right hand. He was continually utterly unnoticed and neglected. superb teacher of counterpoint and was so wedded to paring this ,and at last there was quite a hollow in his Let there be one unvarying rule for your pupils: for becoming with musical ample opportunities^ resting article the stricter school of music that he vehemently opposed hand, as may be seen in the cast of it which has been For every note or chord that you play, stop and think dieck. [Miss Gibbons, member of a distinguished American enrity* of^Bert^^tuflrin^literature^niJ the Jassics The Etude.] his pupil, Hector Berlioz (just as Albrechtserger was preserved. what quality of sound that note or chord is meant to writers and public men, yvas born in the Un nrs at tbe Berlin Hochsehule for Music, and tbiet reveals.—Editor of iic at the University ot l'onn- Bohemia, studying with Sevcik. She thus had antagonistic to his pupil Beethoven), although Berlioz We have classed Franck as the most influential of have.” under Henry Schra- years may be considered the founder of modern orchestration sylvaniaf under Dr. Clarke, and teachers, and so he was in the strict sense. But This, of course, presupposes the fact that the marks heavy cloth was hung over his window, the door and the father of our programme music. if instead of pupils we put disciples, Liszt was the of expression .are all well grounded in the pupil’s mind, because it makes them happy, and, while diverted from The true model of the teacher among famous com¬ It was on the crowded platform at Pretovin in the remaining tight shut; and all was silent within for a greatest composer-teacher. “Pupil of Liszt” almost and to obtain this knowledge a careful study must be the sordidness about them, are able to be indifferent to posers was Cesar Franck, who did more for the heart of Bohemia, the little station where you change moment after I knocked. In a minute the sounds con¬ always means merely that the wearer of the title was given those marks from the very first lesson. much of the suffering and struggles of their neighbors, advancement of French music than all the heads of the trains going from Pisek down to Vienna. The people tinued. They were indeed busy with those horns, but it present at the Sunday morning seances at Liszt’s villa which, of course, they could alleviate if they would! Conservatoire, with the great institution at their back. Every music scholar should own a musical dictionary, were not in a festive mood in spite of the brightly cos¬ was all a secret and intended as such for curious in Weimar. Every good pianist in Weimar was invited but some of your pupils will be very young—too young Giving therefore, their money and votes to develop He fairly lived in his classroom, and only his pupils to these, and they were indeed lessons of a certain tumed women and the men wearing hats variously deco¬ neighbors. During the following weeks these sounds to be burdened with many ideas at one time. It is, there¬ music ’and art in the land, they unconsciously perhaps, knew of his greatness while he was alive. Gounod kind. Liszt would invite one and another of the rated with shimmering tinsel rosettes and flowers of grew not a bit more uncanny, but instead surprisingly fore, a very practical plan to make a typewritten or yet very truly, condone-yes, even justify in their own found him the apotheosis of dulness, and the Paris pianists to play, and would comment upon their work. every hue. This all meant that the men gathered here accurate and musical. Before long this little b3nd of plainly printed list of the ordinary marks of expression, minds—laws which tyrannize them politically, socially music critics gave his works the scantiest and most One can imagine the severe test of playing, with Liszt so bedecked had been picked for the army and were enthusiasts, soldiers thirty years before and fathers and place it in the hands of each pupil, requiring him and economically. Tolstoy says that if man really and unappreciative of notices. Meanwhile his pupils idol¬ leaning over and commenting, and a double row of now off to war in earnest, their loved ones clinging to of grown-up sons, gave a concert all their own at the to learn three for each lesson as follows: truly thought, and felt what he thought, he would go ized h'm and called him affectionately “Papa Franck.” great pianists crowding around in a semicircle, watch¬ them till the last minute. Many were grieving, but the top of the hill overlooking the market place. Everybody Among those pupils was Vincent D’lndy (himsqlf now The mark, the word it stands for. the meaning of the mad if he had not diversion in the form of music, the ing every movement and treasuring up every remark. mood prevailing generally was one of silent suspense was delighted. Their instruments (excavated from a famous composer-teacher), Duparc, Chausson, Pierne, word, and the kind of tone it commands. drama, art and literature. Here in Bohemia, where the The late Professor Carl Baermann told me that he got too deep for tears. Suddenly a strange engine came attics, relics of soldier days) had been mended and put Augusta Holmes (the famous Irish-French woman Such a list would be somewhat like tlvs : people’s soul has, through political oppression, been so the greatest good of the lesson in thinking over it rumbling up the tracks with a shrill, still stranger whis¬ in shape by the cobbler, and many of us students who composer), Ropartz, Camille Benoit, and many more. afterwards, for Liszt often spoke in parables. His P—Piano—soft. long forbidden its expression of ideals and emotion tle blowing. It was a freight train, most of the box had been brought up to think ourselves a bit better Surely no composer ever had such a number of dis¬ saying about the Chopin rubato is well known. He PP—Pianissimo—extremely soft. cars filled to suffocation with Russian prisoners, in through the spoken word and public press, how wonder¬ because we came from our own different lands, and ciples, and they all agree that Franck taught them in pointed to the trees outside, swinging in the breeze. F—Forte—loud—strong. an odd, subdued tone a woman near me, clutching her ful that the deepest expression of their nation’s soul because we could afford to pay ten dollars an hour for the most sympathetic and patient manner, and was a “The tiny twigs are swinging to and fro; the larger FF—Fortissimo—very loud. friend as well as a mentor, as every true teacher man tighter, said: is now being heard around the world through that most branches move very little; the trunks not at all 1” Let Cr—Crescendo—increasing power of tone. our lessons, became disillusioned on the spot as we should be. “You going to kill them? Never! Never! 1 spiritually eloquent and convincing of voices Music. recognized the porter who shined our shoes, playing our readers puzzle this out; it is a very sensible defini- Dim—Diminuendo—diminishing power of tone. That moment another car rolled up, a tall, handsome Franck was always a tremendous student, another The continued study of music in the school system of cornet; the coachman who carried us and our trunks, Con Moto—With motion. Russian officer standing alone in the door. As he came the land, vocal, theoretical and instrumental, and the characteristic of the horn teacher. At his sight-reading A pianist once played in a rickety tempo at one of blowing the trombone, and our good-souled cobbler, A Tempo—In time. just opposite me a few feet away he looked at my vio¬ exceptionally fine training young men receive later examination, in the Paris Conservatoire, under Cheru¬ these “lessons.” “A cab going over the Weimar cobble¬ who had saved us many a shoe bill, leading his little bini, when he received a difficult composition to play, Poco a Poco—Little by little. lin tucked under my arm, smiled the friendliest smile in under the Government’s leadership while serving their stones !” muttered Liszt. Andante—Moderately slow, moving. band with gusto and authority. he calmly transposed it a third higher, to the amaze¬ the world, clicked his spurs and saluted. Of course, i time in the army, playing in the military bands, is a Many of the sayings are too well known to repeat Allegro—Quick time. smiled back and waved. The privates in the other cars You ask, how can the laboring man with his large ment of the examiners. In the Public Library of here, but that Liszt sometimes got angry with his more great incentive for many a boy of humble birth. His Then during the lesson, place music at random before waved, too, and like an explosion hats and scarfs on the family and small wages afford to buy the many violins Boston there is a large volume of manuscript fugues intimate pupils is true. He had a half-audible chuckle family and friends take great pride in his being a and other contrapuntal work, written in the neatest of the pupil and have him institute a search for the three platform, colors, flowers, tinsel and all went into the air and other instruments with their accessories ever need¬ when, he was amused. Once while standing beside a musician, and go to concerts in which he takes part hands, which were merely exercises which Franck signs of expression, which have constituted his particu¬ with hilarious cheers. An old crone next me rescues ing so sorely to be replaced? These things all cost- pianist at one of the Sunday morning gatherings, he that otherwise they might have little desire to attend. wrote in his later years, with no thought of publication. lar lesson for that day. Not once, but twice and three my violin just as it was falling, for two officials lost yes—but they don’t cost nearly so much in Bohemia. made a joke at the expense of the artist. A world- Von Biilow may also be ranked with good teachers, or four times have him find the marks in the strange no time in grabbing my two arms, and leering angrily So it is that so many of Bohemia’s hardy sons of toil Necessity is the mother of invention, and as long as famous pianist, then a real “pupil of Liszt,” standing although he is scarcely to be admitted to the ranks of music, which he cannot even play. This will train his into my face said in German: become initialed into the beauties and charms of music. music is the source of greatest happiness to Czechoslo¬ great composers. But he was insignificant beside behind his back, playfully gave the chuckle aforesaid, eyes to single out these signs. “Inciting to riot you are, encouraging the enemy. With familiar songs and pieces as with our neighbors vakians, to gain their end the people will continue to but Liszt’s keen ears heard it, and a sudden box on the Franck. His pupils dreaded his sarcasm more than the Then take music with which he is familiar—his own Treason! what shall we do with you?” and books, we are most sympathetic toward those with rely on their own resourcefulness in making their own high temper of other composers. To Schott when sing¬ ear came swiftly to the astonished R-, as a warning .tie studies and pieces, and have him apply the mean¬ “Let go of my arms please first,” I answered with whom we have had the opportunity of becoming musical instruments. The forests, growing almost to ing in the rule of Lohengrin at a rehearsal he sweetly against such dangerous mimicry. ing which he has gained from the signs. an affected calm. “The Russian officer saluted and acquainted. The military concerts by the soldiers’ the gates of villages, provide the proper wood for remarked : “You are not the knight of the Swan, but Our chief American composers have all been caught This will be a sure foundation for good ear training greeted-not me and not you, but the violin, the soul bands and orchestras, both indoors and out, winter and making stringed instruments, and it has for a long rather the knight of the Swine!” and rehearsals and up by conservatories or colleges. Prof. John K. Paine and intelligent interpretation in playing. of Bohemia-Music!” The officials’ expressions summer, are a great source of diversion, pleasure and time been the profession of almost whole towns to make lessons teemed with such amenities. He made consid¬ was the first of these, in Harvard College, but Mac- In the repetitions of the daily practice insist upon changed immediately. They kept on looking at me sus¬ education to Bohemia’s masses. Each new musical violins. These violins sound well because made well, erable use of Mendelssohn’s “Songs Without Words,” Dowell, Horatio Parker, Chadwick and others are one practice at least being given up entirely to regard¬ piciously, reflectively. They let go of my arms without enthusiast swells the number of intelligent audiences; and are within the reach of every purse, some very good and if a pupil spoke slightingly of them he would say: proving the American composer’s value in teaching, ing the marks of expression. another word and walked away. But many a man with the very souls of communities are in time knit together ones to be had for even $5. This is one reason why the “They will be played when you and I are forgotten!” and these men have founded music-courses in America tinsel in his hat was not so fortunate that day on the by this general love of music. Mutual affections are violin is so popular. Strings, too, are good, durable, It may be interesting to know that Chopin, Von Billow, aJ,n *a?rf°rmance of this "ever mind mistakes, or which now take rank with the best curiculum abroad platform at Pretovin. Those poor creatures were strengthened, and sympathies arise that cannot be and true, plentiful, therefore inexpensive. But pianos and Rubinstein all chose No. 1 of the set as the best. things m °[ an> 0tber faults in playing. These Our native composers haVe proved their value as prac¬ dragged off to languish without trial in a prison, damp expressed in words, for is not music the language which are expensive comparatively and scarce. This is a Rubinstein as a teacher of piano was not’ quite as tical teachers even more thoroughly than the composers everythingvemhW ati6 once dC3lt at Wkhthis stagelater ’ 0ne ™nnot think of and dark, because they cheered, thereby ‘encouraging goes on expressing after human words through their reason why there are not so many fine pianists as other¬ successful as his brother Nikolas. His temper fre¬ of any European country. and svmpathizing with the enemy!” * It was very inadequacy cease to convey our feelings and wise there might be. d3l th\studem should play his studies and thrilling news that came back from the Russian front A dog moaned and yelped long and hard in a neigh¬ emotions ? m nd thatch; ideas’ and a'°"e. in his a bit later, the news that these various Czechish regi¬ In quaint little Pisek, the strangest, most uncanny bor’s garden, beginning as soon as the girl up above by note st 5 ‘ n°fte,sh°Uld be played sofUy; the next ments had succeeded in getting over to the Russian side sounds I ever heard came up through my window one the open window drew her bow across the strings of a Do Your Fingers Follow Your Eye? a gradu that this measure «hUl have and were fighting for the liberation of their country! noon hour from the cobblestone court below. These shrill unmanageable violin. The neighbors) too, were up in the neitC.r!iC .I0’ reaLchinS '«ud and very loud notes I wonder whether we have stopped to think how sounds emerged from the shoemaker’s shop with an in arms until the girl was given her mellow wonderful By Nannette van Alstyne endo; and so el An “ 1d be f°"°Wed by a diminu- much the political situation of a country influences ever-varying pitch and quality of tone. I decided to Amati and the ugly violin was disposed of. After that be called. ' An expression practice” this might the cultivation of the arts and especially that of music. lie in wait and watch for the whys and wherefores of the dog was happier, his moans ceased, and the whole Playing at sight is dependent largely upon the coor¬ or this: In a compact little country like Bohemia, which for neighborhood was once more at peace. dination between the eye and the fingers. Prove this this uncanniness. So the next day I went out earlier have learned B^°Wf tbat rnany pupils when they generations has been the vassal of a great dynasty like So the many good instruments in Czechoslovakia, for yourself. Take a simple composition in the key of for my dinner, planning to return in time to investi¬ the house of Hapsburg, the desire to fbe. f^ee ,gr°T's and their moderate price are lasting reasons why music C. Major. When you meet a triad like this: efficiency fee/that'a™3"*1 a-C?U,r?d a certain technical gate the sounds before the cobbler went back to his It is this “ir3 - c1ompositl°n is conquered, ; deep-rooted in every nook and cranny of the land, i ne shoes. My knock at his door was unanswered. A is the soul of»that part of the world. Then, too, the chiefs in Parliament at the seat of a government like of America must strive*3™8 aga'nSt Which the teachers principles of violin study and instruction have Austria have been principally the wealthy and through long and intensive experiment re¬ the reading will not run smoothly. Why? Because oftenest the noble land owners who, for the sulted in making the road to proficiency shorter your mind and eye must detach themselves from their sake of keeping their dominions intact, and, and easier, so that at an early age boys and or a scale passage like this: task of reading, to help the fingers find their place therefore, their own purses full, frame, strin¬ girls are initiated into the fascinations of on the keyboard. When this happens frequently in S°This ^ na,WayS ^ththem0f Pr°dUCing ^ gent laws for the suppression of individual the course of a composition, it is easy to see why the playing “ensemble” (string quartets, for in¬ reading is not smooth and continuous. trating the1 mind'on'o* °!i -be °ld’ old ruIe of concen‘ opinion regarding the moral injustice of the stance) and singing in choruses. They very masses’ meager representation in Parliament, soon overcome technical difficulties, which The cure for this is educating the fingers, so that and the comparatively small and unfair wage or a plain arpeggio like this : they Will swiftly adjust themselves to whatever corn- are such a stumbling-block to the young, lunation the eye sees on the page. The crossings in the scholar, peasant and factory worker re¬ aspiring musician, and the more they play scales and arpeggios must be so much a matter of habit ■ion, and to’ wi’thm*”1',!? ™''ks °* “l>r“- ceives for his labor. But the human being and sing, the more they want to continue years go by you wifl be _ , play,n?> and as the that they are performed without thought. It needs to be happy must be able to express. One their musical studies. Outdoor sports are instinctively graduate . be t0 not>ce that they concentrated practice to bring about this coordination great reason, then, why the nobles have voted not so popular as in England and America printed marks-but ! ^‘T5 by means of-not the your fingers will instantaneously form themselves to between the eye and the fingers. Practice the various large appropriations in Parliament for the and as it is not customary for young men to musical intelligence med ear’ and discriminating play it, and there will be no interruption in the rhythm. combinations in chords and running passages till they education of the masses in music is that a call often on young ladies, much of the boys’ But when your eye meets this: are as obvious to the muscles, as their contents are to people able to express their feelings through time spent here in America playing baseball, the scanning eye. _ Practice them until they all are as music have in this way an outlet for their football and calling is over there devoted to familiar as the triads in the simpler keys. Practice energies and emotions. They are happier music. Home gatherings for singing and play¬ minimum of effort for'a W°rber who tries l° give and more contented, therefore, with their ing are a universal custom, the most convivial them until you cannot be puzzled by any of them. And himself to blame if be » maxi™um of salary has onl you will find that—in a magic way—you have become a minds diverted from unjust political and mood of good will and sociability existing at self and gOtoTnlt ^ has to averse hin social conditions around them. This theory good sight player. salary. 8 a maximum effort for a minimum c these times. Is not the spirit of the home applies to the nobles themselves in another THE FINE NATIONAL OPERA HOUSE AT PRAGUE usually the spirit of a nation ? The musical way. On the other hand they love music NOVEMBER 1919 Page 699 the ETUDli Page 698 NOVEMBER 1919 atmosphere of the Bohemian home is a great incentive to the ideals and musical aspirations of their nation— a means toward the expression of its soul. Though while quite young the boys and girls are kept The majestic forests, growing as they do wrthm “Yes,” said the old teacher; “your playing is fajrl ! apart, later on in life men and women work side by side short walking distances from the towns, have bee haunted with mistakes. It will take me months to Ktl in factory, market place and field. The work is accom¬ giving the people from earliest times an °PPortunlj> rid of some of them.” plished sooner and men have leisure and are not tired Working Through Opposites truly to “go forth under the open sky and listen to “But why should I have them at all?” asked the out when the day is over. So it is that they have a de¬ Nature’s teachings.” The protective game aws of the pupil. “I have always had good teachers.” sire to think, reflect and write down their ideas in the land, for generations respected by the P“Ple. have r “Very true,” replied the teacher, “but the best of | form of music and poetry. They write much music and By CONSTANTIN von STERNBERG suited in these forests being a veritable Mecca for many teachers are absolutely worthless unless you can re- paint many pictures, at the same time remaining just kinds of birds which have become the most faithful member their directions, and after you have left them as manly as men of other countries, some of whom friends and companions of the people. The birds songs ciple under discussion in two ways: First, by practicing are mistakenly in the habit of considering such occupa¬ for awhile, you must play precisely as they instructed are the people’s songs, for many themes of Czechoslo¬ the entire passage as chords, like this. tions effeminate. It is a conspicuous fact that art and you. What you have done is to let mistake after mis- ! vak compositions have been given the composers by the Tv the study of art—whether it be music or any other music thrive uncommonly in certain older countries take creep in. Chopin once said : ‘Every mistake slurred - birds in the poetic depths of the forests. One feels, , 1 L™ J art—there are likely to occur certain mo- staccato—cannot uproot it. fracuceu where men are not expected to work under great ten¬ over will be a ghost to disturb you later on.’ Your branch of art tne e standstill, to a indeed, that here are Nature’s sanctuaries, and uncon¬ ments when things seem to come to £ ^ dayg__ the passage will and must “go, not s^et ^e5J the sion and responsibility, because the opportunities for a present condition may be the result of too much rag¬ sciously one’s voice becomes subdued into a whisper. livelihood are more a matter of heredity than of the time or too much Jazz. 1 f one were to play ragtime dead stop; mome:nts—:sorrnetimes efforts »?