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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1906 Volume 24, Number 09 (September 1906) Winton J. Baltzell
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JHEODORE PRESSER PHILADELPHIA, PA. THE ETUDE 545- TEACHERS i! TEACHERS i 1 books THAT SHOULD BE IN ALL CONTENTS In casting about for your music supplies “THE ETUDE,” September, 1906 for the coming season, bear in mind the SCHOOLS, CONVENTS. AND CONSERVATORIES OF Vocal Libraries publications of ELIZABETHAN LYRICS A Study of Sir Edward Elgar Set to music by E. A. Brown Gerald Cumberland i A collection of charming musical settings First Steps in Teaching Technic of twenty quaintly characteristic Elizabethan Harry R. Detweiler i CLMM F. SIMM CO. lyrics. A group of these makes a very effect¬ The Festival in the Small Town ive concert number. A. L. Judson i CHICAGO MUSIC Price, $1.00 Stuttering and Stumbling Among Piano Students.11. E. Crolius I FOURTEEN SONGS Some Principles of Leschetizky’s Teaching i are supplied with everything needed in their work Mozart as a Teacher, Player and Piano By H. N. Redman CAT.4CATALOGUE, If n< >f the largest, is certainly (2 Volumes. 14 songs in each.) Composer..Anna Horsch 1 The Interpretation of Bach’s Works Each volume contains fourteen (14) high educat . The piano portion PR.OMPTLY — ECONOMICALLY — SATISFACTORILY grade songs, and will prove worthy the atten¬ Wanda Landowska \ Melodic Sunshine for Little Pupils a goodly number of Reaching piec tion of all singers and vocal teachers. The Marie Benedict I characteristic nature; this is particularly true of the chil¬ first volume consists of musical settings of Inspiration.F. 8. Davis i dren's pieces in the elementary and easy grades of difficulty. By THEO. PRESSER., PHILADELPHIA. PA, poems by Lytton, Tennyson, Besant, Swin¬ Spurious Expression.J. 8. Van Clcve l The excellence of our catalogue in this respect is widely burne, etc. Those of the second volume are Teaching Scales./. It. Ireland ! by John Boyle O’Reilly, Howells, Lathrop, recognized. Our song catalogue is full of attractive and The unique but reasonable methods of the music years as a publisher, have revolutionized and Keats. Heavy Paper Covers, Vols. I and Types of Concert Goers... .June K. Hills desirable numbers. We also have a good choir music cata¬ Children’s Page. i logue, most of which is available for the average choir. We the music-deaJing trade. II, Each, 75 Cenls supply house of THEO. PRESSER, the out¬ Editorial Notes . i publish some notably successful and important text books, 28 SELECTED SONGS Vocal Department.II. IF. Greene ! and instruction books for the education of the child in music. It will pay every one interested in any manner to By J. L. Gilbert Organ and Choir.E. E. Truettc ; growth of his intimate knowledge as a teacher Violin Department.George Lehmann i investigate at first hand the liberal system and This is the first album of songs by J. L. tions, write to us direct. We will send them on sale to all Gilbert (composerof “Bonnie, Sweet Bessie’’ Teachers’ Round Table.V. J. Corey I of their needs, and perfected during twenty policy followed by this house in its efforts to— and “Not a Sparrow Falleth”) ever published. European Musical Topics. . Arthur Elson ( s in It contains in addition to “Bonnie, Sweet Rhythm ..E. R. Kroeger ( giving special f Publish Modern Teaching Material; Bessie" (medium voice), 7 Scotch songs. 11 Publisher’s Notes. I songs for high voice, 4 songs for medium Questions and Answers. ( for your general orders. To Give the Best Discounts Possible in Every Case; voice and 5 songs for low voice. Explanatory Notes on Our Music Pages.. I Price, 50 Cents Our Puzzle Corner. i WRITS FOR CATALOGUE To Allow the Most Satisfactory Terms; Humoresques..A. II. Hausrath i Musical Items. < To Carry a Stock (no matter where published, or by whom) that will Recital Programs. i Modern Mining and Musical Methods Contain Everything of Value to Music Teachers and Students; and W. F. Gates i Thus to Aid the Cause of Musical Education and lighten the labors of its followers. MUSIC CLAYTON F.SUMMYCO. In the new building, 1712-1714 Chestnut Street, Philadelphia, Pa., lately purchased and remodeled for the best use Danse Caraetdristique, Op. 140 220 WABASH AVE., • ■ CHICAGO, ILL. August Nolck of this business, with its six floors carefully planned and stocked with everything needed in the Music Teacher’s work we Joyous Return (4 Hands). . . .L. Itinguet cannot say too strongly that we are ’ Castagnettes.C. von Sternberg Ballad of a Summer Day.A. Kellogg i The Music Publishing House of the Central West, lone .Raymond Howe catering to the legitimate educational forces that are Equipped to Supply Every Teacher and School of Music in this Country and Canada Second Valse Caprice.... .F. G. Rathbun shaping musical education in America. The Little Hens.A. Trojclli No matter how small or how large the trade, with everything needed. Tin-Pan Guard's Parade (Vocal or In¬ strumental).Geo. L. Spaulding JHK ON SALE PLAN (original with us) is arranged and carried out on a far more liberal basis than obtainable from any of our imitators. W« will Life of Life.Wm. H. Pontius The Land of Nod.A. IV. Lansing gladly allow any teacher the use and advantage* derived from this plan, and the same liberal discounts, even if they desire to place their regular orders elsewhere. v All Orders, Large or Small, receive the same Attention. DAINTY All Orders are Attended to on the Day they are Received. DEEP IN MY HEART FLOWER No. 22 of "Little Fantasies" DEAL,NG; °UR MANY catalogues, are all free for the asking. Violin Piano A. E. Harris. SEND A TRIAL ORDER AND ASK FOR OUR PLANS AND CATALOGUES, AND THUS SAVE TIME. PIECES Modem Recital Pieces In response to overwhelming demands we have Transcriptions by And other pleas¬ just added the above number to this Favourite A FEW OF OUR STANDARD PUBLICATIONS JOHN WIEGAND ing Music for Series for Violin and Piano. It is of medium grade and is an exquisite arrangement of a beaut¬ For HISTORY STUDIES AND EXE R.CISES Violin & Piano. Violin, Cello & Piano. TECHNIC iful, old German Song. PIANO Two Violins & Piano A HISTORY OF MUSIC Standard Graded Course of Price 60 cents TOUCH AND TECHNIC A TEXT-BOOK. Dr. H. A. Clarke A short time ago we predicted that “Yel¬ Two Violins, Cello & Piano For Classes and for Private Reading Studies for the Piano low Jonquils" would attain an immense sale. Send for Free list of Violin music By W. J. BALTZELL W. S. B. MATHEWS Dr. WM. MASON COURSE IN HARMONY. Geo. H Volume I. CONTENTS: Four Books $1.00 Each It is now entering on its 20th edition, "and its JEAN WHITE, Price, $1.75 Illustrated 10 Grades. 10 Books. $1.00 each Howard. ... popularity is growing larger each day. The Piece Romantique.C. Chaminade. Contributions from leading American T.h' ‘Y’emal course of studies after An original system for the development STUDENT'S HARMONY. 0. 521 Washington St. BOSTON, MASS. which all others have been copied. We of a complete technic, trom the beginner other pieces in this list are also good sellers, Serenade.C. Chaminade. for* t eachingC ancf st ud I^n°SV?Pproved id?as invite comparison. to the finished artist. Recommended by and we should like to have you know them. Camellia.S. C. Yon. it the BEST TEXT-BOOK curthe TubjSt Standard studies by the best composers, Padcrfteski, Josrffy and L-sst and used by Regular discounts given. Sweet Spirit, Hear my Prayer IV. V. Wallace progressive^ arranged, carefully edited, the foremost American teachers. Concise and1 compr^hensiJe= present day' fingered, phrased and annotated. Yellow Jonquils. (Danse a la Gavotte) The Dying Poet.L. M. Gottschalk. THE LESCHETIZKY METHOD OF PIANO Johanning $0.50 “Nothing Succeeds Like Success” Galop Militaire.C. Mayer. SELECTED " CZERNY " STVDIES TECHNIC Four Hands. $0.60 Six Hands .75 Ye Banks and Braes.Scotch Melody. FIRST STVDIES IN MVSIC BIOGRAPHY A Graded Course COUNTERPOINT A Children's History of the Classical Period "The Modern Pianist.” Price, $1.50 By Dr. H. A. Clarke.$1.00 Crimson Hollyhock. Intermezzo. Virtue .50 Berceuse.M. Hauser. Edited, Annotated, Explained, and Fing- Polish Dance.X. Scharwenka. Thomas Tapper Price, $1.50 ered by EMIL L1EBL1NG EXERCISES IN EXTENSION By Homer A. Norris.1-25 InMoonland. Intermezzo (two-step). Peck .50 ByE.E. Ayres. 1-00 Forget-me-not. Johanning .50 Intermezzo.P. Mascagni. CARL W. GRIMM’S Quietude ..L. Gregh. ALL OF OU Valse Pink. Johanning .50 R PUBLICATIONS SENT ON El Frivolity. A la Valse. Stone .60 The Two Angels . J. Blumenthal. Alice, Where Art Thou ? . . Ascher. VOICE. Iris. Caprice. Trevelyan .50 PIANO COLLECTIONS Normandie. Old French Dance. Fox .50 PRICE Technic and Art of Singing ORGAN IMPORTANT WORKS The Water Lily (Melody in F). Gottschalk .50 Violin artd Piano.$ .75 FIRST PARLOR PIECES. has necessitated the printing of , _ Mrru/REDERIC W. ROOT Edelweiss. Intermezzo. Johanning .50 corrected and revised, with an addition of over 2 Violins and Piano.l.oo METHODICAL SIGHT SINGING. 2 POPULAR PARLOR ALBUM .... REED ORGAN METHOD Firs! Steps in Piano Study Moon Flowers. A la Gavotte. Stone .60 Violin. Cello and Piano.1.25 Books, each. t- CHAS. W. LAHDOW, Price, $1.50 Compiled by Theo. Presser 700 questions covering every paragraph in the MUSICAL PICTURES (Piano or Sweet Vislons(Morceau Poetique).Phelps .50 entire book. If you are a student of Harmony 2 Violins, Cello and Piano.1.50 Organ).. Valse Ballet. Tracy .50 ' voiDceCcultureSSONS ,S| SCHOOL OF REED ORGAN PLAYING this work will make your study easy and pleas¬ In same arrangements as above collection: ItodIS? 3LK«sNJa^hY S0Nd first recital pieces. Studies compiled by MUSIC SENT ON SELECTION ant. If you desire to begin the study, begin THE TWO PIANISTS (Piano Duets) DESCRIPTIVE ANALYSES OF PIANO with Grimm’s Method. SCicilpc A h“ .'VARIOUS EXER. ' Chas. W. Landon WORKS Hours of Recreation MASTER PIECES. Four Books Four Grades $1.00 each _ Edward(Baxter Perry . Bound in Cloth, Price $1.50 EXI?RC|lFSNiNVTHCA^ STUDIES11 1 White-Smith VOLUME III. (Religious Melodies) ALBUM OF LYRIC PIECES. EX METHOD N ™E SYNTHETIC VELOCITY STVDIES Theo. Presser Teachers of Beginners of 3, 4 and S years of Transcriptions by MODERN DRAWING ROOM PIECES Price, $1.00 The Standard Graded Course of Singing DICTIONARY OF MVSIC AND MUSICIANS Music Publishing Co. age will find Miss Carrie Alehins’ “Song Stories RUDOLF SINNHOLD H. W. GREENE Dr. Hugo Riemann Price, $4-5° BOSTON for the Piano” just the thing. Price, 60c. STAf^#tRSr^P.os,t'ons. for THE ORGAN PLAYER. The latest Encyclopaedia of Music 62 and 64. Stanhope St. PUBLISHED BY For srchoolkanda|h FIRST DANCE ALBUM (Revised) Pipe Organ Collection Compiled by P. W. Orem Price. $1.50 NEW YORK CHICAGO THE GEO. B. JENNINGS CO., - Cincinnati, Ohio J. FISCHER &BR O. 13 E. Seventeenth SI. 259 Wabash Ave. THEODORE PRESSER. 1712 CHESTNUT STREET. J & II, Bible House, N. Y. PHILADELPHIA, PA.
are noted for Purity, Power, and Resonance of Tone; Respon¬ siveness of Touch, Unsurpassed Construction, Workmanship, STRICH A ZEIDLERPIANOS and Excellence; and New Artistic Designs of Cases. Manufaclurtrs of Artistic Cra and X/prigbt Tiano I32d St. & Alexander Ave., NEW YORK 547 THE ETUDE THE ETUDE
“Mansfeldt JUST PUBLISHED BY New and Important Publications /TV1 eenmefl • ^99 mansfeldtBy HUGO of THE JOHN CHURCH COMPANY mmm_——M. !■—!i— 6. SCHIRMER =— At Special Introductory Prices = A COMPLETE LIBRARY of NEW YORK TECHNICAL EXERCISES FAVORITE MOVEMENTS FROM FAMOUS PIANO CONCERTOS CLASSICS FOR THE YOUNG Edited, Fingered amd Phrased, With Introductory Note and Annotations Simplified transcriptions ot the favoriie compositions oi THE GREAT MASTERS WILSON G. SMITH By I. PHILIPP (Paris Conservatory) Carefully Fingered and Phrased by PAUL FELIX A BOOK OF SUGGESTIONS FOR THE A Perfect Finger Development In two volumes Price, each, $1.00 In iwo volumes, one for piano solo, one lor four hands. Price, each, 50c STUDY OF The study of the piano concerto is essentially a part of the curriculum of every This collection has been made for the purpose of helping the young student In the Shortest Possible Time Illustrated by America’s Most school and a necessity for piano musicianship. In fact, many of the more promi¬ to approach the works of the great masters in a practical way. Compositions have It is as useful to the novice as to the ad¬ nent teachers are now using parts of concertos in place of sonatas, one of Mr. been selected that are frequently heard in concert and in recital, such as the vanced student. Distinguished Teachers Philipp’s purposes in the present compilation. Heretofore it was necessary to buy favorite Beethoven and Mozart sonatas, the Chopin dance forms, the choicer Men¬ It is a concentration of common sense The Cramer Etudes the complete concerto, i.i order to get the desired movement, and, at a price in delssohn numbers, in fact the best things from Bacb to Schumann. The compo¬ tuition and guarantees perfection in finger- and Pianists (as edited by Hans von Biilow) excesB of this entire collection. In these two volumes, Mr. Philipp, an authority on sitions have been carefully simplified in such a manner, that the essential features dexterity. All technical problems are given a With Modifications and Variant! in piano pedagogics, has selected not only the favorite movements but those best of the original have been retained hut arranged within the possibilities of small ready solution in this, the greatest system of Phrasing, Touch and Rhythm adapted to, show the style of the composer and to develop in students a dexterous A Practical, Comprehensive and virtuosity and a love for the best in art forms. the beauties of the classic school. technic. PRICE, $1.00 NET Franz Liszt eulogized the book in m Thoroughly Graded Course Special Introductory Price (limited), each, postpaid, 75c Special Introductory Price (limited), each, postpaid, 30c emphatic terms. fTT The Cramer Etudes remain among the Teachers simply glorify it because of its The New Gradus ad Parnassum, most valuable material extant for the intelligent and valuable conciseness. development of piano technique. This “Mansfeldt Technic” has created more Embodying the Latest and Best book, based upon the Schirmer-Bulow edition FIRST PEDAL STUDIES complished and masterful pianists since its MINIATURE MELODIES Ideas in Pedagogy of Cramer’s Studies, makes them the vehicle For the Piano publication than all the’old-time “methods ofastill more highly developed form of study. For Ihe Piano and studies” combined, and accomplished it By JESSIE L. GAYNOR Price, 50c in such brief time that even connoisseurs of The modem principle of exercising the By JESSIE L. GAYNOR Price, 60c ^ the art are marvelling. mental as well as the physical powers has It Will Help YOU in Your Teaching been found to be of enormous advantage in This is the modest title of a very interesting hook. The purpose of “Minia¬ Thousands arp now in use by scores of the permitted. Why! For the reason that custom, habit and lack of elementary mate¬ most noted conservatories and instructors of technical work, and upon this the work is ture Melodies” is to supply teachers with a first hook of melodics from which BECAUSE based. “To view a technical figure from rial have prevented. The first two reasons have, to an extent, disappeared, the the world, and within another decade it will children may be successfully taught to play and love the piano.' Mrs. Gaynor be the only system of technical exercises rec¬ the point of diversified and dissimilar phras- third will entirely with the