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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1911 Volume 29, Number 04 (April 1911) James Francis Cooke
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TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS
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THE ETUDE. club of six yearly ETUDE subscriptions. ful Piano Practice PREMIUM UMBRELLAS LET US MAKE YOU A PRESENT OF A GOOD UMBRELLA CONTENTS Send us 4 yearly subscriptions to THE ETUDE and receive as a reward either a Lidy’s or ^amarinskaja.Langer Gentleman’s Black Silk Umbrella, either 26- or 28-inch frame. Left Hand Recreation “THE ETUDE”—April, 1911 S nd us 6 yearly subscriptions and we will send your choice of a Pure Taffeta Silk Umbrella for Editorial . Lady, either Green, Blue, Red or Brown. 26-inch frame. The very latest style of umbrella made. Album Musical Europe.Arthur Elson For 7 yearly subscriptions we will send a Gentleman's Black Silk Umbrella. Mission style The German Singing Society .Arthur Claassen handle. 26- or 28-inch frame. Sent by express. Charges not prepaid. Stories of Standard The Conservatory at Leipsic, Add 25 cents to all of these offers for each Canadiap subscription. Dr. H. W. Wareing Some Things Learned in Germany. .Amy Fay Teaching Pieces German Music of To-day.A. von Fielitz HARDY ROSE PLANTS The Influence of German Masters, This collection of five Rose plants has been carefully selected from the stock of one of the.largest growers in if. T. Finch the Ur The plants are all strong and healthy, and will live, grow and bloom if properly treated. Grass an Teplitz (a Dark Rich Crimson Rose). As to Music Study in Europe. . .J. H. Rogers IVhite Hermosa (Pale Lemon Yellow passing to Creamy White). Piano Practice.Otto Neitzel Duchess de Brabant (a clear Pink). Lohengrin . Lucullus (Rich Crimson). Madame C. P. Strasheim (fine Sulphur Yellow changing to Orange and Buff). America’s Debt to Germany. .Louis O. Elson Entire five plants given for sending us a yearly subscriptions to ETUDE or free with one yearly subscription at $1.75. The Gifts of the Centuries. mam Letter to a Student.E. M. Bowman gppSSS' Student Days in Germany with Sherwood, FRESH FLOWER SEEDS FOR YOUR GARDEN in Florid Song THE ETUDE has again completed arrangements whereby it is possible to make the following exceptional offers Gallery of Musical Celebrities. of Flower Seeds and Bulbs in connection with a subscription to THE ETUDE. These seeds and bulbs are all guaran¬ The Friends of Bach. . .Katherine B. Wilson teed to be fresh and of the best quality. Mistakes and Disputed Business Manual for Music Educational Notes on Etude Music, COLLECTION L FLOWER SEEDS. P. W. Orem One packet of each of the following: Semple's Choice Mixed Branching Asters, Mixed Peony Flowered Poppies, Where is the Seat of Technic? Grandiflora Sweet Scented Mignonette, Choice Mixed Nasturtiums, Mixed Giant Flowering Cosmos, Fine Mixed Points in Music Teachers Woldemar Schnec Phlox, and a large packet of Mixed Large Flowering Sweet Peas. By LOUIS C. 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Each Send for Lists of Music for In Confidence.Carlo Mora '. any defect in material or workmanship. “For further information about New Works In Press s s Publisher’s Notes” Coquettish Glance.A. d’Haenens ! Two Pianos, Eight Hands STYLE E March in C (Pipe Organ)...T. D. Williams 1 _ Height. 40 inches; width, 17& inches, One Piano, Six Hands Pride of the Nation.J. W. Lerman i usic. Eight Capacity, 600 pieces of sheet music. Twenty- Babillage .J. L. Oscar Fontaine i ctra depth for one drawers, includii collections, albun • "llv.tions, : THEODORE PRESSER CO. Minuet from Sonata Op. 49, No. 2, Stands’ on handsome base See il (Violin and Piano).®. von Beethoven - icription Theo. Presser Co., Philadelphia, Pa. 1712 Chestnut St., PHILA., PA. Solveig’s Song (Violin and Piano)..®. Grieg Album Leaf, Op. 12. No. 7. (Violin and Piano)...®. Grieg - Blossom Dear (Vocal).T. 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(Japanese Romance) successful writers of EASY TEACH¬ By CHARLES WAKEFIELD C ADM AN j|F everybody had been willing ING PIANO MUSIC contained in Lyrics by NELLE RICHMOND EBERHART C ADM A N, C. W. op*SW-JB ♦ THE “HIT” OF THE SEASON II to “let well enough alone" High Voice. Low Voice. our catalogue. 3 FINE REVERIES "LITTLE DOLLIE CAMPBELL, L‘S^atnhde?u.S’.ea As a wide-awake teacher you m we should be still burning tallow JEANNE JOMELLI BIRTH OF FLOWERS One of the best popular songs written. candles, cutting wheat with a should have our Thematic Cata¬ ic of Japanese life, with GLOAMING MEADOW BROOK Fascinating, Pathetic, Graceful, Easy to play. FISCHER, O.H/Voru'o”Ua^Se,°r-e8- •«» ct cycle.” hand scythe and riding in an ox logues of such music in your studio. By Mail, 15 Cents each SPECIAL OFFER: 10 CENTS (coin) OH AS. I. JOnNSON, GIESBACH, A.“c®^!e1f°S«”i«d - cart. The spirit of the age is They are FREE UPON REQUEST. Chas. E. Roat Music Co., Battle Creek, Mich. L. Box 184. Osase City, Kan.. HOFFMAN, FJX““a . .vs “Try all things and hold to what 4 American Indian Songs. (T»bai Melodies) HOGARTH, K.‘;u«n^“«.’for is good.” If you want to feel By CHARLES WAKEFIELD CADMAN ^ placid satisfaction stealing over ATTENTION! Lyrics by NELLE RICHMOND EBERHART The old operatic melodies that you have always A New Volume of the Music Students Library your physical diaphragm get the hummed! Most of them that are accessible fn High Voice. Medium or Baritone Voice. Price, $1.00 KROEGER, E. RSdfng™u.nSrr.bo arrangements for the piano are too difficult foi Also arranged for Women’s Voices by Victor Harris. Price, 25c. entire list—50 pieces of our pianoforte teachers the Average player. To get in sheet music form Resonance in MINETTI, C.‘^/JrBuuLnidrC1dano?orlean 1.00 graded series. At the very least just the vital themes of different oi»rasis alway s DAVID BISPHAM a tedious undertaking. The Most Popular Selec EHRMANN, M. 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The Typewriter That’s Ten Years Ahead Is the The Collection of Three Little Melc THE QUICKEST MAIL ORDER MUSIC SUPPLY HOUSE ALBERT KUSSNER The little touch of Eo”at“e^°tSi%n”d toppiness to Typewriter for You. VIS on YOU Blioi'l.n H»VK bin new con new and cap.ivat.og book. IF SO WBMUI&WaBrsUM?r*. When Daisies Sleep Stories of Standard Teaching Pieces THEODORE PRESSED CO. By EDWARD BAXTER PERRY Virtuoso, Pianist, Lecturer and Author JUST PUBLISHED FOR EVERYTHING IN MUSIC F*rice, $1.50 TWENTY-FIVE YEARS AGO, as a sequel to the founda¬ December Holiday Cash Price, $1.00 postpaid tion of the ETUDE (then only a journal for piano teachers), the Every operating device inbuilt where it Mr. Perry’s famous book, “DESCRIPTIVE ANALYSES publishing house of Theo. Presser was founded to furnish prac¬ should be—under the operator’s hand. OF PIANOFORTE COMPOSITIONS,” has helped and in¬ You don’t have to reach all over the spired thousands of teachers and pupils. The new workvvill tical teaching material in conformity with the suggestions and machine. Even the line-space and carriage prove even more useful because it deals with pieces from the advice of the journal. release lever is operated without taking third to the seventh grades. The surest way in which to hands from correct keyboard position. ' awaken the interest of a dull pupil, is to place m his posses¬ NEW PUBLICATIONS have been issued continually—ever abreast of the times— THE NEW MODEL sion a copy of this work, which describes the pieces he plays adapted to all modern educational demands, carefully edited and annotated by the foremost pieces like the gems from Grieg, Godard, Nevin, Rubinstein, teachers of the day, and all of the most helpful character. L. C. Smith &Bros.Typewriter Schytte and other composers of immensely popular music. With Ball Bearings throughout and all PROMPTNESS. A stock, second to none, drawn from every quarter of the world, the writing always in sight, measures up Interesting Lessons are Successful Lessons linked with a corps of efficient and trained workers, means the correct filling of an order on at every point to the highest scale of the day of its receipt, whether for one piece of music or the stocking of a music store. modem business needs. PUBLICATIONS The Bright-Hayford Co. Better work and more of it, greater effici¬ THEO. PRESSER CO., Publishers, Philadelphia, Pa. iPractical—Helpful—Comprehensive! ECONOMY means not only the giving of the largest discounts possible and the most ency through and through, the L. C. Smith Portsmouth ------N. H> favorable terms, but, mark you, fair retail prices as well. Our best endeavors are devoted tc & Bros. Typewriter is ten years in the SACRED SONGS the teacher’s interests, saving time, thought, labor, giving the greatest value for the least outlay. lead. The writing machine that’s ten years By Geo. W. Hayford I PROMPTNESS and ECONOMY \ Your name should appear ii ONE SWEETLY SOLEMN THOUGHT ahead is the writing machine for you. Two Great Sacred Songs. Teachers SATISFACTION. No doubt the greatest factor in the success of any business is the SWEETNESS OUTOF WOE ^ “BEYOm> TJIE STARS”—a Bemesaored ma PROFESSIONAL Send for the Book and read it Pianists personal confidence engendered by fair and helpful dealings. No less than 25,000 accounts OUR FATHER WHO^ART IN HEAVEN t,l“BESIDEUlTHE ERYSTA^SEA”-;A «n DIRECTORY SATISFACTION L. C. Smith & Bros. Typewriter Co. are on our books, denoting satisfaction in our publications and satisfaction in our service. IN THY KEEP, High voice^ Organists No. 907 Walnut Street THIS BUSINESS founded on the above principles has grown to be the largest mail order music supply house in the Philadelphia, Penn. Singers world and is now established in a permanent home, six stories in height, 44x 150, with an annex—all carefully planned and SCHOOLS AND TEACHERS Advertise Tour Summer Sessions In That Old Sweet Song—Now so Popular United States and Canada - THE ETUDE - COMPLETE EASTER SERVICE FOR SUNDA Y SCHOOLS Every Te “SilverThreads Among the Gold” INFORMATION AND CATALOGUES on any st the On Sale plan (one of our many original and helpful is issued in the following arrangements ideas to aid the teacher) is very liberal; our New Music Idea f Send us a postal card order as a trial. Write to-day for R A G-T I M El DAWN OF HOPE Cnnrt nnJ Chorus.by H. P. BANKS 25c By R. M. STULTS AND OTHERS INSTRUCTION BOOK FOR PIANO tr Mixed Quartette.PHILLIPS 20c A FEW OF OUR STANDARD PUBLICATIONS
HISTORY STUDIES AND EXERCISES TECHNIC HARMONY A HISTORY OF MUSIC TOUCH AND TECHNIC Studies for the Piano sissstssip nugir.,TiAttioNY. 6: W. j” SHERWOOD, ELSON, BOWMAN, FINCK endorse IpSili p COMPLETE SCHOOL OF TECHNIC SELECTED “CZERNY” STUDIES FIRST STUDIES IN MUSIC BIOGRAPHY STANDARD HISTORY OF MUSIC By Dr. H. A. Clarke.$1.00 A FIRST HISTORY FOR STUDENTS AT ALL AGES AChiSLf&°fthe by EMIL LIEBLING By Homer A. Norris. 1.25 Thomas Tapper Price, SI.50 By E. E. Ayres . 1.00 By JAMES FRANCIS COOKE Price, $1.25 iTo ALL OF OUR PUBLICATIONS SENT ON EXAMINATION TO RESPONSIBLE PERSONS | A COMPLETE, CONCISE SERIES OF 40 STORY-LESSONS IN MUSIC-LORE | VOICE PIANO COLLECTIONS ORGAN IMPORTANT WORKS “I want to congratulate you again upon the ‘Standard History of Music.’ It has already become a text-hook in the Sherwood School of Music." . The late WILLIAM H. SHERWOOD, REED ORGAN METHOD first Steps jn^Piano Study Virtuoso and Teacher. FREDERIC W. ROOT “The readable style, generous illustrations and list of questions closing each chapter make the book a very serviceable FAVORITE^COMPOS'TIONS. By H. ^ and interesting manual for young students. I have already started using it in my work." E. M. BOWMAN, bJk6 PHcej$ LOO1 be?inner3'instruction Studies compiled by Chas. W. Landon Four Books Four Grades $1.00 each .50 VELOCITY STUDIES Theo. Presser “I have read y f Music and I find it well adapted to its pi t is compact, simple and up-to-date, THRESTTW0C,PIANISTS E(Piano Duets) COO Price, $1.00 “Its mechanical remake-up is remarkably good also. The illustrations nventional, and the type is splendid. It is the best history o, quideTfor the maLe voice .:. loo of music for young students that I know of." LOUIS C. ELSON. ALBUMOF LYRIC PIECES! ' so BEGINNERS’ PIPlTORGAN BOOK DICTIONARY OF MUSIC AND MUSICIANS Geo. E. Whiting Price, $1.00 LEX US HELP YOU FORM A MUSICAL HISTORY CLASS Dr" The latest Encyclopmdi^ofCMu3ic ^° We have an extremely effective plan to help the teacher form a class and increase his income as well as add H. W. GREENE ° stTndard^^ 100 price* offer wor^ a PUP1S* ^ P08^ request will bring you full particulars, including a special quantity Four Grades. Four Books, each $1.00 FIRS^DANCE^ALBUM ^Revised)"! .50 "SS: nX™”:”BE- THEO. PRESSER CO., 1712 Chestnut Street, PHILADELPHIA, PA. THEODORE PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA. 222 THE ETUDE
IN PREPARATION “It is a Preparatory School of Technic By I. F»HILIF»F* INTRODUCTORY TO THE E ETV VOL. XXIX. NO. 4 Complete School of Technic STEINWAY APRIL, 1911 By the Same Author the most part, however, we waste time in a most shameful PREPARATORY manner. We are permitted to visit this planet for a very short The flattering suc¬ The Music of the Fatherland cess of M. Philipp's TECHNIC includes that says everything” time indeed, and we should value our hours too highly to squan¬ “Complete School of der them wantonly. Technic" has suggested Das Deutsche Lied ist unser Hort, Musicians should realize that we live in an age of prodi¬ the preparation of an technic, all completely Und unser Sprach. Ein Mann, ein Wort. gality. This applies not only to our money, but to our physical exemplified in the mod- formulated along simi¬ This peculiarly idiomatic and untranslatable German verse strength and our time as well. The principles of thrift mani¬ lar lines but of more embodies the very essence of all that our German brothers hold fested by Benjamin Franklin and Thomas Jefferson, which rep¬ elementary character, The Steinway Piano is highest. The nearest we can approach to it in English is, “Ger¬ resent the adamant foundation of our national greatness, are as of earlier grade. The man song is our Glory, And our Speech. One man, one Word. important and as vital now as they ever were. represented in 250 prin¬ The last line conveys the idea of stability rather than unity of Musicians invest far too little of their time in profitable speech. It means that when a man says a thing, he should stand occupations. Many a man has built up a success in the spare thTfirst in subject Exerci.es by it to the letter. In these two lines lie the secret of the German’s time which another might have squandered. Allowing ten hours Scales and Arpeg- cipal cities of the world. love for music, and the German’s reputation for thoroughness as for work, eight hours" for sleep, two hours for meals, one for well. It is indeed a most fitting sentiment with which to introduce Extensions other duties and one for recreation, we still have two precious the first of our series of two issues devoted to the music of Ger¬ Double Nob •hours to help us in advancing our careers. What are you doing many. with those hours? Are you, as Kipling has it, “filling the unfor¬ Mr. H. T. Finck, in one of our leading articles, has called giving minute with sixty seconds’ worth of distance run, ’ or s who have finished second grade v STEINWAY & SONS, attention to the fact that, while Italy is popularly known as “the are the “unforgiving” minutes passing by only to pave the way land of music,” it nevertheless can point to no Beethoven, no Bach, New York Showrooms, Steinway Hall, to oblivion? 