>• beer,™.!.. »»SrJd” LSSed by Bohemia’s forests and birds are ever a living influence individual’s own making. The creative instinct in men precisely every time, with correct touch, rhythm, etc, rational fingering contrary of staccato- in making Czechish music melodious, simple and appeal¬ fcuife practicing legato, which is the con y can be wide-awake then, so that their appreciation and there would be no more harm in it than wasting your ** *” rw s ing, spontaneously the voice of a people’s soul because intelligence in the realm of music are virile and produc¬ time on something that was hardly worth your atten¬ working through opposites! m-olonged most natural. The landscape in the neighborhood of tive. The railroad employees have here their choruses, tion. But you know that ragtime is usually very incon¬ legato like this: these forests is at times mountainous, then again rolling and they give public concerts, as do also other work¬ sequential music, and therefore you slur over it. And and more level. It is romantically beautiful up on the ingmen’s societies, and officials of both public and pri¬ what is the result? Ghosts! Now you have presented Jrtin vate institutions who, from their general treasuries, heights, where often an old ruin, castle or monastery me with the problem of getting rid of the ghosts, and looks down over the winding stream in the valley below, engage an expert leader to keep them in practice and the only remedy I can suggest is to go back to playing on either side of which the grain sways in the breeze, lead them in their singing on festal occasions. Here everything you play with all possible care, precision and again one is reminded that for centuries it is the men the bright red poppies and blue corn flowers in among who have been officially expressing the voice of their the grain enhancing the pastoral beauty for miles nations. When the individual man’s heart is in a move¬ around. This lyric simplicity of the valley contrasts ment, these men enthusiastically co-operate with one eloquently with the ruggedness of the heights above, Do You Know another to further that mutual interest. "In union there their projecting rocks commanding and defiant. While to £. Ml hinf If these twenty measure, are prae- is strength.” The success of Bohemia’s musical activ¬ in these indescribably beautiful places man’s fancy That a Pope once wrote seven opera librettos or Sarsi. - I. might be well to ities proves this age-old saying. That there is strength soars and even the very memory, years later, of the books? He was Pope Clement IX. At one time in times by themselves—but with sue g . d in united effort is not confined to the fathers and big mood they create is an inspiration to write poetry and Rome, the Popes arc said to have possessed a theater , KSU Slmos* £E r.Pinf Tn’r^/U afterwards have to be used and’* h£uld bc 0b- brothers. One day I came upon six little urchins who music, to mold in clay and paint pictures. Bohemia is of high order with excellent scenery. had dropped their laboriously made mudpies in the a comparatively small country with few railroads. That when Monteverde’s Orpheus was produced in I These romantic spots are known little to the outside 1608, the orchestra numbered thirty-three instruments, fingering) should be practiced with^nger-sU street to run and sit on the curbstone and sing a part j of each triplet group) P foresoingquotation* song, alto and soprano, led by their chief, a boy of their world. One must be familiar with the paths far from including three organs, two clavichords, two guitars) get. On.hethirte.ntottordonbeforWd^ ^ the beaten tracks of modern travel, usually on foot, ,hr sari? ± own age, none being over ten years old. They sang and nineteen instruments of the violin family? j this finger may seem to neCessary, nevertheless, lustily in tune and with such rhythmic precision that for the peasants are too poor to own many horses or That the Chinese divide sounds into eight different third finger would be but i.is necessary n ^ their leader was almost as delighted as I was, and I only automobiles. Many of the modern compositions are varieties according to the sources of the sound—such j wished they had kept on instead of rolling back into the more or less immune from outside influences because of as t’.a sound of stone, the sound of metal, baked clay, long as the arm remains hanging limply from the_shou gutter to rescue their mudpies. These boys, as, well these picturesque places being inaccessible except to the silk, wood, bamboo (flutes) and calabash (a gourd)? j as hundreds of other Bohemian boys, receive splendid native himself, who, knowing best of their beauty, will That the Chinese believe that music comes from1; S'dTspaitfoT^Sng ffie exact tint ^ has m mini SendTf leg“S-» Ibey will training in the church choirs. And little girls can do walk many, many miles to feel their subtle charm, and supernatural beings? things, too, as our enthusiastic teacher proved to us in his imagination live over again the romance of past rnsmm at a students' concert on one memorable occasion. It centuries brought into his life through the naive legends clearness forestalling all “smeariness was a moment full of suspense. Before us appeared a handed down from father to son, legends which are the The explanation of this result is simple. It I es m wistful, dark-eyed, tiny girl with bright red ribbons on foundation of his folk songs and dances, and which so A Music Bath process j’whenever The°willowy tenderness of a fairy the obvious circumsUn . that in the P^rqui ck « her black hair and a little violin in her hand. She often have had their beginnings on these very spots, now Sure refuses to shape smiled an inviting little smile that immediately took ruins of bygone splendor and mystery. In these rural By Edward Podolsky muscles^thafTwere employed during the staccato prac- us all into her confidence as with simplicity and grace districts the tillers of the soil live huddled together in hi® intended gravity re retain enough of their-now habitual-act,on to she commenced playing the Bruch Concerto. We all communities far removed, oftentimes, from any rail¬ [Editor’s Note.—We have no accumulated scientific evl- make the legato clear and crisp. Working through sat in awe of such true, pure, poetic feeling, not human road or trolley. Innovations of any kind are rare, lence ot the accuracy ot the statement that hearing p®® their becoming native costumes, as well as their dances ' moderates the Circulation ot the blood In every instance. but from another world far away, some place. During Jut it is easily believable that in many cases music has tnis the underlying principle is: Working f °ProlshL that this useful principle finds application and songs, remaining for generations unchanged by the the Adagio the little cherub looked up from her violin •emarkable stimulating action, and that the individual S| The student of the piano should not be unacquainted alsTo°to passages in at the many faces there in the crowded room before whims and fashions of a restless world outside. Their benefited by it. Wlio has not been at an organ recital oil with this principle and with its apphearion to his par forms of music thus remain more characteristically it a band concert where the mere pyhsical vibrations of t e ,| her. She became suddenly conscious that these very instruments are distinctly to be felt 5 The idea of a muac ticular study. It will be of great help^ to himjvhen Slavic in their primitive simplicity and are more inti¬ he despairs of producing accurately the tone effect 1re many eyes were looking at her helpless little self up lath, therefore, is notot extravagant, and we have 0Iteuoften. na^ The principle of "wotbing through oppo.i«^ there all alone! Her tiny lip quivered as her anxious mately an expression of the native Czechoslovak spirit s when listening to beautiful music has in mind and feels disheartened, begins to doubt SsjSsssss ne.] applicable to double nolo, «’ » The bofc" eyes timidly hunted her father’s. She was brought —a reflection of her soul. his talent or suspects his technic of insufficiency. Si. ZLLn; . sort of sub-melody, — to earth. Her little fingers wouldn’t move! Like a The love of beauty is a passion the whole world Everybody knows what a water bath is, and many , (This is said, of course, with the snpposition that he and supporting the melodic ’ |/,eJ_pla?ed flash a ten-year-old boy sprang out of the audience to over. With the Czechoslovakians love of beauty seems eople appreciate the value of it. But, comparatively has a definite tone-effect in his mind. If he has not hand. These broken chords are—only too■ ofte P an intenser passion. Much of their music is an expres¬ her side and said something that meant in English ew people know what a music bath is, and few peop»( he ought to have 1) To avoid misunderstanding, it may prepared6 for their diverse position by practicing them “third finger on the G string! Third finger on the G sion of this ecstasy. The listener is carried away by now the value of it. Nor is it popularly understood £ said here that this principle does notJ- without r'e^ardtoThe its inThe unbroken like this: string!!” She did not understand his strange language, passages of lyric purity and spirituality in orchestral hat a music bath is as necessary for the mind’s wells student’s regular practicing, but app 1. . f ;j f ;m. so the boy quickly and calmly took her third finger and compositions—of Smetana, for example, a string quartet 'ring, as a water hath, for the body's well-being. ■' ordinary or habitual manner of practicing fails ot studenFs^layir^'eac^eig^fcnote^indiwdMnWys^reading by Dvorak or an exquisite little Poeme by Fibich. put it himself on the right spot of the G string. She It is recognized by many psychological physiologist® and playing each note by itself, as found herself instantly, was transported into her own All this is part and parcel of the passion to express. hat the indulgence in a music bath, once, twice, or more “S'itatita. passages m..«< * be mentally synthetizing every group of three not s exquisite world again, and played on until the concerto’s To live, to let live, and to be happy- are ideals of imes a week, will tend to maintain and elevate the tone should be for a while practiced staccato. *"ce chord. I have found it very helpful to apply the prm final note brought the spellbound audience into an out¬ every Czechoslovak first and last. And his music is the if one s mind. It is, moreover, recognized that many that chord successions be practiced as b burst of hysterical applause. For a long time after we expression of this passion deepest rooted in his soul, for >f the detrimental emotions, such as tear and anger , and broken chords as unbroken ones. , The measures 45 and 46 invite a similar grouping and students kept saying to each other: “What’s the use! which he has had such terrible struggles down through ire easily dispelled by music, soft, soothing music, an To illustrate: Let us look at any prolonged staccato may—-aftoiwards—be played with a rotary mot,on of history. Now he is triumphing. His country to-day is what’s the use! we work all our lives, and she is only lay spirited music. Dolcissimo will quiet the affrigMea 1 passage and take one of those frequent oases wherethe the hand: seven years old." I asked her once: “Who taught you ?” ■ our newborr sister Republic—Czechoslovakia! ndividual. while Vivace will cause a smile to steal into student says: “I do not know how it comes, but some, he face of the enraged one. times this passage goes very well and i d Musical Homoeopathy Aside from calming, the irritated mind, music n*s Neckache The legend of the Homoeopaths is “Like lecided physiological effects upon the body. When j® TIT}J\ I \ i \ . . . - By Rena Bauer ening to a lively, spirited, passionate melody, t Aerate, disregarding tie circumstance'that the cures like.” Mr. Sternberg’s article upon flood leaps and bounds in the veins throughout t touch is not as insistent upon logical finger-sequels as is In all these instances the underlying idea is to counter¬ when the day’s work is over, one will still feel and look “Working Through Opposites” is really In a recent Etude, a prominent writer suggests that >ody. This acceleration of the circulation of the bloo the legato touch; when practicing a stacca o pa ^ act an unfavorable tendency of the technic, to coun.ter a pain at the base of the neck may come from an ill fresh and not be all fagged out. Teach shorter hours, s healthful, for the toxin-laden blood is rushed from the beginning with the staccato touch lg “Working Through Extremes.” Just as the act it by resorting to the reverse of the prescribed fitting coat; contraction of the shoulder muscles causing This is a hard thing to do when work is pressing, he lungs and purified by the quicker, deeper breathing’ as certain that in repeating the passage the ^ W homoeopathic physician goes to one extreme technic with a view that a part of the contrary technic making the most of each moment, giving of your best the pain. This no doubt is true, but the weight of heavy nore blood enters the brain, promoting brain P°'ve. never twice exactly alike; the result therefore cannot but will remain and assert itself when the presented technic to many pupils, one immediately following another all to produce a result with a very dilute medi¬ winter clothing and wraps will cause it more fre¬ the kindly, smiling, and joy-rippling nature of man he what it was—the haphazard, “sometimes-it goes-and- is resumed; that it will assert itself m one instance Try quently, and getting overtired by keeping too steadily day and evening is enough to cause that mysterious brought out through the medium of music. . somethnes-it-doesn’t.” It “goes” when the fingermg cine so can the musician produce legato ef¬ clearing up a too overlapping legato; m another in¬ (?) pain. A relief and also a good remedy is to exer¬ at one line of work. then, is it not logical that a music bath should I* “happened” to be logical; it “doesnt go when played stance it will increase security by inducing a _ settled cise the neck and shoulder muscles. Turn the head fects by means of occasional staccato playing, Now a pain at the back of the neck is no joke to taken by everyone? Visit the opera, the concerts, w with some chance fingering. The thing to be done is fingering; and in still other instances, by preparing the slowly from side to side and forward and back as etc. Mr. Sternberg elucidates his point with the afflicted one. Overwork and long hours will some¬ symphonies. Or, if you can play any instrument, pW- to practice the passage first with a tegrto touch for hand for rapidly changing positions. Working through times cause it. One cure is to let up on continuous far as possible. This may be practiced at odd rejoice and thrive. After the performance of a quite a while; this touch, compelling a rational fingenng, his accustomed clarity. routine work, muscles relax quickly by varying the moments. I have done it at times on the train ; it will opposites! exhausting task, or the expenditure of a lot of nervOW will settle it once for all. If the passage is meant to be not attract attention. A rotary shoulder exercise or occupation. A change is a rest. energy, listen to music, play the piano, the violin. 0 played loudly, practice it softly (and wee versa) and A strenuous day of teaching does not afford much shrugging the shoulders up to ears will also relax the any instrument, and you will refresh your tired milio 1 ' • *, _mnnwn Rnaenna until this nn- variety, but breathing spells should be taken, so that muscles. THE NOVEMBER 1919 Page 701 Page 700 NOVEMBER 1019 ETUDZ I No. of swings per minute Length of Thrcai THE ETUDE Janosik is a veritable historic personage, a young, val ■ Czecho-Slovak Popular Music .397 inches. iant man who, in times past, revolted against his brutal .35.S " feudal lord, and gathering together other young men ■, - From the French of H. Jelinek .32.3 as spirited as himself, fled to the mountains. From .29.7 their hidden caves, they made sorties upon the neigh¬ Few nations possess such poetic and musical genius .27.2 boring estates, for vengeance for what the virtual as the Czecho-Slovaks. Held down for so long a time .24.4 under the iron hand of German feudalism, the Czecho¬ slaves had endured from the barons, and for sus¬ . .22.0 The Teachers’ Round Table tenance. slovaks have been a race in a state of introspection, .. 19.9 Conducted by N. J. COREY These brigands, outlawed from the common life, ..18.1 thrown back upon itself. And this has resulted in a , • • 11 “What to Teach,” etc., and not technical problems . marked individuality, unique in its way, and expressed became rich and powerful in their own sphere and, .. 16.9 in all that they do, particularly in the matter of artistic while cruel and overbearing with that class which had ..15.3 creation. Even more than France, the people have oppressed them, they were kind and generous with the . • 14.1 P “ pull name and address must accompany all inquiries. peasantry and the poor people of the nation. For many .. 13.0 lived in intimate rapport with Nature. All the cir¬ tire process. The talented pupils thrive and progress cumstances of their life, every experience of their soul, years they were the bete noir of the Hungarian authori- .. 12.1 It seems to me that this is capable of mdefim.e ..11.2 An Original Method of Teaching under this system. The untalented majority is not so is reflected naturally and spontaneously in their every¬ development and consequent advantage to the student. successful and many drop by the way. They seem to Crouched around their fire, the Slovak shepherds ..10.5 day songs. All the territory essentially Czech, using One of our readers has sent in a statement of a, I have had some pupils who came for their lessons have great difficulty in acquiring any knowledge ex¬ pass- their evenings chanting plaintive love songs or bal¬ .. 9.8 method of procedure in teaching which she has worked the language and conforming to the customs of the daily, and their progress was so much more rapid than cept what is laboriously pounded into them. To raise lades of their hero, Janosik, and his eleven comrades. .. 8.9 out, and which has been productive of excellent re¬ nation—Bohemia, Moravia, Silesia and Northern usual I was led to work out the foregoing, which has this class musically, however, means the general raising Then, enveloped in their cloaks, they lie down near .. 8.1 (Slovak) Hungary—present an incomparable wealth of sults in her work. It is worth while presenting to the proved very successful so far as I have been able to of the standard of taste in music, in other words of their herds under the stars, to dream of the sweetest . 7.5 teachers who read the Round Table, and who are de¬ modern popular verse and music. carry it; but would like to know the opinion of the the culture of the world. Hence the education of the In Bohemia, where the progress of civilization has “galanka” of all—the girl of their heart! sirous of knowing What others have accomplished. We Round Table in regard to it. untalented is most important. The efforts to devise been very rapid, since 184S, the popular song died upon These idylls—the common musical and poetical herewith present it, albeit somewhat abbreviated; Miss Marie C. Dosch, who is the originator of this improved methods of getting at them needs every en¬ My idea is that pupils should give the same atten¬ the lips of the common people, and this fact was noted speech of the race—are here (as in all lands) con¬ scheme, shows herself a progressive teacher, and a couragement. Eventually something will come of it. and verified as early as 1864, by K. J. Erban. Folk demned and disparaged by those who declare for the tion in their music lessons as they do in their school part of the forward movement that is so wide-spread work, and I believe one cause for the common lack song is too delicate a bloom to withstand the smoke so-called “higher” forms of art. Happily, the most as to seem atmospheric. Others have thought of simi¬ “Just Boys” of interest is the absence of competition. It seems to and dust of the locomotive ! And the nooks and corners beautiful of the lovely songs of the Czech people— lar plans in past years, but have found it difficult to me that, if piano study could be carried on more “I have a couple of boys of the 'teen age In high of the mountains of Moravia and Slovakia, which have the Moravians, the Bohemians, the Silesians, and the command so much of the student’s time in connection sehnol Thev take no interest in becoming mu¬ 200 . 3.5 after the manner of daily school work, more interest sicians, but ‘just want to play/ They will not prac- been drawn into the light of modern civilization by the Slovaks—have been noted .and conserved. It remains with their school work. I have always wished that 208 . . 3.2 would be shown and practice would not be so burden¬ tiee scales nor exercises, and only want popular widening paths of the railroads—these have been al¬ for the “intellectuals” to see to it that these treasures pupils might have daily lessons, for by them the thor¬ pieces. Is there any,lung 1 can do to stimulate To use the Metronome, adjust the thread so that some, as each one would strive not to be outdone by oughly learned mistakes that they bring to the weeky their interest V’ —C. A. M. ways the veritable sources of the heart songs of the are not allowed to pass into desuetude.—From Musica. the center of the weight is opposite the number of his classmates. lessons might be prevented in large measure. We people. It is only the Slovaks of the southern provinces I think the day is coming when less and less will be beats required. The free end of the cotton can then be With four in a class have each one pay the regular hope Miss Dosch may be permitted to try her ideas now who sing. Here one may still see, during the given to children in the nature of exercises in the ele¬ looped round a drawing pin fixed in a suitable position fee for one hour lesson a week. This class meets five “to the limit,” as it would be most interesting to know lovely twilight of the south, the Slovak lads stroll about mentary stages. They practice them with such distaste, How To Make a Simple Metronome in the side of the wood, thus leaving the weight at times a week in forty-five minute periods. After the the ultimate result, and if successful with her why the village, singing their melodies, full of languor, the desired height. The whole apparatus should be in the average cases, that but little real good is accom¬ class is well started it meets three times a week for not with others? melancholy, or sparkling with provocative rhythm. screwed to a wall, or fixed on a suitable stand or plished. In forming a child’s hand to the keyboard and a one-hour period. For first finger movements seat In the same mail came a letter from a teacher in the The more ancient of the Chansons populaire date By William E. Warner, A.R.C.O. base. working for right movements of fingers, a little piece the four at one table and teach correct position ot far west who was an honor pupil during his education back to the fifteenth and sixteenth centuries, though A Metronome of this type will not, of course, serve arms, hands and fingers, then correct movements. on five keys will prove just as valuable as a five- days when he had the highest advantages with best finger exercise. The time to teach this formation the bulk of the modern ones belong in the eighteenth. A useful kind of metronome, similar to the one all the purposes of the ordinary kind of instrument, Each pupil in this gets his share of individual atten teachers, a brilliant player, and according to usual is after the piece is learned and the attention being All the visissitudes of the Czechs—their woes, their illustrated in this article, can easily be constructed by as the well-known “tick” of the latter is absent; but tion during the important time of formation, ihe standard a most successful teacher for years, but who follies, their light-hearted and effervescent gaiety, their any pupil. It shows the number of swings per minute it is a most useful means of ascertaining the rate keyboard, note-reading, ear training, etc., may be taken no longer held by the notes and keys, can be given is suffering compunctions of conscience and wonder¬ droll humor, and flashing wit, their cries of sorrow, made by a pendulum, which can be adjusted to any marked at the beginning of a piece of music. The up from the first day in practically the usual way, by entirely to the motions and shaping. The best plan ing if his work is not a “failure.” In spite of the and their melancholy of despair—all this is written into length. construction of such metronome makes a very in¬ writing and reading notes away from the piano, and to use in leading children to “real work” is through numerous letters from former teachers as to how the songs of the Czech nation. They are full of an teresting subject for a class-lesson, and has a special also locating them on the keyboard. Pupils may take something that they will like. When your two boys finely his pupils were prepared for their lessons with inimitable grace and subtle charm, passionate and often