advent of Mrs. Gaynor’s unique “First Pedal Studies.” It embodies the work of the most eminent ognized among musicians. No other book -has ings is a method of instruction rich in the The author is noted for her rare teaching qualities, particularly with the young, met with such a sincere welcome from the pianists and teachers in America. possibilities of both mental and technical rhythm, gives so many entertaining pages, that piano teaching to children becomes development, ” says the editor in his preface. amd these studies are exceptionally meritorious in their plan of arrangement, It can be read ily adapted to your “method,” a delight for teacher and pupil. Price; In order to supply an urgent de¬ The studies have been presented in as mand for this eminent work in separate sec¬ no matter what that may be. many different interpretative aspects as tions the publisher is now issuing it in three It is the LATEST work of the kind. possible—both legato and staccato, in different Special Introductory Price (limited), postpaid, 30c Special Introductory Price (limited), postpaid, 40c distinct books—One Dollar each. The three combinations and rapid interchange of touch books are also published complete in one vol¬ ALLof the studies are carefully annotated, and phrasing. ume—Two Dollars and Fifty Cents. Ask fingered and edited. ONE HUNDRED EXERCISES LEFT HAND ETUDES your dealer to order one for you on approval. It is the most carefully graded of any Guarantee: Mansfeldt Technic is always A Rational System of Essential Piano Technics For Ihe Piano sold under the positive guarantee that if not course before the public. STEPHEN HELLER By AUGUST W. HOFFMAN By AUGUST SPANUTH Price, 75c entirely satisfactory your money will be cheer¬ It begins at the beginning of study. Op. 100. Two Books Price, 75c fully refunded. It saves the time that otherwise would be Fifty Studies for Pianoforte The student who is anxious to gain a firm and well-grounded piano technic will find Mr. Spanuth’s “One Hundred Exercises” thorough and positive; his special training and development of the muscles of the left8hand. The unusual way spent in laborious and often unrewarded FROM OP. 45, 46, 47 in which results are reached largely enhances the value of the exercises and awak¬ purpose is clear and direct without being tedious or barren. The work is strictly ens a lively interest in piano study. The studies are eminently useful and practical, search after that which is good and up-to- Selected and edited by and uniformly a rational method of essential technics, taking nothing for granted and will prove uerepnilile. indeed. ;n there are so few left hand studies of the date. excepting an elementary knowledge of piano practice. The work is concise and middle grade. They are full of the Cramer spirit, and’ are so smooth, fine and in¬ LOUIS OESTERLE spiring, technically and “klavieristisch,” from the piano view point, they should It covers the entire field of piano literature yet full enough to give ample and connected work for the development of finger he welcomed with great pleasure and interest. A cardinal feature of the “Hoff¬ PRICE. $1.50 agility. The text accompanying the exercises is- clear and definite, giving the prin¬ mann Left Hand Studies” is that they are short. In a page of music one can in an eminently practical, interesting and ciples underlying all the work. perfectly grasp the technical principle involved. The long etude has gone out of stimulating manner. |TT Our Library already offers a large se- lection of Heller’s compositions, and to Hundreds of your fellow teachers from all these we now add this collection of his Special Introductory Price (limited), postpaid, 55c Special Introductory Price (limited), each, postpaid, 38c parts of the country have sent us, unsolicited, studies, from his op. 45, 46 and 47. One Hundred Specially Selected Standard enthusiastic commendations of these very There are fifty in all, chosen with dis¬ crimination by Mr. Oesterle, who has also Modern Compositions in all Grades provided them fully with fingering. These A GUIDE TO MEMORIZING MUSIC MASON AND MATHEWS PRIMER OF MUSIC Each number published separately. studies are studies in the highest <=ense; they are less concerned with problems of technique For All Music Students By DR. WILLIAM MASON and W. S. B. MATHEWS Price, 50c CORRECTLY FINGERED —though such problems are not lackipg in CAREFULLY PHRASED them—than with the cultivation of taste and By A. J. GOODRICH Price, 60c COMPLETELY REVISED musical feeling, and the sense of rhythm and individuals or to classes, this now famous primer marks a distinct advance in touch values. In these matters they cannot The merits of this book lie in the author’s sincerity to do. a service, in his theoretical works. It is a primer of musicianship, having in it the foundations be too highly esteemed. authority of facts, the clearness and strength of his statements, his free analyses of harmony, musical form, the principles of phrasing, the correct way of playing C GRADED and vital style. Everything is explained in such a clear, wide, embracing and com¬ all the embellishments and ornaments, the principles of piano technic and much L prehensive manner as to make the memorizing of music a simple art indeed. It is • t • EDITION a sane and practical demonstration of an important butneglected branch of study. The Golden Sickle most apathetic pupil grows interested and longs to know more. ATTRACTIVE Operetta for Children’s Voices Special Introductory Price (limited), postpaid, 40c INTERESTING Text by MARGARET E. LACEY Special Introductory Price (limited), postpaid, 35c INSTRUCTIVE Music by EDUARDO MARZO Op. 100 PRICE, 50 CENTS NET GRIMM’S MUSIC WRITING BOOKS NOVELTIES FOR THE ORGAN PRICE, EACH GRADE, $1.00 VOL I. A charming little work based on an A Practical Method of Learning the Principles and Notation of the Science of Music Rare, Ancient and Modern Compositions Collected and Edited .and. ver,y pretty little fairy tale By CARL W. GRIMM By WILLIAM C. CARL OUR TEACHERS’ SAMPLE VOLUMES far emLj \s s,mP>e and melodious, yet Two Books Price, each, 25c Substantially Bound in Cloth Price, $1.00 MAKE SELECTIONS EASY & HANDY offers^f0Ieifro!? the commonplace, and Realizing the demand for a new collection of organ music suitable for the They should be on every dealer’s Hatch Music Company church service, as well as for recital programmes, Mr. Carl has succeeded in bring¬ ing together m “Novelties for the Organ,” a set of pieces of moderate difficulty counter; if not there—please write Publishers and Importers of Music the writing of it; the work here planned is for such a purpose and designed for and length which can he utilized for Preludes or Offertories at the regular service and mention the name of your dealer. as well as for the festivals of the church. The composers represented in this col¬ lection by some of their choicest compositions are Bourgalt-Duooudrav, Clauss- Eighth and Locust Sts. of music; the simplicity of the demonstration and the pleasure of writing and ma“’h?(T''llmant' Loret, Lucas, Hehul, Rameau, Richmond, Stephens’, Thomas PHILADELPHIA In compiling this collection the editor has not included anything in the book LEO. FEIST K.Tif NEff YORK MstumeSseanHUnS:'S f°• the three SC(->nes, the which Has appeared in any other collection. The compositions are practical and yefXfto?lPr£Pert,Jes reTuredare simple, can he used constantly in all organ work. Mail orders not solicited. We prefer that you purchase Special Introductory Price (limited), each, postpaid, 15c our publications irom your dealer; but if he does not r„, or L pry a tastefui eiaborati°n Special Introductory Price (limited), postpaid, 75c have what you want, please order direct. THE ETUDE 549 THE ETUDE
College Songs SCHIRMERS LIBRARY of MUSl\ CAL CLASSICS^Published by G.Schirmer New York it AA UX? SSIX-Hj^D*"cOLLECTioN^»L^p FOR SALE BY ALL MUSIC DEALERS Vi GEO. MOLINEUX, 148-150 Pifth Avenue, New York
An AMERICAN edition of the great masterpieces of music, carefully edited A TRIP TO NIAGARA and fingered; free from misprints; engraved, printed and bound in the best manner. 4k The Volumes marked with a star contain a vignette * FREE * portrait and biographical sketch. Vocal works are published in 8vo; \ The Minute Men ^ instrumental works in small 4to, unless otherwise mentioned. Many of A Parade V the volumes are to be had in handsome and durable full cloth bindings. <> GRAND <>> JIGS AND REELS F F R„ LAST HOPE iisisSP E 4'lr * snuss* TRANSCRIPTIONS. Grade 5. % gaHrSMSsS <5p BLASIUS
Copfcs ol ft. above mentioned piece, will be mailed for 19c. each, or any six for One Dollar. KONINSKY MUSIC CO., I PIANISTS J l\
FAVORITE PIANO ALBUM W„: FOR CABINET ORGAN One of the Greatest Hits Ever G, SCHIRMER 35 sa&g NEW YORK EVERY DAY ALBUM FOR PIANO SOLO Pride of the Nation TstVP SCHOOLS AND TEACHERS aleiM, to correspond with us regarding their supply of music for the commg year. Our editions are justly celebrated for their superiority. We carry the largest stock of music in the world and are therefore in a position to give prompt and efficient service. tJAny of the following catalogues NATIONAL CHAS. S. MITCHELL MUSIC CO., Free on application: Complete general catalogue, Schirmer’ Library of Musical Classics, The WALTZ ALBUM Piano Teacher’s Guide, The Singing Teacher’s Guide, The Choirmaster’s Guide, The Chorus Conductor’s Guide, Musical Literature, Chamber Music with Piano, Chamber Music without Piano, Guitar and Mandolin Music, Operas and Operettas, Organ Music, Guide to Organ Music, Two Pianos (4 and 8 an’s 101 hands), Violin, Cello, Music for Wind Instruments, Catalogue of Metronomes, Music Rolls, Satchels, etc.
of modern 'concerfplecea ReTisio"8 BY } pms $1.25 NET AsJ y°nur de?lef or send Ihls coupon G. V. MECKEL and 50 cenls lo 6-10 FOURTH AYE.. 845 Eighth Avenue : New York CARL FISCHER, HENNEMAN PUB. CO. Dept C. ST. LOUIS Mo Please mention THE ETUDE when addressing our adve 551 THE ETUDE the etude 550
JUST PUBLISHED The Essentials of New Publications THE B. F. WOOD MUSIC COMPANY Choir-Boy Training 6 East 17th Street, By WALTER HENRY HALL THE MOST VALUABLE TEXT¬ Standard Compositions 246 Summer Street, 12 Rathbone Place, Oxford Street, For the Piano NEW YORK Organist and Choirmaster of St. James’ BOOK OF MUSICAL HISTORY LONDON IN THE ENGLISH LANGUAGE Vol. I—First Grade Price, 50 cent: BOSTON Church, New York, and the Cathedral of St. Graded and Compiled by John the Divine, New York. Price, cloth, $1.00 W. S. B. MATHEWS History»«Music To be used in connection with Mathew s’ Standard Graded Course of Studies and all other graded A Text. Book tor C/ai Our Specialty Good Music tor Teachers’ Use Breathing for Voice Production Through years of painstaking effort, we have thoroughly established the reputation of publishing the By H. H. HULBERT, B. A., Oxon. oest collection of Easy and Medium Grade Teaching Music for Piano to be had in the world. (M. R. C. S..L. R. C. B„ 8lc) Exercises Illustrated This is a strong statement, but a careful study of our catalogue by any wide-awake teacher will easily Price, cloth, $1.00 establish this fact; besides, the large quantities of our publications purchased by the leading music dealers in this country and Europe is a further confirmation of the high regard in which our publications are held. A Short Course of Edited by THEO. P Our reputation has been gained by the very great care which we have taken in detail; in_ the judicious Pianoforte Technique selection of manuscript to be published; by the conscientious, but conservative, editing and lingering given every publication before it is issued; and finally by procuring the best engraving, paper, printing and Progressively arranged By FRANKLIN TAYLOR binding which money can purchase. __ In two sets (eight books) Clarke, Mr. Arthur Elson, Mr. C. G. Price, 60 cents each book Mr. E. B. Hill. Mr: A. L. judson, Mr. F
INCIDENTAL MUSIC “Edition Wood” is the Best NERO The Phenomenal Success of “EDITION WOOD” is fhe Best Testimony of Its Merit By S. COLERIDGE TAYLOR Intermezzo, Piano ----- $0.75 All progressive teachers are using it. Are you? Superior to all editions in that it is the latest, freest from “ Piano and Violin - - - i.oo Exercises in Extension errors, conservatively edited and accurately engraved. The pages are not crowded, and each volume has been Eastern Dance, Piano - - - - i.oo by ISIDORE PHILIPP engraved with a view to having the most convenient page turnings. EDITION WOOD is perfectly printed “ Piano and Violin - - i.oo Price - 75 cents upon the best paper obtainable. * sssts : ssss : s s t t s t Special mention should be made of the many volumes of “EDITION WOOD” devoted to easy teaching music for the piano. Music of great Songs for Little People educational value has always been our special province, so that today the names of Brown, Ducelle, Eilenberg, Krogmann, McIntyre, Quigley, Sartorio are the household words with all wide-awake teachers. There is also a series of Recreation Albums compiled from the most popular.works 24 Songs in two books Three volumes of the Heller Studies, Ops. 45, 46 and 47, with the latest revisions by the composer, which are contained in only one other (a By GERARD F. COBB foreign) edition, are always in great demand—a good example ofthe universal excellenceof ‘EDITION WOOD. r. Price, $1.00 each book Amone the volumes that may be had in doth and gilt, we must mention the really elegant Mendelssohn Songs Without Words, Chopin Waltzes, Nocturnes and Polonaises, Etudes, Schumann Op. 15 and 16 complete, etc., all of which are exceedingly popular as gift books. The Little Pischna To mention only one other—the bestvocal teachers have unhesitatingly pronounced the new Concone, Op. 9 (Edition Wood, Nos. 369 and 370) the most perfect edition ever issued, fully appreciating the careful consideration given to phrasing and breath marks. The New Music There are now over four hundred volumes, the majority of which are the copyright property of the publishers, and a Price - %l .00 tion. We have many new works in process, which we contemplate issuing early in the fail, and Review which has attended our efforts in the past warrants our pledge of better things to come. A monthly periodical devoted to the and activities of the musical world. s3 10 cents per copy Yearly subscription, $1.00 SONGS WORTH SINGING TEACHER’S ENLARGED BOOK OF SAMPLES The entire series is now completed of A New Thematic Calalogue of Our MOST SUCCESSFUL SONGS for Up-to-date Piano Teachers Standard Graded Course of Sin^in^. h. w. gf Neither time nor expense have been spared to make this a most attrac¬ tive and valuable booklet. It contains the principal music pages, text and a ALL PIANO TEACHERS should have in their studios for ready refer¬ THE H. W. GRAY CO. complete description of ence our Latest Thematic Catalogue of Easy Teaching Music. Contains SOLE AGENTS FOR TWENTY-ONE SECULAR SONGS Selected "Czerny” Studies SEVENTEEN SACRED SONGS the themes of 278 choice compositions, carefully graded, and is the most satis¬ NOVELLO & CO., Ltd. A Graded Course SIX SACRED DUETS factory guide for the teacher when selecting a composition to give a pupil. IF YOU SING, you will want to see a copy and become acquainted with Such composers as Aletter, Brown, Ducelle, Eilenberg, Krogmann, Orth, 21 ESST 17TH STREET, NEW YORK the songs.^u TEACHj “Songs Worth Singing” is so planned to be of Sartorio and others are represented in this catalogue. These names alone special value in your studio. are sufficient guarantee as to the musical worth of the compositions.