107 and 109 E. 14th St. no Wagner and no Strauss. The mountain-high altitude of the There are so many opportunities for personal advancement German masters and the great number of incomparable composers that we advise our readers to open an account in the “Spare ADVANCE PUBLICATION OFFER: who have been born on German or upon Austrian soil, or who Time Bank” right away. It need not be through a correspond¬ have worked out their life problems in Germany, must give the ence school. With a good book in hand and the habit of “putting Subway Express Station at the Door. Fatherland the undeniable title of “The Home of Music.” by” just a little time every day a great advance can be made. This is the time and place for superlatives, but we know that TBEO. MESSER CO., Publishers, in cu a., Philadelphia, Pa. If you are deficient in any of the auxiliary branches of your • if we carefully selected all the superlatives in the dictionary and work—harmony, ear training, higher technic, musical history, printed them in praise of German musical art, the task would be etc.—why postpone taking them up when a small account in but barely commenced. Mr. Elson has told something of America’s 12 TWO=PART The Children’s Festival ! the “Spare Time Bank” will start you successward at once? 15 Selected Etudes The Weaker Fingers debt to Germany. Mr. Elson is the undisputed authority upon FUQHETTAS AND FUGUES Don’t say, “I haven’t any time,’* or, “I haven’t any teacher.” For the Development of American musical history, and his article should be read with the y to j. s. B By CHARLES DENNEE Some of the most successful musicians have been self-taught. greatest interest by all those who realize the necessity for historical By ALFRED KAISER Remember what sage old Ben. Franklin said: “An investment study. in knowledge always pays the best interest.” . This editorial would not be complete if we failed to call the - attention of our readers to the fact that Germans everywhere have m §§l responded to our call for assistance in preparing articles, securing Planning for the Summer data, etc., in the most prompt and whole-hearted manner. We thank them, one and all, and we know that our readers will realize This Etude, coming to you on the door-step of Spring, finds that these copies of The Etude (April and May) contain material both the teacher and the pupil in the most interesting part of the of such great and permanent value that they, too, will be equally season. While we all welcome vacations, it seems unfortunate that A Pleasant Beginning grateful to all of the splendid and earnest writers and musicians this interest is not carried throughout the entire year. We believe Suite Mignonne Six Fancies Tender Blossoms that the value of working in Summer is often ignored by our And other tunes tor little fingers who have done so much to assist in making the special German in all the Major and Minor Keys issues what they are. readers. Lombroso, the wonderful little Italian searcher after By RUDOLF FR1ML By CARL HEINS - FRANK LYNES facts, found that many of the greatest masterpieces were produced By CORNELIUS QURLITT in the very hottest weather in climates that were tropical. We The Spare Time Bank are inclined to look, forward to the Summer as a period when we must necessarily be idle. Why not make your plans now to take One of the large correspondence schools has gotten out an advantage of your Summer? Why fritter away the glorious days advertisement, with a cover in fac-simile of a bank book. On of sunshine and flowers just because you have always done it? If the cover is printed: “THE SPARE TIME SAVINGS BANK you are a pupil, why not arrange now to study with some one of IN ACCOUNT WITH AMBITIOUS AMERICANS.” The the many celebrated teachers who hold classes every Summer ? If EXUDES (Without Octaves) idea is, of course, to induce as many ambitious Americans as you are a teacher, why not make your Summer announcement at 10 Melodious Etudes For TceniYical^and^Musical^Developmeri^ ^ ^ ^ Marionette Ballet possible to invest their time and incidentally their dollars in that once and induce your best pupils to make special efforts to continue For the Pianoforte particular correspondence school. Moreover, we are quite con¬ their work throughout the entire Summer? For some years we By LUDWIO SCHYTTE By MABEL MADISON WATSON vinced that such an investment has turned the career of many have endeavored to make The Etude for June, July, August and a young man from failure to success. September the very best issues of the whole year. In fact, we The little book brings out in a very unique way the cen¬ have published two special issues in these months. This has been turies old necessity for saving time. There are people who done because we have the conviction that the time our readers need are actually parsimonious with their time. They give so much and use The Etude most is in the Summer-time. NAL DISCOUNT^ON ‘^SCHMIDT’S EDUCATIONAL J of it to their work that they have no spare minutes for anything When leaves fall again, let us hope that you may be able to SENTFREE else. Like all miserly traits, this brings discomfort and misery look back upon a Summer of accomplishment resulting from the to the one who practices it, as well as all those around him. For definite plans you are making now. ARTHUR P. SCHMID LEIPZIG THE ETUDE 225 the etude 224 • f , .trine orchestra pleased Vienna. In The white keys would then be n°tated below the line, and the black ones above. For this P ano he claims an easier chromatic scale, the same tinge S ,h™ for other scales, ease in modulation and greater p himself must have been How Great German Singing Festivals Have Advanced sibilities than with the usual keyboard. MUSICAL NOVELTIES. BRIGHT IDEAS IN A NUTSHELL. the Art of Music in Germany and America Chief among operatic novelties is .“Der Ros^n- [Send The kavalier,” which won a great success with critics and The presence of a flourishing national school in eries, your new '^5* hers antj pupils who will Im* benefited public. But the Signale thinks it may not wear , ,°n M print " U that cony in. ..- may Finland is again made evident, this time, by the by them. We i renclirs need. It .vour Idea is not By ARTHUR CLAASSEN and holds it dull in spots. Also it asks why Straus, not seem to us w raged'; send us the next one that performances of two new operas in Helsingfors. Conductor of the “Liederkratu” in New York, the “Arion” in Brooklyn, “Eliman Surma,” by Oskar Merikanto, was has not yet started publicly upon another opera, ana printed, “tj® f jSsNothing so line as helping one's fel- melodious and pleasing enough, though without wonders whether there has been a change in ms and of different National Festivals great dramatic depth; while “Daniel Hjort,” by methods of advertising. A lesser novelty is Im Eisenhammer,” by Bersa, a pupil of Mascagni. Sieg¬ XXSZi a rSstVy^urTeS Selim Palmgren, was richly orchestrated, full of, think of the ‘^ITahVet of pap"-r and mark competitions in Choral works (mixed, or male, or women’s fried Wagner has been giving excerpts from ms It is not difficult to trace the origin of the present day singing feeling and powerful in its climaxes. Merikanto’s choruses) ; also, soli, duos and quartets. operas, the best being the kermess dance from “Her¬ !wr«srs societies composed of German lovers of song to the Minnesingers and works include an earlier opera, “The Maid of the Meistersingers. The indescribable delight which comes to. those Pohja,” while Palmgren has written a successful zog Wildfang,” the introduction to Act III of Der GERMAN SINGING FESTIVALS. Kobold,” and that to Act II of “Sternengebot. Ger¬ t.%s Germans, and to Americans of German ancestry, who gather at least piano concerto. Editor.] one evening a week to join in the most pleasurable of all human I am naturally interested in the Festivals given by the In the “Kalevala” Finland gave the world one of man opera statistics show that “Tiefland” dropped German singing societies, and in which I have, had the honor amusements—singing—may account for the endurance of the 'singing its few great epics, and some hold that Longfellow from first to third place last season, with 409 per¬ In my studio I have a screen built on mission to participate. I think that it is quite safe to say that, although society idea in foreign countries. It should not be imagined that borrowed parts of his “Hiawatha” from it. The formances against 473 for “Madam Butterfly and lines, with burlap panels. On this I pin dr .rings Festivals have been held by singing societies in America in those- the German singing societies in America are composed exclusively of shorter Finnish lyrics, or “Kanteletar,” are named 428 for “Carmen.” The Wagner operas varied from traced from my pupils’ hands. These are changed days when comparatively few Germans resided in this country, never¬ members of German descent. In the singing societies under my direc¬ after a harp-like instrument fashioned by the leg¬ 369 down. Other favorites were Blech’s “Versie- as the hand develops and improves. One pm I. for theless the steady, persistent regularity, industry and faith¬ tion I have frequently enlisted Americans of descent from ancestors endary bard Wainamoinen. Both groups of poetry gelt,” with 147; “Hansel, and Gretel,” with 127, and fulness of Germ an-Am ef lean s in organizing a singing society instance, had a thumb which bent the wrong way. from various parts of Europe. Many Americans are singing in my “Der Evangelimann,” with 106. “Electra” was given wherever a few Germans could be found to make a nucleus have justify Finland’s title, “A land of sorrow and song.” The drawing shows the improvement. Another choruses for the love of music and for their education in the German 65 times, “Salome” 37, and “Feuersnot” only 7. They were collected and put in shape by Elias could not stretch octaves when she cam. The language. These singers excel in enunciation and are free from had an effect upon the development of the art of music in Sonnrot. An oratorio by August Bungert, entitled “Wartim? drawing shows the increase in size. any of the many dialects one will find in many parts of Germany. America which is so vast that it cannot be estimated. The first Finnish composer by birth was Bernard Woher? Wohin?” and based largely on texts from Olivp. M. Smith. At the great German Sangerfests more and more interest Crusell, but the real founder of the school was Fred- Job, won a very remarkable success at Bonn. It is MUSICAL FESTIVALS. is being manifested by those of non-German ancestry who con¬ f have a little recital of my old pieces at lea 1 mce rik Pacius, whose “Wartland” became a national divided into three parts, following the title. The With the singing society came the Musical festival idea, and tribute to the support of the Sangerfests by attending the con¬ a week. Nobody comes to this recital except great song in 1848. His son-in-law, Dr. Karl Collan, also first might be improved by cuts, but the second is these festivals have invariably proved a great stimulus ' > musical' ’ certs. The National Sangerfests are held every three years. audience I have in imagination. I make out a reg¬ wrote patriotic music. Wasenius and Greve were called great, and the third best of all. “Die Erkent- art in Germany and in America. The first They usually last four days, and during other early composers, while the song-writers niss,” which forms the finale, is held to be the best ular program and go through it just as though one record of a Musical Festival, according to this time sometimes four concerts are included Ingelius, Ehrstrom, Mohring and Linsen. oratorio .music of many years. Critics speak of thousand people were present. It is one of tin ways the Grove Dictionary, gives the palm to given. At the last big Sangerfest held in Richard Faltin, successor of Pacius, wrote many lofty inspiration, brilliant technique, an orchestra I have for making my practice interesting. Italy, and not to Germany. We are told Madison Square Garden, . in New York, choral works, and Martin Wegelius composed can¬ glowing with warm colors, and storms of applause. Rf.ader in Alaska. that in 1515 the musicians of the courts of about two thousand singers took paitf in tatas. Robert Kajanus devoted himself to orches¬ Bungert is the man- who worked at an operatic My girl friends asked me how 1 managed to keep Francis I of France and those of Pope Leo the various concerts- Many very great tral works, and Armas Jarnefelt did the same. hexalogy on Homeric subjects, which is little known, up my practice when I work all day in an office. X joined in a great Musical Festival field artists, including Mme. Schumann-Heink* Ernest Mielk, the “Finnish Schubert,” wrote a sym¬ but may prove worth while after all. Another inter¬ They said, “Aren’t you too tired to practice when at Bologna. Later in the seventeenth cen¬ appeared. The competitive nature of the contest was made more interesting by the phony, a Dramatic Overture, a “Macbeth” Overture, esting novelty is Colberg’s melodrama, “Das Grosse you go home from work?” Then I told them that l tury the cessation of the great plague was presence of a jury of musicians who have a Fantasie for piano and orchestra and a violin con¬ Narrenspiel.” Melodrama is comparatively new and managed it by setting my alarm clock thirty minutes celebrated in Rome by a Musical Festival. become internationally famous for their certo before dying at the age of twenty-two. Ilmari worthy of attention. Upon this occasion there was a chorus of earlier and getting my practice in the morning before services to German choral song. These Krohn, Emil Genetz and Karl Flodin are other well- Among new instrumental works, a symphony in 200 .voices divided into six choirs to sing I go to the office. included Herr Prof. Max Meyer-Olbers- • known composers. The work of Sibelius has put the D minor by Malata, given at Chemnitz, was highly the Mass especially written by! Benvoli. J. F. Williams. leben, director of the Royal School for rest somewhat in the background, but even his praised for its poetic spirit and rich orchestration. One of the choirs, strange to say, was I always insisted upon my pupils coming at least Music at Wurzburg, whose choral works greatness should not make them wholly forgotten. Bischoff’s second symphony was heard at Hamburg, located at the very top of the immense fifteen minutes before their appointed time for the for male singing societies are world re¬ The success of native operas makes many wish and another by Volbach at Darmstadt. Noren’s new cathedral (St. 