appeal to boy pupils, who generally appreciate having their turns at the blackboard, and at the piano, and have gotten so they can play a little, then tell them it them, he feels that they are sadly lacking in real musi¬ langourous as the music of the Orient. Both verse and “something to make.” in some exercises the four work at the piano together. is time for them to begin to learn the scales. This cal education. He is especially concerned as to the melody are characteristic of the extraordinary gamut A little later matches, and tests in note reading, sight should be done by dictation. Teach them to construct untalented majority, but he is not alone in this as every of Czech feeling and thought. They present, from a reading and writing may be held, and, of course, it is scales and arpeggios, a very simple process which you Dvorak as I Knew Him teacher finds these his greatest problem. He “unloads point of view both musical and poetic, the profound the aim of everyone to stand high, and each accord¬ doubtless know. The only way you can stimulate their his mind very frankly, and shows a desperation that divergence of the respective ethnological groups which (Continued from page 694) ingly works with more enthusiasm. With daily les¬ interest is to let them play music they like. Later give The two years of my study with him (1894-1895) indicates he still has a hold on the amusing side of compose the Czecho-Slovak nation. sons the assignments are, of course, much smaller than them something of a higher order and ted them that were a wonderful privilege and incentive to an life. His thoughts will strike a responsive chord in These songs express fully the lively, hearty, child¬ usual, but pupils, thinking “I must know these two or you like it better, and ask them to see if they don’t like impressionable youth of nineteen or twenty. (There! thousands of teachers’ hearts, and set them to think¬ like spirit of the inhabitants of the plains of Bohemia. three lines by to-morrow,” get busy at once, and do it, too, after they have learned it. Do nor discourage I have given away my age). Yet, at the same time, ing as well, so I make a quotation or two, which read¬ The country is very fertile, and a living is gained with¬ not put off their tasks from day to day, as is too oiten your pupils by telling them their music is bad and that I was too young and undeveloped to appreciate the ers will find most instructive. out too great an abridgment of leisure time. There j the custom. Each pupil will, of course, have a study their taste is bad, but ask them it they do not think are many leisure hours for the cultivation of musical greatness of my opportunity and to absorb all that he j and practice hour at home. The new Beginners Book “I took a half dozen pupils and gave them a daily they are getting advanced enough to play something lesson in music generally—writing, sight-reading, thought. This Bohemian music is made up of gay gave me. Nobody has yet discovered the formula for 1 may be made the basis of study for regular work, and better. Lead them up. Do not try to force. It is no rhythm, etc., in fact everything I could think of that rhythmic dances, and love songs tinted with raillery combining the enthusiasm of twenty with the judg- j Musical Ideas for Beginners, by Marion Ralston, may more reasonable to expect children who have never ment of forty. I considered’ essential to real progress. And I took the and sly, good-humored wit. But the more ancient songs also be used as a first book on elements and keyboard heard anything but the trashiest music to like high- worst members of my class—pupils with undeveloped are of a serious mold—they suggest the music of the My father wrote to Dvorak and asked if he would I harmony, etc., the little songs in it being excellent for class pieces than to expect a congregation that never church, old chorales, dignified and measured. Per allow me to live with him when he returned to Prague. rhythm in all senses and untaleried. My work with heard anything but gospel hymns to take kindly to the recreation. . ,, , . . , contra, the songs of the Czech and the Slav portions n ne,ver answered- I always missed his presence j I have also thought that this plan could be extended these has convinced me that all my other pupils are English hymn tunes at first hearing. not being taught correctly; that I am leaving too much of the country are as gay as the sunshine, and bubbling when I went abroad and always felt that there was in a similar manner to second, third and fourth grade on their shoulders. Two-half hours with me a week, over with an effervescence like the beading of cham¬ something lacking in my European study. No other \ pupils, but do not know of its having been tried Outline for Beginning Teachers pagne in a crystal glass. Quaffers of wine, dancers teacher was ever such an inspiration to me. He always Three pupils of same stage of advancement, say third and then letting their mothers ‘see to it’ that they prac¬ “I am living in the country and wish to start a tice (any old way) does not deliver the goods. No class in piano. Although quite well advanced, I indefatigable, they are without exception, excellent seemed to me like a second father: a good, kindly, ( grade, could meet three times weekly for one hour one can learn grammar or history in that way. I often have not given lessons, and would like to know a singers and musicians. Nothing is more interesting to devout man, with a clean-souled admiration for all t or twice for one and one-half hours. I have laid out good outline of instruction work from first to fifth wonder what our schools could accomplish if they them than to take part in a village dance or festival. that was beeautiful in art and life. Simple as a child ; the following scheme, which can, of course, be varied grade.”—S. C. Then one sees the spirit of the Czecho-Slovak flash ne was, but ever with a confidence in his own opinions I adopted ‘our’ system of two-half hours a week in a for different people. subject, and let the student prepare the other work at First Grade. out in a score of ways—the young men and girls in a proved his unaffected consciousness of his own. Lesson 1 fete costumes resembling, as they dance and sway to deep and rich authority. home under ‘mother’s’ care! Small children, The New Beginner’s Book. Older the inimitable rhythm, a great field of tulips in a sum¬ It is a curious contradiction in his life that, while tj (а) Scale and arpeggio. “One of the results of my experiment has been that students, Presser’s First Steps in Piano Study. Stand¬ mer breeze. Every once in a while the commands i teel justified in saying that his best works, apart (б) Studies—Mathews, Grade III. I have nothing but praise for the progress the half-dozen ard Graded Course, Grade I. When scale study is of the dance captain ring out, as vigorous and clear om ms piano quintette, were written in this country.- (c) Keyboard harmony, ear training, etc. pupils are making, and so far as they are concerned begun, use Master Scales and Arpeggios, which con¬ Id) Stories of music and musicians. tains material for a number of year’s work. Always as a horn down the wind. And the dance whirls faster , 1 e 111 ^ew York was abysmally unhappy. He never hear a complaint that ‘Johnny isn’t interested,’ or and faster. The abandon of the dance never robs saia to me: Lesson 2 * that ‘I can’t get Annie to practice and I am after her dictate this work to pupils. the rhythm of its exactitude. These people have a “Do you know, my dear Philadelphia, that I am (а) Finger exercises—Hanon’s Virtuoso Pianist. all the time.’ Next season I am going to associate with Second Grade. natural and inalienable gift for rhythm, all the more First get a flat piece of wood 3 ft. 6 ins. long, and making fifteen thousand dollars a vear now. Fifteen (б) Studies for outside work—Czerny, Duvernoy or me a couple of advanced pupils as assistants, and Graded Course, Book II. Begin Czerny-Liebling marked since they can take liberties with it, as in their 2 ins. wide.. Cut out a strip of white paper 3 ft. 4 ins. HaSlfag°f Lhe",1 was starv'nf? I was happier.” others. ... make every student report daily. It will reduce my in¬ Selected Studies- characteristic syncopation and rubato. long and 1 in. wide, and paste it on the front surface , , „ °f • children were in Prague, and his wife, j (c) Consideration of development of technic in a come from teaching probably, but believe that the Third Grade. Less happy than these songs from the isolated moun¬ of the wood. At the top end of the paper drive in a stan^WaS 'Vlth *lim in America, could never under- greater way. slight loss will be for the general good in the long run. Graded Course, Book III. Continue Czerny-Liebling. tain section are those from the closely populated vil¬ long needle, as shown at (A) in the diagram. At¬ v , our country and she increased his home-sickness j Lesson 3 Out of this experiment I mean to find out whether it Selected studies from Heller, Op. 47. lages and towns. Here one senses political oppression by her continued plaints. tach a small round weight, such as a leaden bullet to (a) Pieces, solos and double numbers. is possible to be a teacher of music instead of a giver Fourth Grade. and the gallant struggle of the Slavs against it, which the end of a fine piece of cotton. Thread the cotton 1, 'rpn<:' ^et’ as * sa'd- Dvorak found much inspiration : (b) Sight-reading. of lessons.” Graded Course, Book IV. Continue Czerny-Liebling. have given the strain a deep melancholy, and a beauty through the eye of the needle, and make a small loop The entire world of musical educators seems to be as strange as it is sublime! would K. h gr,eat faith that a new school of music (c) Memorizing. Octave Studies by Presser. Selected studies from at the free end of the cotton. But hi °SSOm *rom t*le Indian and negro melodies, In this demonstrative work each pupil may have his engaged in a process of thinking,' although not all are Heller, Op. 46 and 45. A special kind of song is to be found in the Next mark out the scale from the table given below colored °T", enlPloyment of these themes was ever turn at the piano, while the others may observe and thinking aloud as yet, like the writers of the fore¬ Fifth Grade. Chansons de Brigands. These glorify the exploits of which shows the number of swings a pendulum of York L*° 1 ,thc art'ficial musical Bohemia of New ’ profit by one another’s correctness as to reading, style, going. This department has always taken the ground the famous Slovak bandit, Janosik, a sort of legendary Graded Course, Book V. Begin the Cramer Studies, any length will make in a minute. The distances must touch, etc., or errors, as the case may be. This manner that there was something of a misnomer in the term character upon whom the people of the past have native Bohemia^ ^ 'nner spirit °f h‘S ^ after finishing second book of Czerny-Liebling. be measured downwards from the needle; the longer of procedure leads them to listen more closely, and piano teacher; that the term guide would better indi¬ hung a thousand stirring talcs. He has become, indeed, Use plenty of supplementary pieces throughout. At the thread the fewer swings per minute; and vice versa each pupil should endeavor to play more smoothly and cate his function; that very little could be told a pupil the incarnation of popular justice, the symbol of the tinue'thiZZ^ °- Sl>ace i( hc necessary to con- I first select from the lists of pieces you will find in The ordinary ruler is divided into eighths of an inch! correctly from the simple fact of seeing some one else during the lesson period, but that as much as possible revolt of a little people against the German oppressor.. from WmJ,mp°?Um neXt month with contributions each grade of the Standard Course. Later you can It is not hard to divide an inch into tenths. do so, and thinking—“I can do as well as that, too, if he should be guided into the paths where he could Sp nccr CaZ Fisher’ Harr> Burl^h’ increase this list. PCr CamP and Ruben Goldmark. I try hard enough.” learn for himself, and the teacher watch over the en¬ Page 703 THE ETUDE NOVEMBER 1919 Page 702 NOVEMBER 1919 THE ETUDE Soulful Fingers THE TIN SOLDIER e.r.kroeger Pen Pictures of Dvorak By John Kern By Jennie Leighton “Onlv the performer whose soul and fingers are one can be a great interpreter.”—Carl Czerny. While Dvorak was director of the Conservatoire Few people know what a remarkable educator Czerny of Prague he had charge of the detached class in com¬ position. Often he surprised the students with ques¬ was Not content with writing almost every imagin¬ tions, brusque and irrelevant. One day he demanded able form of technical exercise (he wrote over one thousand studies) he recorded his opinions upon piano- brusquely: “Who was Mozart!” (Does anyone know who Mo¬ playing with unusual clearness. He was very fond of musical history and insisted upon his pupils reading zart was?) Each one made his own answer—“The great Classi¬ his own Review of Musical History, now long since cist,” “A pupil of Haydn,” “The predecessor of Bee¬ out of date. He was the logical link between his thoven,” “The precursor of Romanticism,” etc., etc. teacher, Beethoven, and his pupil, Franz Liszt. While At each response Dvorak shook his head. he is thought of now as a deviser of finger gym¬ “Well,” he observed at last, “no one has answered my nastics of a somewhat mechanical kind, he was, in his question.” day, very insistent upon soulful expression. He real¬ There was silence in the class room. ized however, that before the fingers and the soul Then, suddenly, Dvorak beckoned the first pupil to could become one, the fingers must themselves be freed him, and bade him look out of the window which from physiological hindrances-they must be drilled gave to the sky. and drilled and drilled until the beauties of the soul “What do you see?” he asked. “Excuse me, master,” said the terrified student, ‘but I see nothing at all.” “What!” demanded Dvorak. “You see nothing? You The Drudgery of It don’t see the sun?” _ “Yes,” admitted the discomfited pupil. “I see it.” “Why, then,” he asked gravely, “did you not answer By Martin Y. Gilhooley my question, ‘Who is Mozart.’” He took the pupil by the shoulders and turned him DREAD DRUDGERY AND FAIL. round to face the class. This should be one of the most conspicuous mot¬ “Remember this,” he bade them solemnly. “Mozart toes in the music room. Paderewski, whose begin¬ is the Sun.’’ - nings were very humble in the musical world (he is Dvorak once wrote to his publisher, Simrock, in said to have taught in one German Conservatory for Berlin, “As to my symphony (D Minor) it is—thank twenty-five dollars a month), always appreciated the God—finished, and .will have its premiere in London in need for drudgery. Once he said to the Princess \ ir- April. Another interesting family event—a new opus A. Louis Scarmolin toria: “Genius is three-quarters drudgery.” The little —it is a son. A Symphony and a boy ! What a ter¬ A. Louis Scarmolin was born in 1890 and began girl playing at five-finger exercises finds it hard to rific force of creation, eh?” his musical education at the age of ten, first under think of them as one of the paths that lead to great the guidance of his father, then at the New York success. She is inclined to think that the Paderewskis Dvorak had a passion for birds. Particularly for College of Music, where he studied piano, harmony and the Galli Curcis have leaped into fame as a gor¬ pigeons, in whose breeding he was a fancier of more and composition. geous moon moth breaks its chrysalis and sails forth than mere amateur ability. On his estate at Vysoka He began very early to manifest a talent for com¬ full born in a single night. They forget the drudgery he used to pass hours in their culture and care. One position. One of his published songs was written at of the caterpillar’s spinning and weaving away until time he asked of a guest, M. Nebdal, who stood watch¬ the age of 14. Having been musically very active since the cocoon of dull, uninteresting grey is finished. T f ing the flocks alighting about them: that time he has to his credit to-day over 200 com¬ Paderewski confesses to drudgery, what about you who “Which pigeon do you think the handsomest?” positions of every description. In 1915 he became may not have had the talent that Paderewski had? M. Nebdal, who did not know much about the birds, connected with Boosey & Co., for which concern he Surely you should not be afraid of drudgery. designated one slim and svelte and with shining plum¬ has written quite a number of piano pieces-and songs age. “That one,” he replied. that are being played and sung by some of our leading Dvorak looked at him with a sort of humorous pity. artists. Among these is Will the Rose Forget?,which Just then a young peasant servant approached with a won a prize in The Globe contest in 1917, and has A Belated Contribution tray containing the morning coffee, which she carried been sung by' David Bispham. carefully to a nearby arbor. Her master hailed her. In 1917 he entered the United States Army, serving By Sefior Alberto Jonas “Annette! Tell me—which is the most beautiful of with the A. E. F. forces for two years as assistant the Beethoven Symphonies?” bandmaster. It was while in the army that he wrote (Senor Jonas was invited to send an appreciation The young girl looked at him stupidly without a the song, We’ll Keep Old Glory Flying, which has been of Rachmaninoff for our (October) Rachmaninoff word. sung from continent to continent. issue, but this arrived too late for use at that time.) Dvorak to his guest, shrugging his shoulders, in a At present, he is working on a grand opera, to a sort of humorous despair. "You see,” he observed, ■libretto by A. Rubega, a young playwright. The true worth of a composer is seldom gauged “she knows j.ust as much about Beethoven as you know accurately during his lifetime. Mendelssohn, while about pigeons.” - he lived, was certainly ranked a composer greater by M. Zubaty, who is now professor at the Czech Uni¬ Imitation and Creation far than Schumann. Yet, Time has slowly adjusted versity, is an excellent musician. In 1885 he accompa¬ matters, and Schumann’s inherent and lasting life and power have been recognized equal, if not far superior, nied Dvorak on a trip to London. The rooms in By Carol Sherman which they slept overlooked a park. And at night these to Mendelssohn’s. windows were left open for the air. One night M. Zubaty Rachmaninoff’s fame rests on the C# minor and G Music is known as a plastic art because it is cap¬ was awakened by a noise. In another moment the minor Preludes.. Lovely creations are: his G major able of being moulded. The average music lover electric light was" flashed on, and there stood Dvorak Prelude, his Melodic in E major, his Serenade; inter¬ thinks that when the composer has put his notes esting are his PolichincUe and his Barcarolle. Are very much agitated. down on paper his work is done. Nothing of the “Listen!” he commanded. “There it is again! By these sufficient to place him among the great? The sort. The work is only begun. There is a kind of heaven, this time is the last—I will not let it recur!” answer is obvious: No. Rachmaninoff has written path of correctness which all players of the piece With this Dvorak, vociferant with rage, went into the more, though: two piano concertos, the style of which will observe. The notes must be right, the time must is, as the French say, tourmente. In its latest garb next room in search of his clothes. Now the clothes be right, the rhythm must be right and the phrasing had been removed to be cleaned and pressed, and search the first piano concerto, played by the author himself must be right, but there is yet all kinds of room for as he would Dvorak could find nothing but a pair of var¬ in New York this winter, is more grateful. His sym¬ creative effort. It is for this reason that the player phonic poem, The Isle of Death, after the picture nished boots. These he donned, however, and resum¬ must always think earnestly while playing so that the ing his pajamas he took his cane and departed into by Bocklin, is a notable example of clever orchestra¬ interpretation will not be a mere imitation of what tion. All in all, the output of this gifted man is the reaches of the park. the teacher or some other player has done but a crea¬ M. Zubatky, very much perplexed and unable to find meager for the spark of genius lives in him. His tion, an original new living thing. It is interesting to larger works show a lacl^ of balance which, pos¬ any reason for Dvorak’s strange behavior, awaited his compare the talking machine records of different return, hoping for the best. sibly, may be superseded by a more homogeneous style pianists playing the same piece and note the decided in his later works. After about a quarter of an hour, Dvorak reappeared, difference in interpretation—creation. If they all imi¬ Paul Bourget describes in one of his novels three tranquil and in an agreeable frame of mind and ex¬ tated one model their playing would be uninteresting. types of art: First, he who is great in his creations plained the matter. Carlyle made this distinction. and likewise great in his personality. Second, he who It appeared that for several nights previous he had “Skill imitates: genius creates.” heard the plaintive cries of some small birds, terrified is little worthy as a man, but whose artistic creations at the approach of a family cat, which feasted every are great. Thirdly, he who is mediocre when viewed night upon such birds as it could catch. Beware of “burning the midnight oil” in your prac¬ from both standpoints. In which class does Rachman¬ This particular night Dvorak determined to go upon tice, unless it is a case of “that or nothing.” You will inoff belong' Whatever the answer, this fact remains: accomplish much more by what you do earlier in the the hunt. he is a strikingly interesting personalitv, and a com¬ “Mr. Cat will not come again,” he announced with day. poser from whom much should be expected—far more satisfaction, and thereupon he retired once more—this "The morn, look you, furthers a man on his road, than the beautiful specimens of his talent that he has time to sluumber content.-From.the French (Musica). and furthers him too in his work.”—Hesiod. given us. MoUEMBER 1919 Page 705 TEE etude TEE ETUDE Page. 704 NOV EM BEE 1919 MOONLIGHT REVERIE H. A. FARNSWORTH A light and tuneful drawing-room piece, well written and lying nicely under the hands. Grade 3. Moderato i TWILIGHT WALTZ # From here go back to A, and play to B; then go to the beginning and play to Fine. Copyrightl919byTheo.PresserCo. British Copyright secured ARRIVAL OF THE TEDDY BEARS A rollicking teaching number, with good rhythmic effects and light finger work. Grade 2. BERT R.ANTHONY Copyrightl919byTheo.PresserCo. British Copyright secure-4. THE ETUDE Page 706 NOVEMBER 1919 DANCE OF THE SNOWFLAKES MAZURKA Copyright 1919byTheo. Presser Co. " British Copyright secured NOVEMBER 1919 Page 713 THE ETUDE THE ETUDE Page 712 NOVEMBER 1919 EOLE L.J.OSCAR FONTAINE,Op.155,No.6 j VALSE VIVE ace. A fine recital number. Also published for two pi- / A brilliant concert waltz in the French style, to be taken at a rapid and steady Pi¬ anos, four hands. Grade 5. ——- -y Tempo di Valse M.M. g-= 72_ Perl, simile Copyright 1P1& by Theo.?resser Co. British Copyright secured THE ETUDE NOVEMBER 1919 Page 723 Page 714 NOVEMBER 1919 TSE ETUDE j HORSE RACE AT THE COUNTY FAIR Czecho Slovak composer, born 1874, Member of th^ Bobemian string Quartet. Moderato m.m. J =73^ A characteristic little teaching piece of real value. Full of rhythmic charm. Grade 2 V molts e f aecreac.j — ___,_t_|_t-j-;- v I . r- -ff m ■ y- 5 i a tempo ^ 4^—— si ~r ^8 j* * * J ^ espress.j^ ^ ~ ?, *n ^ 1 JJ7C0 -- J ’ ii j .. t f ■u ^ .