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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1900 Volume 18, Number 05 (May 1900) Winton J. Baltzell
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i/ObUIttE XVIII ^ /VlAy, 1900
SCHUBERT i^Uiwbe^ Editorials,.. i ■ 163 WITH SUPPLiEMEHT Questions and Answers,. 164 Home Notes, .164 d*44**44***44444*4****44*4***«*4*4t§**4<6«6**** A Studio Experience. W. J. Balt tell, ..164 4 Musical Items, ... '.J66 * New Publications, .167 * 4 The Greatest Difficulty for the Piano, 168 4 The Remoteness of Things. Titos. Tapper, ■ ■ . 169 4 A Scharwenka Anecdote, . 169 4 4 Thoughts, Suggestions, Advice, . 170 4 Five-minute Talk.' with Girls. Helena M. Maguire, 171 4 Haw to Handle S.ubfcorn Pupils. H. Patton,.171 4 Letters to Teachers. W. S. B. Matfuruis, 172 4 4 Too High \ims. E. A. Smith,. J73 4 A LittU Advice for Young Pianists. C. Fred. Kenyon, ■ ■ 173 4 Ca Violin Department. George Lehmann.. 174 4 Letters to Pupils. John S. Van Cleme. .. 175 4 4 13 Experiences and Observations of the Class-room. H. P. E 4 Chelius, .. 175 Js; 4 Franz Peter Schubert. Thaleon Blake,.176 4 Chronological Summary of Schubert’s Works,.177 a 4 gl 4 Schubert’s Rank as a Composer and His Influence on the 4 Romantic School. Henry T. Finch, ■ ...... 177 GL 4 The Sadness of Schubert’s Life. W. J. Balt eell, .... 178 * a Schubert and the German Lied. Louis C. EJson,.179 4' 4 G Schubertiana. Frank H. Marling,.. 180 fa 4 The Man Schubert. Theo. Steams,.. 181 4 Schubert's Orchestral Compositions. Richard Aldrich, . 182 4 e. 4 On Schubert in Relation to Harmony, Melody, and Rhythm. 4 1 J. S. Van Oeve, ■ ■ ■ .. 182 4 G A Few Aphorisms on Schubert. By Robert Schumann, ■ ■ 183 [3 4 Franz Schubert and Ilis Pianoforte Compositions. Alfred 4 Veit. 183 4 4 Discipline ■oca Affection. Clara A. Korn.- . 184 The Characteristics of Schubert’s Genius. Constantin •von 4 c] 4 G1 Stemberj. • • ...... 185 4 Woman’s Work in Music. Edited by Fannie Morris Smith. 186 4 4 3 Organ and Choir. Everett E. Truette, ■ • ..... 138 4 X Vocal Department. Edited by H. W. Greene..190 4 What Happened this Month in Years Past,.192 4 G1 Franz Peter Schubert. 4 Advice to the Student of Harmony. Percy Goetschius, . ■ 193 Publisher's Notes, ■".194 £ music G Tarantella. W. Lomas. Impromptu. Op. 142, No. 2. F. Schubert, . ... . 3 Military March. Op. 51, No. 1. F. Schubert, Gaily Chanting Waltz. Op. 503, No. 8. Frans Behr, El To Arms. L. Ortlepp. PE&VCATIONAL Visions of Love. T. L. Krebs, Spring Serenade. Lacombe, Hedge Roees. Fr. Schubert, pVsicAL Journal El Beloved Star. Arranged by Thus. O'Neil,
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60 Lessons, $SO Season 1900 Comprising Class and Special Advantages Summer School; ' Private Lessons Special Prices —Beginning June 25th, Closing July 30th
FOR CIRCULARS. GIVING FLU- PART1CIXARS. ADDRESS ______THE VIRGIL PIANO SCHOOL, •* •* •* 29 WEST I5TH STREET NEW YORK MR' A. K. VIRGIL, DlRECTREi
ATHEWS’,—^0 associate school of MUSIC 1 W. S. B. Sherwood JMuslc School VOL. XVIII. PHILADELPHIA, PA., MAY, 1900. NO. 5. 4»» FIFTH AVENUE. NEW YORK M Summer Class ESPECIAL TO TEACHERS-^ FINE ARTS BUILDING tune recurring to him at certain intervals. It was fied teacher, earnest and sympathetic, is the most ‘FOR Piano Teachers CHICAGO, ILLINOIS Scotch in character, and yet, again, not like Scotch. powerful factor in education. Some one said, of a for¬ H. W. Greene’s 16th Annual Normal Session ©HE GtUDE. This habitual presentation in the mind of these un¬ mer president of Williams College, that “Mark Hop¬ Chicago, July 2 to 27, ft Monthly Publication fo* the Teaehens and June l to August t, 1900 W. H. SHERWOOD, known melodies continued for ten years until one even¬ kins at one end of a log and a student at the other ‘Directors ADVANTAGES: WALTON PERKINS Students of fflusie. ing on a voyage to Liverpool he chanced to come across could make a university.” How could the boys that Full course, Suo.oo 1. A Course of Lectures in Principles and Material some Welsh people who were revisiting their father- Bach took as pupils into his family have failed to of Teaching. Only the best methodsof modern technique taught in ali deport¬ Subscription Rates, $1.50 per year (payable in advance). ments. The success of this school has been remarkable and it stand* Two Subscriptions or two years iu advance, . . . $1.35 each. land for the purpose of taking part in an Eisteddfod, imbibe his serious views of music, to share the earnest¬ 2. The Principles and Methods of Mason’s Tech¬ for the highest plane of art. Three Subscriptions or three years in advance, . 1.30 each. somewhere in South Wales. In hearing these people ness and singleness of purpose that distinguished him? nics. A Summer School will be held this season from July -5th to Single Copy,., . 15 cents. a critii August 3th inclusive. There will be departments of piano, tm«, , . 72 cents. sing Hill instantly recognized the “music of his There w-as good reason why Haydn should have been V Methods of Study and Memorizing. Foreign Postage,. harmony, and counterpoint. Also a normal course for trachen. dreams,” the music that had been floating, unbidden, called ‘Taps” by his pupils and intimate friends; why Vok«, PUno, Violin, Theory, and Sight-Singing 4. Methods of Harmony for Children. The piano department will i>e represented by Walton I’erkips, Julia Lois Camthers, and Georgia Kober. Mr. anti Mrs. A. J. Goodrich DISCONTINUANCE.—If you wish the Journal stopped, an through his brain. Mendelssohn wag adored by his pupils. Rough and (Jit i)f teachers, Methods of Ear-Training. will have charge of the departments of voice and theory. We wish to call special attention to a normal course for teachers explicit notice must be sent us by letter, otherwise It wil! The author tries to explain the singular fact by his gruff as Cherubini was at times, his pupils at the of carrying 6. Practical Lessons in Playing. to he conducted by Miss Julia Lois Cam there. Miss Cnrutbers’»rk be continued. All arrearages must be paid. Welsh ancestry, on his mother’s side. By some freak Paris Conservatoire loved him, and the same state has The courve, .i> a whole, is the result of about forts’ years’ ex- in this field has created marked interest, and her success in tfeirlop* r*ri«rncein teaching, and Is designed to stimulate teachers and to ing the musical nature and powers of expression in children has RENEWAL.—No receipt is sent for renewals. On the of heredity, the music of his Welsh ancestors has come existed in German conservatories. Applicants accepted for shorter periods'at the usual extend their knowledge. Recitals, etc. Course, complete, without aroused the enthusiasm of teachers, parents, pupils, and critics. wrapper of the next issue sent you will be printed the date private lessons. $35.00. Normal Course without Harmony or Teachers intending to study this important branch during vacation down through six, eight, or ten generations as a There is a feeling in our cities that the conservatory cummer rates. to which your subscription is paid up, which serves as » Mason's Technics, & 15.00. Private lessons engaged upon appli- • are earnestly invited to consider this opportunity. Circular, giving dormant germ, and come to life again. Certainly a system is sure to make inroads upon the business of cation. I complete information as to details, etc., sent free on application. receipt (or your subscription. Add re i*. It. W. GREENE. President curious circumstance, and worthy of further investi¬ private teachers. This may be true, in part; but at Address, MISS BLANCHE DINGLEY, Manager, THEODORE PRESSER, 4*9 Filth Avenue, New York W. R. PERKINS, Secretary the same time there is reason to doubt whether 1402-5 Auditorium Tower, Chicago. 1708 Chestnut St., Philadelphia, Pa. gation. teachers w hose time is cut into four portions can come Entered at Philadelphia P. O. as Second-class Matter. into the close relations with a pupil that makes the JFaELTEN ipIANOFORTE SCHOOL Mrs. Hadden Alexander Some years ago I heard a certain retail dealer in VOICE CULTURE. Copyrighted 1900, Theodore Presskr. music, who was himself a good pianist and a widely- study of music ofttimes a labor of love as well as mere CA»L fACLTCN. DiftCCTO* yWk iniMKR lOLUI uf Udan Ifwmt iui lUcitelt for “==- Mr. LEO KOaER *» ■ read musician, remark bitterly of a certain Western duty or to the worth of money paid out The greatest A HVMC TKAC|||:B2Mb July. IWt\ tatruiuduith* VmUaq • «.. I keep his Studio open all summer for pupils to study ?h«r success has generally come from loving work with a W I' _ ^ +n* if ti»» fillowin# aai jrwt*: Fua*l»- kD_r ouWlv’b 11Z-I20 art of Singing and to recuperate worn-out voices. Lily city where he plied his trade, a city much lauded as Bfttttfcl Tr»ittli»u. V •uumim*. lnti»rj.rrtiUL n. Slight *■fcv-IAL SUMMER COURSE for Teachers and pupils can be received as boarders in his home. Address There is scarcely a piano teacher who has not, at an art-centre, ‘Tshaw, this town is a fake; it is not teacher who was also a thoroughly interested friend, Bollm. Tmcholc. K*r Tniuia*. MucicaI Liurunri, w t Ornmm. SotimI TrtUiai. Students of Pianoforte playing. in the least musical. Why, there are not ten people and the conservatory system, may—not necessarily 279 Carlton Avenue, Brooklyn, N.Y. some time of his professional career, been confronted r«u owtirnUn >• awllratiua. "trierrt BalMl**. Boston. Cue. —June 4 to August 18, 1900 by the dilemma of continuing to teach a hopeless case here outside of the profession who own any library does—by the division of a teacher’s interest, tend to or of losing the precious tuition-fee. To be sure, there of musical works, and even the musicians own nothing weaken the attachment that should exist between master and pupil. Wc may profit by a systematic The first edition of 2100 copies was sold in sixty we cases where the intellectual faculties of the pupil but the books they teach out of or the pieces they days. Second edition now ready. to be enveloped in Cimmerian darkness and play.” This was probably just, as a criticism, and cult in this direction. QLD FOGIES • • • *here the possibility of seing a ray of light penetrate it points a moral for the music-lovers of the whole Never mend their torn music 7 seems to have no prospect of realization whatever. land. Do not narrow down into a mere pedagogue, At this season of the year we have only to look with a transparent paper, they use black court But to renounce these cases means in many instances or a mere showman, do not study only to peddle bits around us at blooming Nature to see the development to sacrifice voluntarily the means by which the wolf of knowledge from pupil to pupil as the old-time of the little seed planted last fall, perhaps carelessly plaster or the partly-gummed selvage of 4 kept from the door; to forego some desired pur¬ itinerant peddler—or “vagrant merchant,” as Words¬ cast to the winds to be taken up and hidden away in J Beautiful CHI lit) WOW the bosom of Mother Earth. Just so we may drop postage stamp sheets. “■yet toSimple.atchyHclodies chase that would contribute most effectually to the worth called him—peddled notions from house-door to house-door, hut strive, even if in but a small way, to into the tender, fruitful soil of a young mind the in¬ \NOVEL ‘DEJIGNJ accomplishment of a long-cherished wish. In other Why not be up with the times and try our spiration to a higher, more earnest love and devotion •THRSUGHOU
.. ig greatly time saving to study etudes and piece* The reversed position of the Imgeis of the left hand II. 64 M 54 Ti THE REMOTENESS OF THINGS. shortest time do it admirably, because she has that THE GREATEST DIFFICULTY FOE THE !j_tfcally. Give attention first to a careful and as compared with those of the right hand does not relative knowledge which makes detailed knowledge PIANO. “Lt* reading—g1' ‘’‘S-’ each note in each voice iU mend matters as far as the left hand is concerned. BY THOMAS TAPPER. possible. However, her ease is this: she does not need foree and time value, and observing with care To the weak fingers of that hand is intrusted the the detailed know-ledge, at least frequently, and she yVwoR Each phrase, section, or difficult fundamental bass, with its strong accents, demanding knows better than imagine that any value attaches BY FRED. S. LAW. * should be practiced from six to ten tunes re- Most of us, in our efforts to become familiar with a foree and accuracy especially difficult for the weaker to carrying about a crate of crockery because she may V^dlv and uninterruptedly, until full confidence in some of that considerable sequence of events which and less practiced hand. It is aided in this task by need a cup of coffee. But further, if the need should Jr ^dins and execution has hern acquired. Besides preceded us, forget a very sensible rule of Johnson’s. the greater fullness and sonority of the bass tones. arise that this detailed knowledge came into daily The greatest difficulty for the piano—what is itt In effect, it said that knowledge is of two kinds: one The action of the fourth and fifth fingers differs from 0,* above-mentioned i*oints, the tempo, rhythm, rx- use, she would go to a music store, expend a dollar, Octaves, scales, trills? None of these. It is a diffi¬ kind we must know, it must be part of us, ever ready that of the corresponding fingers of the right hand in -tuio*. and the relatiie importance of the varioua more or less, for a book containing all this matter; culty depending in part on the structure of the hand to do service; the other we must know how and being generally associated with an elastic wrist or voices (soprano, alto, tenor, aud bass) must be care¬ and she would regard that book as a box full of little and partly on the structure of music. It is nothing w-here to find. Like books on the shelf or dishes in arm movement, involving a particular firmness of the fully weighed and considered. objects which she has some need of, and as being in¬ primarily dependent upon brilliancy or rapidity of the closet, it serves us because we know where it is. knuckle-joint. As example, any waltz with a skipping After the mastery of difficulties, by this concentrated finitely more handy in the box than out execution, though in overcoming it both are materi¬ But to carry either the books or the dishes about with bass may be taken. Such Jwsses are more difficult to In 1 the fifth finger is kept curved and near the key analytical study, comes the finishing study. After A good relative knowledge is the essential basis, ally furthered. us would not necessarily increase their serviceability. play than is popularly supposed; e.g., Carreflo's fas¬ with the feeling of striking deeper than the other thoroughly studying each two measure section, four- and with it everything is possible if one is reasonable. In considering the hand anatomically we find it It takes years to learn what a vast amount of cinating little waltz, “La Mia Teresita,” particularly fingers. These spring up with lightness and elasticity, messure phrase, eightmeasure period, and musical Alter the relative scheme shows itself, “centers” will divided into two distinct sections: one strong, the knowledge may be relegated to this latter class; and, the last page but one, which affords an example of while the fifth finger holds a broad, singing tone with unit u above instructed, and each division begins to be formed; one may not know- how, just as the 1770 other weak. The strong part of each hand faces in¬ by inference, how much genius one may show, not ward, the weak part outward. Of the weak fingers little-finger technic by no means easy to accomplish. especial sostenuto effect. The wrist rises with the sub¬ sound musically intelligible, then combine several of in the case quoted. With . few of these, everything alone in the choice of the former, but in its arrange¬ Chopin’s well-known “Nocturne” in E-flat, opus 9, stitution and drops with the attack of the chord, is the smaller practice sections into a larger,—practicing is possible. For example, I have often beard my the fourth is so joined to its strong companion, the ment third, as to be almost incapable of separate initiative No. 2, is a familiar example of a moving hass in which which constant attention must be given to bringing with a variety of touches if applicable.—slowly at first, father tell of walking with his father, when a boy of We are often given to miscalculating the relative in its natural state. This peculiarity is probably a the utmost accuracy and power of shading are re¬ out the upper tone with prominence. until this larger group also becomes musically intel¬ four, to visit his grandmother. She was then one value of things; ss a result facts burden us; we provision of Nature to aid the hand in its grasp, since quired in order to bring out the species of counter¬ In II It ia, of course, much easier to differentiate ligible. Continue increasing the sire of the practice- hundred and two years of age. My father was born allow them to do so, as a matter of habit, and the in grasping with the strong fingers the weak fingers point suggested by the progression of the single bass between the melodic tones and those of the accom¬ group in the ratio that your ability increases to play in 1829; hence tnis visit to my great-grandmother result is an insecure, invaluable collection of inessen¬ are kept down almost automatically and with but notes against the melody from which they are so paniment, since they are not played at the not time. ihe group with musical intelligence, and until you in¬ took place in 1833 (the year Brahms was born). tials which does ns harm constantly by obscuring little conscious exertion. This, however useful in widely separated The question of pedal technic is also Pupil* invariably display a tendency to let go with clude the whole composition. Hence, my great-grandmother was born in 1731. Now, main line*. The pupil who finds it difficult to remem¬ practical life, is very much against the equality of closely bound up with this action of the left hand, the weak fingers and sustain the thumb, but the re- The most common faults in study are: 1. Careless¬ because of the remarkable age of the woman, and of ber who was Cantor of the Thomas school in 1860 touch and tone which the piano-player must acquire. since it manipulates the deeper tones of the piano. verae should be the case. The last note of each group ness in reading, in observing accidentals, in rhythm, the case being related to me directly, I have always should cease to worry. The ability to remember this Teachers and students alike groan over the unlucky These are formed on the long strings, which have a in the accompaniment should lie slightly shortened in and use of pedal. 2. Uncertainty of touch; a totter¬ made it the center around which all my rapid and hit of information has nothing whatever to do w-ith fourth finger which forms the chief obstacle in adapt¬ much greater persistency of vibration than the shorter order to keep up the undisturbed legato progression of ing arm in legato playing instead of a steady, pres«ed- ready history-grouping takes place. My grandmother a knowledge of musical history. Examine the matter, ing the hand to the piano. It would, perhaps, not be treble strings, and thus swallow up, as it were, tones the melody. Thus in playing Mendelssohn's first “Song out legato; a laxy, instead of a crisp and cleareut was born one year before Washington and Joseph even superficially, and at what do we arrive? Let us so bad if equality only were demanded, but the pe¬ dissonant to the harmony and reinforce those which Without Words” it w ill be found that the thumb will staccato; and a half slacenlo for an indicated porta¬ Haydn. Both Bach and Handel were in their best see. Did the question about the 1860 Cantor ever culiar disposition of the fingers—i.e., the arrangement are consonant with the fundamental bass. Hence play the la»* sixteenth of the accompanying figure s mento. X Carelessness in the down- and up- hand years in her childhood; Philadelphia, New York, and arise before? No. Is it closely connected with your by which the weak fingers are on the outside and the pedal effects mainly depend upon the touch and tone trifle staccato, so that the hand may balance itself on motions from the wrist 4. Always using the fifth Boston were thriving cities. Harvard College was daily music work? No. With your daily bread? No. strong fingers on the inside of each hand—throws yet of the left-hand part. To consider this aspect of left- the fingers playing the melody and thus secure sn finger on black keys in octave playing. 6. Using the nearly a century old. Mozart lived and died in the Or with the general grasp of your music study? No. another difficulty in the w-ay. If this arrangement hand technic would lead us too far. Those wishing uninterrupted legato. A good plan ia to practice such third for the fourth finger in arprggios and chorda. years of her middle life. Beethoven, too, lived and died Is the question likely to recur frequently? No. Is were reversed, the path of the piano-player would be full information on pedal technic are referred to Hans accompanying figures with a light, staccato touch in 6. Lack of concentration and enthusiasm. 7. A tend¬ in the span of her years. When she was born Benja¬ there a book containing this information? There is. materially smoothed for the following reason: Modern Schmitt s “Pedals of the Pianoforte,” published by the order to fully realize the part played by the weak ency to absorb all ideas of fingering, phrasing, ex¬ min Franklin had reached his twenty-fifth year. Then, by all means, confess 'hat the book holds it music is generally homophonie; that is, it calls for a proprietor of The Etude. finger* in singing a broad. *u>tained melody. pression, touch, and uae of pedal in the first practice- When she was sixty-six years old Schubert was born, better than you can, and do not attempt to usurp melody with an accompaniment on a harmonic basis. hours. This failure to master a little at a time and she was yet living when he died in 1828. So, too, This accompaniment with its harmonic setting is, of its place. from the same point of view. It is a matter of n thoroughly is the cause of slow progress, without ex¬ in lier latter years Schumann, Chopin, Mendelssohn, course, subordinate to the melody, which expresses the Education has nothing to do with making one be¬ small difficulty to play a chord and duly emphasiz PERTINENT POINTS FOR EARNEST ception. Brahms, Liszt, Wagner, and Verdi were born. principal idea ana which usually lies in the highest come a receptacle full of such facts; its direct purpose the upper tone. The necessary extension of the ham STUDENTS. Success does not always come to the painstaking; Thus nearly all the eventful happenings of later voice. This, from the nature of the hand, must be is to make one capable of getting at knowledge. It takes away from the power of the little finger, whiel “the painstaking” must he ba> ked by intelligence and music history took place in her life-time. And her played by the weak fingers of the right hand and the does not make one know so much as it makes one has the melodic tone; the thumb is apt to bring ou good judgment in always doing the proper thing. The childhood, girlhood, womanhood, and old age have accompaniment is divided between the strong fingers BTO. L SKINNER. know how to do. The ability to handle the subject its tone with too mueh force, making the chord bot student should be content to advance slowly and do a come to stand to me as remarkable epochs: epochs in of both hands. This, then, is the difficulty under dis¬ is really the superior knowledge. Whatever enters the tom-heavy, since the strongest tone, instead of beini little well. One of the key words of steady progress which the greater part of the music we call classical cussion: to reverse the natural action of the hand, le my own teaching 1 have found a large factor in teacher's work as “rule” is apt to become so formed was produced. at the top, comes at the bottom. This is a rock oi is “enthusiasm." A heart felt interest backed by in¬ to play strong tores with the weak fingers and weak, the mutual success of both pupil and teacher to be that no life remains. Unless the principle is con¬ Is not the value of this one fundamental fact very whrch all but the most expert players suffer ship telligent concentration makes the battle easy. An im¬ or, rather, light, tones with the strong fingers. Occa¬ contained in a correct “gospel of study." Methods and stantly present it is doubtful if anything but stereo¬ great? It certainly makes history live to me in a wreck. Even some of the greatest pianists give a portant point in conquering hard places is to memorize sionally we find the situation reversed, as in Schu¬ plan- of work can only assist the student in accom¬ manner that has no relation to chronological tables times an impression of too much thumb force in chord them. Although difficult at first, this manner of study types result mann's “Romance" in F-sharp major and the arpeggio plishing what he expects to when systematically and In active studies principles are less likely to be¬ as they exist in books. playing. Still anoth r circumstance which renders th will result in the mastery of all problems Technical variation of the principal theme of Bendel's “In the intelligently earned out. come lo*t to sight It is that study, like history, emphasis of the upper chord-tone more difficult i exercise* should always be tnemorired; also the best Gondola.” Thai berg’s obsolete operatic fantasies also An important item, and one of which the student w hirh deals not directly with active application, that that the tones of the piano diminish in strength a pieces. Regular attendance on all lesson* is a neces¬ afford many examples of this treatment by which the seldom thinks, ia to “be teachable.” Only when the the student is inclined to abandon a definite principle, A SCHARWENKA ANECDOTE. they ascend. Hence the strong finger has the natu sity if sustained effort is to be kept up, and the great¬ thumbs play the melody in the medium range of the pupil le teachable and receptive in a high degree can to rememlier all lie can. and after awhile to give up rally stronger tone, which for melodic reasons shoul. est measure of success to be attained. instrument while the accompaniment is formed of the capable teacher co-operate with him in his efforts in despair because the items are hopelessly mixed or A rather good story is told of Xaver Scharwenka. passages in scales, or broken chords and arpeggios be subordinate to the naturally weaker tone playe, A practical illustration of the results of system is by a weak finger. p 3 and eventually lead him to succewa. lost This is the way history goes. The distinguished musician took passage to Germany to be found in the following: three months ago I above and below the melodic tones. This style of Until a method of study is thoroughly established, I asked a prominent teacher once how many dates on a slow steamer. He did so because he wanted a writing, though grateful to the fingers, is not so much Since the touch employed by the weak finger, i, started two pupils on Mozart's D- minor “Concerto." technic, studies, and pieces should be practiced in ,h. was sure of in music history; she is a woman of quiet trip and time to complete the orchestration of in consonance with modern esthetic ideas of music as One began in a slow plodding manner, content to bring izzg: rlody u the ^ *»be, grades with a variety of touches. This system of prac' genius, broad experience, and the finest training. Her his new piano ncerto. There were only fifteen cabin formed by the use of the Mason two-finger exercise two or three pages to a recitation. Each new lesson the opposed method by which the principal thought tice can only he carried out successfully by intelli¬ was: “Two dates in all, one in music lustory passengers, and Scharwenka was pleased. He wonld is intrusted to the weak fingers of the right hand. involving the shifting of the fingers on one and th, brought regularly two or throe new pages with the gently employing the use of the metronome. lesdiBg and one in Greek history.” And what are they? I sit down at a lonely table in the saloon and write Besides, it has been employed to such an extent by same key, which should be applied in all kev. ti • details fairly worked out. In the course of ten b, followed a, pj£„7J teachers, from Mason down, have for years recognised asked "Beethoven’s birth. 1770, and the Battle o furiously for fourteen hours a day. None of the pas¬ writers of the Thalberg school that it has now largely lesson* the “Concerto” began to sound respectable, and the importance of this aid to study, nnd insist, in the ThermopyW which she stated to be something or sengers bothered themselves much about the industri¬ lost its effect and become more or less commonplace. tbe result was a feeling of mastery and rncourage- first few years’ work, on using it ns an aid to soli other u.C. ’’Now," I said, “how is it you remember ous professor, but one day a nice old gentleman—a In the playing of polyphonic music, such as fugues, roent to the pupil. The other pupil brought the whole mental as well as technical development, thereby sdd tins. ’” “The latter I remember because I gained a retired butter merchant whose heart was evidently the natural disparity of the fingers does not, perhaps, °f the first movement to the first reeitation. At the ing to the surety and solidity of a balanced execution. Li mark for it in schooi once, and the former because as soft as the merchandise he had made a fortune in come quite so mueh in evidence, since every part that end of ten weeks, practically nothing has been accom- fr"d°m ^"‘“C'lenrMh Vwrts As regards execution, while a great deal may be “ ’ of the two sevens.” “But.” I asked, “what relation can —came to Scharwenka and tried to coax him to take is played is of equal importance. It is not a question Pi*hcd. The girl is discouraged, and many sad and I have boiled my “gospel” of the subject down to w® there possibly be between Beethoven’s birth and two a walk on deck. The composer declined courteously, of one voice played mainly by a pair of weak fingers ~7*ogJlOur* have lieen given to bewailing “lack of point where it may be stated somewhat a, follow* • Lyen.r ’That ” she answered. “I have not ye dis¬ pointing out that he had a good deal more music to ill adapted to bring it out; all fingers have a turn at n*~ The latter student would promise me that Constant and careful attention, controlled by s*n‘ covered ; but it doe. not weaken my grasp of the fact. write. “But my dear man,” the butter merchant in¬ the theme. This, to be sure, demands equality and is week I will give careful attention to detail and sible intelligence, is the price he must coiutantlt P*T But 1 found that this student had an admirable sense sisted, “what are you doing this for? Economy is all independence, but not the broad, singing tone w ith a °Just ** »ay" but on her return was always right, but one rnnst not go to extremes. Why don’t £ 64 54 who would obtain a fluent style. An accurate Of historical grouping and location. Every important light accompaniment so essential to monophonic com¬ sufficiently honest to confess “I was rare less, but I just ==** -- clean execution includes the proper observance a composer and plavcr she had grouped in relation with you buy the pieces you are copying there? Music is positions. In such works the fourth and fifth fingers Rot carried away by my feelings.” The one controlled fingering, use of pedal, and attention to the varieties ' that she could scarcely make an error in so cheap nowadays.” of the right hand require a peculiarlv-deep pressure emotion*, allowed common-sense and intelligent of touch and expression and to the grouping of them—past to present or present to past. touch and must support the weight of the arm with 0<*ntration to govern every practice-hour; the TnE music teacher asked: “What does it mean elasticity and firmness, while the strong fingers plav "alts and phrases. Accuracy is only gained by w w»y to her emot ions, and used neither her when you see f over a lair?” with a light, loose touch. As familiar examples of ing the hands separately in passages at all Tj nor her teacher’s common-sense to enable her to “Forte,” answered one of the pupils. this style of playing may be quoted the adagio from beginning very slowly, evenly, and firmly with t. rounoser by the scheme of removes; that is vn the work. To every student who does his level “And what does it mean when you see ff?” asked Beethoven's “Sonate Path&tique” and the greater part legato touch; following wRh’the staccato; •I*"*' rieht*0 d° ProrK‘r thing at the proper time in the ■*•* - a**.- r the teacher. of Mendelssohn’s “Songs Without Words,” particu¬ ing grades of speed and legato and staccato tone . , ■ bv reckoning back from it. If circum *ay- w° teachers gladly take off our hata; and “Please, sir, eighty!” said the bright boy of the larly the first one in E-major. from real »lor to moderately fast. It U in tbto " B,T ' I minded that this woman should post her- stances demanaea , class.—Husk-, London. work that the metronome finds its practical »PP1 *• »h»|, JTVE-MINUTE talks with girls. ter-notes, twice in eighths, and twice in sixteenths, and not gain the mental strength that men Baid, one day: “Oh, you teachers think of ub as so tic side carefully away, wrapped her soul in It, if yon women should have? **• with the fingering of the scale of C. Follow this by many hand-organs. I come in here and you grind wish to be poetic, and keeps it fresh and fair within. THOUGHTS the same scale twice in sixteenths with the proper It is quite possible to arrange a course of m ■ BY HELENA M. MAGUIRE. music out of me for an hour, the next girl comes In this way she is able to reduce her dear music to SUGGj£ST|0!'^,AT)YIC€ fingering. Now play the scale of D (the proper finger¬ instruction that shall become effective disoinr'181'*1 and you grind her, and so on, and you are pleased or a daily routine, to dissect and analyze what she loves gravely displeased at the time with tne sort of music ing of which is the same as C) twice up and down those who enter upon it and continue faithful!