We feel positive that your regular music dealer will send you a package of our music for examination with the “privilege of return.” In case you should have any difficulty in procuring such, if you will send us FreeI . the name of your regular dealer, we will try and arrange the matter for you, as we feel positive that after you j greater technician than Czerny e, __ ^ TO TEACHERS ONLY ork. The various Studies arein all styles^and cover every¥e^rtment'of“lano“technla ” have once examined our publications you will find many that will become of permanent value to you. THE STAR OP THE NIGHT. < OFFER ON BOOK III: 25c POSTPAID These three books ,f ordered together, 73c; cash ta atcomfan^ borders. SENT FREE To any address, on request SENT FREE Tn press " SELECTED “CZERNY” STUDIES. Lieb- ling, 3 books. Book 3. STUDIES IN PARALLEL MOTION. Op. Anv or all of the following advertising mediums issued by us:—Latest Complete Catalogue, Edition Wood Catalogue, New Enlarged Teacher’s Book of 60. Kohler. Samples a Thematic Catalogue of Easy Teaching Music for the Pianoforte; a Complete Thematic Catalogue of Compositions by C. W. Krogmann; a Selected GURLITT ALBUM OF PIANO MUSIC. STANDARD CONCERT ETUDES FOR List of Pianoforte Studies and Exercises, and Pianoforte Methods, also Thematic Catalogue “ Songs Worth Singing.” 1 HE PIANO. EXERCISES IN THE SYNTHETIC Teachers and students of the violin will find our catalogue of publications for this instrument very select and unusually valuable in their work. METHOD OF VOCALIZATION F PIA^g tunino, regulating and W. Root ' „ REPAmme. Fischer. ———————-EASY- uANCEuANC L ALBUMALBUM FOR PIANO. THE B. E. WOOD MUSIC COMPANY THEODORE PRESSER 1st 17th Street, New York. 12 Rathbone Place (Oxford Str 1712 Chestnut Street nutus,.,. „ 246 Summer Street, Boston. Philadelphia, Pa. i 552 THE ETUDE THE ETUDE 553
Thousands of Testimonials, lO Grades * * lO Volumes Special to “Etude" Readers from Prominent Teachers $1.00 Each Sheet Music Form Everywhere, Attest to the Our Usual Discount Allowed Teaching Piano Solos and Duets Practical Value of the New Music by Well-known Writers THE ORGANIST Standard studies, arranged in progressive By E. L. ASHFORD Edited by E. L. ASHFORD order, selected from the best composers, The Captain General March, ■> M„ie j^., for the cultivation of : : : : : : : STANDARD Birds and Breezes Waltzes, / latest Six Humoresken for First. Second and Third Grades—By E. L. ASHFORD A magazine issued six times a year. 32. pages of music, Fire and Flame March, Marie Louka. SCENES FROM ALICE IN WONDERLAND sheet music size. Price, 35c per copy, $1.50 per year. Technic, Taste THE QUEEN S LULLABY. Advanced First.50 GRADED Dance of the Dewdrops, Marie Louka. SONG OF THE WHITE KNIGHT. Second.40 Send 15 cents, mention The Etude, and get a back number — = and — Zuma March, ALL AMONG THE RUSHES. Advanced Third.40 (our selection) as a sample GRYPHON GAVOTTE. Third.50 Intermezzo by Johann C. Schmid. THE LOBSTER QUADRILLE. Duet, Advanced Second .60 COURSE of THE JABBERWOOK. Duet. Third.60 Sig'Ht Reading We will mail any of ihe above copies on A HAPPY SUGGESTION. Why not have an ‘ Alice in Wonderland" recital, STU DIES Carefully edited, fingered, phrased and receipi of 18 cents, or Ihe five for 75 cents Vox Celeste Edited by E. L. ASHFORD annotated, with complete directions for the postpaid. the music suggested to Mrs.^-Ashford"!)}- It.**' P1<>Ce a” 6n ° OW,ng !t Up W1 FOR THE PIANOFORTE application of Mason’s “System of Touch THE MUSICAL YEAR-By E. L. ASHFORD 192 pages music, sheet music size, for pipe or reed organ. and Technic” for the production of a Price, $2.00 net, postpaid. modern style of playing :::::: SPRING-First Grade By W. S. B. MATHEWS THE SNOW-DROP, Kev of C. . . 30 WEYMANN & SON. Publishers THE CUCKOO, Kev of'C...... 3(1 nd for any or all of the A SPRING MORNING, Key of F.40 on Inspection DAFFODILS. Kev of G. 30 923 Market St., Philadelphia, Pa. THE MILL WHEEL, Duet for pupil and teacher. Kev of C.50 Ashford’s Hymn Voluntaries MAYPOLE DANCE, Duet for pupil and teacher. Key of F.50 SUMMER-Second Grade In its fifth thousand. Voluntaries based on the most familiar A RED, RED ROSE, Key of A..40 church hymn tunes. Scholarly, Popular, Churchly. Price, When ordering, mention the PRESSER edition, as there are other works with similar names on the market HIDE-AND-SEEK, Duet for teacher and pupil, Key of C.40 CHERRIES RIPE, Kev of F.50 $1.25 r ' ” . . SONGS BY . . BOBOLINK, Key of G.40 THEO. PRESSER, Phila., Pa. SONG OF THE HARVESTERS, Key of G.40 AUTUMN-Third Grade Herbert Johnson GOLDENROD, Key of F.40 CHRISTMAS AT EVENING, Kev of B-flat.50 Face to Face, “ft, $.60 AN AUTUMN REVERIE, Key of E-flat.50 CHOIR CANTATAS WINTER-Fourth Grade SNOW DRIFTS. Key of G.50 REDEEMER AND KING THE STAR OF PROMISE JOY TO THE WORLD ‘GLEAMING STAR OF HEAVEN’ _.... High, Medium,__ . By E. L. ASHFORD By E. S. LORENZ Tho Eternal Goodness. High, Medium, and Low Vol .. ' ' Zl I::::::::;::::::::::::::::::;::::::::: ::IS The New World. High, Medium, and Low Voice ByMr^AAdama The Endless Day. High, Medium, and Low Voice The Broken Pinion, or the Bird with a Broken Wing THE LIGHT OF LIFE THE SON OF THE HIGHEST THE OF PEACE High. Medium, and Low Voice By E. S. LORENZ O May My Walk be Close With God. High. Medii ; $4.20 per dozen by Shall! Be Forgotten. High,t, Medium,b and Low Voice My Jacqueminot. High, Medi Welcome Home. High. Medlt Evening Brings Us Ho High, Med High, Medium, and 1 150 Fifth Avenue, New York THE LORENZ PUBLISHING CO., 216.218 w. 5th St., Dayton,c
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A SPECIAL OFFER TO ETUDE READERS $1.60 worth of Music ior 25 cents. 1 Pubhshed Price $1.60. Will be sent For IMale Voices Meteor Edition The Conservatory Collection
of modern piano music for instruction and COMPANY, 1532 W. Dauphin ! Albums of Selected Piano, Violin, recreation, selected and carefully revised with Cello and Harmonium Music Harmony Text Books Harmony Blank Books correct fingering and phrasing by This edition being very popular abroad but HENRY GERMER unknown as yet in this country, will un¬ This collection consisting of 100 pieces by the doubtedly please and become familiar to most celebrated composers of modern times, tSSffttt/teffiSSft&W | Nos. 1, 2, 3. every music lover0 They consist of pieces of as for instance, Bruch, Brull, Fielitz, Foerster, 25c, 30c and 50c. :ounts to the tra* the very easiest up to the grade of moderate Heller, Huber, Jadassohn, Liszt, Merkel, The Home Music Company A. G, COMINGS, Pub. and Music Dealer, OBERLIN, O. LOGANSPORT, INDIANA difficulty by well known composers such as Rontgen, Sittand others are carefully selected Ganschals, Wenzel, Oesten, E. D. Wagner by the eminent pedagogue Henry Germer Moritz Moszkowski Dr. Percy SPECIAL OFFER Palmer’s Piano Primer Rosebud Skirt Dance Felix Fox whose name is significant of the superiority The finest dance written in 1 00 years Sprankle’s Universal Piano Studii The Editor, arlg at least m - Prominent Piano Players Prefer Palmer’s Piano Primer. of this edition. Each piece is published sep¬ It is Progressively Plan 'd. Practical Pianists Pronounce it Superb piano copy at all music stores 7. The Elementary Grades are a CollectiohpOSjtions> / jC> or direct from us at 25 cents. ' student. The books of each grade provi 396,000 Published Proves Popularity. Price, Paper covers, arately at reasonable prices. 869 E P.WALJER S’ SPRANKLE. Publi.her the grade progresses. !■ 60 Pennies. piease purchase Promptly. ARTHUR BELLINGER MUSIC CO., Battle Creek, Mich. 09 E. Eleventh St._INDIANAPOLIS, IN 8. The Advanced Grades do not progress beyor Edition •• Music Sent on Approval. Best Rates. PALMER’S PRONOUNCING POCKET DICTIONARY student of talent who has received a tl of 3,150 Musical Terms and Abbreviations, to which is WATCH THIS SPACE the in,-d fPALMER s biographical dictionary, giving Brehm’s Monthly Bargain CIRCULARS AND FULL PAB alities,specialties, dates of birth, etcP The two dictionaries ORGANIST in one neat pocket volume, 30c. sweetest Ind ho"m ®B4V’ by D,LLM0“E- " e of the If your music dealer does not keep them, send to H ARTEL, 11 E. 16th St, New York H. R. PALMER Lock Box 1841, New York City will send one set to each teacher for 36c. ’ UCe j^A&fsasissr1 “■* "• OLIVER DITSON BREHM BROS. . . . Erle „ fVs r, wi*ITE- rum-iSHE C. H. DITSON & CO.. New York LYON & HE^ -- rie street, Cleveland. Oh Please mention THE ETUDE when addressing k THE ETUDE 555
1V1K. Uium LLftuLii A New Book on Singing' The Presser Collection THE ART OF THE SINGER of Standard studies and pieces, well .antitl "(‘he music, you^ ^ cbi Practical Hints about Vocal Technics and Style edited and carefully printed on the Falling Waters finest paper. Attractively and sub¬ By W. J. HENDERSON n stantially bound in book form. At TTTT.NTH“I BOOS NO^ fcW.Lg i2mo. $1.25 net (Postage extra) small prices and subject to a liberal The author has made special and searching investigations into the records of the teaching and singing of the 16th, 17th professional discount. 96 PaKe®?.*, where ever it has been iwed. Pric,.& ind 18th centuries; has made many experiments with voices: has observed the methods of many teachers; has heard and tudied the famous sfngers of the past quarter century,otury, andana has obtained from some of them valuable instruction. PIANO v*«s95®,-bSSL® h MX ----Sembrich__’ ' specially indebted to Mesdames Nordica and Sembrich for important information, and_ for— practical_ demon- ;ach J. S. Little Preludes (Orem). strations of great value by M. Jean de Reszke. The volume will interest the teacher, student and lover of singii Two Part Inventions (Orem) matured result of twenty-five years of careful study by a music-critic of the highest reputation. Three Part inventions (Orem). . FALLING WATERS CHARLES SCRIBNER'S SONS, 153-157 Fifth Ave., No (Ore. Select. Adams. (^" d'f«Jculty/ It is the best collection of Piano Works (Presser,. ‘nrhems hy ^. popular writer. Coo*-***, Berens H. Op. 61, Book I, New School Good from October 1st, 190. of Velocity. . . PrfC^AL ANTHEMSNO^. to January 1st. 1907. NOT Op. 70, Fifty Adams. This> bo „htly easier than in No.l. I, Special Exchange Offer LONGER Octaves . grade of d HicuW « ^ontsms 9* pa«e^ Price,& Op. 79, Twenti cannot fad to P^UARTET CHOiCa collecwn ! Bertini _. Op. 1)9,__ Twenty-five Studies. THE VIRGIL CLAVIER METHOD Biehl A. Op. 30, Th. ^a- ?&'°r qU,r,et ! NEW EXERCISES. NEW CUTS. Piano Playing.... bea^tiVVFF S t Hokl S CHOIR. ByW.T.Ot Burgmuller F. Op. 10 GIFFE s j[ldicatr.. Filled w.th the fie* NEW ARRANGEMENT THROUGHOUT. Easy and Progressive oraa.es. .. and'freshesVof chorus anthems by popular writnv Chopin F. Waltzes. Jf3 ffl ffl Clementi M. Sonatinas (Kohler). 112 SSmBINKBOCTAVOB NOi. ByW-T.^ FOUNDATION EXERCISES Concone J. Op. 24, 25 Melodic Studies A collection of new and t^'.P*^f_,gL2LIL.L,/J 1 By A. K. VIRGIL. Czerny C. One hundred Recreations. .. some of the trems^of the world s most popuUrmodr- Op. 139, 100 Progressive Studies NEW EDITION OE BOOK II, ABOUT 250 PAGES, PRICE $3.00 without Octaves. Wr*COMBINED OCTAVOS No. 2. AcoUecooep, Op. 299, The School of Velocity... Oct. 15th A. K.Virgil will bring out a new edition of Book II, Foundation Exercises. Any person sending, Op. 299, Book I. .. postpaid, to the Author, 704 Fuller Building, New York, a copy or copies of the old edition of Book II, with Dexterity . $ 1.10 per copy will be sent a copy or copies of the new book. Exchange without postage, 85 cents. Duvernoy J. B. Op. 120, Ecole du Every old book returned must bear, clearly written, name and address of sender, also date of sending. Mecanisme . Op. 176, Ecole Primaire. Gurlitt 0. Op. 101, Album Leaves for the Young. Heller S. Op. 45, 25 Melodious Studies. Op. 46, 30 Progressive Studies_ Op. 47, 25 Studies for Rhythm and Jensen 17Pictures of'Travel, of Our laatest Bulletin Kohler L. Op. 50, 20 (First) Studies. Cappers Graded Course Op. 60, Studies in Parallel Motion. . J! jfl Op. 85, Progressive Studies in Passage Playing. Op. 157, 12 Little Studies. Op. 190, The Very First Exercises. Op. 243, Children’s Friend, 2 Books JUST PUULISHED Graded Studies Seven Books $1,00 each Op. 249,’ Practical Method, ’ Book i.’ Op. 249, Book II. Graded Pieces Seven Books 1,00 each Op. 249, Books I and II, combined. 50 English Songs «4aMs Manuals (f°dr|^) Three Books 1.00 each
(From the 13th to thn »Ui Century Book I, Lower I ;mentary Grade. /-jpH‘HE remarkable success which has attended Book II, Higher ! Book III-IV, Lov rM^dhlm Grade,' EDITED this course in the short time since the first __ „ , . rv ■ __n u™. tn vou to deserve any comment. Pupils in the Third and grades were published, attests to its value Book V-VI, Higher (J| TroSur7h Grades could find no better composition. It has been indorsed by the leading teachers all icconipaniments and symphonic* *nt as indispensable teaching material. The course is p. 37, 50 Juvenile Studies Loeschhorn A. Technical Studies. over the country . Always ask for the Moerschel Edition._ significant in many essential particulars, among Up. 52, 30 Melodious Studies; 2 them the following:— Books, each. The following are also very instructive teaching pieces : Op, 65, Studies for Technic and 1. The material is musical and pleasing. Expression, 3 Books, each. 1 IN TWILIGHT. (A Venetian Serenade, Grade 2, by Carl Heins) 2. The grading is natural. Op. 65, Complete. 2 LOVE IN THE MOUNTAINS. (Idylle, Grade 3, by Josf Ziegler ) Prefaced by a Few Observation* Op. 66, Progressive Studies, 3 Books, on the BALLAD 3. The Text for teacher and student is ample, * nANCING WITH DOLLY. (Little Waltz for Little Hands, Grade 2, by Jos. Ziegler.) clear, and in proper sequence. ! GLITTERING SNOWFLAKES. (By Ed. Holst, Grade 3.) PR ICE 4. It is the only Piano Course that instructs 5 DANCE OF THE BEETLES. (By Ed. Holst, Grade 3.) in all essential lines of music thought: Mendelssohn F. Songs without Words a"complete copy o, - ■» CENTS, Paper S1.00 Cloth, S2J Piano, Theory, Dictation, Music Form, (Kullak) . Melodic and Harmonic Analysis, etc. Pischna. Der Kleine Pischna, 48 Exer- For a limited period copies will The music is not hackneyed and is selected , DEALER, 5- JOSEPH FLANNER, Milwaukee, Wis. be sent, postpaid, at one-half from an unusual variety of composers. Schmitt A. Op. 16a, Preparatory Ex.. . off the above price Schulz, F. A. Scales and Chords. . . . The Editorial contribution to the books is Sonatina Album. 30 Favorite Sona¬ Be Sure tc tinas, Rondos and Pieces (Kohler) equally significant, and includes such Streabbog L. Op. 63, 12 Melodious WM. A. POND & CO names as:— 148 Fifth Ave. NEW YO Albert Ross Parsons Xaver Scharwenka Jaroslav de Zielinski FOUR HANDS Diabelli A. Op. 149, 28 Melodious Carlo Buonamici E. R. Kroeger Isidor Philipp Studies on Five Notes. Michael Esposito Alvah Glover Salmon John Orth Op. 366, Teacher and Pupil, Dr. Percy Goetschius Mrs. Thomas Tapper WHY DO YOU NOT COME BACK TO ME, LOVE? 3FC.UAL UPPtK NEW SONG, JUST PUBLISHED Miss Anna Lockwood Moszkowski m] ’ Op. ai, Spanish Dances The Editor, and many others. aptures everybody. Highly r le s Universal Piano Studies VOCAL Beautiful chorus in w 7. The Elementary Grades are a Collection of Pieces and Studies indispensable to every Abt, F. Practical Singing Tutor, Bass . please you ! Ask your music uemc. .o. wk>, «. -- “ i'/fo'r twentjfcents dur‘nK September for fifty or Baritone. student. The books of each grade provide a liberal music education to the point to which Practical Singing Tutor, Mezzo-Sop. FIRESIDE MUSIC CO., Box 175, Wilkinsburg Station, PITTSBURG, PA., Desk F. ALTER S. SPRANKLE, Publisher Complete . the grade progresses. a, b, c, d, The same in four p; enth St~INDIANAPOLIS. IND. 8. The Advanced Grades do not progress beyond the boundary of attainment possible to the Concone J. ~ “ ' “ Medium .. student of talent who has received a thorough fundamental training. Sieber F. Thirty-six Elemt measure Vocalises. Op. 92, Sop CIRCULARS AND FULL PARTICULARS ON APPLICATION i. Op. 93, Mezzo-Soprano ...... “The Pianist’s Mental Velocity” cents each for Sheet Music. ! GAN I STS i. Op. 94, 'Alto. By SILAS G. PRATT “and^n^uet^nBoX1" Sheet . VIOLIN A euide to sight-reading. Every Teacher and Student of >. Hohmann C. H. Practical Violin School. Music should have it. Write for descriptive circular >Copy and Popular Musf''I^raid?ample \ 1. The same in 5 parts, each. THE GEO. JABERG Mr IC CO.. ^aoUi01861 ty Edwin »• OLIVER DITSON COMPANY, Boston Address THE S. BRAINARD’S SONS CO. 121 W. Seventh St. Cincinnati Ohio. WHITE, PUBLISHER Address I niL gEW Y0RK CHICAGO THE0. PRESSER, Philadelphia, Pa. -e Slreet, Clevel-nd. Ohio THE ETUDE when addressing our adverti Please m THE ETUDE when addressing our advertisers. THE ETUDE 556 THE ETUDE THE FESTIVAL IN THE JIJST ISSUED A Piano f the Musically Intelligent SMALL TOWN New Publications In Passing Moods
Album of Selected - students, and those generailt CARL BOHM If Pianists, p*W>***™ ’artistic sense, cam,, Pianoforte Pieces interested 'h- nt and progress in plan, Op. 371- Three Melodious Pieces. know the acme development withoui No. 1. Invocation. (3B).. --BY- construction and ton . ; No. 2. La Pierrette. investigating the : ' (Sc6ne de Danse.) (3b) No. 3. Silver Bells. Edward MacDowcll (Morceau de Salon.) (3C) • Espagnola. Spanish Dance. (3a)- Price, $1.25
Prologue A Deserted Farm GEORG EGGEL1NG Alla Tarantella To the Sea PIANOS Op. 111. Barcarolle. (3c) . ; An Old Love Story Danse Andalouse Op. 112. Melodie. (3c) •••••■•••., Melody from a Log Cabin Op. 113. Souvenir de Pesth. (3C).. The Song of the Shepherdess Epilogue Op. 114. 8cherzo. (4a) •••„•• “ Op. 120. La Capricieuse. Valse. (3A). .t Op. 123. Album Leal. (3b).. Sent Free positions by Edward MacDowell. STEPAN ES1POFF Op. 10. Six Melodious Studies. ARTHUR P. SCHMIDT BOSTON NEW YORK CHICAGO No. 1. A Merry Fancy. (Double Notes and Scales.) (2C) •• BOSTON LEIPZIG NEW YORK No 2. Twilight. (Wrist Study.) (2b) .■ 120 Boylston St. Fitth Ave’ Bo-J' W). Ho'4' Tr?SI£i"i m.■ No. 5. On Stormy Seas. (Arpeggio Study.) (oA).... No. 6. Snowflakes. (Trill Study.) (3a) Op. 52. Two-Voiced Pieces. No. 1. Sadness, (lc) . No. 2. Elf Dance. (2a).. No. 3. Phantom March. (2b). No. 4. Forsaken. (2c) —■ E&ve Hongrois. Petite Rhapsodie. (2c). . Uiiniim»I Mm
LCD WIG SCHYTTE Op. 143. Musical Recollections. No. 1. In the Gipsy Camp. (3a).40 No. 2. A Village Dance. (2c).40 No. 3. A Stormy Day. (3c) -40 No 4 Moonlight Barcarolle. (3a)... .40 No. 5. At the Race. (3b).40 No. 6. Floating Clouds. (3a).40 No. 7. In Exile. (3a).40
THE PUPIL’S rMtlT.I Mm SECOND ETUDE ALBUM A Collection of 35 Pianoforte Etudes Selected and Arranged in Progressive Order By FERDINAND MEYER Price, $1.00 For the studio—a Baldwin Small Grand. A sequel to “The Pupil’s first Etude Tt»* Fwilnl Mm VilntMe «» Xuclral Trnfrm*. Album.” You recall the Arabian magician who shows the whole beautv of earth with- Selections for Teachers mthe narrow circle of a nng-the Bald win Small Grand is a rimSS achxevement. and Schools a Specialty in a compass that admits it to a small ,, power, vibrancy and color that delights us in modern concur™ JUST ISSUED Gra„^hefi^ f ^Idwin Concen- A LIST OF strongly not only in the small Grand but in the Unrivhf'=mbnch> etc-> is 1 1 “Musical Novelties” music-lover or the ambitious student to choose fromgnt_~a Sreat trio for the Sent Free Upon Application. Studying with a Baldwin is irKnhmr, easily attained. P S on account of the beautiful effects