___ ^ 4 SErP a) This lower voice should be well brought out. b) Bring out this middle voice, imitating the theme, rather prominently. Copyright 1911 by Theo.Presser Co. Page 724 NOVEMBER I9i9 THE ETUDE NOVEMBER 1919 Page 725 SOUVENIRS DE CHOPIN THE ETUDE (Great 8'open Diap. Flute coupled to Sw. Swell Lieblich Gedact 8' Voix Celestes & 4'flute Choir Soft 4'flute Pedal Soft 16'&4' An effective soft voluntary or recital piece, displaying the solo stops to good advantage. FRFPFRTr T APT?V Andante m.m. J = 72 IKEDERIC LACEY • Sw. add ^ KrnvFMRh'R 1919 Page 727 THE ETUDE Page 726 NOVEMBER 1919 ONE SWEETLY SOLEMN THOUGHT HERBERT RALPH WARD Avery sympathetic and singable setting of a well-known hymn, acceptable alike for church or home. Andante religrioso M.M.J=84 mP _ V o’er; I am nearer 1 iome to-day than Ive ev - erbeenbe - fore.. man-y mansion: she. Nearer theboundof f\ | sea^ 1 Near - ] er my Father’s houseWhere the r r * ijjfe yt> mp - =- r- mf life, Whe: re we lay our bur-dens down; _ Near-er ] Leav - ing the cross, I •Jear - er gain - ing the - Jflffi J J I \ \ ^3 Q r — mf . j.~r~~- * I'.-LJ r ' ■■■-■ Irffj. - jU: " d V crown; But ly -ing dark - ly be - tween, W ind - ing down thr’othe night. I 3g2-J 'thr - J ■ J- P .. T ”*■ + \ rit. ==—- mtstenoso je-sus, perfect my thrust, Strengthenthehandofmy faith: Let me feel Thee Feel Thee near when my feet are slipping o’er the brink; For it n Copyright 1919by Theo. Presser Co. British Copyright secured NOVEMBER 1919 Page 731 THE ETUDE Page 728 NOVEMBER 1919 CAN YOU TELL ME WHY? C.S. Montanye Andantino semplice p Copyright 1919 by Theo. Presser Co. NOVEMBER 1919 Page 7*3 the etude THE ETUDE Page 732 NOVEMBER 1919 is the one great necessity which the sages, or characteristic opinions and prac¬ average singer never accomplishes. He tices of artists as to interpretation. ' * >. t * is constantly leaning on some one more The great tradition on which we ' accomplished in music than himself, and should rely is “musicianship.” When : he alone of all classes of music workers this is realized one may readily square is the one who fusses over the traditions the modern intensity of spirit with the of his art. classic spirit of repose, and, quickened With the accomplishment of the re¬ by the life of the day, the Spirit of the Department for Voice and Vocal Teachers corded items of voice study (see above) classic period or the classic composer will k ' h'k necessary for all singers, the student who not be violated but exalted if artists will is a musician will find that the music work faithfully toward real efficiency and Edited for November by LOUIS ARTHUR RUSSELL # page in its original form as it left the master, as did the singers and players of IVERS & POND ' *• i|| composer’s hand will supply the neces¬ former days, the technic of their art. “The Human Voice is Really the Foundation of All Music.” — RICHARD WAGNER sary directions for complete interpreta¬ The requirements of to-day in the field - -i tion. of music are far beyond the art of a cen¬ With the masterly editing through tury or more ago, yet the requirements PIANOS which the great classics have passed for of technical efficiency and complete mu¬ the editions of modern publishers, the sicianship are as necessary as ever. The Tradition, the Vocalist’s Bugaboo student is supplied with all necessary traditions which demand strenuous de¬ data as to former errors in printing, votion, labor and ardent constancy of By Louis Arthur Russell former and present differences of opin¬ purpose are the mileposts of the royal ion as to certain mooted notes or pas- road to success in musical art. “musicianly,” as we say, and really fit the comes a fixed fact in religion, in law, in “Tradition Marks” Tradition is an ignis fatuus of history, voice of the artist, we accept the altera¬ sociology, in art or science. Alchemy, the hearsay of fact and fancy. The stu¬ Traditional markings have often been tion. If, as is often the case, they are dent of music should seek more authen¬ astrology, oracular declarations, fetich the undoing of young singers who in inappropriate (ill fitting) elements of Can You Pass This Voice Teacher’s Examination ? worship, orientations and jeremiads tic precept than can ever be offered by studying “traditions” have lost the es¬ mere display, attempts to imitate superior tradition, which is based upon nothing based on faith in the “good old times” sence of their art. I recall an occasion (g) What do you understand by the artists, or when they are of such extreme The Etude is indebted to Dr. Walter more reliable than the caprice of mem¬ are all superstitions and must finally when a distinguished American singer term “Resonance?” What by “Rein¬ character as to destroy or impair the in¬ L. Bogert, former President of the N. Y. ory, When an artist offers no reason give way to attested fact. came to my studio to “look over” his forcement ?” tegrity of the original melody, they are S. M. T. A. for the following data re¬ for his interpretation than that it is tra¬ part for a performance of “St. Paul” (h) What portion of the body can The Singer’s Search for Traditions condemned by musicians of judgment. garding the examinations adopted by the ditional, he is on unstable ground. Sing¬ which we were to give. As the conduc¬ give resonance? The singer who seeks the traditions Often these .“improvements” are given to New York State Music Teachers’ Asso¬ ers who go abroad in search of traditions tor of the concert, I was concerned in (i) Mention the most talked of forms of his art usually seeks to know inter¬ the singer by a more or less clever ciation. The examination as a whole is return with fussy “frills” usually born of his work and asked him regarding a of resonance and express your opinion as pretations of the eminent singers of for¬ teacher, who may name them “tradi¬ simple enough, but we know some voice the imagination of the “masters” to mass of pencil markings on his score. to their value and application to the mer days; that is to say, how far and in tional,” or boldly and more honestly ad¬ teachers who would certainly find some whom they have paid honest American range of the voice. what way they deviated by addition, “Oh,” said he. “these are Walker’s Tra¬ of the requirements a great hardship. dollars. We have seen vocal scores mit that he “writes them in” for the spe¬ (;) Do you believe in registers? If omission or alteration from the written ditional Breath marks.” “Ah, and who blackened by pencil marks denoting cial use of his pupil, a legitimate thing, Examination for Certificate of Associate so, how many do you recognize ? symbols of the composer. is Walker?” said I. I was told that he “traditional- breathing places,” “tradi¬ if done musically, with good judgment, Teachers of Singing (k) How would you apply the idea of It is true that in the earlier days of was a distinguished master abroad. I tional nuances,” “traditional interpola¬ and without detriment to the original. 1. Statement to be signed by candidate: relaxation to the act of singing? Must the Italian supremacy in operatic vocal had never heard of him, nor have I since, tions of embellishments, etc., to which It is well for the vocal student and as¬ there be tension? If so, where? art composers often left in their scores but the point is: “What can be the im¬ I, . do hereby are usually coupled the name of some pirant for a place in public service and (f) Mention four or more general places for singers to insert their own portance of tradition in the matter of testify and declare that I have had three dead artist. The teachers who “sell” approval to fix in mind some facts re¬ varieties of the human voice, stating cadenzas, and thus left “gaps” in the aria ‘where to breathe’ in an oratorio air?” years’ experience as a teacher of the art these “traditions” are often fraudulent garding the development of the voice which have been variously supplied by Here was a splendid artist allowing a of Voice Production and the Art of whether possessed by men or by women, pretenders. and its use in interpretation. giving also approximate range and char¬ vocalists through several generations. man to mark up his book with “tradi¬ Singing in the following places: The voice of the dead has a great It is also a fact that singers with voices tions” on a subject which to the singer To-day and Yesterday acteristics. charm for many people, but it is usually of especial range or limit have (often) should be and doubtless was well known The traditions of the old Italian and that I have studied Voice Produc¬ (m) Give composers’ names of any in the class with superstition. Tradition taken liberties with composers’ scores, before he left our land to cross the At¬ regime which we may call worthy and are tion and the Art of Singing under the sets of vocalises you have found useful. is a “bugaboo” which has held the and have changed, added to, or omitted, lantic for a foreigner’s traditions. fit subjects for our study are all recorded following masters for the periods set (n) What characteristics do you con¬ spirit of truth and the spirit of. progres¬ notes or phrases which were inconven¬ A more tragic incident of a similar and need no special expert exposition. opposite their names: sider essential in selecting songs for be¬ sion in chains for centuries and has kept ient, impossible or distasteful to them. nature occurred some years ago when I The most successful vocal masters de¬ ginners? the living of all ages in the control of Many of these alterations have been was booked to conduct a performance manded of their pupils: Signed: (o') Define Attack, Sostenuto, Legato, the dead, whose “messengers” have of “Samson and Delilah.” At the re¬ a—A close study of music as an art Cantabile, Staccato, Messa diVoce, Port¬ SMALL GRANDS recorded, still more have been discarded (Address) . often lied as they “revealed” the voice of or lost. It is probable that the greater hearsal the “Samson” of the occasion science. Musicianship was a prime re¬ amento, Phrasing. other days. 2. (a) Sing one song in Italian. We were one of the first American manufacturers mass of these alterations were of per¬ stood close to me, and looking at his quirement. (p) State the difference between (b) Sing one song in English. Music, especially vocal music, because sonal value only and were in nowise im¬ book directly under my eye, I saw it b—Control of breath, “Folk-Song” and “Art-Song.” to foresee the brilliant future for the small grand— (Songs to be of moderate difficulty or of its essentially spiritual nature and its provements on the original score; but very peculiarly marked with a variety of c—Control of speech-sounds; distinct even easy, and to be approved by exam- Analytical Harmony the piano of to-day. This broad experience is em¬ evanescent physical characteristics, has in the efforts of teachers to prove their circles, birdseyes, squares, etc. I was enunciation and clear articulation, been a fruitful field for the befogging of personal superiority, the unreasonable told that they were traditional markings d—Pure tone and facile execution, 7. (a) Analyze the following examples, bodied in our remarkable line of grands. Those its votaries through the watchword of search for a better-than-the-present-way as to breath, tone, etc. I expressed a e—Rational emotional delivery of the judgment will be based upon Tone- indicating under each chord, by a 'large qualities which have made the Ivers Pond the tradition, and with all the enlightenment hope that he would at the evening per¬ Production, Diction, Phrasing and Inter¬ has been fostered and played with and phrase, with control of nuance, rhythmic or small Roman numeral, its root and choice of over 500 Musical and Educational Institu¬ of the twentieth century we are still the fetich “tradition” has been made a formance be able to get through the and dynamic. pretation. quality (major or minor), and by small laboring under the incubus of supersti¬ very profitable studio slogan by more or maze and reach the top note; but, alas, Music reading was imperative as a vital 3. Singing at sight, words and music. arabic figures, its inversion, also mark¬ tions and 65000 discriminating homes, find their tion in our art as well as in other less unreliable “masters.” at the performance all went finely until part of the development of musicianship. (A hymn-tune may be given.) ing over each example the strong 4. Playing a simple accompaniment. highest expression in our grands. branches of spirit and mind culture. It is a fair proposition that the worth¬ the splendid fellow and fine artist came What more of the traditions of vocal and weak accents in each measure by (To be chosen by examiners.) Worthy Traditions while alterations or special means of in¬ to the B flat in the duet with Delilah, art do we need to-day? There is no (—) x (.). terpretation in the classic repertory are and then he “came a cropper.” I never 5. Dictation: Two brief (four meas¬ There are worthy traditions in all tradition which can possibly give us the (6) Using accidentals instead of key- to be found in all reliable, well edited learned whether he tried to jump ure) melodies; keys to be announced; WHATEVER YOUR PIANO NEED walks of life, but these are of the spirit positive tempos of the artists of long signatures, write out in quarter notes „ editions now in print. Publishers are, through one of the rings like a bareback tonic chords struck; each melody to be and abstract, and are all written in the ago. Beethoven rebelled against metro¬ (1) the ascending scale of B flat major, as a class, quick to appreciate the whims rider who makes a leap for it, or what played three times. (To be chosen by upright, grand or player there is an Ivers & Pond pages of history, needing no special nec¬ nomic tempos when he declared that he qnd (2) the minor scale of C sharp, of the music student and the practices of was the matter, but it was a sorry mo¬ never played or conducted his own com¬ examiners.) using the melodic form ascending and to fit it. We build but one quality—the best, and romancy or clairvoyant “professor” for 6. Questions on Physiology of Tone the commercially enterprising teacher, ment and the climax was vocally ruined: positions twice exactly alike in speed. the harmonic form descending, indicat¬ their revealing. Production and the Art of Singing as the policy and identity of our house remain un¬ and therefore the better class of publica¬ the singer surely was lost in the maze of During Beethoven’s time the leading or¬ ing under both scales by the terms “step” The traditions of a nation, of a sect, set forth in standard works on the sub¬ tions of vocal music may be relied upon “traditional signs” and forgot how to chestras of the world, especially in facile and “half-step,” the distance each scale- changed. Wherever in the United States we have or of a class, bespeak this general spirit: ject: to reveal the credited “traditions,” or at sing. Paris, found his contra-bass parts “im¬ degree is from its neighbors. but the written law offers the only tan¬ (a) What text-books or treatises on no dealer, we ship from the factory on approval. least those universally accepted. These are typical cases; seeking for possible” at the tempo indicated by the gible guide or rule for faith and prac¬ Tone Production and the Art of Singing (r) Which is the primary or principal Any remembrance of how a departed art precepts through - unrecorded tradi¬ composer, so the traditions of tempo are Liberal allowance for old pianos in exchange. At¬ tice. The spirit of “Magna Charta” or chord of the seventh and of what inter¬ teacher “said” Mile. So-and-So sang the tions is to indulge in a delusion. The lost in the progress of time and the de¬ have you found the most helpful? “Plymouth Rock” may be evoked to ex¬ Give an outline of the ideas of any vals is it composed? tractive easy payment plans. A catalogue describing grand air from Puritani is sure to be al¬ true traditions of our vocal art are re¬ velopment of instrumental efficiency, the alt us in our strivings for a better so¬ (d) What is a cadence? Name two loyed by human error in memory and by corded, and when recorded they cease to increased stress of modern life and mod¬ one of these authors. all our grands, uprights and players mailed free on ciety, but the traditions give us only the or more varieties. the usual “varying of verity” in frequent be merely traditional and have become a ern development in music. (£>) Describe the positions of the abstract of the loftier purposes of his¬ request. Write for it now. passages from mouth to ear; but if told part of the acknowledged law, a state¬ Even the absolute demands of the body, the chest, the shoulders, the head, toric days and of the ideals of the pio¬ History with sufficient force and maintained ment of fact or of supposed fact. metronomic marks during the last cen¬ the jaw, the lips, and the tongue, which neer progressive souls, reaching for 8. (a) In what century and country did I (whatever the variations) firmly enough, Tradition is accepted and recorded by tury are not heeded by the artists or con¬ you advocate as best for the singer. man’s rights; the tangible results are opera originate? there will always (perhaps to the end of enlightened man, or is repudiated and ductors of the present day; many classic (c) How is a tone produced by the written large in recorded fact. Tradi¬ time) be foolish virgins who will refuse discarded. Dependence upon unrecorded compositions proving most wearying to (6) In what century and country did Ivers & Pond Piano Co. tions are of value only in so far as they to keep the electric light of present-day articles of faith in vocal art is a folly. modern audiences if dragged through (d) What part do the lungs, the Palestrina live and in what forms did he square with the laws of progress, or knowledge “turned on” and will prefer The worthy traditions should be known with unchanging tempo conforming to larynx, the mouth, the tongue, the lips write? 141 Boylston St. Boston, Mass. virtue and morality, of taste and sense to believe the tale of the clever Signor by all serious students of singing, and the metronomic mark of the composer. and the nose play in voice-production? (c) In what century and country did in art. Alexander, whose grandmother had it they have long since been the common From all of this preamble I draw the (e) Describe the act of breathing, Johann Sebastian Bach live and in what When a tradition has been tested and direct from her grandfather’s vocal possession of the profession. following conclusions for the benefit of naming the principal muscles used in in¬ forms did he write? its truths and its virtues determined teacher, and in the darkness of wool- The real-artists of to-day, as of for¬ inquirers regarding the study of tra¬ halation and exhalation. (d) Mention the names of three or through man’s experience and judgment, covered eyes the fair virgin of art will mer times, frequently alter special pas¬ ditions : (/) Describe two or more methods of more of the most famous composers of its useful attributes are lifted from the strive to twitter a cadenza which “Bel¬ sages in their favorite arias, inject a bit Become a musician. Learn to know breathing used by singers, indicating Oratorio, giving their nationality, approxi¬ veiled chambers of memory or of fancy lini” was “delighted” to accept as an of fioritura or a note of embellishment; fully the intentions of a composer by a your preference with reasons. mate date, and best known works. into the open day of realities and it be¬ improvement on his score. when these bits of personal conceit are complete mastery of his music page. This NOVEMBER 1919 Page 785 THE ETUDE THE ETUDE List of the Best-known Musicians of the Past and Present Page 731, NOVEMBER 1919 Who Were Born Within the Limits of Czecho-Slovakia (,) Mention the names of ten or more (/) Give the names, with nationality Ready October 25th w , and approximate date, of ten or more ot Slavik, J. of the most famous composers of opera, the most famous composers of songs, our new 1919 Composers Ondereck, F. and giving their nationality, approximate date, mentioning if possible, one or more works Family Stavik This is the Malat, J. Suk, Jos. and best known works. of each. Abert, Jan Josef Pechacik, F. Holiday Handkerchief Mrska, I. Popper, David Tausa and Brixi, F. X. Masek, A. Prochaska Vaska, B. Blazek, Fr. Mechura Schwab (viola) Wihan, Hamis Acid Re: Traditional Rendition Blachoslav, Jan Musil, Fr. Sitt, Jan 5 of little value when compared with Christmas Catalogue Q.—I understand that in Oratorio Basler, Ladislov Mokrejo, L. J. there arc certain traditional ways ot what we know as musicianly interpreta- The most unique holiday book published in Myslvecek, J. singing arias. IIow is one to form a Bastl, Josef Wind Instrumentalists That Destroys Your clear idea of what the correct rendition this country. A post card will bring it to Blodek Matonsek In your quest for the best rendition of Batka(basoon vir¬ Kepras (fagot) may be? Send at once. There is no charge. Biber, Tindrich F. Teeth ,. . , an oratorio, aria or chorus, make sure tuoso) Konig, A. (oboe) The accredited traditions of oratorio Qf yQUr QWn ability to comprehend the Benda, Tiri Napravnik Cejka, V. (oboe) Milde, L. (bassoon) Nedbal, Oskar interpretations are to be found composer’s score. Be a musician, Cemy, R. (flute) Nejebse (clarinet) Neruda, Fr. All Statements Approved by High best editions of recent publications. you are not confident of this ability, con¬ Cuk Cervenka (oboe) Nemee (horn) Chvala, Em. Nesvera, Jos. Dental Authorities The best traditions are now “written sult the most experienced of teachers Dlabac ,J. (trombone) Paisa (cornet) Novacek, Rud. and conductors and use the best obtain¬ Cimr, E. O. Fiala (oboe) Sedlacer (flute) in” in the better editions. Novak, Vitezslav An Ideal able editions. See article Traditions, etc.. Cech, Ad. Flaska, (oboe) Tanatka (horn) The average idea of traditional ren¬ Cervenka Novotny, V. J. dering is mere personal opinion and it Vocal Department, October Etude. Frazl, J. (Fr. horn) Medium-Size Grand Czerny, C. Nebuska Cernohorsky, B. Nesvadba Timpanists Hidden in the Film The acid which destroys your teeth is lactic acid, Opera Under Difficulties Dvorak, Dr. Ant. Omacka, Jos. The various performances of light and same pianos were selling for, before the Drahlovsky, J. C. Ostrell, Otokar produced from certain foods by action of bacteria. grand opera that have been given from war. This demand is reflected in opera Dreyschock, Alex. Hynek The film on your teeth—that slimy him—holds time to time, in tents, by the different and it is not surprising, therefore, to Ambros Dessauer, Jos. Pardubic, A. Z. Krossing, A. Chatauqua organizations in parts of see our great opera houses crowded Beboni, B. the food substance while it ferments and forms acid. Dolerata Pangrac, Anna Fuka Leo, Jos. America, have often been given under despite the seven dollars a seat now Bobkova, A. Then it holds the acid in contact with the teeth to Pokorny, J. F. • Broulik, Fr. Marak, 0. very trying circumstances. The canvas asked in New York. It is simply the old Erfurt Patha Burian, Carl Matsurova, R. cause decay. , . , opera house leaves much to be desired, question of supply and demand and it Novak, A. No.640—Ladies hemstitched handkerchiefs. Hand err Prochazka, Dr. Lud. Cak This him clings to teeth, gets between the teeth, This beautiful instrument seems but on the other hand it is said, that would not be impossible for the price to Fiala Palacek, Jos. the appetite for opera of any kind in rise even higher—say ten dollars a seat, broidered in one comer and comes in a pretty folder. Praus, A. Cavallarova enters crevices and stays. The ordinary dentifrice as nearly perfect as skill, experi¬ Foerster, Jos. B. Pribik, Jos. Pangrac, Fr. some parts of America has been so de- In fact, in Mexico City, the price for PRICE 15c EACH Destinova (Emmy ence, and manufacturing facili¬ Friml, Rud. Pokorny, X. and G. Parsova-Likosova does not dissolve it. The tooth brush fails to re¬ veloped through the talking machine first-class opera has long been ten dol- Destinn) Fibich, Zdenko Sittova, M. P. ties can make it. that organizations which years ago lars and the same price has been the Pichl, V. Ehrebergerova move it all. So it protects the acid. Free acids Flaska Pechacik, F. Slezak, O. faced certain failure under similar con- order in South American centers. Miss Fabry, Anita are neutralized by alkaline saliva. Its tone is purely that of the SheXfvil: JU-icA. Swakova ditions, are now doing exceedingly well. Lucille Lawrence, formerly a member of Pribil Forsterova, B. L. Concert Grand, haying great Gassmann, F. L. Tlamicky That him is the source of nearly all tooth troubles. All this augers well for the operatic and the Metropolitan Company, who has been Dept. “B” Pregler Hauser, Fr. power and sympathetic