'Peter’s) in the same manner lesson hour. This was the only way in which I nowned; Prof. Cornelius Riibner, pro¬ that our own country could have more operas in “Vita” symphony will be given at Leipsic. Kronke’s as that indicated in Wagner’s ; Parsifal. could, be absolutely sure of not losing any time fessor of music at Columbia University; English; It is a long time since people thought that piano concerto is rated below his symphonic varia¬ Thus we are called again to observe the through tardiness. “That’s all very well,” y> u -ay; Gustav Wohlgemuth, the director of the “what was too silly to be spoken could* be sung.” tions, and the violin concerto of Dalcroze, like his truism of the old saying,. “There is nothing Leipzig Maennerchor; Max Spicker, the For more than half a century the words have been other works, is held to be too superficially melodic, “I have the same rule, but it does not work." This new under the sun.” I “ well-known composer and director of New important as furnishing a clue to the music. Culti¬ is the way I work it. I noticed at the barber - that Although innumerable gatherings of Barmen heard Robert Heger’s “symphony-drama,” York; Mathieu Neumann, from Diisseldorf, vated auditors may follow the text in the original, there was always a lot of papers lying ar. 1 in singers took place in all parts of Germany, “Hero and Leander,” while Gustav Kord’s symphonic the composer of the Kaiserpreis-Song, “War¬ and translations are often fearfully and wonderfully poem “Gudrun” was given at Darmstadt. Busoni’s which men were likely to be interested. Well, I tried starting with the hey-day of the Minne¬ ming vor dem Rhein.” made, but if the average auditor could understand bright “Turandot” suite found a warm welcome in the same ideas with children's papers— The i :tth's singer, no great Festival by a German-speak¬ The Festival was attended by more every word of a modern opera he would appreciate Berlin. Companion, St. Nicholas for the little folks and other ing people is recorded in Grove until those than thirty thousand people, and was a the music as never before. Debussy receives some candid foreign criticisms. illustrated magazines and booklets for the older given in Vienna, commencing with the year pupils. I invariably had the best musical magazines 1772. In 1808 an immense Festival was 1 financial success. In Budapest, a Debussy evening brought “an atmos¬ Arthur Claas A NEW NOTATION. phere of uncomfortable dissonance,” in spite of his on my ante-room table and induced my pupils to read given in Vienna in honor of Haydn, at A Festival of enormous dimensions personality. Even the “little, impressionistic tone- them by asking them questions about special articles which the Creation was rendered. This, was held at San Francisco - in September, At the Sorbonne, Sig. Menchaca, of Buenos Ayres, more enthusiastic chorus or a more appreciative gave a lecture on a simplified notation that he has pictures, in the great hall, resolved themselves into later. This idea worked finely. it will be remembered, was Haydn’s last appearance prior to his a surplus of $12,000. perfected and used. He begins by declaring that all ‘voilet moods’ that became dreary dullness from the David Wuittey. death. tenth row backward.” His “Printemps” was else¬ Since that time the Festival idea has become more and'more semitones are free and equal, and laying aside the I found that my pupils greatly appreciated my PRESERVE THE CUSTOM. terms natural, sharp and flat. The first result of this where called an orgie of cacophony, but his string custom of giving them a little epigram or words of popular. Festivals are now given all over England, Germany and is a simplification of harmony; for while it is no quartet wins praise. Another novelty to Germany advice quoted from the great masters. Thf. Etude in the United States. It is useless to bore one with interminable As America expands and becomes more and more cosmo¬ easier to group semitones by the dozen instead of is Fernand le Borne’s opera “Les Girondins,” which has been filled with these in the past. I copied them statistics of these events. The musicians engaged number from politan, and at the same time more American. Let us hope that two hundred singers to several thousand, as at some of the Eng¬ calling these groups octaves, it is far more simple to succeeded at Cologne. Fourdrain’s opera “La off on slips of paper or upon composer postal cards, every American with a drop of German blood in his veins will lish Festivals. The efficiency of the singers and performers name an interval exactly from its semitones than to Glaneuse” was well received at Liege. New French and just as the pupil was leaving I handed the card fight for the maintenance of the noble custom of gathering to¬ ranges from the little amateurish Festivals, at which such works gether at least one evening a week for a feast of song. use the terms major, minor, perfect, augmented or works include a symphony by Delcroix and a Sara- to him. I really and honestly believe that this must as Cowen’s 'Rose Maiden” and Romberg’s “Song of the Bell The most prominent Americans have taken great interest in diminished. bande for voice and orchestra by Ducasse. o my pupils a great deal of good in forming their are rendered with as much pride as difficulty, to the great. Fes¬ German male chorus singing. It is by no means unusual for A single line is used in place of a staff, and the line In the Monthly Journal is a favorable account of characters as well as their musical taste. They tivals like those of Birmingham, England; “Niederrheinische’ German singing societies to participate in important civic events itself indicates no pitch. All notes are represented Paul Dupin, a young Belgian composer who has always read the cards. (given at Diisseldorf, Aix-la-Chapelle or Cologne), or the Cin¬ in America. I had the honor to give concerts at the White gone through many struggles. His Melodies Popu¬ by a single outline figure, shaped like an egg, but Sister L. cinnati or the Worcester Festivals in America, at which works House with the German Liederkranz of New York and the lates are called spontaneous and broad. His cham¬ coming to a point at the small end. By pointing this of stupendous difficulty are given in consummate fashion. Brooklyn Arion Society before President Roosevelt and before figure in different directions for the six pairs of semi¬ ber music is not always in strict form, but is full of President Taft. When I introduced the great chorus-concert tones, and having the figure moved from below to touching pathos. As examples are cited a Legende CULTIVATE DECISION. THE USEFULNESS OF THE SMALL FESTIVAL. with eight hundred to one thousand singers at Prospect Park, above the line for a rise of one semitone, the inventor du Pauvre Homme, a Nocturne and a Pastorale. For We shall not say that the small Festival produces results less and many thousand people enjoyed these most ideal affairs, Mr. makes the chromatic scale regular to the eye, and piano there are his charming Melodies Modernes, and necessary than those produced at the large Henderson, in a leading article in the Sun. re¬ all other scales simple. Each dozen begins with A, a four-hand arrangement from his opera “Marcelle.” cJ“°N 'S “V5 the most fatal faults the musi- ferred to these concerts and expressed the hope with all ?°i!-SeSS-r °ne of tlle reasons why Meyerbeer, Festival. It reaches a class who might which is below the line. In the central octave, the Another Belgian to receive magazine notice is Nich¬ be confused by more complicated music. that New York should have such concerts, ranks r,f tu *S glftS and cleverness, has fallen below the primal note-figure has no stem. The other octaves, olas Daneau, whose opera “Linario,” dealing with a All festivals are beneficial, and the small also. Mr. Henderson's plea was successful. At four above and four below, are indicated very easily vendetta, has won much praise. Other operas by fact that h gfea,te^ German masters was due to the the Hudson-Fulton Celebration the German one has its owil distinctive place. him are “Myrtis,” “Le Sphynxe” and “Le Masque de seem tn h the power of decision. He did not Song was triumphant. On the same evening by certain stems fixed to the note. A black dot, A very interesting feature of musical placed on various parts of the note-figure, indicates Sable.” He has written also many successful can¬ conLiallv ab'e S3y yes °r no positively. He was grand concerts were given at the Metropolitan -0 life in America is the “Eistedfod,” given the note’s length. By having a measure of definite tatas. He unites melodic charm with polyphonic retoucheflyhfXPeninent'ng' He continual!v altered and Opera House. Carnegie Hall, New York Uni¬ by. the many Welsh societies in different speed, from which others may be rated, indefinite skill. Among other Belgians, Van Winkel is blamed versity, 13th Regt. Armory, in Brooklyn, and at H demand HWOrkn' and never *emed sure of himself. parts of America. In the coal regions of tempo-marks are avoided. The notation of chords for imitating Debussy in his “Aprilmorgen.” Amster¬ Sated w^h t 6nd eSS rehearsals and frequently ap- the Academy of Music. At least 2,000 German-. Pennsylvania the Eistedfod holds many American singers took part in these concerts. was not illustrated in the report of the lecture dam heard Juon’s “Vaetgervise,” Enesco’s Roumanian tratiSs of nS0’ °rL°metimes three' different orches- (S. I. M., Revue Mensuelle), but it seems simple Rhapsodies and Hubert Cuypers’ melodrama ousl wrote in H'ff ** SaT passa^ Th«e he ingeni- enough. Sig. Menchaca proposes also to use punc¬ “Terwe,” while it held Casella’s works too long, in of the nart= , dl**erent colored inks, so that the copies tuation marks as a guide to phrasing. spite of their brilliancy. an thisp become mixed-After going.to To fit this notation, a new piano is suggested by At Budapest, Dohnanyi led his second symphony, pleased himZ wTir ,was rarely able to decide which the inventor, with black and white keys alternating. but the result is still in doubt. Sinigaglia’s Etude sance and caused the musicians endless nui- 227 THE ETUDE THE ETUDE THE USE OF THE METRONOME. 226 I write the town has grown exceedingly. As a Opinion is divided in Germany as to the desirabil¬ *. »ithv"y 01 ,ht matter of fact, a new city has sprung up, with a new ity of the metronome, but I think that an investi¬ music of the r off davs of which I write, no or- Conservatorium and a new Gewandhaus, and side by gation would reveal that the majority of teachers In the rather fa ° ' existed i„ the conservator- side with old Leipsic in all its medieval quaintness are strongly in favor of the use of the metronome. chestra, properly P pianoforte concerto was stands an entirely new Leipsic—a Leipsic of wide Deppe, who had the mind of the scientist and the ium itself; of the orchestral score streets, noble buildings, gardens and parks. The philosopher, and who rarely expressed an opinion played, the string 0\ was given by the students; population in 1875 was about 110,000; it is now about until he had weighed both sides of a subject long (minus requisitioned for the rest of four times as large. and accurately, was a strong advocate of the metro¬ but a second panly occasion upon which the students (In the second Music of All Germany issue next By AMY FAY, nome, and he made us practice scales with it, begin¬ w r rncir' the. score, the y ful] orchestra was at the month The Etude will commence a series of two arti¬ ning very slowly and then doubling up on the tempo. cles upon the great musia schools of Germany. Author of Musia Study in Germany. It is amazing what rapidity in scale practice can be THE CONSERVATORY AT LEIPSIC There will also be a special article from Royal Pro¬ acquired by this process. You can play seven notes fessor Max Meyer Olbersleben on “What is expected IMIKK Amv Fav. the well-known American pianist, who, £ «... «•* *l” .j] through her immensely popular hook, Music 2«cii/ -J «• * at a beat just as easily as you can play one, after By DR. HERBERT W. WAREING tX of the student in the German conservatory.”) tnanu 1ms won a very wide reputation, relates some of hei you have acquired the velocity. It is a mere habit exDeriences in the following. .Miss E ay, It will he remem THE FAMOUS THOMAS CHOIR. berld, was a pupil of Liszt, Tausig, Deppe and others.] of the mind, and is just as easy as it is to run when (Professor of Music at Malvern College. England) the Thomas Church ranks second to THE PROGRAM MUSIC OF YESTERDAY. you know how to walk. I am sometimes inclined to It is now many years since I first went to the land I«,W-* .du.au,, in .h. think that the conscientious use of the metronome those of Otto Goldschmidt, Barg.el, of music and music-masters. Things have changed If ever anyone experienced the sensation of living none t again quote the count BY FRANCIS LINCOLN. would be sufficient to secure a fine technic, without etc.- Amongst the Englishmen are found J, F. Barnett, Thomasschule We may Dictionar} -This , greatly, but fundamental principles rarely change. in a dream—a sense of unreality about everything— any other aid whatever, because it prevents one from Sullivan, Walter Bache, Franklin Taylor, etc .and the Serious musicians cannot fail to see the humorous In fact, if I were asked to reduce the principles of it was I as I walked up the Charlottenstrasse and into slighting any finger and forces you to play out your American names include Dannreuther, Willis, Mills, fXooll an'ancient public school of the .am mure side of the clap-tra program music frequently heard pianoforte playing to the simplest principles I would passages. The only trouble with it is that the the Market Square at Leipsic on the evening of f our cathedral and foundation gramma, hools played by popular bands and orchestras. A slow say that they were only two: metronome presupposes you are a born musician August 18, 1874. I had never been in any partic¬ Paine and others.”