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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1906 Volume 24, Number 06 (June 1906) Winton J. Baltzell
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Recommended Citation Baltzell, Winton J.. "Volume 24, Number 06 (June 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/515
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U. 2.tf- THE ETUDE 345
CHURCH MUSIC CONTENTS “THE ETUDE” ■ June, 1906 Some Recent Publications OF The Making of an Artist CLAYTON F. SUMMY CO. GRADED EDITION FOR THE PIANO Alfred ltdsmaucr Music Teachers’ National Association_ 220 Wabash Avenue, Chicago. From Mozart's Workshop It. /'. Kerst-Elberfeld SONGS. What is American Music? ROSE. N. Clark Smith. Henry T. Finch BYE O’BABUM. N Clark Smith. Gluck & Lava ter. A BREAMIN'. N. Clark Smith.. The Three plantation (tongs; the melodies are traditional, lie The Hand of the Pianist...R. Brcithaupt Notes on Rubinstein’s Teaching are sty fid'“Cwmh8orngl" ^hey are eet*whh mmlcUnl'y”^ Sandra Draickar panimente yet in striot kreping with this class of music. The Handling of Piano Technic for Very ABIDE WITH ME. Mabel Howard McDulTec. "Young Children (First Grade) A good churchly setting of this farorite hymn. For i Teachers’ TV. 8. B. Mathews . am voice. APRIL IS HERE. Otaas. E. Wheeler. The Music Teachers’ Association of Ger¬ SONO OF SPRING. Wm. Lewis (Mover .. ORGAN MUSIC many . "wo charming, bright, joyous Spring Songa. Both for me- The Study Value of the Pedal E.D.Hale PIANO SOLO. Edition The Abolition of Key ,/. TV. (1. Hathaway THE JUGGLER. Edythe Pruyn Hall.4 The Teacher's Influence Marie Benedict SLEEP SONO. (Pedal Study) Edytlio Pruyn Hall.. .3 One hundred specially selected stand¬ Isadora Duncan and Ilcr School for TWILIGHT. Edythe Pruyn Hall..3 Classic Dancir...... )/. Hook 303 Good characteristic pieces, all in grade II. ard modern compositions, in. all grades. Children’s Page. THE WANDERER’S DREAM. Hiram WUlis. 6 Editorial . A melodious teaching number Grade 111. (Each number published separately.) Vocal Department. .11. IV. Greene LITTLE BEGINNER’S PIANOFORTE ALBUM Hannah Smith, net. ..6 Organ and Choir. .A’. E. Tnictte Eight little pieces in early part of first grade. Little rhyme CORRECTLY FINGERED Violin Department. come Lehmann Teachers’ Round Table. . ... A\ Corey POETIC 'FOLK™DANCES-BACH—Selected end edited b: CAREFULLY PHRASED Studies in Prejudice. . . George Hahn Calvin B. Cady. Net . .fi European Musical Topics . .Arthur Elson A collection of nine of the simplest dances by Job. Beb. Bad Publisher’s Notes. published in two editions, one without markings of any k ini COMPLETELY REVISED (students’ edition), at d one with careful editing and anno Recital Programs. tuitions (teachers' edition). Humoresques. .1. II. Hausrath 403 To meet the requirements of both Musical Items. teacher and pupil. Home Notes. Puzzles and Games. Reviews of New Publicat CHOIR MUSIC. Questions and Answers.. Dismiss Us with Thy Blessing. P De ( ostei I Heard the Voice of Jesus Say. E D. Keck Blessed Be the Lord. K D. Keck GRADED MUSIC Te Deum a short, effective setting. 0. B. Clen Gently Lord, O Gently Lead Us. II. W Han Fairy Fingers.Paul Wachs 307 ' he Cross of Christ I Glory. L D Russel Polka Graciense, Op. 4 No. 4 (4 hands) ire is a Land. L. D Russell. L. F. EDITION F. Bend el 370 te best evidence of our confidence in these Language of Flowers.O'. N. Benson 374 Cantilene (Violin and Piano) F. Borowski 377 IS Parisians .O'. Bachmann 3S0 Chiming Bells.1. Trojelli 3S2 ATTRACTIVE Polonaise in C-sharp minor, Op. 20 No. 1 F. Chopin 3S4 INTERESTING The Drummer Boy’s March Karl Hechter 3-S7 Two Maidens.E. .1. P. Newcomb 30t ELI CIOU S' INSTRUCTIVE A Message iu My Dream.. . .It. M. Stulls 302 J. Fischer & Bro„ LVLR AG L constantly used by more than 1000 7 1 II, Bible Honse, IS. T. competent teachers with PERFECT Deiig/i tfuJJjf 0 SATISFACTION. Publishers //i /farm on if Sold at all Fount5 5? ATTENTION! V/y/h t/ie Spirit of Teachers, Pianists and Students Rhys-Herbert’s Vocal Collections Carbonated m Bottles THEMATIC CATALOGUES FOR Commencement Songs—A Collection of ALL OUTINGS TEACHERS SENT UPON Unison, two-part female, three-part REQUEST male and female, and four-part male “DAYBREAK” and mixed choruses, for School Closing f" - Exercises. Net.$ .50 Secular Quartets—Vol. 1. Male Voices . .50 OUR TEACHERS’ SAMPLE VOLUMES •* ** Vol. 2. Female “ . .50 A COMPLETE LISZT REPERTOIRE IN ONE VOLUME MAKE SELECTIONS EASY AND HANDY “ Vol. 3. Mixed “ . .50 They should be on your Dealer’s Counter Sacred Quartets—For Male Voices . . . .35 IF NOT THERE-PLEASE WRITE The above five volumes contain arrangement! .FRAN? LISZT ALBUM AND MENTION THE NAME OF YOUR by Rhys-Herhert only. When ordering any of ^ WORKS n 0% DEALER same indirectly, mention Rhys-Herbert's name >no Price, 81.00 in connection with title and no substitute trill A collection of the most admired and generally be sent you. popular works of this great composer, both of his Fischer’s Album of Piano Trios—(3 per¬ original works as well as the transcriptions of famous Every Teacher or Student of Harmony songs and operatic airs. who will do us the favor of sending for it will receive formers, one Piano). Volume 1, contains Gaining in favor as are the works of Liszt, this LEO. FEIST mHK0 NEW YflRII a copy gratis of the essay 14 compositions, grades 2 to 4, suitable volume containing all of his favorite works under one MbrarV nf to “IS MODERN MUSIC KEYLESS” for Commencement Exercises, etc. . . $1.00 cover cannot but be received with enthusiasm. contains 16 compositions oi Publisher of SEND for> We have published an essay of is pages brimful of decided Sample copy will be mailed upon receipt logic and powerful analysis on Ihis very topic The discourse of 60 cents. MANSFELDT TECHNIC conies from the pen of Carl W. Grimm, the author of' Modern THEODORE PRESSER, Publisher, 1712 Chestnut Street, Philadelphia, Pa. Harmony." For the reason that we are anxious to acquainl Positively the greatest work of it* every one with this Author s views on Harmony Teaching, Choruses for School Closing Exer¬ -OURr which prove a great help to clear up many vague ideas and cises kind ever conceived. disputed points, we have decided to send this pamphlet who does us t he favor) Fischer’s Album of Vocal Duets for Fe¬ month only. Writ. PRICE, TWO DOLLARS AND FIFTY CENTS. today before you forget. male Voices with Piano accompaniment. CATALOGS Four volumes, each.$.75 FLEXIBLE CLOTH BINDING. MONEY BACK IF NOT FRIENDSHIP SONGS A Simple Method of Modern Harmony, $1.50 Fischer’s Album of Vocal Trios for Fe¬ ALL THAT IS CLAIMED FOR IT. ORGAN MUSIC, By CARL W. GRIMM male Voices with Piano accompaniment. One volume.75 F ORGAN BOOKS, “ I am exceedingly delighted with the work. The various relationships of chords are made clear and, what is the principa The volumes of Duets and Trios mentioned port for the voice, the titles of the seve^^ are weM made- and afford excelled sup- thing they are logically represented, and consequently give a Mall orders not solicited. We prefer that yon anthems, etc. key to the apparently most complicated harmony successions. above, suitable for all grades, have been com¬ “O HEART OF MINE,” -HEAVEN,” “HUSHABY BABY,” “ALONE” purchase our publications from your dealer; hut H soet you a trifle (a postal card). I will recommend it on every occasion.” piled with the greatest care ; equally much atten¬ “THE FOUR-LEAFED CLOVER,” “DESIRE,” “THE TWENTY-THIRD PSALM .. ,0rget “• for °"e or *M 0f ,hMe ADOLPH WE1DIG. tion has been paid to the selection of texts as well he does not have the goods, please order direct. as to the musical portion. THEODORE PRESSER. 1712 Chestnut St., PHILA^ PA. White-Smith Music Publishing Company The GEO. B. JENNINGS CO. Opereltas. collections of organ, violin, BOSTON NEW YORK CHICAGO 105-107 W. Fourth Sl. CINCINNATI, O. ., will be mailed upon application. Ad- M-B4 Stanhope St. 13 East 17tb St. 259 Wabash Ate. PIANOS '’-"“•“■I a~»»=. «I Tone, Please mention THE ETUDE when addressing our advertiser* _ Touch, Unsurpassed Construction. Workmanship* STRIGH & ZEIDLER -and Excellence; and New Artlstlc Designs ^ ^ Manufacturer, Artirt/e Grand! and Un right Vianas _1 32d St- & Alexander Ave., NEW YORK 346 THE ETUDE
CONCERT AND EXHIBITION
FOR 28 Glee or Chorus Books SCHOOLS AND SEMINARIES At Introductory Rates (ONE Copy ONLY of each Book at this Sample Price) FOR TWO PERFORMERS ON ONE PIANO FOUR HANDS i'lte1 Old Black Joe. Gimhei My Old Kentucky Home Grobe-Pratt $j 2j 671 Dicker 'art Spngs (or Male Voices (Partly Humorous!. Dixie’s Land.Grobe^Z S? I —„.jbVoTleidi aic- ci, us 22 Part Songs within the ra .ge of ordinary Toices 7567S6|0lee 0le»,_.... Club Vol. •> ns 21 Part Songs “ “ •* “ “ 11 bast/ffl‘le • • ..IVollenhaJl m 10*1, Glee Club Vol 3 coma ns 13 Part Songs. Highest note F sharp (Partly llui Grand March de Concert . . IVollenhaZt 2 S2 Ga'j| Popular Songs Vol 1 a ranged for Male Voices by C. F Shattick. 867 Popular Songs Vol. 2 “ “ “ “ C. F. SlIATTUCK . MBT-—Songs Vol 3 BoToua?dCZrhS PO,ka G°“tZ J 911 Popular Songs Vol. 2 “ 11 “Quart.“ - “ “ 0. F. Shattbck. 497 Molineux’ Collection of Sacred Music for Ma 1.1... OffertoryhS Wa,tZ ‘ . ' ■ B^hnpn 90 1298 Molineux’ Collection of Sacred Music for Ms cult, Vol. 2. 1291 Barrett’s Collection of Sacred Music for Men’s Voices for Mast nic and Church use... With Flying Colors. . Lanee 1 ts ,Z£J V,°?R| ClMa Instruction Book for Men’s Voices, includ ing Easy Part 8ongs... Aida-Grand March ye/di " Humorous Selections for Male Voices, Vol. 1. Seren“ta.: .Mos^oZii x2 Si* l:z “r M.?18 Quret -d i. FOR THREE PERFORMERS ON ONE PIANO |?25 2w!i,npl,x; ?*Uin(!ar^ Co,lertlon or Part SongH for Male Voice'*, Vol. i! 52 Mottpcllx i. «>f I'U! S.ng.s fur .Ma|,. V„i,-f.N Vol _ -j. SIX HANDS Part Songs and My Lodging Ison the Cold Ground Czerny 4n 726 }■;? "s* ** S* f:;r vo.^^zz: Tam O’Shanter. Warren n The ^Making of an Artist Choruses for Old Black Joe. pZZ Mixed Voices My Old Kentucky Home . Foster 1 25 1604 Molln-ur’ Part Songs—Mixed Voices for High Schoole and Concert Use Voi. 1... Canadian Boat Song.;CzTny The Views of Alfred Reisenauer 8611 Molineux’ Sacred lood Grade(77pages).. Rose Tree. Czemv fin 72SIMolineux’Collect lloriaa(13 settings) Faust-Fantasia. cS 1 Jo By JAMES FRANCIS COOKE • 782|Trlnlty Collection lems. By II. P. Das is (85 pages). Streabbog’s March.Streabbog 50 ols and Seminaries . imary Grade. FOR FOUR PERFORMERS ON TWO PIANOS The Study of Artists’ Careers, difficult for the public to understand how it is that a tation and “cant” that is most wholesome. You would EIQHT HANDS great interpretative artist is often a complete failure then, naturally, be very much surprised to witness the s the safest guide for the teacher in forming of Quartets for Female Voice Marche Hongroise.Wollenhaupt \ 50 as a teacher and how some of the greatest of all inflammatory effect that the mention of “musical edu¬ Merry War-Fantasia.Strauss 150 an educational plan for a student is to follow the teachers have been insignificant players. cation” produces upon him. lannhauser March. . fVarner 9nn educational careers of successful contemporary artists, In Alfred Reisenauer we have at once a great artist Reisenauer is now 42 years old, having been born $10.20 $4.70 Wedding March.'Mendelssohn 1 50 to study the various causes—hereditary, educational, and a great thinker upon educational matters. His in KSnigsberg in 1863. He speaks “all languages” of Boccaclo—Fantasia.Strauss 1 50 social, artistic and general—which have led to their investigations have gone far beyond the conventional modern Europe, and is familiar with the different lit¬ «aUS^~«aPtasia.Gounod 1 75 lines, and long ago he made tours in the ever-vernal eratures of these languages to an astonishing degree. re sss8 “? Grand Galop Chromatique . . . Liszt 2 00 success. Such a course is, indeed, the only one which Ooiden Youth Oalop.Smith 2 00 a scientist, sincerely investigating any His English accent is good. In periods Rosemary Waltzes.Fowler 2 00 other branch of human endeavor, would of enthusiasm he naturally reverts to his native German in which his vocabulary is whaJSpSS” r”'0,y "" or '">» '» tint JL. TO Electric Polka.\ . .Sanderson 2 00 consider valuable. It is in this direction quite as wonderful as his piano technic. amP1let!,li8t oi Coxcert and Exhibition music for Comment.- that The Etude exerts an educational in¬ menu, Graduation or Closing of School Exercises sent free on roquett. fluence in keeping with modem educational pub hsheVsifpar: a tel y°i in Oct avo Sheet' for PricS^nmJs^casel “mbe foiSd ui B°°th * ^ Music sent on approval when desired. Hereditary Influences. Liberal diacount to Schools, Seminaries, and Colleges. thought and more powerful than is gener¬ These prices in sheet form are subject to discount of 25 per cent. 6 U d Up°n the covers- His first musical instruction was re¬ ally appreciated. ceived from his mother. “She was a WM. A. POND (SL CO. Artists and Education. veritable genius, a wonderful woman and a EVERY ORGANIST Professional or Amateur 148 Fifth Avenue, - - New YorK For many years the present writer has wonderful teacher. I can never thank her been collecting records of the educational enough for the start she gave me. See, I work of great musical artists, in every case have here to-day on my piano a copy of the Schumann sonata in F sharp minor securing the material at first hand by cents each, or the three for $1.00. Also “THE ORGAN,” publmhLi everv twnfm^?Ln0tlCe.’ 35 LATEST POPULAR MUSIC means of personal conference. As soon which she used herself, and which she in eiu li number an average of 13 pieces of Good Organ Music, Easy to PI v s Y01""3 as artists are assured that the matter played with a feeling I have never heard 25 cents ; one yrar, $ I 00. Year Books from 1890 to 1905: Vols. No 1 to lfi PnnnH? CeP‘e8’ equaled. desired is not of the type of the conven¬ papei covers, $1.25 each. Send 20 cents, special price, for a trial 25 cent codv Jr The First Step. tional interview but rather information of mSSSSU?6 °ne VOlU,“e °f °RGAN F0U°-” V0lUm68 4 and 5 of “ORQAN FOLK)’* are SONGS \ a truly educational character, they invari¬ “There is one thing for which I am ably show a marked difference in personal everlastingly grateful to my mother. Be¬ wi;SE»S,S (three performers on one Piano). Vols. 1 or 2 “Looking for Sunshine." very popular. "Forget Me." Beautiful concert ballad attitude. One and all, they have an inter¬ fore I was taught anything of notes or of "You Look Sweet as a Peach to Me.” . est in musical educational work which at the piano keyboard, she took me aside one "Call Me Darling." a sweet meditation J once reveals them as thinkers on this vital day and explained, in the simple and beauti¬ GEO. MOLINEUX, 148=150 Fifth Avenue, NEW YORK "You Cert'n'y Will Drive Me Crazy." / ful tongue which only a mother employs " I Never Knew You Loved Me.” * matter. Rarely, indeed, will a great artist con¬ in talking to her child, the wonderful, Sold by all wide-awake music dealers. If your dealer is nappinx. send 19 natural relationship of the tones used in ins or one dollar for any six of the above. sent to talk upon “method.” “There is making music. Whether this was an ABSOLUTE SATISFACTION GUARANTEED no one infallible method. But there are inspiration, an intntion or a carefully Harmony Text Books Harmony Blank Books Wm. R. DAUGHTRY CO. hundreds of excellent ones.” “Take the best from all,” said Franz Rummel, years thought out plan for my benefit, I cannot WE PAY LIBERAL COMMISSIONS- TQ-AOENTS IN ALL C1TI1 tell, but my mother put into practice what First Lesaona in Harmony by Arthur E. Heacox, Professor of Harmony tnH . 7- ago, and nearly every great artist has en¬ dorsed this view. Once the matter of I have since come to consider the most £oSX^'*■“*— "«™rfSTSSS,”°“S important and yet the most neglected step -icdcnersFor Tearhf»r«t pjanoor Medium Novelty Grade Pupils. ANew “method” is dismissed and the broader field New Revised Edition—Price 25c. of modem pedagogy in its relationship to in the education of a child. The fault Harmony Le.sons, Part II. The second term of Harmony by the same author p • THE NIGHT EXPRESS the. art of mnsic is entered, the sincere lies in the fact that most teachers at the tiy H. w. Fairbank. Instantaneously Popular. Try It—25 cts. very start do not teach mnsic, rather postpaid. Any music dealer, or artist is willing to discuss the matter with Tr:-b,:i. k4'b>A E--r- j- musical notation and the peculiarities of JL-,ff- fAIRBANK PUB. CO.. 378 Wabash Avenue, Cbicago1 a prodigality of time and energy to say the the instrument. Kotbing could possibly es B“>k"N”- '•43- Th’b- ■«* «-* "o„k, ha,mo„y „d least astonishing. At the end of a con¬ be more stultifying to the musical instinct ference with a very renowned artist, which in the child. For instance, the plan A nmn'iSS ,he ‘rade and profession-address the polisher, 20c. PER had lasted over three and one-half hours, I n generally pursued is to let the child grope COPY ‘CLOVER LEAF” suggested that I was making a too con¬ A. Vj. UrOlWlINCjib, Pub. and Music Dealer, OBERLIN, O. over the white keys of the piano keyboard siderable invasion upon his time and POSTPAID ‘ THE-AMERICAIN-DERBY ” and to play exercises in the scale of C Mrength. He would not hear of discon¬ Alfred Reisenauer. until he begins to feel that the whole These Numbers are Tuneful and Catchy tinuing the discussion until all of its musical world lies in the scale of C Brilliant Piano Music for Social and i ^auoational aspects had been set forth in the with possibly the frontiers of F and G. The keys of JOHN LIND, 217 Parsons St., Cincinnati, Ohi^ ■ght of his own experience. This shows more clearly fields of educational philosophy, almost as extensive F sharp, B, D flat and others are looked upon as MODERN DRAWING ROOM PIFCPs than can anything else the great interest which the as his innumerable tours as an artist, during which - - ---.. price*,™ tremendously difficult, and the child mind reasons with ®rtist almost invariably retains In musical educational he has covered the better part of the civilized world Contains exclusively brilliant and attractive drawing-room compositions „#,!,■ u-I- matters. many times, and, in fact, a large part of the semi- its own peculiar logic that these keys being so much and shows in the hands of the average player. Modern pieces of striking ^lf^ order’ '"elodious civilized world. The stately, dignified man that you less used, must, of course, be less important. The black The difference between the teacher and the artist is popularity, every one sure to be appreciated by the general mis cal lL ener 5 proveB " .cents each for Sheet Music. have seen answering the plaudits of thousands after keys upon the keyboard are a ‘terra incognita.’ Con¬ No further suggestion as to the high value of this work is needed A ®uu that the general public often fails to compre- I Wholesale Prices on all Popular Sheet a a concerto with the Boston Symphony Orchestra is a sequently £t the very start the child has a radically Mnsic and Instruction Books. . 6 en
Out of this mass of conflicting opinions, how art They are white songs, the inspirations of one of the GLUCK AHI) LAVATEK. be willing to wager that you have composed this we to distill the truth ? My answer is: most original and emotional of melodists the world By HENRY T. FINCK What Is American Music? 1. By conceding that there is a grain of truth in has seen; yet we have hitherto allowed these genuine Taking the book, Gluck recognized it as one of his most of the opposing claims made. American songs to be spoken of as part of that negro own operas: “The Fall of the Giants,” which had had How the Great Physiognomist Predicted the great success in Germany. His host’s astonishing 2. By distinguishing caTefully between the music or slave music which is, we are toH every day, “the only A few months ago the editor of the Revue Blcue It is the vibrato of his voice, the rhythm of the chant, Composer’s Career. penetration filled him with wonder not unmingled created by the negroes and that which is merely aung distinctively American music I” Surely it is high time asked some of the most prominent Parisian composers the warring scheme of drum beats, his refined dis¬ with awe. and played by them. to end this nonsense; to render unto Foster what is for their views on the subject of French music. regard of pitch, and of that conflicting tonality which “That is not all,” proceeded Lavater, his face Vincent d’ Indy replied that there was no such thing his neighbor essays—these things go to fulfil the true Some years ago Col. Dangerfield Parker wrote to Foster’s, unto America what is America’s. In the latter part of Gluck’s career, during his lighting with sudden inspiration, his voice assuming as a national French music. Berlioz he considered a me in regard to the notion that we have a quasi- John Habberton has called Foster “the world's beauty of its barbaric ugliness.” early efforts to reform the abuses of the opera, he a solemn tone. “You are called to greater—to still genius, but not a genuine French composer. Brun- national art in the form of negro music: greatest song writer.” Had he said “folk song writer” The problem for the American composer is to find a had occasion to visit Zurich, where Lavater, the more glorious achievements. You are destined to eau, on the other hand, replied that in his opinion he would have come nearer the truth. I did not in¬ way of reproducing the spirit and color of Indian famous physiognomist, was at the time elaborating leave behind you an illustrious name and undying there is a specifically French music, and Berlioz its The so-called negro music has been composed clude Foster in my book on “Songs and Song music without the aid of that “vibrato of the voice” by white men—Foster and others—and in the his system of formulating character and tempera¬ memories of the path you tread. You will be the Messiah! Writers” because that is concerned with art songs, and the other barbaric accessories referred to. Here very few instances where negroes have attempted ment through physiognomy. The musician had heard founder of a great school; for you possess an im¬ When we thus find two leading musicians express¬ modem harmony and instrumentation come to our composition, their pieces have been imitations and Foster wrote no art songs; his harmonies seldom much of Lavater’s studies, and without believing measurable creative power and, what is more, that ing diametrically opposed opinions on the subject of aid. Mr. Loomis believes that in the ease of all pro¬ (feeble ones) of the works of the whites. I am go beyond tonic, dominant, and sub-dominant. But half Southern by biood. I have been interested in blindly in the deductions that the scientist drew from ardor for conflict on the field of honor, known alone nationality in the music of their country—one of the nounced nationalists in music—like Grieg, Dvorak, as folk songs, his tunes rank among the very best in this matter for years; have been an extensive his observations, was intensely interested in his to the truly great, which assures ultimate victory.” oldest and most important musical countries in the Tchaikovsky—“it has been either the harmonic or the the world; and being different from those of all traveller, and have made it a study; but I have theories. He therefore took advantage of his stay Three years later Gluck was in Paris. It was in world—we surely cannot wonder that there should be orchestral color that has put the ethnological stamp never yet been able to put my finger upon a European countries, they are especially American. in Zurich to visit him. 1774 and his masterwork, “Iphigenia in Auiis,” which so little light, and such a conflict of opinion, on the upon the melodic specimen.” piece of music composed by a negro excepting one If Mr. Sternberg wants to use these plantation song by Blind Tom, whose ear was educated, so He found Lavater in his study, which resembled a laid the foundation of a new and higher form of the subject of national traits in the music of a country In his very interesting “Lyrics of the Red Man” melodies for a Cantus Firmus, well and good; the re¬ to speak, to white methods, and whose song was museum, filled as it was with plaster casts of the lyric drama, had just been performed. The musical which, like ours, is still in its infancy, so far as this (published by the Wa-Wan Press), he has exemplified an imitation of those of white composers. In my sulting exercises and compositions will no doubt be world was torn into two parts, one contending bitterly art is concerned. heads of the most prominent men of the day. Lavater his tenets, supplying characteristic Indian melodies childhood I have heard, in the mountains of Ten¬ American (though not negro). We all know how with the other. The subject of the dispute was the nessee, negroes singing a sort of wild melancholy was immersed in the extensive correspondence which with harmonies of the most wild and daring character, that great Bohemian, Dr. Dvorak, gave his wonderful chant, which may have originally been brought occupied most of his morning hours. He apparently new opera, but the strife in the end brought only The Current View. which emphasize their barbarian spirit; the result symphony “From the New World” a delightful Ameri¬ from Africa, but no one knew—they least of all. did not notice the entrance of his visitor but went fresh honor to the name of Gluck; he was soon Booker Washington writes in the preface, to a col¬ being music such as, in. all probability, the Indians So with hymns of a peculiar wild and plaintive can tang by saturating it with the spirit of plantation on with his writing without vouchsafing him even a acknowledged as the foremost composer of his time. lection of negro melodies, made by S. Coleridge themselves would have made had they got as far as character I have heard in Louisiana. music. But, after all, there is not much room in the single glance. For more than a half-hour he wrote Thus were Lavater’s predictions as to the future of Taylor, that his race realizes that “apart from the modern harmony in their artistic development. musical world for this sort of thing. We surely can¬ It is these “wild and melancholy” strains that rep¬ thus until Gluck began to grow impatient. Suddenly, this great master fulfilled to the smallest detail. music of the red man the negro folk song is the Here we certainly have American music of a kind— resent the true negro music. Booker Washington says not hope to build up our whole American music of the however, he found Lavater’s mild blue eyes lived upon only distinctively American music.” This is the unlike anything to be heard in Europe. Mr. Loomis future on the folk songs of Foster. Quite likely, some that, “according to the testimony of African students him. almost universal belief to-day among the whites of this deserves great praise for the ingenuity displayed in of our future composers will feel tempted to follow the at Tuskegee, there are in the native African melodies “Sir,” he said benignantly, “to whom have I the country, too. In a recent article in The Etude (April, these pieces and songs, which will be widely known example of MacDowell, Dvorak, Chadwick, Gotts- strains that reveal the close relationship between the honor of speaking? ” THE REHEARSAL. 1900), Mr. Constantin von Sternberg spoke con¬ and admired some day. When, aided by Mrs. chalk, Broekhoven, Loomis, and others, of spicing a Katherine Fiske, he gave an Indian concert in New negro music of America and Africa.” Mrs. Jeannette “Pardon me, sir,” returned the artist, smiling, “if temptuously of the composers who claimed recognition few of their works with Indian or plantation melodies; The illustration on this page represents a company York in the Spring of 1905, half-a-dozen of the num¬ Murphy, who heard these African strains during the I refuse to answer your question and leave it for you for their insignificant effusions because they happened they may even, in a humorous piece, or a boisterous of burghers of the sixteenth century diverting them¬ bers had to be repeated. One of these was “The Chat¬ days of her girlhood in Kentucky, has written an in¬ to answer. I do not doubt your ability to solve the to be bom in America. He declares that while we finale, introduce a suggestion of “the rude chant of the selves at music making. The student of the history of tering Squaw” (Cree; “So they cut off her tongue”), teresting brochure on them ; she sings them in the true problem of my identity. Allow me, then, to ask have plenty of “American w'riters of compositions,” cowboy,” in which Loomis and Farwell are interested; music will recall that at this period singing by male negro style at her lecture recitals, and they sound you who I am—and what I am ? ” the first “writer of American compositions” has yet to in which consecutive fourths and fifths produce a but the bulk and substance of American music will not voices in three parts was a favorite diversion, the ac¬ cacophony reminding one of the medieval Organum strangely exotic. This is real negro music, but its Gluck’s intention, of course, was to embarrass the make his appearance. He gives this recipe for hasten¬ come from these borrowed or suggested sources; it will companying instruments usually doubling the voice of Ilucbald’s day. Another was the Zuni “He is essence is African. To use it as a basis of American savant, but the latter was not unused to such chal¬ ing the advent of such a composer: come from the brains of original, individual com¬ parts, not playing independent parts. The instru¬ art music would be absurd; to call it “American folk lenges. More than once he had amazed his numerous “Bring up one set of musically gifted boys on con¬ coming—Montezuma,” which resembles a Japanese posers, who are American in thought and feeling. ments represented are: A form of the viol, pre¬ national tune. music” is a foolish juggling with words. We might as visitors by emerging triumphant from similar tests. trapuntal and harmonic studies based no longer, or no decessor of the violin, a lute and a zinlce, also called well try to build up an American poetic art on Chinese Without being in the least disturbed, he began to longer exclusively, on the' Bach chorale or Moody and While admitting the great musical and ethnological Individual Genius vs. Folk Song. cornctt. This instrument was made of wood, covered or Japanese legends. study the composer’s face; he scrutinized every Sankey, but on plantation melodies for a Cantus interest of these pieces, I expressed the opinion with leather; there were several kinds, straight and But how about the rest of the so-called negro music feature with the utmost care. Finally, at the end of Firmus, and we shall soon have a symphony which that the Indian melodies, like the Chinese tunes incor¬ What I cannot understand is why it should be so curved. The one represented in the illustration is —that which has none of the African tang? It is not a few moments, he exclaimed: “No, I am not mis¬ shall not be called American by its author, but which porated by Mr. Edgar Stillman Kelley in some of his generally taken for granted that a national music can probably a discant zinbe which took the highest part negro music at all, but merely white music that ha? taken—you are a musician! ” the public will spontaneously and enthusiastically ac¬ works, cannot serve as basis of the American music of be built up only on folk song. Are peasants the only in the music; the length of these instruments varied been assimilated and sung by the black man. The “You are right,” replied his guest. “But your claim as an ‘American Symphony.’ ” the future, but only as occasional spices; and in a nationalists? Haydn, no doubt, was influenced by from about eighteen to twenty-two and a half inches, negroes are astonishingly clever imitators. In Angola, answer lacks exactness. Can you not tell to what Mr. Krehbiel is somewhat more optimistic. In his conversation on the subject Mr. Loomis practically Croatian, Chopin by Polish, Grieg by Norwegian idio¬ the compass was a to a« d to d", the shorter the instru¬ for instance, they “whistle and sing every tune branch of music I have particularly devoted myself ? ” opinion, as expressed in The Etude (Dec., 1905, and agreed with me. It is also well to bear in mind that syncrasies of melody and rhythm; yet the weight of ment the higher the pitch. The original painting was Edward MacDowell, after writing his “Indian Suite” they have heard once from a European.” When the At this fresh demand, Lavater was silent for a March, 1906.) not only has the American slave music their individual genius reduced these influences to a by Caravaggio. Austrian expert, Richard Wallaschek, who has written time. He appeared to be thinking deeply. Then he “a potential capacity for artistic development,” but and his “From an Indian Lodge,” did not show any minimum; there is infinitely more of Haydn, of a book on “Primitive Music,” examined the earliest spoke quickly: “I have it! You are a composer- Dr. Dvorllk has. in his “New World Symphony” and further disposition to exploit this field. As Mr. Chopin, of Grieg in their works than of Croatia, Po¬ collections of American slave songs, made by Miss yes, a dramatic composer. The qualities which dis¬ So that genius exists, it matters little how it ap¬ in a quartet (Op. DO), and a quintet (Op. 97), al¬ Lawrence Gilman has well said in his book on Mac¬ land, and Norway. In Russia many composers have M’Kim and H. G. Spaulding, he was surprised to find tinguish you are strength and animation, elevation pears. Whether in the depths, as with Bach, or in ready shown what admirable use can be made of “the Dowell, he- realized, doubtless, “that territorial pro¬ written national music but Tchaikovsky o’ertops them them “ignorantly ‘arranged’—not to say ignorantly and great ideas. See this—” he broke off, and going the heights, as with Mozart, or in the depths and on spirit of negro melody and some of its literal idiom.” pinquity is quite a different thing from racial af¬ all, because he has so much greater an individuality. borrowed—from the national songs of all nations, to a bookcase, took out a superbly bound book. Hold¬ the heights at once, as with Beethoven.