The Baldwin is a Grand Prix Piann Arthur P. Schmidt awarded the Grand Prize at St. Louis. the Pans ExPosition and was BOSTON LEIPZIG NEW YORK Write for catalogue “K” and full • r 120 Boylston St. 136 Fifth Ave. you may hear the Baldwin Piano. n °rmation will be sent as to where D. H. Baldwin & Co. mention THE ETUDE when address, , ert,Ber142*- West Fourth Streetet> nCincinnati. - THE ETUDe 565 SOME PRINCIPLES OF LESCHETKr THE ETUDE i friend and I & TEACHING. STUTTERING AND STUMBLING AMONG s a boy in my teens when the succession of black and white keys becomes TYPES OF CONCERTGOERS. teacher, were about « THE following from Annette HuIteV. U* TEACHING SCALES. PIANO STUDENTS. were studying with the s intricate. Lesehetizky* will have much inter*, for I the same grade and had many of the fo7rimately As for permitting scales to be learned and memor¬ BY JUNE K. HILLS. of which” (he gave me the name b of The Etude. BY JOSEPH H. IRELAND. ized from notes, that I will not, and I have not found I have forgotten it) “was a favorite with us both, Lesehetizky endeavors to inculcate: j that it injures any musical person to understand the Concertgoers are probably much alike the world we invariably played it when called upon £ound solutely dear comprehension of the print* J At that period of their course when young people reason why for things he can do perfectly well by ear. over, but we can only speak with authority concern¬ These two faults in piano students commonly arise best. There was one measure, however, that w to be studied in the music on lumd; ; usually acquire a knowledge of scale formation and In teaching pupils who come to me from other ing those in one little world centre and then judging from carelessness in reading, too great rapidity in more difficult than the rest, and when we came to 1 conception of where the difficulties lie, and of ^p key relationship their minds are being so systematic¬ always flinched-struck the first note, repeated t teachers I almost invariably find that the scales of but from externals. The several types are always in practice, or last, and worst of all, the attempt, on the in which to conquer them, and Third, tfcg^ S ally crowded by industrious school teachers with “F” sharp and “G” flat, and often the scales of “D” part of ambitious students, to learn works too difficult sometimes more than once, then concentrating all our other useful information that it is necessary to pre¬ evidence, with the difference that certain kinds of alization of these facts befort they are cartel 05- I flat have been entirely omitted from their curriculum. for them, which they have neither the technic to ex¬ mental energy on it, made a desperate effor , c sent the subject in the most graphic and striking way concerts have larger followings of certain types. the hands. “Decide exactly what it i* you Wl!1! t, | ecute, nor the musical knowledge to comprehend. The it and went on without any more trouble. J-hen the music teacher can devise, if any impression what¬ The pupil has been told to find the starting point for One sees the superior individual, often a man, whose In the first place,” he counsels hi* pupik, , | first two may be corrected with patience aud mental went abroad and we did not meet again for yeaF®’ ever is to be made upon the pupil’s memory. each new scale by counting up five keys from the pre¬ air suggests aloofness and whose eyes are coldly criti¬ concentration, but the last is hopeless, and uncondi¬ vou will do it: then play it. Stop and thinki!. I ceding one. In passing from “C” to “G” this works “When I met my first instructor on the other After considerable experience with all sorts and cal. If he be your neighbor and you are sensitive tional surrender, is its only remedy. played it in the way you meant to do; then onh | all right, but in passing from “G” to “D” trouble .•I think it was Dreyschock) “he asked me to p ay 01 conditions of children as well as older persons I find enough to your immediate environment, his mental Now there is an incorrect as well as a correct way sure of this, go ahead. Without concwtnt^' | begins. “F” natural is always substituted for “F” him. Of course I played my swell piece? and ma e that all pupils have about the same difficulties. They attitude troubles you; you scan him from out the to practice, and the first is responsible for most of my regular blunder even more emphatically than usua . member, you can do nothing. The brain am* r; j" do not understand why they first learn the scales of sharp, and by the time the scale of “B” is reached the student’s misfortunes. It begins in hit or miss the fingers, not the fingers the brain” Otb..■■ “C,” then‘‘G.”then “D,”etc. To their way of thinking the child counts “B,” “C,” “D,” “E,” “F.” He then comer of your eye with an awakening realization that style, with no plan about it, follows a queer road with When I finished he expressed himself pleased with in musical science have been conveyed byLod»a.| it would be much more orderly to learn first “C,” then concludes that the scale of “F” natural follows the there is a skeleton at your feast who would add to many turns, leading by circuitous paths to nowhere, what I had done but asked, ‘Why did you mar 1 a “C” sharp, then “D,” and so on in chromatic suc¬ scale of “B” and proceeds to play it, calling it the your comfort were he locked secure in his closet. and is strewn all along the way with wrecks of what with that stupid mistake?’ and sitting down to the in felicitous similes and suggestions, a* folio,, jj cession. They do not understand why th: black keys scale of one flat, and then travels like a crab backward There is a type which, judging from carelessness or might have been. The correct way is very different: piano himself he showed me exactly how to conect 1 ‘•To make an effective acerltrando yon our a I should be called sharps in some scales and flats in through the scales containing flats, sometimes getting lack of taste in dress, would, to a casual observer, it says in plain terms “Get ready before you start: It did not take ten minutes and I never made it again. into rapidity as steadily as a train inertam is !v, I; others. They do not understand why the piano key as far as “D” flat, but not often, as he has to work en¬ seem utterly devoid of deep feeling. The contrary is know what you are going to do, and how you are go¬ The following story has been given as coming from when steaming out of a station.” Leschetizky. I cannot vouch for its truth, but I do they have been accustomed to calling “F” should, in tirely without rule, not being able to apply to the new often true however. A face which rises above much ing to do it: then go ahead to the best of your ability." “Teach yourself to make a rallcntamk enni; external display may be a battle-ground for conflicting emphatically endorse the principle involved. the scale of “F” sharp, be called “E” sharp. They conditions his former plan of counting up five keys. To practice correctly, first take the parts for the watching the drops of water cease as you tareM- ! emotions. right and left hands separately, paying particular at¬ Leschetizky played a great deal during his early do not understand why the scale starting on the key The mistake is made in not teaching the child to count tention to the bass, which, though the foundation on years, having a fine reputation as a virtuoso even at tap.” they call “C” sharp should be called the scale of up five degrees in the preceding scale to find the new There is the would be artist, the emulative young which the whole struc¬ “D” flat. And they are quite likely to make the key note, and to continue in the same manner all man, whose well-groomed locks and pensive air are ture is built, is the part amazing statement that the scale of “G” sharp con¬ around the circle, until “C” natural is again reached. occasionally disguises of real merit, but more often most commonly neglect¬ tains four flats, or that the scale of “G” flat contains This is by far the simplest method involving but indices of effeminacy and anemia. ed. Each hand has six sharps. When one mental process, This man you may find after the concert giving something to say and confronted with a C ^ that of repeating utterance to rhapsodical soliloquies in a voice which b>5 ’ ■ must say it intelligent¬ piece having one E*i ?2* 'fi the same thing and has carrying quality if not heavily fraught with ideas. ly alone before it can sharp as its sig- • ’ , f ' . going straight for- He often wears a free, flowing tie which, with his be trusted to do it in nature and asked to - Jo'Ett ■'Jlo Z’D ward. It would vagrant locks, responds to every passing breeze. If concert. Then put them tell in what key it • • • • seem so obviously to he be more fortunate in his possessions than the together, and practice average student, he will in the winter possess himself until you can play is written they fre- ’ B fmmhs „ ' be the most natural quently answer, “the EK3 flats 9BI of a large overcoat with an extensive fur collar. If them correctly at a D«> AC 3> and common sense he be particularly well endowed, the fur may extend moderate temjjo as key of ‘F’ sharp.” ■ ;) way of doing that And so on through below the collar, yea, even to the hem! To such a often as you please. .’ I would not think it one a sombrero would serve a purpose should the brim The next step in the the most various, ®.f* ? *•E worth while to write curious and devious . ^ , * be sufficiently wide to be one with hair and tie in mastery of a piece is of il it for the wind-kissed trio of wigglers. An attitude is most to bring it up to the ways their ingenious p®. 6 ■ the fact that I have brains can devise Gt , • 1 -c cr-. becoming as well as necessary to this type. A long, correct movement and never yet received a lean, forefinger planted against the cheek bone with here you will meet with for getting a perfectly straight aud pupil who has been trained in this simple thing twisted. B.k'2 2D the elbow somewhere below the horizon, is most esthet¬ new obstacles. Thus ic ; another, with the head thrown back, generously far we have been tak¬ The way I have devised for teach¬ As another aid to the memory I allowing the audience to note the play of facial ex¬ ing precautions to pre¬ ing these difficulties is by means . ‘ , require pupils to write the scales pression, is most effective when assumed with sufficient vent stuttering: as you of the scale chart with this article. Ek-3 Flats Sharps 3 A on blanl£ musjc paper ;n three ways: abandon. increase in velocity I have it on a sheet of cardboard, Fii'st, one optave ascending and It is a fact deplored by sober, staid concertgoers, stumbling will come to 29 x 23, the letters and figures in descending, without signature, and whose sole desire in going to concerts is to listen to the fore. False notes black, the lines of direction in red. Ak*4 with the proper sharps and flats and enjoy the music, that chattering, caramel-eating jar on the ear and The circles are ten inches in '. 5 * placed before the notes so affected. many are missing al¬ diameter. DS . girls and young ladies are admitted within the pre¬ - 'B Second, erase sharps and flats cincts of a concert room. together; octaves become single notes, and the chords fourteen and fifteen. He was arranging a program A person familiar with Emery’s ;R . «! and write the proper signature. Attention is not always necessary for the culling lose most of their parts; difficulties loom up which did for a concert and was asked to play a certain piece straight, never stooping over the key*, or mrc: I “Elements of Harmony” will recog- Ci' Third, write the proper fingering, about. Ilis hands, often partially iwtiaf on of such conversational fragments: “How do you like not appear when you were going at the Darby and Joan which had been enthusiastically admired the year * I nize the circles as almost an exact right hand above, and left hand notes, n re almost Hut, t|lp wrist* low. thr fin® I my back hair?” “Lovely! Do you wear a rat?” pace; you blur passages which ran easily under your before. He readily agreed to do it thinking he would copy of those given on page nine, the only difference below the notes. doing all the work, hls whole figure taut with then: | “Did yon see the man who called on Nell last night?” fingers before; you hesitate, stumble and fall, coming have no trouble with it, though he had not touched it being that a few of the duplicate keys are omitted, The notation is written in whole notes without time to a dead stop. What is the matter? Can it be a mon 0f concentrated thought. thus simplifying the circles slightly and making them “Well I know what it is to be hard up!” Should since then. When he commenced to practice he found signatures or bar lines. When the minor scales have spoken exception be taken to their volubility, the correct edition of the piece you heard Herr B. play “Ilis playing is as difficult to dewrit* u ttarif. I easier for younger pupils to understand. The scales it more difficult than he supposed. One passa-e also been learned the entire set of twenty-four scales speaker might be called not inaudibly a “horrid and was delighted with it? Is it only trash which tor ,t ls tlie translation of hia nature into mi of “F” sharp and “G” flat are the only ones really threatened to become an insurmountable obstacle is then written, grouped as relatives, with proper disagreeable old thing.” the skill of the virtuoso turned into a masterpiece? fhon. as at no other time, hia varied twpmnwlfc He tried it again and again, but his fingers absolutely necessary to duplicate, as it is a case of six of one signatures. Genteel people who wish to do the correct thing are Is it the piece, or is it your treatment of it? Hoses Itself, its contrasts finding in marie u*ir ^ I and half a dozen of the other, sharps or flats as you seen in splendor and abundance at a concert which Something whispers “You have been going too fast. w^t SVen a b°Winf acquaintance erpretation. These sonorous chorda wrigMooth I with it, and he could not compel them to submit to o inns)erf,n n |inn(,. thu Mpa()r of aws” \ choose. has fashionable connections. These well-groomed The artist’s axiom is practice slowly and only dare another introduction. He rose from the piano in de In showing the scale chart the transposition of THOSE FITS OF DISCOURAGEMENT. persons maintain a correct attitude, affecting a wisdom pointo,TS ! Ule lilf and **wing of the rhythm: the Sit | velocity.” So you begin over again not so slowly as at spair. The concert was to come off the very next even scales by fourths and fifths is first carefully explained which they have not, and become enthusiastic to a mg, he had given his promise to piav it 1," rlnt, e s,,iceato; the piquant charm with which th B the beginning when'you were only learning the notes. and the pupil is made thoroughly to understand how marked degree. Watch both hands; be careful of the accents; stop not substitute anything else. Walking through the'gar clir "°iM d*neto* <* 'he keys: then.*! BY KATHERINE MORGAN. den he came across a flowering bean , ^ tenderness of tho Soft carving W*. I each new scale is formed from the dominant of the pre¬ The average concertgoer is the music lover, incon¬ and spell out the hard places in the passages where ceding one, the only difference being that in each case the spicuous and unpretentious; one of the elect who you had the most difficulty, working patiently over which had fallen upon the borderHeScked tT“* °f nnv ''nrps -these tell the story, more faithfallj (to | leading tone of the new scale must be raised. The Bowden tells us a fable of a small jug and a large lend their souls to the making of an atmosphere which them until the tangle smoothes out and you can play counted and dropped them mechanicallyd int J1?’ pocket. There were ten of them ani l 1° hls ...LSTitu succession of intervals in the scale is also memorized flagon. feeds, sustains and inspires the musician. them as fluently as before even at the accelerated came to him that if he could play that passage so that the pupil has a working knowledge by which “There is a great difference in our capacities,” ob¬ Dong hair and ecstatic gushing are, to many, synony¬ speed. Then dare again, at a quicker pace, to find mous with music and musicians. It is quite possible ten times consecutively without a nfistakf n T* ’ Published by John I^tne Company. New York dh ( he can form the scale correctly from any given key. served the Small jug to the large flagon beside it. difficulties somewhere else requiring the same treat¬ to be a musician and be hairless, even tongue-tied, tra¬ it would help him to gain the mastery of it He T* By associating in the child’s mind the idea of the “A good deal of difference in our measurements,” ment. This is the work you must do, day after day, answered the flagon. dition to the contrary notwithstanding. no time in putting the thought into effect wone K , sharped leading tone with the formation of the major through discouragement, fatigue and even dislike, but “I suppose tnat all I contain, if poured into you, We would best philosophize and accept onr types, th<^ end will be crowned with victory. Remember to the house and commenced practicing’ ai f back APOLLO AND THE MUSES. scales, the way is paved for simplifying the work of with determination. Every time it w slowly but would appear very little,” said the jug. whatever their nature, learning from them to be or genius “is only the infinite capacity for taking pains.” rectly he put a bean on the piano. First°°F' ni!!AT wa* AP°llo’« Delation .0 • teaching the harmonic minor scales which immediate¬ “And what I am capable of holding would over¬ not to be; and believing as it takes all kinds of people These faults are by no means confined to students, ly follow. The relation of major and minor keys by to make a world, that the same is true of a concert blit they often fasten themselves on the masters, some- it through three times, blundering miserahm P'ayet] whelm you for certain,” replied the other. fourth when the bears went back into u- y °n the vere their names? the same signature, or family name, is explained and audience. times attacking even genius itself. My own honored “Truly, I could hold but a small measure of your but he kept on. once getting through^: id the Greeks include in music? the pupil is taught to find his relative minor key by fulness,” said the jug, “but I have this to satisfy me, teacher, who is known on both sides of the Atlantic as making a mistake on the tenth He k t mea’ but an accomplished artist, an able teacher, and an author¬ counting down three tones in the descending major that when I am full I have all I want. And you your¬ and finally accomplished his' task nil" ?nce more McCosh scale, and to play the new scale exactly like the self when filled can hold no more.” Children have ears like the very spies of nature ity among musicians, gave me this following illustra¬ ‘lien a prospective student asked tion from his own experience when correcting me for there wet major scale, with the leading tone raised one half The music life contains persons of various dimen¬ itself—eyes that penetrate all subterfuge and pre¬ , V.° s’lort cuts in a ixillegr coiirw1' taking more than one chance in a difficult 'tef, .trr'i:1 “nr.;* “• “Oh! i step. To all this may be raised the objection that sions, but all should be filled with the same love for tense. It is good to set before them the loftiest ideals do such work a. tt.t; I, eoM, J'*"™. t. s aai |1=3 (iMh.- nJ r.i 'h 1 iTI r..Hra» Hi - l-g:t1 \ ^ fcantabile HH*r < ^f-rrTl motto espress. 3 ^_ 5 L—— i i 573 572 THE ETUDE THE ETUDE JOYOUS return JOYOUS RETURN JOYEUX RETOUR JOYEUX RETOUR MARCH-POLKA MARCH - POLKA Secondo LEON RINGUET, Op. 36 Allegro moderato M.M. J=H6 Prime LE0N RINGUET’ °P‘36 Allegro moderato M.M. J = 116 : k THE ETUDE 575 Primo Secondo 8.. rii "1 .p f ♦ Ms ~ ,r—n -g.^^=3=- T [[gf =Hsf p ——■—— fcT.P ^ V L-J 8.-. . _ _ -t* -j fT r f— ■ irtd :=»■ :#«si U«J Mm l^Esfcky Mi* THE ETUDE 577 576 THE ETUDE Fed. simile THE ETUDE 579 Ballad of a Summer Day MEDITATION ARTHUR F. KELLOGG Andante moderato m.m.J.