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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1911 Volume 29, Number 11 (November 1911) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 29, Number 11 (November 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/575
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The Greatest Educational Work_of_ihe_Age the etude STANDARD GRADED New Publications COURSE Life Stories of Great STUDIES r t|ite Highest Grade Playi 'for the pianoforte Composers FOB THE PIANOFORTE Built Completely in One Factory f-s-stea-By I. PHILIPP asssassar Compiled by W. S. ^MATHEWS to Young People Price, 81.50 Price, 81.00 A comprehensive and interesting collec- A MONTHLY JOURNAL FOR THE MUSICIAN, THE V splendid volume for use in dally prac- By Alethea Crawford Cox and Alice C tion of musical biographies. (prepared^ MUSIC STUDENT. AND ALL MUSIC LOVERS. •oni-ilnlm: all technical essentials, COMPLETE course of standard Price. 81.25 A Edited by JAMES FRANCIS COOKE leh may be taken up daring the early Etudes and Studies arranged in a progressive order, selected from the best composers for the cul¬ tivation of technic, taste and sight reading, carefully edited, fingered, phrased, and annotated and supple¬ mented with complete directions tor the application of Mason s System of Touch and Technic” for the pro¬ duction of a modern style of playing. Thirty years ago Music Teaching in America was for the most part con¬ IF IS CONTINUANCE.— ducted in the most Blip-shod and ex¬ travagant manner imaginable, ine teachers were not to blame for the RENEWAL.—No enormous expense of purchasing in¬ On the wrapper or tn dividual studies and pieces of music will l*e ^printed tile for educational purposes, nor were they to blame if they did not have the MANUSCRIPTS*—All manuscripts" intended for publica¬ experience to select the best studies tion should be addressed to THE ETUDE, 1712 for the right time. The Graded Course Chestnut Street, and should be written on one side of the sheet onlv. Contributions on topics con¬ idea is an original creation of the nected with music-teaching and music-study are Presser House. The Standard Graded solicited. Those that are not available will be re- Course has succeeded because it ws s built along the lines which years of ex¬ Although every possible care is taken the publishers are not responsible for manuscripts or photographs perience had shown to be necessary. either while in their possession or in transit. Un¬ available manuscripts will be returned. CHIEF ADVAMTAQES ADVERTISING RATES will be sent on application. CVCTCM Gives the teacher and the pupil tne Advertisements must reach this office not later than Old ICnl broadest possible si stem and com- the 5th of the month preceding date of issue to insure insertion in the following issue. WHMiiiiftiRVi THEODORE PRESSER CO..
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---ZTr„. thrff FAMOUS VOLUMES ETHELBERT NEV1N FOREPIANO SOLO :: :: :: "
For the Artist Musician_F°r the Music Lover vol. xxix, no. n NOVEMBER, 1911 make a difference of several weeks in the child’s progress. The ADMIRABLE GIFT BOOKS custom of rambling in a catalogue and then picking out a te^nJ From the Hill-Tops piece at random 'is an unforgivable breach of musical pedagogical morals. The teacher should have each pupil s course mapped Nevin s Songs Without A Day in Venice O'er Hill and Dale The literature of all countries is marked with the adoption of for weeks ahead. Some teachers know months ahead just what they expect to accomplish with each pupil. We remember how one This- suite, which, with its “Dawn,” "Song of In this posthumous suite for piano, Mr. Nevin one particular* time-worn figure of speech Words of our teachers gave us a shop-worn copy of an obsolete piece: by an the Gondolier,” “Venetian Love Song” and has taken us*afield and held up to us the mirror The favorite songs of Ethelbert unknown French composer at a time when we were literally dying “Good-night” gives a brief account of a day in of nature. The several pieces comprising this Nevin transcribed for the piano. By the pictured city and shows Nevin at his very for Mozart and Haydn. That piece was just like a stone wall. It best. The “Dawn” requires a very considerable delightful suite are as refreshing in their portrayal stood in the way for months. There was no desire to break through Charles Gilbert Spross. Nevin, the of finesse to make it telling, and the “Love Song” of nature’s moods as are the pages of Hamilton its banal and meaningless tinklings. One of the^best ways to tell poet of the piano, the Chopin of Amer¬ live in valleys—and who does not live m a valley ?-must leave .the simply has to be “sung.” Mabie’s enchanting nature essays, “Under Green a good teacher is to observe how much time and thought the teacher valley or remain in the shadows of ignorance. ica, is here revealed in a new form by a The “Good-night” is the favorite, and it is in¬ Trees and Elsewhere.” Indeed we can recom¬ Music is, after all, hut one of the narrow and beautiful vales gives to selecting the right teaching piece. deed very charming. Beginning with an Andante series of transcriptions of his exquisite mend nothing finer than a playing of these religioso, and with interlined “Ave Marias” it of life. Beyond is the great world of Art, Literature, Sc , songs, made in a masterly and appre¬ suggests the Vesper services, and is followed by charming sketches between chapters of this Nature If you have been living in the valley for a year or more Real Protection for the Child ciative manner and depicting pictures the “adios” of the two boat occupants, intense and book. Both breathe so sincerely the breath of if you have been attending to your duties faithfully and have ha with mood, color and sentiment, perfect long drawn out. nature, that next to being in green fields and little time for other amusements or interests, your vision has been At the Child-Welfare Exhibit given in New York this year, The “Gondolier’s,” however, is the gem of the in each case, and each one in turn being under green trees, a perusal of the book and a restricted. You will be prone to measure everything from your Mr Percival Chubb, Professor of English at the Ethical Culture suite, and indeed it may be questioned if Nevin own tiny standards, your own infinitesimal viewpoint School, and a humanitarian of note, made an address in which was absolutely unique and utterly unlike wrote anything more accurately definite and ap¬ playing of the music puts one in intimate touch Now is the time to climb to the hill-tops- aow is the time t any other even from the same pen. propriate as to form, rhythm and content. with Dame Nature herself. the following arresting statement: expand your mental grasp, to extend your vision Plan a r^ular “Education in our great cities is mainly a matter of These are unusually handsome books, the covers with ornate and artistic designs; the pages of the volumes journey and spend your fall and winter ascending the hillsides. protection against an environment which is unfavorable are of finely calendered paper, the printing in colors—the poetical selections and the illustrations in various Next year your viewpoint may be entirely different; what you ave to the natural and healthy growth of the child. 1 Ins tints—the music in black. Each Volume, Postpaid, $1.25 regarded with intolerance you may look upon with chanty; what complex urban world is no child’s world; it exercises no you may have observed in a narrow spirit may be seen with the restraint upon its daring publicity in the interest of child¬ humane breadth which is your birthright. hood.” ,, THE JOHN CHURCH COMPANY, Cincinnati, New York, Chicago How shall I climb? Ah, that you must determine for yourself. Prof. Chubb later explains that there are no newspapers, the¬ \bove all things, do not stop climbing. Perhaps your path may be atres or other healthy amusements particularly for children. In¬ along new work in musical theory, technic, musical history inter¬ stead, we find in our newspapers a “mosaic of crime and scandal pretation, study of the plastic arts, literature or biography. What¬ supplemented by the comic section, products of "the newspaper ever it may be, you will find the real pleasure in the climbing. vaudeville artist” who has lost his sense of humor, his ethical values When you reach the “Excelsior” heights which Longfellow immor¬ and his taste, and who produces the humor of distortion akin to Publications of ARTHUR P. SCHMIDT talised you will then discover a new peak in the mountain chain of that provided for the parents in those inane cartoons which serve BOSTON, 120 Boylston Street LEIPZIG NEW YORK, 11 West 3 Gtti Street success. The great masters of music of the past are the men and up daily and nightly in our yellow journals the misshapen apelike women who have kept on discovering new peaks—not those who creatures of a diseased imagination. Compare Alice m Wonder¬ TEXT BOOKS have slumbered away their lives in the dark valleys. The road to CHRISTMAS SUITE PIANOFORTE STUDIES land and Uncle Remus with this rubbish. “. • • The moral task By THOMAS TAPPER For the Pianoforte deathless fame is the road that leads upward. of the educator is to protect boys against smoking, drinking and By FERDINAND MEYER By GEORG EGGELING “Ah, who can tell how hard it is to climb gambling which they see around them (and there are recurring The steep where Fame’s proud temple shines afar?” Just issued First Year Melody Writing Price,$1.00 JuoPIT7e6d Pleasure and Progress pnee^scu. epidemics of these evils in our schools), and the girls against folly and immodesty in dress and all the vagaries of flaunting fashion. iiay precede the regular study of harmony, or it TL (II • Educational Sene, No. 60a) charaTb th' VariouI numk's *-1 Selecting the Right Teaching Piece The child must be protected against pernicious songs. # SSSSfi^TondSL1" progr'”vd!r “ e part melody, in Lessc Best of all. Prof. Chubb points out the great remedy for the ---A. uniform plan isr presented__„ in nearly e\- J lesson of this book. This A short time ago we met a dealer in costly tropical lumbers evils he has denounced. This remedy is “enlarging the oppor¬ plan is similar to that used by the best writers of text books for the teaching of a foreign language. The order in this plan is as follows: who sold most of his stock to the manufacturers of higher grade tunities of children for childish amusements and converse with 1. EXPLANATORY TEXT, providing a vocabulary and rules for pianos “There is one manufacturer,” he said, “who has the repu¬ things that are childlike.” Healthy books, healthy outdoor pastimes, 2. Rl£\BlNG LESSON, in which the given exercises serve nnrnnM tation of making what is considered by piano men and musicians (a) As practice material for singing. (6) As models for the 1 gffifisaiSifeasaH healthy songs and music, healthy and absorbing study; these are 3. WRITING LESSON, being the required composition 25-ETUDES (Without Octaves') one of the six best makes of pianofortes of to-day. This man is at the real enemies of the degrading influences surrounding our chil¬ 4. ANALYSIS, .howing the structure of melodies as to form and idiom. the head of an old firm of piano makers whose instruments are dren. If these things are not made more interesting than the 5. REVIEW, QUESTIONS, which serve to emphasize the text and the F°r 0,ti0lTand»M“ical Development ;o , Tw° Books' Ead> 75 Cent. known the world around. Most of my customers order their lum¬ banal enticements which are thrown in the path of the young at for the special student of music (Schmidt s Educational Series No. 16 a-b) ber, mahogany, rosewood, etc., by mail. This man employs a buyer pracS h thlrdZJlVTtwi: ^ pu^ to H Gordin, every footstep, who is to blame but the teacher? If you, Mi- who does nothing else but buy wood. The buyer comes to our cJshort chords and of vari«J rhythms' that mAle'nT"' final shortpiece“ Teacher, have been teaching music in a hum-drum, dry-as-dust at a *■ — storerooms personally and' is often accompanied by. his employer. manner, expecting the pupil to take an all-consuming interest “on 100 Lessons for Beginners, Price, $i.00 He will spend hours, yes days, going over piles of lumber, inspect¬ general principles,” you should realize that the moment your back A simple presentation of the fundamental principles of harmony. It is especially designed for self-study as well as for uses in classes, and is admirably ing each piece minutely, choosing the best and discarding the poorer is turned that very pupil will seek the excitement and interest adapted for use in high and normal schools. It provides one year’s work and gives distinct training in ^tone^perception, ear training, harmonizing a bass, pieces. He wants the best, the pick of the choicest, and he sees which you have not provided for him. He will turn from his 18 MELODIOUS OCTAVE STUDIES that he gets it and he is willing to pay more for it. When I remem¬ scales to The Hobo’s Picnic, he will desert his Czerny for The SIGHT READING andMEMORY LESSONS OVER 70,000 COPIES SOLD Tk j: r °JP* 901 Price, $1.00 ber that the same care and pains must be taken in all other depart¬ Pirate’s Bride, he will leave his octaves and arpeggios to stare at The principles of this book may be applied after the pupil has advanced ments I do not wonder that the instruments he turns out have won through the first grade. The entire contents of the book is applicable to p upils the lurid posters of “The Queen of the Opium Slaves.” The per¬ of the second or third grade. It may be played through after the mann er of The Elements of Harmony him international prestige.” . any method or course, but its essential purpose is to verse fascination which these things possess is inexplainable. The By STEPHEN A. EMERY There is a fine idea in this for the teacher selecting teaching lesson, which principle the teacher must apply foi music teacher who would be successful in every sense of the word Price, $1.00 pieces. The selection of a good teaching piece is a matter of far 50 MELODIOUS F.Tiinirg must resort to every possible means to make his work particularly ■T™ RUDIMENTS OF MUSIC Price, $1.00 more importance to the pupil than the kind of wood in which his interesting at all times. piano is boxed. The right teaching piece at the right time may
~ LUpE JF°r the Pevel°Praent < Special Offer this book, which will \x the Hands in Extended~Positmr.g lication for 50 cents, p Op. 172. Price, 75 Cents 731 THE ETUDE 730 THE ETUDE most gorgeous coloring to its most delicate t.nts In definite work. fact, this wonderful matter of the keyboard taught us for opinion, but would murmur gently, ‘‘Marry soon, the force of magnificent touch, tone and technique, dear child,” But he found a different sort m Inge- BY ARTHUR SCHUCKAL illumined by the fire of genius. borg von Bronsart. She came to him when a beau¬ tiful' eighteen-y.ear-old girl, and he expected another AN ENTHUSIASTIC AUDIENCE. How happy we are to get back to work again—and spoiled darling, but she played Bach fugues in a Never to be forgotten by those who were present is a how serious! It is an impressive sight, this gathering masterly fashion. “You don’t look like that, he memorable scene at the Philadelphia Academy of Music, of the clans. We are full of determination and en¬ said, amazed. “I should hope I didn’t look like a when the great Russian presented in superb fashion the thusiasm. We will not miss a single lesson this year fugue,” was the quick reply. Liszt had a peculiar Beethoven Sonata in F minor, Op. 57, known most ap¬ nor shirk a single practice. We are on the job and characteristics or dances. hissing laugh. ■ Once a male pupil (was it Rosen¬ RUBINSTEIN’S METEORIC TOUR OF AMERICA propriately as the Appasionata, a work written with the mean business. heart’s blood of its creator. In response to Rubinstein s In the Quarterly of the Music Society, Tobias Norlind thal?) imitated this laugh behind the master’s back—- only to find himself the recipient of a sudden and In about six weeks most of us-have lost our grip 0n Personal Reminiscences of the Great Russian Master touch, all the fierce conflicts of the soul this noble writes on the history of Polish dances. He cites things. Some slacken considerably, other- stop alto¬ a first period, ending in 1630, in which there was a ample box on the ear. composition depicts rose clearly before us. We heard gether. It is so not only with the weak and giddy but By AUBERTINE WOODWARD MOORE "Vortanz” in even time and a “Nachtanz” in triple Liszt sometimes did do “poor business” on his the inexorable knocking of Fate, and the wailings of with the serious students as well. We seem somehow fo rhythm. A second period, lasting a century, included tours. A widely quoted anecdote describes him as the spectral shadows rising from the depths of the have run down, as though one had forgotten to wind building up a class of earnest music lovers and music the lute era. In the third period, which culminated having once had an audience so small that he in¬ [November is Rubinstein month. The £feot composer nethermost abyss, relieved by lightning flashes of hu¬ us up properly. Our energy has leaked and run away' was born on November 28th, ciijhty-two years ago. Neatly students. mor, heard the fervent supplication that lifted the soul in the works of Chopin, the triple “Nachtanz” grew vited it to supper. As a result, the hall was packed forty years have passed since he visited America. Another THE COMING OF RUBINSTEIN. into the mazurka. Then came a time of foreign at his next concert. His playing was always great, Usually the reason for this lies in a single fact—we Generation of young musicians has arisen,—a S^eration into the blue, boundless ether, and the finale that seems influence, the Swedish polonaise being held espe¬ but in his home gatherings he would often perform did not plan our work. We have failed o select the which can form little conception of the ^ThtloiUwing At this juncture came Rubinstein—Anton Gregoro- to say: “I have fought the good fight—the victory is cially important by the writer. some unexpected tour de force. “When I was right etudes and pieces. We aimed at the moon and witch, the mighty—and revealed to us the hitherto un¬ won.” As the last chord of the concluding presto rang “xntJci: r.fxss/.x?* through the building, the usually staid Quaker City audi¬ Dances have always had an important influence on young,” he would say to someone at the piano, “I hitched to the stars. We overloaded our wagon with portant event in our national musical history meant—Edi¬ suspected resources of the pianoforte. It was in Phila¬ tor of The Etude.] ence rose, every man and woman, as by common con¬ music, and we find them well developed and flour¬ did it this way,” and the guests were then sure of a high ambitions. We took so many things for granted, delphia during the season of 1872-3 that I had the good sent, and gave audible expression to that battle shout of ishing, even at the beginning of modern times. In marvelous exhibition. When Grieg described a visit without due consideration. We even neglected to look Toward the middle of the nineteenth century Euro¬ rejoicing freedom, in cries of Bravo! Bravissimo! the day of Bach and Handel many of them had out¬ to Liszt he spoke of the great pianist “discharging up the route of our journey and forgot our compass pean vocal and instrumental virtuosi began to regard Rubinstein’s rendition of the Liszt-Schubert Lrl- grown their original uses, and become definite mu¬ one volley after another of heat and flame and vivid and our map, and never thought of a guide. Small America as a fertile field for the display of their King was as realistic as that of the sonata. The listen¬ sical forms in the suite and elsewhere. thoughts." Grieg had brought a violin sonata in wonder that we suddenly find ourselves on a ■ inge sea, achievements. One of the first celebrated foreign pian¬ er was made to hear the tramp of the horse galloping Best known among them was the minuet, with its manuscript, and Liszt took it to the piano and having lost all sense of direction. ists to visit us was Henri Herz, who, fresh from tri¬ wildly through the nighf, like the swift flight of time, or stately triple rhythm. As a dance it was slow, but played it with the violin part. “The violin got its umphs in Paris, toured the United States, Mexico and The thing to do is to know what you can do, know of fancy; the shrill tones of the excited boy ringing in the day of classical sonatas and symphonies it was due right in the middle of the piano part,” wrote South America from 1845 to 1852, dazzling his not over¬ what you have to do and what you want to do. Have through the tempest-laden air; the deep voice of the otten made a rapid movement. Its name came from Grieg. “He was literally over the whole piano at discriminating audiences rather by the presentation of a common sense estimate of what you arc able to do. father, striving to calm his child; the seductive whis- the Latin “minimus” (smallest), as it was danced once, without missing a note, and how he did play! Ask your teacher for an outline plan for th year’s his own compositions on eight pianos, with sixteen per¬ pers of the elfin beings and the shuddering awe of the with small and dainty steps. Witt grandeur, beauty, genius, unique comprehen¬ formers, than by his brilliant but frivolous solo work. Dances in triple rhythm included also the Cha¬ work. Ask her what she expects of you to do in the denouement- . way of practice this year and get her answer in posi¬ In 1845, too, came Leopold Von Meyer to exercise his One evening, after creating an immense furore w th conne, though a few examples are found in even ds a composer, Liszt broadened the scope of the tive terms. Know your weak points—where y. u must blandishments in our principal cities after the most this composition, the great Russia!] responded to deafen¬ time. It was slow in tempo, and generally major in piano. .To.him we owe the great.antiphonal effects concentrate and labor. Realize your deficiencies; that charlatan-like fashion, smiting his keys, when ten lin¬ ing applause with his own transcription of the Turkish mode The Sarabande was another dance of stately shown in his transcriptions, as well as his own com¬ will show plainly the work to be done. Find mit your gers were inadequate, with fists, elbows, even nose, and March from Beethoven’s Ruins of Athens, then rose and dignified character. It was derived originally positions.. This style has well been called “the or¬ from a Spanish religious ceremony. The Passacag- producing music-box, and bell-ringing effects. He per¬ from the instrument with an air of resolution. Whirl¬ chestration of the pianoforte.” But his work in the grade and whether you stand there firmly It ad the lia was rather bombastic in character, its name being lines of those before you and learn how th.