—Schumann Then came Edward MacDowell with his “Indian finity; and that a musical art derived from either That individuality is his contribution to Russian from military signals, well-known marches, German ing this in his extended hand, he continued: “I should on Beethoven. Suite” and “his exquisite pianoforte piece ‘From an Indian or Ethiopian sources, can be ‘American’ only national music; he is one of the nation, and it is Indian Lodge’ . . . While the skeptical critics talked, in a partial and quite unimportant sense.” student songs, etc.” This tells the whole story. Most worth more than the contributions of a million of the alleged negro songs are. a hodge-podge of Dvorfik and MacDowell walked. To say the least, Let us now see if the so-called negro music gives a peasant singers. more hopeful outlook for the future of specifically Spanish, Portuguese, English, German, French, they set up finger posts which will be looked at more In Germany the cases of Bach, Weber, and Wagner American music. American tunes; above all, American; and this brings than once while composers are hunting for a distinc¬ are particularly instructive. Bach was influenced by tive note in American music.” me to one of the most important points of this article Real vs. Alleged Negro Music. the Lutheran choral, Weber by the folk song of the —the relation of our great folk song writer, Stephen On the subject of negro music the most amazingly country; yet in both cases, are not their individual Music of the Red Man. Foster, to negro music. vague and contradictory views are current. Some writers contributions to the art quite as German as their Less faith in the potentiality of Indian and negro maintain that it is all African ; others, that there is borrowings, and infinitely more importantt Wagner music is shown by air. Louis C. Elson. While paying nothing African in it; and these, again, hold a pictur¬ Justice to Stephen Foster. began his career with “ludicrous and undisguised imi¬ his tribute to MacDowell’s “Indian Suite” as “the esque variety of opinions, some treating negro music tations of Donizetti.” His “Rienzi” was modelled most important and beautiful work as yet evolved as purely American, others as European. “Originally There is a world of significance in the fact that after the French spectacular opera. His “Flying Foster’s best song, “Old Folks at Home,” was from Indian sources,” he declares in his “History of from the Spanish,” is the verdict of Mr. Farwell; Dutchman” and “Lohengrin” betray the influence of bought by the negro minstrel, Edwin P. Christy, American Music” that “the mine of folk music in this while Mr. Sternberg stands up for Portugal: “The Merschner and Weber; and then came his last and who published it as “written and composed” by him¬ direction is far more restricted than the large reper¬ Portuguese and Spanish influences were subsequently greatest works, unadulterated Wagner. Shall we say self. This sum? up the whole situation. Foster was toire would seem to indicate,” and lie adds that “one crowded out by the Dutch and English, but the old these are not German because there are in them no does not feel quite convinced that the Indian music is scmg remained and fhe negro preserved it not only, a poor fellow who had to make his living as best be imitations of German folk songs? Preposterous could, by selling his songs in the most profitable a substantial foundation for the native composer to but he has—through bis numerous generations_ thought! market. In those days the entertainments of the use in classical work.” adapted it to the cadence of the American language.” There is the guiding star for the American composer. negro ministrels (real or “corked”), were about the On the other hand, again, two of the younger Another Philadelphian, Dr. Martin Darkow, sets forth Let him drop the notion that lie cannot be American only “concerts” for which the American public had American composers, Mr. Harvey Worthington Loomis the following views in the “Ameraka” number of Die unless he echoes Indian, Foster, or cowboy tunes. any use. Songs about plantation life were particularly and Mr. Arthur Farwell, have taken up with great Musik: Det him, like Wagner, study and copy Italian, French, in demand; hence Foster attended negro camp meet¬ enthusiasm the problem of building up an American All the traits that are named as characteristics German or other models; and finally let him, ings, studied plantation life in general, and used the art on Indian melodies. of negro music are, as a matter of fact, to be like Wagner, add to the treasures of our music the found in the music of Great Britain and Ireland negro dialect in some of his songs. This dialect, how¬ Mr. Farwell has expressed his belief in Out West, Products of his individual genius. This will not The pentatonic scale (without the fourth and ever, is the only negro trait in them ; the sentiments that the American composer has at his hand “a seventh) we find among the Scotch (see Mendels¬ prevent him from being racy of our soil, ns expressed are those of whites rather than of blacks- wealth of musical material of the highest order, suf¬ sohns Scotch Symphony”), the accenting of the Wagner is racy of the German soil. Although weak beat m Irish songs, the quick six-eight time and the music is entirely Foster's. Yet, because this ficient wholly to revolutionize the present Germanic this is a cosmopolitan country, there is much that is m the Irish jig, the refrain in the English ballad plantation music is set to words in negro dialect and aspect of our musical life.” With the aid of the Wa- Inot to be confounded with the German Ballade) Peculiar or unique in our language, habits, climate, was sung for decades throughout the country by Wan Press he 1ms attempted to impress this view on The decided predominance of the major mode, even humor, sentiment, scenery, history; and these things his contemporaries. negroes or blackened whites, ninety-nine persons out where the melody overflows with sentiment is will be reflected more and more in onr music, as they also a peculiarity of the music of the Anglo-Saxon of a hundred of us still cling to the delusion that it Mr. Loomis also has been impressed by “the wealth are, for instance, in the “Woodland Sketches” and the race, if not of all vigorous, active races.. .To sum is music created, or at least inspired, by the negroes* of Indian melody in this country.” But melody, he up: In the so-called negro music there is nothing to “Sea Pieces” of Edward MacDowell, whose later works says, is merely the skyline of music. “The notes that be found that cannot be traced back to Irish and It is no such thing. There is not a black spot in these have traits that differentiate them from the music of Burgher Musicians of the YYI Century. the Indian sings are the smallest part of his music. Scotch folk songs. English ballads, the warlike Foster songs, which are the best things, by fan of ®!1 hymns of the Puritans, and so on. European masters and must therefore be called Ameri¬ that is comprised under the head of plantation mus>& can. THE ETUDE 359 358 THE ETUDE fifth finger muscle abnormally large. The fingers are NOTES ON RUBINSTEIN'S TEACHING. In Tchaikovsky’s “Chanson Triste” he wanted the strong, tense “feeling” fingers, the wrist massive and sorrow to be plainly stamped upon the attack. the playing muscles are highly developed in the In regard to Schubert's Sonata in B major he asked characteristic, well-molded hollow palm. BY SANDRA DROUCKEB. for lyric repose, flowing tenderness, songful rendering The Qualities of the Pianistic Hand Reisenauer’s hand almost entirely conforms to the of the melody and the shading away of new broad Rubinstein-like type. It is fleshy and heavy, modulations. “If some peculiar harmonies are met By R. BREITHAUPT. During the lesson Rubinstein sat at his grand piano with strong wrist, fingers evenly tapering from broad which stood dose to the instrument upon which the with, you can hold back the idea a little, as this and massive base, with fleshy cushions, thick, broad pupil played, and carefully watched the manner of the enables the ear better to appreciate the effects. But those of medium length; only two to four have long From the German by Florence Leonard. and soft. pupil, for he laid a great deal of stress on this part of you must immediately come back to the original ones. The compact types are Rubinstein, Tausig, public appearance. For example, he would not permit tempo.” He advised that special or striking mod¬ d’Albert, Teresa Carreiio (very small hands and short Not all hands are equally well adapted to the piano. the body to bend forward or to incline toward that ulations be shaded or fined off into succeeding pas¬ fingers), Frederic Lamond, Reisenauer, Pugno, Pach- Jaell says, in speaking of the piano playing hand, part of the keyboard where difficult passages were to sages. mann (ideal hand), Godowsky. The slender types “The hand of the six or seven-year-old child is the be played, or the pupil to shake the head from side to are Paderewski, Rosenthal, Busoni, Siloti. only hand that is free from faults.” Long-fingered, side, to indulge in facial contortions, and so on. STUDIO NOTES. narrow hands are just as unfavorable as the thick, Frequently he would hold the hands of the pupil strong ones with ball-like muscles. There are few tightly from above, so that they would not be too BY C. W. FULLWOOI). ideal piano-hands as there are ideally beautiful high at the wrist. hands. The short, compact hand with broad anatomi¬ Carreno’s Hand. “See here; you will never succeed with that passage, Eternal vigilance is the price of progress in Music cal structure, and the strong, fleshy fingers of medium because you have accustomed yourself to hold the wrist Study. length, strong bones, and large finger-cushions, with finely marked lightly poised even cushions, too high and to play with the hand. Now when you Technic without expression is like an automaton. together with a massive wrist, is probably the one especially on the fifth finger. The nail joints are are compelled to play with the fingers you can’t get the proper effect. One cannot play that way. Your The movements are made with clock-like precision but which complies best with all technical demands. peculiarly well molded, inclining to a flat touch or feeling of the keys. The wrist is supple, graceful, technic lies here” (he struck with his right hand upon there is no human touch to it. Especially must tire hand be soft and pliant, with a of delicate feminine lines. the surface of' the left) “it must be here;” he took certain elasticity, to be capable of development. Stiff- Rosenthal’s Hand. Four-hand playing is invaluable for practice in Von BDlow’s hand is a hand of difficulties, the hold of the left hand where it passes into the wrist. knuckled, knotty, hard hands, with thin, lean fingers, sight reading, getting an idea of rhythm, free move¬ narrow long-fingered hand, knotty and thin, the back “Don’t throw your hands in that way; what kind of seldom accomplish much with the piano. Rosenthal’s hand has excellent proportions, power¬ ment and, last bat not least, it induces self confidence falling away much toward the fifth finger. The pro¬ playing is that?” he said, on one occasion, to a pupil. According to Czerny, Beethoven could hardly reach ful build, strong but elastic tendons, and almost web¬ and repose. It is a cure for the nervous pupil. It is “Don’t play in the air; press deeper into the keys, a tenth; his fingers were very powerful, but not long, portions of the fingers are not good; the fifth is over- like formation between the fingers which gives not the length of time you practice that counts but play the notes-that are printed and place the fingers and they were broadened at the tip from much playing. long, the thumb relatively short, the third and fourth enormous stretches. Observe especially the fourth whether you practice intelligently and conscientiously. where they belong.” The cushions too, were broad, and he made continual are too near together, making the extension narrow. and fifth fingers. The cushions are firm and normally When a pupil becomes so absorbed in his work that “What are you doing there?” he cried when a player use of them in playing; he felt with them, as one Von BUlow’s Hand. The wrist is small, delicate and aristocratic. The developed, the bone-structure indicates clear finger he forgets to look at the clock lie is practicing in the struck the members of a chord in arpeggio form in¬ might say, “for his rendering of adagio and legato in joints are well developed, the cushions beautifully work. The right hand appears considerably stronger right way. stead of simultaneously. Such a style shows bad singing style bad an almost magical effect on his Liszt’s hand was abnormal. Its advantage lay, not formed and elastic, and the thumb is of the elastic than the left. The hand itself and the wrist are Systematic practice is the sign of progress. Divide taste.” Two things particularly angered him: to play hearers, and, so far as I know, has never, by any one, in the long fingers as is generally believed, but in its type in which Chopin and Rubinstein lead. normal and well-built, but are not of pronounced your work into portions of the day to suit your time, slovenly or to be unsteady in rhythm. I recall now a been surpassed.” great possibilities of extension and the elasticity of character. occupation and other studies, and then adhere strictly pupil who had played one of Bach’s preludes very well, The question whether the short-fingered or long¬ the tendons, which were set very deep in the cuts at Godowsky’s is the hand of ideal medium type, and to the day’s schedule. made a mistake in the quarter note pause with which fingered hand is better adapted to playing I answer the base of the fingers. powerful, well-developed bone structure. The joints the figure begins, and thereby provoked an explosion Analyze and study the piece or study before going The second group testified somewhat against my are not too long, the back of hand massive. The wrist of anger. to the piano. theory, for it contained some of the players of greatest is short, compact, the thumb plastic, developed, the In general the remarks of the master had reference technic: on the other side, however, the esthetic left hand plainly stronger than the right. Remember that music study is not merely a pas¬ and artistic qualities of the first group are found to to the accurate execution of what was printed in the time and a filler in with other pleasures, but it re¬ weigh all the more heavily. Long-fingered hands, notes, that in studying one must give the closest quires the same faithfulness and concentration as besides, have much more bone than fat and flesh, and attention to the correct rhythm, the right tempo, the other studies. Ay, even more so. t therefore much less richness and power in touch, right notes and the right nuances. Then don’t postpone your music lesson for any¬ not the psychic qualities alone but also the material “If you are studying some work before all other thing save sickness. It is more your loss than the condition of the mass which feels and touches things the right notes, and all the other notes, must teacher’s; although his time is worth money and con¬ the keys, the fat flesh and blood of the cushions and be heard. All technical difficulties should first be prac¬ sideration. their reflex action on the same is responsible for the ticed without the pedal, very slowly and powerfully An ounce of determined, systematic practice is difference in effect. Beauty of sound depends much that the fingers may become facile. In the beginning worth a pound of spasmodic work. Yes, much of the Josef Hofmann’s Hand. the pupil is not to seek pleasure in fine effect. Just pounding that is called practice is enough to give as we first wash the body and then clothe it, so we hearers spasms. Rubinstein’s hand is of the powerful, ideal type, must first study the work thoroughly and then think Do not wait so long that you have to race to the —ideal in the pianistic sense. Its heavy,. well-pad¬ about expression. In order to reproduce the inten¬ Liszt’s Hand. studio, where you arrive breathless and flustered. It ded, with tremendously powerful back, and wonder¬ tions of the composer, we must carefully study all in¬ is a poor preparation for your lesson. fully massive finger-build. The balls are strong, dicated nuances; therefore we should not begin too in favor of the short hand. Long fingers have dis¬ fleshy and muscular, the cushions full and elastic. Godowsky’s Hand. soon to memorizing the piece lest we have overlooked Try variety in your method of practice. One day advantages; small hands and fingers have not. The Observe tbe strongly marked ones of the fifth and some important nuance. scales first, then exercises, etudes and pieces. The so-called advantage of the long one in passage-playing second fingers developed through the intensive use,— It is an idle question to ask whether each different Concerning the Sforzando Rubinstein spoke as next day reverse the other. Don’t get in a rut. Keep is really no advantage. Every short-fingered, compact the touch which feels the keys by those cushions in type requires a different treatment, Different hands follows: “Sforzando does not mean forte, but that by your freshness and spontaneity. hand can take any interval except the octave stretch the singing tone. The wrist is massive. The finger must and do require different development. Practice a strengthening and some retarding of the tone of the Enthusiasm and diligence will advance you on the in the swing of playing. joints are of even and artistic proportions, as with alone can decide just what each needs. Out of the separate notes one wishes to give them a special Long fingers are at a disadvantage: musical highway. Chopin. The thumb is truly pianistic, the fingers are countless forms one can choose and prescribe certain meaning.” A music student should always be an optimist. Try 1. When playing among the black keys at the almost perfectly symmetrical. positions. Each type has peculiarities and require¬ In a forte and piano Re demanded pronounced and to understand what your teacher has explained, but back of the keyboard. Teresa CarreDo again has a hand of ideal pianistic ments which appear in practice. The typical clean cut nuances, which, however, should be in keeping 2. In positions combining black and white keys. do not think that knowing is equivalent to doing. type, masculine, energetic. It is thick, compact, short modern position is with the character of the respective composers. 3. In contracted positions, especially chromatic. fingered, and has a powerful back of extraordinary Some tilings must be fixed in the fingers as well as in 1. Firm joint support. A lyric forte must sound quite different from a 4. In skips. Rubinstein’s Hand. breadth. The fingers are almost even, heavy, massive the head. 2. Hollow, cup-shaped hand. heroic one. The player must give careful consid¬ 5. In grasping chords at the back of the key¬ in build, classic and aristocratic. The wrist >s of eration to the character of the piece and then take Study your pieces as expressing thought, so that board ; especially in jumping from one to another, and on this condition. And at least the by-sound of tl 3. Hand inclined toward thumb. you may learn to think in terms of music as well as great elasticity, the thumb powerful, the cushions firm 4. Adapting of fourth and fifth fingers to the pains to lend to the attack the corresponding char¬ in chord-passages. touch on the keys is much greater with fleshles and strong, in words. rounded knuckle-shape. The slanting hand will thus acter. He must himself hear and work out thoroughly 6. Even in octaves, because they must fix and knotty, thin, spun-out, long fingers than with tl Hoffmann’s hand is of the extremely daring type, a broad, full, round, soft ones. be slightly altered, the outer side of the hand de¬ the tone shading. keep the interval. Hands which can stretch a tenth dauntless hand. It is muscular, energetic, the back “What character has the fourth ‘Phantasie’ of the In the hands which are here reproduced tl veloped outward aud a more even back gained, which come to many a mishap in octave playing. symmetrical. The thumb is strongly developed, the Kreislerianaf’ Rubinstein once asked a pupil who was Long fingers are in the way; short ones keep out of characteristics are decidedly marked. gives the two weakest fingers a support like the other fingers. • going to play that piece. it. The practical proof of this is to be found in the Liszt’s is a commanding, energetic natural typ “Dreamy,” she answered. hands of the great players. Out of twelve of them, The fingers are long and strongly developed, tl The inward inclination of the hand gives the correct “Then express that dreaminess in your attack,” from eight to ten have short hands and fingers, or bony structure strong and bold, the sinews powerfv Positions which does away with the harmful angle said he. “Strike the notes again and again until you the connecting muscles and flesh are loose and elasti produced by turning the hand outward. get the true quality that fits.” He himself struck the Note the extraordinary stretch of the separate finge These are the only pianistic modifications which which results form the deeply set tendons. The fir any “atural hand needs. All the rest of playing is keys. “Is that dreamy?” he asked. joint of the thumb is drawn in peculiarly so that tl a Question'of motion and weight. “No; that is only piano.” Then he played natural manner of playing octaves, especially on tl There are three typical, bad forms of hands. upper keys, is strongly brought to mind, for tl 1- The lean, bony, long-fingered hand with short again. thumb then lies across the keys. endons and stiff connecting flesh. “No; that also fails to express the dreamy character.” A third time he struck the keys. Chopin’s hand is fine, soft, aristocratic, the artist 2. The short, fleshy hand with stiff tendons, “Now, I have the true dreamy effect.” hand with wonderful modeling of outer and inrn therefore short stretches, and inelastic palms. In regard to the Scbubert-Liszt “Barcarolle” form. The back of the hand is well-developed tl 3l The wobbly, shaky, soft, inert fingers, flabby in bony structure of perfect proportion. Observe tl muscle and grasp, with double joints or crooked lie said: “In your attack you must express the fourth and especially the fifth finger. It belongs i fingers, or other unpianistic qualities. swimming, the floating on the water; the the delicately firm type with fingers of mediui these must conform to the same conditions as stroke of the fingers on the keys must not be length. The thumb is beautiful, plastic, set we the better hands, but they must first be altered by heard, they must glide. The forte is no march. away from the hand, definite angles and possessin special training before playing and natural pianistic Do not forget that you are playing a song.” Rubinstein at the Piano. admirable grasp. The balls and muscles of the secon movements can be thought of. Chopin’s Hand. finger are well-developed, all the finger joints massiv. Reisenauer’s Hand. 360 THE ETUDE THE ETU DE 361
For this reason it is necessary for the pupil to have THE MUSIC TEACHERS’ ASSOCIATION OF advice of a competent master. The training in music- It is obvious, I think, that such persons are our a few very easy forms to work out on the keyboard, GERMANY. teaching shall be similar to that which the German truest, soundest critics, partly for the very reason that and I doubt whether on the whole there is anything state teacher of ordinary school subjects is obliged they know little of the technical problem, and, in the to pass through. This idea of systematic training has long run, their judgment will have to be reckoned with. The Handling of Piano Technic better than such Plaidy forms as the following, which Those of our readers who are interested in musical should be carried out in every new key taken up. already been put into practice in a few German Sooner or later they will compel us to weed out the education will be glad to read the following, taken music institutions, and has proved itseif of far-reach¬ spectakel that so disturbed the great Tausig. We from a letter to the Editor. It is a short report of for Very Young Children R-H.3 45345345 ing value. O. M. H. know very well, all of us, that their judgment is just 2 34234234 the recent meeting of the MusilepSdagogischer Kon- that unless performance is essentially musical, poetic, By W. S. B. MATHEWS gress, of which the eminent composer and teacher, and so commends itself to every music lover, it is in¬ Xaver Scharwenka, is president. artistic and a sham. “Germany holds a high place of honor where music- THE STUDY VALUE OF THE PEDAL. pedagogics are concerned, and it is essentially owing Bearing of the Pedal on this. First Grade. music of the European teachers we find that they seem to German initiative that this Congress has been in¬ I Have several times called attention to the option to expect the young pupil to remain a long time in the Now there is one obvious and simple thing for the augurated; the Mimkpadagogischer Verband being BY EDWARD DANFOBTn HALE. which the piano teacher has of producing excellent piano teacher to do under these circumstances: to lay key of C, the left hand confined to five finger positions, the chief promoting factor. Representatives from all playing of exercises and studies, or of producing good the stress of his teaching upon the real thing—the ar¬ the music confined to the most common harmonic in¬ parts of Germany, from England, Holland and Sweden playing of a few pieces of music. This narrowing tistic, the simple, sensuous, passionate thing which cidents. are attending the Congress. The genus piano teacher has not yet made np his down of the possibilities is particularly emphatic in true music is; to make sure, first of all, that his pupil’s To remain in the key of C for a long time, or even for mind what to do with the pedal. Commonly he the case of young children who attend the day schools head and heart are right. The purpose of this paper several lessons in succession, is to produce the impres¬ The Object. counts it an enemy—to be throttled by and by, to be and rarely practice as much as an hour a day, often is to show what bearing the study of the pedal may sion that C is the “natural key”—a most misleading L.H.I 32132 “The object is to aid in generally raising the sure, and reduced to obedient service—but for the only forty minutes. With this amount of time and have upon the end in view. conception. One key is as natural as another. Key is standard required of those who undertake to give in¬ present to be shunned. the inevitably slow reading of the beginner, it is not These triplet forms lend themselves to change of ■When Rubinstein called the pedal “the soul of the a question of relative pitch and the color thereby struction in music. A music teacher shall, if this possible for the child to play over his lesson more than accent and change of key extremely well. In con¬ The Old Idea. pianoforte,” he uttered a sentiment which every true produced, according as the melo-harmony lies higher reform commission brings about the results it desires, a few times during the practice period—in many cases nection with them the pupil ought to have the scale pianist understands and approves. There is a sense or lower in pitch. I consider that all attributes of be obliged to recognize some other criterion of his This is not an inexplicable attitude in view of all no more than twice. This being so, the forming of with each hand alone, in at least quarters, eighths indeed, in which the piano itself is but an adjunct of specific color in the different keys have their location capacity to teach than mere self-confidence in his own the circumstances. For piano study, like all other finger habits is out of the question, simply because it and sixteenths, according to Dr. Mason’s system of the pedal; in strictly Klaviermiissig pieces it may be in absolute pitch as the only ground, excepting where ability. It was remarked at the last Congress that study, has been reduced to a system and put in charge takes quite a number of repetitions to begin to form a rhythmic tables. Even a single rhythmic table, said to furnish the crude tissue which the pedal the instrument is imperfectly tuned, as the organ many a music teacher perpetrates a direct fraud with of text books. The keynote, the motive of the sys¬ habit, and any following of the same key-track suc¬ assigned in this way, and carried through several keys] fuses into the rich and mellow music peculiar to the frequently is, the near keys being more consonant, every lesson he imparts. tematization, was technic. Technic, in the mind of cessfully is the result of a habit, general in the case will tend to secure greater facility of motion than city the pedagogues, loomed up as the giand, commanding instrument. If this resultant music could be written the remote less so. fully out, the score would show an amazing elabora¬ of scales or arpeggios, or specific to , a particular pupils ordinarily get. I would also assign the “Two The System. feature of the study, to be laid hold of and vanquished Finger Exercises,” especially the light and fast form, tion of the original. The orchestra that could render track, as of a piece. Bach, Hummel and Wieck. “The Congress is endeavoring to introduce a system at all hazards. This Port Arthur once subdued, all to be played in every new key and along the track it would be a kind of thing scarcely of this world— Such being the practical possibilities of the child which, by means of examinations and certificates, will the rest of the territory could be overrun at leisure. Two very eminent musicians have given some idea of the diminished seventh, as in Dr. Mason’s system. most like a company of aeolian harps, it might be. who attends school and practices no more than forty provide the music-learning public with some reliable They were not as wise as our brown brethren over the of how they proceeded with young pupils. J. 8. And if we could express what the composer actual¬ to sixty minutes per day, with occasional interruptions Now it is evident that inasmuch as the pupil can sea, who got ready so consummately for the campaign Bach evidently expected the youngsters to work hard ly wrote we should have left an ether of indescribable from unexpected causes, it becomes necessary to afford hardly more than five or at most ten minutes of the open field. The pedagogues not being up in the and overcome; he gave them as easy music as he delicacy filling all the spaces in and around liis score. plan the work very carefully and to select certain per day to any technical form, only one such exercise axt of their war, isolated the technical problem and could conceive, but at the same time he meant And in it we should be aware of the soul of the piano¬ points of accomplishment as more important than can be assigned at a lesson ; and if this is a scale, it went at it tooth and nail and raised so blinding a dust them to keep moving and get to the higher grades forte—its most subtle and characteristic element. In others. This is what almost all teachers of young will have to be continued for several lessons in that they were wholly unable to see just how matters very soon. Anything like the long continuance in a this the great students of the pianoforte are agreed. pupils do—by young pupils I mean those of about succession before the proper speed for the sixteenths were going. They most unadvisedly determined that state of musical infancy was remote from his thought. Yet this is the thing teachers have elected to leave eight years of age. Younger than this lessons are will have been attained, even at the slow tempo technic was an affair of muscle primarily; and being J. N. Hummel also wrote a large school, and as he pre¬ necessary for the quarters. out of their teaching—the finest thing about the piano¬ of little value, unless the child is so situated as to be pared his own material, and was a good writer and a that, there was no reason in complicating the problem The total keyboard facility possible for children of forte, its true distinction and its peculiar test of able to have about one a day or, at the very least, fine musician, we are able to see .precisely what he by other considerations. Get the muscle business done, three per week. eight, during their first year, will then consist of the temperament and of artistry. thought ought