= 46 tm _i_■ 0 l- p ii - ii t ? temvo /—g’’* 4' 5^ ■±iizLL -i“~- £iYcir EJlE Etgjt. ncLi-u- DJL* ipiBii i piJ gy i ftlfr*i Jffjl Ik H ■ %— mm * A tL H 581 THE ETUDE 580 THE ETUDE Animate to 582 THE ETUDE > ■ £- -bp — Prrr- ■> n ttH= F ! --- - | - T Mr ./ L * #■ ^—«—S- -jf, — g r*i r*n— x=Sfc=i;- r ■■■■f- | J ■ =J= -[.... L..jE >>L-Tf^=Ft> ■ -——r—-: V Ha 1 ... »I - r j -h- J;:. rj irj > ♦ • 4 i 4 * w J i cresc. . ■ 4 = f * m. L-#- LJ ■ J THE ETUDE 585 584 THE ETUDE 2 nd VALSE CAPRICE f.g.rathbun THE ETUDE 589 THE ETUDE 588 THE LITTLE HENS THE TIN-PAN GUARDS’ PARADE VOCAL OR INSTRUMENTAL LES PETITES POULETTES Jessica Moore GEO.L. SPAULDING Marziale m.m.J=U2 Bugle Call 5 ft u. 4 2 3,_ 0-- / hard they On pans of tin they beat this aw-ful din, As they go marching Ln Hr 5 •AM im -I THE ETUDE 591 the etude To prove this, pinch your nose with your fingers, One day the bishop came, and I was called upon to local effort. the edification of teachers in big cities, who are and you get a so-called nasal tone; let go and talk supposed to know all it contains, and much more, sing a solo. He was so pleased that a short time freely through your nose and the nasal tone is gone. and who have the pick and cream of the voices which afterward I received an offer to join the choir of one by HORACE P. DIBBLE. The quality which one has with a “cold in the head,” flock to these places, but it is written to help the thou¬ of the big churches of Naples. It was a great event. when the “ms” and “ns” of the language are almost sands who are patiently trying to teach such material I sang at benediction. That evening at vesper hour impossible, is caused by a thickening of the mucous as comes to them—often having to make the best they I learned for the first time that the public was to OCALaMN . oineing bv the above term? membrane where the nose connects with the mouth. can of a bad bargain. To those, the first requisite is be my teacher. The voice may also be choked, by a habit of speech, to learn to distinguish a free tone when they hear it. When once in awhile, after a great solo, I would in the back of the mouth so that the utterance will If the voice of a new pupil has in it anything of a hear smothered exclamations of approval, then indeed LPART/ALNT saffl as be thick and not easily understood. All of these strident or nasal character, in his endeavor to produce I was raised to delirium of joy. In this way the habits of speech will be persisted in by the singer firmness, or if, on the other hand, there is little power public became my teacher. From fourteen to eigh¬ fj” 1 used by authorities in the art of singing,■= unless corrected by the intelligent teacher. on account of a closed vocal tube in the region Of the teen I was without a voice and was, to my dismay, Gonducted byH W Grcene S to the undue constriction of certain muscles DESIRE FOR FIRMNESS soft palate, the teacher must be able to judge by the destined to enter a warehouse, when my voice sud¬ used in singing, caused by a wrong understanding of quality of the tone he hears as to wherein lies the denly returned, and I at Once began lessons with duty, but he should realize the value of system and how tone is produced. of tone will frequently be confused with a feeling of difficulty. To be sure, all voices are not equally Signor Vergine, a great exponent of hel canto. I THE NEED OF A SYSTEM. formulate, and adhere to one. By such a pane 's firmness in the throat or back of the mouth. Many beautiful naturally, but there is no excuse for any remained with him three years, and then, just as I O UBSTANTIALLY the following address was de- more likely to compass a thorough fundamental tiain an intelligent pupil knows a good tone when he hears was about to make my debut, I was forced to join O livercd before the vocal normal class at the First: a wrong conception on the part of the singer singer’s misusing his voice. A naturally large and it, but puts his attention on how he feels instead of the army. It was a terrible blow. We were too Brookfield Summer School of Music, July 20: 1U Teachers are too frequently turned aside from what as to what constitutes good singing. beautiful voice will not produce nearly as good an what he hears. No singer has ever heard himself as poor to purchase a substitute. I wept continually. The vocal teacher without a system is seriously they know justly belongs to the foundation work, by Second; a confusion of the desire for firmness of effect when misused as will a naturally inferior voice others hear him. By constant study and comparison, One day I received an order giving me my freedom. handicapped in his work. While he may be resource¬ the attractiveness of repertory and interpretation. tone with a firm feeling in the throat or back of the when used correctly. The teacher must be able to he can gradually learn to appreciate the difference My brother had offered to sacrifice himself in my ful and able to meet the oft-quoted necessity of treat¬ Songs may be introduced at all stages of the pupils judge. It is his duty to do so and if he does not, he between his good and his bad tones, and yet he can place that I might become an artist. ing each voice according to its needs, his system progress, after group one, but they must be considered mThird: inability on the part of the singer properly is committing an unpardonable offense in allowing only by imagination hear himself as does his audience. and encouraging a pupil to misuse his voice. The one I then made my first debut at Naples in an opera should De perfected and the work of the pupil gradu¬ only as of secondary importance. to control the breath. In this age of advanced thought, it would seem as criterion must be freedom of tone. Without this, composed and given to an invited audience by an ally led to conform to it. It is safe to say that if the teacher does not slight wbong conception if itT were unnecessary constantly to reiterate the idea This individuality of voice is the strongest argu¬ there can be no permanent improvement. To be sure, enormously wealthy Italian nobleman. It was there the technic of the art, his pleasure in teaching inter¬ of tone may be caused by the pupil’s having heard that all effort in the region of the throat is wrong; ment for its need of definite treatment,—referring without this freedom, the voice may be forced, and I met my third and last master, the “press.” The pretation will be greatly enhanced. many bad examples of singing. ItAs natural to imitate and yet when one reads so much about the larynx and of course to the process by which it is developed after a seeming improvement made for awhile, only in the morning following the representation the critics of what we hear, and if we hear only that which isbad, all the muscles at the base of the tongue, and what the initial stage of normal tone establishment has end greatly to impair the voice and to make it ex¬ the newspapers spoke of the opera and the new tenor. we shall finally come to like that which is bad. What must be done there to cause a goocf tone, the intelligent been passed; the reason being that it must afford, reminiscence. ceedingly difficult for an intelligent teacher to repair I read all that was written of me with the greatest is here spoken of as “bad singing” is not necessarily teacher must insist that any effort there will only in the hands of a teacher of experience, the best, and the damage. respect and attention. I repeated to myself when a rriHIRTY years ago John Clark, Gus Hall, and Fes- all bad. A singer may be a good musician, singing m send the singer farther astray. Even more, any certain fault was noted, “That is true.” That was most direct way of attaining the ripest results. 1 senden, were among the bright and shining lights CHANGE OF THOUGHT. We therefore submit the following general outline, perfect time and tune. He may even go farther than thought in that locality, or any anxiety as to whether the beginning of my studies under criticisms of the of the then only strictly English opera company. this He may enunciate his words fairly well, and those members will do their duty, is bound to produce In an article, limited in space as this is, no full ex¬ press. A few weeks later I made my debut before a as safe and helpful. This organization preceded the Boston Ideals, an Group one. The very few exercises that illustrate have some good ideas regarding the interpretation of an inferior result. planation can be given of the necessary remedies. public audience at Caserta, singing alternately in Gilbert and Sullivan companies, that were so popular clearly tone requirements; the conditions most favor¬ his songs so as to convey their meaning to his hearers, Not long since a representation of “Twelfth Night” We have spoken of “local effort” at the throat. “Faust” and “Cavalleria.” in the memory of'many of our readers. Two of these able to normal tone; the establishment of tone models and yet he may continually use a harsh, or a nasal, was given by a very excellent company, including The ultimate desire is to have no local effort anywhere, The morning after a performance I made it a habit men were great lovers of nature, and I recall a con¬ in the pupils own voice, etc., etc., all of which are or a choked quality of tone, which will sadly impair one of the stars of the theatrical world. One could and yet at first it may be necessary, in order to get rid of sending at once for all the reliable daily papers. versation which did more to arouse my youthful ad¬ written by the teacher, and which, more than any its beauty and musical quality, and, in the end, will not help but notice how the exquisite manner in of the local effort in the vocal tube, to turn the Then I read over and over every criticism, favorable miration for all of them, than their singing could other group, yield to the conditions which the teacher cause his over-strained voice to become worn-out and which she used her voice enhanced the play of feature pupil’s attention to an exaggeration of the use of the or unfavorable, regarding my performance. If I find possibly have done. , . gone, just at that time of life when it ought to be at and gesture. Her enunciation was such that not a the critic is a man of musical discrimination I attempt finds peculiar to the case in hand. It was their first meeting in the Fall after their front of the mouth and also to a local effort towards In addition to the written exercises may be quoted, its very best. This is not an over-drawn and ex¬ word was lost and was in marked contrast to some control of the breath in the body. By making him to apply all he suggests to my next performance. as of inestimable value, the first book by Behnke and Summer vacations. ^ ceptional case, but a very common one. Many persons others of the company, who, while their acting was Otherwise, if the critic appears to be careless and They each had learned several new rdles, and it was think much of these things, he is induced to forget Pierce, because of its simple but perfect presentation consider it a great thiiig for a singer to be able to good, sincere and natural, made sufficient local effort indifferent, complimenting and finding fault without the description of the manner, and place of their others. Body control of the breath cannot be quickly of the study of attack and release of tone. stand up before others and sing a song through, and of one kind and another, so that the very effort which learned by those who have had no conception of justification, I do not pay much attention to him. I Group two should consist of short melodic phrases, studying, which charmed me. from their standpoint it is a great thing, and in so was intended to make the voice carry and be impressive unfold the rest of the paper and read the news. Clark said, “I learned my part of two operas m one correct breathing. It is an athletic exercise which also written by the teacher. They may be few, but far as the “bad singer” has these good qualities of so choked it as to make the delivery unintelligible, even week at Lake George, and did most of my studying in must be persisted in for years before being developed so arranged that through many repetitions afforded by singing above mentioned, he should be praised, hut a boat. Then, after finishing a song that I liked, to those sitting near the stage. to the utmost. When the pupil is asked to refrain transpositions, and permutation of words and syllables, he should go farther and combine with them the I rowed up to a place under some hills where there from “local effort”—to control the breath in the body STUDIO HINTS FOR VOCAL STUDENTS, they shall realize their purpose which is to fasten upon ability to produce a free, musical and lovely singing WRONG BREATH CONTROL. was a particularly good echo and tried it on the trees. -—to “let go” at the throat—it is often both physically ORIGINAL AND SELECTED. the subconscious mind the tone forms established in tone which has the capacity for ultimate development If only I could get the quality of tone in the opera, We consider this last, and yet it is the primal cause and psychologically impossible for him to do this imme¬ group one. (With this group may be introduced far beyond that of his bad tone. that the woods sent back to me at Lake George, 1 of all bad tone production. In singing, the tone must diately. The result is bound at first to be a very un¬ volume one of the Standard Graded Course of Singing, At an entertainment recently, a little girl sang, be sustained firmly. It requires a free and firmly con¬ steady tone, often weak and breathy and with not BY FREDERIC S. LAW. or Tosti’s first book of exercises. If this book is would defy the critics.” sweetly, naturally, and with a good understanding. “I learned my score in the north woods, said the trolled flow of breath to do this. The average begin¬ much character. He will always think it worse than it used the same syllables should be employed which are Her voice was not very powerful, but was as much tenor, “and when I sang the parts, it seemed almost ner finds he cannot at first sustain a firm tone unless really is, for in getting it .free, it will feel to him very The human voice is really the foundation of all found in the Graded Course Series.) so as we should expect from a child of a dozen years. as if I was desecrating the sanctity of a cathedral, so he controls the breath by means of local effort in the weak. It takes a long time to develop strength in the music.—Wagner. Group three is, for want of a better name, called She sang in a large church and her voice carried vast and impressive was the space. My voice seemed throat. Most pupils have taught themselves to sing body so that the breath can be controlled there with People who have singing voices are those who have the detached series. It is modeled after the second through the building and the words were understood. deeper and more effective than I have ever felt it in more or less before they go to a teacher. In fact, they the requisite amount of pressure. It takes much so wished to sing that their desire has overcome the lessons in Behnke and Pierce, but greatly elaborated. Afterwards a lady said to me, “that little girl has a would not think of going to the teacher if they could patience and intelligence on the part of both teacher fear of their inability to sing.—Ffrangeon-Davies. These exercises are also written by the teacher, and the theaters.” The third speaker’s tale was in contrast. He said, very sweet voice, but then I don’t suppose it has been not sing, because they would not consider that they and pupil, something which many do not have and The study of singing is psychological. Students in addition to their value as advanced studies on attack “If you have never been in Brooklyn with the tempera¬ cultivated.” It was not the right time or place to had a “voice” (the voice always being thought of as which is responsible for all the bad singing which we and release, make a most perfect preparation for the often find fault with mechanical deficiencies when the ture at ninety-three in the shade, with a baby on each open a discussion.- Would it be necessary, in culti¬ if it were something which could be taken out and hear, caused by local effort. study of agility, the simpler scale, and arpeggio forms difficulty lies in the imagination. True vocal training knee, and an opera score balanced on a chair just vating that voice, to take from it the sweetness, scraped). The more musical the young singer, the which also appear in this group, and are invariably consists in ignoring physical hinderances, not, as many purity and naturalness which pleased us all? By no more he is liable thus to have mistaught himself by given in manuscript by the pencil of the teacher. out of their reach, you have never fully realized the imagine, in considering them. Look forward, not back. joys of being an opera-star. That is how I learned means. The object should be to retain all that, and erroneous practice. I once heard a young lady sing Cultivate the imagination. Even an exercise can Lutgen’s melodic studies in agility should supplement to encourage the child to go on singing in just the HOW CARUSO LEARNED TO SING. the written exercise, and Sieber has also a valuable my scores this season, and when I am doing the part who so contracted her throat as to pull down her ears. be made dramatic. Sing it—or still better, declaim it of the Count in “La Sonnambula,” if you should hear same way—to instruct her in correct breathing—to This seems almost impossible to believe, but it is a to an imaginary listener. compilation of the simple scale forms which should assist her in proper interpretation of her songs—to occasional lapses don’t be surprised, for this is liow fact. The person who brought her to me said, “hasn’t Self-consciousness and its inevitable consequence— not be overlooked. help broaden her musical ideas and mental and spirit¬ When I am asked concerning the Italian method Group four is the agility group. It is introduced Count Rodolpho rendered it in Brooklyn.” With sono¬ she a beautiful voice?” The girl was quite musical rigidity, are the chief obstacles to successful tone pro¬ ual nature; thus, as she grows to womanhood and of singing, my ideas on the subject and the names by that invaluable series of two, three, and four notes, rous tones he illustrated : and sang on the key and in time, but her voice had a duction. Pacing, easy and natural gestures while sing¬ her physical voice develops correspondingly, she will of the masters with whom I studied I am at a loss ascending and descending based upon the major scale, “I’ faith ‘tis no unlucky (shut up) that I should piercing quality, impossible to describe. ing, are aids in securing the necessary elastic, un¬ pitch my tent here.” (Say, countess, can’t you take have a noble instrument, and a capacity as a singer to give a satisfactory reply. constrained poise of the body. played in thirds, which makes the most natural and which will delight those who may have the good THE REMEDY simple accompaniment for use in practice. While one of these babies?) I am a Neapolitan. In our country we do not talk Practical voice culture includes: fortune to hear her. these exercises are as old as the history of singing, (Voice in the distance.) “You can’t expect a count¬ requires first, that the teacher must be able to dis¬ of methods. We have 6el canto. That is our tradition, 1. Quiet diaphragm. Is this often done? No. As a rule, such a Child and appear in numerous printed methods, they have ess to look after ber own babies.” criminate. Should he expect the pupil to produce a the tradition of the great ones who have left their 2. Loose, mobile throat, tongue, and chin. > will be put through a certain course of exercises been presented with greater distinctness in Mathilde “Then, Mrs. Hall, kindly produce a bottle of milk, large, free, and musical tone at once, no matter in memories in our hearts. We sing because we are 3. Flutter of tone at teeth. To secure these because they have been published with the name of a Marcliese’s “Elementaires GraduSes.” This book con¬ and make this trio into a duet.” what condition he finds the pupil? By no means. a singing nation. Our parents sing as they work. points under all conditions means that correct tone teacher of reputation. But how these shall be sung tains also most of the other useful scale forms. For “The place is pretty, excellent country,” (let go of There are some wonderful methods advertised, the use We live out in the open air, under the blue skies. production has been attained. They are best illus¬ the best studies of the arpeggio forms, however, we my moustache, you young tyrant) “all the men are and why they are used is not always clear to the of which, it is claimed, wili at once revolutionize a When the lungs are filled wi+h pure air and sunshine trated by a light, rapid whisper. must go to the second volume of Nava’s “Elements of courteous, the women fair, and lovely,” this followed teacher, and in this cultivation (?) the aim too often voice. Possibly some of these teachers are honest. it seems to me that this air and sunshine become The first step in breathing is to set up a mental by a prolonged imitation of a squalling child. seems to be to force the voice to its limit of power Vocalization.” They may he able to use these methods themselves. song. Our children sing in the street; our peas¬ activity which centers itself in the lower part of the By this time Clark and Fessenden were nearly con¬ Group five treats of the embellishments, and they arid compass instead of an endeavor to have these exer¬ They may have found some occasional pupils who ants lift their voices in melodious chorals in the body. Breath thus taken and controlled is the best vulsed with laughter, and the huge, good matured