\ worked formed his antics with lightness and grace, and vastly winds of enthusiasm brought him out again and again sometimes said to mean “rooster step.” It was larger forms has not even yet been fully appreciated. amused the public, which he, more extravagant than to bow his acknowledgments, but the audience was in¬ His grand symphonic poems and concertos real’y and what they went through. Estimate your strength somewhat like the Chaconne, but more often minor. and take up a load in proportion. Plan your i urney, ever, found cold when he returned in 1868. sistent, demanding more music. His manager, under The Courante was light and rapid, as its' French led the way to our modern orchestral freedom. and do not foolishly expect to make it all in day. or Signs of improvement in popular taste were already whose control he chafed, forced him to comply. This name (“running”) would imply. I learned later. What was seen at the time was the proud MUSICAL NOVELTIES. even a year for that matter. DEFINITE PEOPI ! SUC¬ .manifest, in 1852, when a Polish gentleman, Wolowski Among dances of even rhythm the Gavotte is now by name, vainly sought to mend his broken fortunes by master projected on the stage like a body shot from the most familiar. It should begin on the third The business of manufacturing operas is in its usual CEED. They caulk up their ships well before tin t start. giving public performances on two pianos at one and the a cannon’s mouth. Each particular hair of his leonine beat of the measure, and have short, bright phrases flourishing condition. A contest for a prize at the San They do not sail until all is shipshape, and the know same time. The added announcement that he could mane seemed alive, as he seated himself at the piano and m moderate tempo. Sometimes it includes a musette, Carlo Theatre,. Naples, has brought forth Hoffmann, by their route, and have figured the distance, and ha. taken execute 400 notes in one measure made scarcely a ripple struck into the opening measure of Chopin’s Berceuse. or rustic trio, with a drone bass like that of the Guido Laccetti; La Tern fiesta, by Luigi Aversa; La m account the winds tjnd the currents. Th also But how changed the composition became! For a mo¬ of excitement, because people were quite sure that no bagpipe. The Bourree is much like the Gavotte, but Prtgione Dorata, by Carlo Festa; Alberto Giannini’s know (of course) their destination. A sailor. , .haps, ment I who was then studying it failed to recognize it. one could count the notes. American concert-goers brighter, quicker and heartier. The Rigaudon is Medda; Giovanni Barbieri’s Ghismonda; and Cecilia, need not, but the captain must. Successful pc Plc are instead of rocking the cradle, the left hand beat the placed more confidence at that time in Alfred Jaell, who another lively affair, and was sometimes sung as well by Napoleone Cesi. Leoncavallo, always busy if seldom usually captain of their own ships. time of a wild barbaric dance, while the right fol¬ was attracting attention because of his “full, sweet as danced. The Pavane was slow and stately like the successful, has finished an operetta, The Little Queen, lowed with unerring strokes. Only those familiar with Sarabande. The Allemande, which some say was not and begun a two-act opera, The Forest Murmurs He is crisp” pianoforte tones. The first American pianist to this Slavic lullaby can realize what a Herculean task really a dance, had a cheerful style, like our allegretto, also setting a poem on the subject of Prometheus gain European renown, Louis Moreau Gottschalk, gave Rubinstein performed in playing it at the speed he took. the Gigue and the quieter Loure were both in com¬ An act of Louis Aubert's La Foret Bleue has shown WHAT IS YOUR LIFE BALANCE? his earliest concert in his native land, in New York, His manager had worked him up to a pitch of frenzy, pound rhythm (6-8, 12-8), and very rapid, like the during the year 1853. A man of glowing temperament, ’ and like a giant in chains he gave vent to his fury. modern Italian Tarantella. a delightful score, “full of fancy, true poetry, and deli¬ cate picturesqueness.” This French pendant to Hansel said by critics to combine the best qualities of Jaell, Upon another occasion I heard him direct his Ocean The Bach suite consisted usually of a Prelude, if Herz and Von Meyer, he was, nevertheless, compelled Symphony. At his command was a well-trained orches¬ desired, then Allemande, Courante, Sarabande, Inter¬ a"d Cretel contains old friends in the shape of Red to prostitute his genius to gain the popularity he needed. tra but -I had never heard its members play as they mezzi (two or more quiet dances), and Gigue. The Riding Hood, Tom Thumb, the Sleeping Beauty the Are you the pupil who Or are you the pupil played under him. Electricity flowed from his finger-tips, Air, the Burlesca, and the Scherzo were sometimes Ogre, and so on. Paris is to hear (and see) two’new can find a new interest in who detests everything THALBERG’S TOUR. his baton, his presence, forging golden links between used, but were not dance movements. Ballets, Bruneau s Les Bacchantes and La Roussalka bv every little technical de¬ musical except pieces like Thalberg, an aristocrat- in looks and manner, (he was himself and the men he held, as it were, in the hollow Dances show their influence on far more recent com- Lucien Lambert. Other novelties for the gay capital are tail? who can see the the Kalamazoo Galofi or the natural son of a prince) cold, statuesque, faultless in of lrs hand. Had I been stone deaf I should have .De Laras opera, Noel; Henri Hirschmann’s La Vie charm in a Czerny exer¬ the Inflammation Rag? F,°Se,r,S'...In Norway Gr*eg used the Springdans and mechanism, crossed the ocean in 1855, and after touring found joy simpLy in watching Rubinstein conduct. the Hailing, the latter a wild performance, in which Joyeuse and La Princesse au Moulin; Le Borne’s Giron- cise or a Bach invention? who wonders “how anyone the dancers try to kick the overhead rafters of a low dins, and Cartouche, by Terrasse. Germany is trying South America, visited the United States the follow¬ At the period of the great Russian’s visit to Phila¬ who can play scales over can practice scales for ing year. During the winter of 1856-7 he played in barn or other building. Rubinstein brought into his opera m the open air at Zoppot, with a real forest set delphia I was struggling heroically through the laby¬ and over again j.ust for the hours” when it is “so easy Philadelphia, and “apostle of brilliant emptiness” symphonies the wild Russian Kamarinskaia. Berlioz t.ng; but no winter season has been announced yet rinths of the Well-Tempered Clavichord of Johann Se¬ to play the very latest ten- though he might be, he made a profound impression bastian Bach. My guide was Carl Gaertner. teacher, employed a waltz in his Romeo and Juliet, but this, . FZ orchestra, it is said that Strauss thinks of treat- J°y of getting them better and better? cent-store music without upon his hearers, especially those who were engaged in violinist, composer and conductor (now deceased), like the Bohemian polka, is more suited to the them?” JhfTf' !? efelIent subject- in which the irony attempts at piano-playing. However little he may have lighter kind of salon music. Edward German and of his Eulensfitegel would appear again to advantage7 whose life was consecrated to the interests of his art, advanced the progress of musical art, he at least show¬ others have done worthy and pleasing' work in re¬ A new symphony by Bernard Tittel was heard at Wil' and whose achievements in the field of musical educa¬ Are you the pupil who ed how to gain control of one’s self and one’s instru¬ vising the old English dances. dungen. Ostend heard Paul Lebrun’s beautiful sym¬ Or are you the pupil tion have never been fully estimated. He had a keen takes particular care to ment, how to sing a melody on the piano, and how to phonic poem, Sur la Montague, and a selection from Jan who thinks that “time will comprehension of Bach, fully realized the poetry of the have the time right in produce smooth, correct and finished passage work. I THE LISZT CENTENARY. Blockx s new opera, Liefdelied, or The Love Song. The come anyhow?” who ex¬ Anton Rubinstein. works of this master of masters, and had little patience well remember the long-enduring desire he awakened in Even as the 7.30 papers appear at 4 P M the latter number gave an effective contrast between the every measure? to see that changes counting for A Memorial Erected in the Royal Conservatory at with those who performed them after a stiff, unyielding, my own youthful breast to produce similar pearly scales, periodicals have all been full of articles for’ the heroines grief and the joyous echoes of a village festi- the accents fall in th pounding the floor with St. Petersburg. pedantic fashion. I was often reminded by him of the I mt centenary, which occurs about with this issue Proper places, andtocount the foot or possibly nod¬ rippling arpeggios, and singing melodies. statement that a Bach fugue was like a company of HenriPlVM effective Fant»Hie Pastorale by A multitude of Liszt imitators now flooded the coun¬ of The Etude—both great events in their way. Liszt Henri Mulet, and a symphony, in Franck’s style bv whenever necessary? ding the head like a Chi¬ fortune to make the acquaintance of this great Rus¬ polite persons conversing together. Each one knew too. is growing steadily in popularity. His career as Witkowski. The symphony incited M. Calvocoressi to nese doll? try, cruelly abusing the innocent pianoforte in their sian tone-colorist, and hear his Titanic interpretations, when to speak, when to be silent, when to differ har¬ a pianist and teacher was fully emphasized during write thusDebussy and Ravel are shallow, but the vain efforts to show how the master, in whose name with their infinitely varied nuances through the medium moniously, and when to come together in perfect re¬ Are you the pupil who they offended, produced orchestral effects on the instru¬ bis life, and rather overshadowed his deserved fame earnest deportment and elaborate and pompous tactics of the musical instrument usually regarded as cold in cord. Moreover, I was compelled by him to commit as a great composer. His Sunday afternoon gather¬ Or are you the pupil ment. They always had a tuner on hand to repair dam¬ preludes and fugues to memory, transpose them into of composition displayed by the Franckist school impose takes time to learn a piece comparison with the voice and the violin. ings are ended, lo, these many years, but his sym¬ who rushes over the notes ages, and felt they had done badly if they failed to There was nothing cold in Rubinstein’s playing. Its various keys, both at the instrument and in writing, and phonic poems are marching on. andnvIiglr°”erTFIC"’ vm"8’ and pass for Profundity fa th? proper speed and at an impossible tempo snap two or three wires of an evening. Sometimes we stone g°r- This is killing several birds with one inimitable charm lay in its warmth and beauty of tone, to preserve the freedom, fluency and grace that belong Many have chronicled his great kindness, but’ he hen develops the speed in with the blissful hope that who heard them were lost in wonder at their be¬ not in its virtuosity, which lacked absolute perfection. to them. could be angry enough on occasion. Once the Prin¬ the right manner? nobody will notice mis¬ wildering feats; more frequently our finer sensibilities The Liszt centenary was fitly anticipated by the dis Not infrequently, in the white heat of a labyrinth of A VISIT TO RUBINSTEIN. cess Metternich asked him if he had done a good takes?” covery of a choral Hymn to Rome by him, the manu' were jarred. Mr. Gaertner passed much time with Rubinstein, business on a certain concert tour, whereupon he sounds, he hit some wrong note, but it was quickly for¬ script being found in the Library of St. Cecilia In spite of all disturbing influences, the numbers of talked Bach with him, heard him play Bach, became en¬ replied: “Madame, I am in music, not business- I those who craved music of high order everywhere in¬ gotten because of the round tonal loveliness surround¬ Pr are you the pupil thusiastic about the Russian’s conception of Bach leave that to diplomats.” It was a fair defence of creased. In my home city, Philadelphia, chamber music, ing it. The majestic volume of tone he produced won who just hates to prac¬ for him the title of the thunderer, yet no one ever dis¬ which, fully accorded with his own, and finally mention¬ r.rt, but a needless dig at Prince Metternich To u rne evei refined and noble, was enjoyed by ever enlarging num¬ “Custom reconciles us to everything,” said Ed¬ tice who sits at the piano played more lightness, grace and delicacy than he. A ed a pupil of his who could show how he taught Bach. the many young girls brought to play before him who leaves bers. Gifted and thoroughly educated foreign musicians mund Burke Don’t let it reconcile you to doing with a frown and leaves it masterly and original control of the damper pedal aided The result was an appointment for an interview. without due ability, he would never utter the wished- ing that soi had settled among us as teachers, and were doing noble mediocre work when you have it in you to do better! ' c a prisoner leaving a him greatly in controlling the musical rainbow from its Without preparing me for more than the enjoyment has been ac service in stimulating and cultivating musical taste, and offence? dread!ng the next 733 THE ETUDE 732 THE ETUDE (4) these often for the children and they will be stimu. of a personal meeting with the necromancer of the pi¬ sight and Rubinstein immediately gave us a transcrip¬ lated to want to learn their favorites for themselves ano who was exercising so inspiring an influence over tion of the great organ Fugue in B minor which he Begin with cradle songs, spinning songs, hunting me, my good teacher ushered me into the presence of transposed, with ease, into E flat minor, not missing songs and other descriptive piano music, and it js the distinguished Russian music-master. We found him note, or omitting an emphasis. More than ever his per¬ surprising how rapidly their taste will develop f0r in a drawing-room whose main features were a con¬ formance filled me with wonder and admiration, wnen •even better things. cert grand piano and a quantity of books. . we parted, I felt that I had gained an influence, in my Much can be done to foster a love of music in “When I am on a tour I employ my leisure moments musical life, that would never cease to endure. very little children by means of illustrated song 2. But thi. is like the declension °f. » ”°“j in reading great literature,” he said, after welcoming us Shortly after Rubinstein’s death, November 20, 1««» books and nursery rhymes skillfully harmonised. If with the genial cordiality which was one of his marked I read an account, by a Berlin critic of a visit to the . the mother cannot play or sing, let her supplement characteristics. “It is surprising how much that is cal¬ vorkshop, in the tower of the Peterhof villa, a couple the piano lessons by engaging some one with tact THE HARMONIC LIGHTHOUSE. IS 2\£yr« %£• culated to broaden the mind may be gained in moments of days after its owner had closed his eyes forever. as well as talent to play for her children at least that might otherwise be wasted.” zn,'X .«•> >-« Here the Russian man of genius had been busy the last once a week. When the children have absolutely Here I ventured something in regard to the profit and no interest in music, or exhibit a stiffness of muscles By THOMAS TAPPER. pleasure I had derived from his concerts. day of his life, and his glowing personality still pervaded not easily overcome, spend the money usualjy de¬ voted to lessons on musjc culture, and all genera¬ RUBINSTEIN’S FALSE NOTES. •I. RUBINSTEIN’S WORK. tions shall call you blessed. sion upon the tonic of the key reached by that chord; “May the Lord forgive me for the false notes I The popularity of the -simpler Major and Minor THE PUPIL’S PART IN PIANO STUDY. On his writing-table were portraits of those dear to Musical martyrdom is not an exaggerated term do produce a modulation. . dropped!” was his reply, and although he spoke in a half Keys is due not alone to the easier keyboard^posi¬ quizzical way, it was evident he took himself seriously him—his mother, to whom he owed his first musical when we consider how positively obnoxious piano 3 Therefore, to learn the Dominant Seventh tions they demand, but also to the clearness of the BY FANNIE EDGAR THOMAS. to task for any blemishes in his work. training; his wife, his children and his brother Nicho¬ practice is to the unmusical child; arithmetic may¬ chords so well as to recognize them readily will be equally hateful, blit a profitable knowledge of it key relationships produced by modulations. enable him to locate the key, or to name the port, Some question was asked him by my teacher about las, the sharer of his early musical studies. There was The sublime faith with which many students will is usually the result of several years of >tudy, and Any student who will attempt to analyze the O into which he has made his way. his touch and tone. Holding up before us his vigorous- the inkstand he had forgotten to close, the pen he had go to a teacher expecting to acquire a technic with¬ looking hands he replied in words akin to those often sharp minor fugue, in the first book of Bach sWeU Now, there is only one way to learn the Domi¬ carelessly thrown down and a pile of manuscript. The the same cannot be said of music. out working for it is a factor which ought to be quoted: Tempered Clavichord, will Appreciate what is meant nant Seventh, chords-and that is to sit down and grand piano—the medium through which it had been The musical kindergarten has spread amazingly reckoned with by those pessimists who have lostajl ‘Look! I have phenomenal fingers, and I have culti¬ by the preceding paragraph. He will conclude, at learn them. With a single example as type (say his wont to invest with tone and rhythm his flights of in the last few years, but it seems to have accom¬ belief in the credulity of the human race. The pos¬ vated phenomenal strength and lightness. That is one fancy—was open, and on its top was strewn the music plished more in the way of rapid development of once, that he is far more familiar with what he G B D F in C Major) he must seek out, and secret of my touch; the other is assiduous study from sees in traveling from C Major to the usual stations sibility that they might have to Ptact.ee ■*«« he had been looking through during his last working the musical child than of stimulus to the mi musical. scrutinize, spell, play and listen to every other ex¬ to have entered the heads of such pupils, and they youth up. I have sat for hours trying to imitate, in my reached on the road leading from that key, than he day on earth. When the time comes for the grind of solitary, daily ample of the type until he knows them all as per¬ appear to believe that all that is necessary for them playing, the timbre of Rubini's voice, and it is only The critic also noted the charming prospect that had practice in place of the delightful fellowship and is with the region traversed by the music in this fectly as he knows the process of addition So he to do is to present themselves at the studio once with labor and tears bitter as death that the true artist entertaining variety of class work. ther< is either goes to work to learn the chart of the Modulation or twice a week and have so much knowledge is developed. Few realize this. Consequently there are been presented to the master from the windows of his work-shop. Owing to the heights on which the villa is open rebellion or reluctant submission. fUWha°tf
734 THE ETUDE think that came in a day? Ah, ray friend the polish- inn of those jewels took far longer than the polishing S, no,, of course, forget that any of the Kohinoor. Yet I have heard young girls attempt to Play this piece for me—expecting approbation, 0f course, and I am certain that they could not have prac. STS » —and your hands. ticed upon it more than a year or so. I hey evidently think that musical masterpieces can be brought into SPECIAL TREATMENT FOR THE HANDS. being like the cobwebs which rise during the night to And now, what shall we do for the hands themselves be torn down by the weight of the dew of the following THE PHYSICAL DEVELOPMENT AND CARE so qs to develop them to the highest degree of strength, morning. Imbeculita! firmness, delicacy and skill? . _ , to these OF THE PIANIST’S HAND The-three principal measures which I employ to thee THE BEST TEACHER. ftac.ic.l Directions for Gaining Strength. Firmness and ends are bathing, massage and specia exercise Eke “They play just as their teachers have told them to tricity and mechanical vibration are also valuable wnen play, which is of course good as far as it goes. But they Treatment oi Strained Muscles and “PIANIST S CRAMP ,ir.der the care of a competent physician. But stop at that, and no worthy teacher expects his pupil these are really of less value than the methods I am to stop with his instruction. The best teacher is the one r THF LATE W. R C. LATSON, M.D. who incites his pupil to penetrate deeper and learn new By THE (Formerly Editor or Health Culture) abS? the baths for the hand, the best I know is the beauties by himself. A teacher in the high, -t sense of THE GREAT PIANIST MUST HAVE GREAT PHYSIQUE. the word is not a mint, coining pupils as it were and ^Provide yourself with two vessels, one filled with , his death, 1 putting the same stamp of worth upon each pupil. [Shortly h, yrlters It is a curious fact that students of the PjaM U^ahy very hot water, the other with very cold water-ice known as on s of physic quite neglect to inquire as to their physical fitness for water is best, in fact is necessary in summer. [ Editor's Note: The first section of this remarkable through the ever mystifying source which we call in¬ “The great teacher is an artist who v. rks in men subjects, and educational Interview appeared In the "Self-Help, Uplift and spiration. Each note must bear a distinct relation to and women. Every pupil is different, and in- must be __ ^ success in the difficult art they have chosen. Now place these vessels side by side and immerse Progress" Issue of The Etude published last mont" T" best remedy for Pi“'st L* right physical culture of the the hands in the hot water. Hold them so for about Rus- the whole. very quick to recognize these differences lie should rred» and connection with this a short biography of the far’'"' one minute, then put them into thecold waterallowig slan virtuoso was published. The article was '__ full of “An artist in jewels in making a wonderful work of first of all teach the pufil that there are hundreds of 2SK-_lw. doubtless brilliant suggestions and sage advice that we e£ mestly... nd- that after they occurred the hest^ them to remain for the same length of time. *eep art does not toss his jewels together in any haphazard things which no teacher can ever hope t ach. He exercise and ma~~ vise any reader of this issue who did mot secure a copy of „ "subject. "Accordingly” thfLbelievea?H?„e that this up until the hands have been four or hye times the October number to procure one if for but this feature way. He often has to wait for months to get the right must make his pupil keenly alert to this. There are t his untimely death ‘our readers. A search in the hot water and the same number of times m alone. Articles of this kind are exceptionally rare. The ruby, or the right pearl, or the right diamond to fit in hundreds of things about my own playing which are we^might^he" compelled to disappoint conventional newspaper Interview in which the artist dis¬ tnroush nis effects, however>nowever, "revealedreve, that Df. Latson had the right place. Those who -do not know might think virtually impossible to teach. I would in a know how through his -*~~ —Editor's Note.] cusses his critics, his hair and the climate of New York kept his word and prepared the ^MotYwill, find this not only a splendid invigorant to harbor appear frequently, but it is only rarely that a famous one gem just like another, but the artist knows. He has to convey them to others so that they mig i be intel¬ artist is induced to give his philosophical, artistic and enthusiasm that they realize the black truth-failure. the hands, but a tonic to the entire system. I usually ligently learned. Such things I have fou out for educational observations to the public.] S,a » advise this bath twice a day—morning and night. myself by long and laborious experiment, m. The ^gheTone hundred and twenty pounds She wore Another valuable bath for the hands is the following: DEEP THOUGHT NECESSARY. control of my fifth finger in certain fingering presented wei&ucu confided to me, witn Pour into the hollow of the left hand a easpoonfuj endless problems which could only be wm 1 out at “As a rule piano students do not think deeply enough. » p“t« Jhowb Of “Kuium ,ha, sho was studying or so of the best grain alcohol. Now simply rub and the keyboard. Such things give an indi\i<: ty to the They skim over the really difficult things and no amount wring the hands gently in each other, rubbing the of persuasion will make them believe some very simple pianist’s art, something which cannot be .. alcohol well in until they are dry . “Have you ever been in a foreign art 'cry and ’°TbXft£”“.h hard -a.i—^ things difficult. Take the scale of C Major, for in¬ ought to be able to make a great p.amat a. wdl^ So much for bathing. Many other hand baths might watched the copyists trying to reproduce the works stance. This scale is by far the most difficult of all. be described, but these two are best for general ap¬ of the masters? Have you ever noticed tl 1 though To play it with true legato, at any desired degree of “ne'chnfilS w“S«,“nd0wi.h a little pout plication. they get the form, the design, and even the lors and force or speed, in any desired rhythm and with any also that with all these resemblances, the is some¬ MASSAGE A GREAT DEVELOPER. desired touch is one of the most difficult achievements •hYr dS seetu very ayntpathedc. Do.’, you think thing which distinguishes the work of the m cr from . Massage of the hand may be any one of three kinds: in all music. Yet the young pupil will literally turn the work of the copyist, something so wonderful that (a) Mechanical; that is, applied by machinery, as up his nose at the scale of C Major and at the same ‘ lToo“«d'“,dher exquisite Me hand, fl* < even a child can see it ? You wonder at this? I'ourquoi? of the electric vibrator. This is most valuable, but time claim that he is perfectly competent to play a self-applied vibration is of little value and vibratory Beethoven Sonata. No one can learn by copying the secret the i ister has treatments applied by a physician involve both mcon “The scale of C should be learned step by step until learned in creating. ff.the vigorous Rosenthal, the powerful D Albert, tne the practice habits are so formed that they will reign venience and expense. (b) Manual massage of the hand to be of any valu supreme while playing all the other scales. This is ” aS *«f““eeU«d'Tdo a psychological surgieal EXERCISE FOR DEVELOPING MORE FINGER POWER. must be applied by a powerful and ^il hil masseun the way to secure results—go deep into things. Pearls operation. It might hurt now, hut later on she woul “Here we have a figure which brings out This is expensive, and besides, it is most difficult to find lie at the bottom of the sea. Most pupils seemito expect the real meaning of originality in piano p' ing ar It is my deliberate conviction that the principal cause them floating upon the surface of the water. They you ,Mul Min a fair fight with boxing gloves of failure among piano students in many cases is no a competent operator. . at the same time indicates how every pup with c Yc) Massage of the hands each by the other. This never float, and the one who would have his scales lack of hard work, or of competent instruction or of without a teacher should work for himself. Why wi is best of all, because by this method the student gets shine with the beauty of splendid gems must first dive the great Liszt greater than any pianist • ■ ; timt musical erudition, or of temperament, but of pM«al deep for the gems. the good results not only of the massage, but of the Simply because he found out certain pian; secre fitness. And that lack of physical capacity is most “But what is the use of saying all this? To tell it exercise. which Czerny or any of Liszt’s teachers and on ten li frequently found in the hand and forearm. to young pupils seems to be a waste of words. They poraries had failed to discover. vyill go on making their mistakes and ignoring the (Photograph copyright by Elliot & Fry.) WY ™,”„,thi..Td», girl,” I answered. “An HAND AND FOREARM THE WEAKEST POINT. “Why has Godowsky—Ach! Godowsky. dr i
A COMPOSITE GRADED COURSE
REPRESENTATIVE TECHNICAL EXERCISES. REPRESENTATIVE STUDIES. REPRESENTATIVE PIECES.