to be done, which was to go through and then pay what attention you like or can to the ability to carry out such exercises as those above in a all the keys one after another to become familiar with other things. The Pedal and Temperament. One Teacher’s Plan. quiet tempo (such as about 72 to 84 or 96 to the the keyboard tracks as such, through the use of five The most curious working out of this problem minute for quarters) ; at least four scales with each The New Idea. They have feared, probably, that it would do some that I have ever met came under my knowledge recent¬ finger exercises, either stationary or moving along the injury to the pupil’s technic. And suppose it did! hand alone, in quarters, eighths and sixteenths suc¬ A hundred years of this, together with the dawning ly through a pupil whose teacher had adopted the fol¬ keyboard by contractions or expansions. While the Which had better suffer, his technic or his tempera¬ cessively, in the speed of 72 for quarters; and the of certain light from other quarters, has made very lowing routine of study, a singular and weird Hummel ideas are not practicable in our modern teach¬ ment? But I say the pedal is one of the best friends fast “Two Finger Exercise” along scale tracks or the clear and positive this proposition: that muscle is the routine, warranted not to result in any good what¬ ing of children, they furnish many valuable hints. to a technic. We that have been through the process diminished seventh chord, at the rate of about 84 to merest incident in piano playing, and that becoming a ever. No matter what the piece assigned, the same The distinctly modern conception of piano teaching and have clearly analyzed our experiences are sure 90 for quarters, the pupil playing two notes to each player is wholly an affair of the head (and heart). course was followed. During the first lesson the right dates from Friedrich Wieck, Schumann's teacher, who, of this; that the secret of sound and rapid progress is beat, and perhaps now and then spurting for short Of course you need ten good fingers—as you do a good band part alone ; during the second, the left hand part in his little book, “Piano and Song” (1853), laid down not any system or tradition or method, but mental distances at the same speed with four notes to the stomach and the rest of the apparatus wherewith man alone; during the third, both hands together; during principles which all good teachers of children are now alertness and intensity, the product of profound in¬ beat. If all pupils can gain this much in the first works in this world—and yon must have a healthy the fourth, memorizing it; during the fifth, observation trying to work up to. What Wieck imagined was terest. grade, it will amoupt to very much more than they musical temperament if you are to play the piano. But of the marks of expression ; during the sixth lesson, keyboard handiness in different keys, along with ease The dead business of technical practice begets no usually do, and all they can afford to do, and still given these things in some reasonable measure, the last the addition of the pedal wherever needed. of reading, and a musical capacity to transpose ex¬ have time for the essentially musical work. such thing. But let the imagination seize upon ercises or pieces from one key to any other assigned. thing you need to concern yourself about is the size On the face of it this routine indicates a desire on It is well known to the older generation of teachers beautiful, moving effects and clearly conceive them, He is not clear ns to the time he expected to be oc¬ and impenetrability of your biceps and flexors. the teacher’s part to arrive at thoroughness; but every who have had much experience, that a pupil who broadly and in detail—and where else does the teacher cupied in covering the ground outlined in his work; rule of good pedagogy is violated. Take the memoriz¬ fancies a piece can learn it by working hard, The Kind of Thinking. find his office? And every power will arise to do that but as school work then occupied less time than now, no Xaver Scharwenka. ing after three lessons. The pupil has entirely lost even when it is decidedly above her grade. For The matter about which it behooves you to be oc¬ thing, in the detail first, and then as a whole, which is doubt he expected much more rapid progress. I have the freshness of impression with which a new piece is this reason I think it would be better if the books for cupied is the kind of thinking you can do, and your the proper practice sequence. No pupil can spare the greeted, and already about half knows the parts often- no knowledge whether study begins earlier than in standard by which to choose their instructors. Ex¬ the first grade had a few pieces of good musical ability to keep fresh and fervent your feeling, your help and stimulus the pedal will contribute to this. his time, but think perhaps it does, which would make amining committees have indeed already been ap¬ est repeated. In such a case it is much more difficult character, so contrived that the teacher could pre¬ imagination. Now it is a significant fact that all this For no distinctly pianoforte effect is, as we have seen, to complete the knowing than it is to memorize when us need longer time than he needed to cover the pointed in all the Prussian provinces and in other pare them by teaching the accompaniment forms as is very plain to intelligent minds that are just outside complete without it. But this is only part of the the attention is fresh and one has not already acquired ground. Beside, Wieck did not make a method, a parts of Germany, though, as yet, their influence is keyboard forms, by rote, the entire piece having per¬ the professional circle. The other night I was at sendee of the pedal. It is the means, par excellence, the misleading half-knowing. Then take the working course, or even a first grade; he merely lays down inconspicuous. haps no more than about four or five different patterns dinner with a group of persons whose culture has made of tone, timbre study. Refined sensitiveness to tone upon hands singly during the first two lessons. This certain principles, intended to insure that the -pupil “Some few voices have opposed this system of ex¬ of this character. In this way quasi musical results them known almost all over the world. Being the only color, which the pianist needs so much the more be¬ results, if it results at all, in the pupil's forming two acquires keyboard handiness, the mental grasp of keys, amination, in the fear that mechanical precision of would *be opened to the young pupil which are ordi¬ musician present, when the conversation drifted to cause of the poverty of his instrument in this respect, half conceptions, very little or not at all related to facility of reading, and musical conception. playing will be promoted to the detriment of artistic must bo developed, if at all, through the pedal, as is narily not reached until the third grade or later. I music, I became the target for some questions which each other, so that the third lesson is the first time Modern teaching now accomplishes very good re¬ feeling. Of this, however, there is little probability. have in mind quite a number of charming melodies of we might ponder over without injury except, perhaps, demonstrated by all great players. The proposed examinations will not be a test either when the pupil really begins to get the musical effect sults in the best cases, in establishing musical habits the better musical character, which might be treated as a whole. And here, by the plan, expression is ig¬ of playing. For instance, in one school with which I for mere technic or for mere temperament and artistic to professional pride. Teach the Pedal Early. in this way. The result would be to give to pupils a Would I explain the conduct of the soloist at the last nored—thus leaving each idea in its bare relation to am acquainted the teachers get very careful and ap¬ conception. They are intended to test the general Now the meaning of all this is that in the first weeks beginning in the higher routines of keyboard work symphony concert—his brutal treatment of his instru¬ notes, whereas the musical color of natural feeling of preciative, even artistic, playing of melody. In musical knowledge of the teacher, and, more important of piano study the pedal should be introduced to the much earlier than they now get them. ment; the absolutely heartless, unspiritual, inartistic an idea ought to be a part of its radical conception—a another school, harmony is taken as the starting still, his capacity to impart such knowledge to his pupil and from that time on it should be not only in¬ In the line of very easy pieces for children, which (as they thought) performance; his attitude, generally, phrase being not only such and such rhythms and point of the musical training, and the beginner is dosed Pupils and to develop to the full such musical talent, timately associated with every step of study, but be are at once musical, fresh, and suggestive, we are of a showman, a performer, a guisard, an eccentric? pitches, but a melo-harmony of definite character. with theory and made to learn it from the start, learn¬ much or little, as is inherent in them. * fully exploited for the sake of the pupil’s development better off now than ever before. I have in mind And would I explain how it was that the soloist, at In modem teaching of the piano the teacher means to ing all major keys during the first year, and all the on the lines that have been indicated above. some of the little pieces by Miss Mellie Martin, and the Kneisel concert, conducted himself in all respects, accomplish during the first grade, that is, during perhaps minor keys during the second, to know the scales, sig¬ Requirements. And I have not the smallest doubt that a pupil of Mrs Crosby Adams, whose “Swinging and Singing” as if he took the concert for a function projected ex¬ the first six months or year, certain specific educations. natures, and the triads contained in each; also to hear "Considered in detail, some of the requirements to be however moderate gifts who will master the pedal, is about the very most beautiful easy two part What are these educations? the relation of chord-successions. made of candidates in these examinations are as pressly to exhibit his own prowess? And more to the will become a lovely if not a great player. Piece, I have ever seen, the melody being charming follows: The teacher must not merely be the master same purpose. How Much Ought a First Grade Fupil to Know and the cadences novel, easy and interesting. Mrs. Easy Technical Forms. of his instrument—or his voice. Even if he does not as a condition preparatory to promotion into the sec¬ Dingley-Mathews has also several attractive little Pleasure, not Astonishment the End. The pupil should never allow himself to criticise Now in playing it is found that, owing to the fact intend taking up theoretical teaching, his training in ond grade? A very important question. things of like simplicity. These things form a These persons, estimating musical performance in the music his teacher assigns him for study. He that almost any little piece requires from two to four theory must be so far advanced that he understands In general the first grade is expected to en¬ curious contrast in interest with such material as the same broad and sane way in which they do all ar¬ should realize that his own judgment is not yet ripe hours of real practice before the beginner can arrive at the works of the German masters in every branch of able the pupil to read successfully from the staff that, for instance, which fills up the first volume of tistic performance, being themselves in the truest sense enough tp pronounce a just verdict on its merit or any degree of sureness and musical effect in it, the the tonal art. He must also have a thorough com¬ (both clefs), play easy music, in at least four or five the Kohler “Practical School,” or his “Instructive artists, find something painfully lacking in what beauty, ‘and that he must trust to hia instructor’s year will hardly yield more than fifteen or twenty little prehension of the historical development of music. keys, transpose a little, and have a certain handiness Pieces.” passes among us for very high art. And for a bit of experience in selecting that which is most needful pieces, and of these the beginner will be lucky if she is “Examinations are not, however, to be the only upon the most common keyboard tracks in the keys What the active teacher has to do, is to learn more genuine expression, “simple, sensuous, passionate” as for his advancement. He will find in the end that it able to retain seven or eight at any one time; but means of raising the standard of music-teaching. In taken up for practice. No one of the first grade books and more to supplement whatever book she uses Milton, the peer of any artist, said, they would cheer¬ will bring him to the desired goal far more surely so much she should do. Therefore, as this will take up every conservatory a department is to be founded in in the market quite measures up to this, and some of with extra material, in the same way as they supple¬ fully forego whatever astonishment d’Albert or any and quickly than by liis finding fault and holding the hard work of the practice hours, the work in which the embryo teacher shall have regular practice them fall very much below. If we examine the easy ment the school readers in the school room. She will back from his appointed tasks.—Littcrschcid, technic will generally be somewhat neglected. in imparting musical instruction under the control and other man could inflict! need intelligence in her business. *62 THE ETUDE THE ETUDE 363 THE ABOLITION OF KEY. though many people would have us believe it so. clusive influence of music, the world of tons Further, a good melody should have climax, and poetry, the medium of expression of all the wid and draping and knick-knacks might have been there though it is possible to take a succession of single BY JOSEPH W. O. HATHAWAY. range of moods of heart and mind, of the otherw^ Isadora Duncan and Her School for are costly and beautiful antique Greek and Italian sounds and harmonize them in such a manner that inexpressible longings of the soul, they have not the friezes; statues, statuettes and classic pictures. The the distinct flavor of key may be found, the melody slightest conception. The three greatest powers in music are Rhythm rooms have very little furniture—only just as much as itself must point to some definite feeling of tonality Classic Dancing Climax and Melody. Harmony and part-writing are This is a condition which every teacher knows, is necessary. And what there is is astonishingly or the result is without form and void. over which every teacher has groaned inwardly, 5 necessary adjuncts, and so is tonality, but they are By C. M. HOOK. simple, though none-the-less beautiful for that. not audibly. Let us then determine that this year subsidiary, and not primary factors. The first of the Tonality. shall see greater accomplishment to the end of But though art is everywhere, system and order three great powers is Rhythm, the one thing that How would you like, when you were still quite And what has the man who wishes to abolish remedying this state of things, than has been seen All this naturally spelt financial success for Isadora (which of course in their way are art too) are promi¬ even the most modern of composers cannot afford to young, to lie placed iD a reform-school, an experiment- Tonality to give us in the place of climax and by any previous year of our studio work. Let os Duncan. There was nothing to hinder her carrying nent enough. You would smile if you could see the ignore. The greatest musicians have always been the school unlike any other school in the world? In a melody? Where would Beethoven have been without impress our pupils with the truth that they are work¬ out her further plans, and when the season ended she row of twenty little mugs in the bathroom, standing greatest masters of rhythm, and music that has ever school founded, not to make money, but with an Ideal climax, or Schubert melody? True, the methods of ing in tones, just ns the students of painting are and her mother, brother and sister left Berlin for the shoulder to shoulder, with twenty little tooth-brushes got any hold of the public, whether it is music of Aim in view? A school in which all the details of writing employed by Beethoven and Schubert are not working in colors. That these tones are the ma¬ country which was Isadora Duncan’s promised land— protruding from them, all at a uniform angle. And lasting worth, or of mere ephemeral use, is the music daily life are arranged on ideal principles, and in which, the methods we use today; we brand them as old- terials, by means of which the “vision beantifol” beneath the mugs hang twenty little towels, and that is strong in rhythm. I remember as a youngster when you have entered, you are bound by legal con¬ and that was Greece. In Greece they lived for a whole fashioned. But surely the deep, underlying principles may be evoked from the printed page; just as twenty little sponges, each towel and sponge beneath going to hear “Siegfried.” I must confess that some¬ tract to stay all your school-days, until you have summer, dressed exclusively in Greek garments, from of composition are the same both in old masters and the colors are the materials, by means of the mug of its respective owner. times I was bored, sometimes I longed for a chorus, reached the “grown-up” stage? flowing white robe to sandals and hair-fillet. They in modern ? Historically, melody is the oldest of this which the students of music’s sister art sometimes even the magnificence and variety of the Perhaps all this sounds rather formidable, and you spent their time among the ruins, mentally absorb¬ All over the school the same absolute order pre¬ trinity of powers in music. From melody came cli¬ realize the charms of varied tint, of shift¬ orchestration failed to attract me, but there was feel that you would rather educate in the good old ing the beauties of the ancient architecture, and vails. There is nothing of Boheminnism anywhere. max, and from a combination of both came rhythm. ing light and shade, which belong to the subjects of something that made me go to hear it again. What way, and leave the Ideal Aim to other people? As studying the old Greek vases and friezes. The oldest tunes extant contain all these character¬ their study. These are truths perfectly evident to There are now over twenty children in Isadora was it? Since then I have learned to love much in a matter of fact the children in this school are as And among the ruins in this atmosphere of classi¬ “Siegfried,” and to me it is always the most fas¬ istics, more or less developed, and every composer any one who pauses to think for a moment, but how Duncan’s Dancing School. The number has grown happy and as healthy as they can be, and think their cism, Isadora Duncan continued to compose and cinating of all Wagner’s operas after “Die Meister- up to the present day has made it his chief business, many of our pupils ever pause to really think? How slowly, not only because few parents are willing to “home” the pleasantest place in the practice her dances. singer”; but from the moment the violas give out consciously or unconsciously, to bring them forward, many of our pupils realize this view of their practise submit their children to a unique system of training some in one direction, some in another, according to periods and lesson hours? How many perceive the world. for a long span of years, but also the triplet quavers associated with the lust of gold, Let me tell you all about it. The their temperament and powers. absolute similarity of the relationship of tones and because only certain children are until the forging of the sword, or, indeed, until the school I am thinking of is the one colors to the two arts of which they are the essential admitted. To become a pupil at last strain of the great love duet with which the Expression op Tonality. which Miss Isadora Duncan, the media of expression? How many of our pupils have this school the child must be opera ends, the thing that holds me tightest in its American artist-dancer, has estab¬ grip is the extraordinary variety and power of its Without abolishing tonality, it may be possible an aural perception of tone, of the individuality of possessed of a temperament which lished in Berlin, right on the border to expand its limits. It is possible to strain the single tones and of chords, which even begins in the will respond in a high degree to rhythm. And I am sure that it is this that first of of the beautiful Grunewald pine- all attracts people to whom the wonderful appro¬ bounds of key relationship to such a point that it is slightest degree to approach, in quickness and ac¬ artistic training. Usually the forest. And the “Ideal Aim” which priateness of the music, the endless resource, and extremely difficult to point to a certain passage as curacy, the visual perception of colors, which the children are admitted merely on her school has before it is to train the picturesque and powerful scoring comes after¬ being in this or that key, and yet far from outraging students of the other art always have in ful’est trial in the first place; then, if a choir of dancers who will teach wards. our sense of the beautiful we are enchanted with the measure? A student of painting, who does not they show themselves teachable the world what dancing may be—to Climax. result. Richard Wagner has shown us what can be recognize, and name at a glance, the most delicate where dancing is concerned, they train them for twelve whole years done in this direction, and in a greater degree still change of color, is an unthinkable anomaly. And are allowed to remain, and the It is clear that without key relationship there can¬ without intermission in the art of it is easy to find examples in Richard Strauss. It the day will come when the student of music, who is contract is signed. Many of the not be climax, for Climax is of necessity based on a classic dancing as Isadora Duncan was the fashion when Wagner first came to the not able to recognize and to name each individual small inmates of the school have system of tonality. Beginning quietly and adding in herself has conceived it, by dint of' front to accuse him of not writing melody, and it is tone or chord as soon as heard, will be an equally parents who are famous in the various ways to the interest of a passage until the years of study of antique classic probable that in the days when Bach was not under¬ unthinkable anomaly. That thistis not so today is world of art. Warsaw, Prague, highest point of strenuousness or of a crescendo is models. stood the same defect was attributed to him. Today due to the too widespread neglect of thorough, prac¬ Vienna, Dresden and Berlin are reached does not constitute a climax. Climax brings Isadora Duncan is a native of people say that Strauss cannot write melody. But tical ear training in the general teaching of music. amongst the continental cities with it a supreme moment of concentration and is San Francisco. As a little girl he is far too clever a man not to understand to the This is not a branch of work which should be left which have contributed to the the result of contrast. Further, absolute repose is her mother gave her lessons in full the value of rhythm, climax or melody. His for special study when the pupil is older; the chil¬ school’s enrolment list. There not possible without tonality, comparative repose dancing; but she very soon had climaxes are terrific, his knowledge at all the subtle¬ dren should be taught from their very first lessons, is one little Dutch girl, and only is, but the mind soon longs for something on which learned all that her mother could ties of rhythm is endless, and his melodies are full ■ to listen for, and to recognize the individuality of one wee mite of American parent¬ to dwell, and for harmonies that do not require im¬ teach her. Whenever she had of beauty and charm, though less obvious than in the different tones and tonal combinations. age, the niece of Isadora Duncan mediate resolution. I have before me as I write a some time to herself she would herself. case of the music of the older writers. And when he Let us see to it that our pupils’ view of music is “Symphonische Phantasie und Fuge,” for organ, by spend it inventing, composing, The two little daughters of makes a bid for ambiguity and chaos, as in the fugue not limited to the field of the piano, for, great though Max Reger, who is apparently no believer in the unique little dances of her own— Professor Humperdinck, whose in “Also Sprach Zarathustra,” and disregards tonal¬ this field is, and containing within itself ineffable necessity of tonality. It begins after a preliminary and these little dances had no reg- ity, he does it with full intent and with complete beauty and power, if the student does not look be¬ opera “Hfinsel und Gretel” is well- B-sharp, with C-sharp in the pedals and G, B-flat, tdar steps, but just consisted of known in America, are permitted knowledge of the result. Whether the means are yond it, does not realize something of the world of D-sharp and F-sharp in the left hand, with the same whatever motion the music seemed to take the courses as day scholars, justified by the result, or-whether the end is worth tone belonging to other instruments, to the voice and notes an octave higher in the right hand, and all to suggest; and this motion was this being a special privilege. attaining at all is another matter. So, before we to the orchestra, his conceptions will be narrow; he played simultaneously. Rather a startling begin- not only a visible expression of the Professor Humperdinck and his finally say good-bye to our old and valued friend, the will fail to come to anything approaching a full real¬ ning, especially as it is marked fff and sempre cres¬ rhythm of the music, but of its family occupy the villa adjoining common chord—for it is obvious that it will be im¬ ization of the power and beauty of his chosen in¬ cendo! There are twenty-seven pages altogether and feeling, its emotion as well. It the dancing-school, and the com¬ possible to use common chords that have any affinity strument. I do not mean by this that one must of occasionally there is an ordinary common chord; in was, in fact, an interpretation. poser himself, like most of Ger¬ with each other consecutively, for fear of establishing necessity make a study of other instruments than fact, in one place there are four, one after the other As Isadora Duncan grew older many’s leaders in art, is a warm a key it may be as well to see precisely how far the his own, but that he must know something of their D major, F minor, G major and B-flat minor, but limits of a key may be carried to. Before a com¬ she continued to dance, and her admirer of Isadora Duncan. He life, and of their power of expression. these are not generally considered sufficient to estab¬ poser is justified in taking even this step he must interest in the art was more pas¬ has, in fact, composed special Let us institute classes in musical history in con¬ lish a key! The Phantasy is written with one flat in have explored, first of all, all the resources of key sionate than ever. music on the lines of “Hgnsel the signature and ends with the chord of D major, relationship, for be it remembered that Wagner w'rote nection with our work of teaching; the story need One day she saw some antique und Gretel” for the children of so I suppose somewhere in his mind the composer had “Die Meistersinger,” and Richard Strauss, “Tod und not be made as dry as dust, but, with the assistance friezes showing Greek girls danc¬ the school to dance to. feelings of D minor. Rhythm there is in abundance, Verkl&rung.”—The Musical Standard. of the long list of interesting works on the subject, ing. Everyone has heard of the Miss Duncan bases her unique but climax, never. There are various gradations of may be made most attractive. If instituting such unsurpassable grace of the Greek educational theories on that old tone and pace, and the harmonies sound for the most classes does not, for some good reason, seem prac¬ dancing-girls of olden times. This saying of Plato’s that oratory, part smooth, but when the end is reached you have ticable, we can at least interweave work in this rieze fired the imagination of the dancing and music are the three a feeling of not having been anywhere in particular, THE TEACHER’S INFLUENCE. line with the regular lessons; we can require American girl whose whole mind great educative factors, including and if the composer had chosen to go on for another the pupils to look up certain facts, from lesson to was filled with devotion to the art Home of tiie Isadora Duncan Dancing School. in themselves all others. In twentjr bars or so, or if he had stopped a page or so lesson, and, through suggestion of the boobs most cal¬ these three branches of art, and by marie benedict. it represented. From that moment sooner it would not have much mattered. In fact, culated to appeal to their different personalities, may > e interested herself in studying friezes and pictures She came back to Berlin with her art matured and particularly in dancing, the children of her school are the music lacks conviction and definite purpose, as do something toward forming, and directing the friezes of Greek dancers. She studied their at- perfected, and again danced publicly, arousing in¬ therefore instructed. Dancing is of course the piice de re¬ There are two principal means, among the many must all music that is not based on a system of key growth, of the habit of familiarity with the best tense enthusiasm. But she did not mean to rest at this sistance in their educational menu, and it is a charming media of expression for an active personality, in °thS ^ poses‘ t*leir motions—so clearly suggested relationship. musical literature. stage of accomplishment. For a long time her thoughts sight to see this score of children, gowned in tiny through which the teacher of music may strengthen mod ,Lffe-'ike marl3*fi; even her dancing-gown she Melody. If we can teach our pupils to think seriously and had been busy with a far-reaching scheme. She was white Greek robes which leave bare their plump and deepen his influence in the development of the mu v ™ °n t*lc I00*6- diaphanous Greek robe, so deeply of the art of music, and on lines associated conscious that she had now brought the art of dancing little pink' chests, arms and legs—to see these chil¬ Before considering melody, pure and simple, it will local public taste. The first, that of bringing the turn m°re grace^u* f^an any of the latter-day cos- be necessary to differentiate between melody and therewith, lines which reach out until they include to a higher plane than any other dancer in the modern, dren dancing together with a grace of motion which inspiration of noble ideas, as expressed in true’music, *5'~cven more graceful than the treasured ac¬ theme, for although they may be one and the' same the whole of life’s problem, we shall have attained cordion-pleated skirt. civilized world. And an art that has reached this cannot be imagined by those accustomed only to or, in what we more commonly term language, within thing they may also be very different. Theme is our end. level must not be allowed to die out—it must be per¬ ordinary children’s dances. They learn to walk, to touch of the people, through concerts and lectures to "n ^8at*ora Duncan’s Greek dancing began possible without tonality but melody is not. A theme The teacher’s influence, through the pupils- may petuated. It was this train of thought which led to run, and to march; and the grace that they put into arranged for the home community. The second a e talked about. She was asked to dance in leading should be something you can remember, and be thus be incalculably extended; for who can piace the idea of founding a school in which the art of these simple actions transforms them into veiy poetry means of influencing the public taste which may be to T y ‘ra'viug rooms, and often she did. She came capable of expansion and development; it may be limits to the effect upon others’ development, of the classic dancing should be taught. of motion, and one rubs one’s eyes and wonders more continually exerted by the teacher, lies in the crati n , ’ was t'1e fnnhion of the hour in aristo- complex or simple, beautiful or ugly, and it may personality of one pupil with clear vision of what One of the lovely villas near the Grunewald whether these little beings with their exquisite charm power which he may use in shaping the mental atti¬ mak'C f °ns' Then she crossed to the Continent, even be insignificant in its first statement and under music really is, with unswerving devotion to the forest was finally chosen for the purpose, and an im¬ are really children such as other children are. tude of the pupils whose musical studies come under liecam8 fu* Gennnn-V- Here, in art-loving Berlin, she skilful treatment grow to importance. It would be highest ideals of beauty, as the influence of that mense amount of thought, care and money were spent his direction. To far too great a number of pupils forma6 • vogUf- She gave performance after per- As supplementary art lessons the children are taken obviously impossible to have any rhvme or reason personality shall be exerted in the present, and upon its fittings and furnishings. All through the the study of the piano seems to mean little more than way« 1D a smaN hut high-class Berlin theatre—al- on regular visits to the magnificent Berlin art whatever in music that had no theme.' On the o.her through all the pupil’s after life? And if this one school other considerations were made to give way to association of certain combinations of finger and key Plaved ^Dcing c'as8'c dances to classic music, usually museums, where they systematically study the pictures hand, Melody is not sounds taken in combination but Pupil, thus inspired, shall be multiplied by many, the those of hygiene and art. The inlaid floors were left board movements with certain printed signs upon the atudent k * whole orchestra. Not only Berlin's art and statues. It is difficult to believe that intellects in succession. Melody is tune. It is self-contained, extension of the teacher’s influence will be indeed bare of carpets, hangings and drapings were omitted, page on the rack before them, to the end that certain cd to * r meml|ers of the highest aristocracy crowd- so youthful as those of these small devotees to art and not dependent on harmony, though it may suggest beyond computation. What a noble thought for the and knick-knacks made conspicuous by their absence. combinations of sound, which they call music may whieh ker’ an<* t*le streets outside the theatre in should be able to derive benefit from such study. But the harmony. Figure is not melody, nor is it theme, earnest, devoted teacher, this ever widening scope You are beginning to think it is a dreary place be produced. Of the broad significance, the all in¬ carriag*16 ^ance^ were nightly lined with eoroneted children are always under the guidance of a teacher influence! perhaps? Why, not at all. For where the hangings who knows how to explain each subject, adapting it (Continued on page 365) 364 THE ETUDE THE ETUDE 365