* (similar to the kind connected with some movement, a polka, a bugle call, and a galop, all thor¬ a. Strength of Fingers. and that you have an ear for rhythm 1 Otherwise you ularly old or quaint town before, and if I had been regular recitals. religious institutions of various denommau , but oughly seasoned and punctuated, is supposed to repre¬ b. Lightness of Wrist. can’t play with it, unless the teacher helps you by suddenly transported to China or Persia, it would The student Friday evening concerts at Leipsic and with the special feature that about 60 of boys sent anything from the Battle of Gettysburg to the There are, of course, an infinity of exercises and counting aloud till you get the beat into your ear. have seemed no stranger than did old Leipsic on that the ensemble practice hours give most valuable expe are taught music. i ncsc *i: ■ ailed ascent of San Juan Hill. This, however, is by no studies which have been written to produce these A sense of time can be cultivated. It is like the voice summer night. The market place and the narrow Alumni, and are under the char, means a new pastime for hard-working composers. results. It seems to me that while I was in Ger¬ of conscience—some people have it by nature, but streets, with their enormously high gabled cantor, forming the ‘Thomanercl, Program music of this sort has been written and pub¬ many I must have encountered almost every exercise with others you must knock till you wake it up. windows, the strange twisted turrets and lished for years. The more pathetic and sanguine ever written. No doubt they all did me good, but chimneys, the quaint Rathaus (dating body is divided into four chon the title the worse the piece itself usually proved. The if a regular system had been pursued from the start THE SIDEWISE MOVEMENT OF THE WRIST. from the fourteenth century), all com¬ Prefect at the head of each, a- following are few of the titles to be found in the I might have saved much valuable time. When I went to Germany I was in entire ignorance bined to make up a picture forever graven the churches of St. Thomas, St. British Library, which leave us to imagine what the Among the first aims which the German pedagog of the sidewise movement of the wrist. It was not upon my. memory. I had traveled a long St. Peter, and the Ncukirchc music of bygon days must have been. Apparently in seeks are tone quality and velocity. They seem to until I had studied with Deppe that I comprehended way that day, and was tired, but, particu¬ Church. On Sundays the first cl, order to move a battle to the parlor, all that was nec¬ have an especial regard for the control of the touch the necessity for this. -• larly wishing to see the town in which I the town orchestra for the morn essary was to open the piano or the harpsichord. The and the advancement the speed. The first is, of Deppe is the only teacher I ever knew of who taught was to spend so long a time, I set out ice at St. Thomas’ or St. Niclm Victory Over the Dutch Fleet, The Royal Embarka¬ course, regulated by th' manner of raising and low¬ the sideward movement of the wrist, although I said exploring. That I should look for the on Saturday afternoon at 1.30 t V hole tion at Greenwich, The Battle of Egypt, The Landing ering the fingers. It is guided by the ear, and many all great artists use it. Take for example the difficult Conservatorium first was natural, and four choirs unite in a performan- of the Brave 42d Infant, y in England, The Victory pianists who follow no set rule often secure a good passage with the right hand of Chopin’s Fantaisie Im¬ soon I found myself in the courtyard of the direction of the cantor. The of Admiral Duncan, Nelson and the Navy, The Suf¬ tone quality merely by listening and listening until promptu in C sharp minor (everyone who has played that place. Anything more disappointing remarkable for the readiness and ferings of the Queen of France. These pieces are they train their fingers to respond quickly to the this piece will know what I mean). How is it possible than was the appearance of the building ness with which they sing the m- diffi- now all obsolete, and cannot be found upon the shelves dictates of the ear. On the other hand, velocity is to play it unless you throw the wrist sidewards in going itself would be difficult to imagine; it had cult music at sight. The cantor of music publishers, but only in Museums. Dussek and more dependent upon the wrist than most students from D sharp to B and turning the corner? With the originally been a cloth warehouse, or man towns and village, corrcsp- sortiething of the kind; at any rate, it was Steibelt were among the composers whose taste did not realize. If the wrist is relaxed and easy and does wrist held perfetly straight the passage will sound stiff the Precentor in English cathed, merely a plain, oblong-shaped building of lead them to avoid these banalities. The details of the not bear down upon the hand in such a manner as and angular, and will not have the requisite fluidity and churches, and the cantor o! verj' considerable ugliness. The old build¬ suffering of the queen, which the lace-draped fingers of to clog the finger action, good results must result. ease. Alas, it will not be legato. Thomas School has for long I- ing has not been used since the erection yesteryear were supposed to draw from the keyboard Not all German teachers, alas, were familiar with The first time I ever listened to the Fantaisie Im¬ knowledged the head and retire- of fhe splendid new building. About a were, for instance: The Queen’s Imprisonment (largo) ; this when I was in Germany, but the theories of promptu it was played by a splendid piano teacher in fortnight after this I was informed by the of them all.” For more than t she reflects on her former greatness (maestoso) ; they Ludwig Deppe did a great deal to institute a much New York. He was a Pole, and his name was Tychow- turies this office has been filled secretary that I must appear that after¬ separate her from her children (agitato assai); they needed reform. ski. I took lessons from him in a summer school in noon before Professor Carl Reinecke; the distinguished musicians, the gri pronounce the Sentence of Death (allegro con furia) ; Geneseo, N. Y., when I was seventeen years old. all being, of course, Johann A MUCH NEGLECTED PRINCIPLE. Herr Professor would hear me play with her resignation to her fate (adagio innocente); reflec¬ Tychowski was one of the few piano teachers I have Bach, who held the office fron 13 to a yiew to ascertaining whether 1 was tions of the night before her execution (andante agi¬ I learned in Germany that the most neglected prin¬ known who had a system of technic and who taught it. 1750. Most of Bach's church tatas- worthy of admittance to the Conserva¬ tato) ; they enter the prison door; funeral march; ciple of piano technic is the sideward movement of Like Deppe, he began with hand positions and elemen¬ were written for the Thomas-ch and torium. Shortly after this I was admitted invocation to the Almighty; the guillotine drops. (This the wrist, yet it-is indispensable in passages which tary finger exercises. He disciplined the fingers, but in the Thomas-kirche was first pc run up or down the keyboard and return again. The as a student. was shown by a rapid descending glissando scale) ; the he had no idea about wrist practice. Still, he made (in 1840) Mendelssohn’s Hymn < wrist should lead the hand in such passages and go At Leipsic there always seemed to be Apotheosis. Alas, if only the poor little pleasure- me practice with each hand separately, and very slowly. From an educational standpoint ahead of it, as it were. All artists who are public foijr principal points of musical interest, loving queen could have been punished by the innocent I made such rapid progress under Tychowski that my viz.-: (a) the work at the Conservatorium, the hearing of the opera at th, performers understand this principle perfectly well, and painless manner in which these details are told family was astonished at the transformation in my (b)* the music of the Thomas Church, Theatre can scarcely be over-esi but unfortunately they do n->t teach it. They do it on the keyboard! playing, after six weeks’ absence, when I went home. (<-) the opera at the Stadt Theatre, (d) the In Germany there is in all towns instinctively, just as a person walks, without think¬ The Battle of Prague was the program piece de re¬ (Owing to the great pressure for space in this Gewandhaus and Euterpe concerts, and portance a “stadt" or “state” theat, : that ing particularly how he is putting out his feet. It is sistance of our great-grandmothers. Even Beethoven issue it becomes necessary to conclude Miss Fay’s in¬ the*,chamber of music soirees. is, a theatre subsidized by the mi - cipi a fortunate thing that Providence decreed we should bargained to write a Battle of Copenhagen, but owing teresting article in the second Music of All Germany authorities, and always thorough' we master the technic of learning to walk in our infancy, to the unwillingness of the publisher to give him the number to be published next month.) supported by the townspeople. Tin .ei] sum he wanted, he refused to write the composition. for if we had to learn it later in life from good teacher 3 who knew how to walk, we would be in the sic theatre is a splendid building - ate After all, the difference between the program music oi same plight that students of music without any train¬ The following extract from - Grove’s in the Augustas Platz (one of the prii yesterday and the symphonic poems in which Strauss cipal squares). There is an excellen* sta ing it- childhood are in who take music lessons after SOME INTERESTING FACTS ABOUT Dictionary gives an excellent account of and others try to tell a tale with music, is a difference the; history of the Conservatorium: royal conservatory, leipsic. of artists permanently engaged; one se of kind rather than of substance. Program music often they are eighteen years of age. It would take us a MUSICAL MAGAZINES. “The: idea and the foundation of the tion gives opera and the other plays c long time to go a mile if we had to stop and think reminds ona of the cry of the little London newsboy, The first musical magazine started in Germany was Conservatorium were entirely due to Men¬ alternate evenings. Both are splendid just how we should place our steps, but we learned founded in 1722. It was called Musica Critica, and ence. To play frequently at these meetings is of the who attempted to sell his paper with the promise; delssohn, by whom the King of Saxony was induced staged, and the repertoire of operas comprises n< this in infancy, through many a bump and many a was directed by Handel’s rival, Matheson. A vast greatest importance to advanced pupils on account of “’Ere y’are, guv’nor; all the ’orrible and disgustin’ de¬ to allow a sum of 20,000 thalers (about $15,000), only all the standard works, but also many othe fall! number of musical papers followed this one, and at bequeathed by a certain Hofkriegsrath Bliimner the opportunity it affords them to play before an audi¬ tails !” ■vyhich are too little known. The orchestra coi the present time in Germany there are over thirty ‘for the purpose of art and science,’ to be devoted ence, and also because of the opportunity to listen. AN EXCELLENT GERMAN CUSTOM. sisted of about sixty musicians; the plavers ah musical magazines. The first musical paper of France to the establishment of a ‘solid musical academy Tc> one of these weekly concerts in the winter of The teacher is confronted with the problem as to constituted the Gewandhaus orchestra. THE SUPERNATURAL IN GERMAN and Germany was founded in 1756. The first English at Leipsic.’ The permission was obtained in No¬ how he can break in the stiff or weak fingers and 1875-76 there came a very small blonde man, of ex¬ MUSIC L ART. musical paper was founded in 1822. In 1792 the first vember, 1842; the necessary accommodation was tremely bright and genial manners, bowing profusely, ,?x!DlCtio,lar>r says of the Gewandhaus coi German musical art very closely connected with take out the rigidity of wrist and arm of the pupil c^rts: 1 he Gewandhaus concerts are so called fro; musical magazine was established in America. It was granted by the corporation of the town in the Gewand¬ German poetry, and th composers of Germany and who has had no hand training as a child. He can and greeting many friends cordially—this was Edward their being held in the Hall of the Gewandhaus. tl known as Andrew Law’s Musical Magazine. The aver¬ haus—a large block of buildings containing two halls, Grieg. Grieg was a former Conservatorium student, Austria have had a pronounced liking for texts and sub¬ only accomplish this by putting him back into ele¬ andent armory of the city of Leipsic. Thcv da age musical magazine is short-lived. Ther^ are two a library, and many other rooms—and the Conserva- and was at Leipsic frpm 1857 to 1861. The evening to jects in which fairies, ghosts, elves and supernatural mentary finger exercises and by insisting on slow from the time when Bach was cantor of the Thoma hundred and fifty American musical magazines on file at toriiim was opened on April 3, 1843. Mendelssohn characters are evident. The Erl-King of Goethe, as well practice of the same. The importance of following which Trefer was a sort of Grieg night; his pianoforte the Library of Congress. Most of them discontinued was the first chief, and the teachers were: Harmony cerDe’Tu c e °riginal thle was ‘der grosse Co, as the Lorelei, have been set to music innumerable the old German custom of counting out loud cannot concerto in A minor was played, and also the violin and publication long ago. One of the most famous of and cdunterpoint, Hauptmann; composition and piano¬ ul •' ,J,rst Perfo”«ances were held in a priva times. Der Freyschuts of Weber is characterized by be overestimated, yet I think all teachers will agree piano sonata in F. Grieg came many times to the con¬ American musical magazines was Dwight’s Journal of forte, Mendelssohn and Schumann; violin, Ferdinand cant ,n/l43mhe c0nductor was Doles, after war, its scenes of magic. The composer, Marschner, whose with me that it is next to impossible to make the certs after this first night, accompanied sometimes by Music, which was published from 1852 to 1881. and David; singing, Pohlenz; organ, Becker. There were the Thomasschule, and the orchestra co operatic works are extremely popular in Germany, pupils do this. It is a good deal of trouble to do it, Mme. Grieg. To know Grieg’s songs one should have maintained its existence until the publisher retired. ten scholarships, and the fees for the ordinary pupils about « slxte®n performers. At present there a was very partial to ghosts and gnomes. Hump¬ and ninety-nine pupils out of a hundred have no were: seventy-five thalers (about $56) per annum. In heard them given by Mme. Grieg, with her husband about seveuty.fi"6 performers> and there are ,wen accompanying; no words could give an idea of the erdinck has made a setting of two fairy texts. All sense of. rhythm, anyway. They know little about 1846 at Mendelssohn’s earnest entreaty, Moscheles of the Wagner operas are based upon mythological or it and care less. The teacher is obliged to keep at 'pianoforte at the modest salary of £120 (about $600) ; intense fervor and expression with which she sang for the an<^ a'so two benefit concerts—oi serr’-mythological plots. His first opera was indeed the pupils, all the while, to force them to a realiza¬ It sounds strange to hear the name of Julius Cesar and at that date the staff also embraced Gade, Plaidy, Ambno- tb CS ra pens!on fl,ud and one for the poot * Grove’s Dictionary appears to be guilty ot Inaccuracy called The Fairies. Macbeth, with its witches, has tion of the time. What they are after is the time of presented as that of a composer, but, nevertheless, Bren del, Richter (afterwards Cantor), and others toe be „eM0“ TWS °f this famous organizati' In this regard. Edward Dannreuther was bom at. Strasburg, always been a favorite subject for German com¬ a piece of music. They play the easy parts fast and a composer of that name lived and worked in Eng¬ left his London practice, and became professor of the Germany, and lived most ot bis life in London. His hmthM- Karl ^end®'ssohn 0835-43). Gade (1844-41 posers who aspire to put music to Shakesperian texts, the hard ones slowly. The worst battles I have had land during the seventeenth century. He wrote many whose names have become inseparably attached to the THif raoid (186°'95) and Ar‘hur Nikisch (1891 and Mendelssohn’s best work is the music for Shake¬ with my pupils have been over making them study popular pieces, including some rounds and catches, Conservatorium. The first named inscribed in the list entie is TTy °f music in Leipsic in the sc speare’s fairy play, A Midsummer Night’s Dream. slowly and count out loud. which are sometimes sung in this day. of pupils is Theodore Kirchner, and it is followed by always been in°otb typical of ^hat music there b other years. Since the time of whi THE ETUDE rtiE auDE 229 228 , those who shake the head over many of his °” rks The restlessness, the lack ot ease in his songs works. :P.. repellant to me. \et when I hear are^particularly r^ iintroductjon,” ..Passacaglia „ ^ IWT such worn pjanos>- hls "Variations and Fugue FUBTThemeheme by Hiller,” his “Hundredth"Hundredth Psalm,”Psalm, I1 feee, i V" a Jwefof, 0f his genius and say to myselfmyseii, Only a th%er could have written that. His eminent ability of THE PREDOMINATING INFLUENCE IN THE a™* 7 da>' h« ?*hed HiJv height in Germany, technic in music has at¬ GERMAN MUSIC OF TO-DAY. tained a heretofore undreamed of pitch. Indeed ac¬ cording to my opinion, in tins lies the danger of art Written Especially for “The Etude” by the Distinguished German Composer and Teacher, degenerating into mere virtuosity, of becoming the 3 flat and unprofitable. If we stnp many of the ALEXANDER VON FIELITZ songs, many of the scores dictated by the Strauss,an muse of their sparkling outward garments, how often Ho we find them poor of invention and lacking in true