* A Girl’S Music Teacher. most truly, and patiently to listen to its mutilation in sixteenths; follow this by E-flat once in quarters, therein. But no work is effective and no course ' we give out, and then you forget all about us until by careless young hands. Practical Points by Practical Teachers twice in eighths, and twice in sixteenths, with the thorough that does not take account the fact I suppose you know that the American girl is famed the next lesson.” This is something of wliat a girl's music teacher is, C fingering, then twice in sixteenths with the proper voluntary attention is necessary, and that this atten for her originality and for having strong opinions I m afraid many of you girls have fallen into just and if I have helped even one girl to readjust her EDUCATION AND CHARACTER BUILDING. fingering. Go thus chromatically through all the tion must he an intense attention in order to h 1 upon all subjects and people that come within her this mood; but dear me, how dreadfully wrong that opinion of her music teacher, I shall feel perfectly about the best results. In music there must be'”8 ken. You like to discuss the different personalities girl s opinion was, for once, at least. As for a teacher’s justified in having laid bare a side which perhaps you E. A. SMITH. scales; scales that are fingered like that of C need only be played in sixteenths. When the round of the strong and steady activity. Here, as in the mu*,,,],' with which you come in contact, and you are apt to never thinking of her girls from one lesson to another, could hardly see for yourself, and of which your A vacancy occurred in a college, and a teacher of scales is made with facility at 60, gradually increase system, it is steady and continued use that builds make up your minds very positively about everyone I wish that you might don an invisible cloak some teacher herself could hardly speak. music was advertised for. There was hut little diffi¬ the speed till a high tempo is reached. strength. Spasmodic physical culture is valueless- so whom you meet, your music teacher with the rest. evening and visit your teacher’s studio. I think you culty finding applicants who were well qualified musi¬ This is excellent practice for stiff, intractable hands, also is a course of music study that is irregular and This use of the perceptive faculties is very good, but would hardly know it. How very quiet it is! Hushed cally to fill the position, but it was very difficult to and will increase fluency in scale-playing to a remark¬ lax, not rousing up to a high pitch the forces of the let me warn you against a too positive judgment, as I of hurrying feet, rustling music-rolls, and impatient HOW TO HANDLE STUBBORN PUPILS. find a teacher who was well rounded in character and able degree. pupil. have so often known a girl’s hasty making up of her scales and etudes. Hushed of all the eager young whose education was sufficient to enable him to take * » * * * * mind to hurt her ideals, both of music and musicians. personalities with which it resounds during the day. BY H. PATTON. the position and maintain it with respect. A college A music teacher is apt to be a rather unique influ¬ The musicians on the wall are enjoying a classical UNCONSCIOUS MISTAKES. position for a music teacher in some ways is a very A STITCH IN TIME SAVES NINE. ence in most girl’s lives, in that she is almost the only calm, and in the midst of the quiet your teacher sits, Many teachers complain of trouble with stubborn trying one, for he is placed in an educational and MADAME A. PUPIN. CARL W. GRIMM. representative of the art-life with whom she comes —doing what? Perhaps she is eagerly going through pupils whom they are often unable to control. A literary sphere, where something is expected of him in familiar contact. In the home the mother is oc¬ a bundle of new music in anxious expectation of teacher of music should be master of the situation, besides the ability to play an instrument. But the It is surprising how careless and indifferent some Many piano players make mistakes of which they cupied with things domestic, her world is bounded by finding something which will fit you. Perhaps she and not a hireling doing the bidding of an employer. same condition holds true in the community. If a persons are in regard to preserving their pianos. They are totally unconscious, and, if told of them, would the walls of her household, while father is busy about had drawn out a pile of old music, familiar to her How well I remember with what profound respect musician expects to take a place among men, he must think tuning an instrument occasionally is all that is indignantly deny that they had made them, ome the necessary, material things of life, his thoughts for many years, to go through it once again, this we entered the studio of our German professor. He be able to meet men upon their own plane, must be necessary. It never enters their minds that among concert pianists are not free from these shortcomings. given up to polities or local affairs. At school every¬ time to listen and gauge its worth in the light of had a certain degree of independence that might often able to talk about something besides notes and bars, the thousand little parts there may be tiny screws One of these pianists came to me for a lesson on the thing is necessarily gone through by strictest rule, your personal need. It may he that she is taking be imitated. His reply to my remark (made before he must have both education and character, or his that have become loose and need tightening, that pieces she was going to play in a concert. At a cer¬ vour teacher being so rigidly bound to a schedule for down magazine after magazine, in the hope of finding engaging him) that I liked a conservatory on account sphere will necessarily be limited. It pays, in more pieces of felt worn down ought to be replaced, that tain place I said: “You should have made that note each day’s work that, however much she might wish some hint which will help her to “get at” your want. of its musical atmosphere, was very characteristic: than a financial sense, to equip one’s self in the broader the touch of the action has to be re-regulated, etc., staccato;” and she replied: “I did; I took my hand to, she can give you but little of her individual culture Or, mayhap, with perplexed brow, she makes a dash “Veil, go to the conservatory!” fields of life’s work, and it is a most hopeful sign that etc. There are so many things that do not belong to off. ’ “But what is the use of taking your hand off, or thought. So that, when the hooks you read, the into her books of psychology and pedagogy for a way With a studio, where pupils come to you instead of our musical brethren recognize this fact and are pre¬ a tuner’s duty. If he is also a repairer, he may do if you keep the pedal down? The pedal prolongs the things you see, the music that you hear, waken in you to bring you, triumphant, to success. the house-to-house instruction, it is much easier to paring more thoroughly for their work. it; but then it is not more than just to pay him for tone just as if you had not taken your hand off.” The new, delicious thoughts and emotions, vague am¬ Often she sits thus until midnight thinking of you, take on a proper degree of independence. The pupil • • • such extra work. Any person owning a sewing- young lady was remarkably intelligent and saw her bitions and a half-desire for expression, you naturally planning your lessons, studying your needs. Often, who has taken a course under a teacher who has machine or even a bicycle would consider such occa¬ mistake at once, and said: “To be sure, I never AVERAGES. long for intercourse with some one who is an exponent long after you are deep in forgetful slumber, your assumed the relation of a servant is the most annoy¬ sional repairs self-evident, where there are even not thought of that. It is strange none of my teachers THOMAS TAPPER. of the higher life. Do you find your music teacher teacher keeps her vigil over you in thought. Does ing. He expects to get over so many pages of the nearly so many delicate parts concerned. No matter ever told me that.” to be such? If you believe that you do, that you this sound as though she forgot you as soon as her music in a given time; he wishes to gratify this or A RECENT address on "Averages,” especially as re¬ how good the instrument, repairs will become neces¬ This error was observed lately in a really fine con¬ see in her one devoted to the pursuit of art, every¬ studio-door closed upon you? And yet this is a very that whim, and to advance upon such paths as he pre¬ lated to school work, contains a point well worth the sary in time. A doctor once said: “The better edu¬ cert player, many of whose effects were spoiled by an thing about her becomes interesting to you, the fur¬ real picture which I have drawn for you, and one fers to tread. attention of teachers of music. cated people are, the sooner will they call upon a injudicious use of the pedal. It might be said that nishings of her studio, the colors she affects, the orna¬ many times duplicated in the studios of the land. I have had several whose parents were unable to The moment the teacher begins to trust to averages, physician, not because educated people are unhealthicr, these defects are the result of not training the ear, ment she wears, or the absence of them; you are as As for your teacher thinking of her girls as so many control them, and in a few months’ time my trouble she averages everything. She knows the average age but because they know as soon as anything pains them but letting the eye give the commands. A rest means observant of every visible detail of this follower of a machines, I think there is no one, outside your mother, would be over. The controlling lever is firmness,—at of the children in her grade, the average amount of that something is wrong, and in order to prevent any silence, not simply lifting up the hand. A staccato divine art as you are of the instruction which she who takes a warmer personal interest in you, or who all times,—but rarely to a degree of sternness. For work possible in a month, the average daily attend¬ severe case of sickness they seek advice in time.” An often means the end of a sentence, which must be watches more closely for visible signs of talent or example,—a mistake is made in a passage and you ance, the average of each child's ability in six studies, gives you, perhaps more so, for you are as anxious to ounce of prevention is worth a pound of cure. It cer¬ snipped off short, and to play it so that it sounds say: “Please repeat that from this measure.” Pos¬ know of the art-life itself through her as you are to progress. Your teacher loves her art, and a pupil who and so on throughout the domain of the temptation. tainly betrays a lack of some kind of education to let otherwise is to give an entirely different meaning to evinces a sincere respect for it and a real desire to sibly the new scholar goes right on as if no request The danger pointed out is this: that in not one of learn the principles of the art in which she is anxious one’s piano go to ruin. Do not think that the only the phrase. Marks and signs in music should be ob¬ had been made. Let him play about half a dozen to ground you. excel in it cannot but he dear to her. these averages does the teacher come near any one time your instrument needs a fixing up is when a served understanding^, as they represent vital effects. As to her being satisfied with your music, why, how measures more, while you are getting your wrath real child, her averages represent no living child ac¬ strmg is broken or a key sticks. A piano needs to be At first it was all delightfully interesting; the * * * can she be? If she were to make no adverse comment under complete control, then stop him quietly and curately. Her average child is non existent; and the things she had to tell you, the new thoughts, the new tuned several times a year, and once ip awhile, it de¬ point to the measure where you wanted him to go quantity she is dealing with dwells like a restless PREPARING A CONCERT PIECE. difficulties to he conquered, the new outlook and am¬ upon your work, it would argue but poorly for her pends upon usage, a cleaning up inside and outside back and say firmly: “Here is where I wanted you to bition, all these were very pleasing; but as with opinion of your musical ability. It is because she spirit in all her philosophy; she goes and comes, and a general looking over by a repairer. Little things CECIL CARL FORSYTH. believes you capable of better and yet better things begin,” and see that he does it. If you fiv into a thinks, and acts for him, or, rather, for “it"; but it out of order may not amount to much at present, but time the novelty grows into habit, and, as, at school, In preparing a piece for a concert I find the best rage he will do the same, and then there will be never runs to meet her in the morning, nor brings her when you did one example correctly, it was rubbed that she will not let you rest satisfied with present let them go on unadjusted and they can cause a great trouble. By making it hard for him to disobey, it will flowers in summer, nor throws a snow ball at her new- way to memorize, so that nervousness will not cause out and a more difficult one given you, so your music worth, but fills you with a supreme dissatisfaction deal of damage. Hence the old proverb-“A stitch in not be long till he finds that to ignore your requests winter hat. “It" is an average with no sin save that me to forget, is not only to he able to play the piece seems to settle down into a long conquering of diffi¬ which will not let you rest content with what you time saves nine’’-is correct. invariably nets him a loss. Treat your pupils as if of being a lie. through from beginning to end at any tempo, but to culties, a very natural dissatisfaction grows within can now do, but goads you ever on to greater and you liked them; throw in a few remarks occasionally One naturally deduces the evil: it is apt to take be able to play any part when separated from the rest you, :_nd then it is that you are apt to “make up yet greater effort. about their sports and show that you are interested the teacher away from the real child. Hi* actual, of the piece. I therefore follow the plan of first work¬ yonr mind.” Then it is that a girl grows critical and Lastly, as to your teacher’s not satisfying your idea DISCIPLINE IN MUSIC STUDY. in their outside affairs. Let these influences tend to needs, not the average needs of “it.” are to be sought ing from the beginning to the end, giving special that criticism grows dangerous. Perhaps you find of what an art exponent should be. Do you really w- J. baltzell. purity, refinement, and nobleness. Being far from a If he is ready in mathematics and alow in language- attention to the most difficult parts. After I can your teacher unnecessarily insistent as to little things, think that because your teacher has to buy plain model teacher, yet I am pleased to be able to say, in work, his average in these two is a thorough misrep¬ play it as a whole from beginning to end I commence loaves of bread and common little pats of butter with cuiiv'r'P°rtafn.Vf n0t the ChH aim in instruction is or else too exhaustive, tiresomely reiterating the my nine years’ experience, I have yet the angry word resentation. for it marks down his ability and equally to work backward, building one phrase upon another. her music, that she is lowering an art into a mere same monotonous admonitions; then it is that you to utter while giving a lesson. A stern word is some¬ marks up his inability. Hni. It imn e rP°T °f PUpil a,0n? “^in After this is successfully accomplished from the end trade? I quite agree that all artists should be born ' . U mP1,e9 Spline of the mind and formation decide her not to be, after all, that which you had times necessary, but the wrathful utterance is child¬ In the music education of children we are striving of character as well. Mental discipline meaT the to the beginning, I try another plan: I commence at above all pecuniary cares, but unfortunately it is not looked for. .You had wished for an ardent, idealistic ish and only belittles him who permits it to pass his to bring them together for concerted work.—at least reining °f the mind to alertness, readiness of response the top of every page, or, in fact, any place, no matter so. and I have even heard of a composer, of whom you artist to initiate you into the music life, and instead lips. I have been convinced recently of the power of occasionally. It should be done regularly, and it whether it happens to he at the beginning of a phrase are all very fond, composing some of his sweetest L and n”al r"’ade "P°n **> ““fading of th you find a dry expounder of time, phrasing, pedaling, long, persistent influence to create enthusiasm in a should be done so that it augments the' tracker * or in the middle of it. I find when I can play a pie* things for 'a glass of beer. Horrid! isn’t it? But Mways technicalities! You ask for beautiful blossoms student for love of music. Like the never-ending drip, knowledge of each child as an actuality—not as an from memory, forward or backward, as it were, or to even art has a prosaic side, and you must not forget by virtue aid she gives you dry roots,—but did you ever see drip, drip of the falling water upon the stone, time average. If little Mary is quick with her hands and to act quickly and snfelv "t„ t V 1 CrgPneles' commence at any given place, it is very seldom my that it is not the only side. Your teacher probably lossoms grow without roots? I know you would will leave a mark; so I doubt not that he who de¬ slow with her cars, do not average both, but help her memory trips me up at a public performance. U detests the intrusion of carking necessity upon her not read a line further were I to mention patience. clares he will never love the study may, by contact on the latter; but at all events do not be tempted pupils would follow out this plan in memorizing, art-life much more than you can imagine, but I don’t ^>rls have that preached to them so much, but you with persistent and continued enthusiasm, absorb a awnf from iittle Mary herself. nervousness would not trouble them so much when suppose that it ever occurs to her that a melancholy, 'now how long it takes roots to grow into flowers, degree of love for it. Four years ago I began teaching • • • they come to play in public. Bvronic discontent at such necessity would fit in and you would not blame Mother Nature because she a boy whose parents forced him to study the art. How activity should be L A vi a PUP‘ 8 *ind; and this better with your ideas of the artistic temperament SCALE PRACTICE, 'Mists upon all the preliminaries of sprouting, leaving, he seemed to detest it. It was drudgery, he declared, -ill be'gain in intellectua'l ^w'"'noT'T than the tranquil, even cheerful, resignation with ® the rest, before the blossoms come. So you must he could never love. The first year all my enthusi¬ rebi.ee y. jeryis. eal sense, but for all ’. * n y m a mnsi- Try to make your pupils independent of the teacher which she conducts the common details tWty is demanded. ' ' 10D3 Which mental ae- Endeavor to make them eorrect readers; careful, cor nnicful now of your judging in this time of dis- asm was vain, the second the same, and so with the When the scales ran be played with a fair degree You see, she has learned as many things m her cnntrnt. A pessimistic idea once rooted is difficult to third; but now In the fourth year there is a mark of finency. excellent practice may be had by making Many student's of music-unwise!,, • , rect players; and close thinkers. Let your pupil “growing up” as vou will, I hope, and one is that the eradicate, and, if you once lose your sweet and perfect on the adamantine surface. He is show ing an interest the round of the key*, using the fingering of the C stnet their work almost wholly to M “ his work himself. Do not stand by the side of l”"1 side of her nature is too delicate for every-day and a love in the work, and only recently ran all the scale, proceeding as follows: Set the metronome at *WI1 in plaving some instruct “ inaC’nM,.t50“ of and put his fingers upon the proper keys, telling bw> DbsT ^°Ur *eac^er’ your study will hardly be so wear It is not that she has lowered her ideal or way back home to bring a selection he wanted me to quarter note equaling 60. and play the scale of C in smaller number add harmony ♦ 3lnS'°g: a names of notes difficult for him to read, etc. Let tft th 77 a^*nvard- That is what I meant by saying ToTall the ardor which helped her up Uie steep ^ asty judgment could hurt you musically, see, and whieh in his hurry he had forgotten. This sixteenth notes, hands together, twice up and down smaller quota counterpoint 'the ^ S’ib,ecU: a 3ti" pupil do all the thinking he can do, but see to tramnt of music, to her present position, but she as right girl who was going, just as so many girls has been a very important life-lesson to me. Per¬ four octaves; then go to D-flat and play once in qUar » very small percentare aim for 7' 7 h‘Story; and that he thinks correctly. Be patient if he thin learned that the human side of her nature makes the sistent, enthusiastic influence is an irresistible power. ll>i» great number be allow a l W'de cnlture- Shall slow, and be hopeful if he thinks at all. Make you ■elf* h°’ tbr°U^b Diat P^r’od of discontent with her- ^outside garment, and so she has tucked the artis¬ ^ aU°'led to oontinue their study pupils self-reliant. ler ®usical progress, and her music teacher, THE ETUDE 173 172 THE ETUDE the wrist- and hand- touches the same? What unless possessing special qualifications. To overrate least of it, entirely and absolutely original. He rarely different ways of playing the two-finger exercises I like, along with some of the second-grade work ' .T,eyou recommend using for an organ pupil who one s ability is no less disastrous than to underrate plays in public without making the most comical faces, have over and over described in these columns, pro¬ in the third grade the Kuhlau sonatinas are availabl *°U 'Luted Landon's 'Reed-Organ Method'? Should it. A correct appreciation of self is as essential as and he always seems to me to be vastly contented vided you teach them thoroughly and maintain them Do not be afraid. Overboldness is just as bad *' be taught before octaves?-M. N. C.” it is just. Know thy qualifications. Keep within with himself. I have heard him play the most soul- in practice, the entire four forms together every day. timidity; it creates a new lot of faults. Bnt the hounds of possibilities, not attempting the flying enthralling music, and when he has reached a par¬ These four forms contain seven different ways of tone- erally speaking, the more conscientious of the lad” Hand-touch is a better term than wrist-touch; the process. Although it may be with difficulty that we ticularly beautiful passage and has played it in a production, and in my opinion exhaust the radical teachers err upon the side of caution, and therei ? hand moves upon the wrist. If you retain “wrist- walk, yet, having started, whatever be the obstacles masterly manner, he has turned to his audience and tone-productions upon the piano. They are, firm-finger fail to afford suitable stimulation to the pupils ** t uch” you should also say “knuckle-touch” and and by whatever route the travel, we should not yield winked deliberately, as if to say: “I got the right ex¬ legato, arm-touch by faUing, arm-touch by springing * * * “shoulder-touch” to complete the assortment. I say By W. S. B. MATTHEWS. to adversity, but press boldly on, making the most of pression there, didn’t I?” These mannerisms of de up, hand-touch by falling loosely upon the keys, ex¬ ' r, hand, and arm, because these are the parts that “What am I to do with the parents and the child each opportunity; directing well the energies; being Fachmann’s are often almost unbearable, and I do not treme finger elastic, soft hand-touch, soft fingei-touch. are active. For organ I recommend “School of Reed- “In ninging by tonic sol-fa when an accidental occurs in the following case? The father, a wealthy business¬ guided by the experiences of others; endeavoring at doubt that they militate strongly against his popu¬ All other tone-productions in single tones are, in my organ Playing,” Landon. Begin with Volume II or should the name of the note be changed to correspond, man, expects too much of the child, eight years old all times to do the best we can, making, so far as larity. On the other hand, he is entirely without busi¬ opinion, combinations of two or more of these ele¬ or should merely the pitch be changed T For example, very bright and quick, but apparently not especially possible, all plans conserve toward success. This is ness instinct, and never seeks to advertise himself. ments. At all events this apparatus provides a great 11 Arpeggios ought to be taught early in the study; mi, fa sharp, sol; do we sing fa, but half a step higher, musical. He says that if she doesn't care enough the way to Parnassus. Yet from all those silent heroes So much is this the case that he lias been reduced to or do we call it fe, and sing higher? discipline for the fingers. about her music to practice an hour a day he doesn't octaves come later. * * * who plan and work, and work and plan, many shall abject poverty; the famous English pianist whom I “In playing scales in sixths, does the left hand fol¬ There is no more difficulty in the pupil’s remember¬ think it worth while for her to take music. The be called, and but few chosen who shall reach the have before mentioned came across de Paehmann in low the regular fingering for the corresponding notes, ing different methods of tone-production than of play¬ mother, who herself was brought up to be kept bot¬ “What is the easiest way of teaching the chords great goal of artistic success. Berlin two or three years ago, and found him in a or does it follow the order of fingering the same as ing in different keys. Make it a habit to play as tled up in the house until her two hours a day had and their successions in all the major and minor keys? state bordering on absolute starvation. If it had not beginning from tonic; e.g., scale of D, in sixths; with directed. Later on, use the natural tone-production been practiced, does not wish to do the like by her Orally or by written forms? Ought I to use a text¬ been for timely assistance we might never again have what finger does the left hand begin? for the effect desired. Still later, eliminate extra mo¬ daughter, for she thinks it too severe. Nor does she book? If so, which one?—H. G.” heard the greatest player of Chopin now alive. “Is it wrong to have the wrist much higher than the tions as completely as possible. like to sit by her and help her with her practicing. A LITTLE ADVICE FOR YOUNG PIANISTS. But the young student is not so likely to copy the hand in playing octaves and chords? Is this position First chords singly, according to the method in the This is the art which conceals art. The best example The child has taken lessons since last September, and personal eccentricities of these men as he is to imi¬ due to the pupil's using the forearm instead of the "Primer of Music,” by Dr. Mason and myself; then of this having been done by any prominent player is at first I required a half-hour practice daily and later tate the peculiar characteristics of their playing. Some entire arm? I notice that the tone in this position is chords in succession. You might write out a pattern furnished in the playing of Mr. Leopold Godowsky, more. But the child does not like to practice so long. BY 0. FRED. KENYON. of our most famous pianists seem to imagine that if and have the pupils carry it out in other keys, some¬ apt to be hard. who practically knows the whole art of tone-produc¬ Could you suggest some device which I have not found they have once made a world-wide reputation they "My pupils get the hand-touch very easily at first, times on the keyboard, sometimes in writing. You do tion and piano-effect, yet who plays more simply than for increasing her industry? As I have not been teach¬ may be allowed all kinds of licenses with regard to but 1 notice that they are liable later to constrict the not need a text-book at first. Later you do, but then There is quite a widely-spread notion among the any other concert-pianist. Analyze what he is doing, ing long, I am fearful of not doing all I might.—-M. T.” the manner in which they play their repertory; and wrist, and in rising from the keys they raise the fore¬ teach them harmony in classes or all the class to¬ great music-loving public that many of our most however, and you will find everything there. The case you so well describe is not at all rare. You the young pianist, hearing them, may feel inclined to arm instead of the hand. It seems to me that the dif¬ gether. This is too long a question for now. I will famous pianists have achieved their fame solely by The foregoing answer also applies to the question will have to try various things. But first, where is imitate their methods—partly because lie admires the ferent touches are difficult to teach to perfection. means of self-advertisement and the use of well-devel¬ about Landon's work. Play it as directed. Why not? the right? If the child is in the public schools she take it up later. men themselves, and partly because he would like to be “Would it be a good thing for a child beginning in oped business instincts. Though I am far from wish¬ The most serious fault with piano-teaching now, or has “troubles of her own.” When she gets out I do thought original and singular. But it cannot be in¬ Landon's ‘Foundation Materials' to play the first part ing to underestimate the value of business-like meth¬ one of the most serious, is the disposition to fool away not blame her for disliking to be confined an hour or sisted on too strongly that it is a most dangerous of that book with finger-touch, her ear tieing poor? ods, yet I am convinced that they have very little to time in the lower grades. All kindergarten work is more additionally, working at something which, as practice for the young executant to play unheard-of Or could I have her play first with finger-touch until TOO HIGH AIMS. do with the artistic success of any musician. It is Bubject to this criticism; and most of all that posing yet, by no means is “music,” but which at best is interpretations simply for the sake of being singular. pure legato is secured and then later play os directed? true, a pianist may double or even treble his income as “advanced music-work with children.” There are drudgery and may later become music. The critics and the public won’t stand that kind of Or is there a simpler method than this? by the exercise of common-sense in the choice of his certain things to do at the outset, but one need not BY E. A. SMITH. thing; from a master of pianoforte technique it is “Can a pupil who began music twenty months ago The first thing is to interest the child, and get her, engagements and the fees he may demand; but I have be a life-time doing them. First of all, establish the objectionable, but from a beginner it is not to be and is now just completing the supplement to the first instead of practicing, to work at learning something. not the slightest doubt that this kind of common- idea that music is something appertaining to the ear, tolerated. volume, go on with the second volume? Or are there In order to do this, find some pleasing (and at the Upon a vast plain there once stood a mountain. sense has not anything to do with his artistic suc¬ always to be judged by ear, remembered by ear, and A friend of mine once heard Rubinstein play Chopin’s some sonatinas or something to prepare her for the same time useful) little piece and give it to her to be The legend ran, that he who should reach the height cess. On the other hand, too great an eagerness to played by ear, and by feeling. After that, go on and “Funeral March” sonata a year or two before his next volume? Her fingers and wrists are constricted played at a very near time in the future. Begin by would there find the secret of Parnassus, or, to acquire money may very easily be the ruin of an read as much as one likes. All the fundamental tech¬ death. Rubinstein was evidently in a bad temper, for at the least effort.—S. M. B.” playing the piece for her more than once. Then show modernize it—Fame. Many had been the attempts artist, and it is certain that it can never conduce to nic of the piano belongs in the first two or three her what she has to do in learning the first one or two lie slapped the notes instead of playing them; his In singing by sol-fa the syllable changes with the and many the failures to accomplish this well-nigh his true artistic development. periods. Make her understand every difficulty of speed was abnormally quick, and lie played jerkily and accidental, and the change is intended to be associated impossible task. But there are many men who, while possessing no in the combination of touches in the four forms ol fingering or position in this part, and then require her with sudden spurts. No one knew what to make of the with the corresponding change in pitch. Sing fe for At some period in one’s life who has not had visions business faculty worth speaking of, have yet an ungov¬ two-finger exercise mentioned above. The first grade to report the next day with as much as she has performance, and when he came to the “Funeral fa sharp, etc. See "Tonic Sol-Fa Standard Course” or and longings after the unattainable, and, after many ernable desire to advertise themselves and their talents of “Standard Grades” was meant to be completed in learned. Be it much or little, hear it, correct it, show March” itself the climax was reached. The heavenly any good elementary book. strivings, found them all thrust back upon him? on each and every occasion that presents itself. Their six months; if your pupil has been twenty months in her how to play it better and drill her in doing so. melody in D-flat was played with all possible force, Instead of playing scales in sixths, the canon form, Fragments of the Impossible may be seen drifting reasons for doing this are many. It may be that they it she has wasted time, unless she is underwitted or Then prepare some advance, to be played the next day. though it is marked pp by Chopin, and the whole of as given on pages 17 to 20 of Mason’s "Touch and mtoss these musical aspirations of ours. Building desire engagements, but it is more likely that they are extremely young (five or so). Even then I doubt the the march was played as though it were a triumphant Technic,” Volume II (scales), is much better. But in In short, begin by having her report every day, or at castles upon the mirage of fancy, beautiful as im¬ suffering from ego mania, and are never satisfied un¬ necessity of more than a year. What you are after expression of joy. Needless to say, when the sonata both the fingers follow the regular fingering, playing least four times a week, if for no more than ten or practical, is one of the inheritances bequeathed to the less they are constantly being discussed and talked is not so much playing everything in that book as was finished, Rubinstein did not receive the usual upon every note the finger which belongs there accord¬ fifteen minutes. You are not to charge for this extra musical temperament; of this we musicians know how about. They send their photographs to all the mu¬ playing with a certain ease and naturalness. The sec¬ measure of applause that he was accustomed to, and ing to the rule for the particular scale. For instance, time and trouble. It is merely an expression of your true! sical papers, they beseech critics and journalists to in¬ ond grade involves no new principles; it represents it is extremely likely that if any other pianist had suppose the scale of A. In this the left hand fourth anxiety that she get along. In a little while she will Many start in search of a musical education with terview them, they write personal paragraphs about merely a natural increase in difficulty due to increased played the same trick he would have been hissed off finger falls upon 2 of the scale, B. The thumb falls lie able to get along by reporting three times a week, impractical ambitions. They hitch their aspirations themselves to all the best-class newspapers in the coun¬ acility. Go on with that and do not occupy more the platform. This cheap mode of attracting the at¬ upon A and E. At the top put over the proper scale twice for her lesson and one for the extra time. As try; in a word, they do everything within their power than six months with it. It is not necessary. Any to a star so high that they are made to appear almost tention of the public is something worse than child¬ finger, just as if going still higher. The use of scales soon as she can play one little piece well, have her to bring themselves under the notiee of the public, ordinary pnpil can play at least a page of this matter ridiculous; at least are made unhappy, and finally ish, for it degrades art itself, and is harmful in every in canon and sixths is to make the proper scale finger¬ play it to her father, and be sure that yon get as much come to the end of a road that terminates only in and all because they have a morbid desire to be at a lesson, and the majority will be all the better way. ing sure and reliable. Therefore do not tamper with it expression into it as you can. When in the course of notorious. I could tell some strange things that mu¬ for two pages, memorizing the pretty pieces and re- disappointment. Aim high, but not above the mark, Well, all that I have written in this article simply until it is well established. Advanced players will the piece there is something which she cannot play sicians have done in order to get their names into peating them in review the next lesson. The ten grades else we make poor aim. Thus it is with ambitious comes to this: be natural, be yourself! And if you find it useful to play all sorts of scales with the finger¬ well for want of finger ability, construct an exercise the papers—things so strange that I should hardly be students who attempt compositions far beyond their cannot win your way to the front by the force of ing of C; scale of D-flat