“You shall have some, if you will sing," coaxed the pauper. All people worship alike in the Russian songs, text and music, which lend themselves in the ISADORA DUNCAN AND HER SCHOOL FOR dean. Church, and no one sits but the wife of the Czar. happiest way to rhythmic and pantomimic treat¬ CLASSIC DANCING. I cannot tell you what beautiful voices one finds And this promise having the desired effect, little ment; the children in singing them illustrate words (Continued from Page 363.) in the Russian choirs, nor how beautifully and ac¬ and music by gesture and action. Haydn began to sing a hymn, very slowly, but a sweet to the child-mi id; and apart from this the children curately the priests and choir sing or chant the Performances of these song plays have created and simple air. benefit enormously by the natural mental absorption service. Occasionally the people join in the service, much enthusiasm in Germany, where they have been “Perfect! perfect!” cried the dean; “Npw give me of the grace and beauty they see about them. but this is.rare. Think of it! a service seven cen¬ given more thau two hundred times in nearly all a trill.’' Gymnastics form a highly important feature of the turies old, the oldest and most beautiful in all the large cities. So far as one can judge ::rom some training; the lessons are given by a noted Berlin “A trill! No, monsieur. I am tired—no more,” and Europe! charming illustrations that have reached us, they physician who has made a special study of cales- as the child said this, he held out his little hands, and Eight airs are used in worship, these having been appear to be of much the same nature as the thenics. His system includes all kinds of quaint and the dean filled them with as many cherries as they brought down from the time of St. John of Damas¬ Delsarte movements so popular in this country, en¬ original exercises, even to an advanced form of somer¬ would hold. cus. If you were to look at the music you would riched, however, by music and placed within tin sault. To keep them supple the children’s bodies are “Now, then, my little friend, will you leave the discover that the music lines have no bars to mark capacity of children both in subject and execution. weekly massaged with oil. schoolmaster here and go with me to Vienna?” the measures, and nothing to mark the rhythm. The The situations represented are given faithful em- But amidst all this atmosphere of high art and word always governs the music and that is why it bodimajit by the children, who take unbounded “To leave my schoolmaster, and have no more les¬ advanced theories “the three It's” are not by any THE PLATE OF CHERBIEB, denly my ears were struck by the sound of a harp, is so hard to sing a Russian chant. Even Russians pleasure in realizing their ideals of ploy in poetical sons? Yes, gladly—I would not ask better. But to means forgotten. The German government has mingled with a woman’s voice. From time to time, a themselves declare that the music of the church is and musical guise. They laugh with joy and go with you? Why, I do not know you.” stringent ideas concerning compulsory education, and child’s voice was also heard. This voice was so pure, most difficult to master. One of the most beautiful apparently weep in grief. The haughty turn aside The next day was Sunday, even the children of the Grunewald Dancing School so fresh, that I wished to be nearer the singer, so I “I am M. Reuter, the dean of the chapel, and I airs is sung to these words: with supercilious mien; again, absorbed in devotion, and the sun had scarcely risen, must devote each week-day morning to ordinary walked to the shop of the wheelwright, Haydn, whose direct the music at the court, and at the church of St. “Rejoice, 51ary, 5Iother of God, they kneel in reverence. They enter the animal when Madame Haydn heard her lessons such as other children learn, taught by a Ger¬ wife is my wife’s cousin, though I knew very little of Stephen, in Vienna, and I am looking for voices—” Thou art a temple indissoluble and holy, as the world with glee; imitate the cries and the flight of son jump out of his little bed. man State teacher—the language spoken in the them. You cannot imagine my surprise when I found “So you would take my voice—thank yon, 51. Ren¬ prophet has said; birds, the leaps and characteristic gait of animals in ‘•Where are you going so early, Sepperl?” she school is exclusively German. Out on the balcony asked. that honest workman accompanying his wife on a ter,” interrupted the little boy; “each for himself; One of the finest choirs, if not the finest in all their native haunts, with a zest and a spirit, a free¬ miserable old harp; she really sang very well, and at there is evidence too that plenty of natural child-senti¬ “I have not gone,” replied the child, literally. take your own, and leave mine alone.” Europe, is the Czar’s Imperial Choir, consisting of dom and vivacity of bodily movement—the best of her side was a child of perhaps four years, who also ment exists amongst these much-experimented-on “Then why are you getting up so early?” “You do not understand me, my dear child,” replied one hundred and twenty voices. The basses come foundations for grace and vigor in later years. They took part, beating time with his little foot, so true “Because it is Sunday.” the dean, mildly, to the rude and spoiled little boy. from north Russia, and their voices are exceptionally play the part of the fat, important man; they pre¬ that it was wonderful. I begged the father to let me “But on Sunday there is nothing you can do.” “You are the son of a wheelwright, and will low. Several sing an octave below ordinary bass tend to be mincing fine ladies, soldiers on the march, “Thnt is why I want plenty of time to do it in.” be one yourself some day. All your life you voices. These singers are called octavists. They coquettish maidens, fops on the promenade. The “You are hurrying then, to do nothing?” will be a poor man. Now, I will take you sometimes take C on the second line below the bass little mother cradles her doll, sees to its toilet, asked his mother. to Vienna; I will teach you singing, music, staff, and some take a note on the fourth line below teaches it to walk. “Certainly, mamma: you see, it is this way: composition; I will make you a master, an —a note never heard outside of Russia. One may Particularly captivating are what the composer every day there is not enough time to do all I artist, a famous man, whom all the world wonder how these singers are able to sing so per¬ calls “gesture songs”—in reality esthetic gymnastic have to. It is when I have nothing to do that loves, praises, invites and honors. See—if fectly in tune when they have nothing but tuning- exercises. The theme of one, for instance, is the I like to have plenty of time to do it in. On THE CHILD MUSICIAN. you will only go with me. Ah, well, you forks to give them the pitch. Perhaps they are gifted little dumb girl who can speak only with her arms, Sunday there is no school, no nails to hesitate, speak then— what is it?” with “absolute pitch.” but these she uses so expressively as to bring before straighten, no dead wood to bring in from the E had played for his lordship’s levee, “Will I get cherries there?” asked Sepperl, A visit to a convent church reveals the fact that the spectator the unmistakable and characteristic forest, no errands to run for papa, no skeins to H He had played for her ladyship’s whim, who had eaten his handful, and was now there the women sing in the choirs. One never hears movements of swimming, sewing, embroidery, piano hold for mamma—nothing, nothing to do. Till the poor little head was heavy, beginning to look out the corners of his eyes women sing in churches elsewhere in Russia. playing and drawing, the greeting of a friend, eating, and even the dislike for dry bread and cooked meats. That is why I get up so early in the morning.” • And the poor little brain would swim. at those remaining on the plate. The Free School of 51usic, in St. Petersburg, has a In others the children are dolls that can move the “But you are singing,” observed his mother. “You may have these now,” laughed M. fine choir, the best, outside of churches, in all head, the mouth, the eyes; statues, one of whom “Oh, singing—that is not work.” And the face grew peaked and eerie, Reuter, as he put the plate before the child: Russia. Let ns remember that the most celebrated “We must go to church to pray to the good listens, another shivers, etc. And the large eyes strange and bright, “then in my garden in Vienna, you can find choirs in Europe are the Dom (Cathedral) Choir, in God.” Berlin, the St. Thomas Choir, in Leipzig, St. Peter’s Reports of the entertainments composed of these And they said—too late—“He is weary! plenty of cherries, and may gather all you “Praying is not work, either.” songs, plays, and dances make clear that the children wish.” Choir, in Rome, and the Imperial Choir of the Czar He shall rest for at least to-night! ” enjoy them for the pleasure they take in them and not Sepperl finished dressing himself, and, tak¬ “You have said enough, 51. Reuter,” inter¬ of Russia.—Edith L. Winn. for the object of pleasing an audience. Dalcroze has ing his board and stick, sat down in the door¬ rupted little Haydn, his mouth full of cherries, But at dawn, when the birds were waking, not designed them for the public; they are intended step and began to play on his “violin.” In a and his fingers crimson, “you have said The child is full of music, little while, he saw, coming toward him, the As they watched in the silent room, for the home, the playroom, the playground. The enough—I will go with you.” SONGS AND SONG but by music we do not mean son of the schoolmaster, who was also his With the sound of a strained cord breaking, performances thus far given have been for the pur¬ “Ah, but wait a moment,” replied the dean, PLAYS FOR alone the combination of A something snapped in the gloom. pose of making them known to parents and in¬ “I must have your father’s permission.” CHILDREN. audible tones—there is a “Sepperl,” he cried, as soon as he saw him, structors. One of their charms consists in his not “Papa will give it.” music of the soul not heard “papa wants to see you as soon as you can ’ Twas a string of his violoncello, demanding the uniformity of gesture which is the “But suppose he should not?” by the outer ear. The inner life of man has all the come.” fault of most calisthenic exercise*. Ehch player is And they heard him stir in his bed : “He will if I wish it, and if mamma wishes characteristics of music save audibility—tempo, “Thank you, Andre,” said Sepperl, without “Make room for a tired little fellow, allowed to manifest his own individuality of move¬ it.” rhythm, dynamics, key, melody, harmony. All these moving, “but to-day is Sunday, and your ment, and this results in a freedom and spontaneity Kind God,” was the last that he said. “Is he not master in his own house, then?’ terms, which we are accustomed to apply to music, father does not teach on Sunday, nor does of action which takes away the cut and dry effeci queried the dean. have their origin in psychical states manifesting papa pay him to do it. —Austin Dobson. of the ordinary scheme of gymnastics. “The master of the house—that is me.” themselves to others through tone. “But it is not to learn lessons, Sepperl. A These songs and plays are as yet accessible only in And as this response was greeted with a The song and the dance, the latter including all man came to our house last night, who is look¬ French. The work of putting them into English Children of Isadora Duncan’s Dancing School. fresh burst of laughter by both the dean ami rhythmic bodily activity, are the same in principle. ing for voices—” and preserving the directness and naivete of the Statuette of 5Iiss Duncan. the schoolmaster, the child flushed, and re¬ Ihe first is music to the ear, the second is music to “For voices?” repeated Sepperl, staring at words with the necessary rhythmic flow of the plied, “Monsieur, if I wish to go, mamma wil the eye. The child feels instinctively the harmony him. “and what is he going to do with them?” music would be a difficult task. Still, it is to be small people. Dolls, ehildbooks and toys of every be willing, and then she will make papa, ana between the two and gives expression to this feeling “I do not know. He wanted to use mine, hoped that it may be accomplished and that American description are scattered about, and there is a large then—do you understand?” _ . by the singing plays and inarches so dear to the but, fortunately it proved false.” have his son, assuring him that I would teach him to children may thus have the advantage of such aids dolls’ house, well-equipped. When the sun shines the “Certainly, my boy ; go, then, and get his permission, childish heart. In later years, unfortunately, he read and write music, and all else that is useful and to musical and physical culture.—By Jacques Dalcroze. children play in the grounds about the school. And “.And he hopes that perhaps mine will prove to be and we will see him later.” loses the freedom of childhood; his gestures, his necessary for a man to know. I took entire charge of here there is not only a swing, and gymnastic ap¬ better? Forsooth, I’ve a great mind not to go at all.” From the French of Mme. Eugenie Foa, by Lucia movements, the whole joyous rhythm of youth be¬ the child’s education, and have made him a musician, Under this head we will paratus, but an unbounded quantity of delightful, “Oh, you must come, Sepperl, or else I shall have to come hard and mechanical through the growth of a true musician, my dear M. Reuter. On solemn oc¬ Berrien Starnes. CLI B CORRE- print short notes of the organ- loose sand as well. drag you away by main force,” said Andre, laughing. self-consciousness. The so-called repose which con¬ casion, such ns the fete for the return of Monseigneur, (Continued in The Etude for July.) ventionality imposes upon those of adult years forms SPONDENCE. ization and work of Children's Already these small artists have given several “In thnt case,” said Sepperl, rising, "I would better or on the great fete-days of the church, he has charge for most of us an insurmountable obstacle to the Clubs. The special aim is to indicate the plan of public performances in Berlin, dancing and playing ask papa if I can go.” He presently came back, an¬ of the kettle-drums.” free expression of the psychic by the physical, the work of the club reported and to give program sug¬ children's ring games to music. And their dainty nounced that his father was willing and started off As you know, the P00- gestions for the benefit of other clubs. grace has on each occasion taken the hearts of their “Ah ! he plays the drums.” said 51. Reuter, who had sole means by which we can bring it to the ken of with Andre. RUSSIAN 5IUSIC: pie of Russia belong 0 Etude Morning Musicale. Pupils of Mrs. Arthur audience by storm. At their latest appearance they not once, during the schoolmaster’s recital, ceased to others. To do away with this acquired rigidity and On arriving at the schoolmaster’s house, they found G. McCain ; colors green and white ; flower, carnation. attempted something more complicated, endeavoring look at the child. THE RITUAL MUSIC the Greek Church. to carry the instinctive grace and flexibility of cliild- him at breakfast with a stout little man, whom Sep- OF THE CHURCH. church music is by fattn >ood into and through the trying period of adoles¬ Club divided into two sections, furnishing the program to express in dance the various parts of the musical ]«*rl immediately recognized as the traveler in the “I beat them, monsieur,” replied Sepperl. richest in the world. * cence is one of the problems of the educator. The alternately. Tiie Etude is studied; contests in accompaniment—some of them for instance embody¬ broken postchaise. us visit in imagination one of those beautiful churc kindergarten, to be sure, begins aright but it is scales, studies and pieces. ing the continuous bass undertone, others the melody “You are right," said the dean, smiling. “You beat Etude 5Iusic Club. Pupils of Mrs. 51. A. Bennett. in the treble, and others again the variations. When “Here is the child of whom I was speaking, M. like that of St. Isaac. . , dropped when the time comes for serious study. them, and beat them very well, do you not? Do you the children are still more advanced in their work Iteuter,” said the schoolmaster, as he presented the We shall hear no organ, for no instrumen which is apt to counteract its beneficial influence. JIarch 21, held a Bach Social. beat them veiy often?” they will be trained to form a “choir” of dancers little Haydn. used with the singing save a violin for occas’® . In view of this the songs and song plays for chil¬ Etude 5Iusic Club. Pupils of 5Irs. Emily Lorenz Ball. Studies the great composers and gives public to sustain the solo work of Isadora Duncan. “As often as I can,” answered the child: then, as he practice. We shall not mind standing for dren composed and devised by the young Swiss musi¬ “I have seen this boy before.” said M. Reuter, in a programs to get accustomed to playing in public. The next important plan which Isadora Duncan raised his eyes, he saw on the table, a plate of cherries. hours in the church, for the service is very 8 cian, Jacques Dalcroze of Geneva, assume no small puzzled tone, as he glanced at Sepperl. Beethoven 5Icsical Club. Pupils of Miss Hlava. intends to carry out is to build, on the ground adjoin¬ Now, to tell the truth, cherries were the dominant pas¬ nating. significance. M. Dalcroze is professor in the Con¬ “And I have seen you, too,” responded Sepperl, fear¬ .Motto: “What is worth doing is worth doing well;” ing the present school, a veritable Greek theatre, in sion of little Haydn’s heart, next to his music, and The choir consists of boys and men, who are chose* servatory of Geneva and is widely known by his lessly. colors, white and green; flower, white rose; vocal and which the children will rehearse and give public per¬ these were so beautiful, so red, so luscious, that the for the beauty of their voices. The singing 18 1 ®nsic for children, not only in Switzerland, but in instrumental music. formances. The building is to lie modeled on the “And where was it, my boy?” child entirely forgot where he was. so absorbed was he accordance with the earliest Christian practice. 0 ranee and Germany as well. He has composed St. Cecilia Gamut Club. Pupils of Sisters of lines of the typical classic Greek theatre—broad, “Yesterday, when your coach was broken, and you looking at the cherries. and then one hears beautiful tones from the chu much other music but in this he seems to be at his Notre Dame, twelve members: colors, red and white; shallow steps leading to the entrance, Corinthian came to our house.” bells, which seem almost to play a part in the s* ast. He has a thorough understanding of the child After laughing at the naivete of Sepperl, the dean motto: “Success waits at labor’s gate.” Biography columns along the front facade and the broad three- vice of the church, but which strike through011 nature; the disposition to turn all activity into play, “Listen. 51. Reuter.” said the schoolmaster, “while requested the child to sing for him, but on receiving no study, blackboard work. The Etude is a great help. cornered capital above them. The auditorinm is to parts of the day, a solemn message to all h°aref®’ e universal delight in assuming different characters I tell you a little story. About four years ago, I was reply, looked up to find that all the attention of the Beethoven Musical Club. Eight members; be in the form of an amphitheatre, the seats sloping As you stand to listen, by your side may ^ ?nd costumes, and sought to turn these aptitudes taking a walk, as I always do after my dinner. By a child was concentrated on the plate of cherries. colors, baby blue and gold. Programs much enjoyed. down to a central circular stage. prince, and in front of you there may stand a P00 ‘“to means for artistic physical culture. He wrote 366 THE ETUDE
CHARACTER AS AN INFLUENCE.
A Monthly Journal for the Musician, the Our educative influence is determined by what predominates in us. We com¬ Music Student, and all Music Lovers. municate to children less of what we say than of what we are, and if our moral path be Subscription, 1»1.50 per year. Single Copies, 16 Cents. Foreign Postage, 72 Cents. crooked, it is useless to point out the straight and narrow way ; the child holding our Liberal premiums and cash deductions are allowed for obtaining hand walks as we walk.—Charles Wagner. subscriptions. ilttances should be made by post-office or express money orders, bank check or draft, or registered letter. United States postage stamps are always receiyed for cash. Money ■ont in letters is dangerous, and we are not responsible for its safe arrival. DISCONTINUANCE—If ; tilth the Journal-tal stopped We call the attention of our readers to the article an explicit notice no Is the music teaching profession becoming over¬ by letter, other on “American Music” by Mr. Henry T. Finck, of the wise it will be conti rearages must b< crowded? It would seem so, when we think of the paid. N. Y. Evening Post, which appears in this issue. This RENEWAL-No receipt number of teachers now at work, and of the number wrapper of the next should be read in connection with the previous articles by Mr. Krehbiel and Mr. Von Sternberg to which of new teachers every season. This question is reference is made by Mr. Finck. Bearing on this sub¬ brought up every Spring by the press of the country MANUSCRIPTS_All m should be addressed t ject we reproduce here some portions of a letter from in reference to the medical and legal professions, par¬ and should be written Mr. Edward Dickinson, of the Oberlin Conservatory of ticularly. Not so much discussion is evident as to the buttons on topics conn ling and musio- study are solicited. ' railable will be Music, author of several important works on the ministerial profession, or public school teaching, es¬ returned. history of music. He says : pecially for men. Therefore, reasoning from past ex¬ “I think we are apt to over-rate the part that the folk perience we need not concern ourselves as to the num¬ song holds in that mysterious composite of influences ber who will enter the profession this Summer. They THEODORE PRESSER, that moulds and directs the mind of the musical genius. will take the places of others who have dropped out, 1712 Chestnut St., Philadelphia, I I never could feel that the music of the Negroes and Entered at Philadelphia P. O. as Second-class Matter- Indians had vitality and sap enough in it to serve as a they will fill the demand from the natural increase in foundation for a distinctive and prolific form of art. the number of pupils from year to year. And there Perhaps this is because the genius has not yet ap¬ must be such an increase. Every year thousands of June, the “Commencement” month! Commence¬ peared who has the ability to develop it. If this is to new instruments are sold, pianos, organs, violins, etc., ment of professional life to many, of life freed from be done it is pretty certain that it must be accomplished new singers are needed, so why should there not be the restraints and discipline of school to others. Tixe by a composer of the same blood. It must be the an increase in the number of pupils studying music. Etude wishes the many graduates from schools and Indian or the Negro who will fulfil Mr. Von Stern¬ The thing that gives the most concern to educators conservatories throughout the land a pleasant and berg’s prophecy, not the white man. The alien may in music is that there shall be a gain in the quality successful course of life, as life goes. Not every one produce a curiosity, a clever piece of fancy, as Dvorak of teaching, not merely in the quantity. Better is it can be uniformly successful and always “on the and MacDowell have done (the latter certainly with for a town to have ten teachers, each doing careful, heightsthere are times, and well for us all perhaps remarkable skill) but nothing more. The sympathy honest, thorough work into which they can put their that it is so, when things do not go just as we would must be racial, instinctive, hereditary, unconscious. energies, work based on correct and sufficient have them. Yet these times when wo must struggle Only so can the work have that inevitableness that knowledge and this scientifically applied, tbau that and be watchful are the days when we strengthen distinguishes a truly national art from that which there should be twenty-five teachers, some of them doing the fibre of our characters. So let us take heart and plays with novelties, and hunts simply after new their work in a superficial way, largely to make pin keep “everlastingly at it” when we have our days of colors and decorations. The insincerity of the latter money. trial and we will win through. is always apparent, however earnest and respectful Therefore we say to young teachers: Do not be The music graduate who has done honest work in the artist may think himself to be. I am sure that afraid of competition. Quality is the watch-word school, who has endeavored to learn music as well as there is nothing in the history of music or of any other to success in music teaching. to play and to sing, who has learned how to study, will art that contradicts this proposition.” be able to learn how to teach as the days go by. Les¬ Tiie Etude considers this subject of infusing the sons in pedagogics have value to the student who is to American spirit, true and unmistakable, into our The great disaster at San Francisco will doubtless enter the profession, practice in the model school is music as one of great importance, and hopes that retard musical progress for a time. The city was the valuable, but the application of the principles learned American musicians, and particularly American com¬ musical center of tiie Pacific Coast, and contained at school by oneself without special oversight or direc¬ posers, will give the matter most careful and continued tion is what gives the young teacher confidence and thought. a number of flourishing schools, successful teachers authority. If you expect to teach, get to work at as well as competent artists. In addition to these once, with one, two or more pupils and study the The vacation season is near at hand; in fact at forces the authorities of the University of California, duties and opportunities of the profession as well as tiie present time, in the large cities, the teaching sea¬ at Berkeley, had just completed arrangements to give the music you have in your repertoire. son is about over, and teachers who have not been the backing of their influence and means to a season prudent enough to lay by during the winter will face of orchestral concerts of high class. Altogether the a serious proposition. The problem is a simple one outlook for musical work was most promising. To¬ The teacher should make a record of liis earnings for Humility is not generally regarded as one of the day the musicians of the city and vicinity face a the season, eight, nine or ten months, as the case may salient characteristics of the average American. In serious problem. Many of them have doubtless lost lie, and divide it into twelve parts, thus making pro¬ fact, American boasting concerning the vastness of their pianos, studio furnishings, music books, records, vision for the unoccupied months. Another way is to the country and the bigness of her enterprise is one of etc., and their patrons are in equally unfortunate estimate the amount needed for Summer and vacation the standard jokes among Europeans and of books on circumstances. It can not be otherwise than that European travel. expenses and, by wise economy, save that much out there should be but a limited demand for the music of the earnings as soon as possible, after which the And yet in certain matters Americans are wont to teacher’s services and for the artists as well, for some amount should be put aside and remain untouched he too humble. This is especially true in things ar¬ time. Readers of The Etude, who may send con¬ until the season closes. Every teacher who works tistic. For half a century America has habitually tributions to assist the destitute should think of faithfully during the season earns a vacation and under-estimated its own artistic potentialities; not their brethren and sisters in the music profession should provide for one. This applies with special only this, but there has been a spirit formerly of con¬ and ask that preference be given to needy music force to teachers in the cities and in schools where the tempt for American art and artists and later a milder teachers. For the present no doubt all can find work is concentrated in a few months of the vear and form of belittling such matters. work of some kind, but we trust it will not be long the hours correspondingly long. The new century has brought a greater feeling of before the music teacher can be back at his profes¬ self-reliance in art matters to the new world. Ameri¬ sional labors with plenty to do. Some teachers, especially those who are alert to cans are beginning to be less humble in this particular. It may be news to many of onr readers that one their professional needs and are ambitious to make They are beginning to have more faith in themselves of the In-roes of the hour in San Francisco, Mayor progress use a part of the vacation season for study and their possibilities in the field of creative art. The Schmitz, is a musician by training, was at one time with some specialist or some well-known artist. The American architect, painter, musician, is taking stock president of the Musicians’ Union of San Francisco, Winter’s experiences have presented many problems of himself and finding he can hold np his head with and director of the orchestra in a local theatre. Ypt have shown places in tiie teacher’s equipment that those of his profession in other lands. he has proven himself essentially a man of action in need strengthening, have revealed ignorance, partial There is a new birth of interest in the works of or complete, in certain important matters. The Sum¬ this great emergency, one who reflects credit on the American composers and even the foreign artist deems mer is a fine time for the teacher to devote to personal profession. When he was candidate for Mayor a it well to include that long neglected individual, the work, especially when this study is carried on in a speaker for the opposition attempted to make capital American composer, on his programs. America is place which offers the beauties of nature, as we can of the fact that Mr. Schmitz was a “fiddler,” and the most prosperous country in the world and when find in the mountains and at the sea shore. The said, “If elected he will be fiddling when San Fran¬ it develops the necessary pride in its own abilities cisco is in mins.” referring to Nero, the imperial and.pursues aesthetics with something of the ardor Etude congratulates the hundreds of earnest teachers who will give their time to study this summer. This musician of old Roman days. Yet when the time it now follows commerce America may become one of kind of devotion is a good promise for better work came this musician proved that his musical training the beauty-loving lands of the earth. next season. and temperament did not interfere with clear judg¬ ment, poise and executive capacity.