qualities. Gaal, Fr. Valankova That is what discolors, not your teeth. It is the musical prowess of America. At the singing leading roles, with Titto Ruffo in Glaser, Fr. Hes, Vilik Roskosny Vavra, Ant basis of tartar. It is a breeder of germs—millions ot Dealers in Principal Cities some time it is continually creating a Mexico, tells something of the great dif- Gechacek Hurka demand for the best opera when that Acuities facing opera singers in Caran- Rauscher, Jul. them. Those germs, with tartar, are the chief causes Rutte, E. M. Harpists can be had. za’s capital. The altitude often plays Hfimaly Ruz, I. of pyorrhea. . Emerson Piano Co. The greatly increased wages of labor odd tricks upon the singer. Some sing- Huilicka Bacherova, Julie N. Nemecek Ryba Brushing the teeth does not suffice, as nearly Established 1849 has let thousands of musical instruments ers accustomed to singing in low alti- llartl, J. Rossler, Fr. A. Dussek, Josefina into American homes where the posses- tudes are surprised to find their efforts Hrazdera everybody knows. You must remove the him. Boston Mass. Rejcha, Ant. sion of such an instrument was only a in a mountain plateau city, like Mexico, Habermann, Fr. Organists After painstaking research, dental science has found dream a few years ago. The manufac- disastrous. Hemorrhages are not un- Discriminating travel¬ ers will find the Wolcott Kozeluh, J. L. A. a way to do that. The way is now embodied in a turer of one of the most expensive usual, the blood coming from the mouth, Irovotny, Taroslav Smetana, Bedrich Becovarovsky pianos made, recently reported to the the nose or the ears. According to Miss very much to their liking; the Seger, F. N. Blazek, Fr. Krejui, j. dentifrice called Pepsodent. And we offer you a IU- Kruska writer that he was then 2,500 instru- Lawrence, these mal-advertences are excell ent appointments, the Jaranek, Al. Sadek Brixi, F. X. Pangrac, Anna Day Tube to show you what it does. BEAUTIFUL ments behind the capacity of his factory taken as a matter of course, if the singer faultless service and the unriv¬ Jirimek, Jos. Skroup, Frantisek Cernohorsky, B. Pitsch FACE AND LOVELY COMPLEXION and spent most of his time in propitiat- is unable to take an encore he mutely alled cuisine. And. over all. Janacek, L. Stecker, K. Forster, B. ing people who demanded pianos at a holds up his blood-stained handkerchief Spindler, Fr. Forster, J. Schling, Ant. Use It 10 Days—Free DO NOT OFFSET Seger, F. N. price far in advance of that which the to a wildly applauding audience. Jelinek, J. Stetka, Boh. Gregor, Fr. Pepsodent is based on pepsin, the digestant of al¬ Skuhersky, Fr. T. Stetka, V. Habermann, Fr. bumin. The film is albuminous matter. The object Kficka Sramek, Jan Horak, V. E. Techter, Simon “Getting the Swing of it” Kaliwoda, Jan Schling, Ant. Klicka, J. Vitasek, Jan N. of Pepsodent is to dissolve it, then to constantly Kaska, Rich. Sebor, K. Kopriva, K. Zronar, J. L. Kocian, Jar. Skuhersky Ordinary pepsin will not do. It must be activated, Kolar, Victor Stefani, Jan Pianists A fundamental principle in all music s may be i: Kretchmann, Theob. Svacha and the usual agent is harmful to the teeth. So Benda, Tiri Libulka study is that of rhythmic perception. Slavik, Jos. Kovarovic, K. Dussek, J. L. Mickova, Marie pepsin long seemed impossible. The problem of teaching or learning indefinitely Kozlluh Fehnrichova, M. C. Mikes Now science has invented a harmless activating time is not one of any great difficulty, Kittl, Jan B. Taroslav, Irovotny Friml, Rudolph Moscheles, Ignac because the principle underlying it is method. Five governments have already granted Klicka, I. Tirak, K. B. “Gallus,” Medricky “Nicodini” one involving simple numbers, equally Kopruva, Karel Trnecek, I. Prusa patents. Now active pepsin can be applied twice simple fractions and proportion, Grimfeld, A. Kaffka, T. C. Tomasek, V. J. Hoffmeister Stepan, Vaclav principle of rhythn daily to the teeth. . t _ot Kozeluh, L. Kaami, Tindrich Urban Authorities have made many clinical tests. 1 hou- of figures but of Kolesovsky Vaclav Jan Tomasek Wetsche, L. V. average pupil to play two, three or four Kaffka, T. C. sands of dentists have tried it. And now leading Vojacek, Hynek Leitner, K. notes to a count, and to make him un¬ Lizka Vincena.V. and Paul dentists all over America urge its universal adoption. derstand the difference between the six- of the wilderness Lachner, Ferd. Vankal, J. B. eighths in a measure of three-four time Blithesome and cumberless.” Lasek, B. L. These words, spoken with a more or Vycpalek and the same number of eighths in a Lvoosky Anger, M. Piskacek less exaggerated emphasis • offer a good measure of six-eight time, are not al¬ Lelenka, J. Dyzmos Celansky Prokacek illustration of six-eight rhythm. Other Weis, K. ways easy tasks. This is what might Libicenski, St. A. Dobyhal Sebor passages may be found to illustrate two- Wendler, Boh. be called the arithmetical part of time Lostak Foerster, J. Spilka FREE - FREE - FREE four, three-four and other rhythms. To hythm, and the Mason system of Hornik Stecker The New-Day Dentifrice some extent they will lighten the labor and arpeggios are of the greatest Violinists Javurek, J. Techa A Scientific Product—Sold by Druggists Everywhere 'that the development of this inner feel¬ in this connection; but to develop Knittl, K. Tregler ing for rhythm involves. At any rate Kolesovsky the inner feeling for rhythm is a still Home Study Books lor Beginners in Benda, Fr. Kubat Vach §gll§gfgF the attempt must be made with care, Kopta, Vaclav harder task, and of greater importance, Biber, T. F. Nesvadba Wiedermann goodform MANUFACTURING CO. fidelity and patience. Kubelik and it must be developed if possible. The Very First Lessons at the Piano - 75c Booklet Picka Zemanek Send the Coupon for . Ten-Day Tube Free 906 Mills Building ST. LOUIS, MO- All by Mis. Crosby Adams Filipovio, Mme. Laiska, G. a 10-Da\ Tube THE PEPSODENT COMPANY. Laub, Ferd. Graded Studies for the Piano Glaser, Fr. I Dept. 796,1104 S. Wabash Ave., Chicago, Ill. can do, rather than what John Sebastian T eachers One of the greatest dangers which beset 7 vols. for two hands. Grades I-V. Each $1.00 Halir, Karel Lhotsky Note how clean the teeth feel ^ ]QDay Tube of Pepsodent to a concert-player who has to keep a large Bach has to say. I have heard some 3 vols. for four hands. Grades I-III. Each 1.00 Libicky, Jos. Auspitz-Kolar, Mme. Miksche, Jan Compiled by Mrs. Crosby A dams Hall, Marie after using. Mark the absence of | OAXLIPPINGER audience interested for an entire evening, Luck, Mme. Milan Dolejalek, Capek Pivoda AUTHOR OF players rattle off a Bach Fugue at Heriter, M. is to Sacrifice the composer’s intentions Duska, F. X. Sevelk, O. the slimy film, breakneck speed, and the irreverence of Hoffmann. Karel Moravec The Head Voice & Other Problems, Price $1.00 in favor of mere brilliance of technique. CLAYTON F. SUMMY CO. Hanslick, Eduard Suchy the proceeding has more than sufficed to Navratil, A. teeth whiten : i the fixed film Publishers Jelinek, H. Krizorsky Tovacorsky Systematic Voice Training - - Price $1.00 He is apt to forget that he is out to Nedbal. Oskar | Address. discount any pleasure derived from the 64 E. Van Buren St.. Chicago, III. Kaliwoda, Jan disappears. interpret greater intellects than his own, Libulka Please mention THE ETUDE when addressing o ROOMS 617-618 - and he is tempted to think that the au¬ technique displayed.—New Music Re- dience wishes to hear what Mr. Blank Please mention THE ETUDE v NOVEMBER 1919 Page 737 fllE ETIDE Page 736 NOVEMBER 1919 The Beauties of Unmixed Tone Getting Acquainted with a Strange Organ at Short Notice Thanksgiving Music Them is perhaps no more trying ex- _ Combination pistons and the Crescen- perience for an organist than he A Selected Offering of Excellent Suggestions do Pedal are valuable adjuncts to_ the calw to play .. a strange organ, mechanism oi me **«««-*** —-- - peciaiiy a large one, with no opportu- for a Dignified Musical Thanksgiving Service would not willingly abandon them, but n;ty t0 prac{ice 0n it, unless it is to have In addition to these numbers theTheo. Presser K Department for Organists they are responsible in many cases for a jjjs fjrst opportunity for practice em- Is'' lazv one-sidedness in the registration of barrassed by the presence of a commit- Co. carries in stock Thanksgiving Music of all Edited for November by organists, wnowho wufail to« avail themselves." tee of0f criticalcrjtical outsiders. The writer publishers. The numbers listed below and not only of the infinite number of com¬ knew of one particularly exasperating others on hand gladly sent for examination. if MR. EDWIN HALL PIERCE binations possible in combining stops by case where a thoroughly competent or¬ >v hand but more particularly do not real¬ ganist of long experience applied for a ANTHEMS FOR THANKSGIVING ‘The eloquent organ waits for the master to waken the spirit. DOLE ize theie beauties ofot certain unmixedunmixea tune,tone position as a theatre organist; the organ For example: there is no organ-tone was Qf a make unknown to him, and he 3 And Goa Said Let the Earth. majesticnajestic and beautiful than that ofot t00took so iQngong i;tln making a preparatoryprepai more 6282 Awake, My Soul, to Sound 10582 O Lord, How Ma good g ft open Diapason used entirely examination of the position of the »«.- His Praise. Harry Hale Pike .. Albert Ham Sources of Some Well-known Hymn-tunes alone. The Melodia and Dulciana togeth- ous stops and pistons that the manager 6280 Come and Worship the Lord. 10788 O Lord, How Solioehel .. »r form a combination of well know use- impatiently jumped to the conclusion that 10138 Come Sing Before the Lord. By Edwin H. Pierce, F.A.G.O. fulness, but for a solo passage the Mel- be knew nothing about it and sent him 10062 Earth is the Lord’s, The. 15574 O Lord of Hosts, Almighty dia alone gives a far clearer and more 0flf without even a trial. We are happy J. W. Lerrnnn. King. Stults . beautiful effect, taking the place of the to be able to record, however, that a 10434 O Praise the Lord. Stults. . rate, what they actually did, at first, was 10733 Great is the Lord. A. J. Boex 75 O Praise the Lord, All Ye In almost any hymnal, tunes may be is a sad perversion of Schumann’s lovely 10740 How Excellent is Thy Loving to take popular tunes of their day, sing Concert Flute in small organs which are few weeks later he secured a similar Kindness. E. S. Barnes.. . Nations. Danks .. found here and there attributed to such Nachtstiick in F. One feels like exclaim¬ not provided with that stop. There is a ancj even better position in another 6286 I Will Magnify Thee. De Reef 10008 Our Country. (Festival jn J i J. 4H J CJ 1 -JH ing with Quince in Shakespeare’s Mid- them slowly and harmonize each beat Choral March.) Whiting. noted composers as Beethoven, Mozart, tradition (handed down from the days theatre, where he gave excellent satis- 10370 It is a Good Thing to Give 10358 Praise the Lord, O My Soul. Light of those whose drear-y dwell-ing. summernighfs Dream, when he saw his separately, thereby gaining a certain dig¬ Thanks. Patty Stair- Mendelssohn, Weber, Schumann, etc. The when the Stopped Diapason (or Lieblich facti0n. 10875 Lest We Forget. Bohannon. Watson . companion’s head changed by fairy magic nity of effect. Old Hundred was one of 10004 Praise the Lord, O Jerusalem. average musical person, unprofessional, Gedackt) was the only 8 ft. stop on the To avoid the possibility of such 6082 Let the Righteous be Glad. Gottschalk’s Last Hope, a piano piece to that of an ass,—“Bless thee, Bottom, these: originally it was a rollicking little C. Darnton . O. Darnton. but of good taste and reasonably well in¬ Swell which had a complete compass), unpleasant occurrences as that just 10782 Lord God, We Worship Thee! 10889 Rejoice, O Ye Righteous. very popular in a past generation is the thou art translated!” For one thing, the French love-song, beginning Bruce Steane.• • ■ • • formed, is often inwardly conscious that that the Stopped Diapason should al- narrated, it is well to have a cer- Stults .. • • ■ 6289 Rejoice, the Lord is King. source of a melodious though rather too tempo when used as a hymn-tune is far “II n’y a icy cclluy qui n’ait sa belle” 10912 Lord is My Light T. D. these tunes do not seem to hit the mark sugary hymn-tune, found in nearly all the ways be used with combinations, but ta;n routine which will carry one Williams .. too rapid, giving a rather jerky effect; (“There’s nobody here without his girl”! 6209 Lord Is My Strength, The. as well as some signed by less noted larger hymnals (except the Episcopal) set modern string-toned stops sound much through the worst part of the ordeal. In names, but he is chary of expressing his for another, one misses the charm of the This dates from the fifteenth century, T. D. Williams. to the words. more characteristically “stringy” without describing this we take for granted that 5964 Lord of the Harvest, Thee We 10095 To Thee, O Lord, Our Hearts opinion because of the respect in which crisply arpeggioed chords heard in the Hail. F. H. Brackett. We Raise. W. Berwald. . and we give the original antique French it. Composersv^oropuscis familiar with-. the -art of the organist is adept to some extent m 5950 To Thee, O Lord, Our Hearts he has been taught to hold the great clas¬ “In the dark and cloudy day original. Solid four-part harmony spelling. 10482 Lord Eeigneth, The. T. D. means a totally different effect. rwwtrntinnOrchestration are aware that a solo pas- fbetht> art of improvising, and that he is Williams ..• • sical composers. He would be quite jus¬ When earth’s riches flee away.” , -- “solo ef- 10011 Make a Joyful Noise Unto the As first transcribed it had the follow¬ sage loses much of its personal “solo” ef- familiar with the principles of registra- Lord. E. A. Mueller. tified, however, in stating such an opin¬ Here, possibly, is one case where arrange¬ ing rhythm: fect if rendered by two or more.e instruinstru- tion jn general. (To teach registration 5953 Make a Joyful Noise Unto the ion with the utmost frankness; none of 10485 Ye Shall Go Out With Joy. ment means not derangement, but actual ments in unison:. organists eViniilrlshould hearbear ^ ^ novice would be Quite a different Lord. Simper . the great composers named ever wrote 10958 O Be Joyful. Cai A. F. Andrews. improvement. The original piano-piece this in mind, although it must lie admitted proposition.) any Anglican or American hymn tunes, |#^ I f!'fr r Plr was one filled with easy arpeggios, scales, that an Oboe or Cornopean is often im¬ SONGS FOR THANKSGIVING and the effort to arrange certain ex¬ Forth in Thy Name 0 Lord I go. and other cheap and obvious technical de¬ proved in quality by unison with Dia¬ A Mental Picture 2 Hymn of Thanksgiving, A. cerpts from their works in this manner vices in accordance with the popular pian- _ Walter S. Young. . All peo-ple that on earth do dwell. pason tone, especially when not quite up First, take time (but not too much 1732 O Give Thanks.. Low-. L. is almost always accompanied with a vi¬ istic taste of Gottschalk’s day, but now Weber’s famous opera, Der Freischiits, to the mark alone. time) to glance over the stops and make 4489 do. Feldpauche.40 olence to the original idea, amounting in hopelessly passe, while the hymn-tune is has been drawn upon for several different ■*— **-- T-rd! Med. (Fr. inIn- aacniigadding 4 ft.1- tone, regard should- be a mentalmcuuu note of the position- of those 12851 Hymn o: ) George Rupes .85 some cases to a caricature. There are a one which continues to give pleasure and hymn-tunes, the most familiar being taken and the melody was put in the tenor (a High. few fortunate exceptions, however, and from a horn quartet forming part of the had for the character of the 8 ft. tone belonging to each manual and comfort to thousands of such as are not common practice in that day), but later below it, the timbre to be similar where pedal Ascertain by trial whether the DUETS FOR THANKSGIVING we shall be pleased to take notice of too fastidious and severe in their ideas of Overture (originally in C) the notes were made of equal length, after possible. A■ 4' ft.r Flute tone will com- pjstons move the stops or affect “blind” I Will Magnify Thee. Sop. these as well as of those which have less what sacred music should be. 6193 Be Glad, Ye Righteous. Mez.- the fashion of a chorale. bine fairly well with any 8 ft. quality, combinations and if you are not perfect¬ and Tenor. F. G. Rathbun warrant for existence. Sop. and Tenor, or two __Song of__ _Praise, A. Sop. and One of the few really good hymn-tunes but a 4 ft. String tone above an 8 ft. ly sure you are familiar with the com¬ equal voices. E. F. Marks.. $0.30 1 Baritone. G. Gouhli borrowed from outside sources is that set Flute tone, or a 4 ft. Diapason tone (us¬ binations, set the zero pistons, making to the Christmas hymn, “Hark! The Her¬ My Je - sus as Thou wilt. ually known as “Principal” or “Octave”) all stop-changes by hand for the time ORGAN MUSIC FOR THANKSGIVING ald Angels Sing.” This is taken from above an 8 ft. Flute tone or String tone being. (Later we will speak of the use 13709 Allegro Moderato in G-. 13038 Prelude Militaire. Geo. Noyes . .$0.50 Rockwell . Mendelssohn’s Festival Cantata for male is simp'y vile. of the pistons.) The words set to this tune, 12957 Alleluia! Geo. Noyes Rock- 12088 Song of Joy. F. Frank Fry- chorus and orchestra, celebrating the in¬ In this last paragraph we may appear Begin with a single soft 8-ft. stop on veil . .40 vention of printing, composed for the The tune called Pleyel’s Hymn ap¬ “My Jesus, as Thou wilt Its name is derived from its being used to be digressing from the subject, but the Swell and improvise on that manual, 13494 Song of the Angels. T. D. Gutenberg Festival at Leipsic held in 1840. pears in many Protestant • hymnals Oh, may my will be Thine,” as a setting for a metrical version of the the point is, to build up a tone which having previously drawn the Sw. to .Whiting- __ _ Roland 11351 Spring Song. The original words read “Gutenberg, that (though not the Episcopal) as a setting of Hundredth Psalm. shall have a proper consistency and •,n Ped. coupler and a single soft 16-ft. stop 11448 Marche Militaire. Mendelssohn . the words seem to fit the sentiment af the music Diggle .6® 16231 Thanksgiving March. Edwi clever man,” etc. It is really a matter for without violence, but the tune is some¬ When all is said and done, it still re¬ sound)und unmixed.unmixed, on the Pedal. At first play solely on the 13147 Marche Pontificale. Ren6 L. congratulation that it has been taken from “Children of the Heav’nly King what too ornate for congregational sing¬ mains true that the best hymn-tunes are Some organs have certain 16 ft. and 4 manual, but presently add a part for 13127 Postlude in G. E. S. E 11937 Triumph Song. Roland Diggle .50 a work where it could have but a transient As ye journey, sweetly sing." ing, serving better as a choir number. those composed directly by those who t. stops of beautiful and characteristic the pedals: also try the effect of the and limited use and set in an excellent ,era,De.ier. Philadelphia, Pa. The famous psalm-tune, Old Hundred have made hymn-tunes a specialty; uality. The majority of organists never swell-pedal and note whether its mflu- Theo. Presser Co. hymn-tune arrangement by W. H. Cum- It is also in use, with quite other words, lSe these except in the well-known con- ence is great or only moderate. Build in the ceremonies of a well-known fra¬ (in England, Old Hundredth), has an in¬ Barnby, Dykes, Hopkins, Monk, etc., or teresting history. At the time of the even our own old Lowell Mason and entional manner as partspans ofui cotnbina- up your tone as you go on, adding stops ternal order. Originally it is the Theme r-— avail- this order*. 8-ft. flue stop, 4-ft. stops, Reformation, when various prominent Thomas Hastings, whose worth it is the .s, but they may often be found avail¬ for a group of variations in a duo for light reeds, 2 ft. and 16-ft. stops, heavy two flutes (or flute and violin) by Ignaz Protestant leaders desired to introduce fashion to grossly underestimate in this able as solo stops or even for harmony, reeds, mixtures (or use whatever order Pleyel. Here again we cannot complain the custom of congregational singing, day. by using them alone and playing an oc¬ TEACHING PIECES By mrs. a. m. virgil Hark the her aid • an - gel sing. may be your habit in the gradual build¬ that the arranger has done any violence there was no store of sacred music, per se, It was our original intention to quote tave higher or lower on the keyboard, ing up for tone). By this time you will ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS to the composer’s idea. suitable to draw from for that purpose. from and comment upon several hymn- as5 the case demands. ing up for tone;. oy mis mm playing rauici wuuij, a™ -s take The tune found in the Episcopal Probably they believed (like Wesley, at a tunes whose sources are found in the The— ,,/esentpresent writer foriur somes'""- time------be playing rather loudly, and 150 for GRADES 1 to 6, ON SELECTION. GRADED CATALOG. . _ -u u..<- excellent it for granted you have addedaddt louder Hymnal (and several others) under the later date) that “the devil should not be works of Handel, Mozart, Joseph Haydn played a very old, but really excellent VIRGIL PIANO CONSERVATORY, 11 W. 68th St., NEW YORK title of “Sardis,” is taken from Beethov¬ allowed to keep all the best tunes;” pos¬ and his less-known, but very talented Jardine organ which had a beautifully pedal stops if necessary to balance the en’s Romance for Violin and Orchestra, sibly, too, they were in the position of the brother, Michael Haydn, but lack of voiced soft mixture on the Swell, under tone on the manual. Next draw a moderately loud combina¬ Op. 40, where the opening strain is played newly organized amateur brass band, hav¬ space forbids. Another very interesting the name of “Cornet.” On some by the solo violin in two-part harmony, ing as yet a very limited repertoire, who, tion of the Great—say 8-ft. diapasons The tune called Canonbury, attributed branch of the subject is that of hymn- casions he used this entirely alone <~ but in the key of G, not F. This makes a when called upon at short notice to play solo stop,•p, accompanying it witnwith theme *»s-Dul- and flutes with 4-ft. flute or principle: to Schumann and set to the words tunes adapted from Gregorian tones and fairly singable hymn-tune, though often for a funeral, rendered Yankee Doodle other ancient plain-song, but this would n the other manual. The effect couple Gt to Pedal and Sw to Gt. Now taken too fast for its proper effect. “Forth in Thy name, 0 Lord, we go” very slowly, to make it solemn. At any be worthy of a separate article. „.a tIut unlike the “Orchestral Oboe, improvise on the Great, which will be when used in the proper part of its com- capable of strong expression by use of pass. This is an extreme case, and in- the swell-pedal, because of the full reg- deed we have never met with another istration of the Swell. Build up tone by apextodtotawMtioui»litaodlu PalhViSiSliM1'«4 VwfWhfniton, D. C. Organ Music and the Public srgan ini which it could beDe aspncaiwuduplicated addition ofoi stopsslops min the proper order with satisfaction, but it serves to illus-i lifts* 0n the+1ip Great.Great, adding,addi: of course, suitable flIKIC ENCRAV|^andpriNTfpq Why does organ music on the average which might interrupt their intimate one,” so far as mastering the organ is bate the advantage of experimenting pedal stops to maintain a proper bal- power, of energetic rhythm, and that re¬ ance of tone. After exhibiting the full interest the public less than certain other personal contact with an audience. The concerned. quiring a light touch, delicacy and grace. with all resources at hand. ance of tone. After exh.biting the power of the Great and Swell “ branches of music? Why do artists like violin strings throb with emotion by the The organist cannot communicate his Thus he will be constantly reminded of (By the way, the suggestion madeiade as power ui me - n 8 ft. bined, reduce your registration again Kreisler, Julia Culp or Bauer hold audi¬ pressure of the player’s own flesh upon emotions to the audience unless he has the limitations of the organ—the ten :o using 16 ft. or 4 ft. stops i- — - MuskPrinters '^dly Furnished *nse, to obtain variety, would not1. hold asoc tto0 furnishturn.sn a lightngm accompaniment ences spellbound? In the first place, them. In the case of singers the entire a broad, comprehensive theoretical and dency to a heavy, lifeless style,, devoid West of New York ^on Anything in Music vocal mechanism is a part of their mechanical training, and a wide knowl¬ ?ood in an organ built on the “Unit” the Swell, and try the solo stops of the they have “something to say,” and the of rhythmic movement, the limited ca¬ ANY PUBLISHER x physical being. edge of all forms of music, sacred and Plan, which is now unhappily becoming Choir, such as Clarinet, Concert Flute, OUR REFERENCE technique and musicianship by means of pacity for minute shading, the lack of Organ playing will always lack this secular, gained by study of the music dynamic accent—and being conscious of mly too common, but only on one with a etc. Next prepare the Choir for accom- BAYNER, DALHEIM fe Co. - 2054-2060W.Lake St.,Chicago,11L which it can be said effectively. In the genuine honest set of pipes for each paniment use and try solo stops on the intimate appeal to a certain extent. But itself, and hearing it performed by the these limitations, will find some way to Please mention THE ETUDE when addressing our advertisers. second place they have little or nothing stop.) Swell. If there is a Solo or an Echo the term "dead tone” applied to organs leading artists. Especially valuable is overcome them.