with the thumb of the . ' ,U,e “dd,t,on of such material as a lot of Mason's out of it and make her repeat it any number of times technics and my three books of “Phrasing,” a 8Uffi- ability to interpret or execute. To know ourselves believed. ... your own individuality, be sure you will never do so right hand upon D-flat and G-flnt, left-hand thumb until it goes. When one piece is learned, give her an¬ Again, there are pianists who, though refusing to *he measure of our ability is a problem which by pretending to be something different from what upon A-flat and Dflat The use of this is to make ZldTr °f P'e“ing 9UPP'“-y Sees, etc other. Later on, when she gets momentum, she wifi stoop to the vulgar kind of self-advertisement which ohould not occupy more than seven or eight years all M never been accurately solved. you really are. For there is more than one danger in the hand surer in emergency fingering. work at something for the more remote pleasure of I have indicated, yet attempt to attract notice to them¬ d, t the pupil begins at six and keeps on every To become the master of any art requires all the posing: not only does it degrade art, but it also takes All players with small hands (and some others) are having accomplished it; but at the beginning it is selves by the display of entirely assumed personal Perseverance, energy, well-directed effort, and ability away from the spontaneity of feeling and the freshness inclined to play chords and octaves with the wrist very nin/that ^1 ^ * 'v ^ PUttCT 30 much at begin¬ much like riding a bicycle, you have to get a certain that we possess. eccentricities; and some even go so far as to put these ning that they reach twelve and fourteen veirs of of sentiment of him who practices it high. It is undesirable to do so, as the tone is gen¬ speed before you can steer the thing and retain your eccentricities into their playing,-the consequence be¬ age no further a.ong than the fourth or ^th ^de Liszt practiced several hours a day for over twelve On the other hand, it is absolutely necessary that erally poor. There is little or no gain in extension balance. There is this difference between the child in ing that they are often condemned at the very outset Tears. Rubinstein devoted over fifteen years to study- the young pianist or violinist should have the cour¬ power by thus raising the forearm; on the contrary, of'fifi gf,!Tb'e t0 p!ay difficuIt pieces bythe music and a freight-train: the engineer sands the of their careers simply because they have given way ge of fifteen, if she has half a chance and trots'rmht ”8 the piano. Ole Bull spent over twenty years in age of his own views—the courage of his own tem¬ for practice at least, it is advisable to carry the wrist track of the train until he gets a start; with the chii to a morbid and absurd desire to attract attention at • eonstank daily practice upon the violin, while Paganini perament If, by nature, you see things in a different even lower than the normal position in playing difficult you soap it. all costs. This assumption of personal eccentricity is of°pfayer7Sothharukcn1^iS' ““ W°r'd * m P^obiced for more than twenty-five years, varying light from most people, do not be ashamed of saying extensions. In falting upon a wide chord or octaves M hen the momentum is so small, do not risk rapidly spreading because more than one of our great¬ be able to plar IWtl k years enouSh to °m eight to ten hours’ work per day. And these so! If a piece of music appears to you to require a the hand is extended to the proper distance for the studies; give technics a little, enough to keep mann. Chopin,' a^T.T*"' °f ^ 068 he multiplied indefinitely, though it est pianists has countenanced it. different interpretation from what it generally re¬ keys desired, but the hand should remain nearly in fingers gaining (I mean Mason's “Technics, ’ of coarse , A famous English pianist told me not ra»ny yea line with the arm, and not falling off lower, eertainly dinary wfoa music (fifth’grade oMowcr)7 ^hld sh* r* °P’n'on as t° the number of hours one ceives, obey your own instincts, and play it as you hut work with pieces. Later use studies. Any 1^ ago that when Paderewski first went to London he not much lower. In this way greater solidity of at¬ ° ^ Practice each day; but, whether it be much feel it! Be honest in your emotions, and do not pre¬ girl of eight, having the mental qualities you mention, Si to dye his hair pink in order to attract attention. tack will be secured. In delivering a difficult chord, ,e’ we tod represented in the examples given tend you adore, say, Bach, if you cannot understand in difficulty After tw, "1UCh more rapidly with some standing in school, is able to stand wel What truth there is in this statement I cannot say, the wrist is, of coarse, set firmly, else there will lie no density of thought and concentration of atten- him. This one point—the necessity of being thor¬ her music if she cares to do so. You have to find but it is certain that Paderewski has willfully exag¬ power; but it can be relaxed at the moment the touch <-"-££53 ^ S7,'"7 *«« « T? oughly sincere in one’s interpretations of music—is the ordinary piece of fk* j ° an<^erteke any of making her care—not for practicing, but for aceo® gerated eccentricities of manner and appearand to has been delivered. This relaxation after heavy touch *bo la 4ffiL>tions student who plans an artistic career stumbling-block of very many of our young pianists. plishing something. The satisfaction of having real! fuch an extent that a man who allows his hair to ing is the essential point. Here is where one saves vSde> such -the too^ ’ a* outset, count well the cost, and not too Be true to yourself, and, if Heaven has granted you ow Ion„er than that of the average man is imme- «*. a, done a particular and measurable thing is ibe 'eV, talent and determination, rest assured that in the end strength and finger-wear. Tield *°° mu public produce their admirable results by means of how is it possible to acquire admirable technic music which is good and that which is trash. That sincerely with the best natural capacity. The taste the modern bow. Incidently, it might be well to add the great precision and brilliancy which nL^ Letters to you ask the question is a good sign, and I wish that of even these will undergo changes in time, and we that, however well these very violinists exercise their violin-playing demands? How is it possible with™ I might really answer you; but to do that would be find that at one period of English literature Alexander Violin Department. profession unaided by Tourte bows, they find the sluggish and unreliable finger, to produce either te b to give you an entire musical education in p. para¬ Pope was worshiped as the very God of poets, and a ancient violins indispensable to their art. nical or tonal results of an admirable nature? jT° graph. Nevertheless, despite the fact that many a hundred years later he was regarded as stiff, cold, manifestly an impossibility. Every good artist h ™ heated debate has been entered into and brought to • • • pedantic, and narrow, while Byron, Wordsworth, sooner or later, learned the importance of the trill • an unprofitable end upon this theme, I will attempt Keats, and Shelley were admired; so in music Men¬ Conducted by Though a great number connection with technical development; and th '! JOHN S.VAN CL6V6 not to fully settle it,—indeed, that were folly to at- delssohn nas almost deified in England half a century GEORGE LEHMANN. VIOLIN METHODS. of methods have been written not many have reduced it to a scientific and system!!, tempt, but to give you a hint or two which may ago, and now' he is unjustly undervalued, by the ad¬ j* ostensibly for the peculiar study, they have, one and all, adopted some method To W. M. K.—You ask me to suggest special exer¬ guide you on the long, but charming, road of musical vanced party in art, who make a similar idol of Rich¬ needs of the beginner, tcachere of the violin have, per¬ which promised ultimate success. cises adapted to stretching the fingers of a pupil, but education. You cite the “Maiden’s Prayer,” and after ard Wagner. There are countless degrees of compara¬ haps, greater difficulty in choosing a work of decided twelve years old, who is just now really beginning sys¬ dissecting its form ask what there is wrong in that tive excellence, and to speak er cathedra as to any practical merit than those in any other branch of in¬ A prominent New York tematic study of the piano. I would begin my reply Nothing, the harmony also, though very ordinary and composer whatsoever is arrogance on the part of the strumental work. Most of the well-known violinists AS TO BOWS. violiniat relates an amusing In a letter to one of hi. with the famous advice given by Punch to people con¬ familiar, is not incorrect, neither is the little tune critic. One simple rule you may follow, however, that who have contributed pedagogical works to violin anecdote illustrating an am¬ DIVISION OF pupils (dated Padua, 1760) templating matrimony: “don’t.” Any violent or par¬ more than endurably trivial, and there are several is study and try to like those u’orks which you can literature have only succeeded in giving us a combina¬ ateur's misapprehension of the possibilities of a good THE BOW. Tartini earnestly endeavored ticular effort to widen the webs of the child’s hand really beautiful bits in it, but the trouble with that ascertain are admired by all, or nearly all, cultured tion of some excellent and many impractical ideas. bow. In a Western city some years ago the gentle¬ to demonstrate the para, cannot result in anything but harm. You say she can¬ appalling, dear, old "Maiden’s Prayer” is that the persons, and after auliile their beauty will be as dis¬ Take, for example, the work by Louis Spohr. From man in question had excited the admiration of a local mount importance of good bowing. Even in those not reach an octave; well, why should she? A child of idea which it undertakes to utter—namely, the lovely tinct to your heart as is the odor of a carnation pink a musical point of view, it would be difficult to find, amateur by his exhibition of admirable bowing. In¬ days, when the ability to play in the sixth position twelve is not likely to be a master of wide arches, nor one of a pure-hearted innocent virgin praying to God to your nostrils. in any one book, so many admirable things as Spohr deed, his bowing was exceptionally pleasing to the eye was regarded as a technical feat of extraordinary di¬ are they necessary, for a vast deal of the loveliest and or to the Virgin Mary—is really caricatured both by has presented in his instruction-book for beginners. of the amateur, and aroused in him a strong desire to mensions, and all higher positions were generally con¬ most wholesome music lies easily within the little the light, rippling little tune which makes the chief But is it a work for the beginner? Hardly. It is of EXPERIENCES AND OBSERVATIONS FROM acquire a similarly graceful stroke. Overflowing with sidered as being quite beyond human possibility—ewi grasp of the young hand. It is always a mistake to theme, and, more than this, by the tinkling imperti¬ unquestionable interest to the mature violinist; but, THE CLASS-ROOM. delight, enthusiasm, and ambition, he visited the vio¬ in those days the serious and able violinist early dis¬ direct the attention of a young pianist to mechanical nence of the arpeggios which inappropriately decorate considered as a guide to the untutored and inexperi¬ linist and gave expression to his wishes and his ad¬ covered that true, artistic merit was more greatly de¬ specialties. Let them come later. A very considerable it. Music must obey the laws of fitness like all other BY HERMAN P. CHEI.IUS. miration, in the following extraordinary terms: “My enced player, it is a remarkably illogical and even pendent upon the right arm than upon left-hand tech¬ part of the skill of manipulation which we need in arts, and what would you think of a girl who should dangerous book. dear sir, I cannot tell you how charmed I was, last nic. In this letter Tartini lays the greatest stress playing the piano lies in shooting the nerve-electricity come into a church, and after tripping up the aisle The German school of violin-playing has given us night, with your beautiful bowing. It has so capti¬ upon the practice of drawing the bow from heel to through the individual fingers in thousands of com¬ turn around before the assembled worshipers and 11. Parents should rarely be present when a good, many methods, few of which, however, have attained vated me that I am determined to possess myself of point with a stroke of the utmost evenness. He as¬ plicated orders, and this work the child can do, by with a silly simper execute a fantastic skirt-dance? competent teacher has their children under his in¬ wide popularity. Their authors have generally failed a bow exactly like the one you use. The cost of the sures his pupil that it is necessary for her to devote patient iteration just as well as the adult Those Now, as to what is meant by that awful word “trash,” struction. When present most of them are constantly to gather the right kind of melodic material, and the same is a matter of indifference to me, and I shall be not less than one hour of each day to this particular groupings of tones which keep within the five- and I am much afraid that a large majority of the good fretting, prattling, asking irrelevant and foolish ques¬ naturally slow progress of the majority of beginners deeply indebted to you if you will tell me where I work, and gravely adds that it will prove the most six- finger expansion will afford vast areas for study. gentlemen who use it so vehemently and so fre¬ tions, and disturbing generally, wondering why their is rarely taken into consideration. The French school may be able to procure one.” difficult as well as most important work which she Just think, all the hundreds of brilliant and beautiful quently would be sorely put to it if required to say darlings are not brighter and know everything be¬ has attained far better results. The “De Beriot Violin This delicious anecdote suggests that it ia quite time will ever be called upon to perform. scale passages never require the hand to be dilated be¬ just where runs the boundary-line between Trash-land fore being told. If the teacher calls the child doM’n Method’’ is, perhaps, the most popular work of its that our violinists should begin to regard the bow The average pupil of to-day may well take this yond the normal five-finger position. As for arpeggios, and Classic-land. Remember that Wagner was loudly they offer all sorts of Mild excuses for not knowing kind extant; and “Charles Dancla’s Method” has cer¬ his lesson instead of going to the root of the matter with something akin to sanity. The beautiful crea¬ lesson to heart; and if he will be guided by the advice which are even more varied, they need nothing beyond denounced all over the civilized world a third of a tainly many commendable features. But even the and laying it to his lack of application or intense tions of Tourte have never been insufficiently appre¬ of such a conscientious and thoughtful artist as Tar¬ the width of six fingers. Again, thousands of richly century ago as a crazy, self-conceited manufacturer of French works are vitally weak in their general scheme stupidity, carelessness, or indifference. ciated; and their practical and significant worth to tini seems to have been, his progress will amply reward diversified chords can be delivered without widening musical trash. This question really in the cities easily of progress and arrangement, and leave the average 12. A bad element to deal aith is the chronically all good violinists is, and always has been, perfectly him for the care and patience bestowed upon such ap¬ the hand more than to the interval of a seventh, and and unconsciously solves itself by the frequent hear¬ obvious. Nor is it probable that any able or experi¬ teacher greatly perplexed as to a rational mode of ugly student who sulks if he is reprimanded, as well parently simple work. while, of course, to command the whole tremendous ing of the richer and more inspired music of the great enced violinist will underestimate the need ol a procedure. Viewing the subject as broadly and liber¬ as when he is kindly advised. A good shaking up is But this long stroke, back and forth, is only one of range of pianoforte literature one must have the masters, and pupils know the difference between the superior bow for all violin-playing, whether the bow¬ ally as one may, our present “Violin Methods” do not the only remedy, and ought to be administered until the many “simple” bowings which should engage the grasp of the octave, and more, the ninth, and the marches of Schubert, Mendelssohn, and Wagner, and ing be of exceeding simplicity or subtle intricacy. compare favorably with those written for the piano every vestige of ugliness has disappeared. pupil’s daily attention. The studies given below will tenth as well, all this larger music needs the mature those of the latest brass-band inanity before they are But if—as one E. J. Payne, Barrister-at-law, says— or other instruments. The ideal "Violin Method” is 13. Some parents, when present during a lesson, ad¬ materially assist the student to acquire fine command brain and heart as well as the mature hand. It is aware of it, and it would be as hard for them to say the Cremona violin has been the subject of undeserved yet to be written. But it is extremely doubtful dress insipid and vapid questions to their children; of the various portions of the bow. But it must be well to begin gently to widen the web-space of the just when the difference dawned upon them, as to say and extravagant admiration, what absurd virtues have whether even a most complete and superior work of such as: “Shall he have anything neM-?” or “Is he to clearly understood that such studies require the most hand; hut it may, yes, must be done without any just when the vernal sun warmed the earth into life. not been attributed to the bow since the days when th.s nature would find a publisher in our overladen have that lesson over again?” etc., instead of asking: intelligent daily application, and that they will prove straining special attention. In case the child’s hand The goodness of music is so impalpable and indefinable the moat cunning French bow-maker first taught the market “Did he understand his lesson?” or “Ought he not of but little worth to those students who lack the is abnormally bound by the needless ligamentary a thing that words imprison it but feebly. It lies first violin-world how symmetry, strength, and elasticity take it over again?” More than likely the parent who courage and tenacity requisite to achieve artistic re¬ bands, it would be best to have the bands cut, as in the fact that the rhythmical structure or form is in¬ may be combined in a most masterly manner in the is so anxious for a new lesson has such a beclouded sults. can easily and safely be done by surgeons; but if the teresting because it reveals intelligent design. Thus shaping of a Pernambuco stick of wood. child that he ought to have his lesson over for a * — - .. 6U6 ta hand be of reasonable size and conformation, do not the famous “Wedding March” by Mendelssohn is far In simple and unadorned English, a poor bow is a , Andante. century, more or less, to learn it even half-thoroughlv. tion of isolated cases, nei torment her with octaves, but cull from the countless more interesting than an ordinary march, just as a most unreliable, disobedient, and capricious agent. It 14. Try to do better after every repetition of a teachers nor pupils consider the trill worthy of treasures of the music which is either made of single watch is more wonderful than a clothes-wringer. The robs the violinist of many musical sweets, and causes -9--- passage. Only by ceaseless repetitions does the master ewl and prolonged study. Were pupils made to ur -—-—^ -- . --— ^—; tones in pearly chains, or noble melodies, or double dreadful cheap march may serve no bad end if it keeps many a toilsome hour that might be keen delight. - 5TTi i G - emerge. stand that their entire left-hand technic is greatly a procession of soldiers or holiday-makers in step, but It should be shunned even as one wonld shun a dia- notes of the third, fourth, fifth, and sixth, or at the 15. Never allow yourself to do anything slovenly or pendent upon the acquirement of a beautiful trill PP PP PP it may have little value to the refined and intensified ease-breeding microbe; and the dangers ol it* usage utmost consists of chords not doubling the notes to carelessly; it is one of the most common and annoy¬ slovenliness which too often characterizes their v taste of a musical connoisseur. Again, if music has a cannot he too emphatically emphasized. But there is the richer, but not indispensable sonorities of the oc¬ ing faults, because it can be so easily overcome, and «ould rapidly disappear and give place to a so good variety of chords, and if these chords when they no justification for all the puerility which nowadays tave. Let the dilation of the hand come gradually, besides being most exasperating to the listeners. healthy, sure, and even brilliant technic -. and through the diligent practice of the standard fall upon the ear arouse powerfully the various emo¬ is heard and written in connection with violin-bows. • ^ in 16. Abhor striking one hand after the other, it is In all probability, teachers and pupils (particul (5* ol ■ tions of the heart, that is something better than vapid Unlike the violin, the bow has no intelligence-baffling etude literature offset by good music of the sort above an abominable habit, and it is as common a fault of pp PP-=zP commonplaces. Again, if a melody warms one and anatomy. Its virtues are plainly dependent upon a ts m , FTd ‘he 11511 °El-V h0m «>* view-poir f==~p o PP~=.» 'fz=-pp mdicated. No doubt the virtuoso pianist must widen the concert-pianist as a poor location of tone of the fortunate selection of wood and careful and intelligent the hand at the knuckles, and I remember that our stimulates to joy, to tears, to gaiety, to melancholy, “I0™1111 U3efUlneSS' ne™ tnmb concert-vocalist. hemselves wrth broader speculation on its high t Whole b 3 w for r emaining studies. in a very marked and unmistakable manner, that is workmanship. Francis Tourte discovered the wood admirable native American pianiste Madam Rive-King ■ 17. A proper and steady tempo is positively as meal nuss.on and possibilities. And if this fefind (7) a sign of intrinsic goodness, a sign that it is not a that is best adapted for the manufacture of fine bows, (8 ) (E ) told me that she had to have her gloves made to order essential to a correct interpretation of a composition -!- -1— —1- -±31 tune of iron, but of gold. All the famous eolkslieder, and it is to his genius and perseverance that we are in order to accommodate her widened knuckles; true, as regular heart-beats are to keep alive the mortal which have held their own in the indebted for the grace, the beauty, and the strength •Z>. • • Anton Rubinstein did work at tenths till he broke or people’s songs, tr-- 11 clay. of the modern violin-bow. But the nature of the bow the skin and caused it to bleed; true, the first thing popular heart are nuggets of this true gold °f music. sworth “■»te In 1818 Count Esterliazy engaged Sclmbert to teach (Cooper’s “Leather-Stocking Tales”; and in a letter music to his children, Marie and Caroline aeed «,• t Schober, on the eleventh, he asks that anything teen and eleven, respectively, and a son’ aged fiv ° obtainable of Cooper’s be sent to him, further Schubert passed the summer at the Count’s cornu' * uin„ him that lie can only with difficulty get from SCHUBERT'S RANK AS A COMPOSER home and the winter in Vienna. The story has" his bed to a chair. After the fourteenth lie could not that when Caroline was about seventeen years of' ' leave his bed; yet a few da>'s later I,e corrPotel1 tlie AND HIS INFLUENCE ON THE Schubert fell in love with her. This is the ladv Toofs of the “Winterreise.” He appears to have to whom Schubert is reported to have said when suffered from no pain, but for lack of sleep. ROMANTIC SCHOOL. asked why he did not dedicate a composition to her" On the sixteenth the doctors thought lie had a * By HENRY T. F1NCK. “Why should I? Is not everything that I have ever nervous fever. This was Sunday. Monday he became done dedicated to you already?” Whether this ' “ujte delirious, and the symptoms indicated clearly true or false, I believe that, beyond a doubt, the that the trouble was typhoid fever. The next day “Serenade,” the purest and sweetest of love songs’, was (Tuesday) he fancied himself in a strange room, and Some years ago, when Dr. Anton Dvorak was over it,” and that in this he has “anticipated Wagner, CHUBERT. inspired by the most passionate love. his brother, who attended him faithfully, had extreme director of Mrs. Thurber’s National Conservatory of since the words to which he writes are as much the Schubert worked with great regularity, writing difficulty in keeping him in bed. He repeatedly asked Music, the editor of the Century Magazine asked me absolute basis of his songs as Wagner’s librettos are every morning. But neither time of day nor pin™ his brother what they were doing with him under to try to persuade him to write an article on Schu¬ of his operas.” interfered when inspiration seized him. A poem a the earth, and upon being told that he was in his bert. He shook his head at first, saying that he had Shortly before his death Schubert declared that he remark, an incident, sufficed to call forth noble muni- own room, he replied: “No, that’s not true; Beet¬ had no experience as a writer of essays and did not would henceforth devote his attention especially to position of his known to exist. The earliest song cal ideas. Many of his best songs were written in a care to try. I then took several sheets of paper and the opera and the symphony. Among the symphonies Let us consider briefly some circumstances M and perhaps more prodigal. Not one of them was nected with his short life of thirty-one years willing to look after his welfare and to care for his His early education was not thorough and health, but ready at all times for a Bohemian revel. tematic, his musical genius being so pronounced T Had some of his wealthier friends, who knew and his teachers allowed him a very free rein ■ . ^ appreciated his genius, have given to his comfort a careful training such as Mendelssohn Wcei^V part of the thought and effort they expended in trying SCHUBERT AND THE GERMAN LIED. heaven-born gift of melody would have lost noneofT to make a Schubert cult, his health might have re¬ richness and its sweetness had he learned to el™! mained unbroken for a longer period. By LOUIS C. ELSON. its means of expression. Could he have had w The summer he spent at Count Esterhazy’s country small part of the tender care that was given to home was, in some ways, one of the bright spots in and Mendelssohn, it is fair to infer that he would to his sorrowful life. It gave rise to a romantic story gained a mastery over his tremendous genius that which the iconoclast has not spared. And yet even 7 7 would have made him as great in other forms of Z here, among people in the highest social circles, a While one may readily concede the chief rank position as he proved himself in song. works have given rise to every form of musical ex¬ familv which had given a Maecenas to music, he was among instrumental forms to the symphony, and the pression: a simple little poem by Goethe, His boyhood life in the imperial “Convict” was to not understood or appreciated. He says in a letter: leadership among vocal compositions to opera and to no means a cheerful one. The name of the school “No one here cares for true art, unless it be now and oratorio, there is still room, in the domain of art, for “Deepest stillness on the waters, comes from the Latin convivere, but it was a ve less ambitious forms that shall appeal to us when not then the-Countess; so I am left alone with my be¬ Without motion rests the sea. scant conviviality that, the fare permitted to the bj in mood for the greater epics; it was of a demand loved, and have to hide her in my room, or my piano, And the sailor sees around him. Two wretched meals a day was the allowance and or my own breast. If this often makes me sad, on the for such a form in vocal music that the “lied” was Only flat monotony. we can also infer that fires were not a common luxury other hand it often elevates me all the more.” born, and it was Franz Schubert who brought it forth, We have Schubert’s own words as to his suffering n * This last sentence is the key to Schubert’s whole in full power, as Minerva sprang from the brain of “Not a breath of air is stirring. In a letter to his elder brother he begged for a few Jupiter. life. He suffered by lack of the commonest necessities Solemn silence, as the grave; “XT kreutzers to buy food now and then to stave off the of life, his life was irregular through the absence of a Exactly as the great painter, Meissonier, was able Far as eye can scan the distance, horrible feeling of partial starvation such as a grow¬ fixed income, he was shy and retiring before strangers, to give a complete work of art upon a canvas a foot Moveth not a single wave.” 3 ing boy must have experienced when placed on the he never knew the love of woman, he had no home of square, so Schubert was able to present a complete scant fare of the school. his own; in fact, nearly all the conditions which we and powerful musical thought within the limits of one for example, gave rise to a chorus by Beethoven, an or two pages. 9 Such was the atmosphere that surrounded Schubert associate with a happy and contented life were lacking overture introduction by Mendelssohn, and a solo by Fac-*,m.i« of manuscript 0f fat sk«tch ©f the Eri Kin*. showing tfa the change of the right-hand accompaniment in his boyhood. That his genius developed at all is to him. Yet his spirit never flagged, his industry never There was great need of such a vocal form at the Schubert. into triplets was an afterthought a proof of its tremendous force. How it cuts us to lessened, his temper never soured, his high ideal was beginning of the nineteenth century; the only short At the first, Schubert scarcely knew where to turn applaud it all the more. The sonata form is no fetich the heart to read the piteous plaint of the poor, vocal form that had any permanent existence in the portant point I wish to touch on in considering never lowered, and that the aspirations of his inmost for good subjects for his prolific pen, and he fell into of theirs. Btarved boy! A genius that should have had the soul never lost in purity is shown by a constant stream eighteenth century was the folk-song, and this never Schuberts rank as a composer and his influence on the error of choosing gome of the long poems by With ludicrous persistence pedantic historians and others. tendered nurture in order to reach fullest puissance of melody that has never been equaled by another com¬ presented a developed accompaniment or sought for SchiHer. He set “The Diver” to music in a solo-song critics have brought against Schubert the charge that knew naught but bitter privation. Even when his any dramatic power. It was in the combined develop¬ He was the first master who was willing to put his poser. What a tribute to the conserving power of of nearly thirty pages in length. Later on he made he was not a master of the polyphonic art of inter¬ brain was teeming with the richest musical thoughts ment of melody and accompaniment that the lied was best ideas into short compositions, instrumental as music that, despite sorrow that would have broken a better choice of a Schiller subject, and gave to the weaving melodies But why on earth should it be his scanty allowance of music paper could not be sup¬ to come into existence. One other factor was most well as vocal; and thus he set the example for that heart and spirit in many a man, Schubert should have “Gruppe aus dem Tartarus” its best setting. necessary always to weave together two or more plemented by his own purchases, for he had no money maintained so high a plane. necessary,—a strong and terse expression of poetry. predilection for short forms which is one of the main It was the Italian Salieri who led him away from melodies? Schubert is beyond all question the most Fortunately a schoolmate found out that the little This was conspicuous by its absence in Germany, characteristics of the romantic school. The Lied That he suffered keenly from the many disappoint¬ such impracticable subjects, although Salieri wished original and fertile melodist that ever lived. Rhyth¬ boy whose beautiful voice had attracted all possessed during the last century. One could turn to the works takes the place of the aria, the short piano piece that ments, from lack of appreciation, from ill health due to replace SchiHer with some of the jingly Italian mically his inventiveness was inexhaustible, and as an also a soul that could not but sing, that knew no of SehiUer, for example, for a good subject for a can¬ of the sonata. Schubert wrote sonatas, too,—twenty to privation, from inability to Secure a regular living poets. FoUowing his master’s lead, Schubert for a innovator in harmony and modulation only Bach, other means of expression than the richest, divinest tata, and long dramatic poems, suited for ballad of them, some very beautiful; hut more remark¬ by the sale of his compositions, we can know from his time took up the light Italian topics, but there was Chopin, and Wagner are his equals. Do we chide’ own words: treatment, were plentiful enough; but it was only able than these are his “Musical Moments” and “Im¬ melody man has ever heard, and thenceforth, at least, nothing in these to inspire him, and the true “lied” Rusfcin for not writing in the style of Milton? Why the boy had all the music paper he needed. after Goethe had written the short lyrics in “Faust” could not arise from this conjunction. promptus.” Here, as Rubinstein has remarked, Schu¬ “Think of a man whose health can never be re¬ then should we find fault with Schubert for not writ¬ that poets began to turn their attention to giving a The baUad, a story in song, came to its best estate bert is most inexplicable, most unique, least influenced Schubert might have felt justified in hoping, when stored. . . . Think of a man whose brightest hopes ing in the style of Handel or Beethoven? His con¬ graphic suggestion in two or three verses. through Goethe’s “Erl King,” and one feels a thriU by others. Beethoven, it is true, also wrote short he left the Convict, that his circumstances would im¬ have come to nothing, to whom love and friendship temporaries did, but that is because they did not One can scarcely exaggerate the dullness that of indignation when one finds the poet utterly ig¬ pieces, but he called them trifles,-bagatelles,-and prove. He must have had the high hopes and wild are but torture, and whose enthusiasm is fast vanish¬ realize that he was the creator of a new style, perfect ambitions of youth. But what happened? In order ing; ask yourself if such a man is not truly unhappy. reigned in the ‘poems for music” at this time. Any noring the composer whom he might have helped so in its own way. Instead of praising him for it, they Irifl 7 S°T, Schubert’3 short Pieces are anything but to escape conscription—he was summoned for military jingle was deemed sufficient for musical treatment at much; Goethe gave not the slightest recognition to hounded him till he made up his mind—only a few tnfles. They are the seeds from which the whole ‘“My peace is gone, my heart is sore; service three times—he entered his father’s parish this epoch, and such dainty short poems as England Schubert’s enhancement of his dramatic poem. weeks before his death—to take lessons in counter¬ romantic school has sprung. I asked Dr. Dvorak if Gone forever and evermore.’ school as a teacher, and for three years served in that had produced even in the Elizabethan epoch were Nevertheless, not Schubert alone, but all the vocal point of the dry old Sechter, who might as well have he did not think that in the third “Impromptu” capacity. What a spectacle to us at this day! What This is my daily cry; for every night I go to sleep totally unknown to the Teutonic muse. Had Ben composers of the world, were attracted by the concise tned to teach a dove to fly like an eagle. Dr. Rie- IrW>b'th; ‘he whole of Mendelssohn's a lesson to the young student who so despises the hoping never again to wake, and every morning only Johnson, Massinger, Marlowe, Beaumont, Fletcher, or, form of poetry which Goethe and Heine now began mann has aptly said that if Schubert “did not make bongs Without Words,” and he said: “Yes.” He drudgery of music teaching that he resolves to be an brings back the torment of the day before.” above all, Shakespeare, existed in Germany, the lied to give to the world. A striking instance of the ap¬ much use of the strict imitative forms, this can hardly artist-player, and never to teach! Think of a mighty In his journal are these touching entries: “Grief would have appeared two centuries earlier than it did. preciation which the lyric forms of poetry met from be regarded as a great loss to literature (any more genius like that of Schubert chained to the routine of sharpens the understanding and strengthens the soul. Following upon the heels of Goethe came Heine, the the composers may be given in a table which was pre¬ than in the case of Beethoven).” Moreover,‘as Dr. a parish school! on the other hand, seldom troubles itself about best writer of words for musical setting that ever pared by a German newspaper, the Rcichenberger Dvorak said to me: “Schubert had no real need of But still more. A position in connection with a e one and makes the other effeminate or frivolous.” existed. Heine was able to voice every possible emo¬ Zeitung, over fifteen years ago. contrapuntal study. In his chamber-music, as in his more idiomatic than Beethoven’s. ? Was y musical works are the product of my genius and tion, every conceivable contrast, in the space of two The poems of Goethe have been set as foUows: “Der symphonies, we often find beautiful specimens of poly¬ normal school was open and Schubert applied for the ®y misery, and what the public must relish is that or three verses. His verses have been more frequently du von dem Himmel bist,” 50 times; “Ueber alien Gip- phonic writing—see, for instance, the andantes of the °pin;°n that' place. The salary was about one hundred dollars a which has given me the greatest distress.” set to music than those of any other poet, Shakes¬ feln ist Ruh’,” 56 times; “Kennst du das Land,” 65 C-major quintet and of the D-minor quartet; and year, a sum which Schubert coveted in preference to peare himself not excepted; his “Thou Art Like a times. though his polyphony be different from Bachs or xs;ir an impecunious future.” But another was preferred We have been told that Beethoven had a sorrowful Of Heine’s poems the chief settings have been: “Ein Beethoven's, it is none the less admirable.” to him. And yet all this dull routine and these un¬ e, and that his last days were unhappy in the ex- Flower” exists in more than two hundred different settings, being the most copiously composed poem in Fichtenbaum steht einsam,” 74 times; “Ich hab’ im Concerning the Lieder of Schubert I need not sav sympathetic surroundings could not cage his spirit nor but his life and end were almost happy com¬ existence. But it needed an equally terse and spon¬ Traum geweinet,” 81 times; “Lcise zieht dureh mein anything here, since it is conceded on all sides that dull the brightness of his fancy. He was impelled to pare with Schubert’s. Much has been written of the Gemueth,” 85 times; and “Du Bist wie eine Blume” he is the first of the great song-writers, in rank as write; whether he would or would not seemed alike Jrkfd‘ Mozart and broke down his delicate taneously poetic nature in music to bring Goethe and had even then attained 167 settings. well as in time. Robert Franz frankly confessed that to the urging of an untiring genius. He never rested ns i ution, but Mozart’s circumstances were almost Heine to their fuU fruition. When Schubert came Consulting Challier’s voluminous catalogue, we find had it not been for Schubert, he would not have been- from composition. Each day saw him at work. One b uence toward Schubert’s, and his life was sweetened into conjunction with these two, the result was bound the subjects of SchiHer scarcely set at all as songs. and the same Is true of aU the modem song-writers The Sadness of Schubert’s Life. thing done, another was begun. According to the list e companionship of a wife whom he loved and to be a new and more condensed form of musical who loved him. If we do not find Schubert setting the Heine sub¬ It is, of course, not strictly true that Schubert created compiled by Sir George Grove, he had written upward expression. The ideal poem for musical treatment is one that ject quoted above, it is only because they were not the Lied, for many minor and major composers in- of five hundred compositions by the end of 1816, the life s*6 ran“e Ibe history of music there is no Sy W. tJ. BHIdTZEtik. written until the composer was dead. The co-operation eluding Gluck, Haydn, Mozart, and Beethoven wrote year in which he left his father’s school and gave op does not describe each detail of its subject, but gives is th° 53 aDl* S° 8orro"'ful 83 Schubert’s, yet neither of Schubert and Heine would have produced the cul¬ songs before him. But in going over all these son SCHUBERT AND HIS FRIENDS. SeJnu-bertiana tarantella. By Frank H. Marling. W. LOMAS. The literature of Schubert’s life and work. • nearly so voluminous as that of most of the “7 great composers. It has been remarked that th * a remarkable scarcity of incident in his life traveled little and mixed little with his temporaries. Though this was the ea.e n tended, on the other hand, that, as the art of", was all in all to him, his life was that of tLT' artist, and that the absence of external affairs i„ T career^ makes the musician stand more Ceariy to The most complete life of the composer is tw x Kreissle von Hellborn, published originally in Ger many m 1865, of which an English transUtTon^ A D. Coleridge was issued in two volumes in m Sm Ceorge Grove speaks of it “as a thoroughly h0„,M and affectionate book, but disfigured by a very diffu* style and a mass of unimportant detail.” Besides 1* mg of great value as a trustworthy record of the fads of Schuberts life, it contains in addition notices of lus operas and lists of his various compositions. An abridgment of the work in one volume by Edward WUberforce was published in 1866. Both of these imfem. JuMphine frublicli. K»thi Frohlich. ' Sp*“”- Vo8i. works are now out of print. In the well-known series The Great Musicians,” edited by F. Hueffer, there is Grill paner. . a volume on Schubert, by H. F. Frost. This is prob- ^ v> jrNf 3 fS'n frien',» never ,uet»» thus portrayed > A r#—^ ..r b"il> »«• 3S*twi« ‘."SJ £i“,d- was the one who ably the most available work for the average reader Til!; “'rn, - p.-tEf r i jm. %4 ^ [fftr ^ ~ra~i—iTTi- ffc'liubart in.I hii „?f5,iL7 lwo VP*r»|S Mcbabert m?t to tuiniic* Voi?l attnlSIifn ’ “aJrrtlofcr *»« the poet. 51 as it gives in succinct, consecutive form the sad and iSpfFffti Viy 7 vyv |?T[f nef life-story of the composer, making good use of all f Ku 4 4”, r f* the authorities on the subject. The above volumes constitute all about the separate lives of Schubert in the English language, but there are numerous and evolvea the n>u«ic directly from the thought of the 5 m %4 %4 1 ) %4 %4 40 %4 H *4 m%4%i )*/ * m*. it la •/- important references and discussions of his personality ‘rtfr [j poet. In no composer do we come so near to the Schnm I!eeth°ran thouSh‘ °rcheStrally, and y-*1—*7-ry-rr- jpT fj 7 7. ’TT 7 7 ^ 7. 7— J7^7.V] Dmne fount of inspiration as in the works of this Schumann could not rid himself of the idea of the and works scattered through other volumes which we shall try to indicate briefly. The most extended composer. Beethoven would refine and revise his first piano, so Schuberts inspirations were chiefly vocal hought until it often entirely changed it, guise may take ,8Sue with Dvorak, who recently sta d and noteworthy of these is the article by Sir George (thoroughly proving that "Genius is only a capacity “ a myane artiele that Schuberts greatness lay in Grove in his great “Dictionary of Music.” This is or taking pains”), but Schubert gave over his first tlic instrumental field, in his chambcr-music his Svm written, like all Sir George Grove’s articles, with * impressions to the printing press. An inspiration marked knowledge and literary ability, and is char acterized by enthusiastic admiration for its subject- r.-f* irm- iT'lTd '"ght would cause bin, to lun>P "*■«““ *«- «. di 1 itrty.Z , . .. an admiration which some critics think has led the furtherfurthl? editing.n ""I' The most9°nR ' remarkablewhich nrtly example Tm'ive of'1 thisan-v “•Maia’iuai writer to indiscriminate laudation and blinded him to Schubert’s defects. As an antidote to this there ^tlinToTsh Lty‘C °f- COn,p°*ition “ in his “ trass may be mentioned an article in “My Thoughts on "" <* ""“king Music and Musicians,” by H. H. Stalham, in which r.. UlL“ TK ,erenade “ “ slu'“<*r *’ng> from “Cym- rtrjy 7* The circumstances of the creation of this ^irect issue is taken with Sir George Grove’s views on -mm- pi deserve to be detailed. Schubert had been taking a 3SS j-c lubert, and a deliberate attempt is made to reduce monrmg stroll (a SpoHrr^ng, as the Hermans calHt) musical education When he the faultiest im to the rank of a second-rate composer. Com¬ «*. »»glorious ,r?r *;«~i pltt T. Ddi: U,ey haJ far as paratively few people know that Prof. John Fiske, the Otago h. h‘ >»!•■ to Poatdejadorf and were returning to Vienna via Waeh istorieal writer, is also a fine musical scholar, but it a- ring. In the latter suburb, as they were going by the Prove his first thoughts. He found h ^ im' ,7? ia a fact that he has written one of the most satis- M-0 rcaUurant “Zum Bierasck,” Schubert spied Ms friend the direction we have indicated ,i m3C f laeking in actory critical monographs on Schubert in that ad¬ *ieze at one of the tubing- »iIA ... prepare himself for the • , d’ a"d cases- IS overdone? How 3’ ‘D a ascinating theme, that of Schubert’s women friends an their influence upon him. °Ut "ith ^ noble pnrpoTS ■ TJ™ Wh° Wk of the bill of fare, . uttle *°me ^perior, and in X? ,,ra,tatlnS ‘he li In “Music and Morals,” by H. R. Haweis, is to he 3 l Small wonder that, with such fecundiTv J of their purpose not onlv try" to ^ PE found a very readable and life-like sketch of Schubert Fine. ti«n Schubert finally succeeded V Zm ad°pt hb Pc^onal trahTs^d’? his life Other works treating of him and the German “lied market; the publisher found bin, cons££ ,7th bartering away their own • d,eharac tens tics, with which his name is imperishably associated are doors with new compositions—general! v ‘ 1 the,r not W ashamed to in to/ ''lity! Elson’s “History of German Song,” Pany’3 ‘-The Art began to tire of them, and for some of hisTter ^ ‘d7U- b“‘ we should ^refT*613 aad 3tri^ of Music” and Hueffer’s “Richard Wagner and the extremes by actually JjJTj t0 . 11310 G*e Future.” These references to Schubert dU^,0“ ‘h: CO“P°*r ««»ed only 20 cenU apiT,' 5 The “lied was Schubert’s most natural expr^ Thet who mai, to d'0 S0meb0 N<» 3149 IMPROMPTU. Allegretto, m.m.J = 120. legato^em^re a; Observe the melody formed by the bass in this theme ** ■*U9.3 6 n® 8151 MILITARY MARCH. SBCONDO. A FEANZ SCHUBERT, Op. 5) No) MILITARY MARCH. mi PRIMO. SECONDO. 8 trio. PRIMO. 9 11 10 \<> :i 152 GAILY CHANTING WALTZ. FRANZ BEHR,Op. 503,No.8. .. -•— --E. -«-*-- riL >,» ,. r^~— .lii ut:d ' — _^sL- p -j p p. H—-—-— am w I 3 1 A =^E Hp-#^=p= —c_All j f ? pM ^ g jfi *~ f 1 , * —1—¥—¥— 1 -g=g= « Do not hold me first bass notes longer than they are written. Always give the rests their full value. '■'•I'yright by Theo. 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Contenerezza. } P= ^ On his way a boy es - pied Pret-ty blush-ing ros - es, Fresh and bright the (Snh ein Knab' ein Ros-lein sieh’n,Bds - lein auf der Hai- den, war so jung und P (Thus, he speaks, I gath-er thee, Gay-est of the ros - es! Rose says:bet - ter \Kna- be sprach: ich bre-che dich, Ros-lein auf der Hai - den! Ros - lein sprachwch hedge-row’s pride: To ad-mire he turns a side And to pluck pro-pos - es. ^r- gen-schdn, lief er schnelles nah' zu seh’n, salt’s mil vie - len Freu - den. let me be Or you will get stung by me, Then her spikes dis - clos - es. sle - che dich, dassdu .e - wigdenkstan mich, und ich will’s nicht let - den. a tempo Ros-es, ros-es, ros-es red, Pret-ty blush-.ng ros - «. Ros-lein, Ros-lein, Ros-lein roth, Ros - lein auj der Ha, - den. Ros-es, ros-es, ros-es red, Pret-ty blush-ing ro - es^ Ros-lein,Roslein, Ros-lein roth. Ros-lein anj der Hai. - den. 3 Und der wilde Knabe brack's 3 Still the rude boy pulls away Roslein auf der Haiden\ This fair queen of roses, Roslein wehrte sich und stack, With a wound he has to pay, Half ihr dock kein tUehundAch. But in vain the rose does pray, Musst' es eben lei den. Him in vain opposes. Roslein, Roslein, Roslein roth, Roses, roses, roses red, . / J « tl /r m // i> *1 Pretty blushing roses. 23 22 N° 3856 BELOVED STAR. Words by Arr. from B03.um.ont by Thoinas O’Neill. Thomas O’Neill. Tempo commotio, /?\ % E 9. $ mp * tSut S With suitable expression. F’o-ets sing in praise of the flow-ers, Tell-ing of the ros - es’ hue, [try-rrr hi energico fit. And the fra - grant breath of the lil y? my star, must sing of you. n tempo con amore o what joy when thou art ear me, Joy to know that thou art mine; Copyright, isoo,by Then . Prefer.i. THE ETUDE 181 WWWWM iVrtVWWl Btyle of living, the most of it in all likelihood correct, *st j* |i at least not improbable. 24 In his expenses Schubert was improvident, and once By THEODORE STEARNS. : CIk man Scbubm. among friends his purse was common property. As S: long as his money lasted he was generous and liberal to a fault, nor did the needy strangers, when they found him with money in pocket, go away empty- To the student of the bibliography of Franz Schu¬ the most. We next find him assisting his father in handed. This manner of managing his financial affairs bert one great impression asserts itself with especial the country school at the early age of seventeen would hardly strike a businessman as sound, and, in¬ significance; through all the many biographies writ¬ (1814). Here again biographers have written with deed, it was continually tumbling Schubert into diffi¬ ten about this master there runs the same idea differ¬ tears in their eyes. By this I mean that they have culty, and, especially when his resources were few, ently expressed and in various form, but always ar¬ dallied on this phase of Schubert’s life as one of often subjecting him to real want. Though not of an riving at the one end, and this is that Schubert never martyrdom almost. To count the three years spent exactly sunshiny disposition, Schubert was philosoph¬ for an instant forgot his early boyhood training or the by Schubert in this capacity as one of the stumbling- ically inclined, and, when he did not find a dinner to influences that surrounded him while yet his character blocks placed by fickle fortune to retard liis musical suit his stomach, he “found a stomach to suit his was forming and before lie drifted to Vienna and be¬ progress is again incorrect. In the first place, Schu¬ dinner.” Nothing could exceed his eagerness to join came a man among men, alone, striving and mixing bert can scarcely he said to have ever progressed, for, a party of choice spirits in a holiday tramp to some with that stream of life that engulfs many, and from barring the first few years, his efforts consisted wholly near-lying resort, and, when the funds of the party which few escape chastened with experience so that in writing what his Creator had put in his heart as were at low ebb, he, on several occasions, sold some their best parts are preserved for the benefit of the fast as he could place pen on paper. Besides that, lie of his compositions for anything that a hasty sale talent that is in them. took the position as school-master solely and purely would bring, and, with the patrimony of the party Numerous biographies of Schubert have seen the to escape conscription into the regular army, which thus replenished, journeyed on rejoieing and with a light, and countless anecdotes related and printed; event, had it occurred, would have been far more light heart. but seldom do we read of his inner life, his home-life, detrimental to his genius. Added to this, Schubert Excepting the summer months of the years 1818 and other than it was his daily wont to resort to an inn was the son of a poor man, occupying a position in 1824, which he spent in Zelecz in the family of Ester- and enjoy that harmless conviviality for which he was life where it was always the custom to subject a son hazy, and a long tramp into eastern Austria with so famously toasted by his associates. to a term of apprenticeship either in a trade or a Vogl, Sihubert lived entirely in Vienna and its im¬ From first to last Schubert was pre-eminently of a profession. This being the case and knowing Schu¬ mediate suburbs. As his income was, like Mozart’s, confidential and trusting nature. He was continually bert’s early training as we do, it is much more reason¬ irregular in the extreme (he lived almost entirely getting into scrapes because of his carelessness and able to suppose his accepting this term of “servitude” from the moneys paid him for his compositions), he good-fellowship. The stories of his composing on the as a matter of fact and a means to an end rather oftener than not slept with his friends, living a pred¬ backs of bills-of-fare in taverns and of his escapades than to imagine him bravely taking up an inevitable atory life from one part of the town to the other. with trusty comrades are often related. On the other burden or being bullied into doing so. As far as that Once only, in 1827, did he ajrange a concert of his hand, he has been described as a mooning calf suffer¬ goes, neither can we imagine Schubert’s going into own compositions, and, while it met with instant ap¬ ing from love-sickness, composing to the moon in a that school-house with a hop, skip, and a jump; hut proval, Schubert was never moved to repeat the vent¬ frenzy of unrequited affection and starving on a bed as above stated is a more logical supposition. ure. All his attempts to secure a permanent posi¬ of straw, which is as ridiculous as it is contemptible. tion failed, and, though, no doubt, greatly disap¬ pointed, he seemed content to continue living his hap¬ Schubert often knew not where his next meal would Vienna. come from, it is true. He fell in love with one who hazard hand-to-mouth existence, a routine which he was above him in station, also, and his life all through For three years Schubert worked steadily and faith¬ followed u]> to the date of liis death. was one of constant make-shift; but to suppose that fully as his genius allowed, going through a splendid Results. he was the “Man of Sorrow” he is sometimes cried iiscipline and withal composing as time offered. His up to be is incorrect in the extreme. ,vas ever a joyous spirit, and when at last he shook It is difficult to realize the amount of work that iff the fetters of self-imposed duty and repaired to Schubert accomplished in the thirty-one years of his Early Influences. Vienna his thoughtless gaiety plunged him into the life. He composed nearly as fast as he could make Schubert was born into a whirlwind of domesticity. vortex of Viennese pleasure-life, bearing splendid fruit, his pen move over the paper, and he was almost con¬ His father occupied a humble position in one of the however, and sending the great master of the “lied” stantly composing from the time he was eleven years Viennese suburbs and his mother -was one of the form back to his mistress Music, eager, ambitious, and old. Beethoven’s method of correcting and reeorrect- ing his manuscripts was utterly unknown to Schubert, peasantry. Peasant villages are much the same all graced with a fund of experience. who seldom, if ever, made a correction. Unlike over Europe, and the life a hundred years ago in that 5 Although Schubert was of humble birth, his friends Haydn, who, in the way of material, music paper, strata of society was much the same as it is to-day. ivere numerous among the higher classes. It was in pens, etc., was as fussy as an old maid, Schubert The domicile of the Schubert family was, like that of 1817 that he had come to Vienna at the earnest solici¬ seized upon anything and everything that came in his many others, fuU of children, who played mightily in tation of his friend Heinrich von Scliober, who led him way in the shape of paper or pencil, and the noisesoiue the dusty cobble-paved streets and were made to do into the company of some of the most talented and clatter of a public house did not interrupt his inspira¬ their mite of village and domestic work. An excep¬ influential men of his time. For though naturally tion in the least. The number of the compositions fin¬ tion to the general rule consisted in the fact that this modest and retiring, Schubert could hold a simple ished by him is simply appalling. Outside of his family were bound into closer communion by reason child or a practiced courier alike with the spell of an songs (over six hundred) instrumental pieces, cham¬ that nine children out of the fourteen born to the ancient mariner, and, though uncouth and unpre¬ possessing in appearance, the light of his great gifts ber-music, symphonies and overtures, masses and Schuberts had died. Added to that, aside from the operas poured from the fountain of his genius in an fact that the mother was of a generous, loving nature, and liis generous civility shone through the roughest exterior until the charm of his personality triumphed. almost unbroken stream. the father of Schubert was correspondingly harmoni¬ By far the most important of his friends was the One of liis songs copied by a stranger was once laid cs, all of which, more than anything else, went singer Johann Michael Vogl, who influenced Schubert before him. “Hello,” he cried, “whose song is that?” toward the engendering in the heart of the youthful to compose songs, and who, by reason of his position, It is a wonder that any of liis compositions found ranz a whole-souled, companionable nature mixed could bring the composer’s works before the public. their way into print, for he seldom cast a second ">th a love of harum-scarum jollity, supported by a In 1818 Schubert entered the home and family of glance at them after finishing them, leaving them on 'ein of quaint humor and broadened with a philan- the Count Esterhazy as the piano-teacher of the chil¬ the floor, bundled into closets, and everywhere under ,roPic *ove for his fellow-creatures. His advent into foot Ilia opera, “The Devil’s Pleasure Palace,” was dren of that nobleman, and with them in the summer e Convict” school, with its daily routine, has been swept up by a careless housemaid and burned as so of that year passed to Zelecz in Hungary, where was Scribed with pathetic intensity. Of course he was much rubbish, and doubtless many of liis other manu¬ situated the country villa of the Count s jam ly. j*?r’ but bis lot was no harder than that of any scripts met with the same fate. Shrewd legends here assert that the young and beauti¬ ” 8011 °* the peasantry who is admitted as a free Even as his works are essentially lyric, just so was ful Countess Caroline, one of his pupils at that time ^UP> in European institutions. There were many Schubert characterized by an almost child like sim¬ was the object of Schubert’s affections, U* ideal of as 613 his class, from a worldly stand-point, and, plicity, which, far from being in any way puerile, was his dreams, and the inspiration of many of his finest bv 13,,°^en ^he case, genius had to suffer discomfort beautifully poetic. Every impression he instantly and compositions. This is certainly not to bej fri 6 6‘He °f stupidity. Schubert never lacked intuitively associated with music in some form, and at for Franz was deeply romantic, and, though h,s usually this found itself as immediately recorded on tlieD S’v°.r *1'8 8*^ sympathetic understanding of predominant passion was ever music and composition, paper. For a man of this character it seems a pity as v™ iti0nS °r 80rr0ws °f others was as unbounded his heart must have yearned toward this girl for she that he should have been doomed to live alone, to be was 'h ln^eren^ musical genius. Naturally enough, it “ attractive and enthusiastic. At any rate, Schu- buffeted about the world with the sole comfort of Hie par> *°r ^patient boy to be hampered in It trave anvone reason to credit him this love t^3 ^ 'test manner by lack of worldly goods. To stray companions, and yet with all his horror of soli¬ by direct speech, although from the tone of his letters tjjj! must also be considered his high-strung artistic tude he was blessed with the faculty of sinking him¬ «t this period he seems to have been sad y * that caused hhn at times to be almost self and forgetting his loneliness in his music. Much hi been written about Schubert’s bohemian nsitive, and therein he undoubtedly suffered 182 THE ETUDE THE ETUDE 183 brilliant and sympathetic critical essay on it ; l- ic-Btudents and music-lovers, exclusive of the he begins in C-minor, then passes as follows into El- Neve Zeitschrift fur ilusik. The impression has neT ® percentage of widely and deeply read musicians, flat major, C-flat major, D major, C major, A-flat Franz Schubert and His been weakened, and for two generations the arm Xrly all, if not quite ail- would tel1 y°u that the major, F minor, A minor. D-flat major, F major, B phony has been beloved and admired, notwithstand D e tiling for which Schubert was pre-eminent was major, and lastly E minor. Pianoforte Compositions. its length—stiU “heavenly,” as Schumann called it Ms melody, yet this is open to grave doubt. As to Schubert, like all composers, had certain pet chords, Strange that after so romantic and richly rewarded his melody, it is only possible to write panegyric, for which seemed to rush into his mind when a tone was By ALFRED VEIT. an adventure there should have been for many ycari Us melodies are as countless, as fresh, as fragrant with set to other voices, and one of the chords which be¬ no further seekers in Ferdinand Schubert’s files of hu the spirit of poesy as the gardens of June, and it is comes an ear-mark of his style is the use of a leading brother’s manuscripts; or that Schumann himself did safe to say that, in the entire empire of music, there tone-seventh based, not upon the seventh degree of the Vienna occupies a unique position in the history of not return to the quest. The good fortune of further never was more than one man who could rival him, major scale, where it would be normal and obvious, music. No other city Beeins to have been the rally¬ discovery remained for two English admirers of Schu¬ and even that man, the wonderful Mozart, could not but upon the supertonic, where it is a borrowing from ing point for so many illustrious composers as the Waonkh, in one of his letters to Liszt, nukes a Musical Association of Graz. In October of that year bert’s genius. In 1867 George Grove and Arthur Sulli¬ surpass him. Indeed, if we think merely of the naive, a very remote foreign key, that of the major, three Austrian capital. She may justly claim Haydn, Mo¬ pathetic complaint of what he then thought to be his he began a svmphony in honor of the Association, as van made an expedition to Vienna, bent on gettin® to sincere, irresistible loveliness of his themes, we must semitones above. zart, Beethoven, Gluck, Schubert, Bruckner, Brahms, destiny, to “pile up silent scores”—of devoting his an embodiment of his gratitude. He finished only the bottom of the Schubert manuscripts. Sullivan acknowledge that, if one quality pervades all these As for extreme feats of dexterity in getting into new and Johann Strauss as her special favorites. Schubert genius to the writing of great works that, so far as the first allegro and the following andante, and be¬ was then a young musician beginning to attract at¬ Schubert melodies more salient than another, it is realms, we find a capital instance in Schubert’s “Di- and Johann Strauss were born there, while all of them he could see, had not the remotest chance of per¬ gan a scherzo of which he wrote nine bars, and then, tention in England by his clever orchestral composi¬ their absolute charm,—they captivate one as by an vertisement Hongroise,” where he passes from F minor were closely identified with the musical life of the formance. Such considerations never weighed heavily for some reason not known, stopped, leaving one of tions; Grove was already a distinguished amateur electric thrill, like the tenderness, the brightness, the into F-sliarp minor. This reminds us of the sudden city. on Schubert’s mind. His impulse to compose was so the most beautiful torsos in existence. His friend and secretary of the Crystal Palace Company. It was adroitness of a child. For, more than any other man, leap made by Beethoven from E-flat major into E Customs and manners in Schubert’s time highly powerful, the stream of melody he poured forth so Anselm Hiittenbrenner, a musician of Graz, got posses¬ on behalf of their Saturday popular concerts that the Schubert put himself into his melody, as one puts one’s major toward the close of the rondo in his sonata in favored the cultivation and maintenance of a musical irresistible, that the mere act of writing down his sion of the manuscript, and for forty years kept it journey was made. They were received by Dr. Eduard own personal warm breath into one’s soliloquy, as he E-flat, opus 7, and the setting of the slow movement atmosphere. The easy-going habits of the Viennese ideas seemed almost to satisfy him. True, he com¬ under lock and key. Hiittenbrenner was himself a Schneider, barrister, the son-in-law of Schubert’s sister was for ever, in his lonely obscuring poverty and in of his B-minor violin-concerto in B-flat major by Saint- permitted familiar intercourse between artists and plained sometimes, but he never ceased his industry composer, or thought he was; fortunately, as the se¬ Theresia, who had inherited the unconsidered treas¬ the cloister of his shyness, soliloquizing and consoling Saens. It is not easy to suggest a study which would citizens. Hlustrative of this fact, we find that certain nor changed his methods, and he put away the scores quel will show. Schubert writes to him in one of his ures once kept by Ferdinand Schubert From a back himself with the divine opium of poesy. In his songs be more profitable to a solid and earnest musician chapters of the life of Schubert read like episodes from of symphony after symphony that he was destined letters: “You are a great man in Graz.” Herbeck, closet in his office he pulled out many manuscripts we find him most distinctly, but not less truly in those than to quarry for brilliant specimens of harmony in Murger’s “Life in Bohemia.” Philistia, as contrasted never to hear, and followed out his rule of life as he conductor of the Gesellsehaft der Musikfreunde of of Schubert’s earlier symphonies which were spread instrumental works which are less comprehended the various works of Franz Schubert. with Bohemia, was certainly not for Schubert and onee explained it to Ferdinand Hiller: “When one Vienna, in 1865, knowing of Hilttenbrenner’s precious before the delighted Englishmen, and for copying merely because the language is more difficult and ab¬ However, in the third cardinal requisite of good his friends. They formed a circle of congenial spirits piece is done, 1 begin another.” possession, decided that the Gesellsehaft was sorely in which he gave them ample facilities. Still they were stract. music named at the beginning of this article, viz., known as the Schubertiaden—a companion club to Schubert’s familiarity with the orchestra began in need of a composition by the “great man in Graz” to not satisfied. Where was the “Rosamunde” music— To say Schubert was quite as original in the invent¬ rhythm, Schubert was nearly, perhaps quite, as in¬ Schumann’s Davidshfindler—and indulged in all sorts a practical way in his twelfth year. He was sent then round out its programs. Clever Herbeck! He made the overture, the entr’ actes, the ballets? Dr. Schnei¬ ing of striking harmonization as in the more familiar teresting as in the two already discussed. In this of merry larks. Their life, for the most part, was to the public school known as the “Convict,” in a pilgrimage to Graz to secure it—and, lo! he re¬ der did not know; but he let the two rummage for and obvious beauties of tune-making might seem to matter of rhythm he does not compare with Wagner, passed in the open air, in the volksgarten. Prater (pub¬ Vienna, where music held a prominent place, and turned with Schubert’s “Unfinished Symphony” to themselves in his closet. Who is there that does not the uninformed an extravagance, but few persons who Brahms, Beethoven, or Bach, possibly not with Hiindel lic parka), in the coffee-house, their language being where there was an orchestra of the school-boys. boot! Both were disclosed to the world at the same envy their sensations, when, from a dusty pile, they have examined his music closely, if possessing the or with Liszt, hut he presents to our admiration and the regular Viennese dialect,—the language of the Franz had been taught the violin by his father, and concert in 1865. Hfittenbrenner’s piece has never been pulled forth the precious scores they sought, all in requisite theoretical knowledge for analysis, will dis¬ delight many beauties especially in detail. Here he people. Although in many of his compositions Schu¬ soon showed himself to be the best player in it. heard since; but it will always be mentioned with Schubert’s own handwriting? Never again, in all pute the assertion that he was a wonder in the world is emphatically a lyric poet, and gives short “swallow- bert scales dramatic heights little known before his Sometimes he conducted, when the regular leader was respect as the bait that enticed Schubert’s lovely work probability, wiU quite the same emotion be roused by of harmony, as well as in the world of melody. As flights of song,” and in all larger forms he becomes and Beethoven's time, the general character of his absent. All this doubtless helped to give him a cer¬ from dusty obscurity. Two years later it was pub¬ a similar chain of events. The world has learned to we now listen to his music, or even if we dissect it, lamentably weak. The longer the form, the feebler music is lyrical and imbued with a certain essence for tain skill when he undertook to compose for the or¬ lished, and to-day it seems as if its fresh beauty take a little better care of its geniuses and their we are apt to overlook the richness and boldness of his his work. He can often carry on the elaboration of which the German word gemuthlich has no equivalent chestra; but it can scarcely account for some of the would never fade. works. The “Rosamunde” music and the earlier sym¬ harmonization, for the reason that the practices of his music to a movement entire, with no signs of that in any other language. Indeed, Schubert, together exquisite and original effects of which his scores are phonies were brought out in England and elsewhere as Wagner have made the ear of the world intimate wandering diffuseness which is his one crying fault, with Weber, may appropriately be styled German com¬ full. One can always perceive his complete sensing of a result of this delightful journey of exploration, as with progressions that would have made our grand¬ but in some of his larger chamber-works, and in his posers to the backbone. The love of out-door nature, tha effect and function of each instrument in his the C-major symphony was by Schumann twenty- father’s stare. symphonies, even the heavenly number 10, there is as depicted in hundreds of Schubert’s songs and in the orchestra, whether in mass or in solo passages. But eight years before. If they have not made so great a Almost any page of Schubert will be found to teem redundance and injudicious