basso, appear in the second and third sections of the “Stand¬ cises sung musically and to allow the power and extent were already in good vocal condition and who made vineyards and olive groves. When a child is bom and only cure for nervousness and breaks in the voice. ard Graded Course of Singing.” They should first be resumed his normal voice, and said, “Don’t talk to me ' of compass to develop gradually. quick progress. These teachers have perhaps forgotten and as he grows begins to show he has a voice the Inspiration comes from inspiration. of the north woods, and Lake George; Brooklyn thoroughly mastered and then applied through the The wrong conception of tone also applies to the how long it took themselves to become good singers father and mother are filled with joy. My father had a Tests of breath control: Though using breath, to feel Heights for me with a baby on each knee. Some day twenty vocalises of Salvatore Marchesi, and Vaccai’s speaking voice. If the would-be singer has from (if they really are good singers) and illogically deep bass, my mother a beautiful, rich contralto, as if it remains in the body. This gives the sensation those babies will know that I was working for their book. It is of great importance that these two books childhood been associated with those whose speaking advertise to produce artists in six months. my little sister a voice like a flute. When I was a of drinking in the tone. The last tone of a phrase or living just as hard as the grocer who lives next door.” be included in this group as the embellishments are voices were bad, he will surely use his speaking voice A teacher must know a FREE TONE when he lad I had a voice combining the qualities of my an exercise defines breath control. Thus it is among those who seem to be among the set forth with beauty and variety, with the Italian in the same manner. This wrong use of the speakine hears it, and if the tone is not free, he must be able mother and sister, and because of this voice I was elect. Hard work, and concentrated effort. The ap¬ The easy, elastic retention of breath during singing text, which is their most natural vehicle. voice may cause many varieties of unpleasant quali¬ to show the pupil how to make a free tone and con¬ the king of our little home. My first teacher was the pearance behind the footlights is only the apex of a is the principal problem of the singer. Study it apart While we have by no means covered the formative ties. The voice may be harsh and guttural from local tinually insist on that uptil he gets it. Upon this priest in the little private school to which I was structure, that has been long and carefully reared, and from voice use in connection with deep breathing technical field, nor alluded specifically to many features effort of the larynx. It may be so-called nasal, from foundation all good teaching rests. Without it, the sent. He was a good musician, and he took extraor¬ identified with which, have been exactions, that in¬ but do not give either exaggerated attention while sing- that are of imperative necessity to ideal vocal a constriction in the region of the soft palate. I balance is as naught. This article is not written for dinary pains to form my taste. musicianship, we have given a glimpse of our own volved efforts, and sacrifices, that are strictly com¬ say “so-called” nasal, for the fact is that with this system or routine, to follow which is not any teacher’s mensurate with the reward. quality of voice the nose is not used as it should be. 593 THE ETUDE THE ETUDE 592 OUR VOCAL MUSIC. heavy a voice, or there will be a break between thi» always needed to give to a program Sing by expansion not by contraction. Do not To my mother part and the second tenor. Besides this, a ra DUPLAME ^ sentiment which every one loves, breathe to expand but expand to breathe. The act ot bright baritone is required to freshen up the a that touch of of prominence has written breathing is passive rather than active. Nearly every <=omp “ P . THE LAND OF NOD A.W. LANSING FRANCES V. HUBBARD THE ETUDE 597 THE ETUDE Swell, Choir, Solo, on the ground that they no It is a handy reference chapter, though less complete of numerous stops of various tone colors, longer have any meaning, and name the manuals, than Wedgewood’s “Dictionary of Organ Stops,” presence rim***™* imitative of some of the or- First, Second, Third, etc., from the lower manual up. which appeared recently. JUST ISSUED which are and which Can be used singly We do not see as the names First, Second, etc, signify Chapter XIV, “Suggestions fob a Systematic "Ration like those instruments in the orches- any more than Great and Swell, while they would cause more or less confusion in registering organ Organ Stop Nomenclature,” does not seem to accom¬ Schmidt’s Collections plish its purpose. The author discards altogether cere ^ “Sfs "fbe\ti:ed°arnd controlled, as music, as, in a two-manual organ, the Second manual would be the Swell, but in a three-manual organ it tain meaningless names of organ stops, such as the ^‘different performers vary and control the tone of -of- the dinerem v .g true that the tone of many would be the Choir. numerous Tibias, Kaliope, Pheneum, Kenura, etc. A few- standard names, like Open Diapason, Melodia Its andSombinations may be softened, by enclosing Chapter VIII is devoted to the “Internal Ar¬ anl Flauto Traverso, which may not mean very much Sacred Songs stops a SWell-box, which box can be opened rangement of the Organ,” and many well-known in themselves, but which have been long associated ^tlHOIR- the„ Ploes d at wm, producing a really effective cres¬ principles concerning the disposition of the various Edited by EVERETT E. TRUETTE with their individual stops, he discards and substi¬ cendo and diminuendo; but the crescendo and dimin- parts of an organ are presented in an able manner. tutes Principal, First Flute, and Second Flute, which 21 Selected Songs for High Voice cendo ana e and never subjective, lacking al- that all the features and their treatment shorid be No one will take exception to the author’s recom¬ This monumental work do not seem to us to signify any more than the dis¬ Price, $1.00 dictated by, or appear to grow out of, the eq ways° the spontaneity of the crescendo of the orches- mendations, but it seems a pity that English and carded names. Such names as Vox Angelica, Voix “THE ART OF by George Ashdown Auds- American organ builders, many of whom aim high ments of the instrument.” instruments Celeste, and Vox Humana, which are supposed to 18 Selected Songs for Medium Voice ORGAN BUILDING.” ley, LL.D., devoted to the 3 X and are doing as fine work as can be done with ex¬ signify Angelic, Celestial and Human Voices, though organ, in two large volumes Price, $1.00 The fourth chapter, “Decoration op the Organ,” etStsrto make UrnSt like tl orchestra will pro¬ isting conditions, should be made the target for such the tone of these stops does not bear a semblance to of 1,360 pages, profusely illustrated with excellent is practically a short supplement to the third chaPte ’ duce a poorer organ. repeated censure with practically not a crumb of the names, are severely criticised as “specimens of 18 Selected Songs for Low Voice diagrams, most of which were drawn by the author, and treats of the color decoration of the case o credit for their work, excepting one favored American organ trickery, in a mild form, the names being Price, $1.00 marks an epoch in the literature of the organ. As the exposed pipes. To quote from the author: One We agree with Dr. Audsley, that the organ can be builder, who alone seems to have gained the admira¬ accepted as a mild piece of sarcasm.” These names the author writes in his “Proem,” the work has been a may at once admit that when an organ-case is archi¬ greTtly Improved, as an organ, but In the effort to tion of the author by his duplication of the swell- are retained, apparently because no better names have COMPLETE VOCAL CATALOGUE containing POR¬ “labor of love” which has consumed many hours tecturally designed, carefully constructed, of choice make ^it like the orchestra, by placing most of the box. The author writes: “Organ builders, for the occurred to the author. To us it seems unnecessary TRAITS of AMERICAN and FOREIGN COMPOSERS stolen from an exacting profession,” during a period oak, oi some richly-colored hardwood, and mounted pipes of the organ in several swell-boxes, and by re¬ most part, are tradesmen who find the practice of to place “Oboe and Fagotto” or “Hautboy and sent FREE upon application. of nearly twenty years, and Dr. Audsley deserves great with tastefully-grouped pipes of highly-burnished tin, apportioning the stops in the different manuals to g.ve their art anything but highly remunerative, and are, Bassoon” on the draw-stop of the Oboe, simply because praise from every one who is in the least interested there is little left to be desired.” orchestral classification, at the expense of many pure accordingly, generally willing to cram a large organ the two lower octaves of pipes of the stop (which are in the organ, for his labor in preparing such an ex¬ Chapters V, VI and VII are devoted, respectively, mgan effects, which obtain at present, and which every anyhow and anywhere, so long as they are well paid constructed in the same scale as those above them) tensive treatise. No theoretical work which we have Arthur P. Schmidt to the “Church Organ,” the “Concert Organ, and organist admires (though the author calls then, for doing so.” In view of this quotation, we must run below the compass of the orchestral Oboe. The ever seen contains such fine drawings and diagrams. BOSTON LEIPZIG NEW YORK the “Chamber Organ.” In each chapter the author “fancy and ear-tickling”), we repeat, m these efforts smile at the complimentary references to an organ fact that these tones are produced by the Bassoon We have delayed giving the readers of The Etude 120 Boylston St. 136 Fifth Ave. presents at great length his ideas of everything which the character of the organ, os an organ, is injured built by this favored American builder, when we (Fagotto) in the orchestra does not warrant the a review of this work until we could take the time each organ ought to contain (manuals, stops, «>UP' rather than improved, the instrument becomes less happen to know that, in building this particular additional names on the draw-stops. For the sake to read the volumes from cover to cover, no small lers, etc.), and how the stops ought to be apportioned “flexible” and more unwieldy for the performance of organ, the builder was given carte blanche to build an of consistency, we would ask the author why he advo¬ task, though one most pleasant. There is so much “organ suitable for that church,” sending only the bill cates “Orchestra] Oboe” for the imitative Oboe, and to commend in these volumes, so many interesting in each manual and the pedal. Dr. Audsley is an architect of the first rank and, PUH ^mfort to read that an organ of to the donor. It then happened that a 60-stop organ not “Orchestral Oboe and Fagotto?” We also cannot Church Organs and valuable pages and chapters, and, at the same unlike all other architects, is surprisingly familiar thirty stops, if schemed as suggested by the author, was “crowded” into this small country church in which see the advantage in crowding the draw-stop of the LATEST IMPROVEMENTS time, not a few points on which we differ with the would have “1,073,741,823 combinations, without even a 25-stop organ would have been a large organ, and Violin (8 feet) with “Violin and Violoncello,” simply author, that it is a difficult matter to condense a with all the subjects pertaining to the organ. He BOSTON NEW YORK PHILADELPHIA writes with no little authority and we have great using the sub or octave couplers.” The author cor the pastor of the church complained to us, some time because the stop runs 19 notes below the compass of CHICAGO LOUISVILLE ST. LOUIS review into the narrow limits of a short article. rectly remarks (page 336), “It would require an in- afterward, that they “were saddled with a $20,000 the Violin of the orchestra. In a like manner we do At the very outset, we wish to say that the author respect for his views, but we cannot help feeling in Main Office & Works RCTSMS* Mass. these chapters, and in several other parts of his ex¬ dustrious and ingenious organist to get at the end organ when they could afford only a $200 organist, not see the necessity of crowding the draw-stop with has performed a herculean task with consummate OOK /w cellent treatise, that, if he were a professional organ¬ of its resources.” He might have added that a whole and had no money to keep the instrument in repair.” Double-Bass Ophicleide, when Double Ophicleide H skill, and has given to the world almost an encyclo¬ ASTINGS CO. ist and had gained a certain kind of familiarity with cabinet of acoustical instruments would be neces¬ would signify the same stop. Dr. Audsley’s plan for paedia, instead of a treatise, as the author modestly “Acoustical Matters Connected with Organ the instrument which is gained only by constantly sary to distinguish the practical difference and de¬ systematically naming the Mixture stops is excellent, Fair Prices.Established 1827. All Sizes calls his effort, the value of which cannot be over¬ Pipes” is the subject of Chapter IX, wherein the playing large and small church and concert organs termine the value of all the combinations represented for example:— estimated. It is a work to which the student, the reader is treated to an excellent exposition of the in public, he would greatly modify his recommenda¬ historian, the architect, the organ-builder, the organ¬ by the seven left-hand figures. theory, as far as it is at present known, of the pro¬ III V ist the church-committee, and many others, can turn tions in the various organ schemes which he puts duction of tone by organ pipes (flue and reed). The Mixture and Mixture forth. It is universally accepted among musicians, In three and four manual organs. Dr. Audsley with the assurance of finding much of value on what¬ author quotes from Mr. Hermann Smith, an English 15-19-22 19-22-24 ijutrijtttgB-Untnj whether or not they happen to be organists, that the claims that “the only logical and proper position for 26-29 ever particular branch of the study they seek. the Great Organ keyboard is the lower manual’ lecturer on acoustics, and gives, by the aid of some one great short-coming in the organ, as a musical in¬ Each stop, besides showing the number of ranks, with the Choir manual next above and the swell man¬ excellent drawings, much useful information. ©rgatt (Eu. The first chapter of 85 pages, “The Organ His¬ strument, is its incomplete power of expression. On gives the pitch of each rank. torically Considered,” gives a good outline history this point we agree with Dr. Audsley, but his sug¬ ual above the Choir. We must confess that we see Chapter X, on the Tonal Structure of the linatmt, IMubu. of the instrument from the first primitive suggestions gestions for overcoming that defect are open to absolutely no reason for this unusual arrangement of Organ,” and Chapter XI, on the “Compound Stops [In The Etude for October Mr. Truette will review ■ HIGH-GRADE PIPE of reed-pipes, before the Christian Era, to the early grave objections. Undoubtedly, improvements are- the manuals, -and we speak from experience, having of the Organ,” explain, by various tables and illus¬ the second volume of Dr. Audsley’s work.] part of the 19th century. The chapter is interesting possible in the limited control of expression in the given several concerts on an organ with that ar¬ trations, the value of the harmonic-co-rroborating PNEUMATIC ORGANS ELECTRIC and presents the various steps in the evolution of the organ by means of swell-boxes, but when their number rangement of manuals, but we see one strong objec¬ stops and mixtures. These stops have been greatly NEW YORK BOSTON PITTSBURGH organ without wearying the reader with tiresome is increased and nearly all the pipes of the organ, not tion. In three-manual organs, when the Great Organ neglected of late years, a single “screaming Mixture” “I have never been able to see details and long records of the discussions of various excepting half the pipes of the Pedal Organ, are keyboard is the lower manual the position of the having been made to do duty for several soft harmonic- STOP KEYS. the advantage of stop keys placed doubtful points. placed in swell-boxes, the instrument, instead of be¬ keyboard is so low that the wrists of the performer corroborating stops, thus bringing the whole class of over the upper manual as compared coming “more expressive,” as the author claims, be¬ are doubled up in playing, which seriously interferes stops into disrepute. It has always seemed to us that with the ordinary draw-stop knobs. In {he first place, flip? (Drgattfi of litgltPHt (§raite The second chapter, “The Position op the Organ” comes unwieldy, anl loses its natural spontaneity and with the execution of the more difficult passages which the soft harmonic-corroborating stops were necessary the position is entirely wrong, as I will endeavor to in churches, concert-halls and dwelling houses, de¬ ELECTRIC, TUBULAR PNEUMATIC grandeur. If the whole organ were placed in one are generally played on the Great Organ. We venture in all moderately large organs, but we cannot agree explain; secondly, the stop keys are much too small scribes the location of the instrument in several promi¬ OR MECHANICAL ACTIONS gigantic swell-box a “startling crescendo,” as the with the author when he states that “the trained and cramped together; and thirdly, it requires so many nent churches and concert-halls, showing the advan¬ to assert that no pianist would tolerate such a position author writes, could be obtained, but at the expense of of his wrists in playing the piano. Of course, the musical ear can never be altogether satisfied with the movements of the arm and wrist to manipulate them. tages of some locations, and the disadvantages of Emmons Howard - - Westfield, >lass. tone of the 16 and 8 feet Open Diapasons in the Great I am aware that it is possible by making a sort of glis- other locations. The author very justly criticises the natural grandeur of the instrument. wrists are doubled the same way when playing on the It should be noted that the author objects to Organ when used together without any harmonic- sando movement with the finger nail to bring on, a those architects—and there are many of them—who, Choir Organ, if it is the lower manual, but the de¬ placing the large Open Diapason of the Great Organ corroborating stop. whole row at once; but one or two special stops may as the late Rev. Sir Frederick A. Gore Ouseley wrote : mand on the execution of the performer is much less in a swell-box. Why? Would it not make the Open not be required at all, and the ‘wonderful rapidity’ “Chiefly look at the appearance of the organ case, and when playing on the Choir Organ, as the more diffi¬ Chapter XII, on the Tonal Appointment of the AUSTIN ORGANS IN C8Ecr^rETO Diapason “more expressive?” The author recognizes with which this can be done is so interrupted that it too frequently hate the organ entirely, and would cult passages are written for the Great Organ. Organ,” like Chapters V, VI and VII, will arouse that the natural grandeur of the Open Diapason would would be just as quick to pull out a dozen stops by AUSTIN Al R CH EST SSrlSSS fain conceal as much of it as possible.” “The organ We agree with the author when he advocates plac¬ some discussion. Dr. Audsley divides all the speaking be lost if it were enclosed. In a like manner it seems ing the Doppel Floete as the principal flute in the AUSTINTONE ”ALL“??ALITY — can go anywhere; any sort of a place will do for the stops of the organ into two groups, “Organ Tone” and “Regarding the position of these stop keys, the nat¬ Send for new booklet “E” AUSTIN ORGAN CO., Hartford, Conn. to us that much of the grandeur of the organ, as a Great Organ, and in retaining the ordinary Viola da organ,” are ideas which are too frequently accepted “Orchestral Tone.” The first he calls “imitative,” ural movement in playing is in a horizontal line. It whole, is lost when too many of the stops of the Gamba in that manual. These stops are useful in by those who build churches. Further on, the author and the second, “unimitative.” Each group he subdi¬ is so easy