370 THE ETUDE THE ETUDE 371
POLKA GRACIEUSE POLKA GRACIEUSE
from “KINDERBALL” from “KINDERBALL’’
Edited by PRESTON WARE OREM FRANZ BENDEL, Op. 4, No. 4 Edited by PRESTON WARE OREM _ , FRANZ BENDEL, Op. 4, No. 4 Secondo Primo Allegretto grazioso m.m. J=104 Allegretto grazioso m.m. J=io4
\=r- 1 T J)> » jth t?-4 —i- i pi : -5— —1 2~ p s r Ty ng m--K- k * |) „ ■ —k-K- f 7 J!:>- LmeJ
^This ‘‘Polka” is taken from a set of characteristic be found in both parts and the occasional touches'
dances entitled‘‘KinderbaH” (“Dancing Party”). of orchestral color. The interpretation of this piece
These pieces are original four-hand compositions, should suggest throughout the light, airy and grace-,
n°t arrangements,hence the independent writing to ful character of the dance. 372 THE ETUDE the etude 373
Primo Secondo 5
l>) Make this counter-theme slightly prominent. THE ETIIDE 375 374 THE ETUDE
THE LANGUAGE OF FLOWERS G. N. BENSON Andante cantabile M.M.J=69 376 THE ETUDE THE ETUDE 377
CANTILENE
FELIX BOROWSKI
380 THE ETUDE the etude 381
PARISIANA
VALSE THE ETUDE
- 388 THE ETUDE THE ETUDE 389 and while I’ll do the fair thing by you, you’ll have Mme. Nordica sang seventeen times in seven operas: Is pitch, as given by the vocal chords, voice? but Identity of standard.” What shall this standard pay my price.” “Gioconda,” “Lohengrin,” “Walkfire,” “Gotterd&m- Is the hammer that sets the charge of a gun free a be? Let us take for a standard a tone that possesses All of which goes to show that it is a good thing fo merung,” “Tristan,” “Don Giovanni,” and “Trova- gun? all the requirements that voice can give. We have a singing teacher to have a little tact, and use it when tore.” Is the knocker in the church bell the bell that peals all heard such tones. I remember hearing Jean de OCALsj occasion offers. Mme. Eames sang thirteen times in four operas: Reszke sing the “Swan Song” from Lohengrin and forth its resonant tone far and near? “Tosca,” “Faust.” “Alda,” and “Tannhiiuser.” nearly every tone had these characteristics: The vocal chords, vibrating in midair, cause no Mme. Sembrich sang twenty-eight times in eleven Form, which made the vowel distinct; intensity and audible sound whatever. LPARinE/NT NOTES ON THE SEASON’S GRAND OPERa operas: “Rigoletto,” “Die Fledermaus,” “Lucia,” resonance accompanied every vowel sound; purity STARS. “Elisir d’Amore,” “Sonnambula,” “Boheine,” “Tra- The knocker in the church bell must be proportion and flexibility accompanied every vowel sound. vlata,” “Don Pasqunle.” “Don Giovanni,” “Marta,” to the size and the thickness of the bell. At the peal Let us remember that the difference between true (Conducted by H-W-Greene BY R.YLFE LEECH STERNER. and “II Barbioiv.'' of the bell what usually strikes our perceptive facul¬ voice and sound is character. Intensity gives voice Signor Seotti sang thirty-one times in eleven operas: ties first? If we analyze we would say that the pitch carrying power and distinctness; resonance gives bril¬ A WARNING. The teacher tried the young lady’s voice carefully, Of all the artists who have appeared at the Metro¬ “Gioconda,” “Rigoletto,” “Favorita,” “Elisir d’Amore,” rather than the intensity of the tone, the resonance liancy or ringing effect; purity, the absence of gut¬ after which he said: “You have been rightly informed. politan Opera House, no one is more popular than “Boh&me,” “Faust,” “Don Pasquale,” “Tosca,” “Don rather than the purity and flexibility would be in evi¬ tural, twanginess, or metallic quality; flexibility that A male teacher of singing was heard giving a les¬ Your daughter has an excellent voice.” dear old Pol Plancon. His grand, noble style of sing¬ Giovanni,” “Aida,” and “Traviata.” dence. Suppose we reduce that bell to seven eighths ’ enriching, mellow quality. son to a soprano not long ago. Lest the least suspicion ing has made him an immense favorite here. The great Mr. Plancon sang twenty-two times in six operas: its thickness what result? Less tone; take off The sixth sense, through which telepathy and true of intentional listening should exist in the minds of “Then you say that this girl can learn to sing, do French basso has been in magnificent voice this year. “Gioconda,” “Favorita,” “Sonnambula,” “Faust,” another one eighth and so on. As the bell grows clairvoyance manifest themselves, has not yet become our readers, it may be well to add, that to listen was you?” He is superb in Sonnambula. and in two of his roles, “Aida,” and “Marta." With this there must be con¬ thinner we have less and less tone; the resonance, universal, therefore we must have ottr material entirely unnecessary. The sounds I am about to “No, sir, I did not say that,” replied the teacher; Mephistopheles in Faust and Alvise in La Gioconda, siderable home practice, which includes, in many purity and flexibility entirely disappear; the tone bodies to make manifest our thought. In the great describe could be heard distinctly through the closed “I said that she has an excellent voice.” he finds opportunity to display his robust style, both cases, the study of various languages and also re¬ dwindles to sound; and lastly we have pitch. If we geniuses of music we find at birth an unusual doors of a long corridor of studios. The lesson was “Well, perhaps what you mean is different from what vocally and dramatically. He is a fine type of the hearsals at the opera house. So it can be seen from cut off the lower end of the violin we immediately development of the brain along the particular line; “Elizabeth’s Prayer” from Tannhiiuser. I mean, but if she’s got an excellent voice she can basso prof undo, and his voice, in its best moods, is the above that the life of an opera star is not all bliss, destroy all tone, because we have but one resonant at the age of normal strength we are surprised at From the beginning to the end of that difficult aria, learn to sing and that's what I’m here for. You have almost the most perfect known, being a splendid even though the salaries may seem large. cavity. We can still' produce all the scale in pitch. their daring feats and their wonderful quality of tone the teacher sang with the pupil and they both sang been recommended to me as a man who understands imitation of the beautiful ’cello. One of his strongest It was a hard season and would have been even Fortunately the human voice is differently construct¬ even without the aid of human suggestion. If the as “loud” as possible. Could a teacher do a pupil a his business and of course I’ve got to leave it to you. points is his almost perfect enunciation. more trying had Mr. Conried given twelve other ed in that we have not one resonant cavity but many genius is a pianist or a violinist are his fingers, hands, greater injustice? You, who value the correct poise What do you charge for lessons?” Mr. Joumet, Mr. Conried’s next basso of importance, operas which he intended to give, namely: “Fidelio," from large to small, indeed very small. Remove the forearms more developed than those of the ordinary of the voice, who aim to encourage self-reliance on “$100 per quarter, sir, are my terms, payable in unlike Plancon, is a basso cantante. He is good in "Romeo et Juliette,” “Cavalleria Rusticana,” “Les piano from the hard wood floor, and we have less boy of his age? The muscles of both may be the the part of the student, know the results of such fal¬ advance.” almost anything he sings, his voice being very rich in Huguenots,” “II Flnuto Magico,” “Le Nozze di tone, less material for the vibrations to expand. same in quantity, but not in quality. Psychologists lacious methods. Those who occasionally find them¬ “$100 per quarter? Why, how long are the lessons?” quality. In Don Giovanni he has splendid oppor¬ Figaro” (announced but withdrawn because of Mme. believe that the muscle-elements arrange themselves selves doing this thing, which rapidly becomes a babit, “The lesson period is 30 minutes in length.” If we could remove our limbs the tone would tunities as Leporello. Eames’s illness), “Die Verkaufte Byaut” (Smetana), to carry out the thought best, that is better to do the are the objects of our warning. Don’t do it! “You don’t mean to tell me that I’ve got to pay diminish somewhnt; if we were to remove the head We are glad to have something to say of Madame “Un Hallo in Mascliera,” “Der Fliegende Hollander,” bidding of the mind, because this body is the result If your pupil falters at the difficult places or you at the rate of $10 per hour for teaching this girl above the nasal chambers we would have much less Emma Eames, inasmuch as all who have heard her this “Puppenfee” (ballet), “Coppelia” (ballet), and of thought so put together as best to carry out its shrinks from attempting the climax, leave it for a to sing.” tone; if we were to remove the body below the vocal year agree that she has shown far more temperament “Mauon Leseaut” (Puccini). chords and force air through them we would have master’s plan (the mind.) A step farther. The more moment, go back to first principles or tone study, lead “No, sir, not that you have got to, that’s between than ever before. Next year New Yorkers are to have a rare treat in but little tone for the greatest of all the human we train our mind in tune with its master and her to and beyond the tones involved. In a few well you and your daughter. But as between you and me While not so great a coloratura singer as either grand opera. Oscar Hammerstein’s new opera house resonant cavities, the chest, would be put out of maker, the Creator, the greater will be our influence selected exercises show her that every tone in the that’s what you will have to pay if she studies here.” Mme. Sembrich or Mme. Nordica, she is nevertheless will be opened, and with two opera houses it is not action, and the cavity of the mouth and nose would for good, and the uplifting of humanity along higher phrase is easily within her control, and then take the “See here,” said the man, “that’s as much as I pay an artist of high ideals and sings so artistically that unlikely that even the street organs will be playing not add much to the pitch, of the chords, let us re¬ lines. Is not the mind the seat of action rather than phrase separately and quietly demonstrate its ease many of my men for a whole week’s work.” at all times she commands the respect of her audience. opera music, which, by the way, would not be a bad member this applies to developed voice for the small the muscle? when unassociated with the stirring impulses of the “Yes,” said the professor, “many good laboring men Her pianissimos are charming. Her mezzo voce is ex¬ idea, as it would help to educate children and the voice uses these resonant cavities but little. To-day at the University of Minnesota thirty-five lec¬ rest of the song. If such treatment fails, the music are getting only $10 per week.” cellent, but lacks heaviness of prodnetion when it is growing masses in the classic side of music. With I read an article in The Etude some time ago, tures on psychology are given to six of physiological should be put aside for three or four months. Such “But I tell you what I’ll do. I’ll pay you $50 a needed. such artists as Jean and Edouard De Reszke and written by an experienced teacher, which stated psychology. We are studying brain to-day, not issues cannot be forced. The patience to wait is one quarter for this girl’s lessons, and at the end of the Madame Melba already engaged, it is fair to presume something like this. “Nevertheless ail tliat has been muscle. Phrenology or cerebral localization, as it is of a teacher’s most valuable qualities. year, if you make a singer of her, I’ll pay you the Signor Antonio Seotti, the celebrated baritone, is that we will be in the midst of a rare musical treat. said and written about voice not being developed by called to-day, has done much toward pointing out to There are rare moments when the voice of the balance of your charges.” a great artist. Not only is his voice rich, powerful All the operas will be sung in French and Italian; developing the vocal cords is utter nonsense.” us that the brain does not act as a whole. Those teacher may be used to rouse the sluggish tempera¬ A smile escaped the singing teacher, but he, too, had and resonant, but he is such a magnificent actor tliat even “Lohengrin” and “Tannhiiuser” will be given in The writer then gives an instance of being present with a part well-developed and the will power to ment into a realization of its own resources, but even an eye to business, so he said to the father of the pro¬ in Italy they say that were Signor Seotti to lose his the latter tongue; German is to be entirely eliminated. in a laboratory when vocal cords were caused to send this stored up knowledge to the muscles, will, then, should this be advisatfe, a well selected duet is spective pupil; voice, he would be proclaimed that nation’s greatest dramatic star. This is indeed saying a great deal, but vibrate under air pressure, were made more tense by such will power, cause those muscles to co-ordinate safer, and the effect far more permanent. “What business are you in, if I may ask?” only goes to prove that good acting as well as good WHAT IS VOICE? to give the different pitches, the whole scale being and adjust themselves so as best to make manifest Self-reliance is most difficult to inspire in some "I am a horse fancier, and raise horses for the pupils. They feel as if they had disgraced themselves singing is appreciated on the grand opera stage. He thus produced. This, the writer says, proves con¬ this idea to the interested party through one or market and for trotting.’ BY DK. H. W. SHELP. if the voice breaks or is flakey, from whatever cause. deserves more credit when it is known that lie began clusively that the vocal cords produce voice. If voice more of the five senses. I heard a remark made The opportunity for retaliation was nearer than the Such sensitive natures not infrequently baffle the taking lessons with scarcely any material in his voice were pitch this would be conclusive. But, true voice by a teacher of one of our largest colleges that to teacher had at first hoped. So he said: To have answered this correctly twenty years ago teacher and greatly retard their own progress. When to work on. His great determination to sing at any has character, and the difference between sound and tell the truth she did not understand voice. She gave “Well, I think we can make a bargain. Yon say would have exposed one of the greatest of fallacies. balance—that nice point between too much physical cost, which was his life’s ambition, he attributes as voice is definite quality. Manuel Garda, the inven¬ the standard exercises and that was all she could do; you raise trotting horses.” The theory which has been taught for many years demonstration and too little vitality—is being establish¬ the real reason why he finally became a singer. tor of the laryngoscope, hoped to reduce to scientific she has a very fine voice and always has had. We “Yes, sir.” and is to this day, that the vocal organs must be de¬ cannot teach by intuitive knowledge; the perceptive ed, there are many disasters; but they have their value, As the spy in Gioconda, an opera which takes accuracy the art of singing, which had always been “Well, have you any promising two-year olds?” veloped in strength and suppleness in order to produce faculties must come into play. and it is only through them that the sense of security many high priced artists to give, he finds a part suited taught according to empirical methods. If pitch were “Well, I’ve got some well-bred colts, but we don’t true voice, has caused much discouragement and end¬ is finally reached. Not the slightest injury can result to his various talents, both vocal and dramatic. This voice the use of this instrument might be more prac¬ Several years ago I heard a lady sing who had n break them in for trotting at two years—very often.” less drudgery. Many good voices have been ruined tical; even then it . would be questionable, as the rich and full speaking voice, strong and resonant; her form any quip or crackle of the tones if the voice opera, which was not produced by Mr. Grau owing h.v such teaching, which lacks definite principle, is not being used physically or with force. Pupils “Well, have you got one that’s very promising?” action of the vocal cords is automatic. singing voice had some of these tones in it. After to the great expense attached to it, was given four Science, however, comes to our rescue, demonstrating must accept this and sing their way through them to “Yes, I’ve got one colt, a bay gelding, that ought to If teachers would recognize the great fact, that three years of study with a teacher who claimed to performances by Mr. Conried. It took five stars— that the true base of voice production is in the mind the steady, pure tone. trot in 2:20 by tshe time he is four years old.” voice culture means first and last, the development teach the pure Italian method, her voice had evened Mesdames Nordica and Homer, and Messrs. Caruso. rather than the muscle. Leschetizky, who has taught “What do you Jiold him at?” of a true concept of what voice is and its source, in¬ up more, but the tone was light and had the abomi¬ The great obstacle with which the teacher contends Plancon and Seotti, whose salaries alone amount to Piano for many years, and is one of the greatest ex¬ is the mental attitude of the pupil to the work in “Well, ns he stands. I’ll sell him for $300. If he stead of the senseless development of the organs, our nable tremolo in it, which she thought was the over three thousand dollars for one performance. ponents of touch and tone says, “I find in my teach¬ hand. To him the work of to-day is viewed as a trots in 2:20 when he is four years old, he will be identity in standard of tone would soon be the same. natural vibrato. Now suppose a teacher who taught worth $3,000.” He does his best work as the hunchback jester, ing that piano playing is three-fourths head.” Have finished product. He fails to see that the voice of to¬ If pitch were voice any person who conld cause a by the aualytical method had gotten hold of her. Rigoletto, in the opera of the same name. we not as groat or greater claim for voice? day is only dimly related to the voice of a year from “Well, here’s my return proposition,” said the vibration of the vocal cords would hnve an equally He would nave built from those natural full tohes An interesting incident in the life of Verdi which The attention physiology has received during past to-day, that, whatever its value, it bears only upon the teacher. “You say your colt can’t be trained to trot good voice, instruments producing the same number to the full developed voice. Usually from the first prompted him to write this beautiful opera is as centuries lias nearly obliterated the psychological side in 2:20 before he is four years old. Well, your girl of vibrations would produce voice or its equivalent. to the sixth lesson the pupil realizes what you are future. While this in no degree excuses carelessness, follows: One day a friend of his, a celebrated bari¬ can’t be trained to sing any quicker than your colt can of voice, hence the error that in order to produce true As vibration only produces pitch, the theory of doing. Once the analytical faculties are trained it is or a disregard of technical accuracy, it should aid the tone (the elder Giraldoni), asked him why it was that be trained to trot, because, as you know, she hasn’t voice much development of the vocal organs is re¬ developing voice along the line of physical strength the simplest thing to understand any voice or tone pupil by enabling him to place the true value upon in all his operas he made the tenor the leading role. been broke yet. Now, this is precisely what I’ll do: quired; the student is content to vocalize “Marches!” obtained and retained by endless practice would leave you hear. No pupil should leave a college to teach present conditions. With a mind thus adjusted, undue Verdi replied that he would write an opera for him. I’ll buy that colt and pay you $300 for him, you to and other exercises by the hour, thinking that her it indefinite. True voice is the result of certain ap¬ without this knowledge. The old saying that the sensitiveness should be out of the question. making the baritone the title rOle. Rigoletto was the keep him and train him during the intervening two microscopic voicelet will develop in proportion to the plied laws: if the knowledge, or knowledge of appli¬ new teacher must ruin a number of good voices be¬ result of his work. years, for which I will pay the regular market price number of hours thus spent. Who is most to blame, cation of such laws exists in our consciousness we sing fore he can teach would soon become obsolete. Mozart’s Don Giovanni also gives Signor Seotti a the teacher who tells the pupil that nil that is required AN OFFER DECLINED. for board and your usual price for training, and at ns we say naturally, and our study is limited more In the past voice has always been thought to be is to have patience and to vocalize faithfully, that the the end of that time I will pay you $600 for him pro¬ splendid opportunity to show his ability as actor or less to vocalizing. Under this head come Patti Bound produced by the vocal cords. In 1880 we rend A man entered the studio of a prominent singing vided he trots in 2:20—which is exactly what you and singer. This is an opera in which the baritone vocal organs are weak and need much strength and and others. Many of our best artists cannot teach of Madam Seiler’s experiments. She snys of the teacher, not long ago, with his daughter. He was one have offered to do for me in case the girl learns to sing. holds forth supreme. It was given a splendid P*r" development, or the pupil who is seeking the teacher because they do not know the source of voice. Next head voice that the sound is reinforced by the reso¬ of those practical, hard-featured business men, who If he fails, then I don’* pay yon anything extra for formance on its second presentation this season, with who has studied abroad with the great Slobinskl, and come the perceptive faculties; if they perceive the nance from the naso-pharyngeal cavity. Now I would have made money through or by which, if such a claims to he the only teacher here teaching this great training or for board but have the colt at the original Signor Seotti as Don Giovanni, Mme. Nordica as source of voice and analyze tone according to the like to ask, is not all tone reinforced sound? I think thin'g were possible, they can be said to have risen method: little thinking that it is an utter impossibil- price of $300.” Donna Anna, Mme. Sembrich as Zerlina. Mme. laws of Form, Intensity and Resonance, Purity and I hnve explained this by describing the hend cavities, from the lower ranks. The ability of such men to 'y to impart method, much less that she will sing .Tomelli as Donna Elvira, Mr. Dippel as Don Octavio, ■ Flexibility and ean impart this knowledge, we have the chest etc., as the only thing that makes tone; the estimate art from anything except a money stand¬ _ ■ .*“«“»» * cuu t guaranie method. For the singer who sings true voice has no the colt to trot in 2:20.” and Mr. Journet as Leporello. Signor Seotti was the teacher of true voice. If we have a happy com¬ study of the vocal cords and glottis does not benefit point is not cumulative like wealth. “Neither can I guarantee that the girl will be compelled to answer repeated curtain calls for 'lia Particular method by which she sings, only the God bination of all these, we hove the singer and teacher the voice teacher materially. Helmholtz gives us a Addressing the teacher, he said“You teach sing¬ artistic rendering of Don Giovanni’s serenade, sung riven method, the result of those three laws properly better idea of tone. He snys that all sound, emitted singer at the expiration of that time.” said the teachei combined. ing. I believe.” mesxa voce. ■ipplied, namely: Shaping, which produces true “You see that breeding and inheritance have quite a Let us suppose that a teacher is visited by a num¬ by a single body, is compound: by the use of resona¬ “Yes. sir.” form: Placing, which gives intensity and resonance; much to do in one case as in the other.” 1o show how hard grand opera singers must weft- ber of pupils to “hnve their voices tried.” What is tors he has shown that the quality of sounds may be “Well, that's something I don’t know anything it may be of interest to the readers of The Etude to Quantity of breath, which gives purity and flexibility modified by reinforcing the overtones as the third, about, but I have been told by a number of people Rather an agreeable smile flitted across the man’ °f tone. to be done? Give them all the same exercises? Cer¬ lace and he turned to the teacher and said • “I cate] know that during the past season Signor Caruso sang tainly not. No two teachers would. Borne one says fifth, and octave. that this girl here has a fine voice and I want to get it These will he explained later under the heading of your point, old man. You take the girl, and do th forty times in twelve operas: “Gioconda,” •til do not agree ns to correct vocal conditions. Some Developed voice, then. Is pitch with all its rein¬ i rained. I wish you could hear her sing and tell me how true voice is produced. At present we will eon- best you can for her. and T’ll pay you your price; i lotto,” “Favorita.” “Elisir d’Amore.” “Sonnambula^ one has fittingly replied. “The greatest essential in the forcements which means the cavities of the chest, what you think of her.” hue ourselves more strictlv to the question what is sou ever want a good driving horse come to see me “TtohSme.” “Faust.” “Tosca,” “ATda,” “Pasliacd. vocal profession to-day is not similarity of method. head. nose, and mouth, sphenoidal and ethmoidal “Marta.” and “Carmen.” voice? 390 THE ETUDE
cells, and the larger frontal and malar sinuses. Now- consequently live in close, stuffy rooms, inhaling and follows. I have noticed the effect of such encounter, the etude 391 how is the vibration to be gotten into all this space? exhaling the same devitalized, poisoned, oxygen-de¬ I reply by proper tone placing, relaxation and breath in pupils who complain that it is awkward and some pleted, carbonic-laden air for a whole day at a time. times impossible to avoid them. Surely the best control, and not the senseless jargon of development The only time they allow fresh air in the room is of the vocal organs. is to explain the situation frankly and ask to beTy when the door opens; some persons go so far as to cused from conversation under * the circumstance Is the child’s voice weak and undeveloped? Let equip their houses with extra winter doors. the smallest child compete with the singer before an It is not at all necessary to imitate the example of TWO MAIDENS The average lung capacity is forty cubic inches; at certain prima donnas who never speak aloud on the audience. One test will remove the doubt, if the the rate of twenty respirations per minute the air singer will sing while the infant cries. The child is days they are, to sing, but a reasonable amount of consumption is about six hundred and sixty-seven care given to conditions of voice use is no more than subjecting its vocal organs to several times the cubic feet. Ordinary atmosphere consists of about strength required of any vocalist; the child that rational, and could readily be understood even |,v twenty per cent, of oxygen, the balance being nitrogen the uninitiated. y ARTHUR MACY EDGAR A. P. NEWCOMB shouts on the street does not injure its voice. What , and carbonic acid gas. If more than one person better evidence do we want? occupies a room the danger from impure air is even Let us get out of ruts and fads as to voice. It is greater. To insure perfect ventilation the rooms QUESTIONS AND ANSWERS. nothing so mysterious; it can be analyzed just as well should be so arranged that the air is changed con¬ as a fine painting; it can be taught through the facul¬ stantly, then the proportion of oxygen will remain Iowa. If you arc only eighteen years of age it is ties of the mind; it will develop just as fast as the about the same, and will impart the same amount of far better to have the tones above F light and floating mental faculties are developed and concepts estab¬ nourishment to the blood continuously. \Vait two or three years before you attempt to sing lished; it is the result of the law of nature applied. It does not matter so much whether the air is warm with any strength on those upper notes. or cold, so long as it is pure; personally I prefer the When you have a good opportunity to breathe in a cold air. Thq sleeping room should always be well song it is well to take a long, deep breath through the ventilated, and the colder the air the better. Do not nostrils. Under other circumstances it is perfectly THE HYGEINE OF CORRECT BREATHING. be afraid of night air. as that is the only air pro¬ proper to breathe through the mouth. vided at that time of the day, besides in large cities, In song singing the breath should be controlled, not BY CHAS. A. ITTEL. where the smoke and grime of factories and shops at the throat but at the diaphragm, which insures it permeates the atmosphere during the daytime, it is against a loss, also aids in securing the legato. It is a remarkable truth that over half the ills generally pure at night. Fidelio.—Sometimes it is well to give the vowels o to which the human flesh falls heir are due to in¬ The breathing of fresh, pure air during the entire and oo with or without the consonant prefix; but how correct breathing. Three-fourths of the American twenty-four hours is essential to the well-being of can a person, who is unacquainted with the needs of a people do not allow enough fresh, pure air to reach man, as is demonstrated by the remarkable cures the bottom of their lungs; in other words, they do not particular pupil, advise in such matters? What is effected among consumptives by having them sleep out know how to breathe. Were it not for the involuntary good for one voice at a certain time would not at all of doors and remaining out of doors during the wak¬ action of the upper chest muscles in raising the chest do for another at anytime. Only a few rules can be ing hours. applied to all cases. walls and permitting the air to flow in perhaps a Gradually accustom yourself to sleep with all win¬ sufficient quantity of oxygen would not be supplied to The enunciation of the vowel in the word “bye" dows in your room wide open. At night when the sustain life. A large percentage of the blood is com¬ . BhouId be the same Precisely as a perfect pronunciation body is free of clothing deep breathing can be done posed of oxygen—in fact, it is the mission of the of the vowel *. Of course it is a diphthong but the to better advantage. It will not hurt you, but on the red corpuscles to distribute it to the tissues—and the second vowel effect should be only slightly suggested at contrary will make you more robust. If, when out muscle fibers are composed of nitrogenous matter. the very .end. In this way a good legato is secured. in the air, you feel cold, several deep breaths to the These elements being abundantly supplied in the air, One can breathe through the open mouth in sus¬ bottom of the lungs will create a feeling of warmth. the importance of deep breathing can readily be tained tone study, if preferable. Here again singers recognized. Air, as well as the bread and vegetables you eat. differ. Those who have a dry throat or a scanty flow should be regarded as a food, and as it is the most The tiny lung cells seem delicate, but are capable of saliva cannot as well afford to breathe through the abundant of the necessary elements there is no reason of very great development; yet, if allowed to remain mouth as those who are more fortunate in this re¬ inactive, they disintegrate. The direct cause of con¬ why anyone should deny himself of Nature’s generosity. gard. The deeper the breath is taken the better and sumption and other pulmonary troubles is improper safer. The less movement there is of the upper chest usage of the respiratory organs. No person has con¬ in breathing the better the control of breath ultimately, tinuously enjoyed robust health who has not learned but not at first. A THOUGHT FOR VOCAL STUDENTS. to breathe. To breathe deeply is an instinctive impulse As for humming; again it depends upon the needs of of Nature, as will be observed by the feeling of relief BY FREDERIC S. LAW. the pupil. Why do you say Marches! after Shakespeare? They following a sigh. A small child, before its body is ‘-How much better you sing these opening exer¬ are both living and both excellent teachers, one hampered by tight clothing, usually breathes cor¬ cises today than you did at your last lesson,”" I said rectly, and this accounts for the fact that a baby’s French, the other English. The Dresden teacher is voice is more powerful proportionately than that of tonesPUPi1’ aftCr heariBg hel' Sing a few Preliminary undoubtedly quite as capable in the German School. some grown-ups. I enjoyed Cheney’s little book “The Tone Line.” “Perhaps it was because I went to the library after As far as it goes, it is excellent. Singers whose voices have made them famous ap¬ I came into town and sat there quietly for a quarter . -W>- 2.—1. A long phrase which it would be preciate the value of correct breathing; musicians who of an hour, thinking over my lesson,” she replied. difficult to sing in one breath and which is so con¬ have not been able to withstand the strain of singing I had no doubt that it was. She was of a ner¬ difficult scores can, in nine cases out of ten, attribute structed that it will not admit of the long stop neces¬ vous, impressionable temperament, recently recovered their failures to improper development of the breath¬ sary for a deep breath without interfering with the from a severe illness, and came from a quiet country ing capacity. The lungs are like a reservoir which flow of thought, usually contains one or two places at town for her lessons. The jarring effect of even a supplies the pressure to operate the vocal cords as which a little breath can be taken which will enable short journey in a railroad train, the noise and bustle the will commands, the greater the power of the lungs the singer to complete the phrase without discomfort. of a great city, the shopping often done on the wav the greater will be the effect produced by the larynx, These are designated as half breaths. to the studio, all tend to disturb the mental anil just the same as a whistle will blow louder with fifty 2. Usually when the voice becomes flat at this physical poise so essential to a successful singing pounds of steam pressure than with ten pounds. place it is because in ascending, pupils tighten or con¬ lesson. Even when this is not the case, a pupil some Orators and public speakers with hollow chests and tract. Any tone emission that is not entirely free is times comes full of some engrossing subject foreign screechy voices do not long remain in favor with a apt to be off pitch. to her study—it may be dress, fashion, society, or an scrutinizing people. In answer to question No. 3, I refer you to the entertaining companion who has diverted the mind It is true that dinphragmmatic breathing requires ■'Standard Graded Course of Singing,” page 68, Sec. some effort, but is it not worth the effort to enjoy i8SUe’ that !t ma-v take half the Ill, No. 6. allotted time before the necessary concentration to good health rather than be susceptible to colds and secure the best results is attained. 