[Editor's Note.—The following article, one of the best department of the symphony, with which I naturally of its kind we have ever had the privilege of printing, was WAGNER'S FOLLOWERS. written by one of the best known German composers ot to¬ class chamber and lyrical music. Standing as. he day, Alexander von Flelitz. Von Flelitz was born in Leipsic, does on the shoulders of Beethoven and Schumann, Among the composers who stand und, 'he influ¬ his father being half Polish and his mother a.Russian. He studied • under Edmund Kretschmar and Jules Schulhoft in he is a strongly marked personality, and as such must ence of Wagner may be mentioned tin Mowing: Dresden. Later he acted as an assistant conductor under exert a great influence on the younger composers who Karb Goldmark, with his operas. "The ’uecn of Nikisch. Then he held positions as a conductor in Zurich, Lubeck, Leipsic and Berlin. Owing to a nervous breakdown follow his footsteps. To me Brahms is the greatest ih Sheba,” “Merlin,” “The Cricket on tl Hearth,” he was obliged to give up this work. He went to Italy his songs, and he has exercised a powerful influence “Goetz von Berlichen” and "The VVintei ale,” of and devoted a great deal of time to composition He has on the modern lyric. In Hugo Wolf we recognize the composed two operas and many pieces for pianoforte, but which the first has successfully maintained ■ place on he is best known through his^ extremely^beautlful songs^and most genial of all the latter-day song writers, a the boards for many years. Then the 11 len com¬ THE INFLUENCE OF GERMANY’S GREATEST MASTERS _,__j Bliland, Soft» Qretlein and others. scholar of Richard Wagner’s In his masterly declama¬ Von8 Fielitz’z speakssi -several languages fluently and is thor- poser, Edmund Kretschner, with his oper he Folk- r cosmopolitan-tastes i and in hiss sources- of unger;” Heinrich Zollner. with “Sunken IV August ON THE MUSICAL ART OF THE WORLD America, teaching in Chicago. Although some of ot- Bungert, with “The Return of Odysscu Kirke,” may not agree with von Flelitz in all he has stated, he will “Nausikaa.” “The Death of Odysseu- .egfried be admired for his frankness and his extreme clearness of By HENRY T. FINCK expression and acuteness of critical insight. The English Wagner in his operas. “Der Rarenhaut'i Herzog translation is by Mr. F. S. Law.] Wild fang,” “Der Kobolcl." seeks to email. i<- him¬ Hans von Bulow’s remark that “Italy was the pieces of Schumann, whose favorite motto for students, delssohn. But in our day the prejudice against other There is no genius so great that he is not obliged self from the influence of his great father ! to de¬ velop the folk-style of Weber and l-ort but is cradle of music—and remained the cradle” was, of moreover, was: , “Make Bach your daily bread.” schools has been overcome, and England has become to stand upon the shoulders of his predecessors. Thus course, not intended to be taken literally, but simply Robert Franz was musically a direct descendant of one of the most omnivorous of consumers, importing far no finished master has fallen from heaven. The hardly more successful in the attempt tl hose of as a witty exaggeration of an obvious truth. Italy Bach; one of his chief aims was to make every har¬ its music from Germany, France, England, Russia, and stronger the individuality of a creative artist the greater talent. Much greater names in tin- gnerian gave to the world the first operas, oratorios, cantatas, monic voice in his piano parts as melodious as the even America, with praiseworthy cosmopolitanism. sooner and the more unmistakably will he form his school are those of Engelbert Humperdim t - Schil¬ lings and Hans Pfitzner in their operas rite last, overtures, sonatas, and most of the ecclesiastic forms, vocal melody itself, which is truly .Bachian. own laws and choose his own methods. In the great and in Course of time it furnished master works in HAYDN AND MOZART. chain of art genius denotes the points where talent, however, is strongly influenced by Schum. in his On Wagner, Bach exerted a tremendous influe-ice, all these styles of musical architecture; yet it remained forming the greater and smaller rings of the chain, songs, and is one of the most gifted of *! new-ro¬ as is best illustrated by the rich polyphony of the Recent researches by German historians have some¬ for the composers of Germany to write the most, elab¬ attaches itself to form the whole. The German music, mantic school. Wcingartner follows th • ists in “Meistersinger’ score, its superb chorals, and the over¬ what shortened the stature of Haydn as an originator. orate and fully developed specimens in each case. of to-day is for the most part under the influence of our his symphonies. In his operas “Sakuntal.T Mala- whelming organ point when the congregation leaves the Riemann and others have shown that it was not Josef Italy can show no choral works .equal to Bach’s “St. church. Hardly any of the German composers escaped, greatest reformer, Richard Wagner; that is to say, it wiska” he is influenced by Wagner. Haydn, but Johann Stannitz, who created the modern (Owing to the great pressure for space to the Matthew’s Passion,” or Handel’s “Messiah;” no over¬ down to the latest of them, Max Reger, whose stupen¬ is dominated by the principles he formulated in the style of instrumental music, so far as the introduction unusual number of features in this issue ccomes ture equal to those of half a dozen German masters; dously complicated and effective organ and orchestral realm of dramatic music. But even in the domain of of sudden and frequent emotional contrasts within a necessary to continue this important art in the no songs equal to those of Schubert, Schumann or fugues might have been written by Bach himself, after the symphony and the lyric his influence has had great movement is concerned. Nor was he the first to intro- power. I need mention but two names—Anton Bruck¬ second Music of All Germany number t<> I blished Franz; no operas like Wagner’s; no symphonies like hearing Wagner’s “Meistersinger.” due the minuet as an additional movement into the ner, the Viennese symphonist, and Hugo Wolf, the next, month.) Beethoven’s; no pianoforte pieces like Schubert’s, Bee¬ Outside of Germany we find—to name only a few— symphonic form; or the first who gave the wood-wind Viennese lyrical composer. thoven’s of Schumann’s. the Hungarian Liszt, the French Saint-Saens, the Polish Wagner was one of the great masters of the past; On these points there can be no dispute whatever, Chopin, real pupils of Bach. Liszt shows his influence instruments idiomatic parts of their own to play, Gluck he stands with Mozart, Bach, and Beethoven, the great¬ and that is why Gerrfiany is now universally conceded not only in his (unfortunately little-known) organ having anticipated him in this reform. est. the strongest, the most original. His- individuality to be the chief musical nation, even by those whose pieces, but in the organ-like grandeur of some of his Nevertheless, Haydn remains one of the giants of the was so powerful, his genius so overwhelming; he personal taste impels them to favor particular examples piano pieces. The chameleonic Saint-Saens often ap¬ classical period. While such composers as Boccherini,. spoke his own language with such force, that he was of Italian, French or Russian music. The greatest mas¬ pears in a garb fashioned after Bach. As for Chopin, Schobert, Gossec, Dittersdorf, eagerly imitated Stan-, ters of Italy, France and Russia have been, unanimous recognized even in his early works, when he was, as How does your studio look? The appear mce ol his later compositions, in particular, are increasingly nitz, it was reserved for Haydn to influence two other in looking up to the German masters as their masters— in the case of “Rienzi,” under the influence of the your studio, like your own appearance, t r at Bachian in their closeness and complexity of harmonic giants, Mozart and Beethoven, and through them, as opera in Paris, which in Wagner’s youth found its as the men to whose influence they largely owed their texture, and in some peculiarities of modulation. When tracts. Therefore the outside, especially tin windows well as through his own works, to make a lasting im-- strongest representative in Meyerbeer. Few masters tion of the text and in the independent, colorful own education and development. preparing for a concert, Chopin shut himself up for a must be kept clean, no matter whether have ; pression on concert music in all countries. While he have created such a school or have had so many treatment of the accompaniment. Eugen d’Albert, who The object of this article is to point out briefly how fortnight and played Bach. To his pupils he recom¬ did not originate the changes and improvements just of recent German composers is one of the few repre¬ choice location or not. Inside the floors and V neer imitators as Wagner. His all-embracing might has the influence of a group of the leading German com¬ mended Bach’s works as the best aids to progress. referred to, his genius enabled him to make better and • proved fatal to even great talent. Note, for instance, sentatives of the classical tendency in his chamber careful attention, no matter whether you have in- latest posers—Bach, Handel, Gluck, Haydn, Mozart, Bee¬ Handel’s influence was exerted less in his native music works, is in his tone dramas also a scholar of designs in furniture or not. If the floors and window! more lasting use of them. .During the years that he > how the choice of material for his music dramas has led thoven, Schubert, Schumann, Mendelssohn, Weber, country than in England, where he spent the last forty- conducted and composed in the secluded castle of Wagner’s. His opera “Tiefland,” which I consider of are dirty the whole studio will look dirty, and n< many dramatic composers to the error of choosing Meyerbeer, Wagner and Brahms—was exerted on the seven years of his life. The Austrian Haydn, however, Prince Esterhazy he was, as he himself said, “forced to less artistic worth than others of his works for the amount of bric-a-brac, plaster busts and pictures wi! similar subjects. Even though possessing a voice of musical world at home and in other countries. was incited to compose his “Creation” and “The Sea¬ be original;” he had his own orchestra, with which he his own no one has been able to speak the same lan¬ stage, though it has had the greatest material success cover the grime of dirty walls. If you want to holt sons” by hearing Handel’s oratorios in London; and could rehearse to-day what he had composed yester¬ guage as the master. Wagner’s great music dramas seems to ally him rather with the neo-Italian school’ your trade, clean your studio. The public demands it. BACH AND HANDEL. Mendelssohn’s “St. Paul” and “Elijah” also owe their day and thus he could improve his symphonies till are so comprehensive and his genius commands such One has only to know his Op. 1, his suite for piano, to How do you appear? Your patrons judge by yout When Bach died, in 1750, his neighbors nad so little existence, or, at any rate, their form, spirit and style, they were models for all his contemporaries, in¬ an empire that he must necessarily rule as sole dic¬ recognize him as a representative of the classical direction. •eostumV?’ -Y°U d° "0t nee<1 an ^pensive or 'showy’ conception of his greatness that they buried him with¬ largely to Handel, who is thus partly responsible for cluding Mozart, all of whose symphonies are like tator. There is scarcely a modern composer who has , , e t0 lmPress the public, but you do need clear out even marking his grave, and it was only by detec¬ what are generally considered the greatest choral works cousins of Haydn’s, while Beethoven’s first two, at any not learned ttiore or less from Wagner or in some --- rauvn IHCHMIC. lovtl aCe’ hair in f’rder and shoes polished. A tive work worthy of Sherlock Holmes that his coffin apart from his own and Bach’s. degree appropriated his effects, if it is only in an in¬ rate, are also relatives of the same. Of those who have gone their own way, Max Re< slovenly appearance is never convincing. was found, a few years ago. His music, also, had been To England the influence of this musical giant from dependent polyphonic treatment of the orchestra. In these days, when the question of nationalism and and Richard Strauss may be named first of all. No eive ZrT dlsposit,on ? Learn your patrons' names practically buried with him; but that, fortunately, was Germany was of vast importance. It is significant that Even a genius like Italy’s greatest opera composer, folk-music is so much discussed, it is well to bear in adays in Germany they are considered the most modi when vou !rhTy,greeting '^en they call. To do thi: unearthed nearly a century ago, when Mendelssohn’s while the Bach leaven did not begin to act till about mind that Haydn was the first of the nationalists, the Giuseppe Verdi, who as Wagner’s star first began to composers we have. Strauss to a certain extent in vation^ A « t,red alul not feeling well requires cult! enthusiasm was passionately aroused by the discovery three-quarters of a century ago, Handel’s sway was first great master who made liberal use of folk-tunes rise stood at the height of his fame, did not hesitate earlier works also based himself on Wagner, thou of a score of the “St. Matthew Passion,” which he most powerful in his lifetime. This was due to the in his compositions. Historians as a rule have over¬ to learn from the German master. Compare Verdi’s Berlioz may have exercised a greater influence up for anirritabrtemp1er!CmPera'm'nr iS 3 ^ ^ produced in Berlin in 1829, in defiance of the scorn and fact that Bach was too profound for his time; he looked this important aspect of his art, but- Mr. Hadow “Aida,” , “Othello,” “Falstaff” with his early operas, him, since the latter is decidely more