I. The Instruction Book Stage. First Steps m Gurlitt One Hundred New Exercises, Opus 82; Streab- Jolly Darkies, by Karl Bechter; Day Dream , by Pianoforte Playing. A. Schmitt’s, Opus 16, bog Twelve Melodic Studies, Opus 63; Caroline Nor- Engelmann; With the Caravan, by R. Berber; First Five-Finger Exercises; Stephen Emery’s cross Suggestive Studies for Music Lovers (a work Melody, by F. Thome; Sing, Robin Sing, by G. L. Foundation Studies; Preparatory Touch and for adults) ; Mathews Standard Graded Course, Book Spaulding; Playing Tag, by Mary Stein; The Robin, Technic, an introduction to Dr. William I; Bugbee First Grade Studies; Duvernoy, Opus 176, by de Reef; Pussy’s Lullaby, by Bugbee. Standard Mason’s famous system; Kohler Very First Book I; Engelmann Primary Studies, Book I. Graded Compositions, Vol. I. Very first pieces Exercises, Opus 190; Philipp’s Preparatory School of Technic. Treble Clef Album. II. Mason Touch and Technic, Book I; Herz Mathews Standard Graded Course, Book II; Duvernoi Haymakers’ March, by J. F. Zimmermann ; Tl.c March Scales and Exercises; E. Biehl, Opus 7, Book Opus 176, Book II; Loeschhorn, Opus 65, Books 1 I; Philipp’s Preparatory School of Technic. of Fingall's Men, by H. Reinhold; Sunset Xocti II and III; Koehler, Opus 157, Twelve Little Studies. by E. M. Read; A May Day, by F. G. Rati; Kunz Canons. Standard Graded Compositions, Vol. 11. III. Mason Touch and Technic, Book I (continued); Mathews Standard Graded Course, Book III; dementi Herz Scales and Exercises, E. Biehl, Opus 7. Sonatina, by Gustav Lange, Op. 114, No. 1 : Sonatinas, Opus 36; Streabbog Twelve Melodic by Henselt, Opus 5; Little Tarantelle, by S. I Idler; Book II; Philipp Preparatory School of Studies, Opus 64; Duvernoy, Opus 120, Books I, II, Technic; Loeschhorn Technics. Snowflake Mazurka, by N. von Wilm, Op. 8, No. 2. OFFENBACH’S GREATEST OPERA, “TALES OF HOFFMANN III; Burgmtiller, Opus 100, Twenty-live Easy and Standard Graded Compositions. Vol. Ill: First FAMOUS SINGERS IN “THE TALES Progressive Studies, Books I and II. THE STORY OF “THE TALES OF Studies in the Classics. HOW “THE TALES OF HOFFMANN” OF HOFFMANN.” IV. Mason Touch and Technic, Book II; H. Ber- HOFFMANN.” Mathews Standard Graded Course, Book IV; Concone WAS WRITTEN. ens New School of Velocity, Opus’61, Book The Mill, by Jensen; Album Leaf, "by Grieg. Op. 12. The fact that twenty Opus 24, Books I and II, or Concone, Opus 30, Books’ Jacob Levy, born Prologue: Scene. A wine cellar in Nurmburg. I; The Little Pischna; Anna Bush Flint Hand No /; Songs Without Words, by Mendelssohn. Op. principal and secondary- I and II; Czerny-Liebling Selected Studies, Book I; June 21st, 1819, at Of¬ Hoffmann, a poet, plans to tell his companions about Culture. A system of double-note finger 38, No 4; Frolic of the Butterflies, by Bohm. Op. characters figure in Heller, Opus 45, Twenty-five Studies Introductory to fenbach - on - Main his three love affairs. Each following act is a com- training, standard Graded Compositions, Vol. IV: this opera makes it the Art of Phrasing (or Heller Selected Studies) • (Germany), who later, plete little operetta describing one of these love af¬ particularly difficult to Modem Student, Vols. I and II; Mendelssohn Songs as Jacques Offenbach The New Gradus (I. Philipp), Book I, Left Hand Without Words. fairs. tell the plot in concise Technic, was to become one of Act 1. Scene. Home of Spalanzani, owner of the form. It is really the leading operatic V. Mason Touch and Technic, Book II (con¬ life-size mechanical doll, Olympia, whom he repre¬ three little operas, each Mathews Standard Graded Course, Book V- Czerny- figures of Paris, d ed tinued); Philipp Complete Technic; Plaidy Gy£syRondo’ by Haydn; Rondo. Op. 51. No. 1. bv sents as his daughter. Coppelius, half owner of the with a complete cast Liebling Selected Studies. Book II; Cr’amer-von Oct. 5th, 1880, a greatly Technical Studies; Isidor Philipp Exercises Beethoven; March of the IHea doll, causes Hoffmann to buy a pair of spectacles and plot in one. The Extension. Bulow Selected Studies, Book I; Berens, Opus 61 disappointed man. He cT’ a, 3i, Ma~nrka- Leschetizky. Op. 8. No. 2. which make the poet think the doll alive. He dances evil spirit trying to Books I to V; The New Gradus (I. Philipp), Book knew that his opera III (Hands Together) Standard d-aded Compositions, Vol. V; Concert with the beautiful doll and falls enraptured in a overcome Hoffmann is Album, Classical and Popular. The Tales of Hoffmann swoon and breaks his glasses. The doll dances off, represented n the first VI. Mason Touch and Technic. Book III (Arpeg¬ was his greatest work Mathews Standard Graded Course, Book VI; Bach only to be smashed to pieces behind the scenes. act by Spalanzani, in gios) ; Philipp Complete Technic (continued) ; and he was more than Two Eoice Inventions: Czerny-Liebling Selected C.h°Pi^~OP- No. 2; Sonata, by Bee- Coppelius tells Hoffmann he has been in love with a the second act by Czerny Forty Daily Exercises; Leschetizky anxious to hasten the Studies, Book IIT; Cramer-vonBulow Selected Stud- Daperlutto and in the Method (The Modern Pianist, by M. Prent- kowski’ On' is’ V°- V n°lSe Roman,l(luc- ll>' Mo?- rehearsals so that he mechan’cal figure. VS- B°°k 11; Thf New Gradus (I. Philipp), Book Mason’ On i5 Rustias Ch of Love, which is hummed and played and whistled which the famous barcarolle is introduced. The Concert Etudes. uara Etudes d*Con°J'v 0pU3 33! Rubin tation in this work. everywhere. photo is that of a Berlin production. _and C™ ■J
I U._ 745 THE ETUDE 744 THE ETUDE being due to the lovely slow movement, a fragment highly successful. His “Reverie,” in addition to its of which is here given. The study of this and CONESTOGA tunefulness and pleasing qualities, has r^jd educa¬ similar quotations from the classics serves to dis¬ STUDY notes; tional value both from the technical and^inspsica seminate a more intimate knowledge of these great ON ETUDE MUSIC < standpoints. This is an excellent third; works’ 'fpd to add greatly to the interest in them, C' tal piece. .. especially so since opportunities for hearing the con¬ By PRESTON WARE OREM LOHENGRIN (PIPE ORGAbf^-—R. WAGNER. certos are infrequent. The introduction to the third a.ct of “Lohengrin BARCAROLLE (VIOLIN AND PIANO)^J. VALSE CHARMEUSE— E. POLDINI. has long been a favorite number at orchestral con- OFFENBACH. A portrait and sketch of this composer will be certs. The strong opening theme is both inspiring Interesting material regarding the "Tales of Hotf- found in another column. Although best known by and uplifting, as is the famous bass melody with manni” from which this barcarolle is a popular ex¬ his “Poupee Valsante” (Dancing Doll), all his piano its triplet accompaniment. In common with many other instrumental numbers by Wagner, this piece cerpt, will be found in another department of this pieces are such as to command attention. Poldini may be played on the organ with excellent effect. number of The Etude. In the opera the barcarolle is particularly happy in his waltz themes. Genuine It will make a fine recital number, or it may be originality in the treatment of the waltz is ex¬ is an ensemble number for solo voices, chorus and used as a postlude for festal occasions. tremely rare. “Valse Charmeuse” is a fine specimen, orchestra. It sounds well in all arrangements, how¬ full of deliciously piquant and characteristic effects. ever, and makes a particularly good violin number. All signs of phrasing and expression are the com¬ The success of this number appears to be due chiefly poser’s own and should be rigidly observed. Much to its fascinating, swaying rhythm; the melody and freedom of tempo is desirable in a piece of this type. harmonies are extremely simple. Charmeuse means bewitching; this indicates the character of the interpretation. A good fourth or THE VOCAL NUMBERS. fifth grade pupil should do well with this piece. A new song by Henry Parker is always w Icome. His “Abide with Me” should prove one of tl . most R ELL RIXGl XG—PETERSON- BERGER. popular solo settings of this well-known tc.xi It is This is a fine characteristic piece by a contempo¬ melodious, expressive and dignified. rary Scandinavian composer of much talent arid “Dear” is a song of popular type by tl well- originality. The design of this piece is that of a known Italian bandmaster, Guistppi Great . It gradual crescendo leading to a tremendous climax is also published as an instrumental numb and followed by a decrcscendo and dying-away effect. as such has been performed by the cotnpu- • w'th The chiming of bells is very cleverly suggested, and great success during the past season. It wi! make the harmonic scheme is bold and dignified. An ex¬ a good teaching or encore song. cellent study or recital piece.
DREAMS—R. WAGNER. ‘'Traume” (Dreams) is one of a group of five EDUARD POLDINI. songs composed by Wagner in 1862. Two of these Eduasd Poldim, whose portrait appears on this page, songs, “Traume” in particular, are sketches or has'won a remarkable reputation among lovers of the studies for -the rim: ic-drama "Tristan and Isolde.” beautiful in pianoforte playing, although only a m \ few In this they resemble the sketches made by painters of his pianoforte compositions have been heard. I'uldini preparatory to some great pictures. "Triuime” is was born in Budapest June 13. 1869. He graduated from often sung in recital and concert, and is a great the National Conservatory of the Hungarian -apital favorite. It has been arranged as an instrumental with high honors. Upon the advice of Brahms ' went number in various ways, and makes a beautiful to study with Mandyczewski in Vienna. This • - fol¬ piano solo. As a guide to the player’s interpreta¬ lowed by other years of study in France and Germany. tion, the text of the song is given. Those who are After this lie removed to Switzerland and has li ! for familiar with “Tristan and Isolde” will recognize the most part in the land of ice-crow ne 1 peaks : r manly characteristic touches. geous lakes. V ith the exception of a few choral rks. songs, etc., Poldini’s works best known in Am me AT EVENING—I. J. PADEREWSKI. ataost exclusively exquisite gems for the piano .ere Paderewski has been one of the most popular of is a charm and individuality about the works .1 till pianists. While he has not been a voluminous dini which has engaged the attention of Goikmsky. writer, his piano compositions display many of the Grunfeld, Leschetizky, Rosenthal. Sauer Carr. m l qualities wh'ch have endeared him to the public Mrs. Bloomfield-Zeisler. Poldini’s operettas have und as a player. His “At Evening” -s truly pianistic in favor in Europe. Among them are Xordlicht / its idioms and extremely modern in its harmonic Eduard Poldini. garten Der Hebe Augustin (Ballet), Cartouche, Dc us. schemes. Note particularly the harmonies in the sixty-fifth to the seventy-second measures and the i he vagabond and the Princess, Die Guten i'tcn CONESTOGA—A. GEIBEL. effect of the F sharp added to the final chord in A. Aeiten, The Fairy Tale Singspietcn, for young : Ik-. This number is taken from a very attractive set Dornroschen, Aschenbrddel and Die Knusperhexc. His VALSE CHEVALESQUE—L. J. O. FONTAINE. of second-grade teaching pieces by Mr. Geibel en¬ best known pianoforte pieces are The Dancing Doll. titled “With Nimble Feet.” They are all character¬ This is a sonorous waltz movement by a com¬ M“rch* MiOnonne False Serenade and The Music istic dances. “Conestoga” is an Indian dance with ■ °*l. Valsf Charmeuse, published for the first time poser who is well known to our Etude readers. We a highly suggestive melody, the accompaniment . consider this one of Mr. Fontaine’s best pieces. It imitating the monotonous drumming of the tom- di£r °f J”" EtUDF” is characteristic of the in- is melodious and full of color. In playing it one v duality and delicate finish marking all of the Pol- calls to mind instinctively some scene of splendor rarelv^sn 1?CC^china or to a Watteau painting. It is in quaint stories are told as to how it acquired this the style of an old-fashioned gavotte, danced by latter title, but none are well authenticated. In fact THE CHRISTMAS ETUDE. stately court ladies and gallants. Play it lightly there is doubt as to the origin of the theme itself’ and precisely. Paul Wachs, in common with a although the variations are unquestionably Handel’s As in past years the Christmas Etude , number of other French composers, has a knack of own. This piece in its original form was a solo been planned as a special gift issue. Never recreating musically the atmosphere of a former for the harpsichord, although it was often played period. on the organ. It has since been arranged and tran¬ man T W beeu ab,e 10 offer scribed in various ways. Among others it makes a emiLrCePlt0nal features- The internatio FROLICS—M. GREENWALD. very acceptable piano duet, as here given The CU •Ce, SUch cou,r>butors as Mme Cc, This piece is in the popular intermezzo style. The great popularity of this piece is probably due largely themes are all lively but well contrasted, and the to the beauty of the theme itself, as well as to the rhythms have a fascinating lilt. Pieces of this type clever manner in which the variations are worked uo should not be played too heavily, especially in the each one increasing in interest and elaboration. ' ’ xt;:.zz accompaniment, but rather lightly and with delicacy. FRAGMENT FROM CONCERTO—W A MOZART. REVERIE—B. WOLFF. Mozart wrote twenty-five concertos for piano with As a writer of modern teaching pieces of easy orchestra; of these the one in D minor has proved and intermediate grade Bernhard Wolff has been one of the most popular, much of this popularity the ETUDE 746 VALSE CHARMEUSE
ED. POLDINI, Op. 48, \
-- b#* ji3 /AT 3 i "r tti fvU fi ■ ■■■ K - ri ^ —[—1
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Copyright 1911 by Theo.Presser Co.
International Copyright secured THE ETUDE 749 748 THE ETUDE THE HARMONIOUS BLACKSMITH THE HARMONIOUS BLACKSMITH PRIMO G.F. HANDEL SECONDO G.F. HANDEL
Andante tranquillo M.M. I ? H f YtTmt cTttt f'l#1
Var.3. Repeatp Var.3. r j* - j* r^TT^fl
■jl * • 1 P * 8 1 4 3 8TW * 1 1 " * Copyright 1911 by Theo.Presser Co. -i- ■ - THE ETUDE 753 the etude 752 DREAMS greet-ed by the morn-, that ex - pand they may and bios - som, dream - ing spend their o-dours suave, Edited and Fingered by MAURITS LEEFSON RICHARD WAGNER
Say, oh say what won-d’rous dream - ings keep my in-most-soul—re vo^-
that they not like emp - ty gleam - ings into noth-ing are dis-solv-ing? Dream,-:-ings,
- ____, _ ry hour, ev-’ry day in bright -ness jrrow. and with their ce-les-tial now - er sweet - ly through the bo - Bom flow? Edited by ROBT. GOLDBECK AT EVENING I.J.PADEREWSKI, Op. 10 No. 1 Andantino quasi Allegretto m.m.J= so AU SOIR rit.
Dream - ings, that like rays of splendour fill the bo-som ne-verwav-ing,last-ing ira-age thereto ren - der, All for-get-ting, un noco mu moto. e rubato ^-R A * „- A 1 ii '' ’ 4 4 r-y it, J m'~" m ~m L j~i
42 1 dolce. --— ^§BE =—
i i * — ^5 " * ~ 24 -&■ 2 5iS-__ it AA > x --„ %2 1.25 4 1 P-1 5 k
Copyright 1911 by Theo. Presser Co. Copyright ,1898 by Theo. Presser THE ETUDE ■755 THE ETUDE 754 BELL RINGING KLOCKRINGNING ,v prtERSON-BERGER
Copyright 1911 by Theo.Presser Co . * THE E T It’D E 757 THE ETUDE 756 VALSE CHEVALERESQUE
Q a - n
f f > —■— rit. | 1 > PP
1
GAVOTTE PAUL WACHS Allegretto m.m. J =
('opyright 1911 by Theo. Presser Co. British Copyright secured C -pyright 1911 by Theo.Presser Co.