—Frank S. Adams in of a mechanical nature to deal with often means that the organist is a “dead the study of music of great dramatic The Console. k . NOVEMBER 1919 Page 789 TIIE ETUDE the ETUDE Page 738 NOVEMBER 1919 put where they would do the least good. To the credit of the profess.on, how¬ ever, we are glad to be able to state that I Austin Organ Co.i such cases are exceedingly rare. L HARTFORD, CONN. J e the stop-knobs, it Hints for the First Performance i one by one in si- By following the routine suggested :al note of the stops Designers and ey arc ‘'blind" corn- above, one may acquire a good under¬ standing of a strange instrument in a one must hear the Builders of case, an excellent short time, even in the presence of em¬ ing having barrassing listeners, but nevertheless l is not well to undertake many e|aborat‘: t phrases replying t< i other an- requiring effects in registration until one has had Pipe Organs longer experience of the particular or¬ changes of tone-color. Under that con¬ gan in question. A safe plan is to se dition you may play a phrase with pis¬ each manual ydth a conservatively- ton 1, reply to it with piston 2, and fol¬ of the Highest planned combination, and then depend low up with piston 3, etc. Even if the largely on change of manual and use of effect takes you personally, by sur¬ Quality the swell-pedal rather than on frequent prise, if you do it with an air of ^dea- change of stops. To avoid monotony, change registration somewhat before the ly realize that you are merely experi¬ Send for beginning of each piece. For the merely menting. During all this experimenting n negative fault of failing to produce all the greatest concentration of mind is the effects of tone-color, you will sel¬ jAn Illustrated needful in order to remember and be !An dom be criticized severely, whereas a able to apply practically what you have blunder arising from confusion overt0° discovered about the organ. ambitious attempts at registration will be We have spoken of blind Vs. visible combinations, but there is another dis¬ only too plainly evident even to many tinction that needs to be taken in ac¬ who are not musicians. Guilmant PISO’S Please understand that this advice is count. In the older organs, where the for Coughs & Colds builder made up the combinations once merely for temporary use: to continue this routine as a habit after one has had for all, each combination was of a con¬ opportunity for ample practice on the School ventional and normal sort and the row Organ of pistons represented a regular pro¬ particular organ in question would argue DR. WILLIAM C. CARL, Director gression from pp to ff: in most modern either timidity or laziness. One should 100 Graduates Holding Positions organs, however, the combinations are be tireless in the search for new and Six Free Scholarships adjustable and are set by the player. In genuinely artistic effects. Schomacker In closing, we would add that the Fall Term October 7th the latter case, be wary to examine them, CATALOG READY as you do not know what idosyncrasies routine outlined above is not the only Style F one, but merely that which seems on the New Address : 17 EAST Eleventh St. the last organist may have had. Some NEW YORK organists, instead of using the pistons whole most desirable, all things consid¬ for a series of normal registration grad¬ ered. Some organists depend more GRAND largely on the use of the combination ually increasing in power, i e them for various favorite combinations or effects, pistons, when called upon to play a TINDALE MUSIC CABINETS The quality of its tone peculiar to their own playing; these may strange organ at short notice, and after Just what you enraptures the heart as its not be what you want for yours. The a little preliminary experimenting with them, mark their music accordingly, for have been wanting beauty of construction de¬ writer has heard of one case where a re¬ tiring organist mischievously left the instance “Gt. 3” “Sw. 5,” etc., practically Will keep your music lights the eye. combinations set in an absurd and im¬ ignoring for the time being the direct in order, free from practicable manner, in order to annoy use of the stops. The chief disadvan¬ damage and where you , Schomacker Piano Co. his possible successor—the softest Swell tage of this, however, is that it delays can easily find it. Var- . combination accompanied with a ff reed further the real mastery of the resources ious sizes, holding 200 -M(\ Established 1838 "j ij I in the pedal, and various other things of the instrument. to 1200 pieces or more. \ Philadelphia, Pa. Oak or Mahogany. Send for Catalog I Organists Should Be “All-around Musicians” TINDALE CABINET CO., 8 E ast 34th St., New Tori Moller Pipe Organs A good deal of harm is done by gard their organ playing as the real CHOIRMASTERS. fSJSuSliigffC Twenty-five Hundred in use. The highest grade musicians who have attained consider- thing. Organs in churches, theatres, instruments. Gold Medals and Diplomas at S>x able proficiency, in other lines—pianists, Masonic halls, etc., are the most prolific International Expositions. Satisfaction guaranteed. Catalogs, specifications and estimates on request. teachers, conductors, etc.—who play the me(jia for pot-boiling jobs. In order organ, but have no conception of its £or reaj organists to counteract the M. P. MOLLER Hagerstown, Maryland real character. I care not how eminent pernjcious influence of this transplanted they may be otherwise, they are no ^ playing and one-legged pedaling, Your Music Is Torn! Sr'a/weilMd'a’: iSgjSlyt ** "»« the piano, saxaphone or bass drum, for and be a match for the usurpers at every their reputation leads the public to re- point.—Frank S. Adams in The Console. Announcement to Music Composers Offer THREE $100 PRIZES For Three Best Original Unpublished Anthems “The Choir Leader” Prize of $100 for the best moderately difficult anthem. “The Choir Herald” Prize of $100 for the best moderately easy anthem. “The Volunteer Choir” Prize of $100 for the best extremely easy anthem. Manuscripts must be submitted on or before February 1, 1920. Prize anthems will be published alxmt January 1, 1921, and each anthem will be sung by not less Indigestion Torpid Liver Poor Circulation than ten thousand choir singers within three months of publication. This anthem- manuscript contest celebrates the thirtieth year of the founding of Lorenz Publishing 7,.VI!EE BISOTHlilts Company, who have specialized in church music from the beginning. MUSIC PRINTERS and ENGRAVERS Send for Formal Announcement Giving Contest Rules LORENZ PUBLISHING CO., 1123 Broadway, New York COLUMBIA AVJE. AND RANDOLPH ST. PHILADELPHIA, PA. addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. NOVEMBER■ 1919 Page VM fflE ETUDE entail too great a responsibility. F merely Page V,0 NOVEMBER 1919 Personally I have never had cause to regret the act of vandalism which brought recount my experience for whatever it is worth. Among the many readers of The ' me so much relief. I hope, however, that rriy mention of it will not be taken as a Etude there may be some violinist who is hampered as I was by the annoying pro¬ ’ SIEGER ------^ suggestion that the reader go and do like¬ The most valuablepiano in the world wise, for nothing is further from my in¬ tuberance whose only reason for exist¬ tention. To advise anyone to tamper in ence is, apparently, a desire for symmetry . on the part of the bow makers. 5 The purchase of a piano any way with either bow or violin would should be the decision of a Department for Violinists lifetime. The enjoyment of Stretching Exercises its possession should ripen no difference. Any technical work could with succeeding years. It is Dusty air? HaveaLuden's d As in the case of many piano students Edited by ROBERT BRAINE with small hands who have difficulty in be used, such as Schradieck’s Scales, to meet this standard the Luden’s clear the nose and throat; * stretching octaves and greater intervals Sevcik’s First Book of Technic, etc Steger Piano is made. Today Tlie distance from nut to bridge ot give quick relief to coughs and jj on the piano, so .many violin students Steger Pianos of wondrous the viola is considerably greater than ‘If All Would Play First Violin We Could Get No Orchestra colds. Many factory workers use ^ with short lingers find it difficult to tonal and artistic beauty are find¬ that of the violin, consequently the reach extensions, play tenths and inter¬ ing their full-measured destiny in TogetherN — R. SCHUMANN Luden’s the year ’round. stretches arc greater and the stretching vals requiring great stretching capacity. thousands of American homes. capacity of the hand is gradually in¬ Especially is this noticed in playing creased by viola practice. After prac- chords and arpeggi, where the lingers ticing octaves on the viola, tenths will must lie held down, as in some of these seem much easier on the violin than passages great stretches are involved. before and all intervals in proportion. A Talk on Bowing If stretching exercises are systemat¬ Persistent practice of the viola in this ically practiced, nature comes to the aid way invariably results in an increased By H. Timerman of the small hand and the stretching Jan Kubelik stretching capacity of the hand. It also capacity of the fingers can actually be Great Czecho-Sluvak Violinist improves the position of the left arm, bending the right hand downward by a do well to repeat the above exercise many ‘The Violin Price Problem’ increased a quarter of an inch or more Most of the awkward, faulty bowing ber sheath give one absolute freedom of 4 Pamphlet fur Violin Stade....----I Advanced Player for the student in playing the viola, movement of the wrist, bring the bow to times. It is of the highest value, for it in time. One of the best and safest one sees is due not to carelessness but to tnanipulatio., and make it possible to keep teaches the motion that should always be finds that he is obliged to hold the fin¬ the finger joints close together instead of rest on the desired string—being careful ih^bestTn"o1u-yJeriesTof Educational Pamphlets, to an ways of accomplishing this result that I lack of understanding of a few import¬ employed when crossing G to E, or A: a beginner or advanced player who will ask lor it. It w gers high above the fingerboard and the awkwardly separated in a spasmodic ef¬ to keep the right elbow turned in toward know of, is for the violinist to practice ant, easily-applied rules. Literally hun¬ quick bending of the wrist inward while aid greatly in arriving at the solution of the ever impo left arm far under the violin in order fort to clutch the slippery bow stick, but the body, instead of out as one is tempted a certain amount of technical work daily dreds of earnest, conscientious violinists the arm is being lowered, elbow well in. to reach the notes of the C string of the it also enables one to play on the flat of to do. When the bow is in place resume on the viola. For this purpose it would go on day after day unwittingly commit¬ It likewise accustoms one to merely rais¬ viola at all. the bow instead of on the side. This is playing—but not until then. be a very good plan for the student to ting one artistic crime after another, ing the arm when crossing from E to A, I have known violin students to prac¬ much to be desired. To cross from a higher to a lower learn the viola, as the knowledge would when with the same effort rightly di¬ or D, or G. tice the ’cello with the same end in view, “Play on the flat of the bow!” Cesar string (from E to A, etc.)merely raise VIOLINS from $15.00 to $110.00 often prove of practical benefit for play¬ rected, they might be playing in good Let me suggest that it he practiced be¬ of increasing the normal stretch of the Thomson would reiterate. “How can the arm a trifle. The position of the wrist BOWS “ 3.50 “ 15.00 ing the viola in string quartet or orches¬ fore a mirror, so that there can be no CASES “ 5.50 “ 14.00 hand. While this might be of some ad¬ you hope to draw a great volume of remains unchanged. tra. However, if the student does not Take, for instance, the elementary doubt that the motions made are correct. Educational pamphlet! on all phases of the violin prob¬ vantage, I do not consider it as good sound from the strings if you employ but In Drawing the Bow lem. Complete list, together with Imest quotattonson best wish to go to the trouble of learning the problem of how the bow should be Notice carefully whether the bow is as viola practice, since the position of a few little hairs? If you use only a few guard against the hideous habit of twist¬ viola clef, he can practice violin tech¬ ■ grasped. A correct grasp is quite as easy straight, whether the position of the hands thd left hand in ’cello playing is radically hairs you must expect to’ have a weak, ing the wrist so that the right palm is nical work directly , on the viola. to learn as one that is incorrect, yet the and body is the proper one, etc. The HUBU5T EEMONDER S 50N5 different from that in violin playing and thin tone. . . . For pianissimo effects, turned away from the body and the el¬ n Violin r nd St., New York By this I mean to use the viola ex¬ violinist who is able to exert effortless, habit of practicing before the mirror, by bad habits might result. The position merely diminish the pressure on the stick bow forced out. The palm should be actly as if it were a violin, without in¬ graceful control over the bow is the ex¬ the way, is one well worth cultivating. of the left hand for the viola is the same and play close to the fingerboard.” kept turned toward the body, except on volving any transcription. In this way ception. Watching one’s reflection enables one to the E string work of the violin exercises as that in violin playing. “But what is the correct position for The correct manner of holding a bow the G string, in which case it may be eliminate incipient faults before they have would be done on the A string of the After an hour of practice on the viola, the fingers of the right hand?” I can and the proper way to apply it to the parallel with the floor. time to become fixed habits. viola, the A string work on the viola when the violin is taken up, it seems like a hear some one say. "Every new teacher strings having been touched on, the topic When playing, remember always to A development of the exercise just de¬ D, etc. Of course, this plan would auto¬ toy in comparison, the stretches are easily I go to tells me something different. next in order would seem to be the draw¬ keep the right hand bent downward and scribed can be found in the arpeggios matically transpose the exercises being reached, and what seemed difficult before How is one to know what is right?” ing of the bow, a problem which necessi¬ the elbow turned in as close to the body which follow: played, a fifth lower, but in purely tech¬ is now easy. Of course, these results can¬ According to Cesar Thomson, the Bel¬ tates a discussion of the principle of as possible. Also, never forget that nical work, such as scales, arpeggi not be looked for earlier than after a Making Triala of True Tone by Tune-a-Phone gian virtuoso, who was very insistent or. “straight lines”—-“lignes droites” Thom¬ economy of bow is cf vital importance; linger exercises, etc., this would make few months of systematic viola practice. this point, the finger joints of the right son was wont to designate it. that no one who is wasteful of the bow Capitalize YOUR Ability Violinistically speaking, this expression can hope to produce a beautiful tone. On hand should lie close together in perfect OUR “SPECIAL” THE WORLD PAYS FOR SKILL alignment—the joints nearest the nails means that when playing, you should every note hold back. Husband every Prodigies This profession now offers unusual opportu¬ resting on the bow so that the finger ends imagine that you are drawing lines with precious inch of horsehair—particularly *} 10 Tested Lengths, nities for making money. It Is uncrowded, your Of prodigies there is no end. The “The father said that at the age of 2 time Is your own. Our Correspondence Course (the little finger included) curl oyer and the right hand through space—or across at the frog. At the same time, contradic¬ Silk Violin E, for 25c the lad was brought to Italy, whither with tools, and the wonderful Tune-a-Phone, our tory as this advice may seem, try for . ~ * English papers give an account of a child press against the . side of the stick and a slate. On the G the lines must be hori¬ Send for Violin and Cello Catalogue his parents were returning to take up patented instrument of precision In sound, make breadth; long, flowing lines—what the between four and five who is a student the seemingly difficult easy to understand by any¬ frog. The thumb tip should come oppo¬ zontal, on the A the bow should cross the their residence in their old home in one Dlplomagivengraduates. lfiyearsof success¬ French call “des gestes nobles.” At the MUSICIANS SUPPLY CO. at a well-known school of music in ful correspondence teaching. Write for free book. site the middle finger and the thumb strings at an angle of approximately for¬ Turin. When Willy was 4, he began point extend the arm fully—on the G London. This little lad is pronounced NILES BRYANT SCHOOL OF PIANO TUNING joints should not be bent. Also, in spite ty-five degrees. Not sometimes, but his musical career, leading an orchestra 1207 fine Arte Institute BATTLE CREEK, MICHIGAN always! There must be no uncertainty in especially. It is possible to us? the very a miracle by the professors of the insti¬ of the fact that the wrist must be.kept NEW GRAND MARCH in the Folies Bergere in Paris. A year one’s movements. Always the bow must minimum of bow and still avoid playing tution. He seems to see through prob¬ limp and supple at all times, the grip of STAR OF DESTINY later he appeared in the Costanza The¬ STUDY HARMONY in a jerky, petty manner. lems in violin playing with the same ease the bow should be quite firm. slant thus: On the G-, on the D ater, Rome, where for the first time he and COMPOSITION A paragraph or two back, mention was that a lightning calculator sees through Thomson recommended to his pupils led an orchestra of 100 pieces.. The by MAIL JiiytructioSeof°iIV-1 on the A \,, on the E \. Further¬ made of the habit of twisting the wrist, abstruse mathematical problems, adding that they slip a bit of rubber tubing over program was composed of Wagnerian, Alfred Wooler. when drawing the bow, so that the right up four columns of figures at once, and that part of the stick which comes in more, when playing on any given string, Beethoven and other heavy selections. * Tlllmptelc'ou^^ the bow must remain at the angle proper palm turns away from the body. This doing huge problems in cube root off¬ contact with the hand. He himself kept Practice’ them, allowing first one, then “The child took his orchestra before to that particular string; when the end serious fault can be overcome by master¬ hand without putting a pencil to paper. this tubing—which can be purchased at two, four, six, and finally eight arpeggios Czar. Nicholas in Russia, in 1913, and "ALFRED WOOLER, Mu.. Doc of a note is reached, the bow should ing the following exercises: This little London violinist recently came A 322 W. Utica St., Buffalo, N. Y. any drug store—on a 1 of his own bows. to a bow. conducted two concerts for the monarch. Working the rubber up the stick is a slant in exactly the same direction that it out with flying colors from a competition As - each arpeggio demands that you in violin playing, in which he scored In the same years his orchestra was fill¬ tedious task, but fortunately it does not did at the beginning of the note. (1) Play 3 = using the entire bow. make a series of curves resembling the YOUR STIFF FINGERS! On the G especially is this important; more points than other students from ing an engagement in London, and he have to be repeated often—once a year figure eight, learn to make these curves Can be made limber, strong was commanded to appear before Queen even at the extreme point the bow should twenty to twenty-five years of age. or so. depending upon the number of correctly by drawing figure eights in the ancf reconfmemled by Winefred Byrd, Levitzki, he kept parallel with some horizontal line When the end of the stick is reached, A cable from Rome to the Associated Alexandria of England, at Marlborough. hours one is in the habit of playing air while holding your bow as though Heifetz, Thibaud and many others. Send to-day. in the room—a wainscoting or picture the arm should be easily extended as $2.00 each or $5.00 for 3 post paid. Press gives an account of another re¬ He appeared before Pope Benedict XV daily. For the benefit of those who have playing. Carefully round the corners of frame. Admirers of Kubelik no doubt though pointing at some distant object; FINNEY FINGER STRETCHER CO. markable child musician as follows; in 1916. never seen a bow arranged in the manner the 8. Remember to keep the wrist sup¬ 3231-3 Wrightwood Aye.CHICAGO have noticed how scrupulous he is in this the wrist should be on a level with the Rome, July 17.