to extend the hand still further to move Please mention THE ETUDE when addressing our advertise remarks: “owing to the ignorance or thoughtlessness Great Organ are enclosed. To continue the author’s mezzo-forte passages. We also concur in his plea for vides into four classes, viz: “Pure Organ Tone,” illustrations from the orchestra, if the brass instru¬ the stops, and the movement is perfectly natural; but of church architects in matters pertaining to the the retention of the various Mixtures, properly voiced, “Free Organ Tone,” “Flute Organ Tone,” “Viol Organ ments of the orchestra were placed in a large box or when they are placed over the upper manual the organ, the very name, organ chamber has become an which, of late, have been omitted from many specifi¬ Tone,” “Orchestral Flute Tone,” “Orchestral String whole movement of playing has to be reversed, the arm sidered so bad when playing on the tipper row; but abomination to organ-builders and all interested in room, at the back of the orchestra, with an opening cations; but cannot agree with him when he advo¬ Tone,” “Orchestral Reed Tone,” “Orchestral Brass on the front toward the orchestra, more or less ob¬ lifted and extended forward before the stop keys can the difficulty increases with every lower one, and the church music. Mistakes without number have been cates a complete set of harmonic-corroborating stops Tone.” Thus, he gives eight qualities of tone instead structed by shutters, the effect of these Instruments in be reached. Nor is this all; the player, if his sight time taken to reach the stop keys and return to the made, where there were no difficulties to encounter, in the Great Organ of small organs, at the expense of of four, as at present. With these eight classes of loud passages would be greatly injured. In a like is good enough, has to read the microscopic names en¬ manual is proportionately greater. As I said in a and where properly proportioned and constructed -the more useful soft stops of various tone colors. tone the author advances “distinction without differ¬ manner, does the enclosing of the loud reeds and mix¬ graved on the same, or has to understand the extra¬ previous article, the less the performer has to think organ-chambers could have been erected just as We feel that in his striving for orchestral effects, too ence.” For instance, he classes the Viola da Gamba as tures of the Great Organ detract from their effect in ordinary abbreviations which are sometimes given, in about in the way of mechanism the better; and I am easily as insufficient ones.” great prominence has been given to the string-toned Viol Organ Tone, but the Pedal Violone he places in a larger type. He must also be very careful to put convinced, after having played on so many organs with loud passages, though we admit that they can be used the Orchestral String Tone class. The Gedackts, “The External Design op the Organ” is the stops. We note with pleasure that he advocates his fingers so exactly on the centre of the key as not these stop keys (a system which I have really tried in a number of soft passages when they are enclosed. Doppel Floete, and the like, he calls Flute Organ subject of the third chapter, which is illustrated larger Pedal Organs, for that department, in most to put the next stop, which he may particularly not hard to appreciate), that it would never be possible, Again, the author aims to make the ideal concert- Tone, but the Plauto Traverso he calls Orchestral with 17 cuts of notable organ fronts, many of which large organs, seems to us inadequate, but in small or¬ want, down at the same time. The stops, being even with a great amount of practice, to do what can organ as much like the orchestra as possible. He Flute Tone. Notwithstanding these classifications, were copied from that admirable work on “Organ gans, with only two pedal stops, we feel that the Open usually the same width as the finger, make this a deli¬ be done with the ordinary smooth draw-stop knobs. attempts to prove the desirability of certain effects which seem to befog the subject, the author gives much Cases of the Middle Ages,” by Arthur G. Hill, B.A., Diapason and Dulciana would not be as useful as the cate operation. This method of stop control can, I Of course, these stop keys are principally used on (orchestral), gives many illustrations, all of which useful information on the relative value of the indi¬ F.S.A., and 14 original drawings illustrating the best are orchestral, and, in faet, he seems to have a quasi Open Diapason and Bourdon. It seems unnecessary to know, be acquired more or less with practice; but electric organs, a system which I am glad to say is vidual stops. We again note the super-abundance of getting the stops off is quite another matter, as the methods of grouping external pipes. The liberal orchestra in mind in scheming such an organ. We place part of the Pedal Organ in a swell-box, if _the rarely adopted in this country unless the- design of string-toned stops which he recommends. player lias to knock the keys up with his knuckles or manner in which the author praises and criticises the do not remember of more than one illustration in which Pedal Organ is well appointed. The author mentions the building demands it; even then draw-stops which his thumb, or (worse still) has to turn.his hand com¬ various features of the different organ fronts and he refers to legitimate organ music, pure and simple. the Walcker organ, formerly in the Boston Music Chapter XIII, “Names and General Particulars move with the pistons or composition pedals are more styles of displayed pipes is commendable, the keynote Hall, which had part of its Pedal Organ in the swell- OF Organ Stops,” is a small dictionary, in which one pletely over so as to get his fingers in the right posi¬ satisfactory.”—Edwin H. Lemare in “Musical Opin-. of his praise and criticism being: “The organ is a mu¬ The organ has always seemed to us to be an instru¬ box. In several concert numbers which we played can find short descriptions of all kinds of organ stops. tion for pushing the keys up. This may not be con- sical instrument with hard and fast requirements and ment of its own class, unapproachable in its class, and, on that organ we saw no special advantage from that limitations, not a piece of ornamental architecture likewise, very distinct from the other classes of in¬ disposition of the Pedal Organ. or furniture only,” and “it must never be forgotten struments. The only similarity to an orchestra is the Dr. Audsley would discard the names;—Greet, THE ETUDE 599 598 THE ETUDE As to the resemblance between such instruments and “Until you move your wrist freely it will be im¬ hear fiddle playing I always think of him. He used to ground swell. Another student used to stand first on the descriptions of famous violins, we can only say possible for Professor Joachim to consider you,” said stand on the shore, day after day, sawing away; unless her heels and then on her toes. This reminded me— Sat ft is purely imaginary. In any event, the recog- the oracle, and she had to be content. one was very near him it was impossible to know what not being a good sailor—of the pitching of a ship in a hf- ‘f p p-pnuine Strad requires knowledge and ex- I think that, for all practical intents and purposes, he played as the sound of the sea was hing on the sand bad storm, which did not conduce to the state of mind mtion of g made possible through the read- I mastered the wrist stroke in a month, but after (even on a calm day) would drown the strains, but necessary to a good listener. Making faces is another ■nf^ofdescriptions of the old instruments, or even hearing a Hochschule teacher say that he mastered perhaps it was just as well they should meet their habit that must be avoided. I remember that one of throughS thorough knowledge of all our literature on it in nine days, I decided that my progress was by death before reaching any sensitive ear! Hearing the my masters told a poor girl who was having a lesson thiougn a literature itself is, as a rule, worth- no means remarkable. violin badly played is an excellent lesson, provided to look in the glass when practicing to prevent this, tlus su ^ . l di Many of the pretentious volumes There is just one more point to be mentioned: the one already has a high standard to judge by. The and then he muttered sotto voce, “until you look Berlin School has brought upon itself much comment flagrant faults hit one so hard, so to speak, that one pretty.” This was not polite, but we hope the girl Sdevoteu0“a ro iS>.»ith —» a vivid imagination*“■b and not> because it limits its culture to the mere playing of immediately begins to hope devoutly that one hasn’t did not hear, and in any case, the master was much .TJMENT rs .1 SwiX »i tb* -*«*. Th,« an instrument. The Prague School is accused of even the ghost of any like them, and in comparing, tried as the pupil was stupid besides being plain, so f !vPr nroven helpful to any serious inquirer. teaching technic only. The Berlin School cleaves possibly one finds, alas! (if honest) that a faint like¬ perhaps he may be excused a little. have nev P . I.,i;e disseminated ,1 a r.'d the :ih«iini.absurd- CONDUCTED BY GEORGE LEHMANN On the other hand, they n ■ more closely to the classics, but is very narrow as to ness may be traced in some points. Tlie violin, as everyone knows, is said to be 1 the ^ancThave created false impressions o: the modem. A clever pupil brought the Saint-Saens est theories, ana nave ue*™ . The exercise of the critical faculty is most important nearest to the human voice in expressive power; this , timnsands of sincere but innocent readers. 2d Concerto to Professor Jacobsen. At first he did The publisher o f Now, we are thoroughly acquainted with this to good violin playing, therefore it is very necessary is doubtless so, and like the human voice it is capable not seem to favor teaching it, but said he would look The Etude has much dealer's instruments, and write from personal expen « t... >; “«« “• to hear as much good music as possible; it keeps the of producing terrible sounds if wrongly treated ; sounds A NEW METHOD FOB ' . . , piporer to our readers, and that it over. The result was that he taught, the work to pleasure in announcing ence. His foolish statement about having created a standard high, and after having heard a great deal weird and strange, queer and extraordinary; on the BEGINNERS IN VIOLIN ^utfrrdiscoverers of labels bearing Stradivarius's many of his pupils. to the readers of the model which has none of the defects of the o one eschews all but the best, and becomes an epicure other hand, if handled properly we all know how PLAYING. name will be spared the disappointment and heart- I recall taking the works of Godard to him. He Violin Depabtment master's instruments, but all their virtues combined, in music. One may, perhaps, lose some pleasure by lovely its strains can be, melting all who have ears to „„ being utterly unworthy of aZ SO frequently caused by the meaningless little seemed pleased with them and liked especially the that Air. Lehmann has placed in his hands the manu¬ may be ignored this, as nothing but the best satisfies, but at the same hear. I suppose there are some adamantine natures ___ _whom does be refer when he says that tickets that are so characteristic of our commercial “Canzonetta” from the Gbdard Concerto Romantique. script of a new violin method that will surely com¬ time, the effect on one’s own playing should be ex¬ that arc impervious to these strains. They must be “the best American maker gets $500 or $700 for a There is possibly one more thing to be considered. mend itself to teachers as the simplest, best, most age. * * * cellent. hard indeed who can withstand them. The moral is The Hochschule does not demand or insist upon any logical system for training beginners, as the one There are all sorts of ways of playing the violin obvious, the violin is the king of instruments; when literary requirements for entrance. Precocious boys that has been sought for by progressive teachers, as Obviously, he means to inform the public that he A becent article in The Etude wrongly, besides the typical fiddle playing style. There in your hands do not dash it from its throne,- but up¬ of sixteen to eighteen can hardly add a column of n true “American” method, since it conforms to the is “the best American maker,” and that he “gets $500 GERMAN suggests a few points concerning the is the person who thinks he or she plays with a great hold it there.—A. F, or $700 for a violin.” And these are statements which figures correctly, and as for any knowledge of litera¬ best of modem educational ideas and principles. PEDAGOGUES joachim School, derived chiefly from deal of expression and temperament, who goes cater¬ should be vigorously refuted. Why? Because they ture or history, they are totally deficient. They can¬ Mr. Lehmann's experience as a pupil, player and rience and study with several Hochschule teach- wauling all over the violin with desperate and fearful appeared in a reputable newspaper in which the gen- experi not all be virtuosos, and they cannot all teach; yet teacher in Europe and the United States covering a tlo '[-],e “Technics of the Violin,” by Carl Courvoisier, scoops, emitting cat-like cries and unearthly yells from eral reading public has great confidence ; because pros- —- a. the rank and file do teach, and they become as narrow, period of more than twenty-five years has made him a work distinctly sanctioned by Joachim, states that the tortured instrument. A douche of cold water is JUST ISSUED pective purchasers of violins are apt to be influenced one-sided and pedantic as it is possible for musicians thoroughly familiar with all “violin schools” in use the position of the thumb of the left hand should often the reward of the animal who makes the same by such statements to the extent that they will blindly to be. Not one in ten is educated at all outside of by teacher’s, their weak as well as their strong points. . be between the first and second fingers, and that the kind of sounds in the stilly night. Why should not repose confidence in such a dealer; and because of this music. To a refined, intelligent and well-bred Ameri¬ His natural habit of submitting everything to the weight should be on the bone below the fleshy part the other caterwaulers have the same? They are quite blind faith they will (some, at least) actually pur¬ can the atmosphere of the Hochschule, aside from most rigid educational tests has led him to discard of the thumb. Many of the followers of Joachim as deserving, more so, if it is true that the human in¬ chase instruments from this dealer for the outrageous music study, pure and simple, is very disappointing. ahy one work, and gradually to formulate a system state that with the thumb in this position, the entire telligence is higher than that of animals. If a violin sums he mentions. It is in order to save a gullible Alany of the students there are poor boys and girls, which has been uniformly successful with his pupils. hand moves into positions; that is, the thumb moves could speak, Comey Gram’s “Poor Piano” wouldn’t public from investing such large sums in new violins who, however gifted, come from ordinary surround¬ Without being revolutionary it contains certain new with the hand. In the third position the thumb be in it. What tales it could tell of unhappy moments ! whose actual monetary value is exceedingly small— ings. These find it difficult to subsist in Berlin, and and advanced ideas which stamp him as an educator should be well up toward the body of the violin, not But there would be other moments when in the hands with great insight as to the problems of violin study it is for this good reason that we devote time and they have no social atmosphere. space to the advertising methods of suqh a dealer. in the rear of the fingers. of a great player its soul soared away into the realms and marked capacity to meet all demands of instruc- Contrary to these directions, I distinctly recall the I do not believe in violin virtuosity if it limits true of inspired melody; when its spirit became disembodied culture. You may say true artists, like Paderewski, Herr Markees, of the Hochschule, told me to move in heavenly sound and broke the ties that bind us to The work covers all details necessary to lay a solid the thumb first, and then the hand into the third posi¬ have a yearning for knowledge of all kinds and do earthly things. Why is it that when thus exalted foundation in the technic of violin playing, and does We have received many, many tion, and on return to move the ^thumb down first. not limit themselves to the mastery of keyboards and music is such a sad thing—the more beautiful, the violins, but there are no Paderewskis at the Hoch- not go out of the First Position. It is, therefore, in TO OUR COR- letters, during the last few months, He also made me practice the 7th and 8th Kreutzer more sad? every sense, a method for beginners. Even the RESPONDENTS, bearing on the old, old subject— etudes moving the thumb constantly on the neck of schule. Among teachers of the violin who have de¬ To play the violin aright all sorts of attributes are technical material has been made of a melodious Stradivarius violins. These let¬ parted somewhat from Hochschule creeds I might men¬ the violin. necessary. By this I do not mean that there is only character so that the playing of the pupils, whether ters we have put off answering, chiefly because, in all The Joachim School pay little attention to elasticity tion Air. Charles Martin Loeffler, Jeno Huhay and one way of playing rightly. There is a vast difference for shaping the left hand, obtaining skill with the frankness, they were utterly devoid of interest, and, and freedom and equality of finger action, such as is Willy Hess, concertmeister of the Boston Symphony in-the style of good players. Joachim does not play bow, or training the ear for good intonation, tends to in consequence, claimed neither our time nor our at¬ necessary to a finished technic. You are supposed to Orchestra. at all like Ysaye, but the result in both cases is musical development. The aim is to make the young tention. They lacked interest, to our readers and play until you get technic. On the contrary, the The departure of these men from the Berlin creed beautiful. Some may prefer one to the other, but it ourselves, because, had they been written by one per¬ pupil into the young artist. Sevcik School aim for a perfectly free left hand and is an evidence of the fact that men of breadth and is a matter of individual taste. son, instead of by many correspondents wholly un¬ Further particulars in the next issue. train each hand and each finger individually. The unusual endowments cannot be bound by any creed. It seems to me one hears more nonsense talked about acquainted with one another, the resemblance of their Joachim School differ among themselves as to the The book of Herr Moser is an addition to violin music than about any other art. Persons discuss it contents could hardly have been greater or more strik¬ exact principles of the system. One, who is more literature. He is a true, earnest and painstaking apparently without any knowledge at all of what they One of our dealers “kindly” ing. Then again, it was always the same old reitera¬ honest than others, says: “Professor Joachim’s theo¬ teacher and an ardent friend of Professor Joachim. are talking about, or only such a smattering that it REA1ARKABLE consented to be interviewed by a tion of questions which have been fully discussed in ARTHUR P. SCHMIDT ries are worked out by his colleagues. Pupils come One must admire his book, while one can hardly sym¬ Sounds ridiculous to those who know. For instance, STATEMENTS, newspaper reporter recently, on these columns, and for a repetition of which we have BOSTON LEIPZIG NEW YORK to Berlin who arc practically virtuosos. We have to pathize fully wijh the narrowness of the Hochschule. which occasion the reporter was neither the time nor the inclination. But once more, Mrs. S. says to Mrs. T. : 120 Boylston St. 136 Fifth Ave. give them something to do; hence the rigid require¬ For myself, I am deeply grateful for the sincere and “What school does Mr. A. teach, because if it is told some strange things for the edification of the and for the last time, we will answer these letters. ments of the system.” earnest teaching of the classics which I enjoyed at the French School, Tommy can’t possibly learn of reading public, and, incidentally, for the benefit of the That is, we will answer only one of the numerous Professor Joachim himself is not infallible. An ad¬ the hands of the Berlin teachers. One must, however, him. He has had twelve lessons of Mr. B., who teaches dealer in question. It is hardly necessary to remind letters before us, for in doing so we. answer all. vanced pupil was rehearsing her concert repertoire feel that a School which sees no merit in any other, the German School, and that is the only one worth our readers that we are vigorously opposed to »11 Our correspondent informs us that he has unex¬ and which usually belittles the work of teachers out¬ business methods whose employment misleads stu¬ with one of his assistants. Something displeased the anything;” and so on. pectedly discovered a label bearing Stradivarius’s side of its system, is narrow in the extreme. The dents, amateurs and the general public. The policy teacher. “But,” said the young lady, “Professor Now I very much doubt if Mrs. S. knows the dif¬ name, and that this l'abel is pasted inside his violin, most fortunate people in Berlin are the Americans of our editor-in-chief has always been carefully to Joachim told me to do it that way.” ference between the two schools at all. I think this and reads thus and so. The violin, my correspondent who have studied in America with “Berlin School” avoid all controversy; and we, too, endeavor to shun “You know as well as I,” said the teacher, “that is scarcely an exaggeration of the style of conversa¬ informs me, is somewhat cracked, is covered with the teachers, and who are really prepared to enter the subjects and people wherever there seems a probability accumulated dirt of ages, has a history that can be Professor Joachim says one thing one day and another tions one has heard. Those who know little or nothing of our comment “raising ructions.” Nevertheless, thing the next day.” Hochschule with a “blessing” from the examiners. As of painting, sculpture, literary work, etc., do not usual¬ traced with certainty throughout the greater part of a for any others, crude performers drop out in sheer there are occasions when silence is not golden, and century, and absolutely resembles Mr. So and So’s I do not believe that Joseph Joachim, who is a ly discuss these subjects in the way they do music. when we feel that we would fail in the performance great artist still, though past his executive prime, is disappointment, and gifted ones master principles in This Muse has really a very hard time of it. It is cer¬ description of such and such a famous Strad. In con¬ an amazingly short time.