4. I do not at all get your meaning when you say other diseases? To breathe correctly does not mean ‘release last note of any number of slurred notes.” Not many, to be sure, are so sensitive to external to puff the chest out like a pigeon; to utilize every impressions as this particular singer, but all would one of the minute cells of the five lobes of the lungs do well to consider the advisability of some such the entire torso should expand, beginning at the preparation for a lesson. A brisk walk in the fresh OUR VOCAL MUSIC. abdomen and gradually inflating the lungs until the air, head up, shoulders erect, drawing deep vital entire chest is filled with air. The air should pass The songs which are included in the present issue through the nasal passages, where all foreign particles breaths which tingle through the body with revivi- fying effect, is perhaps as good as any. But pre- are the work of American composers, Mr. E. A. P* are removed, and it is warmed before entering the ferably alone or with some one who does not require Newcomb, composer of a number of popular things, bronchial tubes. To breathe in this manner, how¬ and Mr. It. M. Stults, who has also struck the popular ever, the body must not be hampered by tight clothing to be entertained by conversation, which necessities more or less mouth breathing and competition with taste. “The Two Maidens” by Newcomb, is a light, If the waist is restricted by such articles as corsets street noises; coquettish little song that will make a useful number and belts it is held practically rigid, and the breathing It often happens that those going to a city for for a recital or to use as an encore. Its educatio"al must go on in the pectoral region of the chest. This quality lies in its aid to teaching style and liglitre«s. means that the blood is diverted from the region of lemons arrive with commissions for themselves or others; they shop in crowded, dusty stores, match “The Message in My Dream.” by Stults. is a life11 the stomach, and indigestion, dyspepsia and other class ballad with a special value for young singers diseases are the result. Fainting spells and palpita¬ materials and colors, and come to their lessons in a confused’ tired state which prevents them from gain¬ who want something melodious and simple in style. tion of the heart are also caused by overcrowding the It will therefore lie useful for the home, social circle heart in this way. ing the full benefit of instruction. Then, too, on their or monthly recitals. The value of this piece to teach¬ To breathe in the manner indicated, as well as at ^r?m ey,arf apt t0 meet frienda Dedicated to my friend Mr.Robert S.Bfc Carthy1 A MESSAGE IN MY DREAM Words and Music by R.M. STULTS 395 394 THE ETUDE THE ETUDE This bolstering caused such a leakage of air in “The art of Organ Building,” by only one blind opened at a time. The Swell also passing to the pipes, that the top, or “veneer” boards MIXTURES. George A. Audsley, has recently been contained a Clarion (four feet) and Octave Coupler. P which the slides moved were scored with deep published by Dodd, Mead & Co. New Sacred Songs The reeds were all made of thick, hard, spotted °rooves so that the wind leakage should not pass to This monumental work, in two large volumes of metal, giving great power and brilliancy. When closed over 1300 pages, copiously illustrated, and represent¬ adjoining pipes and cause them also to sound. Ambrose, Paul with full Swell the effect was very soft; but when ing years of research, thought and effort, marks an Just for To-day. 2 keys.40 The undersides of the pipe-boards were also scored Ambrose, R. S. opened, stupendous; the crescendo, wonderful. epoch in the literature of the organ. An extended God Holds the Future. 2 keys. . .50 ^HOIR^ • the same way with deep grooves around each hole, The thin, paneled boxes of the average builder are review of the work will be given to the readers of The Bischoff, J. W. very unsatisfactory. I had the Swell stops voiced fully lid the surplus air was led so that it would escape Etude at a future time. Open to Me the Gates. 2 keys. . .50 Edited by EVERETT E. TRUETTE to the outside, and thus only the pipe belonging to as strong as the Great (heavy pressure). The Pedal On a Sunday early in 1850, F. Edward Bacbe, ia"Tike4asVa Father. 2 keys.50 its own valve would sound when its key was pressed, NEW ORGAN IN RICHMOND, INDIANA. Combination Pistons. Diapasons were made of two-inch lumber, and were sixteen years of age, and studying music under Stern- Metcalf, John W. a very firm foundation to the upper stops. The “king and the stop-slide drawn. dale Bennett in London, accompanied his friend, Mr. Defend Us, O Lord! D (c-e). . .50 A fine large organ has just been erected in the (Adjustable.) Scott. Chat. P. of instruments” should possess sweetness and also If the bolstering was insuflicient, then in damp Eustace Button, then a student at University College, Reid Memorial Church, Richmond, Ind. by the Hook- Father* in Thy Mysterious Presence. Four for Great and Thrce for Choir Organ. weather the stop-slide would bind so that it was some- to St. Luke Church, in Old Street, in order to hear Ilastings Co., of Boston, having the following grandeur. The reeds and mixtures should be a 3 keys.50 Pedal Organs. One re¬ One release. powerful addition. An organ lacking these is always Hmes impossible to draw a stop-knob, or use the pedal Mr. Henry Smart (1813-1879), the organist of that specifications:— lease. SACRED TRIOS Three for Pedal Organ, thin and monotonous. church, who enjoyed a high reputation as an ac¬ Five for Swell and duplicated for each companist of the service, and as a splendid extempor¬ ChSv'ldi.^i. W. Abide \\*UhMMt->0" n..'.15 Great Organ. Feet An organ of the following stops and only two Pedal Organs. One re- Manual. One release. izer. Edward Bache went into the organ loft to RSiSE ::::::::: :lt Feet Violin Diapason tune, manuals can, if properly built, possess more grandeur await his arrival. ‘Suddenly the verger came up Scott, Ch.rle.P. <;„d Is My Stroi.E Salvation.08 Open Diapason. 16 No. 44. S The larger the number of stops on a wind-ebest, the Soon, Charles V. One by One the Sanda are Flowing.JO than many of four manuals costing ten times as much. hurriedly to say that a high city functionary, who Scott, Charles P. Father. Take My Hand.<<» Gedacht . S One General Release. •reater would be the leakage defect, because, as each Scott, Charles P. The Wings of Morning.J® First Open Diapa¬ was coming in state, was on the point of entering Thayer, Arthur. Teach Me Thy Way, O Lord. •'» Salicional . 8 idditional stop-slide would be drawn the greater Thayer, Arthur. Thou Lord of ..J® son, No. 40. 8 Pedal Movement. great organ. the church, and that the organ must be played at Viol d’Orchestre. 8 rould be the robbing of the wind from the pipes. This Second Open Diapa¬ 00. Full Organ Sfor- 95. All couplers. once to welcome his arrival. Edward got on the seat Beleotions Hade a Specialty. 8KNT KBKK-Coroplet. Catalogacs. H Aeoline . 8 Pas not the chief difficulty, for, the single valve o son, No. 42. 8 zando. 96. Balanced Swell Ped- 1. Open Diapason, very full, smooth and roiling. immediately, and began to improvise a voluntary in S. Songs. No. Sa, Anthems and Part Songs containing additional Trios Octave . 4 2. Dulciana, soft and sweet. ystem only supplying all the stops on a wind-chest MAIL ORDRRS solid tad and Oiled prompUy to all perte of the oenntry Gamba . 8 91. Full Organ Piano. hrough narrow channels, every stop more remote the style of a festal march. Shortly arrived Mr. Flute Harmonique... 4 92. Great Mezzo, double- 3. Gamba, very stringy and like a “cello” in the ARTHUR P. SCHMIDT Gross Flute. 8 97. Balanced Choir Ped¬ rom the immediate opening of the valve would re¬ Smart, whose cab had been delayed by a sudden Flautino . 2 bass. Boston New York Melodia (open). 8 al (Swell). vive a decreased wind pressure, and thus be thrown frost unfavorable to horse traffic. Sitting down by 4. Melodia, round and full. 120 Boylston Street I3<5 Fifth Avenue , Octave . 4 Edward, he gradually took up the march bit by bit 5. Flute, to balance No. 4. without break, as Edward surrendered it while sidling Flute d’ Amour. 4 6. Principal Octave, brilliant and full. off the other end of the seat; and after thus getting Fifteenth . 2 the organ entirely into his own hands, Mr. Smart Trumpet, CC 5-14 in. 8 7. 12th, voiced a trifle softer. and unsteady. continued the original idea of the voluntary, finally 8. 15th, to balance No. 6. Moreover, the Open Diapason, the fundamental stop modulating into the key for the opening hymn, of FOR THE ORGANIST 9. Mixture, voiced very full and brilliant. of organ tone, was usually placed over the remote end which Edward had received no intimation when so 10. Clarinet, from c. of the channel, the farthest removed from the valve (In a separate Swell unexpectedly called upon to play the voluntary.—Ex. A PIPE ORGAN COLLECTION OF Box.) 11. Trumpet, very loud and brilliant. openings. For this reason the very foundation stop was weak, and often could not be made to give its STANDARD AND ORIGINAL Feet SWELL. proper intonation without increasing the bellows JJ. II. L.—What stops are COMPOSITIONS OF MEDIUM Open Diapason, No.45 8 pressure. The conscientious organ builder was always QUESTIONS necessary foi a two-manual pipe- DIFFICULTY FOR CHURCH AND 'Concert Flute. S 12. Bonrdon, soft voiced, but large scale. troubled on account of these defects which were im¬ AND ANSWERS, organ which would cost in the Dulciana . 8 RECITAL USE J* J* 13. Open Diapason, see same stop on Great. possible to remedy with the slide system. neighborhood of $1500? Fugara . 4 14. Stopped Diapason, very full. These same defects existed after the pneumatic Answer.—We would recommend the following Flauto Traverso .... 4 15. Salicional, very soft. lever was introduced, which device afforded a lighter stops: Great Organ; Open Diapason, melodia, dul¬ Piccolo Harmonique. 2 ciana and Octave, Swell Organ: Salicional, Aeolian, THE ORGAN PLAYER 16. Voix Celeste, light, like an Aeolian harp. key touch in large organs as the bellows pressure was Orchestral Clarinette. 8 St. Diapason, Flute Harmonique and Violina. Pedal 17. Flute, to balance No. 3, and softer in uppertone. increased. Compiled by PRESTON WARE OREM. Price, $ 1.50 Organ; Bourdon. The usual unison manual and Pedal Organ. 18. Octave, very full. A few years ago American and English organ pedal couplers. (Augmented.) builders began to introduce Tubular Pneumatic The chief object in the compilation of this 19. Tierce, very full. V. E. B.—With a fairly good chord of twenty voices, Action with individual valves, in an experimental volume has been to cover the ground more 20. Cornet, voiced to balance full Swell. excellent basses, good altos, fairly good low sopranos widely and more thoroughly than has been way, in order to overcome the great defects of the Open Diapason. 16 21. Oboe, with distinctive character. and doubtful tenors, what oratorio or cantata would done in any other book of organ music yet slide-chest system, which is always operated by tracker issued. Vi done . 16 22. Trumpet, very large, full tone. you recommend for a musical service? action. The first attempts were met by serious ob¬ Appropriate registration has been given Lieblich Gedacht 23. Clarion, very full and brilliant. Answer.—"A Song of Praise,” by Frederick N. stacles, principally in the use of imperfect membrane throughout, suitable for two or three-man¬ No. 11. 16 Shackley, or “The Holy Infant” of Frederick Field ual organs, fingering, phrasing, and ped¬ valves, which were the least expensive and which Dulciana . 16 Bullard. Both cantatas require good soloists. If aling have been carefully indicated. PEDAL. operated in a simple way. Thus the problem of giving Octave, No. 37. S they are too difficult we would suggest “The Peace In grade the pieces range from easy to each pipe its full wind supply with rapidity of speech moderately difficult. Violoncello, No. 38... 8 24. Open Diapason, great scale. of Jerusalem” by J. E. Trowbridge. was approaching solution. Every piece is a gem, which, if not already 25. Sub Bass, rather soft, but pervading. popular, is destined to become so. While the membrane system operated well at first, 26. Violoncello, twangy, like the real string. it did not withstand the test of long usage through Feet REFLECTIONS 27. Tremolo. the changes of climate, on account of the absorption Bourdon . 16 Oboe . 8 THEO. PRESSER,i7i2ChM,.».s...pHILA. 93. Swell Mezzo. 98. Balanced Swell Ped¬ 28. Couplers, Ped. and Gt of dampness by the membrane leather, and in winter Open Diapason,No. 43 8 Cornopeon . 8 BY ELLEN O. PABKHUBST. 94. Great to Pedal Re¬ al for Echo Organ. 29. Couplers, Ped. and Gt. 8va. weather, until the wind-chests became thoroughly Echo Organ 100. Grand Crescendo 30. Couplers, Ped. and Swell. warmed, the membrane valve would so shrink that versible. Genius.—We can never be grateful enough to Pedal, balanced. 31. Couplers, Ped. and Swell 8va. the valves would not be tightly closed, and the pipes (In Swell Box.) genius, for when it hitches its wagon to a star, it 32. Couplers, Gt. and Swell. would sound whenever a stop was drawn, and often takes us all a ride. To be located in one of the church towers and be 33. Couplers, Gt. and Swell, 8va. such organs could not be used. ijutrtjmga-Unfnj The Color Question.—It makes no difference played from the swell key-board. The article in the January numbe 34. Couplers, Gt. on itself, Sva. Thus this membrane system proved itself unreliable, POWERFUL of The Etude, by Mr. Hamilton Me and there are hundreds of church organs in the United whether a key is black or white, if only its tone is Feet Feet A Choir Organ, voiced in medium wind, would ODrgan Co. DIAPASONS Dougall, describing some of the organ: States which have been in this condition in the winter pure and true. Hohl Flute. 8 Vox Humana . 8 give more variety, but the above organ will give im¬ he heard in Europe, and their power season, to the disappointment of organists and church Utealntt, fHaaa. Viola . 8 Harmonic Etheria... 16 mense power. Be True to Yourself.—You can never sing a ful and effective Swells interested me much, since 1 committees who have been led to expect a great im¬ HIGH-GRADE PIPE Vox Celeste. 8 1-5 rks. E. P. Sprague. tune beautifully in one key, while your heart is play¬ have long thought American organs are lacking ii provement over the slide-chest operated by tracker Wald Flute. 4 ing the accompaniment in another. PNEUMATIC ORGANS ELECTRIC many respects. The Diapasons are generally too thin action. weak and buzzy, and lack the pure tone and power ol Criticism.—We have a quick ear for the faults of NEW YORK BOSTON PITTSBURGH Cathedral Chimes. The most progressive organ builders have now many of the old cathedral organs. The finest eight others, but no one can hear himself sing. Up to within a few avoided these defects by using firm collapsible valves A complete set of Tubular Chimes from Ao 20 foot Open Diapason I ever heard in this country was THE SUPERIORITY recent years, the prevail¬ in connection with Tubular Pneumatic Action, giving Self-Reliance.—The teacher who fails to train a notes to be furnished and applied to the Echo Organ, in the old organ built by Crabbe for the Church of OF INDIVIDUAL ing method of constructing each pipe its full intonation and wind supply, with pupil to study things out for himself fails in a most and to be played from the Choir Organ Key-board. the Holy Trinity in Brooklyn, N. Y. JJipp ©rgattH of (fjjrafo WIND SUPPLY TO organ wind-chests for cen¬ a reliability which is not affected by any climatic important part of his work. The pupil should grow A number of years ago when I was organist of Couplers, etc. Feet condition, which has been thoroughly proved under out of the ranks of the followers into the company Trinity Church, Elmira, N. Y., the vestry purchased ORGAN PIPES COM¬ turies, was in the use of ELECTRIC. TUBULAR PNEUMATIC every test, and which may always be guaranteed as of the leaders. Feet Swell to Great. 1C. a new organ. I selected the late J. G. Macklove of PARED WITH THE single valves operated by OR. MECHANICAL ACTIONS Great to Pedal. ""re upon every occasion for years to come, pro- Appreciation—Hear music with the mind as well Great Separation. Utica (an Englishman), as builder, one who had SINGLE VALVE SYS¬ tracker action with per¬ WRITE FOR ESTIMATES Swell to Great. 4 riding the organ receives proper care in the hands as with the ear, that is, with the inner as well as with Swell to Choir. 16 voiced many of the large organs in this country. The TEM USED WITH forated slides for the stop Emmons Howard - - Westfield, Mass. Swell to Pedal. °I a trustworthy man. Swell Separation. scales were all large and extremely powerful, and the SLIDE WIND- action. This system was the outer ear. Swell to Choir. 4 Choir to Great. 16 In the manufacture of small organs with four or pedal pipes of great volume and depth. The Swell CHESTS, exceedingly faulty on ac¬ Discrimination.—We go to a concert and because Choir to Pedal. Echo on. five stops on a wind-chest some builders yet adhere of this organ was said by the late organist, G. W. count of the leakage of n>r a program does not please us are apt to condemn the i AUSTIN ORGAN CO. Swell to Pedal. 4 Swell . 16 to the slide-system with tracker action, as it enables Morgan, ami others, to be the most effective in this which necessarily occurrei player as being a poor one. We need to take all con¬ l^nurcn HARTFORD, conn. Swell to Great. Echo off. 1 as the wind passed from country. The Swell chamber was roomy, and con¬ them to contract for new organs at a lower price, ditions into account in forming an opinion. Exclusive Builders of Electric and Tubular Great . 4 the valves to the pipes. All Couplers. structed of two-inch planks, tongued and grooved. with sixty-one valves to each manual chest, compared 01* O' A T1 t Pneumatic Church and Concert Organs Choir to Great. Release for Octave In order that the stop-slides should not bind with "nth the increased expense of construction where each Writing.—It is a good thing to write out our im¬ r S 4111 S on the Austin Universal Air Chest Svstem. The shutters were of equal thickness and ran the Write for Booklet u B" Swell . 4 the atmospheric changes from dryness to dampness, pressions of a concert or an artist. It helps us to a Couplers. entire length of the chamber carefully bushed and Pipe has its own individual wind supply. Swell to Choir. they were made to move freely by the use of thin Tremolos for Swell, padded. There were (I think) thirty or forty, in clearer understanding. Please mention THE ETUDE when addressing our advertisers. Ixdsters which raised the pipe-board sufficiently high Wm. Horatio Clarke. Choir and Echo. two rows outside and inner, and so regulated that to prevent any friction of the stop-slides. 396 THE ETUDE THE ETUDE 397 The object of Sevcik’s "Tech- )ead to bad habits at the start. No piano teacher Marie had an inferior violin. Professor Weidt had THE SEVCIK nical Exercises” is to furnish drill would begin by teaching the chromatic scale; all are told her that she should play upon one of his beauti¬ PLAN. work for students. Half an hour agreed that the natural position of the hand upon ful instruments, but, like a proud girl, she refused to THREE EASY QUARTETTES daily is the least time which should live white keys is first to be secured, yet, strange to borrow. For Three Violins end Violoncello be spent on these details. None of the exercises can say, the same principle has been overlooked by the “Aunt Helen,” she said, “people would say that it be played without the enforcing of some important majority of the writers of violin studies,—even so was the Professor's violin that won the prize if I By EMIL SOCHTING principle of violin playing. Long and tedious exer¬ great a master as Spohr (who never taught beginners accepted it and really succeeded.” cises enforce many principles. Each one of Sevcik’s and whose own early struggles had probably faded I kissed my little girl, and loved her the more. Op. 54. exercises stands for some principle which should be from his memory) falls into this error. Loder, in his Oh, for my Strad! With it Marie could surely win No. 1 in 6 motor. No. 2 to C motor. No. 3 In 6 maloi mastered at the outset. method (perhaps the earliest instruction book for the the prize. I could not buy her a violin which had the .TMENT Success in violin study depends upon attention to violin of any real merit) seems to have had some per¬ tone of that masterpiece. EACH $1.00. small details. The perfect relaxation of the left hand ception of the truth; at any rate, he begins in the key CONDUCTED BY GEORGE LEHMANN is necessary before any progress can be made in of G, and each new key is exploited in turn. Although Christmas passed with its usual festivities. My daily left-hand technic. The fingers must be arched, in many respects superseded (the different kind of dinner was an eminent success. One thing transpired SUITE FOR 4 VIOLINS and they should fall quickly into place. Again, the bowing not being very systematically provided for), that day which had a marked influence upon the We have just received an in- We consider Mr. X—fortunate in making the dis¬ By EMIL SOCHTING thumb should be in advance of the first finger and hia work was decidedly progressive and fairly melodi¬ futures of at least two people. OLD “SCHOOLS” teresting letter from a gifted covery that there is something better, nobler to strive Allegro. No. 3. Lento Eoprewivo should rest just below the fleshy part. The elbow ous, features lacking in many German works. Many Professor Weidt brought me a note. “It is from No. 4 Intel AND NEW. American girl who is studying No. 3. Adag for in art than the gymnasts of the Sevcik School; should be well under the violin. If the first finger does of these follow the teaching of the Italian violinist, a young man who is to compete for the prize,” he No. 5. Rondo Polacca. in Berlin. What chiefly at¬ and we hope that other talented Americans who have pot bend sharply because of too much flesh at the first Geminiani, endeavoring at the start to form the said. “He probably wishes the honor of calling upon COMPLETE $1.50. tracted our notice in this letter was the following been lured to Prague under the misapprehension that our charming Frafilein Marie here.” The Professor joint, let the pupil rest only the tip of the finger on band to the position. Selections for Teachers and Schools made a Specially. brief sentence: “I have just met Mr. X—,wbo is now left-hand technic is high art, will follow Mr. X—'s the string. Usually, however, the hand rests on the D, 4th finger, (G string), G, 3d (D string), laughed slyly. Mail Orders Solicited and Filled Promptly to All Parts studying in Berlin. He tells me that he left Sevcik example and abandon a course of life and work which, crease at the first, or basal point. All the fingers C, 2d (A string), F, 1st (E string), Marie looked worried. “He is going to win, Herr of the Country. because the most important principles and ideas of that at best, is shallow and inartistic. fall in the same plane. For an attack, the and constructing exercises upon it, holding the fingers Professor,” she said, and her eyes were full of tears teacher can be acquired in seven or eight lessons.” fingers fall curved, with perfect freedom, upon the in turn while two fingers are released to play semi¬ that she tried to hide. | SENT FREE Now this is, in truth, an interesting statement, more strings. The great strength of the Sevcik system lies quavers in alternation, after the principle of the Herz I left the room. I had seen the handwriting in or Plaidy five finger exercises for the piano. that letter and I felt nervous. Safe in my room, I especially as it is the verdict of a player with whose in the fact that its exponents lay great stress upon ARTHUR P. SCHMIDT The anecdote is told of left hand development, each hand being perfectly In Germany and France the schools of Ferdinand clutched the missive, my hands trembling violently. merits we are acquainted. We happen to know that A FINE BOW. Wieniawski that he ordered his relaxed, and each finger treated individually, with all David, De Beriot and Baillot formerly enjoyed great It read: Mr. X— has considerable ability, and that he is in a house-keeper, in the event of a its possibilities and defects. favor, and many very excellent studies may still be “Madam:—I have seen you and your gifted position to estimate, more or less accurately, the true piot§g6 in Berlin. Your violin has been a good angel fire, to save his best bow, at all hazards, regardless of Such a system in its entirety is too detailed for drawn from them. The great classical school of worth of Sevcik’s teachings. The statement that Spohr, so useful to advanced students, is one of the to me for years. Your letter to my old teacher, in what happened to his violin. This anecdote, of course, American study. What it teaches us is the power of Sevcik’s most important principles and ideas may be detail. “A few things mastered are better than a worst which could be placed into the hands of a young which you told him to find me and to tell me that is meant to illustrate that Wieniawski considered a fine acquired in seven or eight lessons may or may not be book of etudes merely played,” said Julius Eichberg. beginner. The author apologizes for the fact that the violin was to be loaned to me until the owner bow of greater importance than a fine violin, and that FELIX BOROWSR1 actual fact. In all probability Mr. X— underesti¬ I have come to think that attention to detail is he never had to teach such, and apparently is un¬ should ask for its return, has been to me precious mates the time actually required by the average gifted the latter, but not the former, could always be satis¬ one of the attributes of genius, and that it raises us conscious of the mistake of presenting exercises in and sacred all this time. I felt that you would re¬ VIOLIN COMPOSITIONS player to comprehend and absorb the weightiest factorily replaced. above mere commonplaces. the extreme flat keys too early. It has thus dis¬ joice at my success. You—you and my adopted ADORATION. principles of Sevcik’s “method,” but what Mr. X— Whether Wieniawski so commanded his house¬ Why do our pupils dislike technic? Merely because couraged many a learner by cramping the hand at the father have helped me to be what 1 am. I am not No. 6700. probably meant to convey to our correspondent was keeper, or whether he prized his best bow more highly they have not been taught to see what technic means. outset into difficult positions prematurely. Hermann's going to play at the concert.' You have this young that an able and gifted player like himself could girl. She shall win, but only with your precious than his violin, is of little interest to us. We also We eat meat because we have learned that meat violin school, which is much esteemed in Germany, grasp the truly valuable ideas which Sevcik teaches violin. I shall hear her and rejoice. To-day I, too, seriously doubt whether the anecdote in question has strengthens. We dance because dancing gives grace. though practical and progressive, errs on the side of in a comparatively short time. In a hundred ways we see causes and effects. In dryness. The teacher has to place himself mentally have a great violin, but yours—yours is a part of my any solid foundation of fact. But we are interested If this is what Mr. X— really meant to say, we are violin study every exercise should mean some definite in the position of a child to whom the implied soul.” Petkovka Vachez. in the practical value of a good bow, and in the views strongly inclined to agree with him; for experience thing for which we are striving, and which is allied harmonies of his studies for violin alone will not at HUMORESQUE. has taught us (that is, the experience of examining entertained by some enthusiasts regarding its im¬ to an ideal in art. If we do not keep our fingers upon first, except in rare cases, be at all clear unless based The night of the concert arrived. Marie was very No. 4660. Allegretto, a tempo. the master’s ideas as they are illustrated in the work portance to the player. the strings ready for use, we are like careless soldiers upon melodious and “singable” intervals and phrases. nervous. I could see a feverish light in her dark of his best pupils) that it is folly seriously to accept A fine bow is obviously a necessity to a good player disregarding signals and commands. Correct position That which seems perfectly intelligible to us would eyes. Her breath came quickly and her face was the Sevcik School as a structure on which the art —not necessarily a fine Tourte bow, but a firm, is the first principle of military obedience. I am in many instances not have appeared so in early days flushed with two great red spots on either cheek. of violin-playing can, in any degree of dignity and elastic, well-balanced stick, of a weight that satisfies persuaded that the enormous amount of time and before we had studied harmony, and unless the in¬ Professor Weidt was by her side; he spoke kindly to pm. nobility, thrive and mature. the individual need. And we say individual because energy spent in violin study to attain success and tervals at first fall naturally under the fingers, and are her, begging her to nerve herself for the test. No. 5700. ADORATION, Grade IV. Price . “Your only rival is not to play,” he said: “he has a When one remembers the prodigious technical a beautiful bow that may meet the requirements of power, could be abbreviated by early attention to anticipated by the mind before they are sounded, false No. 5701. DANSB RUSTIQUE, •• 111. “ ■ achievements of such.men as Wieniawski, Vieuxtemps fundamental principles. This is also a plea for the intonation, when the child practices alone, will undo lame finger; sprained it yesterday, I hear.” No. 4660. HUMORESQUE, “ IV. •• one player may be wholly unsuited to the physical No. 4661. VILLANELLE, “ IV. “ and Sarasate, not to mention a host of other less psychological development of children, and good teach¬ some of the teacher’s work, instead of progress being “But his name is on the list,” she answered; “I conditions or peculiarities of another. noted players of the “Old Schools,” one begins to ing from the first.—Edith L. Winn. made between lessons.—J. Matthews, in “The Strad.” have seen it.” appreciate the flimsiness of the Prague structure. A beautiful Stradivarius would probably always “Oh, yes,” he replied, “but that’s nothing. I hear These artists were master technicians in the truest give great pleasure both to those who listen to its that he has telegraphed his adopted father, for whom II sense of the word. Their technic never descended to brilliant and sonorous tone and those who are capable A mere list of the instruction he is named, not to come on from Prague. He is (The first part of this little romance was printed in a mere display of virtuosity; it was the brilliant, of drawing forth its tonal beauties. The degree of VIOLIN SCHOOLS books published for the violin, renlly not to play.” The Etude for May.) To reejmufble teacher. highly finished product of incessant study and a pleasure which such an instrument is capable of giving from the earliest German one A look of relief came into Marie’s face. How my little girl played that night! Shall I ever special gift for technic, employed in conjunction, as a its players or listeners naturally varies in accordance of Leopold Mozart down to the latest one of im¬ TOE STORY OF A It was nearing Christmas forget it? Professor Weidt conducted, and his joy THEO. PRESSER, Publisher rule, with the higher musical attributes, without with conditions—that is with the degree of sensitive¬ portance, that of Joachim and Moser, would prove a STRADIVARIUS time, and Berlin was all gayety. was visible in his earnest, artist-face. The audience 1712 Chestnut Street - Philadelphia, Penna. which even the most dazzling technical skill must ness, musical culture, etc., of the individual; but appre¬ somewhat formidable .undertaking, at the same time VIOLIN. We, of the American colony, went mad and shouted themselves hoarse with their necessarily fail to feed or satisfy our musical cravings. ciation of the beauties of a Cremonese masterpiece serving no very usefui purpose, but a few remarks on were decorating our fir trees with tinsel and bright Does the “New School” really offer us anything will doubtless always be found to be general. the salient features of some of the best may prove o silver balls, with pendants, and Christ Kinder—those “bravos.” new? It sends out into the musical world players of dear little angels that hang from the tops of tall trees During the second movement, I suddenly felt my¬ The finest Tourte bow, on the other hand, may be service to many new recruits in the evergrowing army GEMUNDER ART-VIOLINS. splendid technical attainments; but this is no more of violinists. Leopold Mozart, the father of the grea —and I was engaged in preparing a real New England self watched. Some strange instinct directed my eyes than all other “Schools” have accomplished since the quite useless to one player, though of great value to to a door at the left of the hall. Near it sat a another. Unlike a Strad., it appeals strongly only to composer, published his “Griindliche Violinschule m Christinas dinner, with a plum pudding, which gave Acknowledged by the World’s Greatest Artists to be days of Paganini. Gifted players of all “Schools,” of Augsburg, in 1787, and its interest is now puref t0 °ur Bausfrau a feeling of special resentment young man with dark, waving hnir. Every drop of the only Instruments that possess the Italian the past and present day, have realized the urgent such players who find that it meets their own peculiar blood seemed to have left his white face. His hands quality of tone in the highest degree. antiquarian. In his day the violin was held to t e mixed with unalloyed wonder and admiration. I was Send for Catalogue No. 3 and read their letters. need of a fine technical equipment. Of these, the requirements. In one hand it may prove a clumsy were clutched. I could see that his teeth were hard right of the tail piece, evidence of which practice is 0 unusually agitated over my dinner, for I had invited REAL OLD VIOLIN MASTERW0RKS tool, while in another it may satisfy every need. set and that he breathed quickly. His body was players who had a special gift for technic and who, be seen today upon the belly of many an old fiddle. several members of the American Embassy, Lieu¬ Our Collection embraces the productions of Makers of all because of this very gift, devoted an exceptional It is for this very reason, this question of utility, bent forward with intense interest. Poor fellow, how ages. Prices range from $50.00 upwards It is a singular fact that the majority of the vio tenant von Strauberg, a young officer of the Em¬ amount of time and energy to its highest development, that we wish to dwell for a moment on the matter of he suffered! He had loved my Strad! Send for Catalogue No. 3—Real Old Violins and Bows. schools, though theoretically correct, are, from a P**®’ peror s Guards, his charming wife, and Professor naturally achieved exceptional things. But they were selecting a bow. . Marie was just finishing the second movement of The "EXCELSIOR” Violins—The “CONCERT” Violins tical point of view, objectionable in their earw^ ’ eWt, the teacher of my ward, Marie de Loach. Price $60.00 Price $100.00 always taught, and they, in turn, always sought to the Concerto when Petrovka rose to his feet, his Let it be said at once that fine Tourte bows are any¬ exercises. A bold statement indeed to make. Marie was the daughter cf my friend and class- Positively the best made for the price. Violins of ail grades convince us, that their technical skill, however whole form trembling with agitation. He could bear thing but plentiful, and that many modern bows that I am glad to find an opinion long held, confirmed W ®»te at college, Jane Wright, who had, unfortu- from $5.00 to $5,000.00. Repairing and imptoving of Vio¬ astounding, served only to further their musical ends. it no longer. Leaving the hall, he gained the street lins a specialty. Send for our price list of strings. are sold as the genuine article for outrageous sums such eminent authorities as Messrs. Joachim aa mttely, married a dissipated New York artist, and ji-st as I reached it by a shorter route. I met him August Gemiinder & Sons, 42A East 23d St., N. Y. The “New School,” however, obviously lays no are easily obtainable from honest dealers at a moderate Moser. And this great initial fault consists in i 0 had died of a broken heart when Marie was Instituted A. D. 1750. stress on the higher beauties of the art. Its feverish, price. We have seen many good bows, the product of *xteen. I had found Marie in a tiny room in face to face. For a moment we stood staring at each Pubr’s “The Violin World” 14th Year, 50c per year. selection of the key of C for the first exercises, u®.e. other—then he touched my hand and spoke: “I told never-ending cry is “technic, technic.” Necessarily a certain good German maker, that were sold in the mistaken idea that, being the natural key with w m arlem, trying to earn money for her violin study by United States for sums varying from $100 to $200. you that that violin would win. It has an angel in Please mention THE ETUDE when addressing our advertisers. its aim is achieved in a degree always proportionate one starts at the keyboard, it is necessarily the P aying at receptions and musicals. When I told her The best bows of this maker are obtainable for $25 it—she will win, the little Frafllein. Great Heaven, with the player’s gift for technic and his physical for the young violinist. The practical reason why ^ at she should have the means for several years of strength and tenacity. Under any other capable in¬ or thereabouts from any conscientious dealer. The what a tone she has!” most experienced teachers object to begin with L ^ *,udy in Berlin, the poor child burst into tears and to my request. Had she known that she was playing structor Kubelik would have unquestionably developed bows made by Voirin, Vuillaume, Peccat, etc., natural¬ His voice broke. I touched his hand, and, with in the fact that on the upper strings the hand is “ wared t,lat I was her fairy godmother. on a violin used by one who was indebted to me fp" the technical skill which he acquired under Sevcik’s ly fetch higher prices, but only some, not necessarily tenrs in my voice, cried out, “Poor Petrovka! in the first and most natural position on the ■ ust now I was worried about Marie. We had some help in his education, she would not have takei: guidance, simply because his talents and perseverance all, of the bows of these makers are either desirable or Marie won the prize that night, with the assistance board, which is, of course, owing to the formation^ ,’Wn in Berlin three years. She was to make her advantage of his generosity and-” would have enabled and impelled him to do this; but wgrth the prices asked for them. of my Strad. the hand, from any open string, tone-tone-senn ^ , n a days after New Year’s, when she was to “Exactly,” said Professor Weidt, “I heard Savin- there can be little room for doubt that the Bohemian Later, the Professor said to me. ‘ How did Miss de In a word, fine sticks are sometimes found among conforming to the tetrachords of those major sea 1>ay the Mendelssohn Concerto with orchestra, in sky play it. I knew it. I know, too, what it cost violinist would have developed a higher sense of what Loach come into possession of that Strad, Miss low-priced bows, and good bows are always obtainable which may start from one of the open strings-. competition for a $500 prize offered by a wealthy him to give it up.” is truly musical and artistic had he studied in a for sums ranging between $25 and $50. Dealers who nn er- There were several rivals for the honor, Webster?” violin being a very difficult instrument to all begm“ ^ “Professor Weidt,” I answered, “Mane played The kind man looked into my face. “School” whose aim is the cultivation of the various among them a young man from Prague, the gifted always have on hand a number of genuine Tourte who do not happen to be prodigies, in spite of a ^ I then sat down and told him the whole story.