—Willy Ferrero. aged “In April, 1915, just before Italy’s dec¬ referred to, I will describe in detail how ple—while maintaining a firm grip on the regard—and with reason. It is one of the knuckles, the fingers should hang straight, 13, who leads 100-piece orchestras in se¬ laration of war, Willy was presented it is done. bpw—and at every opportunity bend the Take a piece of rubber tubing 4% seemingly trivial details that make the and the finger joints should be close lections, of Wagner, Beethoven, Rossini, with the gold medal by the Italian Min¬ together. hand downward so that the ^nuckles are THE ETUDE VIOLIN STRINGS inches long by % of an inch in diameter difference between the artist and the The Standard Violinist Grieg and others, is an American and ister of Education, after he had made a (2) Next, without bending the arm let lower than the back of the wrist. This The ETUDE Strings are nearly as perfect as the high¬ and after unscrewing and removing the fiddler. Price 75 cents born in Portland, Me. The child has successful appearance in the Augusteum. your right hand drop until the bow rests last injunction cannot be reiterated too where he had conducted an orchestra and est grade imported string, but are much lessespensive. nut which holds the frog in place at the In order to assure himself that I had HE purchaser of this album will receive attracted the attention of Europe since on the E string. Make the change rap¬ often. T chorus aggregating 500 participants. end of the bow, work the rubber up over thoroughly grasped the principle of thirty-two selections suited to all possible he was four years old, but it was only idly. As you let the arm drop, by a light¬ Before concluding this little talk on the silver threads wound about the lower straight lines, Thomson one day asked me recently that his American birth was “All the players in the _ orchestra are ning-like motion bend the right wrist bowing I am going to mention, after con¬ occasions and within the range of the average part of the stick. When the tubing is to play a long-drawn note on the A revealed by his parents, who are Italians. men of long musical experience.” downward as far as it will go and at the siderable hesitation, an incident that oc¬ player. The wealth of material offered is THEODORE PRESSER CO., Phila., Pa. even with the end of the bow, cut a slit string. same time consciously turn the elbow in, curred soon after I went abroad to study. almost without equal in any other collection in the rubber—in order that the frog may “Hold the hand steady!” was his criti¬ One of the first acts of my master—a of violin and piano music. There is a separate be inserted—thrust the frog through the cism as I complied. “I notice a sidewise for the elbow will naturally twist out¬ Why the G String Gets Sharp ward if you let it. professor at the Paris Conservatoire— violin part as well as the violin score in the "I!Have Strong, Healthy aperture, taking care that the rubber rocking motion in your hand; you could Violin students are often mystified to G string tighter, and consequently rais¬ //•' Eyes. If they Tire, Itch, (3) Keeping the arm easily extended, was to shave from my bow, by means of piano part. A most desirable collection. nowhere comes between the frog and the not draw a straight line that way on a find that their G string, after they have ing it in tone slightly. The jaw should tor (i™/ if Smart or Bum, if Sore, return to the G string once more by the a penknife, the sharp ebony corner on !*5 stick, and replace the screw. slate. To make a long line requires the THEO. PRESSER CO., Phila., Pa. carefully tuned their violins and com¬ be pressed on the chin rest, and the chin Vf.,' K/r C Irritated, Inflamed or simple expedient of raising the arm until the frog against which the thumb comes The advantages of this rubber tubing same system as to make a short one.” menced to play, gets sharp. The cause YOUR LYto Granulated, use Murine the bow again forms a horizontal bar in contact. Pressing into the flesh of the should not be allowed to press on the are manifold. Once try using a bow that When called upon to go from a lower Arranging and Correction Mss. of this is that in many cases they allow often. Soothes, Refreshes. Safe for across the strings. Keep the wrist bent thumb for hours at a time, this corner tail-piece. If this is done, no trouble Infant or Adult. At all Druggists. Write for has been so prepared and you will won¬ to a higher string (from D to A, or A to A SPECIALTY the chin to press on the tail-piece, on the downward as you raise the arm. was causing me a great deal of unneces¬ will be experienced with the G string be¬ Free Eye Book. Murine Eye Remedy Co., Chicago der how you formerly managed to play E, etc.) take pains to make the change A. W. BORST, Presser Bldg., Phila., Pa. side nearest the G string. This tilts the Students—whether they are accustomed sary pain that could not fail to detract B ETUDE when addressing at all with nothing to give a secure hold smoothly. In order to avoid a scratching tail-piece downward, thereby drawing the coming sharp. to drawing the bow correctly or not—will from the value of my practice. for your fingers. Not only does the rub- sound, always hesitate imperceptibly and NOVEMBER 1919 Page 7J& THE ETUDE fHE ETUDE ■ rage U2 NOVEMBER 1919 Junior Etude Competition put it through this same formula, and the next day you will master the passage in a The Junior Etude will award three moment or two of ordinary practice. And tty prizes each month for the best and you will be so glad to find that your “nut¬ Excellent Gifts for neatest original stories or essays, and cracker” exercise really cracked the nut. answers to musical puzzles. Subject for story or essay this month: Students and Music Lovers “A Thanksgiving Story” (must relate to 1 It must contain not more than Dreams of Music Students l Folios of Music Specially Cash Priced for Gift Purposes HQ word*. Write on one side of the An Idea for a Recital | paper only. Any boy or girl under These Special Low Prices Will Be Granted Until Christmasand fifteen years of age may compete. - 1 Only When Cash Accompanies the Order. Sent Postpai AH contributions must bear name, age By M. E. Keating yi ^JUNIOR: and address of sender, and must be sent ALBUMS FOR BEGINNING, INTERMEDIATE to Junior Etude, 1712 Chestnut Street, It was past midnight, when suddenly |i Philadelphia, Pa„ before the twentieth of we found ourselves transplanted to un- OR ADVANCED PIANISTS _ November. . known regions. Josephine heard strains jj! STANDARD BRILLIANT ALBUM ETUDE The names of the prize winners and of the loveliest music, it seemed as if 5, Regular Price 75 cents Holiday Cash Price 35 ce Twenty-five pieces of a showy natut their contributions will be published in thousands of voices were singing. Such | Characteristic piano pieces, d tones! Clear; round and sweet. (Music sj» musically various moods, scenes the January issue. presslons. STANDARD ADVANCED ALBUM —Mermaid's Song from Oberon, Weber.) jj! Regular Price 75 cents Holiday Cash Price 35 cents In the September competition honorable Isabelle wandered far from home. She | AMERICAN COMPOSERS’ ALBUM A collection containing twenty-eight CONDUCTED BY ELIZABETH A GE.ST Regular Price $1.25 Holiday Cash Price 65 cenl classic and modern compositions. mention is given to Inez Potteiger, Mar¬ came finally to an old-fashioned house. | Excellent numbers, by representativ garet Williams, Graydon Heartsill, Alma The kind lady who lived there, was at f, American composers. A ciedit t American music.' YOUNG PLAYERS’ ALBUM Who Knows? Witzel, but no compositions were good work at her spinning wheel and was sing- |< Regular Price 75 cents Holiday Cash Price 35 cents CELEBRATED COMPOSITIONS BY No piano student of the earlier grades Thanksgiving 1. How many half-tones are there enough to be prize winners. ing a lovely song. (Music;—Spinning $ . . 1 _*. d-ic molnrlinns When I Went to the Concert Wheel, Wachs.) Soon she dreamed that f FAMOUS COMPOSERS To a great many people Thanksgiving in an octave? Regular Price $1.00 Hbliday Cash Price 50 cenl I went to a concert one beautiful day she was in a city standing on a street Si; means no school; to others it means an 2. When was Rubinstein bom? Puzzle S\ volume of such compositions a PIANO PLAYERS’ REPERTOIRE To hear a wonderful orchestra play. corner, listening to a hurdy gurdy. §g every good pianist delights in having a unusually good dinner and two helpings 3. What is meant by maestoso? In each of the following sentences is Regular Price 75 cents Holiday Caah Price 35 ce 4. Is the “Queen of Sheba” an opera (Music—Tarantelle, Rogers.) Jane was S< hand.„—- Fine material for light recital woi of desert; to some it means having com¬ concealed a musical term. Each of the or seif-amusement. enjoying herself in a little folk? theater ^ COMPOSITIONS FOR THE PIANOFORTE pany ; to others it means going away; and or an oratorio? five terms are of equal length. When painted in rainbow colors. The Punch w BY WOMAN COMPOSERS STANDARD PARLOR ALBUM to a great many it means—nothing at all. 5. What is a chorus? rightly guessed and written one below Regular Price $1.25 Holiday Cash Price 50 cents Regular Price 75 cents Holiday Cash Price 35 cents 6. For what was Guido d’Arezzo and Judy Company were entertaining the fg Some of tbe best representative com¬ Melodious and entertaining are tne No matter where or how you spend the another, the letters indicated by the num¬ positions by successful woman com¬ famous? young folks. Jane liked the Marionette | forty-one pieces in this album. day, try to make it mean something, and bers 1 to S will spell the name of an posers. remember that you have things to be 7. How many operas did Beethoven dance best (Music—Marionettes, Rhode). STANDARD FIRST PIECES American composer. Lucille wandered about in a beautiful MASTER PIECES FOR THE P^NOFORTE Regular Price 75 cents Holid ay Cash Price 35 cents thankful for as well as other people. write? 1. This core is of an apple. meadow where she was chasing butter¬ Regi:ai/^masterpieces selected from great Full of melody and mostly lying in If you take part in a Thanksgiving reci¬ 8. Who wrote Aida? 2. Before he fell into the pit, Charles the second grade. 9. Of what nationality was Monte- flies. It was early in the morning and composers. - tal, do it in such a spirit of gladness that had given his rope to John. the lark was singing his morning sere¬ MODERN DRAWING ROOM PIECES yourself and your audience will be glad to verde? 3. The last affair was on Sunday. hear you play. If you do not take part in 10. From what well-known composi¬ nade. She lingered and listened to his Reguisr Price $1.25 Holiday Cash Price 65 cent* 4. What she did was to nicely arrange A popularpopul: album and of a wide appeal a recital, play for someone privately, and tion is this taken? joyous song (Music—Hark, Hark the pianists Lark! Schubert). Catherine was across be glad that you can play and have some 5. Bob raced for ten miles and then SUNDAY PIANO MUSIC STANDARD STUDENTS’ CLASSIC ALBUM one to play to; and your friends will be the Atlantic Ocean many miles from tegular Price $1.00 Holiday Cash Price 50 cent. Regular Price 75 cent. Holiday Cash Pries 35 cent. suddenly stopped. home. She was riding in a beautiful • Dignified, stately and worshipful The very best composers, classical glad to listen; and you will be glad that _ - - - 2 and modern, are represented in the gondola in Venice (Music—Gondoliers nusic for all Sunday playing. forty-eight compositions in this album. they are glad, and they will be glad that _ - - - S Song, Kohler). Joseph was far away in i CONCERT DUETS you are glad that they are glad! - - 3- $1.25 Holiday Cash Price 65 cen SOUVENIRS OF THE MASTERS Schumann Land in 1809 instead of to¬ Answers to Last Month’s - - - - 4 'our excellent piano duets o By Geo. L. Spaulding day. At the Schumann home he saw a good character. Regular Price 75 cents Holiday Cash Price 35 cents Musical Games to Teach Questions Robert at the piano composing little Twenty-seven famous melodies in easy 1. An English horn is a wood wind MUSIC LOVERS’ DUET BOOK arrangements, each with appropriate in- pieces he loved. Joseph will never forget Regular Price 75 cents Holiday Cash Price 35 c troduetorv material and text for sing- excellent for instrument, often used as an alto oboe. Answer to September Puzzle this haunting melody; it comes o’er his MediumixieuiUJLU gradegiaue uueis, exceneui By L. Rountree Smith 2. An aria is an extended solo from diversion and sight-reading practice. Prize winners: Jennie van Dungan, ear like the “sweet south wind that : OPERATIC FOUR-HAND ALBUM an opera or oratorio. (age 12), Detroit, Mich; Juliet Gaillardet, breathes upon a bank of violets (Music TWO PIANISTS Regular Price 75 cents Holiday Cash Price 35 cents 3. Rossini was bom in 1792. Regular Price $1.25 Holiday Caah Price 65 cent. *Vn excellent four-hand book, contain- No. 1. Musical game to teach notes on (age 13), Manchester, N. H.; Anthony —Melodic, Schumann). Clayton joined Brilliant and popular duets for the 4. Stephen C. Foster wrote “Way ing immortal melodies from the stand¬ lines of the Treble Clef. Janosky, (age 15), Bridgeville, Pa. a hunting party and was on his way to ard grandoperas. ■ The children are in a circle. _ They down upon the' Swannee River.” the woods. It was early morn, and the POPULAR RECITAL REPERTOIRE STANDARD DUET PLAYERS’ ALBUM choose a leader, who stands inside the 5. Leschetizky was a pianist and Honorable Mention sun was just peeping over the hills. The Regular Price 75 cents Holiday Cash Price 35 cents Such pieces as Dvorak’s “Humoresque Regular Price 75 cents Hoi idav Cash Price 35 cents circle. They skip round singing to the teacher of many present day concert Alethea Neal, Mabel Gerard, Anna Jes- earth looked beautiful in her mantle of V collection of medium grade four- and Schutt’s “A La Bien Aimee" are m- hand pieces in different styles. tune of “Cornin’ Thru’ the Rye”: pianists. sen. Fred Lattner, Margaret Williams. green, covered with jewels of dew. The A great big fat fellow. Stood up in the middle. 6. A fugue is a composition developed If you want an introduction Anita Marcotte, Laura Putnam, Mary Sue galloping horses, excited dogs, and music I’ll never forget that beautiful day Treble Clef to know, contrapuntally from one or more themes, of the hunting horns, was a memorable ; FOR THE SINGER When I went to hear the orchestra play. Wiley. THE STANDARD VOCALIST Come and join us in our circle. each being of equal importance with the dream (Music—Hunting Party, Sptnd- Singing as we go, other. Regular Price 75 cents HoUday Cash Price 35 cents ler). Dorothy dreamed she was in a \ Fifty sacred and secular songs of Notes upon the lines we’re learning, The Chant of Ri 7. Geraldine Farrar is an American. Nut-crackers swing in a cool orchard. Birds were j average compass for every possible pur¬ of the Treble Clef, 8. A console is the keyboard pedal- Have you ever tried to learn a clumsy, tion which is desired when ordering. pose. By Lillian Blackstone singing sweetly and a golden shower of ■ So reading upward we will name them, board and arrangement of stops of a rapid passage, and succeeded in a very sunbeams fell through the leaves, and ; E-G-B-D-F. pipe organ. STANDARD SONG TREASURY (A myth based on the Hindoo tradition his ceremonial chant that he might escape short time? It gives a delightful sensa¬ elves were dancing on the shadows. ; The children pause and face in toward SINGERS’ REPERTOIRE Regular Price 75 cents Holiday Cash Price 35 cents death. 9. Senza accelerando means “without tion, does it not? But—have you ever (Music—Shadow Dance, Meyerbeer.) i it Price 75 cents Holiday Cash Price 35 cei the centre of the circle, and the Leader that each tone of the music scale was Fortv-eight selected songs, chiefly for All went well till Ri, one of the hurrying.” tried to learn a similar passage, and m Nellie dreamed she lived in the days of i album worthy of being in tl medium voice* suitable for church, home points to any child, calling out quickly, under the protection of a nymph. The 10. Repetition mark is sometimes -e- onv sinew. The thivt.V-S nymphs, became jealous, thinking too spite of endless repetitions, you could not long ago, when people dressed in laven¬ first line, fourth line, etc. The child notes were named after these nymphs.) placed in a measure instead of writing much attention was being paid to Sa. She master it? That gives quite a different der and lace. She was standing beneath called upon must give the name of the When the Rajah heard that Nakula, a refused to come any more and the musi¬ out the notes, and means that the measure sensation! These hard nuts are the most the mistletoe with a gallant knight, ready FOR THE VIOLINIST note on the line called for, or go out of minstrel in his court, wished to marry is to be played like the one preceding. cian was at loss, for without Ri he could interesting ones to crack, and any ex¬ to dance the stately minuet. (Music— SELECTED CLASSICS the game. above his caste, he became very angry OPERATIC SELECTIONS not finish the music. cise that helps one to overcome such dif¬ Minuet, Mozart.) Betty dreamed she for Violin and Piano for Violin and Piano The song is repeated and all skip round and ordered the man to him. Regular Price 75 cent. Holiday Cash Price 35 cents Each day Nakula went down to the sea Letter Box ficulties might be called “nut-crackers. heard the vesper chimes that rang sweetly Regular Price 75 cents Holiday Cash Price 35 i the circle each time after a child is called The best melodies from all the str Practical and effective arrangements “What do you mean by this?” he thun¬ where she lived and would offer her the Dear Junior Etude : Here is one. from the village church in the valley. of the gems from tbe works of the great upon, and the game continues until no ard operas, arranged in a masterly n dered, and then was quiet so that Nakula juice of the Somo and would pour pure The Etude is the best musical maga¬ Play the troublesome passages some¬ (Music—Angelas Chimes, Gounod.) ner All of intermediate grade. children are left in the circle. might utter his protestations. If the butter on fires that she might be ap¬ zine that I have read. There is some¬ what slowly and accent it unmusically. Gladys dreamed she was in a beautiful THE STANDARD VIOLINIST No. 2. Musical game to teach notes in Regular Price 75 cen's Holiday Cai musician did this, the Rajah would then peased. But Ri pretended not to notice thing in it that makes me love music Do you know what that means ' The first park filled with flower gardens and in the within the range spaces of Treble Clef. Tbirty-two selections suited to all possible occa have sufficient reason to command his these offerings, and stayed at the bottom more and more every time I read it. time accent every other note, then the The children are in two lines fating distance a crowd of young folks were of the average player. death. of the sea. I have always longed to enter one of first of every three notes, then every gathering flowers, singing a lovely song each other. But Nakula was frightened and said Soon word came from the Rajah that the competitions in the Junior Etude, but fourth note, then the fifth, always playing FOR THE ORGANIST They skip forward and back, saying: that floated on the summer breeze. nothing. the Ranee’s birthday was at hand and as I live so very far away, it would be the notes between the accents pp- THE AMERICAN ORGANIST ORGAN RFPERTOIRE Notes in spaces, notes in spaces, (Music—Children’s Song, Kohler.) Then Regular Price $2.00 Holiday Cash Price “Well,” thought the Rajah, “if I fail that Nakula must appear with the music. too late. You will find this a clumsy exercise, no Regular Price $2.00 Holiday Cash Price $1.20 Look to us like smiling faces, day dawned, and as the spirits passed A companion pipe-organ volut now I will surely succeed another time.” Nakula, thoroughly frightened, hurried Last spring I went up for a university doubt. Then practice the passage in these A pipe-organ collection, cloth bound, Organ Player, cloth hound. Counting upward you will see, away, Frances faintly heard in the dim of unusual worth. To Nakula he said, “I want some music at once to-the sea. examination in piano and theory, and I F-A-C-E. two dotted patterns: morning gray, a chirp, a trill, then a THE STANDARD ORGANIST composed in honor of the Ranee’s birth¬ He stopped in amazement as he neared passed in both, and great was my joy burst of music gay from awakening birds. THE ORGAN PLAYER Regular Price 75 cents Holiday Caah Price 35 cents A child runs through between the lines In this album there are forty-three day; see to it that it is prepared soon. the place. Ri was sitting in the sun’s when I received my certificates! Regular Price $2.00 Holiday Cash Price $1.20 saying, “ I stop at the first space, who (Music—Daybreak, Keating.) One of the best pipe-organ collections moderate-length compositions suitable Otherwise, you will die.” rays and smiling at him. Not long ago I went to a concert by for all purposes and written in all styles. will let me in?” The first child to re¬ obtainable, cloth bound. “I will help you finish your song,” she spond, “F will let you in,” changes places Nakula took his flute and went to the one of Australia’s best pianists, who is said, “if you will name it after me.” with her and the game continues, the meadows, and there he prayed that now giving concerts in America. Hey diddle, the cat on the fiddle Send All Orders to So Nakula promised and the chant was Wishing the Junior Etude every suc¬ children skipping forward and back as Surya, the sun, might send him aid. Is learning to play a fine tune. finished: and it pleased the Rajah and cess. before. The child who runs through be¬ So Surya sent the nymphs and they The squirrels and bees Theodore Presser Co. :: Philadelphia, Pa. tween the lines may name any space she came one by one and crooned soft melo¬ Ranee so much that the musician was Your Friend, And the birds in the trees, placed in a high caste and ordered to No matter what the melodic or har¬ wants to stop at, and the first child to re¬ dies in Nakula’s ear; and the minstrel Thea Forbes (Age 11), Come to listen by light of the moon. marry at once. Richmond, Australia. monic structure of the passage may be, spond takes her place. was overjoyed and set to work at once on NOVEMBER 1919 Page Vw the etude THE ETUDE Nursery Tales Retold (Four- New Anthem Child’s Own Book of Page 7-U NOVEMBER 1919 Easy Arrangement of Hand Pieces for the Pianoforte) Holiday Book Great Musicians—Verdi The Superb Gift Celebrated Pieces By Geo. L. Spaulding Offer For Music Lovers We will issue a volume of celebrated Every year it has been our custom to Verdi, the great tune maker, the idol Teachers and students will welcome the In another part of this issue will be compositions of the great masters. We select from the very best anthems pro- of all Italians, and the master who re¬ announcement of a new book of easy A set of Grove’s Dictionary of Music duced during the year a volume-last made himself when lie was an .old man, and Musicians! What could lie a more found our thirty-first yearly holiday offer. have in our catalogue some of the best, duets by Mr. George L. Spaulding. Hus year’s volume was called The Volunteer proved one of the finest subjects which delightful pleasure or a more acceptable We begin the holiday offer with the No¬ easy arrangements of the classics, in fact new volume is similar in style and grade Choir. We have not as yet selected a Mr. Thomas Tapper has included in h s gift to a music lover? Every individual vember issue as the December issues is there is scarcely a popular classic that to Mr. Spaulding’s other successful books, very often too late for the far off points we have not had a simplification of in name for the one this year so we will call highly interesting series for little chil¬ You and I. and Just We Two. There is interested in music will find this en¬ li the new anthem book. These hooks dren. These "scissors and paste books cyclopedia of music of untold value. It to take advantage of these special prices. some form and by good authors. Mosz- an ad lib. text by Jessica Moore. Some In these times mail is very irregular , and kowski has lately arranged for us some have been extremely popular, some of the which the child puts together hmisclt a.e of the old nursery rhymes are retold m represents years of earnest work by ex¬ most sought for works in our entire very fascinating. Anything a child takes perts in the various branches of music. delays about the holidays are sure to half-dozen pieces in this way and some ot modern style with new and characteristic catalogue.8 They give the choirs from delight m is always good educational It is an indispensable refer nee work and come, therefore we advise those who are them at least will be included in the music. In point of difficulty these little its five volumes bound in cloth and seeking presents along the musical line to volume. It can be seen at-j|gthat this twenty to thirty anthems of the choicest method.” Thousands of children have duets are all in the first grade or just stamped in gold make a pretentious and take advantage of this offer now. This will be a very valuable-aluable collection for kind at a very reasonable price. The liked these books and more a trifle beyond. highly useful gift to a music lover, lie that year can lie added the talking machines teaching purposes and for education. mere announcement of this work is suffi- would know them if they had ever seen The special introductory price in ad¬ music lover an individual with music as and records to the presents. We have in Our special advance price for this cient for its notice by those who have an actual copy. vance of publication is 30 cents per copy, an accomplishment or a teacher, a stu¬ storage a large stock of talking machines taken advantage in the past of these Send for a copy of any of the follow- volume will be 40 cents. 