■ — 759 THE ETUDE FROLICS ATONE FANCY M. GREENWALD Moderato m.m.J-108 5l >
\\ K, ^ N~ ^ ^ ^ Jjeq. ^ ^- PI P • J. • 2 J-1-" *3 ir * *
CODA THE ETUDE THE ETUDE
/ Great: Full,without Trumpets * mixtures. LOHENGRIN Registration*inj Choir:Full!choir:Full! Coupled to SwellSwell. INTRODUCTION TO ACT III ( Pedal: Full, without Reeds RICHARD WAGNER Edited by AlleffrO molto M M S - \5Z HALM KINDER MANUAL ? 4 5 3 ■fry— 4 3 pB 3 ~~S x [M * 'y "7* i "l Gt. Trumpets off reduce > > Sw. 42 ||« -Ht u ii i fm .in i, ^ Copyright 1911 by Theo. Presser Co. 763 THE ETUDE THE ETUDE 762 BARCAROLLE Edited by F.E. HAHN from Les Contes D’Hoffmann (TALES OF HOFFMANN) JACQUES OFFENBACH Sul 0 _ Moderate m.m.J =U VIOLIN PIANO Copyright 1911 by Theo. Presser Co. THE ETUDE 765 THE ETUDE 767 the etude 76G abide with me HENRY PARKER Copyright 1911 by Theo.Presser Co. British Copyright secured J THE ETUDE 769 the etude “THE TIED GATE.” 768 a DAY IN THE FOREST. An Autumn Recital. A Recital Game for Club Use. fragment FROMrCONCERT° IN d minor^ BY J. SHIPLEY WATSON. (In place of the italic words write out (The teacher reads the text or has Ideas for Fall Club Work with the equivalent in musical signs.) the pupil who is to play the following Young Musical Clubs Bess, hold that gate open!” said Kate, piece learns the text preceding the Folks talking as fast Kas possible. “It’s tied" piece and recites it.) answered Bess, slowly. “I don’t care if it is 1” snapped off Kate in a loud voice. There is an indescribable something in Kate had a high soprano voice, very the very air which thrills everyone at the sweet and very, very soft. One natu¬ thought of spending a day in the woods. rally fell in love with Kate. She was Old Mother Nature bewitches us. The Mountaineer’s Call—Spaulding. Rose Petals—La,wson. pretty enough to turn her head, and hot, dusty road is not a dull, weary way Resting for a moment by the brookside, Shadows lengthen; over the Earth “swell” enough to work havoc in the that day. How keen the eye, how sharp there comes a gay company. It is the spreads a dusky veil. Only towards the whole neighborhood.. the ear to see and hear the delights of airy, graceful butterflies stopping for a West rosy streaks of light peep through She could sing the lightest songs and the wayside. Whether riding or afoot, dainty sip. Then, rising on fluttering the trees. The intense quietness of "late trill the fastest, softest trill. She was there is pleasure and charm everywhere in wings, they beckon to a merry race. Here afternoon is no more. The birds pour in time for all the fun, and little by little she became the pet of the town. But “Going to the Woods." and there, turning, twisting everywhere, forth their vesper hymn. All the myriads that morning Kate was not very sweet is the eager chase of the butterflies.. Oh! of living creatures are busy preparing for (,V . to the Woods—Egrelino. and her voice was not very soft. She dainty little fellow, we knew you would the night. Familiar sounds take weird was angry and spoke more slowly, ac¬ The sun floods the earth with the bright shapes, well-known sounds startle. The at last seek the woodland beauties. He, centing her words. “Hold that gate sunlight. The forest, still and mysterious, mystery of the woods has begun. Look, the gallant, in black and gold, comes to open!” “But it’s tied.” repeated Bess. stretclu-s as far as eye can reach. Gently there flashes an old flame. It is an un¬ woo the modest violet. Never a lovelier vivaciously, and she rolled her bright the soft breeze plays among the tree-tops. fortunate wayfarer who falls under the sight than the “Flight of the Butterflies." eyes with expression. Golden p itches of sunshine fleck the cool, spell of the “Will o’ the Wisp.” “Well, our friendship will end right shady depths within. Upon the air comes Flight of the Butterflies—Wilson. here if you don’t un-tie it. You needn’t whispering voices, whose spell there is no Did you ever listen to the Brook, as it The Will o’ the Jitnomann. try to bar me out; it’s a base thing resisting In them are the magic and goes singing through a shady valley? Yonder over the hilltop is a ruddy glow. to- do.” charm of the woodland. “Come, come,” Come and rest awhile on the soft velvet It is like the full moon rising on a misty Bess saw it was no use. so she pushed whisper, the voice, “there are no pleasures carpet, while it chants its little lay. It night. Coming nearer, one looks down the gate open with a sudden bang and. like mini ' Through the “Entrance to sings of springs, as clear as crystal, cold into the sheltered hollow', where a band running as fast as possible, reached the the Fond.“ the never-ending beauties of as ice, of bees and birds, grasses and flow¬ of gypsies have made their camp. The in¬ front step. Takmg a step and a half at ers, of tiny falls and limpid pools, where tense blackness without, the great fire a time, she rushed into the house, strik¬ little fishes like to play. Of sun and stars, within, the grotesque shapes in the shad¬ ing Major Sec and banging the door so F.ulrnii. e to the Forest (from Forest of all the beauties of earth and sky, ows, the startling distinctness of those in loud that a vase fell with a crash to th - Scenes)—Schumann. “Softly Sings the Brooklet.” the light make most fantastic pictures. floor, and Bess, tripping over the rue. “Follow me. follow me," a rippling, Scattered about in groups sit the dark- measured her length upon the floor. She bubbling voice calls as you enter. Turn¬ Softly Sings the Brooklet—Wenzel. hued men, smoking and talking. The had to rest a long time after the tied gate episode. ing, the sparkling “Forest Brook” flashes On a clear summer day what content to women are busy with their evening task*. a smiling welcome. Never stopping, never lie looking up toward the sky and sec Children, brown from the sun and grace¬ changing, winding in and out among the ful of movement, flit in and out in their the winds and leaves at play. Graceful of A PERTINENT COMPARISON. trees, now gurgling in the shadow, now motion and musical of sound are the “Flut¬ romp. Wild and free is the life in a Few Americans know that the greatest glancing in the sunlight, the “Woodland tering Leaves." “Camp of Gypsies.” Brooklet1' lends further within. virtuoso can find an audience of music lovers in America which does not exist Fluttering Leaves—Franklin. Duet—Camp of Gypsies—Behr. If 'noilhi nd Brooklet—G.knschals. in either Italy or France. This is par¬ After wandering about for a while, no Always graceful are the steps of the ticularly the case with pianists. Dr. Oscar From i bubbling spring, ascending a stranger sight was found than that of a Gypsies. Overhead is the Harvest moon, Bie says in his monumental History of the mossy slope, through the tall grass, now in man sitting in a clearing, with a-large underneath the velvet turf. From the Pianoforte: "To-day a tour in America the shade, now in the sun, a path leads hawk resting on his arm. Clad in fanci¬ zither comes the music as fanciful as the is almost a matter of course in the life to a lonely cottage hid among the trees. ful hunting suit, he looked like a man. of people. Motion and music are one in the of every virtuoso. Countries like France With a swinging stride, a youth, fair of medieval days when this sport was at its “Yalse Caprice.” and Italy are shut off from a great inter¬ face and strong of limb, hastens to the height. Tiny specks dot the blue over¬ national intercourse of this kind, since open door. Within an aged grandmother head. Like a flash, the bird is. off. rising Valse Caprice—Atherton. their concert life, and especially their sits, waiting with a glad welcome for his swiftly to meet the prey and darting speed¬ A pause in the dance, the music stops; cultivation of the piano has never un¬ “Mountaineer’s Call.” ily here and there, a shriek, and victor and the fire is out. Overhead the stars, all folded itself.” Outside of a few leading vanquished fall at the “Hunter’s Call.” around is night. Ended is the day in the cities in each of these countries, America Forest. has far outstripped these Old World lands Hunter’s Call—Bohm. in piano study and piano appreciation. It is safe to say that a great piano virtu¬ Borne upon the gentle breeze comes a oso will draw audiences ten times as A large musician with a large violon¬ fragrance which there is no mistaking. large in America as in Italy or in France Somewhere blooms the lovely roses. Like cello hailed a hansom. “Drive me to an invisible thread, the scent guides to a King’s Hall,” he said. When, after a lonely dell. With such a setting Mother hard tussle, he had wedged himself and Nature has dealt a lavish hand. Clamber¬ his instrument into the limited area of ing over fallen trees, trailing on the the cab, the driver cracked his whip ground, twining in and out among the and drove off. They reached the hall. grasses everywhere is exquisite profusion. The musician alighted and took out a Master artists lent a hand to make such shilling. “What’s this?” demanded the perfection. Tinted with a delicate touch driver. “Your legal fare,” said the of the sunbeam, kissed by the soft winds musician. “Yes, I know it’s my legal till overflowing with sweetness, earth and fare for carrying you,” retorted the heaven richly gave to this glorious cre¬ jehu, with a direful glance at the bulky ation. Of all the loveliness that grows, instrument, “but what about that there the Queen is the rose—“Rose Petals.” flute?”—London Tit-Bits. Forest THE ETUDE 771 the etude 4. This depends upon the ability of the student. It ATTACK. rote, but could not read the printed page. But 770 Have your druggist make you a lotion consisting of is a good plan, however, to have the pupil learn all “Will you kindly tell me, through the Round “S. L.” indicates far more than this as the result of one part oil of wintergreen to eight parts cf o.tve oil. Table, the absolutely correct manner of 'attack' ? her somewhat fragmentary education. Although not the scales in one octave, so that any one can be in¬ I was ’taught to use the down arm touch for chords. Use this several times a day with gentle rubbing. Mean¬ stantly played at call with each hand separately, after This has been criticised by a friend, who says it taken consecutively, yet this should not prevent it while give your hands complete rest from all strain. which they may be learned together. This may be leads to stiff wrists. He says the proper attack is having been assimilated in such manner that she to throw the hanus up and backwards, without the can readily bring it to her command. When a cure seems to be effected, resume your prac¬ taught during the first grade. ‘drop,’ except when the chord is to be held, when The greatest criticism I have to offer is that she tice with not more than a half hour daily, which may 5. We do not have “diminished chords of C and G.” the wrist may drop. I have noticed this mannu- of using the hands by players who are behind the is too distrustful of her own _ability. This often L increased gradually. Begin on the table, in the man¬ The diminished triad in C is formed on the leading- times. Do Paderewski and Busoni use to any proves a great hindrance to the progress of many, ner I have suggested, with thorough tests as to feeling tone B; in G on the leading-tone F sharp. In C it extent the above manner of attack? My manner ' e opposite, or ‘up-urm.’ Do art is Is who otherwise have- much ability. But with the of ease in hands. Then begin with simplest exercises. consists of the notes B, D and F; in G of F sharp, f S'l that your hands are on the keys. As soon amount of grounding that “S. L.” has had, which A arid C. In the minor scales diminished triads are is more than many excellent teachers have had, if the same as their other studies, and eventual^ t^ as'they" can be made comfortably on the table transfer PASSING DISSONANCES. found on the second and seventh degrees. In C minor, There are many able teachers who would tell you that she has the faculty of classifying her knowledge and practice will doubtless become universal. It certainly them to the keyboard, permitting no feeling of discom¬ for example, on the second degree the triad would be every kind of “attack” is the correct one, depending applying it, she ought to be able to begin her teach¬ should be so, for as it is now those who show a fort and strain at any instant. Then very gradua.ly D, F and A flat; on the seventh, B, D and F, the same entirely on the nature of the passage to be played. ing at once. An open, industrious and studious mind special talent for music are very much hampered m progress from the simple to the complex, ever watching as in the major key. Artists so train their hands, and muscles that they have can “study out” many things, even though far from making a study of it during the years that are mos that your hands feel supple, with the keenest attention. them under immediate control and command for any a center of learning, a faculty that cannot be learned important for a player. The foundations for^ brfl Meanwhile Doctor Etule, having prescribed for you, DIMINISHED INTERVALS. and every possible effect that it may be desired to pro¬ by training from the outside, but from one s own bant technic should be laid during a persons younger will be glad to hear in a couple of months what ha- “I cannot get diminished Intervals quite straight¬ duce. Therefore piano playing becomes a school of personal effort. years, long before twenty. Evolution along this line been the result of the prescription, assuming, of course, ened out in my mind. Will you kindly help me? physical training for the arms and hands, from which must be slow because of the w.despread ignorance ■*(a) In one writing primer 1 find that diminished “S. L.” is living in a remote Western town. that you follow it out faithfuby. Intervals are formeu from perfect and minor by the training of the entire body should not be excluded, Under such conditions I should recommend that she concerning music and its requirements, even among raising the lower note a half step. for health is everything, whatever one’s calling in. life. begin to apply her knowledge at once. Her teaching people of high education. When the proper system o • (b) In the same book the table of intervals gives faulty memory. thirds as major, minor and diminished. If for no other purpose than the cultivation of en¬ faculty can only be developed by experience, and credits is secured for all schools, then any student "(c) In another primer I find C to E flat given “What can I dcvfor a jmpU durance, complete physical training is necessary, for not from an expenditure of more time and money may substitute music for certain high school studies easily but forgets quickly• put s„ n\A ‘'" < d) I "also find that lowering the upper note of a many pianists fail because they have not sufficient under the disadvantages and cramped conditions not so important for him in his chosen profession fectly one week, and 1 tell nei whjlt ,s neoard n> major interval a chromatic half step causes it to endurance to carry them successfully through a difficul: much tune on Uni tutu j °skJ Uel. to piaY it the become minor ; lowered another chromatic half step outlined. Therefore, even longing for more oppor¬ it be his desire to become a musician. You should composition, especially of the etude type. Your ques¬ "Ought: ttoJSSSSnTwithVC aing week she is unable to get througl^r it becomes diminished. In this book the lower note tunities for study, it will be better to begin building make it a part of your mission in life to bring about is not altered In any of the examples.” M. S. B. tion would, therefore, resolve itself into—what are the up a class at once, and leave more advanced study this desired condition in the public school system of many corrct manners of “attack.” to play The fault in such cases lies farther back than the (a) In order to form a lesser interval, it makes no to come afterwards. At the age of twenty-nine the There was a time when practically two methods of The question of dissonances is a great stumbling the country. music lessons. The mind is trequently coilstiUU.unally difference whether you lower the upper note or rais > finger technic can be increased to but a limited LOSS OF FINGER CONTROL. attack predominated in the piano-playing world—the block to those with little theoretical training, and es¬ hacomplete° It requires very intelligent parents to dis¬ the lower note of an interval of the same name. A extent. More study will result more in broadening hammer stroke from the knuckles, for the fingers, and “1 T have a pupil between grades 4 and 5 who cover this early in the child’s life. It requires slid nw. diminished fifth may be formed by chromatically lower¬ one’s musicianship than in a very great addition to pecially to singers. Those whose knowledge is smah a similar stroke from the wrist, for the hands. This believe that dissonances are something to be avoided. intelligent parents to recognize what ought to b. done, ing the upper or raising the lower note. brilliancy of execution. This being the case such ^es^emvol^oThfs15 flngls ikToHgln^f the latter is the one you mention in the foregoing letter as fault seems to lie in the fourth flnSer®, °ff(Yar«} and to see that the child receives special training ah ng (b) The book probably did not intend that you should study will be more valuable after one has taught Farther experience, however, shows that the pages advocated by your friend. This movement, however, infer that a major interval became diminished, but that for a time, for all increased knowledge will be un¬ of music are literally peppered with them They >!and- .Mi™ coUapsCeaS Can0you advise any these lines from the beginning. In no longer occupies the predominant position that it did stand for the active impulse in music, while con¬ of a hundred, however, they are allowed to drift, r-ec.v it first became minor and then diminished. consciously referred back to its practical use in the years ago. It is now used for rapid staccato chord sonances stand for the factor of repose They not ■ the same Sort of conventional schooling as is laid (c) This is probably a misprint, as C to E flat is a student world. The small amount of money that work, especially in repetition. It figures largely in only occur as passing effects, as in the examp down for all children, when they really should be minor third. rapid octaves, although many great pianists in these “S. L.” has will be needed to keep her going until quoted, but are frequently found on the accent. It the piano.”—M. R. trained from the beginning, and constantly, in atten¬ (d) This paragraph is sufficiently answered by my use it in skillful combination with other movements of the class is started. If she uses it all up in s.udy is a curious fact that inexperienced musicians are answer to (a). I would add that the whole system of 1. Granting that the fingers have been well and tion concentration and retention. the arm. she will have nothing to live on while the class is shocked if they find the interval C and C sharp You would need to devote no more attention to indicating the formation of intervals is illogical, correctly formed and trained in their work, and that The down-arm touch, instead of leading to stiff being formed, and will have to return to commercial occurring in a piece of music, but will accept C and modern physiological psychology than has -n given bungling and unscientific. E flat is not produced by you have used exercises for developing the strengt h wrists, if correctly used, is a great preventive of them. life. After the class is well started, if a whole year D flat, which produces exactly the same effect, wi in popular magazine articles to learn that at hi. h th- lowering E. The two sounds are entirely distinct and and facility of the fourth and fifth fingers (and this The down-arm touch implies great suppleness through¬ cannot be taken for study, there remains the al.er- perfect complacency. If you had carried your ob¬ mind contains little more than possibilities and en- means that they have been carefully and cautiously separate. In the scale of E flat major, the tone out the entire playing apparatus. It is not amenable to native of the summer schools, where much valuable servation a little farther in your example, you dencies. Also that capacity along any line is large y a treated for months), I should say that your pupil E flat has nothing to do with the tone E natural. velocity work, however. Possibly you have been trying assistance may be obtained. Many inquiries of this would hpve asked what to do with the C sharp m needed the advice of a doctor or surgeon. Such a matter of brain building, and that wonders can often be Neither in starting to play nor in forming a mental to use it for this, which may be the root of the dis¬ kind are received. Of course, this answer could not the treble against the constant D in the bass, for accomplished along lines deemed almost impossible it concept of the scale of E flat is it necessary to first condition of muscular collapse may be due to poor agreement between you and your friend. All chord apply in the case of a student who had had com¬ these also form a half step. The fact that one is only the right sort of persistent training is employed. circulation, or other conditions that only first-class think of E natural and then by some process push it work requiring sustained and senorous effects, from paratively little training; but the total amount of diatonic and the other chromatic makes no differ¬ You will perceive, therefore, that you have been pre¬ down a half step. Each sound is an entity by itself, medical inspection at first hand can dinsnose pianissimo to fortissimo, should be played by means of “S. L.’s” training, if added, would amount to several ence in the effect upon the ear. Strike the follow¬ sented with the problem of accomplishing what ought to 2. Does “exercises” include etudes? Many teach¬ and the term E flat is the name given for lack' of a the down-arm touch. The old-fashioned slapping motiofi years. In securing a teaching clientele, Bender’s ing interval, E flat and D, a major seventh above ers carelessly use the term exercises for etudes. It have been begun years ago. These things cannot be better one. The whole theoretical process should be of the hand working freely on a stiffly held forearm “Business Manual for Music Teachers” will be found on the piano and reiterate it. Not very agreeable your pupil can set aside two hours, the following taken charge of in the public schools to any great changed so that a student is taught to think that E flat resulted in chords that were hard, cold and brittle, and invaluable. is it? Now play the following passage: extent, as teaching must proceed along wholesale fines. formula is a good one: is put in place of E natural, and not that the latter is antipathetic to legato effects. Exercises, scales, arpeggios, Not one parent in a hundred understands the situation, lowered. The up-arm touch is not strictly a method of “re¬ or would know what to do if he did. Under these con- UNDIGESTED MUSICAL KNOWLEDGE. octaves, chords, double The same may be said of intervals. One interval is lease,” but one of attack in which the release results scales, etc., etc..• 30 ditions children grow up without any special effort not necessarily derived from another. In one passage as a secondary motion. Up-arm touch is hardly a BY EDITH MATHILDE COOK. Etudes . 