—Edith Lynwood Winn. of our duty towards our readers were we to permit the clusion, our correspondent anxiously asks us to tell pedantic and dogmatic. His assistants, most of whom tainly a ease of “Fools step in where angels fear to publication of certain things to go unheeded and with¬ him whether his instrument is really a genuine are neither great artists nor broad men, are, whether tread” and they step very heavily on poor music. Of out comment or a word of protest. Stradivarius. how many thousands of dollars he may from loyalty to their master or from pure bard- In the first place, please course, the reason may be found in the fact that a The dealer under discussion modestly informed the reasonably expect to sell it for, and where he is likely headedness, exceedingly intolerant of Other creeds and THE REFLECTIONS do not confuse violin play- greater number are interested in music than in other reporter that “After working for years on antique to find a purchaser. systems. They make the rules which they attribute OF A VIOLINIST. ing with “fiddle playing.” arts, but I wish they would hurry up and leam more models, copying one makeT and another in the attempt to their master. Withal, one cannot help admiring about the real truth of it—so little is really known by Now, we ask all such correspondents not to feel There is a vast difference to get the secret, we have got a model of our own the great majority. I think people are much readier neglected or offended because we do not respond to their devotion and loyalty, while one is exasperated between the two, but I much doubt if it is generally which is equal to any that the old makers ever de¬ at their intolerance. their letters. We ask, in the first place, how can they recognized; certainly the source of the difference is to say they know nothing about styles of painting or vised. I am going to take it abroad next month to expect us to know whether they have the genuine A very gifted young girl came to the Hochschule not, even when people discern that the result produced writing, for instance, than of music. introduce it to Germany. Think what they will say during my residence in Berlin. Professor Joachim Among ways of playing the violin wrongly may be over there of a violin made in this country that article, if they do not submit the instrument for our is not the same. heard her play. “And where have you studied?” be “Fiddle playing” may be described as the superficial mentioned the person who plays all over him- or her¬ possesses all the excellenegs that the Cremona makers inspection ? scraping of the bow (usually a very small portion of self. Anyone who has heard much violin playing must put into their instruments three centuries ago. As a We have repeatedly told our readers that no im¬ “In Scotland,” the girl replied, “with Professor it) across the gut, in an undecided and shaky fashion, have seen players who sway about either from side or matter of fact, though, violins are better made to-day portance should be attached to labels. Labels bearing in some way peculiar to themselves. This may help the names of the leading Italian masters are printed producing a sound akin to the scratching and squeak¬ than they were at that time. Stradivarius used to get “Indeed,” said the great teacher. “I did not think the player, but it certainly spoils the performance for by the thousands. They are purchasable in the form ing of mice, which surely no one could consider a only $20 for a fiddle. The best American maker to-day there were as good teachers outside of Germany.” anyone looking at him. of large sheets, and the cost of a sheet containing the musical sound. Real violin playing draws out the in¬ gets $500 or $700 for a violin. The extreme intolerance of the Hochschule teachers In every school of music there is generally one un¬ most alluring names is but a trifle. All cheap fiddles ner depths of tone from the instrument, full and deep “Every old violin, whether it was made by Amati for anything French or Belgian is amusing as well as fortunate with this trick. I remember when I was a whose outlines bear any resemblance to those of a when required and never squeaky. To play softly or Stradivarius, had some defect. None was perfect. annoying. An advanced student came from Brussels, student in-there was a girl student who waved In the model we have made from all of these different Strad are labeled “Antonio Stradivarius,” etc. That does not mean to produce a thin, superficial tone. Soft¬ where she felt that tone and bowing had been sacri¬ from side to side, as the spirit moved her (or she instruments I think it will be found all. of these defects is all. Here all resemblance ends between the thou¬ ness should never degenerate into feebleness, any more ficed to the mere learning of numberless concertos. thought it did). On people afflicted with mal-de-mer, sands of violins bearing such a label and the instru¬ than to play loudly should become mere noise. I re¬ have been avoided so that we have the merits of every if they happened to look at her, it had much the same old model without its drawbacks.” ments made by the old Italian master. u •?,PP,li sp-ss* fgpsigai of musical literature by Loui's^LoZ SSSSS^S fuitMwsfe sjis“ ' sSwssi?tsifSS *“ a2S“'—“ i SELECTED STUDIES, Vol. Ill, will L! = I ekKt " 5«rfei!Ts.rs:«*' Voi. I. We predict" tha^VoL Illwill’ *■- SSSS.=S“i!Sf favor. This volume is now neai-iy 111 'S MAKE you LIKEWISE PBOSPEROt ?s. In this volume the ‘ THE NILES BRYANT SCHOl ^aSH^SSASS?* Vols. I and II are no >] PIANO™ ...... T UNIN , BOTTLE CREEK, MICH^ |rfjljS! YOUR MUSIC IS TORN!!! MULTUM IN-PARVO BINDING TAPE m““ LEARN PIANO TUNING teachers and executants to give care- Theo. Presser, Philadelphia, Pa., to the details of a program and to CENTRAL SCHOOL OF PIAN THE ETUDE 605 b04 explanatory remarks on our piano PIANO TUNjNC PAYS The Everett Piano Our Graduates Earn $5 to O Per Day the Year Round accIL^the^ntellectuaf a by the class of books in the f an^6 grttatdr SUm teC' “ait is in the mlzurka Tty\e, but 'with f The greater durabilit «I If you are really i. The John Church l one of his best d' It must be played in s of writing. It r, LET US MAKE YOU LIKEWISE [ THE NILES BRYANT SCHOOL OF PIANO TUNING YOUR MUSIC IS TORN!!! LEARN PIANO TUNING TUMm-p7RvV°BINDiNG’TAPE faiftattaltto 5*2*"“^ exefcutants( toamVandarto oS?fa^S2TTheo.heo. Presser, Philadelphia, Pa., THE ETUDE 607 THE ETUDE “Cossack conductor” from Mos- M. Safonoff, the the Londoners his de- .«d this one most and aeeomp.nj cow, has been f P^fty that he won for himself OUR PUZZLE CORNER. in his walk, at the same time joining m the so g fight at the real P 1 beeQ singing with unction a THE This is kept up until one after the ot**er empty in this town, aac in bis honor: The Missing Scores. left the chairs and are marching around version of “Tamma ^ nQW t0 £ame is on the road. seaU singing on their way. When it pleases the GET THE GENUINE I found Musicus in his studio. I had occasion to “The Philharmoil Jnductor8 here, they fetch them KNABE consult two operatic scores in connection with a cnu- leader to put a stop to this melodious a They cannot ... l wag writing in a down-town newspaper office does so by dropping something that will We h^efders here from France, some made in two or three miles away from my library. I knew clattering noise to the floor, e. g., a tea tray' °rgi al that he kept a few of his musical works in the room pan; or he may simply clap his hands. At Tbe undoubtedly has made the hit, Bakers where he taught; that was nearby and I koped to all try to regain the chairs, and the one who fails find the needed .books there. Luckily he was disen obliged to take up the song and the march. you see. < XA^Tcher of Old 'Violin Bows 4 Violin pLyerr will find tier Section cl utkic bows from tWo Lyon «t Henly .loot ‘ 'Tno AmoL. or European home c.n orU.it ach « ■■»«* “* ^”*0,“.™’^.,= P- *-*“ 0*0, American d«l«e. Orfor on. of *« following ,o-d.y. TV, me yen, orcoprional values: ss-ssr is fine Specimens of Francois Tormte tenlWS^gg^ S $Suta£5aKdI ,6SU4Dodd3 >-ai»t,o8Vonn,aoSirn°n, 3 Moline, many o.h, ... are unsurpassed amonB modern w° ANTHEMS ssa-s2 q Old violin bows are sold for cash or part cash and monthly payments, of MODERN MUSIC describing the world's largest stock of violin bows and tnousands of other articles of a3ESSi?--“ interest to musicians. Every teacher is invited to have his name enrolled on our #/ Register“ of Music Teachersteachers orof /-smenca.America. Address s OCTA VO COLLECTION 'if- LYON & HEALY, 29 Adams Street, Chicago Graded 1 to 6 ^®S™SR£?S£?5agS ‘Used by all Up-to-Date Teachers” e’5^*;SS£?&rc« THE KINDER Adjustable Foot Rest and Pedal Extenders for the Piano The children who nse them learn twice as fast and practice twice as much with half the exertion. HALL-MACK CO. Foot Rest 83-00. Pedal Extenders 82.00 per set of two. Special discount to teachers — h°U!e8’ ™nted' w. MARKS, 145 West Eighty-fourth SSSKSSm sSsMisfESS ! --musical literature^ I »,TV n/fTTCir AT Rfinif N° matter where published or by whom, we can supply a I ANY MUMLAL DUUK iowest possible price. We carry a very complete stock. . Special prices for large orders and to LIBRARIES gmei&s&s* h r Write for -Estimates before purchasing el 1 We are the publishers of the most used and important educational works issued during recent yef > THEO. PRESSER, 1712 Chestnut St., Philadelphia, *-». S&xxcl for Item slUsiilli—fOill ZABEL BROTHERS Music Printers THE WREATH MUSIC SERIES Columbia Ave. and Randolph .St Philadelphia, Pa.__ AND ENGRAVERS J. D. LUSE,"publ,teSt'm0n,Columbusi Ohio Music Printing " COMPOSERS AUTHORS TEACHERS (JORRECTION OF MUSIC MSS. &ZU Write For Prices Plate making. Printing of Sheet Music and Bnnlr. Titles All Styles. Copyrights Secured E. A. Stege Co., 252 W. 47th St., New York Please mention THE ETUDE when addressing our adverti PHILADELPHIA NEW YORK MUSIC SCHOOLS INSTITUTE OF MUSICAL ART PHILADELPHIA OF THE CITY OF NEW YORK MUSICAL ACADEMY VIRGIL SCHOOL | September 19, 1906 USIC Y AS^SSSSSSSSSi" M The Combs Broad Street oney t ang^r,„. THE AMERICAN INSTITUTE OP APPLIED MUSIC EDOAR O SlLVER^’rMWenfctOPOLITAN3*^C^®^<^t*^,®tr*^’S^^W ^ °l,y' -KATE S CHITTENDEN. Dean of the Faculty The National Conservatory VIRGIL of Music of America F a J SCHOOL INCORPORATED IN 18S5 AND CHARTERED IN 1891 BY SPECIAL W MUSIC MISS LYDIA WISCHAN iuate of the Leipsic Conservat Vocal Lessons STUDIO of IV1USIC MGR. VIRGIL SCHOOL of MUSIC ^ The Master School of Vocal Music ...... __A n_kU New York City Voice Culture Art of Singing GUSTAV L. BECKER Carnegie Hall, New York HIugh a. Clarke 223 SSrSa mus. doc. south 38th Streel BHL. ADELE JONSSON SssS 612 THE ETUDE the etude 613 RuBifoAm 0 \J ^For the TEETH EY ORGAN NEWS ESTEY ORGAN COMPANY ESTEYPIANO COMPANY (Ik BRATTLEBORO, - VT. SOUTHERN BLVD..N.Y.CITY ; /# use NubijoA) THIRTY-THIRD YEAR | Finest Conservatory in the West l Detroit Conservatory of Music FRANCIS L. YORK, M. A., Director I OrchestA Playing; Musfc'al History and litres. rT~,HE moral of all this is-whether M TS^JtSfS^S&20-1906 | „0 „ „ d ^ JAJVIESJI.^BELL, SeCreIary E“" It Is Superior Teachers That Make a Conservatory Famous Opens Sept. YOU WANT THE BEST FOR YOUR CHILD 10 th, 1906 mmm “S n&tS“SSSSSaSSaSSS Sr; Hg5S A^5S£rat ys aye’s r;^:“rLRwmsir“;t“ CLASS PINS H 1 LL’Sl 1 BENT & BUSH PIANO SCHOOL I for JeV^^g anTltfaintolnkie Pkno^Touch WeeWy musicals*1 gXerC1SeS INSTITUTE AND va. CONSERVATORY of MUSIC New York. Send for Illustrated Prospectus. Dancing Girl Aeu, - Catchy . Dreamy THE TREAT KSSaSUT l. THE PENNSYLVANIA SOCIETY WALTZES SHENANDOAH SCHOOL OF MUSIC WBSBJS. DAYTON, VA. : Waltzes in flats. Just the piece for Mugk COLLEGE OF MUSIC VT §SS. DEGREES OF MUSIC CONFERRED HARRY F. CL0550N agSs3g|g|£g|a Elmwood Conservatory .1 Music. Buffalo, N. V. ALLEN RUQWEAVINQ C0.437Pearl St, Buffalo, N.Y. mmmmmz THE ETUDE THE etude 615 The Oberlin Conservatory The National Correspon¬ VEON SYSTEM FOR BFP.INNfpq of Music dence Schools of Music CORRESPONDENCE COURSE Regular Training School at State University Music School. SPECIAL RATES FOR FALL CLASSES CARNEGIE HALL, NEW YORK CITY in MUSICAL KINDERGARTEN Address me personally for free booklet. Sweet Whitney Muslc ,v,e,hod L. GERTRUDE WHITNEY, Originator and Instructor Ann Arbor, Mich. KINDERGARTEN AND PRIMARY-JnstTuCTIo!.I!! ¥rIU A* I UU I I BOARD OF EXAMINERS Burrowes Course of Music Study katJ auction for Teachers by home study. HORATIO PARKER 6. W CHADWICK to investigate this method. D. J. J. MASON B. PERCY JAMES _K ATHARI N E BURrq WEs. EASTERN ADDRESS, F v ^ PA^SON^rSI.,HA VL'SDETROIT, MICH.C 'TY MANAGER HAYDN EVANS SUBJECTS TAUGHT: DUN5LNoG.„S,ISI™f gHUSIC STUDY FOR BEGINNERS HARMONY bringing with her endorsements of the world renowned master! who ackn^wledifeTeT *° W°rk *B 1CVeraI mU“C SchooU there- returned, COUNTERPOINT only to children but older pupils as well. The fame of this ingenious systeland theJ “? °f ^ meth°d °f ins*ruc«inS the rudiments of music not COMPOSITION that extent that Mrs. Dunn.ng has promised to return and conduct a teach!”‘normal traiT/T ‘"‘T* “ 7’ ^ ^ Ame"Ca had reached Europe INSTRUMENTATION Tie kind endorsement from her former teacher Mrs. Dunning prizes Also this which w ng class in four of the principal cities in Europe next winter. 14,6 firS' i?-’r-,,a,,0n '» * Others Irom vhom Mrs. Dunning has equally as fine leilers are: SEND THIS COUPON (OR A COPY OF IT) L. Dunning's To Mrs. Car L. Dunning . practical and I bappy to commend tl THE OBERLIN CONSERVATORY OF MUSIC offers unusual advantages ^ al instruction o Of Hie Dresden Cu...ervatory. 1J P“F° playing devised by Mrs. Carrie I unning, as esp« the study of music. It ought tor hlve^th104^1" pecuIiar needs and capacit- id shall be pleai 926 Students last year. PLEASE SEND WITHOUT COST TO ME re the beginninj Pave. the author give a more detailed acct i the King of Saxo Faculty of 30 specialists. ,, YOUR BOOK ”THEORETICAL MUSIC AND ITS Musical Pedagogical. wuasugiLai Congresscongress next OctoberOctobei in Berlin SN Osten Large 3-manual Roosevelt pipe organ, two vocalions, and 10 pedal organs (signed) PROF. THEODOR LESCHETIZKY -- STUDY.” 0.29, 1904. ' Ber]I; XAVER SCHARWENKA. Royal Professor toi the Cou able for organ students. Berlin. Jan. 12. 1 Bodin^ *** Dr. J. Logie, of Frankliif 125 pianos. . . Name.. It is a department of Oberlin College, and enjoys its intellectual and social Ute. St. and No.. Send for descr ptive catalogue and musical year-book. Address, City. genTV t0VUCh °f Chicago August 30th, Portland, Oregon, Sept. 9th. Baltimore ^d Charles W. Morrison, Director, Oberlin, Ohio. State. . , . ‘° accommo^a*e teacher, in the locality. 6 an° lAddres^^. CARRIE L. DUNNING. 225 Highland Avenue. Buffalo, N, Y. NORMAL CONSERVATORY of MUSIC Forest Park University AND Utica, N.Y., IZlSJCssx School of Fine Arts Fletcher Music Method * * SIMPLEX AND .... . Haxx. M.M, field..FIELD, LeipsicLeipsie L* KINDERGARTEN Conservatory of Music Complete courses in Voice, Piano, Organ, Violin, Original Kinder EDWARD FISHER, Director Conservatory Toronto r ' CUMMINGS, Dir. Guildhall Soho, COLLEGE OF MUSIC Theory of Music, Etc. ROBERT J. HUGHES, A. M„ Director garters System in Wro„°toFORSYTH' Ma-°P°^a„ S5c*OT’MT^r?„. MADAME HOPEKIRK Bos, EDWARD B. FLECK, Musical Director Public School Music a Feature. Am erica and Director, - - E. R. KROEGER MI(ANAGNOS,CD*t’.ctof of"lh. Perkins Institute B If^N^^UEBLlNc New York C t ALFRED H. JAY, Secretary A large Model School for Practice Teaching Makes it an Europe FACULTY OF 17 SKILLED INSTRUCTORS Ideal School for Supervisors. Pipe Organ, 24 instructors. Beautiful buildings, large Graduates in demand. Writefor circular and full partfc- Boarding Department. Address for catal og Heads of Departments: HAMLIN E. COGSWELL. Mus. M.. Director. t»‘ -■ >~ •' **■ t Pres. Anna Sneed Cairns, - St. Louis, Mo. many endorsers of the method: JAROSLAW DE ZIELINSKI, Buffalo .dm h°“n THE ETUDE CHICAGO MUSIC SCHOOLS r. W« WODELL Voice specialist PUBLIC SCHOOLMUSIC American Director THE SCHOOL FOR SINGERS NORTHWESTERN UNIVERSITY Pierce Bldg., Copley Sq., Boston, Mass. HE SCHOOL OF MUSIC, located at Conservatory I Evanston-Chicago, on the shore an^ Chorus Coota^^ . of Lake Michigan, calls attention toits Department of Public Schoo 1 of Music «Lr.HaLL tain subjects selected from its long estab¬ 230-253 Wabash Ave., CHICAGO, ILL. ($200 to $800' ye WL^ e from rudiments ti lished theoretical courses, practical public The Leading School of MUSIC AND DRAMATIC ART in and as teaches. Tho™^pertoire. AssistantAssis,ant instructor.instructors this Country. Unrivaled Teachers’ Training Department • iiaiino..,, piano and languages. Each school music methods under a thoroughly Lecture Courses, Concerts, Recitals. Diplomas and Certlh in^sgpsEFs&Ss sight singing, harmony, piano ■ r ThC. DITSON ED,T,0N is a nevv library of approved, instructive works, for the piano, organ, trained and exper- cates awarded by Authority of State of Illinois. Students - pupilrns tr-wrought out in recital, concert and opera, i e n c e d specialist, ^he School of Music, Orchestra. Virgil Clavier Department, School of Oratorio. Pith full SSK81’Erector Marth'a veto, and other mstruments, and for the voice. It addresses itself to music teachers and music and observation of numbering 89 students Many free Advantages. Illustrated catalogue mailed on \ Social nscapnuc, * actual work among ,n fat grown to application. rnrtamme tan riginal 2- tnusicalcomedyjy students of discrimination — to those who value quality, who want the best. JOHN J. HATTSTAEDT, Presidenf children in the pub- »-ver 500. Its courses Director), Elijah, RoserMa,l for a foil account of which and Introduction Offer, see preceding page. DITSON TWEN* r PROGRESSIV OCTAVE STUDIES FOR THE PIANO R0.HAIE