symphonic' tl romn^durino-0 1°* dtInng a lesson? Do not leave th< doubts of professionals. That started the avalanche; wrote for the future, whereas Handel wrote for his own duly emphasizes it in the fifth volume of the Oxford and one cannot but recognize the influence of dramatic in tendency. Berlioz was the founder restlessly wifi7 eSS0,l; not walk about 'be room a Bach Society was soon formed, which gradually generation. As Sir Hubert Parry has well said, Handel History of Music, in which he calls attention to the Wagner, which, without prejudice to Verdi's in¬ program music, in which Strauss has made some nuiet Re«n f a pupil Is playing. Sit down and keej printed his vocal and instrumental works, in 59 dividuality, is plainly seen in his treatment of the Ins happiest experiments. Strauss has also be “thought a great deal of the tastes of a big public, fact that Haydn, the son of a Croatian peasant, had but pay strirtt.7C ?Up’1’s effort and in'-i-nipt huge volumes; and the influence of these volumes on orchestra. strongly influenced by Berlioz in the art of instrunu and not very intently of refinements of art, or origi¬ heard in his childhood the songs' of the ploughman and the evolution of modern musical thought has been tre¬ tation. and at present stands as the acknowledged m has finished. Neve"r ™ h ^ ^ riT *¥nB1whcn ^ nality of matter or plan. His disposition was not so the reaper, the songs of rustic courtship and village THE INFLUENCE OF BRAHMS. The besi Ko I , a PUP'1 through a lesson. mendous. ter of all in this department. Reger wanders his o much to work up to any exalted ideals of his own, as merrymaking. And when he was writing at Esterhazy’s When Mozart casually came across a Bach compo¬ Wagner’s contemporary, Johannes Brahms, whom way in an entirely different domain. His godfatb ■ and the best teac"eVdo not 5raW b,°°d "hile to feel sympathetically what was the highest standard castle, “half unconsciously he began to weave them into I reckon among the followers of Wagner rather than are Sebastian Bach and Johannes Brahms, and of How do vou tr?,? ° 0t draw tears at « ,csson sition in Leipsic he exclaimed: “Thank heavens! At of taste of the public for which he was constantly the texture of hrs composition, borrowing here a lessons punrtualW;at/°ur.Patrons? Begin and end tl’< an independent pathfinder, the merit of which belongs living composers he is the most eminent contrapt last I have found a piece from which I can learn some¬ working and to supply what was demanded.” phrase, there a strain, there an entire melody, and to the former, is undoubtedly the greatest and most list. The strict laws of counterpoint, however of seldom an amiable pUpiI in ,1,e ante-room ' thing.” Nevertheless, and although Beethoven also From this point of view it is impossible to overesti¬ gradually fashioning his own tunes on these native mod¬ significant German symphonist of later times. His him resources that he finds less attractive than’ the for “accommodation ” not/,umge lesson period adored Bach, saying that “his name should not be Bach mate the significance of Handel. He educated the els. They find their way into everything—quartets, course runs parallel with Wagner’s, but is entirely in¬ which lie in the treasure house of harmony. Ho not make die,’, • the end you wiI1 be the ,oser (brook) but Ocean,” neither of these masters betray English nation to an appreciation of better music than concertos divertimenti, even hymns and masses—they your patrons Cr remarks to any one abott dependent of it. He also is one of the influences on It is true that Reger’s harmonic mazes ar» not the influence of Bach noticeably in their works. Much it had had before. To be sure, the education was one¬ renew with fresh and vigorous life an art that appeared German music of to-day, more particularly in the every one’s taste, and I must acknowledge that I ; your pupils. Petw i,fi3 ™m"aI &ood amon! more of it we find in the works of Mendelssohn, sided; for many years the English would tolerate no to be growing old before its time.” It was “music with feelings, and it is b J a!?'ls,es. real r,r fancied, cause tl it ts here the teacher’s diolomaev comes in notably those for organ and in the polyphonic piano musical gods except Handel and, subsequently, Men¬ real blood in its veins and real passion in its heart; 231 THE ETUDE through. He appeared; somewhat anxious to make the etude „ ever Nor are all the teachers now 230 my acquaintance and requested me to play at once, greater, who have taught in America, oi foreign performed the last sonata of Beethoven (Opus 111 m the first to write program music; but and free spontaneous utterance of the joys and sor¬ parentage. Spencer and Clark, in Paris C minor). Shortly afterwards Hans von Bulow rows of a nation.” (Liszt’s son-in-law) entered the room • very quietly. ^eethoven and Shubert were the first masters to 111 Bec !« and Eatnes—the list is getting pretty Nevertheless, Liszt seemed greatly annoyed by his follow in Haydn’s fotsteps. Weber came next, and )Vager,ll toe musicians and successful teachers. Yet s.i.,o„.w”r “dTJ pop* long-alUto darkened when these men left us to entrance. Not even the Emperor of Brazil or the thenceforth, to Brahms, Tschaikowsky and the pres¬ wisdom was abroad. There are still many Queen of all the Amazons would have been excepted ent day, the composers transplanted into their gardens branch of the art. Miecks to show continue their.work ^ America, and tL list of from Liszt’s strict rule that music should never under the musical wild flowers known as folk-songs. An attempt has been made by PtoJ\ q{ gram that Brahms also was at heart' a wnte P,pyer’s teachers °®glt pianists, organists, singers - any circumstances be disturbed by intrusions of any Mozart died early, before he had delivered half his kind whatsoever. Von Billow was apparently moYe message. Haydn, though born twenty-four years be¬ music; but his argument is about as nS"te fendellcy; he silk. No; Brahms represents theopposite tendency ** “d impressed with my playing than Liszt. To my great fore him, survived him by eighteen. Thus it came represents absolute music, music for ^ his delight I was received with welcome as a pupil, and about that while Haydn at first influenced Mozart, he apfce- for us, as a nation, to cultivate a little without any admixture of other arts C sic paid the samel.fee that all the other pupils paid—that shows in his last years the influence of Mozart, espe¬ sturdy independence, musically and otherwise It is songs), and it is by his championship of sturdy F • n_j{ it ever was one—of where, or is to say, nothing. I profited as much as possible from cially in his last symphonies and quartets. On Bee¬ and his composing.it that he influenced his contempo the rich advice, the innumerable valuable little hints, the w°th°whom, one has studied, but of what on.- can do. thoven Mozart made a deeper impression still, as no soulful observations and the many practical keyboard aries, particularly in Germany and England. „ . P, The ston' of European music study is, m the great one familiar with the works of both can fail to note, illustrations which Liszt gave me at these memorably no£ only in the early works of Beethoven, but in many held the integrity of classical form and the int6'L . majority of cases, a story of shattered r pcs and side .of music againsfthe colorists and the emoton lessons. After about four weeks I played; his Pesth of v the later ones. And the whole of the German pathetic disillusionment. If a St dent has natural alists, and it is owing to the natural bent of h.s mind scholarship and so .wise his comments that it was Karneval, which I had recently studied for him. He classical school was to some extent leavened by the musical gifts, a residence abroac, will not ndow him teditob’s Note—It is rarely given to one man to attain that he is at his best in his chamber music, and ha celebrity in so many different lines of endeavor as those m really a holiday for us when, he permitted us to play gave me a nickname after the suburb in which I lived, with them. If he has talent it can be d ’ loped at Mozart spirit. which Dr. Otto Neitsel has met with success. His versa- such works as the great A minor fugue of J. S. Bach and said, “I see that Oberweimar plays with attention On other countries, also, Mozart made an indelible exerted his widest influence with it. at home, and the lime may then come w " a stay until in all of his many and varied musical undertakings A concluding paper will be devoted, to the influence qr the A flat major sonata of Beethoven_ (Opus 110). to details.” After that, particularly because he dis¬ impression. The Italians never took to his operas, but in European musical centers will be stum: ' ‘ing and has been a constant surprise to German observers of cur¬ on the world of the German romanticists, Schumann rent history. Added to this Dr. Neitsel has manifested the Kullak was by no means arbitrary in his work, ex¬ covered that I could read quickly and correctly at sight, Rossini learned much from him, especially in the art beneficial. And if such a stay imposes no i due bur- and Mendelssohn, Schubert and the Lied, and the opera scholarship of the savant. In this article he gives..the cept in the cases of pupils who very obviously did not he made me one of the intimates of that circle, which of orchestral coloring, and he was the first Italian who, dens upon him, either pecumanly or othcrw . it may readers of The Etude the advantage of a lifetime of ooser- 'ration and reflection upon the subject of practice. Students possess sufficient talent to permit them to proceed made the days at Weimar the happiest in my life. following Mozart’s example, wrote solo arias for the be safely commended as a delightful and pi man follow the short series with unquestioned opportunities without more or less strict directions. To those who Much has been written about the teaching of this bass voice, which theretofore had been used only as a perience. But how many students, after a abroad for profit by gaining the opinions of one of the foremost great master, but very little that is definite has been he new German critics of our day. Since Dr. Neitzels■ article_ is were very talented he allowed the greatest possible harmonic part in ensembles. AS TO MUSIC STUDY IN EUROPE, of six months or a year, when the novelty given to the world regarding his ideas upon technical i toward biographical in parts, no formal biography is given here.] liberty and permitted them to find their own paths. Rossini was a melodist, and it was particularly the conditions has begun to wear off. and the e means. He really did make some very definite state¬ melodists everywhere who swore by Mozart. Gounod BY JAMES H. ROGERS. which they are striving seems farther and i.o In the following are assembled the results of obser¬ ments which I shall endeavor to outline to. the read¬ worshipped him and looked on “Don Giovanni” as the could say. wtth Touchstone—"Aye. now 1 am vations and experiences of more than fifty years ol ers of The Etude. It is utter nonsense to think that greatest of all art works. Chopin placed Mozart high¬ The questions upon which The Etude symposium when I was at home I was in a better place. practical experience as a pianist. In order that the Liszt had an aversion to technic or that he did not est among all composers, and it was said of him that he (see Etude for April, 1910) regarding the “Weakness readers of The Etude may become aware of the recommend it with enthusiasm. He frequently spok^ always had in his valise, when he traveled, the score of Musical Training in America” was based were so experience upon which my observations in this series with great gratitude about his teacher Czerny, and how of ‘‘Don Giovanni” or the “Requiem.” Tschaikowsky suggestive that I regretted the limitation of answers THE “DRUDGERY” OF PRACTICING. often did he relate how industriously he had worked wrote to a friend: “The music of ‘Don Giovanni’ was are founded, I know that I shall be pardoned for to fifty words. May I continue the subject briefly, to make his'fingers the servants of his mind. He the first which stirred me profoundly. . . It is thanks BY ALBERT W. ItORST. going into some necessary personal details. but without this restriction? “ i Was born in Falkenburg, Pomerania, July 6, 1852. seemed to take the keenest pleasure in discovering to Mozart that I have devoted my life to music.” . Suppose we amplify our title thus: “The Weakness My first concert was given, together with my sister, the most unusual and extraordinary fingering which Smetana’s charming opera, “The Bartered Bride,” of Musical Training in America, as Compared With An English philosopher has stated that at pi who was two years my senior, on November 13, 1859. would best bring out the meaning of a given passage. might have been written by Mozart himself, after a Musical Training in Europe,” for, I take it, we must pie ordinarily regard as drudgery occup thr year's sojourn among the Bohemian peasants. Thus it may be seen that practically all of my life has I remember that once he advised us to P’ay ,al1, °f.ctbe consider all such questions as comparative. Can the fourths of their very lives. Many of u- Id g scales. With the following, fingering: 1234532-12.545,54 It may be true that, as Professor Prout has said, student develop his talent to advantage in this coun¬ a great deal to get rid of the drudgery in r liv been devoted to music. Among other works I placed ■ among composers of the present day one would seek in and so on. ■ _ try? If not, why not? What have been the net results and music students would he willing to | alnv at that time was the Sonata- Fant'asie by Mozart art?! vain for any traces of Mozart’s influence. But the The principle proclaimed by Liszt s pupil, Lari (to American students) of European study during the anything to find a way of avoiding drtidgt pr the First Sonata by Beethoven. How I played at, pendulum, having reached its limit in the direction of Tausig, that of playing all the scales with the safflfe last quarter of a century? Of the thousands of tice. But drudgery we must have and or v that time 1 cannot recollect, but I had only had the complexity, ugliness and the avoidance of simple mel¬ fingering after the conventional fingering had been Americans who have studied music abroad during this have. How a great musical giant like I hov instruction of my father, who was a school teacher. ody is beginning to swing back to simplicity, beauty and mastered, came ‘ originally direct from Father Liszt. period, how many have accomplished more than they with a mind teeming with original and oft, rum I do know, however, that I played the pieces from tunefulness—a movement summed up in Weingartner’s would have accomplished at home? How many.have It is thus obvious that, from the technical standpoint tal ideas, must have longed to curtail the i nec memory, and this in itself implies a certain amount of “Forwdfd to Mozart!” received benefit in any way commensurate with their as well as from the artistic standpoint, those famous sary for the mere writing out of ho - honi expenditure of time, money and energy? A very previous study. , soirees of Liszt’s, enriched