25 being made to correct tendencies and develop deficient a composer may use a major third; in another a minor proper term for release, as the word touch implies the Sonata . 20 faculties until they become strong. third: in another a diminished third, and in still another idea of attacking the keys instead of merely leaving Have you ever stopped to consider why it is that so Pieces . “5 Has your pupil persistence and determination, or is an augmented third, and in no case any of the four them. For release you should use the expression up- few persons,, compared with the multitude of stu¬ Jr_ Memorizing . 20 she a hopeless and helpless drifter? If the latter, I am intervals used successively. In no case, therefore, is arm movement. We are all of us more or less likely dents, can play a number so that you would care to afraid your task will be difficult. Constant attention there any excuse for saying that one is derived from to be caught napping in the precise use of words, hence hear it repeated? There must be something radi¬ Total 120 minutes. must be given to memorizing. Begin with one well- another. Such terminology may have its uses in teach¬ should exercise care where accuracy is at stake. cally wrong, and it is for the wise teacher to de¬ selected piece and do not let it drop. Insist that it be ing beginners to understand intervals, but should not Paderewski and Busoni belong to the type of pianists 3. “First Steps in Pianoforte Study,” by Presser. termine why the results are at times so pitifully It would be equally correct to make it two-four kept in constant practice. A certain portion of the be considered from a scientific standpoint. A dimin¬ who have trained their hands to such a point of abso¬ Standard Graded Course. For tiny tots, Kinder¬ time and draw the bar line after the first chord, practice time must be apportioned off for this purpose. ished third produces a very different effect from major lute control that they can make use of any possible garten Method, by Batchellor and Landon. Can you expect a person to read, write or speak thus bringing the strong first beat accent on the Let this be the nucleus of a repertoire of pieces to be one, and is therefore used by a composer to give expres¬ muscular motion at will. This requires years of patient well when he is not sure of his alphabet? Yet every dissonance. But what has become of your harsh played from memory. Constantly add to it as the pupil sion to an entirely different musical meaning. He toil and training. They will, therefore, at one time or MUSCLE CRAMPS. hour of the day teachers are asking the impossible dissonance? Would you have noticed its presence improves. Unless she understands the situation, how¬ selects one or the other, according to the effect he another, as the need may occur, make use of every of the:r pupils. From the standpoint of assimilation had it not been pointed out.' You will find this ever, and is willing to devote herself unremittingly, desires to produce. Neither does it occur to him that possible kind of touch. the mind is not unlike the digestive apparatus of effect in many familiar melodies, such as Home. cramp in i right hand.- your task will be a discouraging one. for you are dealing the minor third is derived from the major. sixteen miles from t with a physical constitution that is defective. After a Each interval should therefore be learned as an entity the body. If the stomach is filled with too much Sweet Home, or Blue Bells of. Scotland, and it is the Etude entirely for lnsirui-uuu. STARTING IN BUSINESS. ability 1 have followed directions for hand position, year’s steady and persistent effort, take account of stock by itself, and not as a derivative. It is comparatively food or indigestible food it rebels at once. Teach¬ dissonance that adds the touch of pathos to them. I have a letter from “S. L.” which is too long to etc., but strain has resulted, nevertheless. I have and see if you can discern any improvement. simple. In order to do so, however, it is necessary that ers who would hold up their hands in ho’y horror The correctness of dissonances depends upon the given the hand two months' rest, with gentle mas¬ print, but which describes a condition which is not the student be able to spell all the scales without diffi¬ at the picture of an infant eating plum pudd:ng or manner in which they are used. To understand this sage and simple physical exercises, but discomfort so uncommon—that of a conscientious worker who just above the metacarpal joints persists. Can you culty; must be thoroughly conversant with them all. sausage will give pupils pieces which stand about as you would need theoretical knowledge. Meanwhile advise any means of overcoming this, as my daily ETUDES AND SONATINAS. doubts whether her education has been sufficient to practice gives me much pleasure here where amuse¬ This means that every harmony system should first teach much chance of being assimilated mentally as would the passage you give is perfectly correct just as “1. Which ot the Czerny-Liebling ci warrant her taking up the art of teaching. Although ments are few?” B* D* would you give with the second hook of tt ihe scales, for without a knowledge of them it will be the indigestible foods in the child’s delicate stomach. wiitten Furthermore, examine every piece you now twenty-nine years old, and has had frequent ard Graded Course? , . difficult to understand intervals. Assume that the lower Seek with the greatest poss'ble care to avoid giv¬ rday and see how many dissonances you can find. If Lay your hand and the table, perfectly “2. Can I use sonatinas in the second grade, ana periods of study since the age of nine, some of them e would you recommend for tone of any interval is the tonic of the major scale ing too difficult pieces or too many pieces at the you isolate them and strike them repeatedly on the relaxed'. Raise all your fingers (excepting the what collections Ol ,j — ■ -- having been prolonged for three years at a time the second and third grades? , formed on that tone. If the'upper note of the given same time. Endeavor to have the pupil master all piano, you will find them disagreeable. But if they thumb) up and down gently, avoiding all feeling of “3. Should pianists keep their finger nails short under excellent teachers, yet she has scruples as to are properly introduced and resolved when used in constriction. Then experiment on the hand, raising in or long? This seems like a strange question, but i interval is found in that scale, it will be major, or per¬ the difficulties of technic step by step. Pursue un¬ know a teacher who keeps her nails so long tney fect. It is easy for them to learn that primes, fourths, her degree of advancement being sufficient so that erringly along these lines with exercises and etudes. music, they constitute one of its most beautiful ele¬ same manner from the wrist. Next, placing the tips bend under, and she advises her pupils to do tne she can begin teaching and honestly recommend fifths and octaves are perfect, all others major. If the Strive for a better knowledge of note values, sig¬ ments. of the fingers upon the edge of the table, oscillate the herself to any constituents she may obtain. “4. How soon would advise the playing of scales upper note is not in the major scale, but is a chromatic natures and key relations. MUSIC AND SCHOOLS. wrist and forearm up and down with the same freedom both hands together? .... ,_a Drawing conclusions from “S. L.’s” letter, I can “5. How would vou form the diminished chord half step lower, fourths, fifths and octaves are dimin¬ Let us play so that we may feed the m:nd, uplift “Is the music teacher In .the East compelled to and relaxation. only say that if her study has been properly directed, of C and G, and do we have diminished choirs m ished, and all others minor. If the upper note is a the spirit, and, best of all, touch the hearts of our teach all public school ami high Now the question for you to answer is, When prac¬ the minor?” A SUBSCRIBER. earnestly studied, and industriously practiced, she is ’ before 9 A. M. and after 4 P. M.? If stf, are chromatic step lower, seconds, thirds, sixths and sev¬ hearers. * children so crowded with work tnat tne scoooi ticing upon the piano have you felt this same freedom now no inconsiderable musician. I have known many and suppleness? Situated as you are, you will have 1. The first book of Czerny-Liebling should be used enths are diminished. Some theorists are now listing teacher discourages them from takI"S mus!c lessons so-called graduates who could play a Chopin Ballade while in school? If pupils cannot And time for to be your own doctor, and will need to study the in the grade you mention. . fourths, fifths and octaves in this class as doubly dimin¬ or a Beethoven Sonata as trained by a teacher but Mendelssohn is a great landscape painter and bis matter carefully before you make your answer. If you 2. You will find the collection entitled “First Sona¬ ished. If the upper tone is a chromatic half step too —, 'when C wllT *th ey ‘evef find** thftoe t^Suret who beyond that knew practically nothing. When palette has a richness that is unequaled. No one trans¬ not during the hot summer months.” A. S. , have not felt this freedom in your hands while prac¬ tinas” suitable for your purpose. Be careful, however, high to be in the major scale, the interval is augmented. presented with a new piece they were helpless in poses the external beauty of things into music as he tising there must have been more or less constriction, and select the very easiest movements, as the col ec Students who thoroughly learn their intervals in this It is doubtless true that in the majority of schools the extreme, showing that they had not even learned does. He is able, conscientious and clever. Yet in and constant practice with the hands stiffened might tion progresses into the third grade. manner never have to puzzle as to whether a given pupils cannot give time to their music during schoo to read and interpret the notes, just like children 3. Long nails are a manifest absurdity for piano P diminished interval was first major, then made minor, snite of all these gifts he fa-’ls to move us to the hours. A strong effort is being made in the musical superinduce the cramps you mention. We hear from nr|d finally diminished. who could recite a passage from Shakespeare by depths of the soul.—Richard Wagner. profession towards rectify'ng this condition. In many many earnest piano students who are remotely situated, ing. Hook-nailed fingers are certainly not compati cities school children are given credits for their music and this test will be a good one for them all. with quiet striking of the keys. 773 THE ETIJDE THE ETUDE 772 and the soft palate will rise. To bring . directed literally dazzling array of shading, mean¬ it higher still yawn, and the soft palate ly ....- n 1S .d1' who ing, inference and potency. Horsford’s Acid Phosphate will rise so high that the uvula almost to the method of a song writer jt has been said of that militant Meth- disappears. Sing under these conditions £SHpS3pi made more money by legitimate must ^ q{ the 18th century, the Rev. Gives Good Digestion. and the nasality is removed. It is pure than any composer bet ore s George Whitefield, that he could put such tone. From this simple experiment it will -Sir Arthur Sullivan. In his ' meaning into the word “Mesopotamia” If your dinner distresses you, half a tea¬ be seen that pure tone is largely the result Arthur Lawrence, there is a c p ^ make his hearers weep. To call the spoonful Hcrsford’s Acid Phosphate in of a high soft palate, and consequently '•'I of instructive interest which show® word “Recitation” or “Declamation” is half a glass of water will give quick relief. of singing through the mouth. DEPARTMENT FOR SINGERS method of this popular song-w ■ , , or word; its acme of perfection Makes digestion natural and easy. The tongue when arched at the back He, of course, first assimilated the ^Pdcscription and leaves it nameless-; is often another cause of nasal tone. This Edited for November by DR. HERBERT SANDERS words and after many repet effect however is achieved by a finely PIANO makes it impossible for the tone to come (either mental or oral) and severs- - cultivated sense of tone color, and it can through the mouth, and the only other ures, he evolved the rhythm wh ^ ^ create and susta;n illusions, en- VOCAL INSTRUCTION outlet for it is through the nose. seemed most natural to the tex force contrasts, and makes a potent IN PARIS Having ascertained the cause of de¬ “Sixty Years a Favorite” the rhythmical skeleton h dramatic element literally out of thin a: GEORGE E. SHEA (Georges Chais) fective tone, its cure will depend largely music afterwards. The eight rhy posseSsed of the gift of judging toi - - . Possessed of the gift of judging tone S, rue Gounod on the perseverance of the singer. The tried intentionally for customary mel¬ the operatic stanza, coior ;t wju supply a stage full of question usually asked is, “Must we try and The first three essentials of a good THE IMPORTANCE OF THE One of the first American men to sing in Opera in France ody, or, in a sense, for melody -* “Were I thy bride, scenery, a cast of players, a wardrobe of get control of the tongue and soft palate STUDY OF RECITATIVE IN from Then all the world beside „ piano are conceded to be: A sweet, A SCHEME OF VOCAL but absolutely let it take its ris< Were not too wide costumes. by visible movements without tone?” or, feeling utterance of the words.” “Is it better to try and get a pure tone sustained tone, a responsive action CULTURE. WeT.°e fthyteWee!”th °f HOW TO OBTAIN TONE-COLOR. A Large Number of Teachers are Using by listening to the voice and leaving the THE ORIGIN OF RECITATIVE. , ’ . studied by At the risk of repetition we must urge muscular operations to take care of them¬ and durability. Another desirable BY DR. HERBERT SANDERS. ... , ntiHouht- might be advantageously stu y student who desires the ability to Systematic Voice Training this regard K nf note that both singers and composers, for a tone-color to pay unremitting^ selves, and let them adapt their positions feature is an artistically designed and edly right, and it is worthy ot note that Fntrlish s nger remarked vary ms tone f involuntarily in obedience to the require¬ while for’a time composers ignore it, the not long ago, “Any tention to evert ments of the ear?” properly finished case. Address : 410 KIMBALL HALL, Chicago. Ills. The weight of authority is undoubtedly not having a k«» *«»>«»'23ti in favor of the latter course. Mr. W. J. Buyers. 'he Emerson secure ALL these fea¬ BlipsW gsMiSs SisiiS ISSSp* Henderson says: “The problem of the SfePPbVoren thejlng^ ^ ^^ other theories_rfrom artistic success. guarded moments. Mr. H tures at a commensurate price. The Emerson has great masters of the early period was to remarks that “no nation in the cir ilized appreciated recitals throughout England When t|)at ;nteresting company ‘La Came- THg bearing OF RECITATIVE ON ascertain the best way of singing beautiful a fine resonant tone because the scale was drawn they called themselves, which L“c' MODERN VOCAL MUSIC. world speaks its language so al.unably pnoSitlonsteeand to* now organist if the Do- rata,’ as they called themselves, which MODERN VOCAL MUSIC. GEO. W. MUNRO tones ,on every vowel throughout the en¬ by a master and the other features that contribute 1 Florence at the house of Gio- “rir “What has the study as the English. . . . Familiar re::versa- PQehurchea^'lmCainid^' ’ - ^a-” 11 JhT'has °conm(^d°f the largoata^Kfg —‘ «* G,°- may ask> “What has the study tire range of the voice, not to find how to . Bardi, Count de Vernio, just be- But, we may cS , , lieder?” tion is carned on ,n 'narllculat' M,mdges to the tone are based on knowledge and long songs, anthems, cantatas, sfliv‘a??,i~.0a thl. dawn. °f recitative to do with modern Voice Building operate certain parts of the body and de¬ the Renaissance began ’to dawm experience. It has a light touch because it has 5a«e* conservatory connTcted wf*h McGill Uni¬ (The'student of musical history will re- This ls conservatively am were y ^ rent for something, a specialty cide that such operation ought to give versity Dr Sanders is a Fellow of the of those who composed W. J- Hendersom ^ be are accepted as representatlVes the tone. one of the finest actions in the world, adjusted call the names u, ---- - LOST VOICES RESTORED "They reasoned from the tone to the op¬ 0°'Cta'and"Ass'daie to an even, frictionless nicety. The Emerson is this historic gathering. They were: too far to_ thekeV nil proper Pe”ce- COME to CHICAGO to study eration, not from the -operation to the Rinuccini, the poet, who conceived the of recitative is f h study tag department la one of the best we have ‘When English people begin t Music -whore you have the oppor- tone. Too many modern theorists seein durable, because only the finest materials are ever received and Dr. Sanders will-“ "" crprciciLiujii, lihal singing they are astonished t 1 they to hear Grand Opera, Orches- further introduction -> ---Etijde readers 1 word, for the 6,« op,r,; Co.i.i ..1 '"'“V f“-, « * “ ' * *' ncat OhHfog to proceed in the latter way, and that is used in it and these are put together by men of avail themselves of Privilege "or reading Peri, who created its music: those aris- to declare that ^dh°UVtJ>e^t f^r^n- have never'learnt to speak.” why they build up complicated and un¬ this department.—El life-long training. Nothing is slighted. Mr. Finck says these “strictures do not 516 Kimball Hall natural processes which do confusion and inly in all their force to Americans, for UNION OF TEXT AND MUSIC. =sz&sz; ji£Ti= « - zztsrszi incalculable harm.” Anatole Piltau, after A thoroughly good piano cannot be produced ‘ With the exception of oratorio sing- of Galileo. describing the physical operations for the for less than a certain fixed price, but on the other ers and aspirants for the operatic stage, made from a . L . nt recltauVe wu U ,v^, -- production of tone, writes: “It is rather > analysis of it.’ THE WODELL SCHOOL FOR SINGERS the tone which we wish to produce whiqjl hand the buyer often pays extra for a name, for Write to 605 Pierce Building, Copley Sq , Boston, has to determine the shape of the mouth “ frills ” in construction or for extravagant selling Mass . for specially favorable terms for securing a first- or the elevation of the soft palate. So class v » i1 education from the rudiments to professional methods. In the Emerson you get a standard r,in«^rre”;rrrt«;”t sst. juszt?sJ2i sfjsrw attainment Special courses in Oratorio, Interpretation if a singer wishes to produce a particular a diploma as a teacher of singing, or as the evolution OF recitative and is how to proceed to its study to the stating that a vocal method, urn ie de and Ov'i.il Conducting. Succewful Summer School vowel he will sooner attain the result by piano of known and distinctive quality — at an a concert singer, and moreover it is the music of the Greeks. greatest advantage. The first thing we scribes as epocn ma g. ' '' far a ut i Louisiana and Verm.nt, Western Canada listening how this vowel is emitted, and honest price. Remember, “ only the best of every¬ rightly regarded as a test of consider- . and tvould suggest is, commit your words first volume to an analysis of he en¬ trying to repeat it, than by distorting his thing is used in the Emerson.” able importance. And why? For the Jst%sasingle sublet for the Greek to memory. The words must come as -en.sof speech, and to an enu* m mouth in seeking after a particular shape.” simple, if not obvious reason that all themseives singers, and their easily to the singer as to the preacher speaking, On the -other hand, the old Italian singers, n Light Opera, Oratorio, Dealers in all the principal cities throughout the modern vocal music worthy of the name f go conce;ved that they orator or actor. During the process of who learned by imitation, peculiarly United States. Write for illustrated catalogue. has its root or foundation m the un- v chanted b the reader or in. memorizing the words the mind must NASAL SINGING. enough practiced .bringing the soft palate derlying principles of recitative. In . * et and be received as we receive also grasp their meaning. This accotn- - under control by various toneless exer¬ classic song, rhythm, phrasing, style through the ear. It must not he plished, the advice of Wagner becomes BY DR. HERBERT SANDERS, cises, and Emil Behnke recommends EMERSON and often even pitch, are suggested and .nferr’ed from tbis that tbe poet_was pertinent: Recite your words._ Keep t A. CARBONE K.STS.S'aS; strongly the same method. The singer PIANO CO. governed'by the rhythm, grouping, sen- “ BelCamo.’’ Highly recommended by famous tenor with an open mind will decide the ques¬ also a bumpus^i, ! *.Pratt the recitation until . every. ' difficultyJ . a of A COMMON FAULT. 560 HARRISON AVE., BOSTON, MASS. says in his History of Music, “that each punctuation, pronunciation and innection 'j'gj. number of singers who-e voices tion for himself and adopt the one which this happy union of words and music is ies. oft- oetry... ha1. _ dj a__rinri,, recognized style Uhaso<5 xroniolTpHvanished. All singerspincrprQ should studvstudy havt---...i, nasal quality__i:*... is astounding. What\\rUof suits his own case, or both methods might found itit- is described as “vocalvocal. A Acorn- ofcantillatlon,_ . well,, ,known -- enoughid.i— to be speaking ■ oil speakers should study seems— more astounding still is the fact work. Every student of singing is largely poser of distinction, therefore always ^ fls Common edu- singing, that many are unaware of its presence. a law unto himself. assimilates well the words ^ is about ^ tQ giye 8Uch famil. As mouth-breathing brings about a high TONE COLOR. Those who are conscious that their tone suffers in quality on account of this defect soft palate, it will readily be seen why for Crane Normal Institute of Music to set to music be^or® ® c with- iarity w!th these styles s0 as to The :xt study is that' of tone color. VOICE single bar of music ? . * . . preserve and disseminate them.” . will with perseverance purify their tone vocal purposes it is superior to nose¬ Training school for .supervisors of music. Voice Culture out this verbal a^milation !t is ^ ^ Qf thc Western What is it? Its definition is not an easy Voice culture, sight-reading, ear-training, Jiar- if they read the following remarks and Mrs. Stacey Williams breathing (which, as already stated, brings matter. An example will best make it possible for a^ of com- Church, known as "Gregorian” (which carry out the suggestions. 