— branches of musical art, not merely its technic and upon my violin to please me. She did not know its bows for from $100 to $300 should be shunned. telling at lessons, the too early setting back 0 ^ of a rich merchant, who had but recently Isabel Winn. its superficialities. They are impostors. value. She thought it a whim of mine, and so yielded first finger to make F on the E string, is certai een Emitted to Professor Weidt’s class. 398 THE ETUDE THE ETUDE 399 Chinese contempt for the music of the Western civili- zation? It is to be hoped this is true. She takes me Of progress _in two years. She has taken a few lessons can practice enough to learn two lessons well while has conquered, it is apt to be just the opposite. The to task for certain things I said in regard to the teach- . * jrstf_i. Unrtlrbook r»fof thetllf ‘Standard Graded Course.’ they are in school, and allow time enough for the devoted Wagner disciple conjures with the name and ing of harmony. Space will admit of only a small Spreads well and has much musical ability. Would necessary outdoor exercise in order to keep well and compares every other name with it. quotation from her letter. you advise me to continue with the same line of strong. They have home work for their school les¬ There are those who are biased in favor of the past, “I noticed in the October and November numbete sons, and oftentimes home duties. A few suggestions and are so conservative that everything bearing the, work?" imprint of newness is stamped as inferior, even if of The Etude, articles on modulation, in one of which I think you will do well to continue with the from my teaching experience may help the inquiring no examination has been vouchsafed. If these per¬ I find the following statement:—‘Any book of har¬ “Standard Graded Course.” It is comprehensive and teacher. sons should accidentally meet with a composition mony that I have ever seen, leaves the subject of as complete as such a course could be made and leave “I require one lesson each week, well learned. Fri¬ which a rational intellect would deem worthy to liver modulation until the student has acquired quite a com- the teacher any individual liberty. With such a day afternoon each pupil is expected to answer to roll prehensive knowledge of harmony, and then introduces call for a free class lesson. If they fail or are tardy, a their deep-seated prejudice will still force them to pupil y°“ can use such music as Schumann’s pieces find it “good, but unequal to ‘this’ or ‘that’” by a modulation, and generally in anything but a simple for children, which are too advanced in conception certain percentage is deducted from the grade mark¬ manner.’ ” favorite author of the past. To them, anything that CONDUCTED BY N. J. COREY for the average child. Theodore Presser publishes a ings of their lessons. At the class lesson we take does not come from the sacred archives of the classic The writer then calls attention to the works of book which is unique in the annals of piano study up ear training, sight singing, theory and musical period is not worthy serious attention. They would Eternal Repetition. the going over and over this same repertoire, year John Curwen, Sr., which, she says, “totally disprove literature, a book that is practically indispensable in history. A member of the class is selected each time not pay to hear a modern composition, or at least after year, until it becomes a part of themselves, that every word I have quoted from your article,” although this class of work. “Suggestive Studies for Music also to play a thoroughly prepared and memorized several of them on one program; and probably that Some pupils are extremely musical, enjoy playing contributes so largely to their becoming great. I heard it is a little difficult to perceive how the works of Lovers,” by Norcross, is its title. It is a compre¬ composition. I give a five minutes’ talk on some com¬ is why so few are ever attempted by artists of repute. a piece when it is once learned, indeed will sometimes Paderewski play several programs during his first Curwen can disprove that certain books that I have hensive compendium of elementary musicianship, and poser, and play one of his representative compositions. It is the duty of every musician to subdue a force then play it to death, but cannot conquer their dis¬ tour in America in the season of 1891-92, and have seen teach harmony in certain ways. She then make, used in connection with the “Standard Graded The pupils ask questions, and sometimes the interest so contrary to right thinking. One way is not to like of drudgery sufficiently to do the work necessary heard him on all succeeding tours, and the repertoires a vigorous plea for the use of Curwen’s educational Course,” will be invaluable with adult pupils of the is varied by playing games. I have found a continued decide a point until every phase of it has received for learning new compositions. Here is a letter from of every tour have contained a large proportion of the system, and outlines something of his method, par¬ sort you mention, a small portion of it being assigned interest in the class for gaining knowledge, and it has the closest scrutiny. An unwillingness to do this be¬ a teacher who has a pupil of this sort. same compositions. The same fact may be observed ticularly as to the teaching of harmony. She says:— at each lesson as the pupil is able to digest it. At the helped much in the better preparation of the piano trays a biased view. Upon debatable questions we “I am a teacher of the piano, and have been a with all the great pianists. It is true, the critics complain “It is right that those in America who write on back is a useful list of pieces of moderate difficulty lessons. By attending to general and theoretical will invariably find that a discriminating judgment subscriber to The Etude for years. I write now for bitterly of this monotonous repetition of the standard musical subjects should be made aware that there lies by composers of various nationalities from which you matters at these meetings, the time at the regular rendered with an honest desire to get below the advice in regard to a rather wilful and stubborn pupil. repertoire by the public players. But I have noticed in the works of John Curwen, Sr., a wealth of ma¬ may obtain suggestive ideas to aid you in selecting lessons can be entirely devoted to technic and inter¬ facts appearing, perhaps, only too evident on the sur¬ He is sixteen years old, and yet persists in spending that those pianists who have attempted to present terial for educational purposes which they would do suitable pieces for your pupils to play. There is also pretation.” face, will be closer to the truth than an unreasonable the greater part of his practice time on old pieces, programs out of the beaten path have received but well not to ignore, for it is not only infinitely superior a classified list of etudes which may be found of use. prejudice would ever allow us to get. And it is no giving only a few minutes to exercises and new work. scant recognition. to all existing methods, but it will be almost impos¬ A student who works his way through the book will easy matter for humanity to discard a weakness that Pieces he learned more than three years ago he plays You may interrupt here, that your pupil has not yet sible ever to improve upon it.” have widened his musical horizon extensively, while at STUDIES IN PREJUDICE. A PHASE OF is seemingly born in it, a weakness so prevalent that over every two or three days, because of which his reached the advanced stage in his career when he It is impossible to quote all that she has to say on the same time obtaining a reasonable command of MODERN ART. there is hardly a phase of musical activity that is mother is constantly complaining to me. I have ad¬ can select his repertoire from the standard works for the subject, but I would say that it is probable that the keyboard. not affected in a greater or less degree by it. vised him repeatedly how to practice, but he persists the piano. True, but he apparently possesses one of a teacher who is so vigorous in her loyalty to a system The following letter from Eben H. Norris contains So let us recognize the good that is done by some¬ in following his own way. He reads very poorly and the habits that greatly helps in the making of players. must be equally successful in presenting it to her some pertinent suggestions in regard to BY GEORGE HAHN. one for whom heretofore we may possibly have had an is a long time in learning a new piece, yet plays his If you can imbue him with a strong desire to advance pupils. In such work the personal equation figures unfriendly feeling. Let us recognize merit from what¬ old pieces with more finish than most of my pupils, in his work, and then keep the habit of repetition and very largely, and one may be permitted to infer from Some Mistakes Made by Teachers. ever source. Let us recognize the great, the fair and always has something ready to play, being rather the desire for progress well-balanced, you can perhaps Mrs. Patton’s letter, that her success is likely to be It is safe to say that nearly every musician is “During a teaching experience covering over and the indifferent, and be prejudiced against neither. fond of showing off. I realize that he needs to be make a good player of him. You might try what quite as much due to the influence of her dominant per¬ more or less influenced by a prejudicial view regard¬ twenty-five years, I have made some observations Let us give everybody his due, and be inimical to dealt with in a tactful manner, and have reasoned would be the effect of a little extra attention for a sonality in presenting the system, as in the merits of ing phases of his art. This is not doubtful when we which may be of interest to others. First, I am fully no particular style, sort or species of music; nor with him until I am at my wits’ end. Would I be time. Assign him a short lesson in advance. When the system itself. consider to what an extent prejudice is implanted in convinced that the most glaring error made by teachers disparage the works of any particular writer. Let justified in dismissing such a pupil?” he comes to you, take one thing, his etude for example, In regard to the Curwen system I would say, that the human make-up, and to imply that a musician is that of giving pieces either too difficult or not proper¬ us be just, remembering that “a fair field and no Some natures find great pleasure in doing and con¬ and make him spend the entire lesson hour practicing twenty years ago I bought some of Curwen’s books, but is exempt from its subtle influence is expecting too ly led up to. This fault is no doubt due to the natural favor” will injure nobody. quering the things that are new and difficult to them. it. Make it a practical example of the manner did not find them new or especially original. Many much; the great and the little alike have a share desire of teachers to advance their pupils as rapidly Others are only happy when doing the things that are in which he should practice. Appoint another of his ideas I was already making use of and these and of it. as possible. It is particularly noticeable when pupils easy for them. They do not enjoy the preparatory hour in order that you may give him a little others could be easily traced to previous educators. Suppose a gentleman renowned for his success in are allowed to play in public recitals things that CARE TO PRACTICE, THEN CAREFUL practice of going over things until they become easy. extra attention, and repeat the process. Do this The system as a whole I did not find as progressive research and the like should suddenly declare that a they have been unable to master. In some cases I PRACTICE. But in music the popular maxim must be made to again at the next lesson, and try to make him and up-to-date as the common practice of the best certain Hans Schmidt wrrote the sonatas credited to am inclined to attribute this to a species of vanity on read, “Eternal repetition is the price of success.” realize that such pains are necessary for him in his American teaehers. Educational ideas become com¬ Beethoven, or the majority of them. What would be the part of the teachers as they apparently think it No one ever accomplished anything definite and dis¬ work if he would succeed. Try to make him realize mon property in their transition from generation to the verdict of the musical world? “Impossible!” enhances their prestige to show the names of preten¬ BY KATHERINE MORGAN. tinctive in this art, until this had become thoroughly that by working earnestly in this way, he may much generation, and therefore many ideas found in modem We would be unwilling to believe that the musical assimilated. It is a difficult and perhaps disagreeable more quickly learn new pieces to “show off” with. text-books may be traced to previous sources, and with¬ tious pieces on their programs. public had, for so many years, been deceived regard¬ “Second, too many teachers insist that the pupils fact for everyone concerned, and perhaps even those Try to make him realize how much greater display he out the writers being in the least conversant with those ing so vital a matter. Now, the author of such a How often teachers write: “Careful practice,” but not concerned, for the success of the piano player often will be able to make if he advance himself so as to sources. Curwen’s fame rests mostly on his Tonic- shall have no choice in the selection of pieces that are statement would doubtless have his reasons for how much better it would be not only to write but given them to play, ignoring equally their likes and means the despair of the neighbors. It is the practical be able to play the more difficult pieces, and how much Sol-Fa System, which has had much vogue with sing¬ making it, and if we say “impossible” without ex¬ have the pupil “care to practice.” dislikes. I believe better results may be obtained by application of this maxim that causes them to wish more both he and his audiences will enjoy them. By ing societies in Wales and certain portions of England. amining his arguments, we betray an unjudicial at¬ A great musician was once asked: “What is the the teacher’s playing over several pieces of equal merit, that they could erect barricades and noise extermi¬ continually hammering at him in this way you may It is not practicable for instrumental music, however, titude, even if our implied belief may be correct. secret of your success?” His answer was: “When nators, and to perpetuate such jokes as the following, be able to produce some practical results. I would and therefore proscribed in its use. It will probably the pupils selecting the one that makes the most And should we give the matter a fair hearing we a boy, my teacher made me do those things I did not which purports to have been found on a tombstone not advise you to dismiss the pupil who, as you admit, never come into universal use even with singers, for forcible appeal. This is more applicable to pupils would still be influenced by an innate prejudice; like to do, and now that 1 am no longer young, I make near Versailles:—“With the exception of the time represents you the best. On the other hand, I would it is foolish to ask musicians to learn two methods who are somewhat advanced. Teachers are mistaken unless absolute proof regarding Hans Schmidt’s myself do what I do not want to. I do the task during which she studied the piauo, she led an exem¬ point him out to the other pupils as an example of of representing music to the eye, when there is one in thinking that this compromises their dignity. authorship was given us we would not believe in him. until it becomes a pleasure.” In other words, he plary life.” I have heard that in some cities in the brilliant results that may be produced by the con¬ system now in use which is practicable for both “Third, some teachers give sonatinas too freely to If, however, sufficient proof were given us to make makes himself “care to do.” Germany, ordinances have been enacted regulating the tinued practice of pieces already learned. Try instrumental and vocal music. The Tonic-Sol-Fa all sorts of pupils without discrimination. Sonatinas it very probable, our unwillingness to accept it would If as a student you find yourself in a “don’t care” are of great value to some pupils, and of doubtful permissible hours for this eternal repetition. But it in this way to induce them all to have a repertoire cannot compete with the graphic picturesqueness o again stamp us as prejudiced. mood, stir yourself, pretend to care, make believe you is only among the pupils where it prevails that good of a few pieces which they keep in constant practice, the printed music page. A single glance at the value to others. Pupils who lack time, taste and tune But prejudice goes further than this. W7e find that care, and soon you will find that you really do care, players are sure to result. and which will enable them to acquire that fluency ordinary printed page of music is sufficient to give t e will fare better on a variety of things containing ob¬ many of those who worship at the shrine of a favorite and will sit for hours working on what you once dis¬ vious melodies and well marked time. Likewise too Your young pupil seems to have “caught on” to that will cause their playing to become attractive to practiced musician an idea of its character, harmoni¬ composer will be as strongly disposed against all liked. ■“any pieces of a single composer are given in the this secret, although apparently in an unconscious their listeners. Without this fluency which comes cally, melodically and emotionally considered. Sue others. They will not judge works upon their merits, “Grasp your work,” said Sydney Smith, “as one earlier grades, one teacher confining himself too much sort of manner, and not in the thorough-going way from a perfect mastery of technic as far as they have a feat is impossible with the Tonic-Sol-Fa. The fie and upon their merits only. Prejudice will enter into grasps a nettle; do it lightly and you get molested; to Lange, another to Lichner, and others, who desire you would like to have him. You admit that he plays gone, it will be impossible for them to represent the of its operation is very much circumscribed, and there¬ every decision. The works of their favorite stand grasp it with all your strength, and you feel none of Popils to make a display with little mechanical skill, better than your other pupils, and you also admit that spirit of their music. It will prove a good plan, I fore it has made but little headway. pre-eminent; those of the lesser lights are found its asperities.” There is nothing so disgraceful as “sing many pieces by Sidney Smith. When I have it is because he keeps constantly at his piece. Now think you will find, at the regular monthly, bi¬ wanting and are promptly shelved. Even if passages languid study, when you sit looking at the clock, wish¬ A Condensed Course for Adult Pupils. observed the limited repertoires of some teachers, I this is just what the majority of teachers would give monthly, or weekly pupils’ recital hour, as your class seem excellent, the verdict continues unfavorable; the ing the time were over, or that some one would call Most teachers have a clear idea in their minds as to have felt quite sure that they are not readers of The a good deal if they could get their pupils to do. The may warrant, to call upon each one to play one of glamor of a name is too strong. you and put you out of your misery. Even if you what to do in teaching young pupils, especially w e Etude or any journal devoted to the interests insane desire for novelty which fills the minds of these old pieces as well as the one that has been es¬ Nationality has a distinct bearing upon the sub¬ enter on your day’s work thinking: “I wish I did not they expect to follow a consistent and long °°arse „ of teachers. Many teachers go through life using only American people, leads pupils to desire to cast aside pecially prepared for the occasion. In this way they ject. In Continental countries, each enlarges upon have to,” try to say: “I will make friends of this study. But occasionally one encounters an adult Pu the pieces that were “good enough” for them when a piece before it is even well learned, to say nothing will gradually place themselves upon the artist plane. its contribution to the great in music, and naturally master of music. I will admire his thoughts, try to who can study but for a comparatively short time, they were students, ignoring the fact that the musical of artistic finish. They ramble about from one to disparages that of its neighbor. A Russian and a express his ideas; he is my friend. This day I will A Letter from China. wishes to obtain as comprehensive a knowledge taste and practice of the people is changing constantly. another with a desultory sort of interest that never German musician once had an informal argument over do him no wrong; he is my guest for today.” Enter The editor of this department does not object to possible during this period, so as to be able to & ^ “ these days when publishing houses are sending out concentrates itself upon anything long enough for the relative merits of the symphonies of Beethoven into your work so that should anyone knock at your criticism, even vigorous criticism, especially when it music more intelligently than the mere practicing ^ thematic catalogues and advertising in every way pos- them even to learn what thorough practice really and Tchaikovsky. The Russian maintained that the door it will take you five seconds to determine if it is comes from so remote a city as Shanghai. Indeed, we S|hle, there is no excuse for teachers not trying to keep means. I believe that it would be immensely to the elementary etudes and pieces will permit, works of the Russian master were superior to those your place or Bach’s to answer. will all be glad to learn of so much musical activity in “P with the times.” pupil’s advantage if more reviewing of work could be pupils generally have a taste for music far in a * of Beethoven; the German as vehemently maintained Not many months ago I found there was little love a country where the tom-tom is popularly supposed to done. Would it not be a good plan if the same amount of any technical facility they may be able to e gB Headers will notice that Mr. Norris’ observation in that the latter had said the last word in symphonies. in my heart for Bach. One night I asked him to be reign supreme. I have heard of attempts being made of time were spent upon the etudes as at present, in a limited time. They wish to be able to ob a regard to pUpii8 selecting pieces is directly opposite They would not compromise, and each declared that my guest. He was so stupid, dull, flat and altogether to inoculate China with some of the results of Western but upon half as many? After Clementi, for ex¬ intelligent grasp of high class music of mo ^ o an opinion recently expressed in these columns by the other could not appreciate the beauties of their uninteresting, but he was my guest and as such he musical culture, which were treated with little else ample, to review the most important of Cramer for a difficulty, not for purposes of public performa0**’^ anther teacher. The following letter has been re- respective clients. Between two intelligent and thor- was to be regarded. I asked him to return the next than contempt. The Chinaman is said to hold feelings higher rate of speed. It is rare for a pupil to attain simply for their own edification. The desires o ^ «'ved from Miss Ada Harwood, in regard to the “one oughlv educated men such an argument may fre¬ night at the same time, trying ever to listen to what of deep sympathy for us in our ignorant and pitiable the proper tempos the first time over. people are not to be scoffed at. They simply W1 r 68800 a week” question recently given in this de¬ quently occur; it merely illustrates to what lengths he had to say. I soon found I did not grow so attempts at music. “And how could it be otherwise,” use their limited time in the most intelligent m ^ partment. fatigued. By degrees the master grew less dull; I As a matter of fact, this reviewing process exercises birth and nationality will lead. says the Celestial, “for Chinese music has the sanction possible. I have the following letter in rega found myself less weary. Soon I ventured to hope an important function in the making of virtuosi. One Lesson a Week. There was a time, not very long since, when the of the remotest antiquity, dates back thousands of such a student. for « that we would be friends and that I would be ad¬ They acquire a certain repertoire, which they practice average musician found it difficult to recognize the years, while yours is only the futile result of the experi¬ “Will you kindly suggest a course of etudy ^ 1 ,Sm always interested in the ‘Teachers’ Round merits of the Wagner school. The innovations of mitted into his thoughts. One night, the melody and play throughout their artistic careers, and to ments of a comparatively short period.” Is Mrs. Patton young lady about twenty years of age, who ^ art-’ .1 was especially interested in the request for the Wagner music dramas called forth a storm of grew infinitely sweeter, the harmonies lovelier. He which they add comparatively few new pieces. It is successfully working to break' down this spirit of dv>ce >n regard to pupils who only take one lesson a ambitious and desirous of making a resonable protest and ridicule. In our day, now that Wagner was no longer stupid and dull. ee . My experience has proved to me that few pupils 400 THE ETUDE THE ETUDE 401 the attention it deserves, and that the concerts of the Chopin’s “Polonaise” in C sharp minor is one of EUROPEAN MUSICAL TOPICS. ON THE RETURN OF ON SALE MUSIC. containing about 70 esercisus, each one covering some future will show more unity and musical value than his most characteristic and original works. It Miss MacCall, of Newark, N. J„ gave a “SDrlnetM. Song Matin,” May 2, the selections being intended > UiJqORESQllES. represent the Spring months, March, April and May. The Everett Piano Mr. Gustav L. Becker, of New York City gave SPECI April 14, another of the series of lecture-musicales ,5 BY ALFRED H. HAUSBATH. PIANO TONING PATS "The Musician’s Equipment.” The series has dealt with The best symbol of musical culture the traits of character essential to musicianshln thl last being on “Sympathy.” Mr. Becker’s piano puplU gave an excellent program In illustration. H Papa—‘‘For pity's sake, Willie, what are you bang¬ Our Graduates Earn $5 to OTICES Mr. A. W. Borst, of Philadelphia, gave a lecture an ing on that tin pan like that for?” $1 O Per Day the Year Round “Descriptive Music.” The illustrations were furnished Willie—“I’m playing orchestra.” *5 You can usually estimate with reasonable ,ure», ^ Llebllng, are pupils of Mr. Borst’s Analysis Class. Dy accuracy the intellectual aspirations in a home Professional Want Notices are inserted at a cost of I Papa—“Come here and let me play in your orchestra, cents per word, caBh with order. Business Notices. cvocui. i imcuu nr UBe it in my teaching and also by the class of books in the library. ——7 word, cash with order. Do not have rep: for my own practice to keep up my technic. I shall want Mbs. Fannie E. Hughey, of St Louis, Mo., gave . cents per word, cash lecture on “The Essentials of Good Music” before the and let us see if we can’t introduce some nice long directed to this office. another copy at once.—E. M. R. Malam. Western College for Women, Oxford, O., April 17th 19og rests, with telling effect. Do you know what a lunga ___ PIANO An Everett in the music room denotes The ‘‘Exercises in Extension” by Philipp are very TUNING. ACTION REGULAT¬ musical culture throughout the home. Sradical and valuable to teacher and player.—L. a. pausa is? No? Well, just you put that pan in the ING, VOICING, AND FINE PIANO TEACHERS.—IF YOU ARE INTERESTED IN icholas. ashbarrel until after the ashman has been around and REPAIRING, all in one practical, The greater sum necessary in the purchase a new kindergarten piano method, send 25 cents (regular easy and complete course, taken price, $1.00) for a copy of Chas. Edwin Veon’s “Intro¬ The Etude has in It music for everybody’s taste and then you will know, and won’t forget.” at your own home BY CORRES¬ of an Everett does not constitute a larger ex¬ ductory Materials." A short course given free to teach¬ talent; the numbers for the little folks are well chosen. RECITAL PROGRAMS. PONDENCE. Under our fkr- pense account, but is an additional investment ers adopting the method. Address, The Piano School, I am familiar with several methods of Harmony teach¬ 80NAL ATTENTION system of in¬ in a finer and more valuable property. ing, but find Clarke’s “Harmony” so logical and clear that Beaver Falls, Pa. Pupils of the Virginia Female Institute. Tommy—“Have asses got good ears for music?” struction, and by use of our ex¬ I shall use it from now on.— -w. G. Barnes. The Erl-King, Schubert-Liszt; Piano Solo-Tarantelle clusive invention, the TUNE-A- The greater durability of an Everett and FOR SALE—A STEINWAY PARLOR CONCERT Baltzell’s “History of Music” is the most complete Lack; Piano Solo-Valse Styrienne, Wollenhaupt • Sold Father—“What a strange question!” eab can learn to tune. After two the more perfect achievements resulting from its Grand Piano, in good condition and at a low price. and satisfactory text book I have been able to secure. Morning Greeting, Gurlitt; Bubbling Spring, Rfy^Klnz* _. „—-mx-'R STUDY, you can BEGIN TO Address, D. D. R., No. 1200 Oak St., Columbus, Ohio. Tommy—“Their ears are so big, they could hardly EARN MONEY by tuning, regulating and repairing pianos. use are the extra dividends you receive on a I shall use it for my class.—Mrs. A. G. White. Piano Solos, Valse Lente, Schiitt; Hungarian Dance’ When you have finished our easv, tkorouoh, fascisatino My class of children are delighted with the motion Brahms; Polonaise, C sharp min., Chopin; Venetia d miss a note I should think.” judicious purchase. Napoli, Liszt. songs you sent us. We are going to use them in our Father—“They have very substantial ears it is true, k„uHE fourth annuai competition for the W. W. Kim- 5. An artist known by his wonderful piano play¬ The Charming New Two-step Intermezzo. ha.s been announced by the Chicago Cinb’ D- Ai C1*ppinger, conductor. The ing rather than by his compositions. setting is for a chorus of mixed voices, and is to be 6. A composer whose works are characterized by sung unaccompanied. The competition is open to any SSET, bo‘“ ln bhe United States, and will close great grace and charm. RezsxITbe AH.n r,,!: f00£' ,The composition to be set to music is The key to this word square is found in the fact A B A Wet Sheet and a Flowing Sea.” O , sb?"‘d addressed to Mr II. A. that by taking one letter in each name in a' certain senrl .?8^;. 41°, SJmbali Building. Chicago. Ill. He will but not obvious order, the name of a seventh composer, Leslesj AZALEAS enter the cPoympetIHon.POem t0 My perSOn wh° W,8heS t0 who stands in the first rank of those who have written Which ha* set the people keeping time— for the piano, is spelled. F. S. L. *nrtiEhH07i?N ? Nln,h Symphony was given in Paris in According to the expressed wish of the PoDe n,. All the people, all the time. Tnv” the Lamoureux Orchestra. Schiller's “Ode to Choir of the Sistine Chapel is to be reorganized; For sale by all music dealers. Published by Joy was sung in French. soprano part will be carried by thirty boys; the'other LYON & HEALY. - - Chicago. Musical Proverbs. members will be two first and three second tenors twJ, «nuI5f;.J^HEOI2OR.E Sdtro, a prominent musical amateur first and three second basses. The director of the choir i "1^. founder of the National Federal ion of Musical Clubs. the Ahhe Perosi. New Y,ork City. April 29. Mrs. Sutro’s activity in general musical work included several books. tion of Germany. Xaver Seharwenka, president, n Valuable Organ Information JHB ,B,ICH£0NS’ Va” Mfly Music Festival wm very Berlin, April 9-11. In addition to discussions on mat successful. Dr. R. H. Peters was the director. A fea¬ ‘ s connected with raising the standard of work amonr By Wm. Horatio Clarke ture was a chorus of children from the public schools. Bullet 11) chers, paDers were read on tonics connectn-wt, —K (Editor of the Organ Department of the 11 Musician.”) The Baltimore Oratorio Society celebrated its _d piano PRICE SOc, POSTPAID. twenty-fifth anniversary last mouth. The present con¬ Germany. ductor is Joseph Pache. A foreign exchange gives a few notes in regard fa descriptive circular sent free, address, Mozart s family. The widow married a Danish dlplo- E. T. Clarke & Co., Ciarigold Hall, Reading, Mass. The Musical Review, a monthly magazine published mat named Nissen, largely in the interest of her chit at San Francisco, lost its entire plant in the recent dren. Of the latter. Charles took up with n commercial disaster. This paper was a strong force in musical career, ultimately occupying a position in the govern¬ matters on the Pacific Coast. TRIEBERT CLARIONETS ment service of Austria. The youngest, Wolfgang Mr. Frank L. Sraly, a musician of New York City entered the musical profession but did not possess the and a well known composer, is arranging to give four coins to add luster to the name. He died at Carlsbad symphony concerts for young people in Newark, N. J., n 1844. next season. Each symphony will be thoroughly ex¬ We are the sole American agents for Chas. Triebert, Paris, Reed Instruments—Clario¬ CLASS PINS Special designs for musical clubs and classes. plained before being performed. nets, Saxaphones, Bassoons and Oboes. Write for illustrations to the manufacturers, The Lobtzing Monument will he given a prominent It is a source of much gratification to us to control the output of the most famous of career was that of a successful concert singer. position in the Tiergarten, Berlin. It is a life size figure. European manufacturers. she joined the faculty of the Vienna Conservatory: In BENT & BUSH Triebert was the first to apply the Boehm system of fingering to the Clarionet. 