repetition. operas of Weber, are typically German. German in where did he learn the wonderful new beauty, for in¬ mark in the world, they have disclosed much beauty with interesting resolutions of chords, in the discovery But in the matter of inventing short and suggestive character are likewise the dances written by Schubert. stance, of the unaccompanied horns at the beginning that was before unknown and have given much pleas¬ of which the musician will feel as keen a delight as phrases or typical motives, he is felicitous in the high¬ Comparing them with those written by Chopin, it is of the C-major symphony; or of the wood wind all not difficult to see at a glance that, while the dances ure to countless admirers of Schubert. the botanist feels when he hits upon some rare and est degree. Can any rhythm surpass that of the through his symphonic works—the constantly recur¬ of Chopin were apparently intended for Warsaw or The adventures of Schubert’s pile of manuscripts beautiful orchid. Such devices as treating the domi¬ “Erl King”? Here the relentless triplet octaves, de¬ ring triplet chords in the first allegro of the C-major, Paris, the dance-rhythms of Schubert are essentially are over. They came mostly into the hands of Niko¬ nant seventh like a chord of the augmented sixth, scribing the horse, in the accompaniment arc the per¬ the exquisite passages of dialogue of which he is so Viennese and Austrian in character. Schubert’s music laus Dumba, a noted collector and amateur of Vienna, and rice rersd, and the augmented sixth like a domi¬ fection of tone-painting, of tone-symbolism. fond, the ravishing bits of solo for the oboe and the is saturated with this atmosphere. It was in Vienna nant seventh, in their resolutions are of common oc¬ When the players at the London Philharmonic clarinet in the andantes of both symphonies? These Autograph of Franz Schubert. and since his death last month, they have passed by laughed at those myriads of fairy triplets in the finale he met with the appreciation every artist so earnestly effects are original with him. He may have learned his bequest to the Municipal Museum of the City of currence, as also the fruitful metamorphosis of triads of the C-major symphony, and declared them unplay-, desires—here within the circles of his friends. It was the technic of the instruments from his school-boy Vienna. by causing the tones to interchange as mutual tones, able, they illustrated their own beefy stolidity and in his beloved Vienna likewise that he was com¬ orchestra, but not these things; nor did he evolve and that change of the diminished seventh into the symphony in March, 1828, he offered it to the Hus thickheadedness; when Mendelssohn said that the pletely at his ease and felt himself thoroughly happy. them from experiment and self-criticism; for his great¬ dominant seventh whereby Beethoven makes so won¬ verem of Vienna, which accepted it and put it in quartet in D minor was bad music he only showed est works he never heard performed. They came by On Schubert in Relation to Harmony derful a modulation from A-flat to C in the andante • ••«••• hearsal, but the leading orchestral organization of i how far the natural bias of his own conspicuous the grace of God, and we call it genius. of the fifth symphony. These are a few of the chord- capital seems to have found it too difficult, too lo Like the Phrygian king of old, whose touch changed Melody, and Rhythm. connections of startling and emotional character talent for musical formalism could put blinkers at the Schubert first tried his hand seriously at orchestral everything into gold, Schubert’s genius produces Md too unintelligible—much as the great Lone sides of the eyes of a clever man. writing when he was fifteen yean old; in the year which are to be found plentifully scattered up and Philharmonic did years afterward, when Mendelssc Better was the dictum of Liszt, viz.: “Schubert was ravishing melody wherever it alights. Even in his 1812 he wrote an overture, and in the next year some By J. S. VAN CLEVE. down his pages. tried to bring it out there-and it was put aside the most poetic musician that ever lived”; and still pianoforte compositions, in which department of music dances, and finally his first symphony in D. It is It may as well be admitted that there are not want¬ Schubert’s suggestion, his lesser symphony in the sa better was the saying of the German poet Mayrhofer, he does not stand as unrivaled as in that of song, he interesting to examine and compare his work in these The work of every creative musician must be looked ing cases in which he modulated to excess, and key (his sixth) was taken instead, a sorry substitu whose verses were often set by Schubert: “I never has produced some imperishable works. Thus, the early years. For instance, in 1815, in his eighteenth at upon four sides, viz.: melody, harmony, form, and changed the tonality or key without sufficient esthetic as it seems to-day. He did not have even the satisf realized what was in my poems tiU Schubert set them “Fantasy” in C may justly be considered one of year, he wrote some of the greatest songs that have instrumentation. We must ask, first, could this man grounds for so doing; but for the most part whether tion of hearing the little symphony played bv ( to music.” Had Goethe said of the “Erl King,” the landmarks of pianoforte literature. Note the ever enriched the world's possessions in art, while make a tune? Second, could he invent interesting the modulation seems introduced to conceal his de¬ Musikverem, for he died before the concert took 'pla •'When this Schubert enveloped my poem in his tones dramatic opening movement—its whirlwind pas¬ the symphonies of this period, though they contain chords and chord-successions? Third, could he con ficiency of counterpoint, and elaborative skill, and as The great score then fell to the keeping of Fer he doubled its value,” he would not have spoken more sion. Note the terrible eforzandos toward the close, traits of his unmistakable originality, are of obvious struct complex timal ideas in the beautiful symmetries aa sxhaustless and easy means of going on with the nand Schubert, with a big file of other works of as terrible as the “No! No!” shrieked by the chorus immaturity, both in conception and in execution, and than the truth. which we entitle rhythm, or form? And, last, if exposition of the matter in hand, it is certain that one of demons in Gluck’s “Orpheo.” And, finally, notice have never gained a place as truly representative of brothCT’g composition; and there it lay for ten yea essayed the orchestra, could he fit his ideas happily and all of these modulations taken as single details the beautiful transition that leads into the adagio, his genius. Not till he conceived the “Unfinished A. FEW APHORISMS ON SCHUBERT BY £hlSt- bert Schumann’ a ^-long enthusiast into the instruments? ere beautiful and strikingly appropriate, even when like a turbulent stream Bpending its force, gradually Symphony” in B-minor, and the great one in C, writ¬ Jhubert’s music, visited Vienna on a business vei ROBERT SCHUMANN. As to these four questions, every composer mast 1 just regard for that higher imagination which deals rippling into the placid waters of a peaceful bay. In ten, respectively, in 1822 and 1828, did he “find him¬ ore. The venture was a failure; but his visit run the gauntlet of investigation; but, as to the last, with large complex wholes would have rejected them, the adagio we recognize the melody of the “Wanderer” self” in this branch of his art; but when he did, it momentous success in another way. Led by , F fertility he a distinguishing mark of genius, then he is not amenable to inquisition except as an 13 we know that Beethoven often cut out ideas of similar to one of the movements of the A-major quin¬ brought conviction to him of his own powers in that mmors of the treasures in Ferdinand’s keemnu nz Schubert is a genius of the highest order. tral writer. No composer was ever equally able in great value for the general effect. tet, opus 114, where the theme taken from the song, direction. “I want to hear no more about tongs,” he went to seek them, and there he saw what Xd , [e would have gradually set the whole German four of these respects, and some of the greatest 1*rcre This excess and malappropos quality is not at all “The Trout,” is heard. (Schubert is fond of quoting observed to a friend on the completion of the C-major rature to music. oTrXX^10 ^ depth3‘ "Tto* are Beve: notably unequal. e rule with Schubert, however, as witness the pas- himself. Thus, the same theme occurs in the second symphony, “I am going to devote myself now to Whatever he felt flowed forth in music, »TdXi0Ir^rh; - *. ^Phoni The purpose of the present paper is to survey th given to the sick hoy in the “Erl King.” Here entr’acte of “Rosamunde,” in the andante of the A- opera and the symphony.” But, alas, it was too late! ew authors have left the stamps of their minds so to r,„. V „ ’ he WTote m an excited let! work of Schubert under the first three of the quality e cry of the child at first is hut slightly alarmed, minor quartet, opus 29, and the “Impromptu,” B-flat, The night was coming, when no man can work, and u-ly impressed on their works as he has done. matter IT and Hartel- discussing t which head the column, for, while his use of the °r >n is in the relative major key, B-flat; next it comes is eight months be was dead. matter of publishing them. His i ° 1 [e gives what youth desires-an overflowing heart opus 142.) him cf the value of th. !!r u pract,eal tt chestra was clever and original, it is not to that °°e major second higher, but in the foreign key of The adagio begins quietly. I.iszt very ingeniously These two symphonies have had interesting vicissi¬ mg thoughts, and speedy deeds; he tells of what it back r - th ^™I'hon?; he took a copy much as to certain other traits that he owes the major; then at the climax of the terror up in an- creates, as it were, a melody from an otherwise con¬ tudes. In the year 1822 Schubert received one of the lth loves best—of knights and maidens, romant.c alted and imperishable splendor of his name. cr foreign key, E-flat. Over against this unim- ventional bass accompaniment, to which the upper few poor worldly honors that ever came to him in the , _„f,,roa• Tip miimies wit and humor vague popular mind Schubert stands out promise®*^ ™ J a^e use °f bold and frequent modulation in the part supplies some graceful arabesques. The move¬ flesh—be was elected an honorary member of the &.C u".5“,'T7“r as a melodist, a tune-maker. It is likely th*. oth we may set the program of shifts in an- ment grows more dramatic as it proceeds. Again we twenty persons were selected from various classes cr song, viz.; “Liedesende,” dated September, 1816; 185 184 THE ETUDE THE ETUDE cheerful, happy, contented spirit, tinted here and there “Carnaval.” Similar to Schumann’s imaginary masked if ever there was one—should have been take ( case in the graphic demonstration of his thoughts, is hear the surging waters ns though they were dashing The Characteristics of with a bit of sarmatic color which the proximity of almost equally incomprehensible. And this is, and ball, Schubert’s opus 33 impresses the writer as a the world at such short notice. In looking ba” * against the shore, while, away off in the distance, the Hungary and the commingling of the races added, miniature “Carnaval” opening with a brilliant intro¬ the brief life and premature passing away 0f UP°'1 can only be, the result of industry, of work! Young voice of the wanderer is heard like the voice of one finds its ideal expression in Schubert’s art. Political students of composition may ponder over it, whether duction in which throngs of masks jostle each other, bert, one is reminded of the story of the Grecian Schubert's Genius. in distress. The buoyant spirit of the following move¬ hero and ethical wiseacres may talk of evolution’s changing many a fine thought should not have fled from his chattering and laughing as they pass by. In No. 2 and liis mother. ment, railed somewhat irrelevantly presto, with its the spirit of the times, but they cannot talk away the mind and remained forever unuttered, but for this we fancy we recognize our old friend Panzaton, who “What wouldst thou?” inquired Thetis of Act,in graceful episodes together with the magnificent finale, trend of the human heart to love sunshine and happi¬ unparalleled facility in writing. appears arm in arm with No. 3—a Tyrolean iodler. “A long, dull life, or a short existence ringing with & complete a masterpiece worthy of being placed next to By ness. He fairly lived his inner life out upon the staffed Alfonso and Estrella (4 and 5), together with a brill¬ triumphs of military valor?” Achilles chose the latt those of Iteethoven and Schumann. CONSTANTIN VON STERNBERG. Rubinstein says: “Take Mozart and Schubert out paper; every wave of emotion was transformed into iant Toreador (No. 6), precede a couple (Knight and and died young. Similarly, we fancy hearing our hero Of the ten sonatas written by Schubert, the one in of the history of music, and all its sunshine is gone!” music and expressed itself quickly and perfectly, for Lady), while Harlequin and the portly form of Sir questioned by his muse: “What shall it be? Lo .* A-minor, played by von Billow on his last American Liszt told me something very similar. he corrected and repaired almost nothing, compared John Falslaff (9) are seen conversing not far away. gevity and prosiness or a short life full of son» ad tour, is the best known. Kubinstein speaks most en¬ We must not infer, however, that the sereneness of with other writers of his magnitude, again excepting Countess Caroline’s delicate silhouette appears next. harmony?” Schubert also chose the latter anil- Schubert’s Music. thusiastically of the last movements of the sonatas in Schubert’s times produced only a continuous and Mozart, the crystalline mind. Joy and sorrow, in all Do you not hear the composer himself pressing his immortality. I) and G. It is to be regretted that pianists neglect Schubert's music is easier to understand than monotonous glare of light, which lulled all finer sensi¬ its thousandfold shades and refractions, assumed these w orks. To be sure, some of them contain pas¬ suit in the second selection of this delicious bit? that of almost any writer of classical merit, if by bilities into somnolence. Not at all, but it is, never¬ musical shape in his mind, and thus well were his eye sages of inordinate length, a fact particularly empha¬ Their dialogue is interrupted by a coquettish Pierrette understanding we mean the merely mental grasp, theless, only in such outwardly peaceful times and and hand trained, such ready and willing servants of sized by Schumunn. This difficulty could be overcome (No. 11) who pirouettes away and almost falls into DISCIPLINE VIA AFFECTION and leave its psychical appeal unconsidercd. His conditions that our personal moods feel free to mani¬ his mind they were, that by their aid his thoughts by pluying separate movements of the sonatas, without the arms of ilassetto, the clumsy peasant-boy. Lepo- melody flows easy and unconstrained; his rhythms fest themselves. When the struggle for existence does could pour down upon the paper as if they were mere playing the whole work, as done with the B-minor rello (13) is now seen, flirting with the latter’s BY CI-ARA A. KORN. are seldom complex, and, when they are so, their com¬ not, as now, absorb all our faculties and energies, entries in a never-neglected private diary. minuet from the “Fantasie-sonata,” opus 78. This, affianced bride, Zerlina (14). The series of pictures plexity is alleviated by those copious repetitions and mental and physical, only then can we dare to act To this marvelous facility it is, no doubt, largely however, is the only instance known of a fragment of is brought to a close—15 and 16—by the appearance Probably every one of us recollects with amuse¬ reiterations designated by Schumann as “heavenly as we feel, and love or hate people for their own sake; due that Schubert speaks the most direct language a Schubert sonata becoming a popular concert number. of Donna Elvira, reconciled to that gallant scape¬ ment how in times past the young and inexperienced lengths”; nor are his harmonic turns and modulation, and only then can the workings of our imagination of all the masters In music. And, if, in support of this Very many of the scherzoa would serve admirably for grace Don Gioronni.1 school-teacher strove to secure obedience from her even in their boldest beauty, of a kind that bewilders develop into mature artistic shape. seemingly sweeping assertion, I may mention one fact this purpose. Another fragment conforming to the These charming dances, together with the “Liindler” pupils by “making eyes” at them: i.e., fierce, ferocious or confuses the ear. Thus, of all the great composers Let us add to these elements of the time-spirit the without implying disrespect to any other composer of same idea would be the adagio mentioned before. and “Ecossaires,” were improvised on the spur of eyes, calculated to kill the germ of disorderly on ol the past, Schubert seems particularly qualified to innate inclination of the Viennese toward good music'; equal significance, I will point out that—without in In his smaller works Schubert successfully rivals the moment, according to some authorities. Accord¬ the part of her class, and how it invariably failed. be the pronounced favorite of the people in general, also the wonderful and unbroken succession of musi¬ the slightest degree impairing his position among the the miniature forms of Chopin and Schumann, as rep¬ ing to others, they were written as pot-boilers for the How the poor teacher unavailingly “sassed” the little especially the younger ones, but—he is not! At least cal giants: Haydn, Mozart, and Beethoven, whose in¬ greatest of great musicians—his “Serenade” in D- resented by the former's preludes and the latter's publishers. They became very popular. Liszt was miscreants, to no purpose; how she fumed, fretted not quite in the manner he ought to be. The rank fluence had permeated all classes, and we may begin minor has reached further down in the musico-social “Fantasie-stUeke.” A German critic—Paul Marsop— invited to play at the Tuileries one evening. After stamped, and scolded, and liow the class became more and file of amateur pianists, even the “advanced to understand that spirit which called forth the sweet scale than any other musical work of classical merit considers the impromptus by Schubert the most beauti¬ he had given a recital he rose to leave the piano, when uproarious at each and every outburst. players,” hardly know more than two or three of his wonder,—“the song of Schubert,”—one of the few in all history. Hiindel’s popularity is largely assisted ful songs without words ever written. Although this the emperor approached him and-graciously requested The common opinion of the inexperienced teacher impromptus, one or two of his “musical moments,” things in the history of the human race of which we by the association of his (mostly operatic) music with resolve* itself into a posthumous tling at the glorious the great artist to play certain compositions he had seems to be that, in order to command respect and and one or the other of Liszt’s transcriptions of his may safely assume that it is immortal! religion and th* church; Haydn is similarly aided; composer of “Elijah,” the statement is not entirely played a few evenings previously at the salons of admiration, one must act loftily and overbearing, and songs; it is not only all that they ever played, but Beethoven is constantly helped by the piano-teacher, without justification; undoubtedly some of the im¬ Princess Mettemich. To quote Liszt: “At the re¬ must criticise in the most approved faultfinding man¬ in most cases, also, all they ever heard of his piano- Estimate of Schubert. whose pupils carry home the “Moonlight Sonata” and promptus are gems. Thus, the first one in C-minor, quest of Napoleon, I took my seat at the piano again ner. Possibly many of them have never heard the the “Pathetique.” Bach and Mozart the general pub¬ opus 90, scored for orchestra by Bernhard Scholz, is works. In an operatic sense Schubert was not dramatic; and played the “Soirees de Vienne,” those graceful, lic have not reached up as yet, no more than to fable of the Sun and the Wind; how the Wind blus¬ To become susceptible to the warm, intimate psy¬ his delineation of mood and feeling was far too refined naive and unaffected, and yet is characterized by a exquisite waltzes and dances by Schubert, which I tered and tore around the traveler in order to compel chical appeal that voices itself in Schubert’s art we Dante and Goethe; but Schubert speaks to all classes, vein of sadness. The second one in E-flat, so de¬ for the stage. He could not accommodate his music had arranged for the piano. They were enthusiastic¬ to all nations, to all people who love music; if not him to remove his coat, and noted that, the more have to dream ourselves back into a time and a time- to any prescribed situation, nor to any predesigned liciously played by Kubinstein, ripples like a babbling ally applauded by the emperor and his court. And he raged, the tighter did the man draw his coat about through the “Erl King,” it is through the “Serenade,” brook, w hile the middle movement is stern and defiant, spirit (Zeitgeist) which are long past and gone. dramatic character; it was too genuinely original for thus,” Liszt concluded, “I can flatter myself having and if not through the “Wanderer” fantasy, it is like Coriolanus. The third one in G, by reason of its his body. Finally, relinquishing a hopeless effort, he that. Free, free as a forest-spring, it had to flow, un¬ introduced Austrian genius and, especially, the most through the “Moment” in F. Quick as a wizard he handed over the wayfarer to the Sun for experiment, Schubert’s Art and Viennese Life. hampered by any engineer work of considerations elegiac nature, recalls its companion-piece, the well- gifted Austrian composer, Schubert, to France.” which orb promptly wanned the pedestrian, with most satisfies the intellect, and going right through it he known song “Ave Maria,” while the last in A-flat com¬ At the time, however, when Schubert's childhood foreign to his own heart. The “Erl King, ’ ‘ V an- immediate and pronounced success. So with the music touches the very core, the innermost heart, of man pletes the quartet in worthy style. ended, the political horizon of Austria, as of the whole derer,” “Atlas,” and many others of his song are highly teacher. with unerring aim. Schumann is of the opinion that the second set of uvuuucii, was uut a pianio-virtuoso in dramatic, and prove that he was not lacking in European continent, was exceptionally clear. The Now, this popularity in itself is by no means a cri¬ “Impromptus,” opus 142, never received that title by modern sense of the term, he delighted in manipu No teacher on earth can compel a pupil to practice dramatic feeling, but they are dramas of the soul, cyclonic uproar caused by the French Revolution had terion (except, perhaps, by its long duration), be¬ the composer himself. He believes that the first two ing the keyboard. He found especial enjoyment properly, if that pupil has no inward desire to do so. and do not call for the bodily gesture of the actor’s calmed down to a beneficial breeze. Napoleon I was cause, as I have said in tbe first lines, it is, after all, impromptus formed the first two movements of a playing duets with his friends. His numerous e Talk of duty forever, threaten, abuse, and scold a art; they are dramatic, highly dramatic poems, but safely on St. Helena. The people breathed freely more the sensual charm of his “melos” for which he is sonata sketch; that the fourth in F-minor would positions in duet form corroborate this statemi much as you will, that pupil will not practice unless not opera-arias, which latter are—by the way mostly again, as after a long storm. Political reaction as¬ liked, than its inherent psychical force. Nor are the possibly have served as the finale of the probable In point of fact, among all the great composers, Sc the feeling to learn emanates from within. But mate totally undramatic, especially in that Italian opera sumed, or rather resumed, its paternalistic tendencies; tendencies of the present times at all calculated to sonata. Concerning tbe third impromptu, known as bert alone cultivated this style of composition to : that pupil love you and respect you, make him realize, which seems to have at last reached its rigor mortis. the government thought and acted for the nation, make popularity a desideratum to well-bred people. the “Rosamunds Impromptu,” Schumann's criticism appreciable extent. (Chopin wrote only one piece by means of kindness, that he is not worthy to study His two operas, “Alfonso and Estrella” and “Fiera- and the individual man had time to attend to his own But when one and the same work reaches the audi¬ is quite as curious, and in the opinion of the writer, two performers at different pianos, the “Rondo” in with you unless he be implicitly obedient, and just bras” were unqualified failures; both their librettos affairs, to “live” his life. The wealthy were still well- ence of a Boston Symphony Concert, and from there quite as unjust, as his strictures against Chopin’s Among Schubert’s four-handed pieces for the pi await developments. You will be surprised at the were so miserable that not even Schubert’s beautiful bred people who did not flaunt their wealth in the all the way down to those of Sousa’s Band, its author celebrated “Funeral March,” which, he says, contains we find the delightful “Rondo” in A, opus 107- vigor with which he will attempt to carry out your music conld save them, for, however beautiful it was faces of the poorer; and the poorer, satisfied that must be a transcendent genius, one to whom the laws “much that is repulsive.” “As regards the third im¬ marches, opi 27, 40, 51, 55, 66; “Divertisseme every wish, and at the readiness with which he will it moved far too much in the symphonic and chamber- wealth could not come to them except by a miracle, and canons of art have become mere instincts, one promptu, in B-ilat,” Schumann writes, “I would have inform of a march, opus 75; four polonaises; “Gn learn. music sphere to be of great effect in the theater. looked for other, better means of advancing in the who does not have to select his audience, but against scarcely taken it tor a composition by Schubert; at u^ opus 140; the characteristic “Divertisseroen Throughout all the ages the kindest masters hare The “absolute” musician was too predominant in social scale. They were contented in their mode of whose appeal the brilliant attire of the rich is as best, I would have considered it a juvenile effort la Ilongroiseand the beautiful F-minor “Fantas accomplished the most satisfactory deeds, in all lines him. A musician who could think only intrinsically life, and derived their happiness from its only genuine powerless as the beggar’s rags, and who speaks not to The variations are not of the highest order. Invention and branches. Determination and energy are requisite- musical thoughts, who could not but develop them on r;> ;°“Fwh/eh:..ia the writer,s °pini°n’rank3 » source, from their own hearts, or from what we some¬ any man’s position, religion, or education, but to the and imagination are totally lacking. This is the more to the -Fantasy” m C. It has been arranged but they must never degenerate into arrogance and strictly musical lines, and who never, I say never, times speak of as the “inner life.” Love grew young man himself, to his heart of hearts—if he has any. surprising as Schubert has produced some excellent o chestra by Rudorff (and, if we mistake not, bullying. There is a quiet insistence which is the true sacrificed melodic and harmonic beauty to any ex¬ again; “love in a cottage” was not yet a sneering sar- In conclusion I recommend the students not only specimens of wort in that style of composition.” If Moffl) and was dedicated to Countess Caroline &, determination, and a quiet forcefulness and power traneous motive, such a musician could not mount the t'lsm- AH life turned inward; and the poet, living in to become very, very friendly with Franz Peter Schu¬ the verdict of posterity can be considered final,—and hazy, for whom our composer is supposed to have 1 which constitute true energy. Warmth and heartiness platform of the public orator at an operatic mass- bis garret, looked across old-fashioned house-tops to bert, to enjoy his divine melody, his lovely harmonies, it generally is,—Schumann’s criticism of the beantifnl a romantic attachment All the tenderness and r are the real promoters of structure and success; 'do meetin" He reached the masses well enough, but he ’be distant mountains, and was a much nobler type his exquisitely-turned modulations, the chastity of his B-flat impromptu has certainly been refuted. There sion which the composer is supposed to have felt* lent force either tears down the good work alreafil appealed, we might say, to every man, woman, and of absent-minded beggar than Kipling’s mercenary subjects, and the ampleness and perfection of his is scarcely a concert-piece more popular with modern his, aristocratic pupil is revealed in the outlines of t done or instigates resistance cn the part of the strong- child individually, right at their homes; only m the wolves. Moreover, the “classes” were so distinctly de¬ forms; but also to look beyond all that, deeper into pianists as well as with modern audiences as the im¬ noble composition. The ‘Divertissement Hon^oi Therefore, teaehers, bear in mind the fable of the symphony concert, where public interest is ro xpso fined that the higher could afford to be courteous to it, and ever deeper, until they find and feel the warm promptu in question. Schumann's severe criticism of ^as been arranged for solo performance bv Liszf v Wind, the Sun, and the traveler, and rule your charges exclusively musical, could he address a larger assem- the B-flat impromptu in this instance differs quite ’be lower, because social recognition, while well touch of that intensely “humane” soul to whom all the by way of affection; you will then never find your materially from his nsusl worship of Schubert’s enough attainable, was not yet purchasable by money. outward beauty of melody, harmony, and rhythm was selves unfailing in discipline. ^ When we recall to our mind that he lived but a few genius. The “Momens Musicals,” opus 94, are a col¬ Men and women were respected or loved for what they but the vocabulary of his natural language. Yes, I months over 31 years, and contemplate the amazmg lection of short, delightful pieces. No. 2 in A-flst ,rere, for what they thought and did, not for what advise you all, as if I were urging each one individu¬ number of his works, for the piano, strings, orchestra, contains a beautiful effect similar to the sustained they had, as now. All this put people into touch ally and personally, to delve and dive for the inward¬ There is wholesome advice to certain artists ® voice church and chamber- music, symphonies, etc., note in the H minor minuet from the “Fantasie- with one another, and carried a very sweet, whole- ness of Schubert’s music, for the gentle, pure, and kinds in a letter from Gounod to Bizet, printed iB we «nnot help marveling at bis miraculous facility sonata.” In the A flat “Moment Musical" it first ap¬ ’nme, and genial cordiality into public intercourse. lofty spirit that speaks out of the cold anisic pages, Revue de Paris. Gounod, a veteran, wrote to nutting his thoughts upon paper. The prodigious pears in the tenor like the long drawn note of a horn, 'Te must bear in mind, too, that poverty did not con- and vou will find an inexhaustible mine of just such friend, who was twenty years younger, as follows r Pndit/of his brain silences all effort at explanation, and then it is repeated in the soprano, It brings to stitute the “dark side of life”; the poor were just as sentiments as moved yon before the cold touch with ‘Do not make haste! All will come in due *1®^ faci itv with the pen alone, the merely clerical mind the motto by Schlege! with which Schumann W m their outings and amusements as the rich. the world chilled them. You will then feel as if you Do not accept the first idea that presents itself, in portion of his work, the unfading correctness and prefaces his C-major “Fantasy.” e dark side of life was practically unknown to the had won a personal friend, whom yon will love with belief that there will be no others. You will ha»e an ardor that does not calm with age, but grows Among the many waltzes written by Schnbert the T ITT time it was a popular saying in place of one. Be severe with yourself- -e ^ “Deutsche Tams,” opus 33, contain some of the com Thus, *-he “Prater” (a fine public park in Vienna), . ,1M hU *.ht h„« stronger; and this kind friend will gently, but irre¬ advise you never to work at night. Such w°r" ^ poeer's most characteristic qualities. Indeed, they *ith its refreshment places, caffs, bands, dancing sistibly, lead you up, up, and ever upward, back to done in a feverish condition, and the result is ’ appear almost as a companion piece to Schumann s P at forms, was a true reflex of the spirit of the times, your own and best selves. repertory. ^corporate them in th in the morning you are dissatisfied and feel coin;'*1' ln 1 liable picture of Viennese life; and this sunny, to do it all over again.” 