405-406 Kimball Hall the soft palate down). Those who have methods,ithods, practiceprs teaching. Graduates hold ROBERT ALVIN AUGUSTINE in colleges, city and normal 348 W. 57th St., New York City music to crea^aaonn;rmPraesS^convincTd had its origin in the music ofoF the Plain- If „ Chicago difficulty in getting their tongue to lie flat I love you with all my heart schools. Voices developed for Opera.Oratorio,Concert plete unity. Wag e ti { his Greeks) retained the basic principle of - . ITS PHYSIOLOGICAL CAUSE. often find the difficulty vanish when they POTSDAM, N. Y. of this truth that in the creation oi ms ^ cantillations in that the accents, 1 hate y°u wlth a11 heart The soft palate (the soft part at the back change from nose-breathing to mouth¬ maturer works both words an m quantities and largely its pitch were de- be sung with the same pitch and volume, 0f the roof of the mouth with its pendant, breathing. Dr. Wesley Mills says: HOW TO TEACH MUSIC IN PUBLIC SCHOOLS were twin-born. „ rived from the words. But simultane- but with a change of quality which will the uvula, which can be easily seen “Mouth-breathing, for purposes-of tone- HERBERT WILBER GREENE Of Wagners method otcpm^si ous]y with the development of the Gre- express the difference of sentiment be- through a mirror and felt with the tongue) production, is the only method which has TEACHER OF SINGING Finck says: inJUS later wo , ^ system popular secular music tween the two verses, such a distinction plays an important part in the production physiological justification.” —Returned to Philadelphia September 15th melodic and word accents c was being dispensed which had no defi- is what is known as tone color. 0f tone. It can be brought backward and As before, his days will be THURSDAYS, FRIDAYS and SATURDAYS every *ydable> !lpdr„ ®,lt :8 that in nite artistic principles to govern its ere- Max Heinrich, in his Correct Principles thus shut off the nasal cavities from the AN EIGHTEENTH CENTURY eliminated, and tne underlaid al'°n' a"d it was this degenerate art of Classical Singing, has some valuable mouth. or downward towards the back ot TRIBUTE TO SINGING. Philadelphia Address: 202 Presser Bldg. New York Address: 701 Carnegie Hall. ^‘c we have a truly melodious which brought together La Camerata. remarks m this connection. He says: the tongue and so shut off the mouth “Singing is without doubt the first with words, we have a trffiy nae'odious company lived and met “So it should he with the art of the r_„_ article in the entire art of tone, the axis should be with the art of the from the nasal cavities. In the former 1 , e r, . . VOCAL STUDIO, 152 TEMPLE STREET declamation or p«e1tie melody yhich time, for their principlesnrinch singer or actor. It is true that the sung case the stream of tone must obviously be round which revolves melody, modula¬ seemed to grow out of the words them- • H Mr. Geibel’s Masterpiece selves—an_-1__ omn+innolem'otionaf^'intensification intensification OIof were lgnuicuignored: and if it is a short historic or spoken word is frequently considered emitted through the mouth, and in the tion and harmony. Singing sits on the George Chadwick Stock NEW HAVEN, CONN. selves an emoi o.cter. to the vapid outpourings of the sufficient by the layman and inferior latter case through the nose. The Lord throne like a king, and all the other A Studio devoted e: the melody naturally Italian operatic composers who re- artist to create a desired ‘atmosphere,’ instruments bow before it as so many the results obtained. language. rernaps himself- garded the voice as everything and the but that alone it does not create such THE SOFT PALATE AND ITS INFLUENCE of Glory vassals. The human voice is naturally Students of Song. Correspondence invited. Studio re-opens September 11th i f Season 1911-12 g,ve t^dW°must therefore spring ' words as nothing, and though Gluck atmosphere we may constantly observe in ON TONE. high-grade choir cantata for the primary tone, and all other voices „;re oTitself out of the verse,’in itself! cried “halt!” !t remained for Wagner the singer or actor lacking the compre- That the soft palate has a function in of the world are only the distant echo quite ot iTseii, o ^ ^ ^ with his jron will and colossal musical hension and sense’ of tone color which influencihg the quality of the voice can of this divine first tone. The human mitred to attract attention, but only genius to bring to light again the oft alone gives the final artistic touch to be easily demonstrated bv standing before «ibel W. H. Gardner and Adam Geibel throat is the first, the purest and most - HERMAN DEVRIES - “'Tr ° it was the most expressive buried but undying principle to which word or sentence. . . . Whoever has a mirror with the mouth open and the perfect instrument of creation.” Late of the Metropolitan Opera House, New York; Covent Garden, London; Oc die copy, subject to liberal discounts, Grand Opera and Opera Comique, Paris; lehtale for an emotion already plainly we have been alluding. heard the great actress Madame Fanny soft palate visible. Breathe through the tion copy on request. On sale at Presser s. This was written by Christian Fried¬ announces the opening of his studios for Voice Culture and Opera School Send for Bulletin New Music, FREE. nut ined in the words. With this strict Only-to.-the degree that the singer : Janauscbek in a little play called Come nose and the soft palate will drop upon rich Daniel Schubart, born 1743. died FINE ARTS BUILDING. CHICAGO. ILL. ADAM GEIBEL MUSIC CO. r-oncention of the melodic element, I understands the method of the com- .Here, will understand my meaning. Her the back of the tongue. Sing while it is 1797, he who wrote the words to Schu¬ Recitals for pupils in Music Hall; Opera Performances, Illinois Theatre. now comoletelv left the operatic mode poser will he or she be able to interpret fine sense of tone color enabled her to in this position and the result is nasal Philadelphia New York Chicago bert’s “Forelle” and other of his songs. of composition, inasmuch as I no longer satisfactorily his music. Without apol- pronounce these two simple words in a tone. Now breathe through the mouth Please mention THE ETUDE 775 THE ETUDE ETUDE 774 THE THE ORGAN NOT AN organist who has played a selection ever youthful and vigorous organ music ORCHESTRA. such as the Pastoral Symphony, from FREDERICK MAXSON leading composer of organ music now liv- of Mendelssohn. It is not the present Church Organs Handel’s Messiah, will understand the ing. It is said that “Back to Bach is BUILT BY writer’s purpose here to enter into a BV H :. HAMILTON. difficulty of making the organ sound CONCERT ORGANIST his musical motto; but the idea of such lengthy disquisition on Mendelssohn’s HUTCHINGS ORGAN CO. retrogression is paradoxical, as a mere like an orchestra. Of course he will Instruction in Piano, Organ, Theory organ sonatas. Every organist pos¬ It is not uncommon for some musicians DEPARTMENT FOR glance at Reger’s works shows us that he use the viol stop, and probably dulciana 1003 South 47th Streat, Philadelphia, Pa. sesses, or should possess, them; and, to make comparisons between the pipe- has written many progressions that Bach and aeoline, with pedal bourdon for ORGANISTS seeing that the composer was an enthu¬ organ and orchestra, chiefly on account never would have written, in spite of the bass. But will the effect be like that of siastic student of the great J. S. Bach THE PLAYER-PIANIST unfounded and easily disproved assertion of the organ’s wealth of tone color. twenty or thirty violins playing pian¬ Edited by Well-known Organists and Teachers (“the father of the organist”), it is of some that Bach forestalled everything J. WARREN ANDREWS But while the organist has at his dis¬ issimo with that long sustained C as probably not too much to say that possible of accomplishment 111 modern Special Short Courses In ORGAN STUDY, posal stops which are almost identical the ground note almost inaudible 011 the every organ student should endeavor to Form of Lectures and Illustrations, specially prepared with, or at least strongly resemble, the music. Again, in composing many of his deep bass string? No. What we usu¬ understand that, if it comes to the make himself proficient by having these :d adapted to the n.«h of those who can spend but a principal orchestral instruments, yet, REAL SERVICE THAT LEADS TO works, Reger seems to have ignored the ort time in the city. Send tor Catalog. ally hear is the hollow booming note EDWARD LYMAN BILL, I matter of loyalty, the choirmaster has works, so to speak, at his fingers’ ends, taken as a whole, the organ and orches¬ SUCCESS. possibilities of modern registration and of the sixteen-foot bourdon (grand yours in abundance. and by making them his “daily bread,” tra are vastly different. The organ, if the registrative powers of present-day though it is), which is far from repro¬ as Schumann has aptly expressed him¬ it be a good one, conveys to the hearer BY RALPH KINDER. SERVING YOUR FELLOW-ORGANISTS. organists. It may be argued on his behalf ducing the effect of'double basses played self in the case of the immortal “Forty- the sense of majesty and power, while Serve your fellow-organists by see¬ that Bach did the same; but we must re¬ __ _ BUILDERS OF softly. Then again, one or two string eight” of J. S. Bach. the orchestra conveys the idea more The Musical Leader There is probably no word in the member that the organ for which Bach stops can never have that subtle sound of ing their good points and by speaking of constant change, amounting at times ... PUBLISHED WEEKLY — English language that can bring so well of their accomplishments. Silence wrote was very different from the com¬ kimball Pipe Organs WORKS SUITABLE FOR STUDENTS. to an almost feverish restlessness. many muted violins. $2.50 a Year much happiness and success in its the tongue regarding matters that do plex, subtle and expressive organ repre¬ COMPANY For Churches, Audi- The writer of these lines wishes to Each fill their appointed place in the Ten weeks’ trial subscription, fifty cents proper interpretation as the subject of not concern you, and with which, per¬ sentative of to-day. In many modern CHICAGO . ILL. toriums and Residences draw the organ student’s attention to musical world, but the best results are The Pecognized Authority on all Musical this article. In every sphere and walk German works for the organ, not only of Matters for the Central and Western States. haps, you do not agree. the extreme suitability, both as regards lost when either one has to do duty for of life do we find that the individual No good is ever accomplished by Reger, but also of other composers, it length and style, of many of the shorter the other. That there do exist some I once heard an organist endeavor to In conjunction with ETUDE, advantageous who is reaping his joyful and success¬ talking of another’s faults or by gos¬ seems that the music was first composed lited States movements. Take, for instance, the good transcriptions for organ no one can improve matters. He used the sixteen- CLUB OFFER: ful harvest is he who has realized that siping of another’s difficulties; much without any thought whatever of the reg- Plans, Estimates, etc.. Furnished on Application. foot bourdon, hut probably thought MUSICAL LEADER, r^ulnr pries -) Club Price istration; that the piece was then gone stately and solemn Adagio from the deny, but the better class of organists the best seeds to sow are those of better is it to set an example yourself that the long continued sound would through and a few directions for manual- First Sonata.- What an extremely de¬ Prices from $1,500 to $100,000 prefer usually to draw from legitimate .r. fORBOTH service. The minister in his minister¬ of what ought to be. be too much for his hearers, so every !or. ...1 ...... i change thrown in haphazard. Indeed, the votional little piece to play during the organ' music, written for organ only. ing, the physician—-especially he whose Lastly, remember that constant at¬ little while he would lift his foot from manuals are often directed to be changed more solemn moments of a service! Now, it might appear strange that the first thought is not that of financial re¬ tention in just these few ways of serv¬ the pedals and play a few notes with¬ in places where changes prove to be to¬ Then what an appropriate opening to orchestra and organ are so dissimilar turn—in his care of others are splendid ing others will be the surest road to out any bass. Needless to say, the tally ineffective in actual performance: or some solemn function is made by the in some ways, while they each possess examples of those who have learned success and happiness for yourself. performance left much to be desired. SEND FOR CATALOG how to live in learning how to serve. the directions “crescendo” or “diminu¬ first movement of Sonata Two, with its almost identical varieties of tone. One Ralph Kinder. ______pathetic and extremely plaintive adagio Austin Organs would naturally suppose with a fine or- The famous organist, Best, when ac¬ And to the organist who would suc¬ endo” are given in passages where it melody in C minor! The Andante gqn, equipped with viol, flute, piccolo, companying an oratorio, used the violin ceed is this subject especially im¬ MODERN ORGANS AND ORGAN would be impossible for these effects to Tranquillo (in A major) of the Third oboe, clarinet, horn, trumpet, trombone, stop in the pedal, in lieu of the cus¬ portant. MUSIC. be obtained, the hands and feet being fully tomary bourdon, thereby getting more of occupied in playing the written notes. Sonata vies with the last piece in the etc., that here is an orchestra all under Why are there so many young or¬ the orchestral effect. Passages obviously intended for perform¬ pathos and the solemnity of its effect. . the control of one performer. But TC1IELLOK * SONS, 4i ganists that fail to accomplish much BY FREDERICK KITCHENER. QUR GREAT list of But is it not better that organ and ance upon one manual are also, as an after¬ On the other hand, the Andante Relig- these stops are not the mainstay of the good for their profession, that reach orchestra have their individualities? thought, divided and given to two man¬ ioso "of the Fourth Sonata, though true organs arranged by organ, and herein lies the radical differ¬ the second or third round in the ladder That the organ is the "king of instru¬ How perfect the ensemble of tone when HOW TO TEACH MUSIC uals, the result being awkward and inef¬ to its designation, has about it some¬ ence. The stops which are the founda¬ and there stay? What is the difficulty? ments” is an assertion which the average States shows how the a large chorus has the support of both! —=TO CHILDREN= fective.—From the London Musical what of the character of a lied ohne tion tone of the organ are not imitative What can they do to enable them to music-lover accepts without question. If The organ can, from its very nature, A method which aims to reduce the :worte. having much in common with world regards Austin stops at all, but rather those which give difficulties experienced by children when meet with greater success and to de¬ this assertion was true when first made, Times. supply that which is most needed in •' "udy of music. this composer's pianoforte Lieder. The power and grandeur. The diapasons rive more happiness from their voca- many years ago (the organ at that time Organs. Our output the portions where sublimity and power Andante con Moto from the Fifth and others cannot he done without, being a comparatively clumsy and unman¬ are required. The orchestra, because in Music Method, Ypsilanti, Mich. Unn’ SERVING THE MINISTER. MENDELSSOHN AS ORGAN COM¬ Sonata, with its pizzicato pedal work, measured by years is many of the first-mentioned can. The ageable instrument, to play upon which in¬ of its less ponderous tone, and the POSER. is quite unique even amongst modern orchestra depends mostly on its strings, The chief thing to learn is to serve volved no small amount of sheer animal the most remarkable in greater delicacy of its strings, can sup¬ those with whom you are associated. organ pieces. Nothing exactly like it, as note the preponderance of violins as SCHOOLS AND TEACHERS strength and physical endurance) how BY OSCAR GATJER. organ building history. compared with either its wood-wind ply finer shading. The wood-winds .. . Advertise Your Sessions in . . . If it be the minister or church wardens, much more true it is in these days of as far as the writer is aware, exists or brass. How is an organist to obtain and brass have also a more immediate acquire the art of doing those little orchestral stops, pneumatic action, and among organ pieces, excepting only THE ETUDE Mendelssohn is rarely thought of as that indescribable effect such as when and striking effect than the organ stops SEND FOR SPECIAL RATES things that will lead to their apprecia¬ labor-saving contrivances! Given the Lemare’s well-known Andantino in Db, an organist, still he was famous as an SEND FOR FULL the strings of an orchestra are playing of the same name. tion of you. most perfect of stops, no player could pos¬ to which it bears some faint resem¬ organist, and he used to say that one INFORMATION alone? And how is an orchestra to Keep your console and organ bench sibly give much pleasure to his hearers blance; and, of course, No. 2 Variation of the few things he could not do was have that effect—indescribable, too— tidy, particularly if they are where they while the actual effort of performance of Mendelssohn’s Sixth Sonata Com¬ “play the people out of church.” that we hear when all the foundation can be seen, and happily in these days caused him great discomfort, if not posi¬ ing finally to the -Sixth Sonata, we have It is manifestly unfair to any musical stops—pedal and manual—of a' fine or¬ G U I L M A N T most consoles are placed where they tive pain. What a vast amount of mental a short lyrical piece that, in tenderness composer to attempt to judge him by gan burst on the ear? The magnificent can take a real part in the service; see energy is expended by enthusiastic pro¬ of effect and in ethereal beauty com¬ Austin Organ Co. his less successful efforts. Probably no tone of the pedal stops, with which we that they are free from a profuse dis¬ tagonists upon the question of the im¬ bined with devotional fee'ing, is unsur¬ musical composer, either living or dead 165 Woodland Street always associate the organ, is some¬ ORGAN SCHOOL play of organ books and disarranged provement of the modern organ! That passed bv anything that has ever been —not even excepting such men as Bach, thing not heard in the orchestra, not¬ DR. WILLIAM C. CARL, Director sheet music. a considerable number of persons, compe¬ written for the organ; in other words, HARTFORD, CONNECTICUT Handel. Mozart or Beethoven—has withstanding the double-bass and brass Learn to be reverent and realize that tent, no doubt, and thoroughly under¬ this is simply perfection as an organ been equally great in all departments FALL TERM OCTOBER 10th the example you set your choir in this standing the subject argued upon, should andante. Concerning the loud move¬ tuba. of his art. When ordinary fo'k think It will perhaps now be a little clearer respect can assume a most important differ greatly in their individual ideas con¬ ments of Mendelssohn it is scarcely nec¬ of Handel’s works they generally have why an orchestra selection sounds one Exceptional Advantages. factor in the service. cerning what does and what does not con¬ essary to speak. GEO. KILGEN & SON in mind his “Messiah”—probably one way, and the same selection as an or¬ Send for New Catalogue. Learn 1,0 play the hymns, the chants stitute a genuine innovatory improvement Going back to the First Sonata, we of the lesser among this composer’s gan transcription has a totally different and the anthems in a manner that will in organ construction, is in itself a healthy Pipe Organ Builders Address, 34 West 12th St., New York City masterpieces(l), certainly not his great¬ have Dr. A. L. Peace’s testimony to the effect. When one depends on a vast tend not to display your technical abil¬ sign of the importance generally attached est. When referring to Mendelssohn’s effect that Allegro Assai Vivace is “one concourse of strings for its body tone, ity. but rather, to make the minister to the matter. While allowing for and works, the man in the street probably of the finest organ pieces ever written, and the other on the full round tone of and the congregation realize that you admiring the high p.itch of_ excellence in being absolutely sui generis—the only open pipes, it is easy to see that while ORGAN AND SONG RECITALS appreciate the devotional as well as the organ-building already attained to, those thinks of “Elijah” or of “The Hymn of thing of its kind.” This will no doubt matters exist as they are, the two artistic side of interpretation. Noth¬ of us who are young may confidently ex¬ Praise,” neither of which are really typical of Mendelssohn’s genius. Now, be readily conceded by every skilful and things must ever remain different. MR. and MRS. CLARENCE EDDY ing so gladdens the heart of the min¬ pect that changes, no less far-reaching and accomplished player The same might ister as to feel that his organist tries wonderful than those contemplated or car¬ it is quite certain that, great and charm¬ Church Organs . SEND FOR NEW CIRCULAR QonPw0n,'i-Aj dAre*“ easily be said of the fine Allegro Majes- THE STRING BASS. ' to second with a sermon of song the ried into execution during the last few ing though Mendelssohn’s vocal poly¬ phony is, his true greatness and native toso of the Second Sonata, with its When one hears an oratorio chorus discourse just delivered. years in other branches of human activity, extremely effective pedal work and the Do not have constantly in mind how genius was in a totally different direc¬ n with orchestra accompaniment, and will take place in both the mechanical and similarly styled loud movement of So¬ great a salary you are worth: on the artistic designs of the organ of the future. tion—viz., in his organ works. again hears the same thing with an 73 in Pittsburgh nata Five. The last variation (marked Main Office & Works mIsI: 1,300 MOLLER PIPE ORGANS contrary, think how you might serve Every musician knows what an im¬ Surely every organ student is familiar organ for support, many surprising dif¬ 72 in New York; 45 in Baltimore; 38 in Philadelphia; 32 in Cincinnati; 1 8 in Washin with his splendid sonatas. As organ allegro molto) of Sonata Six might be Hook=Hastings Co. ferences will manifest themselves. Any 20 in Hagerstown. For Catalogues address M. P. MOLLER, HAGERSTOWN, your corporation a little better to war¬ mense advance in the style of pianoforte HKAN01IE«: pieces they are decidedly sui generis. regarded as an example of Mendels¬ rant the salary you receive. composition was caused by the extension SFB-= of the keyboard of the instrument. It is True, they have in the past been pushed sohn’s brilliant extempore style of or¬ SERVING THE CHOIRMASTER. no exaggeration to say that a revolution somewhat into the background by gan performance, to which the compara¬ If it be that you have a choirmaster, in Beethoven’s pianoforte conceptions was Rheinberger’s and by Guilmant’s organ tive thinness of the writing seems to Pipe Organs of Highest Grade Only give colour. Here possibly, as well as give him of your best. largely the result of the greatly increased sonatas; and though there is at the EDWIN ARTHUR KRAFT in the First Prelude in C minor, we Our Instruments comprise all features which Never be tardy; when he raps for opportunities of self-expression which this present day an enormously increasing are of real value. Many years of practical have a living pattern of Mendelssohn’s attention, let him find you in your mechanical extension afforded him. Com¬ output of organ music written, some experience. Write for specifications. Organ Openings, Concerts and Recitals paring the pianoforte with the organ, no of it, in what (for want of better term) style of improvisation, for which he was place. EMMONS HOWARD Westfield, Mass. Always have your work prepared. one will deny that the improvements made may be described as “modern” style, so famous in his day. As for the fine Do not wait for him to send or give in the construction of the former during replete with fitful melody and uncertain fugue that follows that prelude (also in vou the hymns and the anthems for the Beethoven’s lifetime were relatively of in¬ tonality, Mendelssohn’s organ works C minor) written in twelve-eight time, Tour of the United States and Canada following Sunday; relieve His mind by finitely less significance than those which are still the mainstay of a modern or¬ this fine work seems, in the opinion of : wm. 1 asking for them, and then get to work have been made in the construction of ganist’s repertoire. Doubtless, when the the present writer, to have been written Entire Season, 1911-1912. (Write For Circular) and learn them so that when the hour the latter during the last fifty years. It up-to-date organist has wandered long by Mendelssohn on the model of J. S. ■ CONCERT l cannot be maintained, however, that a cor¬ of service arrives you are there ready and aimlessly through reams of the Bach’s celebrated “Fuga a la _ Giga. ’ Stearns Bldg., Portland, Ore. For dates and terms, address the Organist, Trinity Cathedral, Cleveland, O. to give them the best interpretation. responding advance in the style of com¬ arid and dry transitional material put which it closely resembles, both in time, position for the orean has been made. Learn to respect his position and forward by modern writers, he will find general effect and the remarkable flow Please mention THE ETUDE w i addressing our advertisers. responsibility, and cause the choir to Max Reger is thought by many to be the it refreshing to turn once again to the of the polyphony.