by his innumerable aphor¬ Had he not been willing to stoop t,, this ssi BEETHOVEN AND BRAHMS. small proportion (to try to answer my last question When I came to Berlin and attended the. Joachimsthal isms and inspirations, were of inexpressible benefit tp While Beethoven was one of the most original and first) I should say, possibly one in ten. More likely drudgery we should never have hail t! no High School I found a very kind and thoroughly W.elj- those who had the good fortune to attend them. works. prolific of all melodists, he also possessed the faculty one in fifty. Anyway, here are some vital questions instructed piano teacher in August Arnold. It was lie of working wonders with a comparatively insignificant which the ambitious student will do well to ponder Drudgery has one advantage. It is ' . who showed me the value of systematic piano practice. DAYS IN MOSCOW. prize those accomplishments and acl theme. The lesson he thus taught was learned by com¬ before deciding upon a course of study in European This same teacher, to whom I owe so much, has re- In Moscow, where I was from 1881 to 1885. as posers in all countries where concert music flourishes. capitals. which come to us through “fire,” as it v . "The sided in America for years, and this should represent triumphs we have struggled for seem so n h more teacher of the higher classes in the Imperial Con¬ These composers were also emboldened by his example For a sort of post-graduate course. Europe is, and to Americans something of the advantages they may important than those which come to us withouwithout servatory, I had a chance to get acquainted with the to double the length of the symphonic movements as should he, the goal of aspiring musicians. But unless find in their own country, and at their very door. .1 effort. The very fact that drudgery brim result teaching methods of Nicholas Rubinstein, brother of known in the days of Haydn and Mozart. pronounced talent is evident, and until technic is high¬ am also grateful to August Arnold for securing ’me ‘ ly developed, it is folly for American students to go which cannot come in any other way nu kes th Anton Rubinstein. This method will unquestionably Unfortunately, quod licet fori non licet bom; in a scholarship which enabled me to study with the to Berlin or Paris for lessons. Even in the case of sacrifice of time and labor seem worth v !e. last for a long time. The exactness of the systertis other words, minor composers with the wings of chick¬ eminent pedagogue Theodore Kullak. This was indeed ens tried to follow Beethoven in his eagle flights, and advanced students the advantage of European study The only way to overcome drudgery i mak of imparting instruction surpassed anything: I have a rare opportunity for me. I remained with Kullak came to grief. On the whole, it would have been wiser consists more in the general conditions of musical the drudgery itself full of the interest wh: :■ come observed before or since. Each pupil was regarded as until the time when I was prepared to enter the had Beethoven heeded Mozart’s maxim: “Our taste atmosphere (well-worn word!), and the opportunities with concentration and purpose. The pupil wh a valuable possession, and each was taken separately for hearing good music, than in the instruction of any concert field. Of my fellow pupils, many have attained for-Germany is for long things; as a matter of fact, objects to playing scales, arpeggios, octave-, etc Dr. Otto Neitzel. and received personally the most minute instructions -diort and good is better.” Then, perhaps, we should ■ particular teacher. Indeed, it is the glamour of life should have his mind upon what these hours < wide distinction. Among them I may mention a few pqftaining to all the details of touch, phrasing, etc. have been spared those modem symphonic mon¬ in foreign countries that leads pupils abroad. Doubt¬ practice will purchase in musical deligl well-known ones: Xaver Scharwenka, Alfred Griin- The result then was that when the pupil left the con¬ strosities which last up to an hour and a half. less the majority of students are self-deceived, and tuture. By varying the treatment of seal, arpeg feld, Moritz Moszkowski, Jean Louis Nicode and Unlike so many other teachers, he never considered his servatory he was provided with a repertoire, and the In his harmonic progressions Beethoven was less firmly believe that in the older lands, where for cen¬ gios and octaves the work may be made r cally fas Constantin von Sternberg. pupils as all of the same genre and requiring similar ability to play that repertoire, so that he might be re¬ turies all the arts have been a part of the very life original than Bach and Schubert, but in the arts of cmating. H. Newmann has said, “Then treatment, but preferred to recognize the individuality garded as a full-fledged virtuoso ready to engage at and being of high and low alike—that yonder, as by lengthening out melodies and varying the rhythms he seven notes in the scale; science brings so lmtc KULLAK AS A TEACHER. of each. In fact, my instruction under Kullak was once upon a concert tour. Indeed, I can name many some magic, the stubborn fingers will become nimble, so enjoyable that I regretted the approach of my first set examples that were followed everywhere. of so little. ’ There must be constant re petit io: Kullak’s ability as a piano teacher is too well known who left the conservatory as virtuosos who have never More important still was his deepening of the expres¬ and the faltering voice a thing of beauty. All this oeiore one can master any fine piece of rnui professional concert (Berlin, November 13, 1872), which may, indeed, come to pass, but not by magic. to demand much attention here. One thing is certain— excelled the playing which they were able to do at the sion in music. In this he went far beyond his pre¬ y a pianist likes the composition he has b< ■marked the end of my work under the great ’master It all means hard, persistent work, which, in ninety- he brought before his pupils, and deeply impressed time of their departure. Yet even at this most excellent decessors, Bach alone excepted, and opened new paths and the heginning of my independent career. nine cases out of a hundred, can be done as well in fwn VV*,Udy,at the 0l,tset. but after a week upon them, all the secrets of piano technic and spir¬ school I observed that there were various things which for the composers of all countries. The fact that he America as elsewhere. It is curious to note in this olarerf P'aCCS "0t ^i,e easy as they ; itual interpretation which had been developed by his Liszt had made clear which were not embraced in uses three or four times as many expression marks STUDY WITH LISZT. the methods they employed. No one system or method connection that three of the foremost piano teachers Now it ‘firStu TllCSe he is te,,1Pted to shg predecessors' and his contemporaries. Kullak had wit- . as Mozart, shows how he taught the world to pay in¬ In the summer of 1873 it . was whispered breath¬ is all-sufficient, and the teacher must be acquainted of Berlin (perhaps the three foremost ones) are Busoni himself fS JfUSt j e,re where he who will doggedly nessed all the triumphs of Liszt. Moreover, he was 1 creasing attention to nuances of loudness and pace. lessly in Berlin that Liszt had taken up his summer with many. < formerly of Boston) ; Godowsky (formerly of OM tl lfit v d°Wn thesc hard will be so deeply impressed with the delicate art of Chopin Beethoven not only completed the great forms of the When list C‘ hlS L°ad l° Parna**us more delight quarters at Weimar. Accordingly, I immediately took Having given The Etude readers some idea of the Chicago), and Jonas (formerly of Detroit and Ann that I can never forget his interpretation of certain sonata and symphony, but he also showed—what proved Arbor). I feel quite sure that there was no rush alwavs n enm!’ !hereforo‘ to some great artist, b a train one fine summer day for the “German Athens,” experience upon which my future observations upon to be of even greater importance to the development of the slower and more sentimental movements in the on th.e part of European students to take lessons from have^nlvT4 ^ fUch pn'vers *° move and P,c Weimar. I was deeply disturbed by the problem of practice are based, I will defer the next section of of music—that it is not necessary to follow the estab¬ any of these teachers so long as they were in this concentrlu Perfected by constant hard « compositions of the Polish romanticist. Not even the the best manner in which to approach the great genius. this consideration of the all-important subject to a later lished models slavishly. By writing sonatas in two country. A number of years ago Xaver Scharwenka In order °n t by what some call “dn.dgcr great Liszt surpassed Kullak in the interpretation of I had the good fortune to become acquainted with one movements only and by splitting up the last move¬ then of Berlin, being besieged by many American pu¬ telescones it .°btain the fine lenses for our gr Chopin. All those who had an opportunity to receive of the pupils of Franz Liszt. He’ assured me that ments of his ninth symphony and his last quartet but pils, bethought him that the ranks of the besiegers ing but onli u neces*ary for one expert to do nc a Chopin lesson from the elder Kullak will willingly it was not so difficult to become acquainted with the one into a number of parts, he proclaimed a spirit of might be greatly increased if he were to come to testify to this. The fact that Kullak was half Polish master pianist as I imagined. I gave him some data freedom from fetters which did much to encourage the month It I, °n P'eCe of crystal for month ai America. So he came to New York and pitched his ing one 1 D°c,t0r Hiller- I believe, who. c may in some way account for this. He could also regarding my previous study, which he took to the growth of the romantic school. tent—or opened a studio—there. But the result was did not lik/tn^" .Mende,ss°bn. was told that appreciate the individual and admirable genius of master. A few days later I was permitted to join On that same school his Pastoral Symphony, in No composer has yet regretted having published his precisely opposite to the one he expected: For the piano Hiller be .'"tem,Pted whilst practicing Henselt. with the pupils whom Liszt received three or four which he depicts a scene by a brook, the merry¬ American students passed him by and went to Europe works gradually and judiciously. Such reticence and to the S’ rf“,ng °UUide tbe room, liste Kullak’s partiality to the romantic school must not times a week in his garden by the park. As I entered making of peasants, and a thunder storm, exerted just the same. So, in due course of time, Mr. Schar¬ his room he was playing. He looked up, and for the self-denial may be disagreeable to him at the time, but a far-reaching influence. As Mendelssohn wrote: than sixfy ^es^orh P,ayi"g °ne passa*e " be construed to mean that he was in any way opposed wenka went back to Berlin, where, as he is a most first time I saw his unforgetable clea'r grey-blue eyes. later on he will be thankful enough that he had strength “When Beethoven had once opened the road, every¬ practicing our octane or nth*” ,.ess. Pat,en.t ,W to the classical school or to the older, masters, for excellent teacher, as well as a distinguished pianist V I seemed to feel his penetrating glance through and to forego monetary advantages.—Frans. one was bound to follow.” Not that Beethoven was and composer, his following is, no doubt, as great or arm work, especiallv l °th,Cr fat,gl,lnf? wr,st such was by no means the case. So great was his be so lasting? * y when the reward is »°,n8 233 THE ETUDE
AMERICA’S MUSICAL DEBT TO GERMANY By LOUIS C. ELSON
THE MUSICAL FUND SOCIETY OF PHILADELPHIA. hiring small and inexpensive halls. At last, in From the very beginnings of music in America Philadelphia, they gave a concert in a mere room, one can find German influences at work. The very Almost contemporaneous with these efforts was the rent of which cost them ten dollars. But the few tunes of the Pilgrims and Puritans were,' how¬ the Musical Fund Society in Philadelphia. This receipts were below that sum and the janitor put ever, chiefly derived from English sources, and the society founded the first large music school that out both the gas and the orchestra. New England psalmody leaned more upon English America could- boast of. Although many Americans Nevertheless, the debt remains; the Germania had instruction than any other. The sporadic early con¬ were instrumental in founding this society, yet a planted a good seed that was to spread in noble certs given in . Charleston, Philadelphia* and New German, Charles P. Hupfeld, an excellent violinist, harvest in America. One legacy was quite definite. York also show English and French influence more was one of the chief influences in the enterprise. The flute player of the Germania Orchestra was a than German. But Germany began to assist our It was a German who gave to America one of its tall and handsome young man, and, in the later country, materially even in the eighteenth century, national songs. The music of “Hail Columbia” was days, when they were sore beset to find a conduc¬ when the Moravians planted their colony in Penn¬ for nine years (1789-1798) an instrumental march, tor, they decided that this artist upon the melan¬ sylvania. The pioneers who came to Bethlehem in and this was composed either by Johannes Roth or choly tube would make a good figurehead for the 1740 were, if not all Germans, at least the carriers by Philip Phile (probably Pfeil), both Germans. organization, and he was accordingly promoted to of German music. Nicholas Louis, Count of Zin- The weight of evidence seems to show that Philip the post of conductor. He afterwards became one zendorf, their bishop, who came to them in 1741, Phile, or Pheil, or Pfeil, a German, composed this of the most prominent of America’s conductors, a was a German, born in Dresden. The sacred music prominent national song. good item in our debt to Germany—it was Carl of this religious family was German. Our next debt to Germany, tracing in chronolog¬ Zerrahn. CARL ZERRAHN. WAGNER’S MUSIC-DRAMA, “LOHENGRIN’ Good instrumentalists were at Bethlehem, Pa., in ical sequence, is again an orchestral one. The Ger¬ the last half of the eighteenth century, and it is mania Orchestra was, as its name indicates, a It is not the place here to give a biography of FAMOUS SINGERS IN “LOHENGRIN” THE STORY OF “LOHENGRIN” HOW WAGNER WROTE “LOHEN- not to be doubted that their influence may have German organization. It came about because of this eminent musician. He was never to be ranked Scene: Near Antwerp. Time: Early 10th Cen¬ The characters in Lohengrin GRIN ”, extended as far as Philadelphia on the one side political events abroad. The year 1848 was a most with the great orchestral leaders of the present, hut tury. Act I. On the banks of the Scheld. Telra¬ areLohengrin, tenor; Henry n was < and New York on the other. troubled one in continental Europe. Revolution was he came to us at a time when his tact and judg¬ mund, the usurping Duke of Brabant, accuses Elsa I, bass; Telramund, baritone; menced in 1845, when the in the air in many countries, and in Germany the ment were invaluable factors in our musical ad¬ . of the murder of her child-brother, Gottfried, the tha-Royal Herald, bass; Elsa, author and composer was THE FATHER OF AMERICAN ORCHESTRAL MUSIC. unrest was worst of all. As a consequence music¬ vance. As conductor of the Handel and Haydn real Duke. The King consents to have Elsa’s inno- soprano; Orlrud, mezzo-so¬ thirty-two years old. It was ians in Germany began‘to starve, since the fine Society, as director of the Harvard Symphony Con¬ cense settled by a combat between Telramund and ' More readily traceable is the orchestral influence prano ; nobles, ladies and pages. not completed, however, arts are always the first to feel the financial strin¬ certs, as leader of many singing societies and or¬ any champion she may select. She appeals .to the of a German in Boston. The first permanent Ameri¬ The singers in the original until 1847, and a first per¬ gency which generally follows political agitation. chestras in different parts of the Union, Carl Almighty to send her the champion she has seen in production deserve whatever formance was not reached can orchestra was founded by a German named As in France, during the Reign of Terror, a host Zerrahn was an important factor in the American her dreams. A miracle occurs and Lohengrin ap¬ reputation which may have until 1850, when Wagner’s Graupner in the first decade of the eighteenth cen¬ of cultured Frenchmen were striving to gain a liv¬ musical advance. A Weingartner, a Nikisch, a pears in silver armor, in a skiff drawn by a white been, preserved for them to munificent friend, Franz tury. Gottlieb Graupner may well be called the ing in England, so in 1848 a large number of Ger¬ Muck, or a Mahler would have been wasted upon swan. He agrees to defend Elsa upon the condition their connection with this un- Liszt, secured a perfor¬ father of orchestral music in America. Ete was man musicians sought the shores of America where us in the sixties and seventies. that she shall never ask him whence he comes or forgetable performance. 