187 186 THE ETUDE THE ETUDE of hot water and ice-water dashed on alternately Hum with the strength of anger to abate the increased meekness, godliness, and religion? also a rupt the proceedings, although th* main question is night has been known to effect entire cure ’ *’*'* f1**’ k 0f his evil, calling into her mind that evil growing preference for being directed rather than di¬ still undisposed of. Weeping sinews are most effectually treated nTimbecomely language is deformed, though uttered recting, as laid down by G. Markham for the guidance To the uninitiated chaos may seem to reign, but pressure. The sack of fluid which makes the b v “ servants; but most monstrous and ugly when of the inward life of woman? If not, then it may there is a beautiful order through it all, that is re¬ often grows to very large proportions, and jn „ e'“pears before the presence of a Husband.” reasonably be concluded that the practice of the brasa vealed when the trained and skillful presiding officer, where the habit of playing with stiff wrists and b*T Such was the standard of the year 1685, and “The wind may he equally ineffective. giving each motion it* own rank and place, with due ing down with the forearm has been long_- - cr carriage before a Husband” is still the secret consideration for each, comes triumphantly through in, any attempt to build up the playing of extension P>ot on which the abilities and disabilities of woman- the intricacies of the situation with every motion and octaves is apt to produce trouble at once r. f- d turn It wiU be observed that the vocation of properly disposed of and the business satisfactorily these circumstances take a chamois-skin and cut it orchestral playing is at the antipodes of the meek During the progress of transacted. Edited by FANNY MORRIS SMITH. round and round into a long bandage, about U round of Vertues assigned by G. Markham of the TALKS ON debate, when several mem¬ This successful consummation may be greatly aided inches wide. Wind this around the wrUt above ft° Compleat Woman of the Seventeenth Century. A PARLIAMENTARY bers rise at once to take if the members on the floor as well as the Chair, are sack not so tightly as to stop the circulation, but so closer investigation brings out the fact that mankind PROCEDURE. part, it is the privilege of familiar with parliamentary usage. In every assembly There are a number of elbow of the affections and of self-will. While the that the bunch receives constant pressure. It should has in the course of two hundred years pushed the The Privileges of the Chair to give the floor the whole body should endeavor to act in such a man¬ SUPERVISING (tide-issues in music-teaching hand expresses mentality in all it does; the forearm be worn at night and when not practicing, and even Compleat Woman out of the practice of the majority the Chair. to whom she pleases, as the ner as to facilitate the accomplishment of the pur¬ pose which has brought them together. In the tran¬ The health of in which women have de¬ is the scat of spirituality, intuition, and affection; after the bunch has disappeared when the wrist feels of the female vertues once assigned her. Chair will know which one PUPILS. sit from seeming chaos to revealed order the Chair cidedly the advantage of and the upper arm of vitality, impelling force, and tired. It sometimes takes months to effect a cure The professions have ousted her from the practice is familiar with the subject, and therefore will be the men. One of these is their should be absolutely non-partisan, bringing no per¬ life. but it will ultimately be successful. There is a plaster of physick and Chirurgery, and it is as the “New most appropriate speaker. natural partnership with the home, in mothering the sonal influence to bear upon the question by word, In training the arms and hands of a piano-student known as “Thapsia Sporadrop,” which when applied Woman” that she is striving for recognition in the The Chair also decides the priority of business, ques¬ pupil*. Looking back on a long career as piano- voice, or manner that would tend to influence the vote. the validity of Delsarte’s principles will be tested to a bunch of this kind raises an inflammation of an very occupation that G. Markham placed first on her tions of order, questions of privilege, and interprets teacher, on what points has not the editor of these Even in case of a tie, unless there be some very im¬ again and again. They are not empirical. They were absorbent character, and often reduces the sack, but list. She no longer manufactures perfums, distills the constitution and rules of the society. columns been consulted! We have cured weeping portant interest at stake, it is not wise for the Chair deduced by careful comparison of the observations of does not destroy the sack itself. It will often effect liquors, extracts oyls; the business of making Cloath These are legitimate rulings, but occasionally we sinews; we have restored impaired complexions; we years. They are delicate suggestions of mental states to use her privilege of the casting vote. a cure. It is not wise for people inclined to eczema and Dying has long been wrested from her; she sel¬ meet a chairman who considers it her prerogative to have wrestled with anaemia (and incidentally with It is the finest kind of discipline for a person with which operate beneath the surface of life. People do to trifle with their skins, however; the cure is apt dom brews even small beer, and the “Office of Malt¬ administer the affairs of the society according to her the modistes who were the primary causes thereof); strong convictions to thus hold herself entirely neutral not necessarily have weakened vitality when they have to be more dangerous than the disease. ing” is purely masculine; even the “Ordering of Great own personal ideas, and resists any dictation on the we have prescribed for all manner of dyspeptic affec¬ while presiding in a case in which she is interested, lame wrists; but when the vital forces are low the Feasts” is done by a caterer, the making of wine by a part of the assembly as an affront to herself. tions; assisted cases of insomnia; dealt with nervous [To be continued.) and a chairman able to rule herself completely under wrist weakens. People who are wounded in their af¬ wine-manufacturing company; the concoction of “Con¬ Parliamentary usage provides for such a situation. disorders; diagnosticated all manner of warts, swell- these circumstances is rare.—Mrs. Theodore F. Seward. fectionate nature do not necessarily have trouble with ceited secrets” by a French chef. The dairy itself is If any member objects to the ruling of the Chair, an ings, bunions; tuken high moral ground with shoe¬ their forearms and elbows; but a great many cases The question of orchestral rapidly being transformed into a creamery, and noth¬ appeal to the assembly can always be made. If the makers; prescribed Tor chapped hands, and gathered of lame arms may be traced to such a cause. When ON WOMEN IN playing as a means of liveli¬ ing except the cook-stove is left uninvaded by the Chair is sustained by the assembly the appeal is lost, up a list of simples good for man and beast that would it proves impossible to relax the shoulders and elbows THE ORCHESTRA. hood for women has been creature man. Little remains of the Compleat woman but if the appeal is carried, then the Chair is over¬ be the despair of an M.D.,—all this not wilfully, be it of some nervous pupil, there may lie causes in her The benefits resulting much in the public prints of 1685; to-day the twentieth-century girl in choosing ruled. understood, but in the way of regular practice. What NATIONAL from the National Federa¬ home-life or in her emotional condition that defeat during the last few months, and in more than one a husband is obliged to consider his fitness for the This privilege of appeal is a protection from an woman teaches with her heart in her work who does FEDERATION OF tion of Musical Clubs, or¬ the efforts of her musical instructor and will continue instance elicited a wail of masculine distress. Woman practice of what were once her own “Vertues.” undue domination of the Chair, who ia really the not find herself bolstering up the health of her class? MUSICAL CLUBS. ganized at Chicago, in 1808, to do so unless counteracted by a new and wholesome Under these circumstances it is not surprising that servant of the assembly to carry out its wishes, and Who can sit hour by hour beside her pupils and note has too weak a tone as a violinist; woman ought are felt throughout the land. current of thought Pupils with little “musical tem¬ Practical Results never to approach brass instruments; woman is too woman has been reaching out for other occupations. not to override them. the signs which indicate conditions of foiling or in¬ of Federation. The broad spirit of philan¬ perament” usually play with their fingers, if at all The Chair does not lose her privilege of voting by jured health and not be pushed into an attempt to re¬ flighty; woman must not pay in orchestra, for then She has not been cheered on by the enthusiasm of thropy is the underlying intellectual, while emotional pupils press from the fore¬ becoming the presiding officer, if she chooses to exer¬ lieve and heal? Moreover a rhubarb pill has saved she would wish to become a conductor. Woman's man. He has always found her “to fragiwile” as principle. The Federation is a musical mission¬ arm, and passionate musicians naturally use their place is in the home. Josiah Allen put it, for each of her new undertakings cise it in such a manner as not to influence others many a quarters lessons which the struggling teacher shoulders. ary. Its work is to aid the thousands of club-mem¬ unduly. She may vote with other members when the eould ill afford to lose, and a slight knowledge of anat¬ Meantime the successful season just concluded by until she succeeded in spite of him. But she has suc¬ bers in gaining a broader musical education. furthermore, the emotions control the nervous vote is taken by ballot, because this method does not omy and physiology headed off the danger of serious two women’s orchestras in New York, not to add the ceeded. She has achieved higher education and car¬ The club year is drawing to its close, and the centers and through them the secretions and bodily identify the vote with the voter. When the yeas and injury to many an overtaxed hand and arm. fact that there is an American brass band organized ried off the honors of England’s proudest universities. federated clubs have again tested the value of federa¬ functions. Now. the art of music is the art of ex¬ nays are called, she may vote, but last of all instead If we consider the leading difficulties which disease and conducted by a woman at this moment on a tour She has entered into the practice of law, medicine, and tion. Clubs in small cities and towns have been espe¬ pressing the emotions in terms of beauty through the interposes in the course of piano-study, they fall in Europe, brings home the matter with all that force science. It was supposed that woman had no place of in the alphabetical order of her name. cially benefited, and are very enthusiastic over the medium of inarticulate sounds. Thus, music teaching The Chair has the privilege of the casting vote when roughly into eight classes. The pupil may have diffi¬ of demonstration which once made the Copemican in the army; but in Cuba and in Africa women have opportunities which have been given them. While to is emotional training from the very inception. Every- there is a tie. She may refrain from voting, in which culties with his bones, his muscles, his nerves, his theory so odious a heresy. The New Woman is a stood in the trenches beside their husbands. Women smaller and more isolated clubs lacking opportunities Ihrag that has to do with the effects of the emotions skin, his head, his general health, or his hearing, or squatter on the territory of mankind of the worst have obtained the ballot in more than one State; and case the motion is lost; or she may save the motion of coming into contact with the best in the musical on the body therefore directly concerns the progress sight. Any of these is sufficient to break u{i a course type. She enters, takes possession, and remains in kept together more than one flourishing congregation by voting yea. She may also make a tie by voting on world the Federation offers incalculable advantages; of musical advancement, and the fineness and vivid¬ of study, and all except the last, if sufficiently aeute, spite of logic and authority to the contrary. that thought it no shame to be addressed by a woman the negative side, when there would be a majority of to all clubs the benefits are for in excess of the small ness of the emotions is the final and determining factor one. Moreover she has the casting vote when a two- will make piano-study impossible. Blind pupils can The fact is that it has always been thought neces¬ from the pulpit. But the cause of female meekness membership fee required. thirds or three-fourths vote is required, provided the bo taught; and absolutely deaf women sometimes relarU91Ca,,wllenCe- ** *** °ne’8 ^ 0f the sary to define a number of things which woman is dies hard. We now find that woman’s deficiency, as Large clubs, the Schubert, of St. Paul; the Saint take piano-lessons. addition of a single vote is sufficient to make up the one Zml 7 an<1 the tester unfit by nature to do, just to keep her in due subjec¬ compared with men, is in the matter of artistic tem¬ Cecilia, of Grand Rapids; the Fort Wayne Morning There are two ways to look at disease; we may tion. But the odd feature of the unfitness consists perament. She is not able for music or painting. The required number. Musical; the Tuesday Musical, of Denver, and many Looking to the outer plane, however, the following say that all fleshly ills arise from morbid mental con¬ in the changes which time makes in the nature of the reasons are enumerated above. “Woman ought not to It is often confusing to persons unfamiliar with others have had more recitals than they could possibly suggestions may be of much practical use- ditions; or we may say that morbid mental condi¬ things specified. pose as a conductor.” “She has a feminine tone- parliamentary procedure, who have been told errone¬ have compassed had they not been federated. Clubs ously that there can be only one motion before the tions are the result of bodily disorder. Common-sense firetV^fr3 "ith ‘he hand itself- i0^ne comes It is but two hundred years since Hannah Saw- quality,” and “she must never, no never, touch brass!” that for lack of financial support had decided to give first on the list as a remedial agent. Iodine will take suggests the wisdom of looking at the subject from bridge had printed for G. Markham “The English- “The English conservatories do not allow women to assembly at once, to hear different members bring for¬ up the struggle reorganized last fall on learning what out the soreness from lame joints when nothin- else both points of view. Thus, when a girl in her ’teens Housewife, containing the inward and outward Yer- study brass. Thus the intolerable vision of a woman ward a variety of motions while the first one is still the value of federation would be to them, and in ad¬ suddenly loses her appetite and her ability to con¬ seemsofany use. Iodine is much to be recommended tues which ought to be in a Compleat Woman, as her playing a trombone will be spared humanity.” dition to the regular programs given by active mem¬ centrate her mind, the cause does not, in all prob¬ ”7;f Weake-d aine"s. painted on with disci* skill in Physick, Chirurgery, Cookery, Extraction of This is sad, and saddest of all because, with the P The foot is that the correct way to state the case bers have had as many as five artist-recitals. ability. lie in her stomach, but in the content* of her Oyls, Banqueting stuff, Ordering of great Feasts, Pre¬ opening of the next season, there will be a complete is that there can be but one main question before the Clubs federating this spring will have the advantages *- writing-desk; but when some other girl comes week serving of all sort of Wines, Conceited secrets, Dis- women’s orchestra, brass included, in New York, and assemblv at once, and this is the motion which is of engaging their artists for the fall season and will introduced when there is no other businessi before^ after week to lessons that she does not profit by and filiations, Perfums, Ordering of Wool, Hemp; Flax, among that brass will be a trombone and probably a receive programs, year-books, and music from the There are a number of questions that affect the you sit down to ferret out the cause of her sallow face nlaee twT 40 oyerPructice, in the first Making Cloath and Dying; The knowledge of Dayries; French horn.* federated clubs to assist them in arranging the work and nervous debility, the cause may not lie any far¬ Office of Malting; of Oats; their excellent uses in This stand on the question of women and brass is main question in the disposition of it, each one of for next year. The Federation also provides a very ther off than the nearest confectioner’s There is much which is brought forward as a motion, and these families; Of Brewing, Baking, and all other things suggestive. There is a tribe of South Sea islanders fine constitution for club use. in knowing giri-nature. create confusion in the mind until their rank and belonging to a household.” So far the title-page and that have a trumpet which it is death to a woman FTom Mrs. John E. Curran, of Englewood, N. J, Suppose we are looking to the effect of the mind meaning are thoroughly understood. They are called a.... s the preface concludes the picture: “Let your English ***; it is only wood,—but there may be an un¬ and Mrs. Frederic Ullman, 282 Forty-eighth Street, and imagination as the cause of ill health. In this Housewife be a godly, constant, and Religious woman, conscious atavism in the position of England regard- the “subsidiary motions” and must j*deaded Chicago, may be procured a leaflet which will be of ease a few simple observations may be of service. Ac¬ before the main question. They rank as follows. learning from the worthy Preacher and her Husband >ug trombones. It may be the trumpet that is the value to unfederated clubs. cording to Francois Delsarte, the human body is ar¬ "T The following are among the recently federated those good examples which she shall with all diligence real difficulty—at bottom. However, atavism or not, 1. Question of consideration. ranged in aoncs: the vital, the moral, and the mental *«• tort ... see exercised amongst her servants.—Next to her ^cw York has taken the plunge. No matter of what clubs: The Rubinstein Club, of Cleveland, Ohio; the Thus, the head is the mental part of the corpus; the rfs b, rtith tl, 2 To lav on the table. sanctity and holiness of life it is meet that our Eng M import to female “Vertue” the brass wind may be, 3 The previous question. To postpone to a certain Musical Circle, of Jamaica, N. Y-; the Tuesday Musi trunk, the seat of the will is the moral roue; while lish housewife be a woman of great modesty and tem¬ there is no drawing back. day. To Commit; to recommit. To postpone indefi¬ cal Club, of Schofield, Wisconsin; snd the Monday the limb* correspond to the vital element of human perance, as well inwardly as outwardly; Inwardly- And wifi the orchestra led by a woman really affect Evening Quartet, of Englewood, N. J. life. In the same way be divides the trunk itself into nitely. as in her behaviour and carriage towards her husband, fhe manners and morals of the players and their One of the proeperous and progressive federated vital mental, and moral zones, of which the sbdomi- — JV5 nrt— - 4. To amend. wherein she shall shun all violence of rage, passion- future hearers? Are homes to be broken up and clubs in Missouri is the Ladies’ Musical, of Sedalia, of nai is the moral zone, the thoracic the mental and the Any one or more of these motions may be intro- which Mrs. W. D. Steele is the founder and president. and humour, coveting less to direct than to be humours monstrous before a husband” likely to re¬ epigastric the vital. The arm corresponds to the The Dominant Ninth Chorus, of Alton, HI., has been rected, appearing to him ever pleasant, amiable, an mit? same scheme: the shoulder is the thermometer of invited to sing several numbers on one of the evening Iodine Z\. T ** "“"'d- delightful; And tho’ occasion of mishaps or the IFe have our answer at hand. Within the last two vehemence, passionate impulse, and excitement; the programs of the Illinois Musical Teachers' Convention, wrst is the thermometer of vital energy; and the government of his will may induce her to contrary ■ undred years we have seen the “Vertues of the Com- thoughts, yet vertuously to suppress them, and wit P cat Woman” one by one appropriated and practiced to be held in Springfield in June. i»a—i a mild sufferance rather to call him home from 7 men. Have we during that tune observed in man 188 THE ETUDE THE ETUDE 189 grave initial difficulty to overcome; in When we come to con- greatest menial tax he will have, all other milt throughout in the spirit of an ardent lover of the compared with the eccentricities and demands of its being practical rather than mental.” tle!l rSEFUL BOOKS FOR aider the more practical side Roman Catholic ritual, who is thoroughly familiar new organ. If it be blown by hand, then it will be THE ORGANIST AND of the organist and choir- w ith its history and traditions. Of a different char¬ found so large that two blowers are required, and so ( HOIRMASTER. master’s work, there are a acter, devoting itself to the technical side of its sub¬ it will be proposed to have an hydraulic engine. This large number of excellent ject, is “Magister Choralis: A Theoretical and Prac¬ engine will not go two Sundays out of four because manuals accessible. For the Episcopal service, in SUGGESTIONS FOR tical Manual of Gregorian Chant, for ttie use of the the pressure of water has failed, and then some mem¬ which the boy-choir figures so prominently, there are A REPERTOIRE FOR Clergy, Seminarists, Organists, Choirmasters, and bers of the congregation will have to work the bellows, * o works by C. E. Stubbs, organist and choirmaster Choristers. Translated from the German of Rev. Dr. if these have been wisely left for convenience, and be¬ ORGANISTS AND 103 (Schott). of St Agnes’s Chapel, Trinity Parish, New York, a F. X. Habere, Director of the Church-Music School, fore they have finished their work deacons of a stout CHOIRMASTERS. II. Merkel, ‘‘Fantasia,” fa & t Edited by EVERETT E. TRUETTE. leader ol acknowledged ability in this field. One is Ratisbon.” This has now become the standard work habit of body and unaccustomed to manual labor will Ten Preludes. minor 'Novello). entitled “Practical Hints on the Training of Choir¬ on the plain chant, and includes numerous illus¬ have quite a new feeling about that organ. (0/ medium difficulty.) Merkel, “Pastorale,” fa n boys,” and has attained a wide circulation in Epis¬ trations and examples, which are a great aid to its (Novello). When Real Tribulation Begins. My Dear Mb. X.: cipher are too varied and complicated to be described copal circles, having been found eminently useful. A understanding. In view of the revival of the plain Whiting, “Pastorale,” in F (Ditson). A LETTER TO A Your woeful tale of re- here. more recent work, “How to Sing the Choral Service, chant in the service of the churches, it fa of great im¬ By and by it will be suggested that the organ should I-emaigre, “Meditation” (“Douze Pieces”) (Lcduo) STUDENT REI.ATIVE peated trials and tribula- In the case of the key which will not sound at A Manual of Intoning for Clergymen,” by the same portance to have an authoritative and exhaustive be played by electricity, and the congregation, but Lemaigre, “Prayer” (“Douze Pieces”) (Leduc) TO “CIPHERS.” tions with an old organ, all you must investigate in the same manner as for author, forms a valuable companion to the former treatise on the subject. especially the minister and the authorities in charge Calken, “Andante eon Moto” (Novello). Sunday after Sunday, fa the a cipher, to find where the connection in the action is work. We have only room to give the title of “About It would be an unpardonable omission if this paper of the music, will now begin to know what real tribula¬ Dunham, “Andante,” in A-flat (Schmidt). experience of many organists. Unhappily that you broken. Either a leathern button is off, a pin is out, the Training of Boys’ Voices,” by Miles Farrow, organ¬ was concluded without some reference to works on tion means. The readjustment, it is said, will take six Foote, “Pastorale” (Schmidt). are so far from any large city that no organ-mechanic or a tracker is broken. It is but the work of a few ist of St Paul's Church, Baltimore, a very brief the organ. Every organist should know something of weeks, and be of a comparatively slight character. It is available to administer “a dose of repairs” which moments to rectify the trouble after you have located treatise, but containing some helpful suggestions. An¬ the history of his instrument. The great work on the will really take about a year, and during that time Ten Selections for Offertories your organ evidently requires. it.—Everett E. Truette. other very serviceable compend, treating its theme on organ for many years was “The Organ: its History the congregation will have an opportunity of inspect¬ ing the different parts of ita organ in the church hall, Your experience with keys sticking down,—“cipher- (Of medium difficulty.) broad lines, is called “Clergy and Choir,” by Rev. and Construction,” by E. J. Hopkins and E. F. Rim- ing," as we call it,—and with keys not sounding at all In view of the fact that Marshall, “Canzonetta” (Ashdown). Charles R. Hodge, of the Diocese of Chicago. Of a bault, two famous English organists and antiquarians. class-rooms and passages, where it will be lying in mysterious fragments. may prove a good test of your patience, but possibly ORGAN-TOUCH. so many pianists play in Lemare, “Andantino,” in D-flat (Cocks). similar nature by noted English choirmasters are It is a huge volume containing a perfect encyclopedia As there is no organ, the fancy tunes will have to you can remedy the defects yourself and reserve your church, and play the organ Dubois, “Into Paradise” (Ledue). “Church-choir Training,” by Rev. J. Troutbeek, Pre¬ of facts about the structure and capability of the in¬ be given up, aud the people will l>e allowed to worship patience for other and more valuable channels. To exactly as they do the piano, even making special Schubert, “Serenade” (Schmidt). centor of Westminster Abbey, London; “The Art of strument with specifications and details of its con¬ God with all their might. Strangers coming into the remedy the cipher, of which you write, get some one effort to retain their piano-toueh, it is interesting to Chipp, “Canzonette” (Schmidt). Training of Choir boys,” by G. C. Martin; “Hints to struction, and accounts of the most noted organ- church, and not remembering that there is no organ, to assist you by moving the key when you get inside read what Mr. Arthur Page, organist of St. Mary’s Hauser, “Berceuse” (Schmidt). Choirs and Choirmasters,” by W. H. Doody, Lay builders. Though it was originally issued twenty the organ. You will find that either one of the panels will say they never heard better singing, and the mem¬ Church, Nottingham, England, has to say on the sub¬ Whiting, “Transcription of Song Without Words’’ Vicar of Winchester Cathedral; “The Place of Music years ago, it will always possess a certain value, for in the organ case at either side of the keyboards is bers of the choir will be insulted with compliments ject in his book on organ-playing: (Mendelssohn) (Ditson). in Public Worship,” by H. C. Shuttleworth, formerly its wealth of historical matter. Of greater practical removable, or an entrance to the organ can be made about the way in which they are leading the congre¬ “On the pianoforte mere pressure is useless, there Dubois, “Cantilene Nuptiale” (Leduc). Minor Canon of St. Paul’s (this contains discussions value, owing to its treatment of the various mechan¬ through the side. If you have no motor, very likely gation, while there is really no high-class choir which must always be something in the nature of a blow- Dubois, “Invocation” (Leduc). of congregational singing, and instrumental music in ical improvements which have been so marked of re¬ the entrance is beside the lever which works the bel¬ does not consider it an impertinence that the congre¬ while, for the organ, pressure is the chief requisite. Guilmant, “Invocation” (Schirmer). the church, as well as choir-singing, all of them treated cent years in the building of organs, is “A Practical lows. When you first get inside the organ, ask who¬ gation should dare to follow it, and which does not The touch of one organ will, of course, differ from with discretion and good sense). Treatise on Organ-building,” by F. E. Robertson, which ever is assisting you to repeatedly strike the next want to go its own way alone. that of another, even the two (or more) manuals of Ten Postludes. Mr. J. S. Cnrwen, the author of “Studies in Worship is quite up to date, and embraces very extensive work¬ key to the one which ciphers (having all the stops When the organ is finally reformed, and the day the same instrument will probably not be the same; (Of medium difficulty.) Music,” in his little book, “The Boy’s Voice,” has col¬ ing-drawings and appendices, giving ready calcula¬ pushed in), and by the rattling of the action you comes for its reopening, the congregation pretends to but, w hatever may be the amount of pressure, it is Siefert, “Fantasia” (Leuchart). lected the opinions of many of the best authorities on tions for all the parts. For those whose purse will can locate the tracker, square, and roller-board (com¬ be delighted, but it has a shrewd idea that the days pressure rather than percussion which is required. Guilmant, “Verset,” in F (Schirmer). this subject, and it forms a mine of information on not admit of their purchasing this large work there fa ponent part* of tire action) which connect that key of its liberty are over. The members of the congrega¬ “It must be observed that the slightest depression of Brosig, “Fantasia,” in A-flat (Schmidt). the various themes and methods employed in boy- easily obtainable “Practical Organ-building,” by W. E. with the wind chest You will then notice that the tion may have ventured to follow afar off an organ a key will produce sound, rendering it essential that Lemmens, “Finale,” in D (Schott). choir training. Dickson, and “Practical Organ-building for Amateurs,” square of the key which ciphers is below the others driven by a water-engine with a choir in correspond¬ all organ-playing should be very “clean.” If on the Tours, “Postlude,” in D (Novello). “English Hymn-tunes, from the Sixteenth Century by Mark Wicks (containing very plain and simple (if it is still ciphering). Trace the action from this ence, but they will not have the audacity to intrude pianoforte the chord of C is played and one finger to the Present Time,” by the Rev. A. W. Malim, is a directions, with two hundred illustrations and explana¬ square up to the key and the other way to the wind- Spohr, “Finale ” in C (Novello). upon an organ played by electricity and assisted by a should afterward inadvertently press down B while tory diagrams). A little volume more recent than any chest Examine each square, tracker, and part of the Deshayes, “Marche Pontifical! (Le Beau). most interesting and instructive account of the de¬ still more elevated choir. If the congregation, how¬ the other keys are held, it will not matter so far as of the above should be in the hands of every organist, action of this one key to see if there is any obstruc¬ Dubois, “Grand Choeur,” in B-flat (Ditson). velopment of the hymn-tune, with examples of various ever, be willing, through a sense of politeness, to keep as it fa an admirable summary of the entire subject. tion. Pass a knife-blade between the keys to see if !?r “ C°"CCrncd- {m B, not having been Salonifi, “Grand Choeur,” in G (Leduc). styles, and is the only work of the kind treating the silent, the electric organ will have no such scruples, rirucfc, will not sound; but let the beginner try it on It is called: “A Hand-book of the Organ,” by J. a pin or piece of wood has lodged between the keys. Salonie, “Grand Choeur,” in A (Ditson). subject in a systematic way. In passing we must not for its extravagances will be endless. If it consent to e organ, and it will at once be found that the Matthews. Novel features in it are a glossary of Sometimes one of the squares gets twisted so that it fail to mention “A Hand-book of the Bible and play the first voluntary, it will finish up with a long, mlruder makes itself heard, and with most disastrous Ten Anthems of Praise. terms, biographical notes of great organists, and a rube against another and sticks. Sometimes a tracker Church Mu8ie,” by Rev. J. A. Whitlock, giving a full melodious howl, for which no one can hold the organ¬ guide through organ literature.—Frank If. Marling. (long thin ribbon of pine-wood) will warp out of I arker, “The Lord is My Light” (Schirmer). account of Hebrew musical instruments and terms, the ist responsible, and it will give melodious toots during ‘■Further, it is necessary that all notes be sustained place. Sometimes the pin in the end of a roller will Sullivan, “I Will Sing of Thy Power” (Novello). temple service, and a sketch of ecclesiastical music, the prayers which may be responses, but have not been ir exact value, neither more nor less, unless it be Buck, “The Strain Upraise” (Schirmer). with many useful wood-cuts and illustrations. This arranged for; and then in the middle of the Te Deum, bind and require a little grease. If none of these When the first organ re- causes is evident, examine the wire “pull down" which Tours, “Praise God in His Holiness” (Novello). to a large extent supersedes “The Music of the Bible,” through some fit of pure cantankerouBness, it will take theTlbf lty: a"d here again “ difTerence between E ECCENTRICITIES cital is given by a distin- connects the action with the pallet in the wind chest orte ‘nS'r"3 wi» ^ noticed. If on the piano- Randegger, “Praise ye the Lord” (Ditson). by Dr. John Stainer (a work often sought for, but refuge in a stubborn silence. D DEMANDS OF A guished musician, who is and passes through a small hole in the underside of * it K*y bP HeW d0WB 8 IittIe t0° long it win Stainer, “Awake, Put on thy Strength” (Novello). now out of print and no longer obtainable), and “The For six months after the opening the new organ will W ORGAN. brought from a distance, Music of the Bible,” by E. Hutchinson, another scarce the wind chest. Sometimes this wire gets bent, and cian whereat onetdh”CePt * ^‘‘mined musi- Hiles, “O Zion, Blest City” (Ditson). the congregation will re- be in the doctor's hands, and for a year following it work. binds in the hole. It is a small matter to straighten to be annarem . ^ SUCh 8 fauIt eouId fail Cutter, “I Will Lift Mine Eyes” (White-Smith Co.). will not have completely shaken off the habit of a ^ apparent to anyone possessing an ‘ear for d him with awe as an almost supernatural being, it Possibly the trouble is inside the wind-chest This Cutter, “Honor the Lord” (White Smith Co.), For non-Episeopal churches the literature is not gay and frivolous youth, and the congregation will be l will count the event of more importance than a you can generally prove, by slowly working the above- lours, “O Come, Let Us Sing to the Lord” (No¬ 80 voluminous. “United Praise: A Practical Hand- torn between two minds—secret satisfaction when the ival of religion. mentioned pull down. If this seems to be the case, let vello). book of Non-conformist Church Music,” by F. G. organ is not going, and a fierce desire to cart it away ~d being ab,e to continue for morels Lfter the recital is over the great man will improvise the wind out of the bellows and remove the “bung” Edward, a well-known London organist, covers the and have it thrown into the nearest river. seconds, during the whole of which time it is -rradus Short Responses. his own amusement, and when it is possible for of the wind chest The “bung" is something like a whole field of church music, including choir, congrega¬ What between building and renewing the organ, and dying away. On the organ the sound contin^s inary beings to speak to him, a little group of long, narrow panel fastened on the front or back side Shelley, “Responses and Lord's Prayer” (Schirmer1 tional singing, the minister, chanting, anthems, the adding stops to the organ, and tuning the organ, the Ml force for precisely the time the key is kept dm erential office-bearers will ask him what he thinks of the wind chest by L-screws. These screws can be Trowbridge, “Thirty Short Responses” (Ditson). organ, voluntaries, etc. It is the result of many years organ will cost every year in interest on capital and The reason so few pianoforte plavers sucLd in n the organ. He may give a patronizing and guarded turned with a pair of pliers and the bung thus taken Uoyt, “The Lord’s Prayer” (Pond). °f practical experience, and abounds in invaluable current expenditure enough money to have kept a mg part-music with a real legato hoTed te tt iroval, but he will be careful to point out the num- off. disclosing the pallets, etc., in the wind chest Have Schilling, “The Lord’s Prayer” (Schirmer). suggestions, many of them having been contributed missionary in foreign parts or to have supported a perfection just mentioned, as the ear is not ahl of stops which ought to be added, and the number your assistant strike the ciphering key to show you Chanceller, “Ten Responses” (Ditson). minister in a poor district of the city; and what it t>>’ various choir-leaders to whom inquiries on the improvements in action which are absolutely neces- which pallet is connected with it After locating it, Truette, “Fifteen Responses” (Ditson). subject had been sent. “Organs, Organists, and Choirs. costs in anxiety to the organist, who is apt to be v He will, in fact, suggest that they have only the pull it down and examine the upper surface. Any Schilling, “Responses” (Third Series) (Schirmer). blamed for everything, and who has generally to spend Bints and Suggestions for all Interested in Church ee foundation of an organ, and that the completion foreign substance (chips or threads) will prevent the lusic, by E. Minshall, sometime organist and di- an hour in its recesses with his coat off before service, down for the time the brain tells him Ten Choir Selections. 1 take many a year and be an endless opportunity pallet’s closing tightly. Examine the wire guides be¬ rwtor of the music at the celebrated City Temple and to the congregation in chronic irritation, would, be on the pianoforte; and that on th 7 ^ spending. Perhaps he may be good enough to say tween which the pallet moves up and down. Some¬ (Of quiet character.) if reduced to money value and multiplied by the num¬ bear as well as see in/. tha‘ on.