—Musical Opinioif. THE ETUDE 777 THE ETU D E MEMORIZING. mony, counter melodies, and often prin¬ when he dropped the case containing his walked ten miles to take lessons o i the The A correspondent writes: “How ( Cost— cipal melodies, which will assist the solo¬ priceless Strad. To my amazement the violin He also devoted himself night . , T ... ist in remembering his part. wooden box not only fell without a Ind day to learning ah he could about one learn to memorize? I readily < of Beauty of a clear, fresh If the student has so poor a musical sound, but bounced about the floor like violin playing in addition to the aid mit prose and poetry, but music not at skin and of a matchless complexion, memory that, after daily practice he a ball. ‘Ha!’ exclaimed the wonderful he received from his teacher. Petsch- all. I try measure by measure to think is the low price of the soap, seems unable to commit even the simplest Russian, noticing my surprise, ‘that’s a nikoff, one. of the most famous hv- jt; by time, tune, fingering, position, etc., famous for its purity and good melody, it shows an almost hopeless lack little invention of mine to avoid all risk ing violinists, lived in Moscow when but all to no avail.” results— of talent. of damage to my violin. It’s quite simple. a child. He showed such talent in Tajent for memorizing music differs Just a light double cover which I blow mastering the rudiments of violin play- greatly ;n different people. Some have up with air before I go out It makes STENGER VIOLINS ing without a teacher that he was & peculiar taient for it, and can remember STICKY STRINGS. the case very little larger, and renders A correspondent writes: “I am trou¬ taken into the conservatory through ^ ordinary composition by playing it breakage either by dropping or in the all other modern violins the influence of a member of the Roya a few t;mes daily for several days. ears' bled a great deal with sticky strings. I Superior Tone, Pure Oil Varnish and P course of travel impossible.’ Fine workmanship Opera House who heard him play. is • 0thers are obliged to devote themselves S OAP have wiped them with a cloth and with “To give me further proof, he threw olive oil a great deal, and I always wash ======-- biography states- . that he earne-1 d soten“® to comrauungcommitting aa. piece systematically bar 15c. a Cake for He Unscented . — . the case about the room, and it bounded • , • w „„„ money by teaching as e y Between these extremes there my hands thoroughly before playing. It noiselessly and with cheerful resilience SELF-TAUGHT MASTERS OF THE traveled extensively in Europe 0f age. Willy Burmester now degrees of talent I have hinders me a great deal in fast fingering, all over the place. Of course a man _U.n:„t, attained y - _* famous violinists are varying degrees oi uuem. i nave and is a cause of constant annoyance. VIOLIN. might blow the cover up too much, and great ANTONIO Any remedy will be greatly appreciated.” then he’d probably have to shoot it be¬ great fame. by whkh ,hey TeofLchim Europe, Tt,he theBerlin stud,s Hoch-schule,. .y . . buthllt freaksjsrjrs*frpat pianist,n;anist. playolav an ordinary composi- FROSOLONO It is astonishing at what an early age joaernm, a tion w;tjj reasonable accuracy after one F. C. fore he could get at the fiddle.” some violinists begin to rely on them¬ OLE BULL AND SELF-HELP. sees Solo Violinist S Our correspondent’s difficulty may hearing, although he did not succeed so come from several causes. 1. Great care selves. In a lecture in Vienna recently, Ole Bull, the great Scandinavian Bronislaw Huberman, an eminent Eu¬ well with a difficult Bach fugue. This must be used in rosining the bow not usually classed as self- ANSWERS TO VIOLIN ropean violinist, who was a noted man’s brain seemed to have many of the to get any rosin dust on the fingers of , while he had lessons in CORRESPONDENTS. prodigy in his childhood, stated that tnugnt, characteristics of a phonographic record. the left hand. For this reason many limited There is no reason, however, to doubt (Owing to the great number of questions received regular instructionfceasec[ at ^ tlon of his violin playing violinists hold the rosin in the right we have thought it advisable to print ihe ansu that any musical student of average in¬ in smaller type,. the age of 12. _ After that he wasHns ^ seI{.developed. As a child be be- hand and the bow in the left when apply¬ i teacher. It must be remembered, telligence and talent can learn to memo¬ ing rosin. If the bow is held in the W. J. C.—If you are unable to make weekly ;ons came passionately fond of the violin Heskett Violins or bi-monthly trips to the nearest city where however, that he had had some lei rize music by working at it systematically. right hand the rosin should be placed you can find a good violin teacher, you will t 12 through hearing weekly string quartet have to depend principally on hooks. Get the from an eminent teacher and that The reason why so many fail is because Made Right! in a handkerchief in the left hand to '~At 13 rehearsals, in which his uncle Jens 2nd book of Fr. Hermann's violin school, in his technic was far advanced. they make a few spasmodic attempts to prevent the powdered rosin from get¬ which the seven' positions are very clearly e of the world’s played the ’cello. His uncle gave him Sound Right! ting on the fingers. All powdered rosin treated. A table Is given with each position, Mischa Elman, commit a piece, and then give it up as a showing the fingering for all the notes In *' . finished his first violin when he was five years should be wiped from the violin after ■ most famous violinists, bad job if they do not succeed the fourth Priced Right! position. old, and such was his talent that he playing, and from the strings, except One thing which would assist you in getting Sawyer Musical Agency or fifth time. Take the case of tors You Write! the right notes and p.aylng in tune while 22 Pned-to >lay .J the ^^he or people engaged in some b: smess, directly rwhere the bow is applied. Noth¬ learning the higher positions (since you have no violin teacher in your town) would he to GISELA WEBER where the memory is constantly taxed ing will make .the strings so sticky as the world He told the writer that his C. L. HESKETT powdered rosin and perspiration. 2. The have some one play the notes of your exercise whole sty e and conceptions changed -struc ^ with a great number of words or figures. on the piano or other instrument, while you Solo Violinist 301 Boston Store Bldg. strings should be slightly oiled with oil play them on the vioiin. If you have a piano They succeed because they must succeed Metropolitan Opera House Bldg. after his lessons stopped, so much so ^ of the quartet which Ole of sweet almonds, or one of the pre¬ teacher in your town, you might get this In¬ New York or starve; it is their business to mem¬ OMAHA, NEBR. struction from him. In the absence of a that his teacher, Leopold Auer, greatly t teacher pared string oils sold by music dealers, violin teacher. As you say, it is quite difficult rveled at the different character of heard practice. orize. A young actor just starting in , to play in tune in the positions, since the i Lon- a Swedish violinist named Lundholm, except of course near the bridge where hand and fingers must become accustomed to his playing, when he heard him ii the profession has great difficulty at first a pupil of Balliot, who did much for the bow is applied. Many players, who the different measurements in each position don a year or two after his less in learning his lines, but with constant- A Welcome and Serviceable before good intonation can be arrived at. his technic. Later in his career he had have naturally dry hands do not oil their Learning the fingering in each successive ceased. practice he comes in time to be able to strings, but violin players whose hands ■ 11C lessons for a few months at a time position is of course a matter of practice Paganini, in his boyhood, had s commit long pages of dialog in an in¬ perspire freely will find a little oil of w..e Ser- from able teachers, but he never en- Holiday Book lessons from his father, from c credibly short space of time. great assistance in keeping their strings veno a theatre musician, from Costa joyed the systematic training such as is The memory is like any other function; Pocket Memorandum English would read “Franz 1__ „_ in good condition. maker in Mittenwald on the Iser, 1802.” Music a well-known violinist, from Ghiretti, given by the conservatories of leading constant use strengthens it. Hungar.au When the strings get in a dirty, sticky Worte was an excellent maker, and made his and probably from Rolla, but he got European cities. He begged Spohr to orchestras use no music when playing in of Music and Harmony best instruments from about 1800 to 1820. condition they can be cleaned by some The tone of these instruments is good and if through with what the teachers of his give him lessons, but the great Ger- public. Everything is from memory, and of the preparations made for the pur¬ your violin is a good specimen of Worle’s Lovers! day had to tedch him while yet a boy, man refused him as a pupil. The turn- many of these orchestras have a surpris¬ by Henry Gaudin in a gem, and every musi¬ pose, which can be obtained from the work and is genuine, it should be easily worth ingly large repertoire, including many the $100 you paid for it, as prices of old and on this limited foundation, built up ing point of his life came when he cian, professional, amateur and student, should music dealers. violins in America go. by his own exertions, his stupendous heard Paganini in Paris, when be was standard overtures and important com¬ have a copy. Bound in Morocco, containing 1 cannot advise you where you could get 3. Strings should not be used too long. any full details of Worle's life, as he is not technic, worked out his marvelous 21 years of age. The Italian wizard positions. If one wishes to numonze 227 pages of Many players leave their strings on the classed with the great makers, and is only ,• compositions, and practically recreated made a tremendous impression on him, music he should go at it in earnest, set¬ briefly mentioned by the authorities — violin until they break, even leaving them violin making. the art of violin playing. While doing and he threw himself into- his studi- ting apart each day a certain portion of Useful and Valuable Informa¬ on to the extent of a year or two, prin¬ the practice time for it. Those who find L. G.—The label in your violin signifies , he would for months at without the aid of a teacher, with the tion on Every Musical Subject cipally in the case of the D and G strings. that it is a copy of a Jacobus Stainer. The practice ten and twelve hours a day greatest ardor, seeking to acquire the great difficulty in committing music, Strings which are played on too long be¬ value of the violin depends on just how good with the most intense enthusiasm, should take 'very easy pieces, hymns, Published to sell for $2.00 a copy it is. No one can pass upon the value wonderful technical skill of Paganini. come “dead.” The bow wears them flat, of a violin without seeing it. There are many sometimes falling back completely ex¬ Musical authorities are pretty gener¬ folk songs, and other simple melodies. Special Price, postpaid 75c net like a “flat” car wheel, and they are no genuine Stradivarius violins, and violins made Hardly anyone, no matter how defective by other Cremona makers which do not hausted from the intensity which he ally agreed that Ole Bull would have longer cylindrical, as they should he. his musical memory may seem, will fail possess a good tone, either through having threw into his work. been a far greater artist if he could Ole Bull. Oettinger Musical Library They also become thoroughly saturated been scraped, remodelled, or injured in s- in committing two measures of a simple 65 Lagrange St., Boston, Mass. with perspiration, dirt and rosin. Such HIS have enjoyed the guidance of some a certificate. He then v melody. If he can commit t strings can only give forth a miserable great violinist during the first few years j Finland to practice according; to his he can commjt fOUr, then eight and finally tone. People do not wear their shoes ments, and it is not the policy of The Etude thp famous Italian violinist °f his studieS’ r6 that.as. ^ may’ own ideas and"theories, continuing the iLTho^'piKe^1 With fifteen minutes until they are worn to shreds, neither ' nI l! of mu ic fo the v oTin there are certamly eW v,°hmsts wh° work for three years, during which or a half h£ur devoted daily t0 memory and _c°m|02« of mus.c for^he v.ol.^ have won great fame honors and period he practiced nine 0r ten hours a practice exclusively, it is surprising how SPECIAL OFFER should they keep their strings on after 2. Mittenwald is the name of a locality in they are worn out. Bavaria, which has been the seat of extensive olatform nractically emoluments, and few who have given day. Emerging from his retirement he rapidly the musical memory manufacture of violins for over two hundred have your choice of the finest 4. The finger nails should be kept plattorm, practically a t(ipni>r priiovment to a greater num- isited Berlin,iWHn the citycitv where he had strengthen,P - years. Thousands of violins have been turned “picked up’7 "his knowledge‘of violin a keener enjoyment collection of Violins, ’Cellos, etc., in trimmed very close, otherwise they will out there, from cheap trade fiddles, selling for been refused a degree, and was ac- When the student finds that he can America on 30 Days’ Trial. a few marks, to the highly artistic violins playing from hearing and watching er 0 au lences- scratch and abraid the surface of the made by the different members of the Klotz other violinists, although he seems to claimed a new star on the occasion of Commit easy melodies, say of sixteen bars, strings, and make them rough and bad- family, the Hohensteiners and others. 3. OTHER FAMOUS EXAMPLES. his first concert. His success since that be can take something more difficult, WRITE TO-DAY While certain technical passages are possible have had some lessons in theory and Lewis Catalog of Violins, ’Cellos etc. toned. The fingers cannot be placed in of execution on the automatic violin, which harmony and in choir work. He seems Remenyi, the Hungarian violinist, i time has been remarkable. Brodsky, Many students fail because they try cliffi- Don’t think of buying a Violin, Viola, the correct position for fingering if the could not be played by a human performer, the famous Russian violinist, owned his cldt p;eces at the outset. It would be ’Cello or other stringed instrument yet the playing of the mechanical violin as The Violinists’ Friend to> havenave usedusect hisnis own ideasiueas inm violinviuuu sasal;dq t0to bavehave enjoyedentoyea butDitt tnreethree years ulof ..- -- .. —— uave seen this book. It will post you nails are too long. regards tone, shading, bowing effects, etc.. is the House of playing up to the time he heard Vera- regular instruction, he having studied hr?.t..T10Vn at the ageof four' a"d with almost impossible to find a violin student thoroughly on every violin subject; tells you how to 5. Profuse perspiration will often e he compared to that of a go-d _* miinn regular instruct ». a little home instruction soon learned would nrofes* tn be unab e to com- August Gemunder & Sons another great Italian violinist, between the ages of 12 and IS learned wbo wouid profess to be unable to judge a violin by the wood, varnish and construc- result in sticky strings. String oil will ‘ n a set of moving pic- between the ages ot tz ana w « me {o play Russian folk songs. Wri e n°W f° There isn't a home anywhere that wouldn't be the better for haying a Viet MMfHSSSS New Victor Records are on sale at a11 dealers on the 28th of each month RHYME ROAD TO MUSIC LAND ISSp,'1',1 -IflSS3-"' FANNIE To “h^f^weU. CHURCH EachVIe»*mnewtonSain. ^children dearr PARSONS |°0 ^ and training teachers. These books contain material which will prove helpful to all piano teachers. Hi .. "(C ■ , *' ) Gamble HingeTMusic Co.7Publishers,* ! Chicago, Ill. mss&srm 50 |E^|Your IVIusIc | mwjmm MUSIC I m 1 Automatic Vertical Cabinet ^|J 1m J r:mm mmms- 'twm If your music dealer doe. not carry it, .end to ip Music Typography in all its Branches ZABEL BROTHERS MUSIC PRINTERS Mfrfrr|.'3 and engravers 785 THE etude; 784 THE ETUDE ANSWERS TO jgggggMS PIANO TUNINB PAYS EASTERN SCHOOLS Useful Recital Modern Studies QUESTIONS I^gjApHfc SENT ON INSPECTION TO Music RESPONSIBLE PARTIES Edited by LOUIS C. ELSON Pupils of Mrs. Doe. _ _ , STANDARD GRADED COURSE • &?z£!drhsad?lsf-j£ EHs'Sfi's' Would You LiketoTeach Better? false Lents, Schuett; Turtle Doves, Engel- mann; Elfentanz, Grieg; Valse MIgnonne, OF STUDIES FOR THE Chaminade ; Curious Story, Keeler; Hunting THEN YOU NEED MY Song, Mendelssohn; Invitation to Dance, PIANOFORTE Weber; Camp of Gypsies, Behr; In May, R. Schumann; Dance, Meyer-Helmund, June W. S. B. MATHEWS Normal Correspondence Course Roses, Spaulding; Barcarole. Enna; Little In Ten Books, a Grade to Each Booh Love Song. Bohm; Solfeggletto, Ph. Em. This course represents the ripe ex¬ IN MODERN IDEAS OF Bach; Au Martin, Godard; The Swallows, perience of a veteran teacher. The Ilachmann ; Spring Greeting, Porter; In Rank contents consist of standard etudes and Touch, Technic, Pedal, Metronome, Hand and File, Lange; Summer Joy, Heins; Segm- studies in progressive order, selected dilla, Bohm. from the best composers for the culti¬ Culture, etc., and How to Teach Them vation of technic, taste, and sight read¬ Pupils of Mrs. Anna G. Pilcher ing. Beginning with the simplest Forty years* experience in a compact and thoroughly practical form. Minuet (0 hds.). Mozart; Eventide Rev¬ primary exercises, they lead the student A pupil writes: “Delighted with the lessons. Such a wealth erie, Fieldman ; Spinning Song, Elmenreich ; through what is best in etude literature of (rood tilings is packed jnto them. Just the things Mosquito Parade (4 hds.), Whitney; Sweet to the very highest grades of piano¬ Violets, Smallwood; Valse Brillante, Von playing. This course is unsurpassed by Wilm; Meditation, Morrison; Briar Rose. any similar one before the public. 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Presser Co., Publishers Mandolin*, B 246 Highland Avenue, Highland Park, Detroit, Mich. ture, Suppe; Sunset Nocturne, Read; Chil¬ THEoT pRe’sSe'r Co”, 1712 Chestnut St„ Philadelphia dren’s Waltz, Brounoff; Cherry Time. Spauld¬ 1712 Chestnut St., PHILADELPHIA ing; March Mllltalre, Leybach. ^^^"^^^nentio^THEETUDEwhen addressing 01 in THE ETUDE when addressing our advertisers. 787 T HE ETU PE 786 THE ETUDE ^-WURUlZER-i NEW YORK SCHOOLS ^ ,QRCBEsrm harps; What Others Say NEW YORK SCHOOLS “We are advertised by our loving friends.” Shakespeare. The American Institute oi Applied Music (THE METROPOLITAN COLLEGE OF MUSIC) dvert. D-D., President^ 212 W. SOU. St., New York City Playing Two Notes Against Three, toy Lan- don, Is the best and most thorough explana¬ tion of this rhythmical problem 1 have ever Dunning System si had, and I have studied with several leading teachers.—Mrs. Harry Orites, Ind. Your system for supplying teachers at a distance with an abundance of music is a much appreciated convenience.—Nellie B. Cocklin, Fie. S£v? VIRGIL Received Preparatory School of Technic and find it just what I wanted to regain strength Practice Clavier and elasticity of fingers and wrists.—Mrs. Martin 0. Teasdale, Miss. Far superior in its latest construction to any Musical Picture Book, by Hudson, Is very other instrument for teaching and practice. useful with my little pupils, as It helps them to remember which hand plays the top clef. They enjoy the words also.—Mrs. E. Shoe¬ VIRGIL SCHOOL OF MUSIC maker, N. T, TERM BEGINS MONDAY, OCTOBER 9th. Two Notes Against Three, by Landon, will autumn be of great value to any teacher.—Mrs. John ENROI.MENT DAY SATURDAY, OCTOBER 7th. Buckman, Jr.. Md. For catalogue and prospectus address: Received The Two Students (Album of IL, 45 East 22nd Street, NEW YORK Four-Hand Plano Pieces). The Secondo part A. K. VIRG Is of nearly If not fully as difficult grade as the Prlmo part, which I believe to be essen¬ tial for students.—Miss Mildred H. Stevens, Music teaches most exquisitely the art of development. D’Israeli Piano Players’ Repertoire of Popular Pieces Is very good and “catchy,” especially for MUSIC education country people, who cannot always enjoy the 1 good classics.—Mrs. F. L. Hatfield, Colo. MR. CADY’S Private Classes in Pianoiorte, Harmony, etc., Musical Picture Book, by Octavia Hudson, and NORMAL COURSES Open in October. Is a fine arrangement for pupils of first grade, as the little pieces are so Interesting.—Miss Announcements sent on application to Mr.. Calvin B.Cady, Sec’y, IS Claremont Ave.. New York. N. Y. O. Haight. Eggllng’s Studies in Interpretation and Mechanism are not only helpful but charming ►•HOME STUDY- 1 GranberryPi&no School and fascinating, each one in Its own way. COINNTEUPOrNT PLANO TECMMftUE GEORGE FOLSOM GBANBEBBY, Dieectob Their varied contents should make them a COMPOSITION * OTHER SUBJECTS delight to the student who can learn to TEACHERS’ TRAINING COURSES Interpret them.—E. M. Wilson, N. X. PUBLIC SCHOOL MUSIC MUSICAL POST CARDS as used in the Public Schools of New York City. 1 FAELTEN SYSTEM The work Playing Two Notes Against Booklet CARNEGIE HALL, NEW YORK Three, bv London, certainly explains clearly a E. F. MARKS, 2 West 121st St., New York | most difficult problem. I am well pleased with it.