18 cents postpaid. dent, an orchestra or chorus leader. which are reserved especially for gifts. offers. The offer will remain in force only jng already published NEW WORKS. Christmas Musie for the The price is $17.00 and at this price the a short time so take advantage oiof it wnnewhile (postpaid):(postpaid) - Bach, Beethoven,T! Chopi.., ... im it lasts. The anthems will be within the Wagner, Handel, Haydn, Mendelssohn, Standard Elementary Album Advance of Publication Offers^— ^ Church and Sunday School purchaser obtains the latest revised The Subscription Price Finger Gymnastics edition of a work that the original pub- reach of the average choir and nothing Mozart, Schumann, Schubert. Tf for- the‘ ’Pianoforte We bring, this year, to the attention of euiuim ui ci wwii\ of the Etude $2.00 per Year By I. Philipp .. _e (Verdi) when it com November, 1919 p^e choir directors an incomparable stock, Ushers sold for $25.00. very difficult will appear in the collection. want the --- This is a new album in our series, On December 1, 1919 This book is now recei ing its final Our special introductory price . send us twelve cents, the special i printed from special large plates. It will Advanced Study Pieces. replete in grades to satisfy every musical proof reading and will lie going to press Brahms’ Waltzes, Op. 39. taste and attainment, including important All that we have said under the Pub¬ 20 cents, postpaid. troductory advance price offer. contain•ontain a most unusual nnumber of teach- Etude Prize just about the time this issue will ap¬ David Bispham’s Album of Songs. works for the most elaborate service in lisher’s Note “Mail Order Buying” we ing pieces, lying in the first and si-ium. Difficult Four-Hand Album. Contest could reiterate here as regards the ques¬ pear. This therefore, is positively the grades. The material is all comparatively commemoration of the Nativity. Effec¬ Standard American Four-Octave Easy Arrangements of Celebrated Pii In accordance with our announcement, tion of the manufacture and the price of last month in which this important and new and fresh; some of the most .success¬ Favorite Old-Time lunes, V " tive services can be arranged by the use original work can be purchased at re¬ of oratorios and cantatas, such as: the Etude Prize Contest closes October this magazine. Album Keyboard Chart ful contemporary composers being repre¬ Finger GymnaBtics, Philipp. duced rate. The work will be more than A Christmas Oratorio, by W. W. Gil¬ 1st. The final results of the contest will It is with regret that we announce that Music, by American composers, was We will issue in a short time a chart sented. The pieces are all gems; each First Studies for the Violin, Hoffman, double in price next month. Op. 25, Book One. christ. be announced just as soon as possible, but it is absolutely necessary that we raise never so much in demand as now. Our „f the keyboard to lie used for children piece representing some of the very best Four Octave Keyboard Chart The Holy Night. Cantata by Lucien G. as there are nearly 1,000 manuscripts to the price of The Etude again, and that Our special advance price during the entire catalog is rich in an unusual num- iind beginners in kindergarten work. This work of its respective composer. Introductory Polyphonic Studies. Chaffin. be examined and as each individual manu¬ December 1, the price will lie $2.0(1 per present month is 50 cents per copy. We her of fine compositions. We are proud chart can be placed back of the keys ancl The special introductory price in ad¬ Left Hand Studies, Sartorio .... • The Morning Star, by John Spencer script will he given due consideration, the year. No other course is left open to us. have given in back issues detailed infor¬ of this, and the selection of the fine pieces win gjve the name of the key, the location vance of publication is 30 cents per copy, Musical Theory and Writing Book task of the judges is by no means an easy mation of the character of this work which New Anthem Book.. Camp. We hope that it will be possible for us which are going into this new work hos on tlie staff and everything connected postpaid. New Indian Song Collection, Lieurance. The Wondrous Light.. Cantata by one. We wish to take this opportunity to give much better service than wc have can easily be seen by consulting the fore¬ been carefully made with a view of en- with it. This at once can be seen will Nursery Tales Retold, Four Hands. Robert M. Stults. of thanking all those who have contri¬ during the past war times. going numbers. aiding the teacher to have pieces that are assist the child in memorizing the key- pavorjte Old-Time Tunes Spaulding . The Greatest Gift, by H. W. Petrie and buted to the contest for their interest and It was with great regret, and with the good teaching pieces for the intermediate board. It can also be used for five-finger Vinlin onH Pin no Old Rhymes with New Times, Hamer. The King Cometh, by‘Robert M. Stults. to express our gratification at the large utmost hesitation that we made the raise grades, hut are nevertheless character- exercises by placing it on the table. Of For Violin and Piano Part Songs for Men’s Voices. number of entries. New Indian Song Collection Standard American Album. Any one or all of these cantatas will from $1.50 to $1.75. Only when it was istic of the work of a considerable group course these exercises will be silent but This collection consists chiefly of jigs, Standard Elementary Albnm. be sent for inspection upon request. absolutely imperative that we receive By Thurlow Lieurance of American composers. At this time ap the better for that. Lately these reels and other old dances and also a few Teaching Song Album. Anthems are greatly in demand for Mail Order more income in order to continue its pub¬ Mr. Lieurance has won a national repu- such a collection should prove in great charts have become very popular^and *”•“ of the traditional old songs. They arc all Twelve Melodious Studies for Acquiring Christmas services and while our Christ¬ i countless Scan- about the only thing in the chart line that arranged in an easy, playable and thor¬ Music Buying lication, did we take this step. y his Indian melodies. They have demand. We ha< Certainty, Sartorio . mas octavo numbers include the names of When we say that almost every item ._ .... , _ i recommend. oughly effective manner. Every violinist Twenty-five Melodies for Eye, Ear and At no time in the history of the world, ilion up for concert work by nearly dinavian, Russian, English, Scotch, Irish, many popular composers of church in the manufacture and care of this jour¬ all the leading singers. This volume will Spanish, Hungarian and German albums, Qur Special advai : price is but ‘ should have a book of this type at hand, anthems we have added the following to let alone in our own short, small business nal has increased well toward 100 per but few even pointing to good American cents since there is a great demand for all lives has such a price condition existed contain only his very latest compositions an already large catalog: cent, in cost, our problem, which we might music. American teachers will certainly of these dances as well as the traditional as at the present time. Apparent pros¬ and all of them are gems. Among them In Bethlehem a King Is Born, by W. almost call a predicament, can be appre¬ will be: The Wounded Faun; Dying Moon want this fine collection. songs. Christmas Gifts of perity surrounds us. Because of the in¬ ad- Berwald; It Came upon the Midnight ciated. Flower: Spirit of Wanna; From an In¬ Send 50 cents, our special introductory Old Rhymes With New Tunes The special introductory pric Clear, carol anthem, by ,1. ,1. McGrath; creasing price of everything that we pur¬ Victrola Records The end has not yet come. We had dian Village; Ski-bi-bi-la: By Weeping , irice, and a copy of this hook will lie sent Six Piano Pieces vance of publication is 20 cents per copy The use of Victrola Records as a Behold I Bring You Good Tidings, by E. chase, because of the abnormal basic cost, the day of s publication..ki:,...+;. postpaid. and no doubt primarily labor conditions, an increase in paper during the current Water: In' Mirrored Waters. It will also to y By George F. Hamer Christmas remembrance is extremely ap¬ H. Sheppard,'and Sing 0 Heavens, by month, labor has again increased its cost it behooves all of us to purchase as eco¬ have an illuminating introduction by Mr. propriate for music lovers. It is also R. M. Stults. to us, and last but not least the United Lieurance. This introduction will take These six dainty little pieces will be We have also made new editions of the nomically as is possible, to give the great¬ Left-Hand Studies Difficult Four-Hand Album a remembrance tllllt does not belong to States Government, through the Post almost the form of a lecture and can be published in pamphlet form limply’ lie- following standard anthems: est thought and care to our purchases. for the Pianoforte the useless gift type and furthermore will Office Department, has added to the maga¬ used in connection with the songs for re- By A. Sartorio, Op. 1136 they are so characteristic anil Adore and Be Still, with Violin Obb., The immense business with which the present the recipient with many enjoy¬ zines of tlie country an additional tax An interesting set of ten study pieces united. They are the best set of Mother This volume is about ready, and the able moments during years to come. At by Chas. Gounod; Arise, Shine, by F. C. Theodore Presser Company is favored is Goose Melodies that we have ever known special introductory offer will lie with- beyond that of any other business. The qiecial advance price for the for the left hand alone is this work which this time great reductions have been made Maker, and Adeste Fideles {Come, All Ye almost entirely a Mail Order Business anil rather descriptive. They a both drawn after this month. It is one of tin- increased cost of postage alone (hiring s 50 cents, postpaid. will simplify in a practical manner all the to bring the reproductions of great artists Faithful), by John Reading; arr. by with the teachers and schools of the coun¬ for the piano and voice, written most attractive collections of the kind try, increasing and successful because of the year ending July 1, 101!), was almost usual technical demands which may lie within the reach of everybody. Reduc¬ Novello. $10,000. The amount is doubled this year, staves and can be played or sung. They ever offered. Among the composers, rep¬ For solo work the following will be the care which we constantly exercise to made on the left hand in the average run tions of one-third to one-half of the will have another addition to it next year, Twenty-Five Melodies for of pieces. Although for the left hand are extremely melodic and the child will resented either by original four-hand former prices have been made and for found admirably suitable: Baron of Hope see that every advantage is given to the lie delighted with them. pieces or by special new arrangements, (three keys), by H. R. ShelLy; Glorious' music teacher. Our rates of discount, our and another addition the next year. If Eye, Ear and Hand Training alone these studies' are written upon two the convenience of the patrons of the Congress,does not come to our rescue, the staves and are complete both as to melody They can be purchased for 25 cents a are Rachmaninoff. Grieg, Tsohaikowsky, Morn (three keys), by W. H. Neidlinger; method of dealing, our system of prices By Mathilde Bilbro Dvorak. Moszkowski. Berwald, Cui, Gott¬ Theodore Pressor Co. a specially selected are always considered from the view¬ rate of postage on magazines will then and to harmony, the advantage of having copy in advance of publication; not Glory to God (two keys), by Julian Ed¬ n sheet form. sehalk. Raff, anil Brahms. list of Red Seal Records will he found wards; Star of Peace (three keys), by point of the teacher, first. remain at that fourth raise in price. Mathildc Bilbro's various study books studies written in this manner is that it the price of one of thei Every one of our .subscribers can do the have become very popular among teach¬ focuses the attention of the student en¬ The special introductory price in all¬ on page 747. Look over these numbers H. Parker; Angel’s Message, by F. We have retained our prices without iance of publication is 50 cents per copy, and place your order early, as in many any change just as long as we possibly magazines and the reading educational ers and students alike. Her most recent tirely upon the one hand. These studies A. Clark ; There Were Shepherds, Violin Teaching Song postpaid. cases the demand for records is exceeding could, in fact, too long. We have made a public of the United States a service by hook is entitled: Twenty-five Melodies for will lip in grades three and four. Obb., by R. S. Stoughton; the last named Eye. Ear and Hand Training. The book The special introductory price in ad¬ the supply. composition is just from the press and is few upward changes, far less than those writing to their Representative or Senator Album that have come to us. We have made no is just what its title implies. The various vance of publication is 25 cents per copy, I to fail to Musical Theory a fine dramatic number for soprano voice. appealing to them to use their influence study pieces are so planned as to afford Many voice teach We predict a large demand from sing¬ changes, as many others have, in the postpaid. and Writing Book New Music Packages toward the repeal of these zone postal practice in sight-reading, especially in the realize that the mus.._ .... . -„ — privileges, in the favorable conditions of the songs, should be as carefully graded oy (]arj ers looking for a really good Christmas use of the leger lines. The pieces have Venth “On Sale” trade which we offer to the music teacher. Advanced Study Pieces as the pieces. The great difficulty is in , . . song with a grandioso refrain. All subscriptions received by us prev¬ musical value as well as technical value, -ntury, theory hock will In addition to. one of the most used, Sunday School superintendents will be We have no idea of taking from any of finding songs suitable to the earlier ious to December 1, 1919, will lie accepted thus affording opportunities for develop¬ for the Pianoforte he welcomed by a great many of our and most helpful parts of Oiir business, interested in the following list of grouped our past liberal methods. Our “on sale” grades. The forthcoming collection is at the present rate of $1.75. The price ing the ear anil the hand at the same subscribers. In the first place it is very viz: the sending of selections of music to carols and complete Christmas services: plan will remain exactly as it is. The of moderate and made up of songs suitable for the be¬ per copy of 20c. will remain the same. time. This book could be used to good advanm, difficHity‘ which, addition to simple and combines practical work in teachers and schools to lie kept the en¬ Christmas Praise, six carols, by H. M. “on examination” privileges which we ex¬ ginner in vocal music and the student in Subscriptions received by us after Decem¬ advantage at the beginning ot the third Uu,ir ITnlsjoal val„e, will iver equally writing in one and the same book. It is tire season, used from and returns of un¬ Staton; Standard Christmas Carols tend to onr teachers on our immense the “moderately difficult” grade. Printed ber 1. will lie at the increased price of grade work, when the student Is about well as studies.- -It■ is■ just such pieces just such a work as can be taken in con¬ used music made at the end of the season (mostly traditional) ; Glad, Tidings, a stock of outside publications will not be upon special large plates, they afford the changed. It may he necessary from time $2.00 per year. No one knows what the finishing the second grade. as these which go to make up this new nection with piano, voice or organ lessons. in June or July, we supplement with what complete service, by R. M. Stults and student a great deal of very excellent to time to raise our prices in order that future holds for us. While we do not The special introductory price in ad¬ volume. Each number will lie found to It can lie finished in the course of a year's others; Joy of Christmas, a complete serv¬ music, suited to his lesson needs, at a study along with other branches. The we term Monthly New Music “On Sale.” ice, by R. M. Stults and others; With we remain in business, but we desire to in¬ solicit renewals in advance, they will be vance of publication is 30 cents per copy, have some definite technical value, based price far below the actual cost of the author is a thoroughly experienced com¬ This means that from October to May, form the music teacher, music student, accepted for as many years as our regu¬ postpaid. upon some passage or passages of partic¬ Joyful Song, a complete service, by R. sheet music. poser and teacher. No conscientious anil or.ee each month, we send a package of E. DeReef and others. and the great music-loving public of the lar patrons desire. Cooperate with us ular interest or importance. The pieces Forty cents is the introductory price are largely in a characteristic vein, good earnest pupil can escape studying more either eight or fifteen pieces of new piano A specially selected list of organ num¬ United States that their interests will be in these difficulties. The usefulness of made now in advance of publication. David Bispham’s for recital purposes in addition to their or less theory; this is indispensable to a or vocal music to any of our patrons who bers suitable for preludes and postludes carefully guarded in every move that we The Etude will not be impaired. Every includes. Alleluia, by Geo. Noyes Rock¬ make, in every condition that arises. Album of Songs value as practice pieces. rounded musical education. One might go desire these packages at the regular “on student should be a subscriber. Send through the realms of music without this well; Adeste Fideles, by Geo. E. Whiting; Our organization for the filling of Mail The special introductory price in ad¬ Introductory Polyphonic sale” discount and on the same terms. A If the •aders of The Etude, interested hut he would be groping in the dark; Adoration (from Holy City), by A. R. Orders, for the making of selections, for us one new subscriber beside your own vance of publication is 35 cents per copy, postal card will bring whichever size ., could sit beside Mr. David Bis- Studies for the Pianoforte theory enlightens. One might get along Gaul; Festival March, by Chas. Fr. the general needs of the music school and subscription. postpaid. package is desired in any or all of the pham, while he is engaged in completing After a student has passed the elemen¬ in the fog or in the dusk without stum¬ Matter; Hosannah, by Paul Wachs. music teacher is as good as it has ever classes. A postal card will stop them. this important collection of Art songs, tary stages, one of the first requisites is bling or falling but it is not the bright, In selecting material for Children’s been. It has improved since the war Order and note the extreme care and attention Valses for Pianoforte to acquire thorough independence of the In addition to the piano and vocal sent Christmas Entertainments, directors ended. Orders are attended to with the clear daylight. Theory in music supplies in the two sizes of packages, we send By Number that the great American baritone is giv- g j Brahms, Op. 39 hands. In addition to mere mechanical all this and much more. There is no more should not overlook the possibilities of greatest promptness. It will not be long ing to this work thev would realize how J about four times during the season, a the Toy Symphony. Wc have two for the before every order that arrives on a cer¬ Our own publications in sheet form anil independence both the mind and the eye reason for a person using a word with¬ valuable the book will be. His volumi- These sixteen Vaises serve to display are involved. For training of this nature, out knowing its meaning than for a per¬ package of octavo music divided into occasion: Christmas Toy Symphony, by tain day will be filled on that day. in octavo are kept on our shelves by the nous notes, marks of interpretation and Brahms’ ingenuity of treatment in ins sacred and secular. We send organ and PI. D. Hewitt; Christmas Beils, by Arthur Our catalogues and terras of dealing number and not by the name, therefore Polyphonic Studies are needed; studies in son to play a chord without knowing its phrasing alone make this one of the most idealization of the waltz rhythm. woTh eyin which each hand has an independent melo- meaning. We have been an advocate of violin music as well. Seidel; also an operetta, Santa Claus’ are free for the asking. We are equipped an order that simply has the numbers is notable publications of its class by any are short number of a page - all be dy or voice part of its own. Our new theory and m'ore theory in season and out Any or all of these classifications will Party, by L. F. Gottsehalk, which can be to take care of the orders of every teacher more easily filled than when the names publisher in many years. We are just length. o arranged that they produced without scenery and with very and every school in the country. Orders are given, and these times when clerical i succession if desired; each book of Polyphonic Studies consists of of season and every conscientious teacher be sent to any of our teachers on the Hitting on the finishing touches, and played numbers culled from many sources, to¬ simple costumes. for one piece receive exactly the same at¬ labor is so scarce this is quite an item. i itself. These Vaises should do all possible to introduce into “on sale” plan. They are all most valu¬ Mr. llispham will soon send the last copy gether with some which have been spe¬ private teaching and classes some knowl¬ All Christmas music is subject to our tention as a yearly stock order of music. Very often orders would be dispatched highly original and well contrasted. They able, not only leavening the regular “on to the printer. Most of the book is al¬ cially written and arranged. edge of the theory of music. This book best professional discounts and any num¬ Every customer of ours can be abso¬ much more quickly if the numbers were ready engraved so that the special intro¬ range in grade from four to six. sale" package of the year, but furnish a bers will be forwarded “On Sale” to those lutely certain that their orders will he The special introductory price in ad¬ The special introductory price in ad¬ exactly fills this need. constant small supply of modern^ novelties. attached to the order. This is equally ductory offer will have to be withdrawn vance of publication is 40 cents per copy, Our introductory price is 50 cents per interested. A more complete list of taken care of in the most efficient and the true with the trade orders as well as the shortly. vance of publication is 20 cents per copy, postpaid. copy, postpaid. A book of studies or a collection is some- Christmas numbers will be found on page most prompt and economical way that is profession, so when possible use the num¬ The special advance price is 50 cents. postpaid. ’ t'mes included. 718 of this issue. in the power of our organization. bers when ordering our own publications. NOV EM BEE 1010 Page 71,7 THE ETUDE the etude Interesting Facts about the Czecho-Slovak Musicians Victor Red Seal Records and Composers ONE-HALF FORMER PRICES ccptcd‘ srECIAL CLUBS ::::::::::::: ::: *5:28 125 sSSaaiSuS Liturgies are found in the reed ::: *l:£l}th$2.50 Boy,?sDE>fe‘::::::::::: The spiritual Chorale of St. 1 Piscina-:::::::: :::^}f”2.75 Si tev.:::::::: ::: ^}th$3.00 [“i „®.?,«,frDT.isr‘4i, ::: W??105 CATALOG SERVICE cSSian'iieVkid':::: :::?^ir?3.50 &SSS opinion::::: ::: *lil}t**3.50 SIS® «i:55)Sb,5.00 Special Notices MUSICAL AMERICA W^k“dlNeS&‘Xvoteld,Cto EE* ANNOUNCEMENTS PIANO SOLOS WANTED and FOR SALE iisEHT :'r 3 DURAND, E. . V/2 .60 ELLIS, JOSEPH SSffi’.. ■:$ 1 Tte MUSIC TRADES KStflSftMsrS dustnes. Contains alt the News. grScSS'lrSrls; IN THE RETAILING OF CUT OUT RECORDS I CAL INSTRUMENTS }£i^as^ss^ n Price: lor One Year: £&££&*=*■ f t£‘szsrsr^sis«^ssu.zt Price Prile The Latest Anthem ss Ssssrr' 1 Publications l 3 The Piano 6 Organ -SK“.., 4 Purchaser’s Guide i i:l I ililg^ i: I For 1919 1580 The Twenty-third Ann THEO. THEODORE PRESSER CO. A Perfect Practice Instrument