‘he organ he c 1 kv. Joseph Parker’s), London, is a cheaper and more /some fifteen hundred dollars, laid out in one or times they are too close together and cause the pallet ber of organ-ridden churches, clear the debt off every Tery slow part-music.) SP King Miller, of Philadelphia; and the service by Mr. tions to leadership, when we consider the utter in- It is not easy to listen well. Most people find it sing quite well, but do not at all know “how” they John Hyatt Brewer, organist of the church. The “ cv of his teachings to meet the general needs difficult to hold the mind upon one subject for any do it. choral work was rendered by the choir of the church— tconstructive work in the lower grades, where ninety- length of time. Concert-goers imagine themselves to Worry not should a vocalist whose singing dis¬ quartet and chorus of forty voices. 0ne-hundredths of the voice-pupils are found. be listening, when, in fact, their attention is frequently pleased you be loudly applauded. Old 6tagers have The next Public Service will be held April 26th, at The claim seems to be that one rather negative for- more or less diverted from the singing to other little ways of their own of “fetching the house,” at the St. Agnes Chapel. 1& is applicable without modification through a matters. the end of a number. And then, you may be wrong The next examination of the Guild tor associateship “ of years and to all kinds of pupils, to correct The listener must concentrate his attention upon in your judgment. will be held Juue 12th. faults or build the voice and to prepare for any and the particular items under examination. Remember that great art “conceals art.” The diffi¬ all kinds of singing. To pretentions like this, some one The vocal student should listen without prejudice. cult in the hands of the great artist appears to be rives such enthusiastic adherence that we are advised The student usually delights in discussion of easy. If a singer betrays great effort, he is no artist. in print to forget all we ever thought we knew about “method”; he has “method” on the brain. With him, You will imitate the artists you hear; it is best While much has been this stage that the need of serious attention to it U Mr. William S. Chester, for twelve years organist voice-culture—all that others have taught or our own devotion to a method too often means antagonism that you should do so. Yet such imitation has its LIVING THE written and said concerning important, for, while, like the elements,-fire and and choirmaster of St. George’s Church, New York, experience proves to us—and follow this prophet. toward those who do not profess it, and this is a dangers. Ask your teacher about it. MUSICAL LIFE. the details incidental or water—it is a good servant, it speedily becomes a died February 22d, after a prolonged illness. The Some years ago a magazine article gave the experi¬ serious hinderancc to good listening. Vocal teacher Don’t grin when singing high notes merely because neeessary to a successful ca¬ bad master, and it is here that the words quoted above funeral service was held at St George’s Church, and ences of an American girl who made great sacrifices and student would do well to remember that (in the Madam Blank does so. Perhaps the Madam was born reer as an artist, the musical life as a whole has not apply, which are: “Do not use,” etc. The word “use” was attended by a large delegation of members of the to go to London and have a course of instruction words of a current slang phrase) “there are others.” so and cannot help it if she would. Now you see the been too much dwelt upon. It comprehends the con¬ applies to rendering, not to practice. American Guild of Organists, the deceased having under one “Francis Bacon” (understood to mean this All wisdom as to voice-culture and use is not to be point of the remark about “imitation.” trol of tendencies, the creation of atmosphere, and In the correctly-formed tone the vibrato is sus¬ been an active member of the Council of the Guild. Mr Shakespeare), but who found the returns ex¬ found under one hat. Singing out of tune is not always caused by a “bad various purposeful adjustments relating to the round¬ ceptible of elimination, and during practice the pupil tremely scanty except in the matter of prestige. It Do not confound the composition with the singing. method.” A “bad” stomach is sometimes to blame. ness of the musical character. The rapid pace of should have gained by experience absolute certainty was a true and accurate portrayal; but except for The primary question for the vocal student is as to Physical ease of production and beauty of tone go progress has left far behind the days when general as to whether the vibrato could be employed, modi¬ calling out a deal of abuse for the writer and lauda¬ the singing, not as to the merits of the composition. together. Without the first you cannot have the sec¬ culture could be said to be the highest type of fied, or omitted at will. This point gained, it can be F. M.—The Oliver Ditson tion for Mr. Shakespeare, it seemed to have little Some people praise the “singing” when in reality it ond—in its fullness. culture. Those who live the consistent musical life QUESTIONS AND Company publish a small introduced (which is perhaps a better word than used) is the music which has pleased them. The reverse Listen for good tone-quality, a true legato, tone¬ live in a world by themselves. While the other arts in rendering. effect ANSWERS. book of anthems entitled Perhaps a partial explanation of the Shakespeare is also sometimes the fact. coloring, shading, accentuation, punctuation (phras¬ and the sciences may warm them by the radiating Clara Butt, the charming young English contralto, “Eleven Anthems for Gen¬ vogue is this: among the intricacies of voice-culture, Separate the items of tone-production and style in ing). Note the artist’s skillful adaptation of his vocal glow, they call forth no responsive warmth in kind. who made a short tour in this country last season, eral Use.” These anthems are standard works from a slow process which must be worked out amid endless the performance of the singer. Unfortunately, certain resources to expressive ends. Mark the difference in It is only by the fire peculiar to themselves that understood perfectly the value of control of the vi¬ the best composers of church music, and many of them complications and peculiarities attendant upon human artists have so much temperament, musicianship, and the manner of delivery of music of varied styles—as, warmth and light are given, and it pales quickly if its are in the library of nearly every choir of our larger brato. In some of her songs where she wished particu¬ platform “appearance” that they are able to deceive for instance, what Sembrich does with Mozart and search is not rewarded by congenial conditions. Dilet- nature and social conditions, the teacher often finds cities. The little oook will be found useful for your larly to produce a cold or weird effect, she abandoned the very “elect” among whom are some able profes¬ then with Brahms. tanteism only acts a part in the musical life. It deals himself so perplexed and discouraged that he is glad choir and for others similnrly situated—some distance the vibrato and sang tones so steady and cold that sional critics, so that faults of voice-production, ruin¬ And do not become a blind worshiper of man, with effects, never with the causes or realities funda¬ to fall back upon some simple proposition or formula from any music store where music can be examined. they were almost unearthly in their gruesomeness. ous to the voice and deserving of comment, arc over¬ woman, or “method.”—F. IP. Wodell. mental to these effects. for teaching which is offered with a show of authority. This question of control cannot be too carefully con¬ looked. 0. G.—1. “The Interlude,” a book of three hundred The musician is a slave to his profession. He must This refuge Mr. Shakespeare offers the profession; sidered. It is the organist who constantly uses the Judge not a singer upon all the points that go to and twenty-four hymn interludes, by Richard I.yon, be a willing slave, or the musical life is incomplete. and, as his formula is of actual benefit to advanced tremolo stop and the vocalist who never abandons make up what is called “good singing” by one per¬ The nervous system ex- published by Oliver Ditson Company, contains two Once he realizes his thralldom and fully yields to it, singers, he has the apparent proof of fine results. I the vibrato who reveal their meagre grasp of the ex¬ formance. A singer is human, a man or a woman, THE NERVOUS erts an influence upon the interludes for each one of one hundred and sixty-two his stake is driven and he builds around it, enlarging do not deny that his formula is valuable at all stages pressive possibilities of their instruments. The other subject to like variations of health and mood with SYSTEM AND ITS singer greater than most hymns which are mentioned. These interludes can and beautifying his possession until be fully exempli¬ of vocal development; but if one relies upon it en¬ point taken up by J. L. G. is one that I am incredulous yourselves; usually sensitive to surroundings; influ¬ INFLUENCE UPON persons realize. Indeed, in also be used for other hymns. The book will be fies the musical life. tirely for progress he will be pretty sure to occasion concerning its soundness. The word “press” is used enced for good or ill by a thousand things compara¬ THE SINGER. its varied relations, it is serviceable to you and all others seeking interludes. What a dreary failure is the man who takes up the complaint which Mr. Shakespeare often makes, relating to the mode of securing resonance. I have tively unimportant in themselves. An ill-chosen se¬ more of a mystery than is Another book entitled ‘Two Hundred and Fifty Easy music in a half-hearted way, for the money there is in that pupils won’t stay with him long enough. And never been successful in bringing voices to the even, lection, an unfavorable accompaniment, a hostile con¬ electricity; it is a mystery that man has not been Voluntaries and Interludes,” by Zundel, published by it, because of the glamour of its brilliant phases; or this recalls a remark made to me by a London musi¬ well-poised, floating tone by associating the vocal ductor, or an indifferent audience, any of these may able to penetrate or comprehend. In investigating its the same firm, gives two hundred and forty three in¬ who find9 himself in it because of outward influences cian of eminence. Speaking of the teacher in question, effort with a physical cause. It is possible, perhaps, cause an artist of ability to do himself far less than wonderful influence, one is carried beyond this life terludes in various keys and with various rhythms. rather than inward impelling; such fail to realize the he said, with a meaning smile: “You find his process to use such a term with safety in exceptional cases, justice upon a particular occasion. out into the realms of immortality. 2. “Organ Voluntaries” (Ditson) contains as many true musical life. They live in a superficial or dis¬ rather slow, don’t you?” but it suggests to me too much haste for the results Prepare for listening by studying the numbers to be This unfathomable nervous current, controlling pieces which can be played on a one-manual organ as torted atmosphere and negate every tendency toward In an interview in the New York Sun Mr. Shakes¬ to be permanently beautiful, even if they were im¬ sung. Know words and music “by heart.” A score in every thought of the mind, and every action of the any book of which we know; but nearly every collec¬ progress and truth. peare is reported to have said that in some sense mediately satisfactory. My phraseology in such in¬ hand is a hinderance to the best listening. The act body, has more influence upon the singer, in its exhila¬ tion of pieces requires, at least, a two-manual organ The musical life is creative. It writes; It does not Bispham was his only representative American pupil. stances is: Do not sing louder, but with more vitality. of writing—marking “points” on the score—distracts rating or depressing effects, than upon any other class for the larger part of the compositions. say: “too much stuff has already been given to the Now, considering the great array of intelligent, gifted Do not press, but vitalize; make not a physical, but the attention somewhat, and something of value in of individuals. If one has serious mental trouble, the world, ^ I’ll content myself by interpreting others’ Americans who have sought instruction in that quar¬ H. C. L.—In playing Mendelssohn’s “Wedding mental, effort for the vigorous tone. In this way I the performance may thus be lost. nerves become debilitated, the tone loses its quality, works. Or, It teaches, It does not complain because ter, that is a rather serious arraignment. If they March” at weddings the tempo should be about M.M. the voice gets out of tune, and singing is a constant usually succeed in making it clear to the pupil that had been given correct, fundamental, comprehensive The genuine expert, the musical and cultured 144 to a quarter-note. all the soil does not yield pure gold, but with patience effort. As the motor nerves control all the muscles the physical activities which must, of course, inevi¬ principles very many would have worked them out listener who, through study and much hearing of good examines the quartz for hidden treasure. Again It of the body, it will, of course, be understood that they W. J. P.—1. There is a monthly journal of organ tably accompany vocal effort follow or arc the result music knows the “how” and “why” so well that he reads; It does not content itself with its own experi¬ during all these years, and would have been found de¬ control the muscles which govern the contraction and (pipe) music published in New York by William E. of the properly-taken tone rather than the physical is unconscious of being conscious of it during a per¬ ence, but places it against the aggregate for verifica- sirable to be cited with Mr. Bispham as specimens for relaxation of the vocal chords, also the action of the Ash malt. cause for it. formance, and is only really conscious of pure enjoy¬ .on It organizes; It realizes that organization is other Americans to emulate. The simple fact is that muscles of respiration. If the motor nerves become J. L. G. can readily see that we differ very materi¬ ment in the performance, is the truly happy listener. 2. For a program made up entirely of American he keynote to a steady improvement of the art and only by means of great native ability and strong per¬ weakened from overwork, or sickness, singing in tune, ally as to the mode of arriving at what I am sure He has passed through the youthful stage where tech¬ composers of organ music select some of the works of sonal friendship on the part of pupils can such or with power, will be impossible, respiration will be ! a;ti3tS’ And’ It absorbs; It are both aiming at; that is, a perfectly free, pure, nical ignorance was bliss; through the student stage, Horatio W. Parker. J. R. Paine, J. Hyatt Brewer, hangs the latch-strmg out to every thought or sug¬ specialized teaching as this be presented to the public impeded, the voice will become weak, and, in extreme where each performance was a complex problem, and, and enduring tone. as an educational system. Because it is so presented Arthur Foote, Harry Rowe Shelley. Dudley Buck, gestion which makes warning for a hearing. Such Is cases, entirely lost. * » * not being a vocal teacher or a professional music critic, Homer N. Bartlett, S. B. Whitney,' H. M. Dunham, the musical We. He who lives it lives Meed and end is thus made to stand in the way of real progress, When weakened by sickness, the voice does not re¬ fixes not his attention upon technical matters in order George E. Whiting, and others. his reward is great, though often unrevealed excepting [The following article from I venture to call it in question with these remarks, in turn to its normal condition until the body regains that he may afterward comment upon them. He For rompoaitions in the larger forms may be men¬ MR. SHAKESPEARE’S “A Chicago Teacher” is Fr‘ response to The Etude’s request for a discussion of its entire vigor. The voice is never strong when the tioned: listens not as an analyst or dissector, but as an appre- METHOD. tinent to the articles that fie subject. body is weak. If you would keep yourself in good eiator. Great is the joy of such, and few there be “Sonata," in E-flat. Buck (Sehirmer). appeared in the two preced¬ A Chicago Teacher. voice, keep the body strong; in other words: keep who attain unto it. “Sonata," in A-minor, Whiting (Schmidt). * • * ing issues concerning Mr. Shakespeare. I regret that the nerves strong. When one is in poor voice, having Vocal students must listen analytically for purposes “Sonatas," in G-minor and A-minor, Dunham it arrived too late for the April issue, but those who no cold or catarrhal trouble, it will always be found, (Schmidt). AGAIN , 5!Y ?h°rt artide °n vi- of instruction-yet, as has been intimated, not with followed the subject will read it with interest- The third and last topic upon investigation, that it is attributable to some malice, or prejudice, or delight in fault-finding Items “Variations on the Austrian Hymn.” Paine (Ditson). VIBRATO-SINCING. —Vocal Ed.] ?TEN AND is “How to listen.” The per- cause producing nervous debility. Never expect to of tone-production and style will claim their attention. “Grand Fantasia” in C-minor, Bartlett (Sehirmer). f-ARX. Up former is affected by the sing well if you go to your singing-lesson tired. Some¬ Mrs r T p Q, sp,cy and earnest letter from Chicago, March 21, 1W®- It is wise to hear many and often, to withhold judg¬ “Concert piece ” in E-fiat, Parker (Sehirmer). mental attitude of the lis- times a pupil leaves home in good voice, but, when she To the Editor of The Etude: ment until opportunity has been afforded for compari¬ 3. We do not think that I. V. Flagler has published r- The latter will obtain more pleasure and in- reaches her teacher, finds she cannot sing. Why? Be¬ son of voice with voice, singer with singer, in the same any collection of organ-music since his “New Collec¬ I notice in your columns the republication of A -truction from a performance when his mental attitude cause, fearing she would be late at her lesson, hur¬ tion of Organ Music.” Chicago Teacher’s” letter to a daily paper regarding . singer is one of kind interest than when it ried, thus weakening, by excitement and overwork, Mr. Shakespeare’s teachings upon voice-culture, as re¬ 4. There are several compositions founded on church , °ae d cold-blooded indifference or more or less ac- the motor nerves of respiration, as well as other nerves cently made prominent here by the presence of t* hymns, hut they come only in sheet form, amonz lte hostility. called into active exercise in singing. Often a pupil gentleman himself upon the lecture-platform, and the ^CreTsinirs do not aheuys produce good tones. which are: ^or Ike good, the beautiful, in the work will leave her home earlier than usual, in order to Do not expect the impossible. . „ “Variations on Jerusalem the Golden,” by Spark wide advertising of his hook dealing with the subj f c singer. The listener whose habit it is to hear spend a few hours shopping before going to her sing¬ through the perfection nf k * become conscious Do not be troubled if a singer breathes wrongly (Novel lo). One small error crept into your reprint: instead *t ®gm with the one desire of making adverse, de- ing teacher; the result is fatigue and a poor lesson. defining messa di voce as that action or condition ot vet produces good tones. Yon can always say that “Variations on Nuremberg, Sicilian Hymn, and •i«. ..d “ o. d«- ia h Ve criticism is become a musical dyspeptic, and I would emphasize that, in order to sing well, the his tones would be stiff finer did be breathe as you do Auld Lang Syne,” by Thayer. W MMrted iu,|f a, a part of .,7”’ t°ne the vocal organs which gives “the maximum ot ' u*- °ut, by his own act, from the full enjoyment singer must be rested in mind and body. All who It creeps into the tone so in-a- vocal equipment. * not astonished if you fail to grasp fully a great “Offertoire on Ten Christmas Hymns” (Portuguese fort,” the reading should be: which gives the maxi¬ much that is excellent in a performance. His con- depend upon the voice for success, be it singer or singer’s “method” at one hearing. He may not have Hymn), by Guilmant (Sehirmer). mum of tone for the minimum of effort. speaker, should lead a restful life, mentally and phys¬ cU1 syllable sung must be articulated with precision, that and profuse tone-color effects, his instrumental advice to the student of harmony. then, if he has appreciation as well as technical knowl¬ well to give one's self the benefit of un hour’s sleep; here, be guided largely by tbe accidentals (extra the audience may understand as it hears. And the being of almost Oriental magnificence. With h edge, he may experience the indefinable delight of it would quiet the nerves, rest the wind, invigorate sharps or flats) which appear; but not entirely. First basis of the whole art of singing is the proper manage- “Sakuntala” overture, composed when niMtZ knowing and feeling, immediately, the import of every the body, and give to the voice a more powerful and of all, let him beware of confounding essential and better quality of tone. meat of breath. years old, Goldmark astonished and delighted th" Br PERCY GOETSCHIUS, MU9. DOC. tone he plays or sings; for this habit of analysis, so non-essential tones in this very particular. An acci¬ 1 sing no less than eighty-five operas, some of them, There is no one spot of the human frame-work that musical world, and his subsequent opera, -Qu * easily acquired by the harmony student, enables one dental which merely marks the presence of an embel¬ like “Lohengrin,” for example, in three languages— needs so much strength us that, of the spinal column. of Sheba” and the beautiful symphony, “The to peer down to the innermost depths of the com¬ lishing tone (as a very large number of accidentals, viz., French, Italian, aud German. During my career tic Wedding” secured him everlasting respecttf poser’s thought and purpose, easily and swiftly. perhaps the majority of them, do) has no weight in It is the source from which start out the nerves upon IV. Analysts. 1 created seventeen parts between Milan, Paris, and their life giving journey, and one can only be at his not immortal fame. Goldmark’s influence is mosl The harmony pupil who can adopt, and accustom determining the key. By applying the first of the two best uheu this life-current is healthy and vigorous. London—namely, in “Aida,” “Herodiade,” "Le Cid,” salutary, and, far from being merely strikingl Much too little stress is laid by the teacher (and, himself to employ, this unique safeguard, may, I re¬ rules just given,—by looking ahead (this time over —J. Harry Wheeler. “Patrie,” “Abeii Hainet," "Demouis,” “Velleda,” gorgeous, liis music is characterized by sweetoea consequently, by the student) of harmony as I have peat, begin his analytical work as early as he desires. several beats),—he will probably succeed in deter¬ “Elaine,” "Sigurd,” “Lady of Longford,” “Giaconda,” and purity of sentiment, and is almost always reason to believe, upon the analytical side of the study He may, at the start, study out the intervals (that mining whether the accidental is legitimate or only Rossini's ideas as to what "Re di Lahore,” “Maria Tudor,” “Don Giovanni lavishly romantic. ” of music. The teacher is far too apt to ignore, or to being usually the first item of explanation and exer¬ transient. If it is the former and indicates a change ROSSINI’S AND a singer needs were, first, d’Austria,” "Simon Boccanegra,” "Figlinol Prodigo,” neglect, the advantageous combination of analysis cise in standard text-books), in a hymn-tune, or, of key, the accidental itself will help to define what SCHUMANN, Clara Josephine; born September 13 VERDI'S IDEAS ON voice; secondly, voice; and, and “Elda.”—Edouard de Reszke. with the regular practical exercise of the pupil; and better, in any comparatively simple piece of music he change has taken place; if, for example, after having w • • 1819; died May 20, 1896. One of A SINGER'S thirdly, voice. Verdi’s ideas the latter is unlikely to realize—if he chances to give may he learning to play or sing; at first, naming the been in D-major (2 sharps), a G-sharp asserts itself, the most excellent lady pianists of modern times. REQUIREMENTS. arc widely dilTerent. As a It seems almost superfluous to state that cleanli¬ the matter any thought whatever—that he has any intervals as they come; and afterward picking out cer¬ it is obvious that there are now three sharps (G being She was the wife of Robert Schumann, and to her writer in the "Rail Mall Ga¬ ness of the body is an important feature in voice- right to indulge in the analytic pursuit, or to know tain intervals,—perfect octaves, perfect fifths, minor the “third sharp”); hence the key is either A-major belongs the honor of being the most influential zette,” who visited him, writes: Singing with most culture, and yet, in order that this very important how to set about it if he had. thirds, major sixths, etc., etc. or (less probably) F-sharp minor; if, on the con¬ factor in spreading and sustaining the musical ac¬ people, or, rather, in the opinion of the majority, item to every condition of good health may not be And yet there is scarcely any other line of studious When he has learned the rules of chord-formation, trary, a C-natural asserts itself, one sharp has been tivity of her husband’s genius. As an instructor teachers included, means “voice-production,'’ and little overlooked, it is repeated. No person is ever possessed effort so directly, broadly, and convincingly instruc¬ he may endeavor to find and name the chords in his canceled, and the key is either G-major or E-minor. she was very beneficial, her pupils numbering else. So thut if you get a nice tone, a pleasant qual¬ of a good, strong, resonant, and healthy voice whose tive, and at the same time so keenly pleasurable and piece, and will probably begin to look with increased Which of these it is depends—like the ultimate deter¬ many and proportionately since become known. ity, and a sufficient volume of sound, if your intona¬ digestive organs do not perform their functions regu¬ encouraging as the examination of classical music, or interest upon the manner in which the composer has mination of every modulation—upon the aggregate of tion is correct, and the voice generally steady, you tones represented upon two or three successive beats, larly, and whose blood is not in constant and proper RAFF, Joseph Joachim; born May 27, 1822; died in it least good music of any school, with a view to counted the chords, and also what chord-successions are put down as a singer. With Verdi all these qual¬ he has employed. In this pursuit he is by no means which must suffice to define the prevailing scale. circulation, and no one can keep his digestive organs the night of June 24-25, 1882, at meeting and recognizing old acquaintances of the har¬ ities, undoubted as they are, go for nothing as qual¬ unlikely to discover a number of most significant gen¬ The difficulty is greatest where chromatic progres¬ properly regulated nor can he retain healthy circula¬ Frankfort. One of the most distinguished of mony-class (enemies there, but friends now in their ifications. His opinion is that “non s'impara u cun- eral facts, of which his text-book makes no mention, sions occur; for these, if frequent and persistent, re¬ tion of the blood if he neglects the important element modern composers, remarkable for being of frank cordial surroundings), and confirming by actual per¬ fore," you cannot learn how to sing; no, you must simply because they lie outside of the domain of the duce analysis to guess-work, more or less completely. of cleanliness of the exterior anatomy. The bath, new-romantieism tendency, yet composing in the sonal observation the existence of the harmonic fac¬ have it in you, and by singing he means accentuation, “text-book,” as such. Still, even in a chromatic labyrinth, the nature of the therefore, and a proper amount of healthful exercise old accepted forms. His program-music is won¬ tors, and the given rules that regulate tlieir uses and articulation, soul, aud enthusiasm. The most beau¬ In analyzing the chords upon his printed page the chords may be confirmed, and, by widest application of all the muscles of the body are absolutely essential derfully thought out, particularly his “Forest” treatment. To find the troublesome “chord-seventh” tiful voice on earth meant nothing to him without pupil will soon observe that the vertical column of of the rule of consulting the following beats, sufficient to the possession of a rich and resonant and thor- symphony. In his later life Raff became very in a sonata of Haydn, Mozart, or Beethoven, or even these, and he would not accept any arguments in tones often differs from the arrangement prescribed in bearings may be found to define at least the generally oughly-natural voice. prolific, his standard works numbering over 200. in a hymn-book, invests that factor with an interest proof of possibilities of teaching to accentuate. “No,” * * * his rules for the erection of a “chord”; such columns prevailing tonality. Though a serious composer. Raff often wrote it never could arouse or command in the harmony he positively shouted, “you must feel the accents,” of tone are then not “chords,” and he mnst beware of Another source of embarrassment is the occasional Coaching a Valuable Voice.—“Every morning 1 liastily-gotten-togetlier sketches of inferior rank. exercise; robs it of its dead weight, its wearisome and then be told us how oucc he was couching a cele¬ calling them such. They are tone-associations that evidence of a violation of some “rule” of the revered try my voice critically on each note within my range. Besides his “Forest” and “Leonore” symphonies, mechanical complexion, and imparts an unexpected brated singer in a part that just suited his splendid belong to the realm of inharmonic tone-bodies, and text-book. In the presence of such a suspicion, let the 1 examine it with a microscope, so to speak, and his piano-works are mostly widely played and vitality as well as dignity to it. And to discover that voice. Tire man would have been the success of the one or more of the component tones are non-essential. student be more than ordinarily careful to assure him¬ wherever 1 find it even a shade below what I think I seldom fail in effect. it is led reverently downward (just as the tiresome opera, but for his inability to understand what Verdi self that his own analysis is correct. That, in itself, can do with it, I practice until I bring it where I think old harmony rule declares that it should move) estab¬ The pupil’s course in regard to these enigmatic bodies wanted. “I was asking him to give me more accent, is worth the cost of a possible slip of the composer’s it should be. MOSCHELES, Ignaz; born May 30, 1794; died March lishes a degree of confidence, a feeling of proprietor¬ is very clear: he is mindful of his fundamental rule, and he was giving me more voice; then I sang to him, pen. If it lie the work of a great master, the pupil “Campanim once said to me: ‘I cannot keep my 10, 1870. Distinguished piano-virtu¬ ship, in the rule, that swells the pupil’s breast with and quietly passes by all incomprehensible columns, and he repeated phrase after phrase correctly; but may safely assume that there are reasons for the (ap¬ voice in proper shape without my daily practice. If oso and more especially famed for his teaching satisfaction and delight,—and, best of all, demon¬ mentally determining to leave them until he shall the care of accentuating was so patient that the whole parent) violation of “rule,” evident enough to the 1 omit it one day there may be, when I sing at night, abilities. Moscheles’s music is characterized by a strates that he is truly growing into closer touch with have reached and studied the various species of non- became worse and worse, and 1 had to give the man ken of genius, though beyond his own, yet crescent, no perceptible difference in the quality of my tone; certain pathos, amounting sometimes almost to these real live products of refined musical thought. essential, or embellishing, tones. Further, the. chord- up. You must be born with accents.” powers of critical vision. Rules of “harmony” often if I omit the practice two days I detect a failing when affectation, a distinctive grandeur, solidity in For these reasons, I have learned to estimate analy¬ structure which stands upon the beat, and manifestly vanish before the conditions of “form”; narrow re¬ 1 sing in the evening; but if I omit it three days my rhythm, and harmonic treatment. In 1846 Mosch- sis as one of the most necessary parts of the music- governs that beat, may, in some part or other, be at¬ When "Romeo ct Juliette” strictions relax and disappear under the jurisdiction audience notices it!’ eles settled in Liepzig, devoting his energies stndent’s education; and would therefore urge its tended by tones not included in the regular chord; ON THE ART OE was transferred from the these, also, are auxiliary tones, “grace notes” in a cer¬ of broader laws. Should he find a “brace of fifths,” “As fqr me, I am studying all the time. I think I toward the advancement of that musical institu¬ early and constant pursuit upon both harmony teacher SINGING. Opera Comique repertory to tain sense, about which he need give himself-no con¬ so flagrant as to be beyond all palliation,—say, in can say with truth that I am able to accomplish to¬ tion and appreciably influencing the cause of and harmony pupil with peculiar emphasis. that of the Grand Opera, cern until he has learned to define them. Beethoven or Bach,—he may glory in the prospect of day what wa3 impossible for me to do a couple of music into certain and marked progress. But here, again, the pupil stands in need of careful again Gounod intrusted me with the part of the Friar. When he has reached this point, has become familiar freedom thus opened up to his own future! 1 sang under his baton, as well as under Verdi's and years ago. I hope to do more and better things in the advice and direction, for there is no little danger of HELLER, Stephen; born May 15, 1815; died January with the harmonic bodies, and can quickly discover In this connection reference may be made to the Rubinstein's. Initially, 1 sang only in Italian and al¬ future than I do to-day. There must be a constant his doing himself more harm than good, of retarding, 14, 1888. A most interesting person¬ the presence of tones foreign to the chord, he will at undeniable faults of notation, which harass the stu¬ most exclusively Italian works. All my vocal studies development in any good work, otherwise there will rather than promoting, his substantial progress, by ality as man and composer. Living principally in times experience no little difficulty in determining dent’s analytical effort, even in the great masters’ were directed toward the mastering of the art of brl surely be retrogression.”