—Elta A. Strickland. [SCHOOL OF SINGING AND ^OPERA] I Great Pianists, Scriea A 12 Hiqhest Artistic Instruction for Opera, Concert, Oratorio. From the Opera Compel 1 Great Pianists, B 12 Beginning of unsurpassed correct voice placement and unique, Russian Comp Great Violinists - - - 6 In fact, any music I have received from ly Northern Euro Celebrated Violinists - 6 Theo. Presser Co. for the past few years has i^»,er r:,^«vr.as jig fS « Publisher, of Music can increase the Sale THE EXUDE New York School of Music and Arts IMPORTANT TO CHORAL CONDUCTORS s New York City’s / A Christmas Oratorio Recognized throughout America by teachers and students alike as having the finest courses, most eminent instructors and unusual free advantages, together with a home-like atmosphere mK^^ope^haperonj^'!^^ ^ ^ ^ ^ ^ ^ ^ Celebrated faculty in-luding, Gustav L. Becker, Clarence De Vaux Royer, Ralfe Leech New York College of Applied Mono 789 THE ETUDE 788 THE ETUDE The many American singers who have had WORLD OF MUSIC. liberal views and years of experience as the privilege of studying with Luigi- Vannu- NEW BOOKS. (Continuedfrom page 783) clnl in Florence will regret 1r --r of vhis'“ professor of musical composition at the „ successor at the Paris Conser- death-h e*at 'the"th» 1 age"of 82fLBHe° was^born at Royal Academy of Music he has given THE PHILADELPHIA ORCHESTRA GcltMAwa »»t been selected as yet. The Eojano,—--, in— the...... Chianevuuufl, Valley,,diiey, Italy,1 mlv, where Callings of Forty Years from Musical vatoim oa bably rest between QueeX his father was director of the music at the Lanes and Hedges. Compiled and ar¬ the reviewer little opportunity for any¬ eh"** vierne, Gigout or Bonnet—all of them theatre. While still young he went to Flor- ! thing but the warmest praise. Musical contemporary French organists. ence, where he graduated as a violinist. He ranged by Mrs. Alice J. Hackney. Pub¬ EIGHTY-FIVE MUSICIANS made up his mind, however, that he wished composition cannot be learned from a lished by the Baptist Book Concern, vr.nnw a well-known English musical to be a pianist, and worked hard with the THE DRAKE SCHOOL OF MUSIC book. Mr. Corder tells us this among object in view, at the same time playing the Louisville, Ky. DK- St is ’said to he responsible for the violin at the Leopoldo Theatre at a salary full orchestral routine for soloists the very first things, but he does give 1 1911—1October 13 :: :: April 13—1912] statementauthority; that• ^eve^yvery ^character single inCTception the Shake- of Mrs. Hackney has. compiled a kind of of thirty centimes (about six cents) a per¬ D. 6th Floor Auditorium BMo^C some most excellent advice. The book formance. Gradually he came to the front, scrap-book, but her selecting has been PR the twelfth Season, the fifth under the baton of sPe?Le„r is ’made to sing. This doubtless and eventually blossomed out as a director HARRY R. DETWEILER—Plano, Theory AURORA ARNOLD CRAIG—Contralto done with care and heart-interest. The has numerous notation illustrations which Hotspurv the principal characters. SARA MACADAM COOKE—Piano, Theory KATE COHEN—Voice and Accompaniment Mr. Pohlig, the 25 Afternoon and 25 Evening Sym¬ of opera at the Alfieri Theatre. Here he EAKL0lSBH^KEf?fX-D.reCt.r BLANCHE 1K.UOD, VloUn-Assoclate D.rector little selections follow each other without make the author’s explanations very valu¬ conducted the first performance of Donizetti’s phonic Concerts at the Academy of Music, Philadelphia, A Bdngert Society has recently been Anna Bolena. Finally he became musical able. The student of composition who , Aaed in Koumania for the purpose of any noticeable order, and thus the work present a virtuoso leader, supported by a superbly bal¬ founded 1 ,.r interest in Bungert’s director at the Pergoia. Eventually he de¬ becomes a pleasant and instructive little has a knowledge of harmony and the ele¬ anced Orchestra in a series of programs, unequalled for voted himself to teaching singing with tre¬ creating j£ay think that societies of mendous success. LORENA BERESFORD volume for teachers who desire to inves¬ ments of counterpoint, and who has gone interest and cumulative artistic effect. Concerts are JLta !kind should he unnecessary, and that Louise St. John Westervelt tigate the curious and extraordinary in through some good course in musical given at Pittsburgh and Cleveland, among other places, composes own worth should be so pro- The president of the Berlin police has in¬ TEACHER, SINGER, COMPOSER in the out-of-town series. his works will require no pro- formed the theatre managers of that city Teacher of Voice music. form as well as some course in composi¬ mMion August Bungert is known in that they must not allow hats to be worn in tion similar to that outlined in Sawyer’s PROMINENT SOLOISTS in Philadelphia during November, America principally by his songs, one of the stalls or parquet circles on pam ot a Pupils prepared for teaching and choir S Bettler Liebe, has become very pop¬ admirable “Extemporization,” will revel include: Kathleen Parlow, Clarence Whitehill and Thaddeus fine of approximately $25 for each offense. work, concert and opera. The Oldest Music Room in Europe. By ular*’ Bungert is now sixty-five years old. The main object of this ordinance is to elimi¬ Ohio Building, 509 S. Wabash Ave., Chicago, III. John H. Mee, M.A., D.Mus. Published in this work. The book is of greatest Rich. u a although a German, he has lived In nate the possibility of accident due to the Prospectus on application to Italy since 1882. use of long hatpins by ladies. Hatpm acci¬ by the John Lane Company. Price, $3.50. interest to composers who have had the dents are not unknown in this Country, and It may seem somewhat odd to American training we have mentioned, but is limited Business Office, 1314 Pennsylvania Building. Tt™ Soeiedad Beethoven of Santiago de a similar regulation In our own theatres Cuba is, .judging from the many programs would not be amiss. readers to write a book around one room in its use for the “amateur” composer. ROSSETTER G. Arthur Beresford The amateur composer who is struggling received! ninety- Opera at five cents! Opera at which the in Oxford University, but the author of PROTECT YOUR PIANO BY USING Bass Baritone along with an inadequate technical train¬ sixth birthday of Stephen Heller. greatest stars sing the most popular com¬ this work has found two hundred pages Graves Piano Shields positions of the great operatic masters. Author, “Hints To Vocal Students” of very interesting material which cer¬ ing will find much in this work he may tot] choir of a church in England has Opera at which ballets are presented wherein MRS. FMlE L G. Mordkin and Pavlova dance their best before sTirmo tainly deserves to be assembled and pre¬ not be able to comprehend fully; but The only practical device made for the protection of a threatened to go out on strike if the vicar piano against scratches and mars. Invaluable in studios neJslsts in joining in the music. It seems a vociferous crowd of happy people who have 72 Auditorium Bldg., Chicago, Ill. served in print in this form. The Oxford if he is wise he will at least be spared of Musicians and Teachers, Music Schools, Piano Sales- the vic;\r is possessed of a particularly paid only five cents for their evenings enter¬ tainment. Through -the generosity of Count COLE from sending in many impossibly bad strident voice which disturbs the other Music Room was opened, in 1748. Al¬ singers Somebody suggested that the choir Witte, the people of St. Petersburg have an though’ much that the volume contains musical compositions and wondering why was made for the church, not the church opera house of their own to which they pay must appeal particularly to the English the publishers fail to recognise his genius. for the choir. “The church is not a con¬ only ten kopecks—five cents—for admission. cert room, and it is better to have cacopho¬ SHERWOOD MUSIC SCHOOL musician interested in the archaeology of A trip to London to study with Mr. Cor¬ It is reported from Munich that the late T ' 7 Fine Arts Building, Chicago nous music from a warm heart than the xTrtF+i Homiontbpfi his snlendid libraiy his art in his native country, it is never¬ der would be expensive. Tlrs book con¬ liveliest melodies from an Icy cold one.” Founded by Wm. . C™GH£-sr STANDARD OF ARTISTRY WALTER Personal!, wo like beautiful music to be theless fascinating to note how the famous tains more advice than Mr. Corder might wtu sung lait nevertheless we hope that in musicians of Europe sought out the uni¬ be able to give in many lessons, and. ?Cke°a Vt'^l^ol^ntTm0*’^ For SSK F^GETCHELL. Business Manager. :: Room 711. 410 South Michigan Avtnut versities when they visited England. Many although only 98 pages in length, is worth long as it really Is Joyful. of the most distinguished men of the many times the price. tonal art found their way to this famous George Bernard Shaw has been expressing the conductor had practically nothing No. 3. For top, edge and side ofr..K. his views .it, the subject of onera in English. leave his bride of a fortnight and his son CcntvaUsmo School of fillusic No. 4. For bottom panel and pedal strip. As usual, his views are worth quoting. He The Organ Accompaniment of the declares Unit “So far as the public is con- his first wife. Litigation swallowed up I.E-PAEA1HS, 1 Special discount to teachers and dealers as agents. good share of it. His wife, however ?, Church Services. By H. W. Richards. iWned there is no resistance to the Idea of receive a pension from the governmi . t is thc of„ combination ofthe AHTISTIC and the PRACTICAL in education! Some Commentaries on the Teaching of Published by the Boston Music Co. . Descriptive circular sent on having o peril sung in English. Most people amounting to $1,500 a year, and his son v fnmnieie Course in PIANO, VOICE, THEORY and DRAMATIC ART, in Londc n and probably also In America— Compiete Course .nP/^ehe.nj.ve BUS/NESS TRAINING in all Pianoforte Technique. (A supplement to The ability to play a solo piece ac¬ receive $450 until he attains his majority^ C. W. Graves, 417 Broadway, Logansport, Ind. would i" gla.l to understand opera. The re- Many people wonder why, “ that. In’ spite Departments for Graduation The Act of Touch and First Principles.') sistanee cenies from the singers, who dislike ceptably on the organ carries with it no de nf studying opera in a language ofTli'e 'high’salaries offered in America, many By Tobias Matthay. Longmans, Green & guarantee that the performer will be able 1 they are unaccustomed. For It A PARKER-SHUTTS, Secretary, Suite 612 Fine Arts Building, Chicago, III. Co. Pages, 55. Price, 50 cents. perforce to accompany, even an ord'nary e trouble. It Is not easy to sing if they were told that they would Probably no living author has written hymn with taste and discretion. There bssmsak'tass wasr ss SEE “THE ETUDE" PREMIUM LIST ON THIRD COVER PAQE| ngaged ’unless they did speak Eng- is being appreciated, and that their income^ seventeenth season so exhaustively upon the subject of touch are innumerable points in service play¬ gs would be different” though comparatively small, is not going to MRS. CROSBY ADAMS as Tobias Matthay. Indeed we often ing which the young organist cannot cease the minute a fickle public has trans¬ Chicago ferred its attention from music to “otor- TEACHER OF PIANO wonder how he discovers so many words learn too soon. Mr. Richards has pre¬ FROM TEXAS with which to dress this one particu'ar pared a practical manual. His ideas are ™L,?ildAeme°rica wiff become musical Piano College Christmas Music Kimball Hall - Chicago, 111. subject. His point of view is distinct and sound and his diction clear and concise. teacners irom uuuuer individual, and the present book presup¬ Piano Teachers!! Some Coffee Facts From the Lone in practical, every-day technical work, Some such manual as th:s is almost in¬ and in the artistic interpretation of poses a knowledge of his somewhat com¬ . C(d-d).$0 We remind you of the Earnest students are developed and dispensable to one who wishes to play Star State. At the age of seventy-five Cosima Wagner, carried through a course of study Music. Teachers may come at any time plex and involved works, to which this is the church service effectively and in good Bells of Bethlehem. F(e£-a). the daughter of Liszt and the widow of Uich- for whatever period of study desired. luardo Marzo leading to a Degree. a supplement. It may be that it is impos¬ Song the Angels Sang. (Violin Ob.) C (e-a ^butwfua mtie’workenGLed franfuJ, teachers in the study and interpretation sible to get to the truth of the matter G(d- From a beautiful farm down in Texas, a Page of Memories, by Mis Daughter. The of graded lists of teaching material. G. W. Wai GRADED STUDIES where gushing springs unite to form work of Liszt in aiding young musicians and without this interminable and verbose gathered from many sources by Fall Term Opens Sepl. 7, 1911 Operas Every Child Should Know. By Song of £ BtGMD G (b-d)... ramDosers has been of incalculable benefit to analysis of the movements employed in A. J. Davis babbling brooks that wind their spark¬ the'^musk-al world, and these reminiscence, Write for further particulars to effecting an artistic application of the Dolores Bacon. Pages 460. Published by Cradled All Lowly. F(f-g). ling way through flowery meads, comes cannot fail to he interesting. Doubleday, Page & Co. Price, 90 cents, MRS. CROSBY ADAMS HARMON H. WATT I CROSBY ADAMS Oak Park (Chicago) III. simple principles of touch. The present a note of gratitude for delivery from PADEREWSKI has suffered a serious loss. ELEANOR F. GOHFREY 5 net. I. W. Warren DUETS which are now being published and which are volume is necessarily discursive and in Babe Divine. Sop. and Alto. (Violin Ob.) proving a success equal to our most sanguine the coffee habit. This book is one of twenty-one books I. W. Ruffner “When my baby boy came to me five parts polemical. We cannot recommend While Shepherds Watched. Sop. and Alto. & compiling _and arranging this series of valuable one * ” “ oa it to our readers except in the cases of devoted to the necessary subject, “What years ago, I began to drink Postum, Paderewski,H L __PaW record every child should know.” The book in¬ those who have investigated Mr. Mat- F._ Chinman AN™EMS having a feeling that it would be better NORTHWESTERN UNIVERSITY s "SPARKLES” Ja and.threeninhenSshlpurThaJed00ifnP AmX A HIGH CLASS RAG TIME TWO-STEP thay’s other voluminous works cludes twenty operas. The author has ie Earth. Sop. or Tenor Solo and for him and me than the old kind of EVANSTON-CHICAGO shown good judgment in choosing such Chorus “Candlelight Reverie,” “Star of Love,” “Flo- J. H. Wakelin therefore, every reason why it should drug-laden coffee. I was not disap¬ reine” Waltz (greatestSyncopatedWaltzon the market) operas as The Bohemian Girl, Robin Hood, Hark Adown the ^ygone Ages. Sop. or pointed in it. for it enabled me, a small, SCHOOL OF MUSIC and “Moon Dance” 25 cents each; all for $1.00. Modern Musical Composition. By Fred¬ Pinafore. Martha, as well as the great delicate woman, to nurse a bouncing, THE awarding of the Grand Prtw dei Rome A University Professional School, for the erick Corder. Published by J. Curwen Little Town of Bethlehem. Sop. or Tenor found that: masterpieces, such as Fidelio, Carmen, Solo and Chorus. The scope pursued is broader; healthy baby 14 months. comprehensive .^|u n that of the Removes Tan, Pimples, Blackheads, Moth Patches, Rash, Freckles and Vulgar Redness. It completely clears up a Yellow Skin, giving that delicately clear and refined complexion sought hy every woman, and protects the skin from the harsh Autumn winds. Price $1.50 per bottle For Sale by Druggists and Department Stores. Send 10c in stamps for a book of Gouraud’s Oriental Beauty Leaoes, a handy little volume of perfumed pow- FERD. T. HOPKINS, Prop. 37 Great Jones St., New York Please mention THE ETUDE ■ 792 THE ETUDE The Quickest Mail Order Music Supply House Grade One Material PREMIUMS Gifts of Value Easily Earned by THEO. PRESSER CO. Securing Subscribers to THE ETUDE THE ETUDE is of p copy is, therefore, the *" "ar,& - A c“- FOR EVERYTHING IN MUSIC 5 " “SSJSl.'- G" PROMPTNESS. A ECONOMY means not only the giving of the largest discounts pos¬ sible and the most fav¬ orable terms, but, mark you, fair retail prices ish must accompany all orders. Use Post or E SEiS^*** , Bank Draft or Registered Mail in sending remitt ascription Price, $1.50 per year; Canada, $1.75; For saving i .SSL. SATISFACTION. No doubt the greatest fac¬ tor in the success of any 3 gendered by . fair and help¬ PROMPTNESS and ECONOMY ful dealings. are on our TWENTY-FIVE YEARS AGO, as a sequel to the foundation of THE ETUDE (then only a journal for piano teachers), the publishing house of Theo. Presser was founded to furnish practical teaching material in conformity with the suggestions and advice of the journal. THIS BUSINESS founded on the above principles has grown to be the iargest mail order music supply house in the world and is now established . in a permanent home, six stories in height, 44 x ISO, with an annex-all carefully planned and thoroughly equipped to attend to the wants of > Every Teacher, School and Conservatory in the United States and Canada INFORMATION AND CATALOGUES on any subject in music free: the On Sale plan (one of our many original and helpful ideas to aid the k teacher) is very liberal; our New Music Idea pleases every teacher. Send us a postal card order as a trial. Write to-day for first catalogues MUSICAL WORKS AT OFFER NO. 1712 Chestnut St,, Philadelphia, Penna, iiltSSSs life._ Just Issued COMPLETE CHRISTMAS SERVICE FOR SUNDAY-SCHOOLS the organ-player TRB* “ OFFER NO. 4 Joy of Christmas OFFER NO. 2 kum,v SFotUDENTBOF ALL ^SUSIC set to bright and appropriate verses J recitations and exercises, all full of the tru“e Christmas spirit. R. M. Stults) the popular American composer, is chiefly represented; other contrf Only ONE otter can be taken advantage of with EACH subscription or with°EACH°Si being W. R. Spence, J. W. Lerman, Homer Tourjee. One of the best of se club. Single Copies.$0.05 £&»::: & A TWO CENT STAMP WILL THE. £EUDE, 1712 Chestnut St., Philadelphia, P, a. THEO. PRESSER CO THEO. PRESSER CO., : Publisher, : Philadelphia, Pa. L The FLORENTINE GRAND The STANDARD from 1780 to 1911 shown below is an exquisite work of art. Tasteful in case, delightful in tone, and of unusual durability, it fascinates every admirer of a fine piano. Write for our new catalogue, showing this and other models now ready for shipment. IVERS & POND PIANOS are built by a factory pro¬ ducing only highest grade BAKER’S CHOCOLATE work. Half a century’s ex¬ FINEST IN THE WORLD FOR perience and a record of satisfactory service in nearly COOKING AND DRINKING 400 prominent educational Unequaled for smoothness, delicacy, natural flavor institutions and 50,000 homes are behind your purchase if and that uniformity which insures best results. you choose the IVERS & POND. IT IS ABSOLUTELY PURE HOW tO Buy. have'a unique plan of'shipping" IVERS & POND Pianos BEWARE OF IMITATIONS; the genuine is put up in Blue “on approval.” If the piano fails to please it returns at our expense for both rail- Wrapper and Yellow Label and with our trade-mark on the back. road freights. Old instruments taken in exchange. Attractive Easy Payment plans wherever you may live. Write for our catalogue and valuable information to buyers. BOOKLET OF CHOICE RECIPES SENT FREE Walter Baker & Co. Ltd. IVERS & POND PIANO COMPANY Established 1780 DORCHESTER, MASS. 141 Boylston Street, Boston, Mass. THEO. PRESSER CO., Publishers, PHILADELPHIA, PENNA. IMPORTANT NEW PUBLICATIONS Educational Musical Works of General Interest are Being Issued Constantly RICHARD WAGNER MUSICAL DICTIONARY Mistakes and Disputed STORIES OF STANDARD HIS LIFE AND WORKS AND points in Music TEACHING PIECES Price, SI. 75 PRONOUNCING GUIDE By EDWARD BAXTER PERRY One of the most striking personalities By H. N. REDMAN Price, SI.50 in music is here treated in a fascinating Price, 50 Cent* This is the day of positive knowl¬ and exhaustive manner. The life of edge. You cannot afford to go along Perhaps you remember how almost Richard Wagner contains more interest, A dictionary of music, convenient with uncertain or slip-shod methods. every piece you played when a student more of the dramatic and picturesque, in size and easily handled, yet compre¬ The old motto: “ Be sure you are fired your imagination and led you to than most works of fiction. In this hensive and authoritative, is a prime right and then go ahead," applies very see “musical pictures." This feeling handsome volume of 480 pages a wealth requisite for every teacher and student. directly to music. Are you sure you is strong in all children and Mr. Perry's of material will be found: biographical Redman’s is one of the best. It con¬ are right upon all important musical book tells the stories of the pieces in a and critical. The profuse illustrations tains all terms used in modern music, points? If you are not, do not fail to way that will stimulate the child mind include portraits of tire master, scenes properly defined and with the correct get Mr. Elson’s book. It has already as nothing else possibly can. The re¬ for the various music dramas, carica¬ pronunciation of each. It may be surprised many who thought that sult of this stimulation is practice— tures, autographs, &c. Interest in Wag¬ carried in the pocket for ready refer¬ they knew, but who have found out not “bored-to-death” practice, but real ner and his works is increasing rather ence or it may be placed upon one’s that they didn't. This work embraces practice. Like Mr. Perry’s “Descriptive than diminishing, since the majority of book shelf. It is neatly and substan¬ very many branches of technical knowl¬ Analyses of Pianoforte Works,” this his operas and music dramas are now tially bound. In fact, it is a better book edge and Mr. Elson presents the facts book informs the teacher of much valu¬ to be found in the permanent repertories than many larger and more pretentious in such a charming way that one is as able new teaching material, which he of most opera houses. much interested as in reading fiction. may have no other means of uncovering. LIFE STORIES OF GREAT COMPOSERS BUSINESS MANUAL FOR MUSIC TEACHERS PRICE, SI.SO By GEORGE C. BENDER The lives of the great composers have provena source of never-failing interest PRICE, Si.oo to musicians and students. The object of this work is to present in succinct yet comprehensive form a means of observing how great life purposes have been at¬ ork as this are the v tained through years of preparation and earnest striving. Many prominent writers have cooperated in the making of this important work. It covers 600 pages, is generously illustrated and is prefaced by a resume of musical history from the collecting: bills promptly, making recitals^profitable, etc time of Palestrina to the present. Full Catalogues Sent on Application. Any of Our Works Sent on Inspection. Large Discounts, Easy Terms, the Most Liberal On-Sale Plan. Headquarters for Everything In the Line of Mustc and Music Books, No Matter Where or by Whom Published THEO. PRESSER CO., :: Publishers, Dealers, Importers, :: 1712 Chestnut Street, PHILADELPHIA, PENNA. have been established 60 YEARS. By our system of payments , every family in moderate circumstances can own a vose piano. We PIANOS take old instruments in exchange and deliver the new piano in your home free of exoense. Write for Catalogue D and explanations. vose vose t& SONS PIANO CO., Boston, Mass. L ii