1861 went to Paris ; in 1865 to the Cologne Conservatory Two of the Conductors said to be engaged for the and in 1869 returned to Vienna, where she remained 15 School St., - - Boston, Mass. Hammerstein Opera Company, to be established In New Every Triebert Clarionet possesses that priceless feature, the true Triebert tone. This, until 1881 when she decided to make her permanent home York next season, are Leandoro Campanari, brother to with its superior model, finish and workmanship, .places it far above any other French tampanari the baritone, and Cleofante Campantnl, brother In Paris, where she added to her previous great rep¬ of the great tenor, now deceased, of the same name. Clarionet. . . , utation hvby the successs nt a number of her pupils. Each Triebert instrument represents the best efforts of an eminent specialist, and is in Isidore de Lara’s new opera, “Sanga,” Is to be pro¬ Sunday Concerts are allowed in Massachusetts r duced in the state theatres of France, Germany, Italy and vided that three-fourths of the receipts go t< 8cEa?: every sense a work of art, while the price is very reasonable. One of the Greatest Hits Ever itable institution. Helena Maguire. They are gladly sent subject to thorough trial and our usual return privilege if not Belgium. His ’’Messallne” has received more than three hundred performances. Mr. do Lara is an Englishman An Effort Is being made to get Rlchnrd Strauss to A Musical Game. fully satisfactory. by birth, but was educated principally in Italy, In the Composed for Piano come to this country next season to arrange for and Triebert Clarionets, 13 keys, 2 rings, $15.00; 15 keys, Conservatory at Milan. supervise a performance of his latest opera “Salome.” Below is a musical game which will prove highly 2 rings, $18.00; 15 keys, 4 rings, 4 roller keys, $25.00. The Deutsche Musiker Zeitung has recently pub¬ _Tw°- Tiie Sioux City, Iowa. Music Festival, May 23-24 was entertaining and instructive. Any number of persons Triebert Art Clarionet,*,15 15 keys, 4 riirings, 4 roller keys, lished an article on the social condition of the orchestra well attended. Mr. Judson W. blather conducted the choral can participate in it. Every member of the game is $ . . players of Germany. In cities as large as Hamburg and concerts; Mr. Frederick Stock, conductor of the Thomas 3650 Frankfort-on-the-Main the plays in the municipal furnished with paper and pencil, and a letter is then /e may be had in A b, C or Eb, in either high or , Order today. Orchestra, of Chicago, had charge of the symphony con¬ AU of tb theatres get what c___n scarcely be called other than certs. Mendelssohn’s “Elijah” was tho principal work. selected, say ”B,” for instance. At a given signal all starvation wages. In Hamburg“—i-f a amiiy of four lived By C. S. MITCHELL on a food allowance of twenty ci a day. The New York Staj-e Music Teachers’ Association begin to write composers’ or musicians’ names be¬ Write for a FREE copy of Lyon & Healy’s Musical Handbook, fully describing Triebert Contains Catchy Music [and Handsome Title Page. meets in Geneva. June 26-28. The Association is raising a ( goods, and also thousands of other articles of interest to musicians. Address, fund for San Francisco musicians. ginning with that letter. The first person completing Send 22 Cents in Stamp*. rAddress, a list of fifty or other number agreed upon gets two National Finnish school, of which Sibelius is ‘a distin¬ The Philadelphia Orchestra closed the season with a guished exponent. He was a fine organizer, the national smaller deficit than last year. The guarantors have been points; any one having more than forty, or some num¬ (/, LYON & HEALY, 29 Adams Street, Chicago \ music festivals at Helsingfors, Wasa and Abo being due CHAS. S. MITCHELL MUSIC CO., railed upon to pay only 45 per cent, of their subscrlp- ber proportionate to the full number, when the first to his efforts; since 1882 he was the director of the Con¬ BOX 14.ASHLAND, OREGON. membet through calls time, receives one point. Ten servatory at Helsingfors. In addition to this he did PierxE. the French composer, has written a work in the considerable work as critic and theorist, having pre¬ oratorio style founded on the story of the “Children's points win the game. pared text-books for use in the school of which he was Crusade” .which took place in the 13th Century. the head. This game is very appropriate for gatherings and The Illinois State Music Teachers’ Association shows who can think rapidly and is acquainted with The Russian tenor, Alchefgki, has been engaged for meets at Peoria, this year. June 12 to 15. The President the Manhattan Opera House, in New York, directed by is Glenn Dillard Gunn, 202 Michigan Ave„ the Secretary the most names of musical celebrities. Ilammerstein. Manager Conried’s rival. He is the H. S. Perkins, 26 Van Buren St., both of Chicago. The Daniel Bloomfield. The Cooke-Keller Combination Music Staff Ruler favorite singer of the Czar. program presents both educational and musical features. The prize offered bv Mr. Josef Hofmann for thr The Northwest SXngerfest meets In St. Paul, Minn., best piano composition fulfilling certain conditions set by New Collections In July. About 1800 singers will attend. liim, was awarded to Mme Isidora Martinez, of Boston, BREAD DYSPEPSIA The value of the prize is $500. A New Piano has been exhibited in Berlin which, by THE DIGESTING ELEMENT LEFT OUT. The Metropolitan Opera Company was a heavy loser means of a mechanism provided for the purpose, has a in the San Francisco disaster. A number of the leading varying weight of action from quite light to quite heavy; further, the bass and treble can be separated and a ,,“h» Bread dyspepsia is common. It affects the bowels artists lost their entire wardrobes. Standard action given tr-*"-*e hand while ““the other "-'~has a h because white bread is nearly all starch, and starch That’s what the Cooke-Keller Combination Music Staff Ruler saves and student who uses one- Mme. Schdmann-Heink returned to the United A number of the most prominent leading Musicians, including Dr. Wm. Mas Damrosch, F.. M. Bowman, States In April bringing with her three of her sons. Two is digested in the intestines, not >n the stomach proper. c u- Woodman, Arthur Claassen, N. Coe Stewart, L. V. Saar, and many others, have emiorsed'tmsa Instrumentinstrument injn thttl)e older children remain in Germany, one in the naval Harvard University, died In April last. He retired Up under the shell of the wheat berry Nature has - -- nothing. A postal addressed to us will bri^ you ou! Graded Songs from active work in teaching last Full, but continued an MINUTES »“r^sve ' y°Ur °' school, the other a daughter, is married. She will make provided a curious deposit which is turned into her home near Montclair, N. J., a charming suburb ot FOR THE FIRST YEAR honorary connection with the University. Prof. Paine New York City. was born at Portland, Me., in 1839, studied with local diastase when it is subjected to the saliva and to the THE COOKE-KELLER CO., 708 Halsey Street, BROOKLYN, N. Y. FOR THE SECOND YEAR teachers, going to Germany in 1858, where he studied for According to a work recently published Lescbetlzky several years, paying particular attention to the organ. pancreatic juices in the human intestines. said the following about his pupils: The English are- In 1862 he took the post of instructor In music in Har¬ This diastase is absolutely necessary to digest good musicians, good workers, had executants; tae Price - {1.00 each vard, in 1875 became full professor. He wrote important ZABEL BROTHERS Americans are more spontaneous, quick of perception ana works in both large and small forms, including two starch and turn it into grape-sugar, which is the next possess considerable technical facility; the Russians A collection of specially edited and selected songs, symphonies, two symphonic fantasies or poems and an form; but that part of the wheat berry makes dark stand first, they have prodigious technic, dramatic power, for the use of teachers in their studios, suited for pupils’ overture for the orchestra ; nine choral works with orch- elemental force, and extraordinary vitality; the Pole, less recital work, or for the home aid social circle. The estral accompaniment, an opera (Azara) ; organ com¬ flour, and the modern miller cannot readily sell dark strong, leans more to the poetical side of music; tne yooks will contain songs for the use of pupils who are positions. chamber music, songs and part songs. A num¬ flour, so Nature’s valuable digester is thrown out and Music Printers French are dainty, crisp, clear cut in their playing ana ber of prominent American musicians were members of in the first and second years of their vocal study, mod- the human system must handle the starch as best it phrase well, the Germans are earnest, devoted to details, el?ite m ranSe technically and artistically within the his classes. A very interesting sketch of Prof. Paine a orderly and Intense In their love for art; the Sweaes influence on American music, by Mr. Louis C. Elson, was can, without the help that Nature intended. AND ENGRAVERS have much talent, the Italians lovable. What a marvei 1!?y avera£e pupil* such as may be used from the beginning of vocal lessons and through the first published in The Etude for March of chis year. Small wonder that appendicitis, peritonitis, consti¬ the music world would have If all these qualities coniu and second years of instruction. f'Tusic typography in all its Branches be mixed up In one player. pation, and all sorts of trouble exist when we go so The Minnesota Music Teachers’ Association *M*j*J? contrary to Nature’s law. The food experts that Minneapolis this month. Mr. Gustavus Johnson is pres OUR PUZZLE CORNER. Music Printing dent. perfected Grape-Nuts Food, knowing these facts, made piDudley C. Liiitnenckzzj COMPOSERS AUTHORS TEACHERS The City Orchestra of Leipzig has over six hundred We suggest that teachers and other .persons who use in their experiments of the entire wheat and Write For Prices rehearsals and performances in a year, an average are interested in providing musical entertainment for barley, including all the parts, and subjected them to about two a day, excluding Sunday. AlbumefLyricPieces clubs and social gatherings carefully preserve their moisture and long continued warmth, which allows ■ffiLnSSfif s^shrsyr *•* The St. Petersburg Conservatory was closed sonre ■ time ago on account of the political troubles, bu‘ “der FOR THE PIANO copies of The Etude, or cut out the puzzles and games time and the proper conditions for developing the E. *. Stege Co., 252 W. 47th St„ New York expected to be rewpened in September next. Alexauu and file them in their scrap-books. They will prove diastase outside the human body. Giazounov has been elected director. Price - 50 cents very useful later. In this way the starchy part is transformed into grape-sugar in a perfectly natural manner, without Answers to Puzzles in “The Etude” for May. the use of chemicals or any outside ingredients. The SUBSTITUTES !!&L&l«0£Si3§S- ev®e” Cube Puzzle.—1-2, Cymbal; 1-3, Chorus; 2-4, Le¬ little sparkling crystals of grape-sugar can be seen on W INSIST ON HAVING THE GENUINE sjeevs, wnue well-contrasted, are all truly Ivric in gato: 2-7, Lutist; 7-0, Thomas; d-4, Subito; 3-5, the pieces of Grape-Nuts. This food therefore is character. None are beyond Grade III in difficulty; Sonata; 4-6, Organs; 5-0, Ambros. naturally pre-digested and its use in place of bread will CUSHION some are as easy as Grade II i he Collection includes no dance forms or severe Charade.—I. Harpsichord: II, Piano. quickly correct the troubles that have been brought button classics; the emotional element is always prominent. Enigma.—Wolfgang Amadeus Mozart. about by the too free use of starch in the food, and that is very common in the human race to-day. THEODORE PRESSER Word Square. The effect of eating Grape-Nuts ten days or two ^gUPPORTER 1. A well-known writer of etudes. weeks and the discontinuance of ordinary white 1712 Chestnut Street, Philadelphia, Pa 2. A French operatic composer. bread is very marked. The user will gain rapidly in 3. A German operatic composer. strength and physical and mental health. 4. A favorite composer for the ’cello. “There’s a reason.” Please mention THE ETUDE when addressing our advertisers. Please mention TIIE ETUDE when addressing our advertisers. 406 THE ETUDE THE ETUDE 407 Number 1542. referring to the sections of the vault in QUESTIONS AND ANSWERS. which the plates are kept, they also form a stock num- ber, used as a convenience Instead of a title. A. M. S.—Grieg’s music to Henrik Ibsen’s “Peer J. B. L.—The student can profitably begin the study of The Hanchett System of Practical 'iP.t,, W«S written for the production of the play at counterpoint much earlier than is usually attempted. By Christiania. Portions of the elaborate incidental music the time he is acquainted with the triads, chords of the were published in a four-hand arrangement us Op. 23. seventh and their resolution, and with the principles gov¬ Later the orchestral suites. Op. 40 and 55 appeared. The erning suspensions, he is ready for the more elementary Teaching Helps first suite contains “Morning,” “Ase’s Death,” “Anitra's rules of counterpoint. The advantage is this: If the CORRESPONDENCE Dance,’ and “Peer Gynt in the Halls of the King of the student continues too long in harmony he thinks of Dowe Mountains.” The second suite contains “The chords only from the perpendicular point of view. Abduction of the Bride”(Ingrid’s Complaint). “Arabian STUDY OF GIBBON’S CATECHISM Dance, Peer Gynt’s Kef urn” (Stormy Evening on the Counterpoint, on the other hand, considers music from Coast). Solveig’s Song.” “Dance of the Dovre King’s the progression of the separate voices or parts, a horizon¬ OF MUSIC Daughter. The first suite is most widely known. tal point of view. There must be a judicious mixture of E. S.-—Of the pianists referred t_,, Teresa__ Carrefio, Gibbon Chambers KiHough the two. A text-book on counterpoint by H. A. Clarke is Mark Hambourg, Harold Bauer, Busoni.nm D’AlbertT A anaI The subject-matter, in the form of Questions ‘‘Peer Gynt,” entitled a dramatic poem, is in five acts published by Theodore Presser, also one by Homer Norris: l’aderewski, Paderewski has undoubtedly reached the and Answers, 499 in all, covers the necessary and thirty-eight scenes. It is the story of the mad an excellent and stimulating hook is "Studies in Part- Musical Theory pranks and extravagant adventures of Peer Gynt, the Writing” by Walter R. Spalding, assistant professor of highest level of general artistic excellence. As to the elementary instruction in notation, time values, best command of tone, I should say that in general intervals, scales, keys, chord construction, son of an idle, drunken Norwegian peasant, ‘and an music at Harvard. For Schools, Clubs and Individuals Harold Bauer stands the highest, although at his best abbreviations, and embellishments. The answers honest, hard working mother, who is saved through tlic M. A. B.—To learn the characteristics of the orches¬ Paderewski surpasses him. The greatest technician of are direct, concise and easily memorized. lifelong devotion of Solveig, a peasant girl. He begins tral instruments get Prout’s "Primer on Orchestration.” The Plan involves the real study of MUSIC—not Playing, Singing or Technique, but MUSIC. this group is Busoni. Teresa Carrefio is a pnpil of L M Price, SO cents. by telling his mother vainglorious and false stories of An interesting treatise on a larger scale is that of Gottschalk in this country, of G. Mathias in Paris and his prowess; he goes to a wedding, alarms all the guests Berlioz. The Idea is the same as that underlying my widely known Recitals. of Eugene D'Albert; Mark Hambourg is a pupil 0f his by h's swaggering, insolent bearing, wishes to dance with father and of Leschetizky: Herold Bauer is chiefly self- WRITING BOOK solveig, who is afraid of him, and ends by carrying 8. E. L.—A good primer for class work in piano Is taught; Busoni studied first iu Italy, later with Liszt1 For exercises and rules in Dictation,Harmony and Theory away the bride. ralmer's "Piano Primer." For a class book on theory Send for Circulars. Address C. S. Marks "First Year in Theory,” Skinner, or Shepard's “Children's D’Albert was a pupil of Ernst Pauer in England, and of He abandons the bride, has wild adventures with Harmony" are suggested. For a history of music Balt- A new and very handy blank book arranged in three cow-giris on the mountains, and finally makes love zell's "History of Music” is recommended. All these an original manner, so that pages rnled with to the daughter of the Mountain King. The latter works can be obtained of the publisher of The Etude. DR. HENRY G. HANCHETT, Pianist and Teacher staves for music writing alternate with pages accepts his suit, if Peer Gynt will accept the conditions H.—The accents on the first and third beat in */, lined for ordinary handwriting, the music page of life in his kingdom. After hearing them he refuses, Ij. F.—For organ studies, Landon’s 4th Book of time are somewhat theoretical. They should be o> lying opposite the blank page. In the Preface, the imps torment him until he is frantic from exhaustion, "Studies for the Heed Organ,” may be used. Battman’s STEINWAY HALL, 109 e. i4th st.. NEW YORK CITY served moderately; the extent depends upon the temno practical directions are given for the writing of but he Is saved by the ringing of the church bells which "Overture Voluntaries," Op. 74, 75, 70 are especially of the piece as well as upon its musical character the various characters and signs used in dispels the tormentors. “Morning” from the first suite, useful for fourth grade work. These accents should not be mechanical or perfunctory- musical notation. Price, 25 cents. forms the introduction of the second act, where Ingrid, A. R. Tf.—Horatio Parker is best known hy his oratorio they should arise naturally from the music itself. The the stolen bride, appeals to Peer Gynt for mercy. The “Ilora N’ovlsslma." undoubtedly the strongest oratorio accents should- be observed in both hands, but the ac¬ scene at the end of act 2 where the imps chase Peer yet written by an American. His other works nre “St. companiment is naturally less forcible than the melody STUDIES IN MUSICAL RHYTHM Gynt forms the finale of the first suite. He wishes to Christopher,” a dramatic legend for solos, chorus and ItT* is‘." well _avoid too forcible accents, as that style of Edgar L. Justis find happiness with Solveig, but his past misdeeds con¬ orchestra; “A Wanderer's Psalm,” for the same com¬ playing stiffens e muscles and makes one's performance Most pupils are deficient in time owing to front him. His mother, worn out, dies (“Ase's Death” bination written for the Hereford (Eng.) festival of lack of direct practice. In this work nothing hut from the first suite). He next appears as a middle-aged 1000; “A Star Song,” a choral work which gained the INSTITUTE OF MUSICAL ART T. M. F.—No musical education Is complete without a time value of notes is considered. The exer¬ man in Morocco, after having had business ventures of l’aderewski Prize of 1901. Among his orchestra works are knowledge of harmony, musical form and history of cises can be played on one key at the piano or dubious character in the United States. War is declared “A Northern Ballad,” a rhapsody for baritone and or¬ music. A student of instrumental music will profit from tapped out on the table. The exercises to be between Greece and Turkey (this poem was written in chestra, “Cabal Mor of the Wine Red Hand." and espe¬ OF THE CITY OF NEW YORK a knowledge, even if incomplete, of any of these subjects, played daily until perfect command over every 1867). Instead of joining his associates in helping the cially an organ coneerto. Op 55. with accompaniment of — -HM piano or the violin c__ „„ fortunes of one country or another, he goes to live with strings, brass and kettle drums. He has also written pected to include instruction on these subjects with in¬ work can he given with the very first lesson. the Arabs, and leads a luxurious life among them. a suite for piano, violin and ’cello, nnd a suite for violin 53 Fifth Avenue, New York FRANK DAMROSCH, Director strumental lessons. Students of twelve can study har¬ Anitra and Arab dancing girls dance and sing before and piano. He has been professor of music at Yale Uni¬ mony to advantage. A good elementarv book is “First him (“Anitra’s Dance” from the first suite). In Ihe versity since 1894: in 1902 he was given the honorary Lessons in Theory,” by O. R. Skinner ; also “Chords, Inter¬ meantime Solveig still awaits him patiently at home. degree of Doctor _of Music, by Cambridge University of Established and endowed for the education of serious students of music. Offers vals and Ear Training,” by Jean Parkman Brown. “Les¬ DEEMS’ NEW AND EASY Peer Gynt, still wandering, visits Egypt. In the next act England. sons in Music Form,” by Dr. Percy Goetschius. can follow Peer Gynt, now an old man. Is on shipboard off the all advantages of a European musical education. Faculty composed of the most profitably; then Baltzeil’s ’‘History of Music.” METHOD FOR THE Norwegian coast. It is stormy (the “Storm” from A. R. it.—Five hours practice Is far too much for the H. 8.—Classical music Is that written in traditional PARLOR ORGAN suite No. 2) ; the ship is wrecked, the Devil is a passen¬ average student to do. No wonder your hands are some¬ eminent teachers of Europe and America. forms, exhibiting high qualities of beauty and expres¬ ger and tries to got Peer Gynt. All but two nre times lame. Overstraining the muscles can .become se¬ sion. Time, however, adjusts many opinions as to what We can recommend drowned. Peer Gynt and the cook, who cling to the boat; rious. Remember that the test of piano practice is not Prospectus on application to the Registrar. is classical and what is not. Thus Wagner’s operas, graded and safe syst Peer Gynt survives and comes to land. The thought of quantity, but quality. System will help you to aecom- once deemed revolutionary, now seem to be conceived Laid out on advanced ideas 'of education, no, his misdeeds moves Peer Gynt to tardy repentance. The now. Dom._ along "classical” lines; that is, on principles which published for the present only in American Devil tries to claim his soul, but the faithful Solveig lias your efforts on the difficulties. should constitute a true basis of opera. fingering, although any teacher can, with very earned his salvation through her abiding faith. At last Popular music is that written in lighter vein without they are united; Solveig sings a song of thanksgiving it. I. X.—The following songs arc suggested for your attempting deep or large subjects. Yet “popularity" Is little trouble, change the fingering. Price. and protection (“Solveig’s Song,” from suite No. 2). costume party: “Joilv Little Walters.’1 by Bristow: PERSON who can teach sight singing can have a fine paying class often a question of education. Mozart overtures and $1.25. The “Abduction of the Bride.” No. 1 in suite No. 2, “Bonnie Little Brownies.” by Bristow; “Jolly Little ling in the week. The field is wide and ripe, but the Tchaikovsky symphonies are often popular in a music- belongs to the opening of Act 2 ; the “Arabian Dance.” Sailors.” by Holst: “The Bonnie Boys in Blue," by USI C •) A teachers are lew. You can learn my method by correspondence. loving community. TEACHER AND PUPIL to the middle of Act 4; the "Dance of the Daughter of Rosenfeld; “Heroes,” by Bristow. Inquirer—Any operation for cutting the cords con¬ 30 Study-Pieces for Four Hands, the King of the Dovre Mountains,” to the end of Act 2. P. IV. 8.—You will find Hans Schmitt's work on the Let me send you a tree copy of “ THE MUSIC TEACHER,’* and that will necting the tendons of the third and fourth fingers Is not Carl Kolling The suite No. 2 is less known, and deservedly so. Except pedals, published by Theodore Presser. a suitable work tell you all about it. Don’t stay in a rut. Get out! Learn new things i only unwarranted, but strongly to be condemned. In the This work is interesting, useful, necessary. for “Ingrid's Klage” and “Solveig’s Song,” the suite is for your case. A somewhat more modem work dealing Drop your prejudices I DO IT NOW I first place, a good many pianists have become celebrated The similar works by Low and Diabelii are old musically below the level of the first suite. with the same subject is Arthur Whiting’s "Pedal without any such operation. Then, too, this connecting fashioned and defective. All the keys are T. B. J.—There Is some uncertainty as to whether Studies.” ONEY TALI ESEN MORGAN, 1947 Broadway, New York cord is necessary for support of the weaker side of the taken up beginning at O major, minor keys are Safonoff is to be the conductor of the New York Phil¬ hand, and, moreover, after anv incision on the hand, also used. The primo-part is always within harmonic Society’s Orchestra or not. A fund is being M the scar may cause a contraction that makes the fingers the compass of 5 notes. Each number is pre¬ raised for the purpose of engaging him. The biograph¬ less manageable than before. The cause may lie in not ceded by a preparatory study. In two books, ical details are as follows: Vassili Ilytsch Safonoff was ORCHESTRA PERFORMERS having used the proper exercises. Try the ‘finger exer¬ each, $1.00. horn in 1852. at the Cossack Village of Istschorg in the SHE QUIT cises by Pischna, and more especially J. Philipp's “Exer¬ Caucasus, the son of a Cossack general. He was edu¬ YOUR MUSIC IS TORN!!! YOUNG LADIES WANTED cises in Extension” and “Exercises for Independence of cated (general education) at the Gymnasium (cor¬ BUT XT WAS A HARD PULL. the Fingers.” I think a Judicious use of exercises will GRADED MATERIALS responding to our colleges),^and inter at^the Imperial It will take one minute to repair it by using A literary ami muaicnl education at very special rates is offered youn help far more than any possible operation. FOR THE PIPE ORGAN Alexander Lyceum in St. It is hard to believe that coffee will put a person in ladies who can play orchestra music—any instrument. 8 A. t?.—Thirty-six is decidedly too old to begin to pre¬ James H. Rogers studied piano with Leschetlw, such a condition ns it did a woman of Apple Creek, pare for concert work. If the pupil has unquestioned and Zaremba. Zaremba died in 18*9, and Safonoff be¬ MULTUM-IN-PARVO BINDING TAPE Earn a part of your expenses by playing in the Orchestra The author has attempted to get from the great O. She tells her own story: ability, an excellent technic and a repertory already mass of organ literature only' the best, and came a pupil of Louis Brnssin, entering! his class at the 5-yard roll of white linen or 10-yard at one of the best known institutions in the South. learned, in an individual case it might be worth while to present it in as practical and concise a form Conservatory. In 1880 he was awarded the gold medal “I did not believe coffee caused my trouble, and roll of paper, 25c each, postpaid. Sept. 19th. Write for catalogue and partle* give a concert. Otherwise, teaching is extremely useful; as possible in order to give a good working at the Conservatory, and for five years he acted as a araof this offer. a good teacher Is, if anything, rarer than a good player. teacher there. In 1885 he made an extensive tour of frequently said I liked it so well I would not quit If your music dealer does not carry it SEND TO Only those who have exceptional ability should attempt toknowledge of the instrument. Finland, the Baltic provinces. Germany, Austria and i TLeIl°tW°uing ,adiC8 fr°m th* N°rth *°d Wwt> The explanations will be found so clear that any¬ drinking it, even if it took my life, but I was a to play in concert. The pupil will be far wiser to con¬ one with a knowledge of the piano can study Hungary, with the violoncellist, Charles Davldoff. In Theo. Presser, Philadelphia, Pa., tinue with harmony, and stick to teaching. 1885 he left St. Petersburg to be a professor in the miserable sufferer from heart trouble and nervous ALABAMA BRENAU COLLEGE-CONSERVATORY, EUFAULA, ALA. the work without the aid of a teacher. Price, or Multum-in-Parvo Binder Co., 624 Arch St., Phila., Pa. L. B. 8.—Pain in the forearm and wrist signifies over¬ -i»L0O. Conservatory at Moscow, and also to train the choral prostration for four years. work. too great muscular exertion. All pianists and teach¬ nnd orchestral classes of the institution. Thus began ers lay particular stress on avoiding muscular strain. It his training as a conductor in which capacity he has “I was scarcely able ‘to be around at all. Had no causes stiffness and is fatal to acquirement of anv of the the first year in theory become world-famous. In 1889 he was under-director energy and did not care for anything. Was emaciated Harmony Lessons by Mail qualities needed by piano pupis—lightness, elasticity Oliver R* Skinner of the Moscow Conservatory; in 1890 lie was appointed Klindworth Conservatory of Music nnd endurance. Do not allow pupils to practice exer¬ A drill in the foundation principles of musical as the director of the Imperial Russian Music Society. and had a constant pain around my heart until I ARTHUR. E. HEACOX cises long at a time. Be sure that muscles are relaxed. thinking, affording thorough training in scales, thought I could not endure It. For mouths I never 371 PEACHTREE ST., ATLANTA, GA. Alternate exercises as much as possible, beginning with Professor of Tlarmony and Counterpoint in Oberlin Conservator, intervals, chords, and key relationship, together greatest enthusiasm ~ as conductor. He has just con¬ went to bed expecting to get up in the morning. I Faculty of artists of national reputation. Delightful of Mu»ic, oilers a SUMMER TERM of lesson, in llarmonv or simple five-finger exercises, then exercises for independ¬ with exercises in melody writing and ear cluded a successful engagement in London. His pupils climate both summer and winter. Boarding Depart¬ Counterpoint, by n ence with fingers held, double note passages of various training. The aim has been to afford a knowl¬ in piano playing are famous, among them Lhfvinne who felt as though I was liable to die any time during the --- K- —1 - Sent. 1st. Work sorts, wrist and octave exercises. These exercises may edge of the theoretical subjects which may be has made so strong an impression in New York. Chicago ment. Diplomas to those having finished the course. uuiforin with Conservatory course. FullParth be practiced legato and staccato, in various rhythms and included in the first year’s study. Pnce, lo and elsewhere this winter, Scriabine, the pianist and For particular, and catalog address the Director No. 297 West College St. - - OBER.LIN. OHIO. at different tempi from verv slow to moderately fast composer, Goedicke, and Medtner. ‘‘Frequently I had nervous chills and the least ex¬ P. O. Box 77 KURT MUELLER Atlanta, Ga. but always with great caution. Five minutes is a good limit, even less, if fatigue comes easily. p.—Be extremely cautious as to attempting to in¬ citement would drive sleep away, and any little noise JT-J - S-—Sir Edward Elgar conducted at the Cincin¬ STUDENTS’ HARMONY crease vour stretch. The hand is a marvelously delicate would upset me terribly. I was gradually getting LEARN TO COMPOSE AND ARRANGE MUSIC nati Festival last month. He is said to be at work now Orlando A. Mansfield, Mui. Doc. niece of mechanism; if tendons are strained, if joints upon the third part of his oratorio “The Apostles. IU; Mr. Mansfield is one of England’s foremost become painful it is a long and tedious process to over¬ worse until finally one day it came over me and I QUSTAV L>. BECKER. Taught by MAIL, successfully, practically, rapidly Send theorists. His work is well adapted for self- come these injuries. Many pianists have succeeded in 2-cent stamplortriallesson. THREE TRIAL LESSONS FREE If latest composition is an “Introduction and Allegro f°r acquiring a brilliant technic without possessing great asked myself what is the use of being sick all the time string quartet and string orchestra. . . — study, thoroughly practical. Each chapter con- Concert "Pianist. Teacher. Composer not then convinced you’ll succeed, YOU OWE ME NOTHING You Teacher.—The elementarv piano tpacher must face tains exercises to be worked out, besides advantages in the way of reach. A far more important nnd buying medicine so that I could indulge myself in wise1 d"9T the treudlraents °* music and MEAN BUSINESS, other- two problems—first, to ground the young pupil in those numerous questions. We most heartily recom¬ quality to cultivate is elasticity. Ability to skip over coffee? A large proportion of Mr. Becker’s pupils are themselves teacher* mend the work to teachers who propose forming an interval smoothly ; to displace the hand without a necessary elements, rlivthm. good tone, and a certain perceptible jerk is of inestimable vn ue. The secret of ‘‘So I thought I would see if I could quit drinking WILCOX SCHOOL OF COMPOSITION, c w wilcoy no amount of flexibility of fingers : then to awake Interest classes in Harmonv, or to those who will take Send for circular with press notices to wp the study alone. Bound in cloth, price, this is perfect relaxation. All stretching exercises should coffee, and got some Postura Food Coffee to help me 19 Union Square, NEW YORK CITY ' ' In the music Itself in some appreciation of prettv tunes $1.25. Key to Students’ Harmony, price, 75 lie confined to free movements or to exercises at the West 104th Street - - New York City or “Hillsdale Manor," Hillsdale, N. J., u. S. A. and simple harmony. It Is impossible to treat all pi'P11* piano. Other devices are of doubtful value, if they quit. I made it strictly according to directions and I alike, they will vary as much in individuality J" not positively harmful. At all events progress capacity. The teacher must exercise his ingenuity m SdwlFslowlv with extension exercises (a_good(a good set is that want to tell you that a change was the greatest step in thinking out new devices for explaining different details- COUNTERPOINT AND CANON k __a’few a day. leave my life. It was easy to quit coffee because I had the Children are nearly alwavs imaginative; through t'1” Philippi : do not attempt E. E. Ayres plenty ofOI Time*'— betweenueiwt-fii them nnd (In not: overwork! Boston Musical Bureau Mr. Charles Veon means they can be made to pay attention to many un¬ An original English work—brief and compre¬ e article on pianists hands in this 1: Postum which I like better than I liked the old coffee. (Established In 1899) interesting facts. . hensive, thorough and exact. Not a single One by one the old troubles left, until now I am /. M. 8.—Harold Bauer is at present making a tiip principle of importance in simple counterpoint ETUDl Music Teachers* Agency through China and Japan, to end with Australia- >“ ■ and canon is omitted. —Tf yon n * troubled by stiffness of the hand and in splendid health, nerves steady, heart all right and Church Choir and Organists’ Agency has previously been all over Europe, including SP»'B’ The lessons are progressive. Only the slight¬ the pain all gone. Never have any more nervous IMCONPORATED19C0 est familiarity with the terms of Harmony are 218 TREMONT ST.. BOSTON, MASS. the Western coasts, ras born in London 1—.-,. taken for granted at the outset. Price, $1.00, chills, don’t take any medicine, can do all my house¬ “Handbook of Musical Statistics” sent free to any address THE PENNSYLVANIA a ..German , _ father — .... English mother; his sister in cloth. work and have done a great deal beside. Ethelthel Bauer is also a pianist. ,H\ T- P —The modern musical scale Is a comnrom “My sister-in-law who visited me this summer, had adopted with the practical end of rendering all the K the^table, while the fingers just rest on It. I ract ce been an invalid for some time, much as I was. I as nearly alike as possible. From the standpoint •* these exercises with bolh hands and J>Bjns |.']r n'.“‘ /CORRECTION OF MUSIC MSS. .ifnq before coins to the piano. They will givo \o got her to quit coffee and drink Postum. She gained acoustics C sharp. D flat. D sharp. E flat. concentration**of jrnind, «nd you ean attack your tech¬ U A SPECIALTY COLLEGE OF MUSIC no,ps: b,,t on instrument like the pi»«J THEO. PRESSER, Philadelphia, Pa. five pounds in three weeks, and I never saw such a DECREES OF MUSIC CONFERRED bls distinction is Impossible. The scale adopted JP““ nical problems with more certainty of success. ALBERT W. BORST he difference” as nearly as possible nnd Is called s o.—The letters or figures at the lower corner of a change in anyone’s health.” 1611 GIRARD AVE. k. h. chandler. mnslc are plate numbers, and are used by pufi- “There’s a reason.” Tempered Scale” In distinction from the human voir* Plshers as"a record. Thus A 1542 might mean Section A, 1712-14 Chestnut Street, Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. the violin or the trombone. wh»re the intonation of note depends upon the skill of the player. ■■■■ T\ 'Xrstf-sr/rs’Bffc/m'TmM.ag -r&irz/rjw 408 s%. jrs/jvnsztwo SMITH &NIXON PIANO USEDEXCLUSIVELY 1 -svm&rAV lutely freescholarships,andonehundredpartialschola and talentedpupilswhoarenotabletopayforth< pupils professionalengagementsandpositionsasteacl son, directorofthePlayers’Theater. tunate astosecuretheeminentactoPandproducerof Mena PfirshingandCountSpagiarl. who wasbroughttothiscountrybythelateTheodor. violinists ofthepresenttime.Heisfirstconcert-ms Jennie ThatcherBeachandMrs.CharlesJ.O’Connor given byHelenA.S.Dickinson,M.A.,Ph.D. point andComposition. the TheodoreThomasOrchestra.Theotherteacher Torrens, CharlesSindllnger,WilliamBeard,HannaI the teacherof’CelloInSchool. Franz EsserandFritzItte,alsofirstplayersintheTt artists: MinnieFish-Griffln,L.A.Torrens,Mrs.Wills The DunstanCollinsMusicalAgencygivesfreeass The CosmopolitanSchoolofMusicandDramaticJ In additiontoprivatelessons,therewillbeclassle As thedirectoroftheDramatlcArtDepartment,tl Enrico Tramonti.thesoloharpistofThomasC At theheadofViolinDepartmentIsLeopold Conversational French,GermanandItalian,unde The SchooloffersItspupilsamostinterestingss Dr. N.J.ElsenheimerhaschargeoftheDepartm Chamber Music.—FranzEsser. Public SchoolMusic.—MargaretM.Salisbury. Mr. ClarenceDickinsonistheheadoforgand Bruno Steindel.firstandsolo'cellistoftheTheo This mayalsobesaidoftheVocalDepartment,w • Please mentionTHEETUDE whenaddressing ouradvertisers ^7VW ^O fiVLU I THE ETUDE “mm***.