—Hadam Eames {Harper's prosecuting his analytical studies clumsily or falsely. creations. Here, particularly, the pupil must be Bazar). Paris, Heller early became widely appreciated as which tones are to be regarded as essential (that is, canto-. but, of course, without neglecting the principles If properly conducted, the attempts to analyze the mindful of the fundamental rule given at the outset, pianist and teacher. His compositions are entirely defining the actual chord-form), and which are non- of lyric declamation. In fact, the art of singing as harmonic contents of good musical sentences may be and simply defer the minuter analysis until his more for the piano, and opened up a new field of com¬ essential, or auxiliary tones, serving only to embellish understood by the old singers, whom I was privileged made very early indeed,—practically from the very thoroughly trained vision shall enable him to detect position, being curiously free from overloaded the true chord-form. For example, if the tones G-C-F yet to hear, embraced much more than is generally beginning of the study of harmony. In order to indi¬ the composer’s purpose even through a misleading YEARS PAST. sentiment and approaching, in their freshness and ace to be associated one above another upon a cer- supposed to-day. It certainly comprised declamation cate a9 definitely and safely as possible what will in¬ delicacy of feeling, the poetry of the early English. beat, .they may be accounted for in three different medium. in a high degree. The current notion is that adepts of sure the proper guidance of these attempts, I would Fnally, with reference to the choice of works suit¬ WAGNER, Wilhelm Richard; born May 22, 1813 Heller delighted in suggestive titles for his pieces, rg, with nearly, if not quite, equal plausibility: 6W canto pure and simple cared merely about beauty formulate, at the outset, the following fundamental able for analysis by the comparative beginner, the fol¬ Leipzig; died February 13, 1883 and lie rarely failed in realizing his ideal. His the true chord-form may be G-C-E, with I as era¬ of tone, vocal gymnastics, and dodges in voice-produc¬ principle of analysis, as a perfectly trustworthy safe¬ lowing general advice may be offered: Preference ' en'ce- of the greatest composers of all t: compositions and studies are to-day prominently sing tone of the E; or (2) the chord may be tion. Not a bit of it. Tiiey all knew how to underline guard, namely: That the student shall not undertake should be given, of course, to classical writings, not Wagner followed in the steps of Gluck, Mar used and universally respected. -F, with C as embellishment of B; or (3) the their phrases with accents, variety of expression, and to account for everything he finds in the sentence, but only because they are likely to be the most perfect, ner, and Weber by emancipating frqm the ste rd’mav be A-C-F, with G as auxiliary of A. coloring the voice; and therein lies all the secret of HENSELT, Adolph (von); born May 12, 1814; died shall content himself with recognizing and naming and afford the most wholesome and inspiring atmos¬ typed Italian form the opera or music-dram: j such dilemmas the pupil may resort to the fol- lyric declamation. Coloring the voice is, of course, only such of the tones, chords, or keys as are quite phere for the advancing student, but also because October 10, 1889. An eminent pian¬ ing two general rules: First, glance ahead to the only a figure of speech; what I mean by it is that it is to-day. By the introduction of lea< ist who formed an independent school of piano easy of comprehension to him at the time and will they are, as a rule, the simplest, and easiest to ana¬ the character you give to a vocal phrase should be so motives Wagner bound the action and text of t beat and observe what has taken place; from playing, based on a strict legato, though not un submit to simple definition after a fair amount of lyze. But these neither must nor should be the only distinct as to convey to the hearer the sense of the opera with the music, and in his later wo movements of the parts the harmonic intention of like Liszt’s. Henselt more especially distres truly thoughtful scrutiny; that he shall simply ignore grade of literature used. As I have said, the better situation, even if the words-are not understood. Some¬ Tristan and “Parsifal,” he abolished the s< composer may generally be interpreted ^'irately himself about the stretching of the hand, an 1 °mit), with almost studied superficiality, so to speak, class of pieces usually assigned by the teacher, for time* you have to alter the character of your voice form entirely, writing a sort of endless recita easily- the solution of the above threefold nddle wrote an elaborate book of extensive studies o® *11 that appears decidedly unfamiliar, or baffles defi¬ piano or violin, or vocal practice, may be taken; or altogether, so as to suit the part dramatically or for the singers and reflecting the general sch | depend simply upon which of the three suggested the subject. As a pedagogue and composer he nition after a few seconds of sincere concentration; even,—though with vastly greater exercise of pru¬ vocally. For example, the kind of speaking voice that of the play m the orchestra with a minute de rd-fomis asserts itself during the following beat or was highly respected. ® * word, that he shall voluntarily and smilingly dence,—the church hymn-books. Of the masters. does for Leporello would not answer for Marcel in that many claim to be rather detrimental t tg for the identity of a body of simultaneous tones ~ whatever he does not readily understand,— Mendelssohn is prohablv the best for analysis; next, “The Huguenots-” And again you must color your ends upon what it does (how it moves), as a gen of WaWr'3 Writin«s embrace a large MASSENET, Jules Emile Frederic; born May ft realizing, of course, as he does so, that it is only a Beethoven, Mozart, Schubert, Haydn—later on, Schu¬ voice differently for “Mephisto” than for “Don" Ba- I principle. Second, in the absence of clear ev. «ther w th vPrin<'ipaIly nU1Siea1’ and the« 1842. In later years grown to be tM lfmporary postponement. mann, then Chopin, and Brahms; Wagner, Liszt, silio,” for the King in "Lohengrin” or Tristain and pether with his operas mark an important c. ce put the simplest construction upon the tones most important French composer now living- . | ^iterate this fundamental “rule of analytical pur- Grieg, and other modern writers should be avoided by Rodolfo in the “Soonambula.” m musical history that is impossible to o v-' do not regard it as a subordinate chord, lilt a steady series of remarkable works Massenet thus lengthily, because of its vital importance, the beginner. Last of all comes Bach, the greatest, Once you are master of your voice, having its full estimate. On May 2^ 187^ ‘nossibly be demonstrated as a pnne.pal one; do risen to popularity, and his orchestral coglP^' ^e ruie will need to be followed but a certain length most ingenious, most perfect, but also most complex range under command and control, your industry mnst it a subdominant chord, if it can be accounted tions are universally played. Since 1878 Masses!*1 bme, varying, probably, with variously endowed of all the masters. On page 236 of my “Material Used be applied to these all-important details: and. above as a dominant or a tonic chord. is the professor of composition in the Cense-’ v?S’ 48 h® advances, he will have less and less to in Composition” may be found a carefully graded list all, to articulation. What is song but speech writ GOLDMARK, Karl; born May 18, 1830. at Keszth ’rnhablv the most confusing element m analysis is toire. His principal works embrace three gr ■P. in this way; the circle of doubt, apparently of w orks for special analytic practice. large* And as every word of the orator, if it is to tell, i Hu"P»,7- One of the greatest sacred dramas, thirteen operas, five grand ore raudable drat’ narrow down more and more, mnst reach the listener with d is tine mesa, so every chestral composers of modern times Cni i trai suites, orchestral fantasies, overtures, 1 last (and surprisingly soon) every tone and (To be continued.) many pianoforte pieces. or MUSIC IN THIS ISSUE. The Etude is growing more and more into popu¬ One of the best musical novels is “The First V i- of the celebrated “Ben-Hur Chariot-Race March.” I can cheerfully recommend Goodrich’s "Theory of Charge of the Light Brigade March,” “America For- lar favor. Our subscribers express satisfaction when¬ by Jessie Fothergill. No doubt many of ourTk. Interpretation” as being a most valuable addition to The opus 51, No. 1, the “Military March” of ev®r> “New York and Coney Island Cycle March,” a musical library, and a book which no student should ever the occasion presents. Very few fail to send in scribers have read this. We are at the present h? and his recent characteristic piece, “A Warmin’ up in be without. " (Mrs.) E. S. Wagoner. Schubert’s, forms one of the seven marches written by renewals, and we notice an increased interest in clubs publishing a new edition, in cloth, of this po T* Dixm. Mr. Pauli’s compositions have a brilliancy him for four hands at the piano. As the date of the I write to congratulate you on your selection of especially, where one person sends in three subscribers work. We had hoped to deliver it before this' and dash in them that make them universal favorites. bright, pretty, and well-graded pieces for pianoforte original manuscript was February 28, 1827, it is in¬ The editions are without any exception the hand¬ and gets a renewal as premium. Our clubbing list is went to press. It will positively be delivered dud? in Volume I of “The Modern Student.” somest on the market. Catalogue and special rates the present month. To those who order before J teresting to note that also in this year Schubert failed O. H. Evans. most liberal; when two subscriptions are sent in at are named for the benefit of the readers of The ia getting the position as capellmeister of the Kaemt- one time they are $1.35 each; where three at one 1st, we will send a copy for 40 cents, postpaid?! Etude. The Etude is doing a great work in the world of nerthor Theater. Also in this year Schubert gave his To any of our subscribers time, $1.30 each; and so on down to twenty sub¬ cash accompanies the order. This edition wiUu music, and I, who have been a close reader since 1889, first and only public concert. The “Military March” WANTED BY A TEACHER WITH SEVEN YEARS’ am one of its largest beneficiaries. N. E. Craig. scribers for one dollar each. Send for our premium superior to any that has ever appeared of this work- RENEWAL OFFER renewing their subscription experience—a position in a college to teach piano. is one of great brilliancy, and is by far the most I have received The Etude for eighteen months, FOR MAY. during the current month list. Sample copies free to those who wish to start from new plates, printed on good paper, and win ha? References furnished. K. M., care of Etude. popular of the easier four-hand Schubert compositions. and now feel that I cannot be without it. I prefer and sending us $2.00 instead a club. sixteen illustrations. Do not neglect this opportunity FOR SALE—VIRGIL PRACTICE CLAVIER Good The Etude to all other musical journals I have taken. to get at least one good book for summer reading. ' Written at the age of thirty, the composition betrays of $1.90, we will not only renew their subscription for as new. Address: Mrs. J. D. Slayden, Clarkes- Alma Hansen. great dignity and a wonderful wealth of melody, such twelve months, but will send them, also, any selected * * • ville, Tenn. as perhaps has never been found in any other march Every order I have sent you has been filled most five grades of Mathews’s “Standard Graded Course of The several new premiums which we have men¬ We are pleased to announce, among our surpliu FOR SALE—A COMPLETE ORGAN PEDAL KEY- satisfactorily in every way. I especially appreciate of this class. It is plaintive, brilliant, joyful, and the promptness with which you send the parcels. Studies," postpaid. It is hardly necessary to make any tioned in the last two issues were deserving of all the stock of books for this month, glee and chorus music board; 30 notes with organ bench. The keyboard full of hope in turn, and can easily be taken as one (Mrs.) E. H. Barnes. explanation as to this course. It is successful It has attention which they have received. We were posi¬ collections of high grade and by standard authors is provided with clicker and furnishes an excellent of the distinguishing productions of the great genius been used by almost every teacher in the country. substitute for the pedal piano. In perfect condition. I do not feel I can get along without The Etude, tive that our subscribers and patrons would appre¬ We also still have some collections of books for Price, $10. Address: M. A. Laselle, Riverside Insti¬ Thousands have been sold, and every large publisher of Schubert. as every question of doubt arising in my work, as ciate our efforts in enabling them to obtain these valu¬ singing schools, conventions, and musical societies- tute, Mattapan, Mass. teacher, I find answered in its pages. in the country has copied this course. “Visions of Love,” by Stanley L. Krebs. This able articles at the liberal offer at which it has been whereas there is always a demand for good books of (Mrs.) S. C. Moulton. To anyone sending us $1.80, we will send, in addi¬ romance has many dainty musical conceits, which FOR SALE—THOROUGHLY ESTABLISHED AND possible for us to give them. this kind, we would advise you to order at once should I am much pleased with “Pictures from the Lives tion to a year’s subscription, a copy of “Modern require a light, sympathetic touch and a poetical prosperous school of music paying present owner The mahogany ladies’ desk, hand-carved and pol¬ you desire anything of this nature. The price is 20 $3000.00 annually. Free from incumbrances. Reason of the Great Composers,” and find that its charming Sonatinas," compiled by Maurits Leefson, the well- rendering. The embellishments add a graceful charm style holds the attention and interest of children. ished, we give for sending us sixteen subscriptions cents for one book, or six books for $1.00, all trans¬ for selling due to change of location of other business known pianist and teacher. This is a collection of to it, and the theme should he played distinctly. interests. Address: “School,” care Cora C. Harold. at full price. This desk is 42 inches high, 28 inches portation paid by us. Parties with whom we hare of Etude. modern sonatinas and pieces of like character. There “Impromptu,” opus 142, No. 2, by Schubert. I have taken several musical magazines; but, in the wide, and 17 inches deep. It can also he obtained in good accounts may have same charged to their regu¬ MADAME A. PUPIN WILL ACCEPT ENGAGE- i* nothing better as an introduction to the classics. class of music and instructive and interesting litera¬ dark oak. Though not the greatest, the “Impromptus” of Schu¬ ments after July 1st for a short course of lectures, lar account, in which case postage or expressage is ture, have seen none that can compare with The The music cabinet is of mahogany, inlaid, 43 inches extra. bert are the most played of his piano-works. The recitals, and lessons. Especially adapted for clubs in Etude. small towns. For particulars, address: Madame A. high, 20 inches wide, made in the most fashionable one in this issue shows a breadth of melody and har¬ (Miss) Gertrude H. Cohen. Tins will be the last month for the special price on Pupin, No. 38 East Tenth Street, New York City. shape, raised from the ground, standing on a neat, mony that brings the genius of this man before you. I desire to express my appreciation to you for your the revised edition of "Kohler’s Practical Piano- Like the music teacher’s, so the life of a cashier is curved, short leg. This is given for fourteen subscrip¬ “To Arms March,” by L. Ortlepp. The march and WANTED—POSITION AS TEACHER OF PLANO gem The Etude. I have known of and taken it only method.” The revision of our edition is in the hands not all one sweet dream. It is dotted and sprinkled in a school, by a gentleman of six years’ experi¬ tions. two-step seem to have been accorded popular favor a year, and cannot overestimate its value both for of the author's daughter, who is most competent for with many little worries and inconveniences, mostly ence. Address: H, care of Etude. myself and its applicability to my pupils. The little journal, “Our Times,” which is a news¬ this year. Perhaps because they make the pulse heat M. this work, having been assistant to her father in many all brought on by the thoughtlessness of others. One Carrie Bradford. paper in magazine form, but without any sensational higher and the feet keep time. This march was com¬ MRS. A. kT VIRGIL WILL HOLD A SUMMER of his works. Our edition will, in a large measure, of the most frequent is that habit of wetting the session, beginning June 25th and lasting until Book I of “The Modern Student” received. A bet¬ features, we send for a full year for sending us one posed with that idea in view, and it appears to have ter substitute for exercises could hardly have been partake of a revision by the author. All the new ma¬ postage stamps in making remittances and sticking July 30th, at her school, 29 West Fifteenth Street, other subscription besides your own; or the paper reached the mark. New York, for the purpose of giving teachers and ad¬ devised. As an adjunct to Mathews’s “Graded terial introduced would doubtless receive the sanction them on the letter. It is not only absolutely unneces¬ Studies” and Mason’s “Touch and Technic,” it should with your own subscription by sending 25 cents addi¬ “Hedge-Roses,” by Schubert. Schubert is believed vanced pupils an opportunity of acquiring the Virgil of the author himself were he alive. While the work sary, but also very annoying to the one who has to prove invaluable. Stephen L. St. Jean. tional. We can send you a sample copy if you desire. method under her personal direction. will be somewhat enlarged, the price will remain the to be the creator of the German ‘Hied.” A balance is tear or soak them off, and very often some are torn There will be instruction as to the training of very I find The Etude of 1900, so far, even better than always maintained between the voice and the piano, young children and exhibitions of what they have same. Our advance-offer price is only 30 cents, post¬ and spoiled in doing so. Do not wet the stamps at all, previous years. It means a very great deal to me as paid, but cash must accompany the order. If charged and they never descend to the plane of mediocrity. accomplished, as well as free recitals illustrating all a musical companion. I am also delighted with the but put them in the envelope dry, and, if possible, grades of piano-pieces, together with the most ad¬ to the accounts of our customers postage is added. Note the charming, dainty manner in which he treats two last supplements, and will certainly have them The equipment of our business—that is, our stock, wrapped in some oiled paper. Never send 50-cent vanced technic. the lines of Goethe. framed. Miss Davis. Care must be taken in ordering to mention that our our force of clerks, etc—is just as complete for the stamps; 10-cent stamps are the largest we can use. \N EXPERIENCED TEACHER OF NATIONAL Thomas Tapper’s book—“Pictures from the Lives of revised edition is wanted. We have received many summer as in the busiest months in the winter. There “Beloved Star,” by Bcaumont-O’Neill. That a Also remember when you make a remittance for any¬ reputation would accept position in an established the Great Composers”—was received. I immediately orders—"Please send Kohler’s Practical Method,” with good melody loses none of its charms when set to are a number of teachers who are busier in the sum¬ thing to always state what the remittance is for: for summer school for piano, harmony, lectures. Address: read it through. I like the questions in the back of no reference to special offer; we are left in doubt mer than at other times. We are prepared to send subscription to The Etude, for music or books re¬ words is evinced by the success attending Watson s “M,” care of The Etude. __ the book, which stimulate research and strengthen whether to hold the order until our edition is ready them selections and fill their orders with the usual setting “Voices of the Woods” to Rubinstein’s Melody memory. A della G. Underwood. ceived or to be sent, or on account. In nearly ill WANTED—POSITION AS DIRECTOR OF MUSIC or to send existing edition. Care should be taken to promptness displayed by this house. We try to fill cases an immense amount of work and trouble may in F. Pianists are pleased with Beauiront’s “Con in a college, or a good opening for private teach¬ After examining “Key to Mansfield’s Harmony” make this clear in ordering. can cheerfully say that the work is complete. Every every order the day it is received. be saved by one or two words: goods received or to Amore,” and vocalists will regard with favor his “Be¬ ing in piano, harmony, and composition. Many years point is made" plain; the exercises are all worked out; To those persons teaching reed-organ during the loved Star.” experience; best of references. Address: -K, care be sent. the questions all answered; so it makes a valuable of The Etude. summer, we desire to draw their attention to the fact • * * “Gaily Chanting Waltz,” by F. Behr. This work to any student of harmony. Mr. Tapper’s nev book, “First Studies in Musical 50 that we have quite an amount of reed-organ music composer is best known as a writer for children. This Charles V. Barker. Biography,” is now on special offer, and will be issued Owing to the demand for the following books, it published by ourselves, which has been especially pre- waltz has its charm and melody presented in easy I am glad of the opportunity to recommend the during the summer. It will be a text-book for the has been necessary to issue another edition during the prred for this instrument. Landon’s “Reed-organ form. It is a good piece for legato playing, without works of Goodrich as among the most practical and yonth. and will answer as a first history of music. past month: progressive in modem theory. The work on “Inter¬ Method” is the most successful and popular work of any technical difficulties. It will be copiously illustrated, with questions at the “Concert Album, Volume II, Popular.” This is a pretation” has been examined with interest and profit, ito kind. Landon’s “School of Reed-organ Playing,” “Tarantella,” by W. Lomas. This dance was de¬ and occupies a useful place in my theoretical library. end of each chapter. We published a chapter from collection of some of the best compositions on our in four grades, a book to each grade, is also a work signed to cure a malady that infested Italy years Kate Sherwood. the work in the last issue, and the next issue will con¬ catalogue, is the regular sheet-music plates bound to¬ that has received more than passing attention. We and years ago. It became popular, and the “Taran¬ As to “Pictures from the Lives of the Great tain another. There is no book of this kind on the gether in a volume, selling for $1.00. It contains 100 Com¬ should be pleased to make selections of reed-onran tella” has become a fixture. While the rhythm must posers,” by Thomas Tapper, I have never had any¬ market. It can be used in classes or for private pupils pages in all, 20 pieces of music; one of the most valu¬ is a pleasure to deal with people who are so thing more interesting and pleasantly instructive. music at our usual liberal discount to teachers and be well marked, a certain abandon should permeate °* for teacher's own reading. A full and complete able collections which we publish. ipt in filling orders. (Misg) gTEIXA Simpson. The idea of bringing the stories before the children in the piece. It makes a most effective number when the sketch of every great composer’s life will be given, “Dictionary of Musical Terms,” by Dr. H. A. Clarke. the form of pictures makes a more lasting impression When in need of anything in the mnsic line, send touch is clear and crisp. on their minds. Marion V. Abbs. which will contain as much as the average student This dictionary is one of the very latest and up-to- am very much pleased with Rogers's “Graded to the publisher of this journaL You will receive ii .rial for the Pipe-organ.”^ should know of composers. Our special offer price is date volumes of the time that is published. It has » “Spring Serenade,” by Laeombe. The name itself I am in hearty sympathy with, and cordially ap¬ promptly, and at the best possible discount. If yon prove of, the work being done by The Etude in the only 60 cents, cash with order. number of important features not found in similar breathes of life, joy, and vigor. The composer has have not dealt with us, it will pay you to send a athews’s “Standard Course of Studies” is de- cause of music. The musical student cannot afford publications. In addition to its being a dictionary of caught the spirit of the time, and with a theme of poatal card, which will bring a complete line of cata- lly the best for beginners^ b*£ '“^EOD. to he without the journal, and I shall always cheer¬ musical terms, it has also the names and pronuncis more than ordinary beauty has written a work of fully and gladly recommend it to all the students of “The Modern Student," Volume will be issued A * "P,8nati0n 0{ our bus^ss system true merit. Damrosch, with his symphony orchestra, wish to sav that your publications have been my conservatory. E. J. Decevee. n, terms, discounts, etc. J tion of all the most prominent musicians in the last this month, when our special offer doses. Read what two centuries, with the dates of birth and dead), has delighted thousands by its rendering. inspiration of my work for yearepmat Your valuable work The Etude has so thoroughly we said about the volume on page 153 of last issue. nationality, etc.; a list of English terms, with the won our regard that we deem it indispensable; there¬ regard the house of Theodore Presser as one of fore we have spared no pains to introduce it to our It is simply a volume of study pieces, to follow Vol¬ Italian, French, and German equivalents, and other besTr ever dealt with in every r«,pect. ^ patrons and friends. They all are quite enthusiastic ume I in difficulty. Pieces having technical qualities features. This work retails for $1.00. over it, and eagerly embraced the opportunity of be¬ are used more than ever, and are taking the place of Day (Memoria! Day) Services, which we wi We have also published, by the the same author, a he Etude, besides being educational, is the most coming members of our “twenty club.” regular studies. There is nothing more pleasing than P^ed to send “on selection” to parties desirin “Pocket Dictionary of Musical Terms.” This is 80 Sisters of Charity, Immaculate School. a trill in a piece and nothing more uninteresting to !-*£ a* ««““• gsiisssi so complete as the above larger one, but it is Te^ “The Modem Student” is a superior collection of study in an exercise. The same is true, in a great necessary as a reference-book. It retails for 25 pieces of medium difficulty, and a book that will make measure, with all technical work. Encircle technic in the teachers’ task of teaching technic pleasant, be¬ “Counterpoint and Canon,” by E. E. Ayres. This ^ modation oi you E. Topuff. beautiful and rich harmony, and interest rhythm and cause the pupil will be interested in the pretty pieces an original English work. The subject is expla Notices for this column inserted at 3 cent3 a word and therefore master the technical problems presented. melody, and you can engage the attention of the pupil t you WOtll Prof. Henry G. Meters. a simple, clear manner. The lessons are progress' ■ ■or one insertion, payable in advance. Copy must be F«P°' The reason that Plaidy’a technic is not popular any r* f*VOr °n“s if y°n mention thi »»* s&szzt sr; lem Student, it i /Miss) M Lewis. arranged, one principle being explained at a r«*ved by the 20th of the previous month to insure I cannot teach without The Etude, for I get from more is its lack of inspiration. In our special offer -tT y*10 are *°ing to do summer nerfect inspiration. (MIS8’ order that the whole may become thoroughly in ^ publication in the next number. its columns help in eveTy line of my work. It is prac¬ only Volume II can be ordered for 35 cents, or Vol¬ tical in everything it advocates, and aids, hv its ad¬ Zfe 7 aUenti0n 11153 ligible. The work is comprehensive, and nothing ^ WE DESIRE TO CALL SPECIAL ATTENTION OF umes I and H for 70 cents, but not Volume I sepa¬ vice and suggestions, the amateur as well as the pro¬ 2 *1 J ,0r these and an pur readers to the column “ad” of the E. T. Pauli ment inserted m the June and Julv is8u« importance to the student is omitted. We she ^ fessional (Miss) G. Fuget. rately. This is positively the last month for the offer p,U3,',c Company's publications for the piano. E. T. pleased to have anyone examine this work. The r am sure, bring considerable returns.’ •“I is well and favorably known as the author is $1.00. THE ETUDE 196 VOLUME XVIII J JUNE, 1900 J NU/K$ER6; CLAYTON F. SUMMY CO. 220 Wabash Ave. Chicago, Ill. SOLE REPRESENTATIVES IN CHICAGO FOR THE (^bickering |p)iano (publishers and Ifmporters of flHusic General Dealers in Pianos and fliusie of the Better Class awE- CPNTENTS SONGS Abbott, Jane Bingham. Lullaby (c-f), . . . $0 50 Editorials. Lippa, Kate Ockleston. Fern Song (d-a), . . 60 Questions and Answers . Peckham, Martha M. Cnpid’s Toy (ejf-a), . . 50 PI^IZE ESSAY ftUMBEB f| Letters to Teachers. W. S. B Mathews,. Pfefferkorn, Otto. Lilacs (bh—l>h). (For aito), 40 Violin Department. George Lehman,. Music Sketches. Thto. Steams. EDWARD BAXTER PERRY Rogers, James H. Doubt Not, O Friend (c#-f$), 40 Melodious Studies items. The First Spring Days (f-gi’),. 65 4444444444444*444**4444444444444444444444444 Letters to Pupils. John S. Van Clcve,. LECTURE TOUR—CALIFORNIA AND THE WEST A Winter Song, D. F. (f-a),. 25 4 Thoughts, Suggestions, and Advioe.. . . and~Short Piecesf°r Be«inners Parties between the Rockies and the coast desiring Five-minute Talks with Girls. Helena M. Maguire, . . BY Lecture-Recitals in November, please address him at From the Music Critic’s Not* Book. Fanny Grant, , . Music Teaching as a Business. E, V. Calnex, ... , . MRS. A. K. VIRGIL 140 BOYLSTON STREET, BOSTON, MASS. SONG ALBUM Obstacles Melt before Determination. Henry C- Lahee. Neidlinger, W. H. Song Thoughts, . . Net, 125 Some Traits of Character Resulting from the Study of 214 ►SPECIALLY helpful in learning to read A collection of Songs for all moods. Published in two keys. Music. Effte W. Munson. How to Prevent a Piece Becoming Tiresome before Learned at sight, and in forming a fluent and j Blank Music-Copying Books. graceful style. Humoreeke. H. M. Skip,.. Our Own Make. In Three Styles Only. Does Music Pay ? E L. Winn, ...... Books I, II, III, IV—Price, 75 cts. each PIANO SOLO First Prize Essay—Basis of Success in Mosic Teaching 6 Staves, 24 Pages, - 15 cts. Newcomb, Georgia D. Album Leaves, ... 50 Thomas Tapper, . , .. .. • 8 “ 24 “ . 20 « A collection of six little pieces for first grade. Used In the Virgil Public Concerts played by Secosd Prize Essay-—Two Characteristics of the Best 8 ** 36 “ - 25 “ Mokrejs, John. Village Scenes,. 60 Methods of Teaching Music. Clara Margaret Cornell, . . children with great success. Set of short instructive pieces, first to second grade. 6-Stave Books are 91A x 6 inches. Third Prize Essay—Child Study: The Teacher's Privilege 8-Stave Books are 9% 8 inches. Oldberg, Arne. Op. 8. Suite Characteristique. 218 AJdrtss th« publisher. 954 x and Duty. Frances C. Robinson. Libb&al Discount to thi Phofbsmom. Net, 100 Focrth Prize Essay—The Educational Value of Concerts A most attractive composition for study or recital purposes. anquwtioD.bly the beet Moeic-Copying Booke that are < Emma S. Dymond. MRS. A. K. VIRGIL Grade four to five. Tlle P**** be*n made especial Procession of the Phantoms. H. Engelmann, for these books, and is the beat quality ledger paper, standing erasnr Pfefferkorn, Otto. Dolce far Niente (waltz 29 West 15th Street, NEW YORK 1 lhree or tour time*. The books are tastefully bound. A Dialogue Concerning Freaks. Alfred Veit, movement),. , J®L“JPap*f of ^equality bs in above books can be hi The Teacher's Equipment. Harvey Wickham, Trade and Teachers’ discount allowed. ta 12 and 14 staves, sise 22 x 14. Price 60 cents per quire. Eglantine (gavotte), . Mile. Chaminade on Piano Playing,. Two attractive numbers, grade three. Musical Busybodies. Chas. A. Fisher, . . . Rogers, James H. Scenes de Bal, . . . Nek 1 25 Advantages of House to House Teaching. P. J. Bullock. ^LATEST SUCCESS*' Contains numbers depicting the various incidents of a Bal Music Teachers are Born, not Made. Marion J. Woodford, Costume. Music as She is Spelt. W. F. Gales. ADVANCE OF THE ROUGH RIDER! Ruifrok, H. W. J. Mennet (grade four), . . 50 The First Age of a Musician. Mabel WagnaUe Hull, MARCH AND TWO-STEP lOundation Materials Schoenefeld, Henry. Dance forms witkont Developing Expression. Robt. D. Brains,. By BESSIE McDONALD Price. 50 Cents octaves,.each, » Woman’s Work in Music. Edited by Fanny Morris Smith, FOR THE This is one of the best marches ever written. Rhvthm and hai No. 1. March, No. 4. Mazurka, mom are perfect. Now being played all over the South by ieadin Organ and Choir. Everett E. Truetts, .... pianoforte Pianists. No. 2. Waltz, No. 5. Scbottische, Music of the Organ,. A COURSE FOR BEGINNERS No. 3. Polka, No. 6. Tyrolienne. Vocal Department. H. W. Greene,. IN THE ART OF PIANO PLAYING First to easy second grade. What Happened This Month in Years Past, . A NEW BOOK New Publications,. Experiences and Observations from the Class Room Price. $1.00 By CHARLES V. LANDON e. Chelius... ITmPERIAL ^NTHEMS, No. PIPE ORGAN Music Teachers’ National Association. An Eaaily Graded Method Leading to Thoeough Eccentricity and Business. Clara A. Korn, . Musicianship by a Pleasing and Interesting By J. A PARKS Balfe, M. W. Overture to “ Bohemian Girl,” . 1 ^ Obituary of Ferdinand Dewey, . .. Course ol Melodicua and Rhythmic Studies. THE KING of anthem books FOR 1900 Transcrilted by James Watson. Publisher's Notes,. Tver btvtL- fhttn 1 ... This book it In line with the new teaching founded upon the Special Notices,. ... J*?*/**"** Pt.vchotogicaI and pedagogical idea, for developing the Testimonials.. • A Instruction It given through the means of HE above list contains only our own late publications, Home Notes, .. beautiful but abort pieces which contain a marked muslcaTand ihr rhyrtutlc Interest that especially appeals to the musical taste of a piates. each button separate's,aff.'and*complete organic desire to call the attention of teachers—especially • ,^n Teachers’ Round Table,. z among them—to the manv desirable things that PRICE, 7S CENTS PER COPY published in past years.” On account of the nj 6? Pr,QUorteU- No8-1 and 2. For Male material constantly being’published —much of which is o I . wJ- JWUSIC MM rn lh^^tijr"100 fully tUus- interest and value—a large amount of useful teaching n • PRICE IS SBEBT FORSt Valuable New Features contained in this book ate: Fifteen Sacred” Quartets', No! l!' FeS!e x the older publications is in danger of beiug lost sight of J ^ $0.60 Chord Touches, with their artistic application and modifications and by others it remains entirely unknown. W hen re<*_:.1 foci, Procession of the Phantoms. Op. 417. H. Engelmann. . Hi Chord and melody playing: the New Maw, Sliding Exercises will include in selectious desirable material of this n. .,r^T"kn(>fl-i». The Joyous Fanner. Schumann-Smith, .85 foe dereV’ping th« fiesibiiity of the fingers ; the Word Spelling Id^a such material is just as new as anv to those to whom I* *® «.uaj .. .60 n»er^ is a large amount of it, and” stocks such as ours Valse Etude. Leon Rmgud, . :. 'Jk dT? ,h« bwrect presentation of the Artistic Use 40 SLJ**tI: »»• wdcattoa of the Famous .Mason Touch siS Concert^S^tete^Wq pSgC facilities for such selections because of the number o i Rustic Dance. Op- 6. P. A. Franklin, . ... . Technic Touche* for Musical Effects; t clear, easy, and correct S^te^-^ce^e^ represented. - „ inf0r- Grandmother’s Minuet. Op. 68, So. 2. E.. Grieg, . ZiaSm pmsentatioo to the beginner of How to Read the Bass Note?- a We invite correspondence for special catalogues anu .20 raation in regard to music sent for inspection. Jfcsic Forget-me-not. F. Fucks,. J«’"k>pmcnt ot the Rhythmic Sense: and a chanwon .25 the practice of Scales and Arpeggios for Retined ArtisticEtfects. U*5S Owing to the increasing popularity of our BaOctin n(ain- A Lost Heart. P. W. Orem,. we have prepared a special edition for our first issue ol i » erill Bashfulness. 0. H'■ P- Smith. ’ ^25 PUBLBHED BY —_- tng much of interest to teachers and musicians .20 SacredQ^te^ NoT’’ ForTKf^v he seut regularly to any address, free of charge, upon app A German Legend- Op. 88, No. 1.