'Up mance at the Court The¬ born in Hanover, about 1740. In his youth he was there was some hope of their gaining a livelihood. who he is. He defeats Talramund, but spares his atre, in Weimar. Owing to oboist in a Hanoverian regiment. He went to Lon- THEODORE THOMAS. dalmores to .that time Wagner’s repu¬ • life. Lohengrin then asks for the hand of Elsa. tation had by no means been . don in 1788, and played in Haydn’s orchestra there THE FAMOUS GERMANIA ORCHESTRA. But a greater one than Zerrahn must be recorded Act 11. Courtyard of the Palace. Night. Or- Wagner’s exile, he did not secure, but those who heard hear the opera until 1861. in 1701. After this he crossed the ocean to Prince as part of our debt to Germany. If the present writer trud. the sorceress, wife of Telramund, incites her It was under such circumstances that a company the first performance of Lohengrin (1850), under Edward Island. Then lie went southward, and we of twenty-three young musical emigrants, all of were asked to name the one man who had done the husband to regain his power. She. plans to force Time and again he took out the direction of Liszt, could not restrain their en¬ find him in Charleston, S. C„ in 1795, where he most to advance music in America he would answer Elsa to ask Lohengrin about his origin. Orfrud ac¬ the score and despaired of ever hearing “th. u more or less artistic excellence, met in New York thusiasm. Beck and Milde, who created the roles married a singer. In 1797 he came to Boston with unhesitatingly, “Theodore Thomas!” Born in Essen, cuses Lohengrin of being a magician, and Telra sound from off the death pale paper." His pu . and decided to combine their fortunes in an orches¬ of Lohengrin and Telramund, are now practically his wife, and only then did the rolling stone begin tra. The first conductor of this organization was in Hanover (the same kingdom that gave us Graup¬ murid claims that he has been unfairly vanquished Meser, refused to bring out the work in prim. forgotten. Among the famous Elsas have been to gather a little liioss. It was hard enough, the Carl Lenschow, hut soon Carl Bergmann assumed ner), Thomas came to this country when he was ten by Lohengrin, as he does not know his origin ,of two Previous works of Wa the directorial baton. The Germania Orchestra was years old, and, as his whole career was after this Christine Nillson, Mme. Nordica, Emma Eames and Lohengrin tells them that he can only reveal his Which he had issued. Finally, after several v musician’s lot, at that time, in New England. About Ternina. The most popular Ortruds in America have identity when Elsa requests it. he publication rights were secured bv a more ci 1800 Graupner opened a music store. He engraved the first orchestra of artistic excellence in America. bound up in American musical enterprises, he may be Almost every member was a soloist upon his in¬ considered as almost belonging to us. No man’s in¬ been Fursch-Madi, Brema and Schumann-Heink. Act III. The Bridal Chamber. Lohengrin and much of his music himself and was his own pub¬ suW,f I"1’ Whkh Was rich,-v rewarded bv strument. It may have been numerically small, but fluence in American music was so widespread or so Lohengrin has been portrayed with memorable Elsa enter to the music of the Bridal March Not¬ subsequent success of the opera lisher. He and his wife sang in concerts. He was it was an “all-star’’ cast that performed in every con¬ versatile. Orchestra, Opera, Music School. Music success by Campanini, Jean de Reszke, Alvary and withstanding Lohengrin’s warning, Elsa asks the Wagner was said to have secured the plot teacher of violin, piano, contrabass, clarinet, flute, cert. And the ranks soon became larger. There Festivals, in every direction Thomas was active. « Burgesthaler. fatal question regarding his origin. Telramund Tohengrm while, in Paris. He had however oboe, and almost anything else that a pupil would was still a constant stream of musical refugees His firm adhesion to the Wagnerian school modern¬ The most admired sections of Lohengrin are rushes in, bent on Lohengrin’s destruction. Lohen¬ pay for. He played oboe in the orchestra of the r(Paryze^anm^f;lmiuar With thc lcKcnd of “Parsi pouring in from Germany, and it was easy to get ized American musical taste in a remarkable degree. doubtless the prelude to the first act (obtainable as grin slays him. Lohengrin leads' Elsa away to the Federal Street Theatre. And finally he founded an poet Wolfr rouglLtt’e P°em of the Minnesii some of the best of these to join the orchestra. His programs were broad and catholic ill the very King, to whom he will now reveal the mystery orchestra of ten or a dozen pieces under the title a piano solo) and the prelude to the third act The Germania Orchestra soon had fifty musicians, best sense. Sometimes we were able to listen to (obtainable as a piano duet). Lohengrin’s song, I The scene changes to the banks of the Scheld L„ tile’Holy Grail’th P‘'M » k”i*> of the Philharmonic Society. Thus America owes its first regular orchestra to the efforts of a German. and attempted the most ambitious instrumental Wagnerian transcriptions in America before they had ■Give Thee Thanks, My Trusty Swan, is one of hengrtn reveals that he is the son of Parsifal,' head' In spite of the slender forces we find this orches¬ works of that time. reached the public even in Europe. His tours with the most exquisite operatic opportunities offered to of the sacred order of the Holy Grail sent to tra occasionally venturing a Haydn symphony. The Alas and alack! The German musicians were ad¬ his orchestra shook Boston out of its cast-iron classi- the tenor singer. This is known as the Swan Song. prove Elsa’s innocence. The swan reappears. Elsa vanced enough, but the American taste in the fifties cality and worked reforms and advances in other cities. prays for the return of her lost brother The forces were chiefly amateurs. The Russian Consul Although the Bridal March is probably better in Boston, Alexi Eustaphieve, was one of these, and was not. Too often the artists had to play to a His work with the Philharmonic Orchestra in New known than the other marches in this opera, the swan dives, and in its place arises the lost Duke “beggarly array of empty benches.” The Germania York led that society far away from any chance of Gottfried, who had been transformed by Ortrud't Mr. Mallet, although a vocalist, did what he could Minster March, arranged for organ, contains some with the contrabass. The Philharmonic Orchestra Orchestra began its career in New York, and some fossilizing. But it will he impossible to recite thc masterly passages. Elsa’s Dream, from Act I, is sorcery. A dove descends and leads Lohengrin’s of the concerts given there were remunerative: In details of this noble life which was spent in elevating boat back to the castle of the Holy Grail Elsa was founded about 1810, and it was still existing in extremely popular. melody In which r,nU°US ^ °f c” Boston also there was reasonable compensation for American musical taste; suffice it to reiterate that the is heart-broken to lose Lohengrin. _ and mood give the r * motlves typing c 1821. It assisted in the first Handel and Haydn chief figure in the musical advance of our country is f-Portr Society concerts given in Boston. The year of its its efforts. But the tours that were subsequently death, and of that of its founder, is not definitely attempted were disastrous. The audiences grew Theodore Thomas, and none may even stand beside known. smaller and smaller. They tried to offset this by him. 235 234 THE ETUDE THE ETUDE Mozart (Germany, 1756-91); Beethoven THE CORRECT FINGER MOVEMENT. The threads here are so closely imcrroveo tha;^^^ (Germany, 1770-1827) ; Weber (Germany ANTON SEIDL. 1786-1826); Mcyer^er (Germany, 1791-1864); In a correct finger movement, when the striking impossible to speak of them with any p P muscle (the flexor) acts, the lifting muscle (the Yet Thomas was not at his best in operatic direc¬ Rossini (Italy, 1792-1868); Schubert (Ger! Possibly the above summary, brief as it is, may tion, and here we find another debt to Germany in extensor) is to do nothing. In the same way, when that the roots of the best American music y many, 1797-1828). the person of Anton Seidl. It was Seidl who first the lifting muscle (the extensor) is lifting a finger, be sought in Germany. , Goethe (Germany, 1749-1832); Schiller the striking muscle (the flexor) is to do nothing. In gave to Americans the full comprehension of what a L t* (Germany, 1759-1803); Scott (Scotland. 1771- Wagner opera meant. In this field he perfectly sup¬ this way, each muscle, one by acting and the other by 1832); Byron (England, 1788-1824); Shelley not acting, will help in the effort to play. plemented the work .of Theodore Thomas. Thomas THE GREAT GIFTS OF THE CENTURIES. (England, 1792-1822); Keats (England, 1795- was the greater in general orchestral work, Seidl was In forming your touch and technic, your teacher 1821); Carlyle (Scotland, 1795-1881); Heine the superior in the operatic field. Both did yeoman and you must pay very earnest and careful attention (Germany, 1799 M8S6). service in leading American musical taste. Immortal Contemporaries in Music, Art and A Musician s Letter to an Ambitious Piano Student to this matter of flexing and of relaxing. I want to Art Reynolds (England, 1723-92); Gainsbor¬ In the field of chamber-music also we find Germans • Literature. tell you that, in my long experience as a teacher, no active from the very beginning. The string quartet ough (England, 1727-88) ; Constable (Eng. other of the many bad habits that my new pupils have land, 1776-1823). brought to me has caused me so much trouble and is probably the severest test of a taste for classical While music can only be said to have been devel¬ MASTER LESSONS IN PIANO PLAYING Science Franklin (U. S. A., 1706-901 ; do Buffon effort to correct as bad habits in flexing and relaxing. music. It • generally requires a connoisseur for its oped within the last six or seven centuries, its bound- France, 1708-88); Volta (Italy. 1745-1827); This is the reason for my trying so earnestly to make appreciation, The Mendelssohn Quintette Club, which aries have been increased with such rapidity, that o By E. M. BOWMAN • wds one of the best known of the early organizations Jenner (England, 1749-1823) ; Fulton (U. S. you understand how to make correct movements ana day music can readily stand in comparison witn any how to avoid forming any of these bad habits. Be in this field, was too cosmopolitan to be classed as A., 1765-1815). finger of nerves, muscles, and tendons: one set to form of intellectual endeavor. As an art it is ca¬ fEditor's Noth.—This is the second installment of this careful to form correct habits at the very beginning, German. But in New York we find the Germans, pable of portraying all kinds of human emotion, and NINETEENTH CENTURY. series. In Tiib Etude of last month we explained Mr. move the finger toward the key, and another to lift it Theodore Eisfeld and Otto Dresel, planting the seeds Bowman's unique idea of writing a series of letters to an and it will then be easy to avoid bad habits. as a science it demands the closest application. The imaginary nephew. In this he represents a dual person¬ away from the key. The two sets act in opposite [NOTE.—As I shall need to use the words flea: and relax, of this advanced taste in music. Music Berlioz (France, 1803-69) Mendelssohn ality. He thinks of the struggles he had when he was a directions: the one down, the other up. I am very T will pxnlnin here the meaning. When a muscle acts, it is men who build bridges and the men who build sym¬ (Germany, 1809-47) ; Chopin ’oland, 1810- boy, and writes to just such a boy with a view of giving anxious to have you and your teacher clearly under¬ Lua to men you strike a key. you ./fear the Huger: phonies differ more in the application of their talents 49); Schumann (Germany. 1 ’-56); Liszt that boy thc experience acquired through ripe experience. you put strength into the finger. When the finger has noth¬ WHAT THE MAENNERCHOR DID. The Miss Procter mentioned is the boy’s teacher. The stand every step in this process which I am trying to ing to do, it should relax; that is, be left loose or llmbei.j than in the talents themselves. (Hungary, 1811-86); Wagin' iGermany, All through America the German has interwoven Music in its present form is the outcome of the nephew is supposed to live in a small town.] explain, for, if you do understand it and you take my 1813-83); Verdi (Italy. 1813-1*' >1); Gounod MUSCULAR HABITS. the glory of the Mannerchor. The prosaic transla¬ Renaissance, that strange awakening from mediaeval New York, June 16. advice,’you will save yourself a lot of trouble and it (France, 1818-93); Brahms i ’ many, 1833- tion of Mannerchor is “Male Chorus,’’ but to the darkness which even yet has not ceased to lead us on may be that you will avoid making a failure as a A muscular “habit” is a movement that you have 97); Tschaikowski (Russia I My Dear Little Man I trust that your teacher no German it means something very much more; it sig¬ to better things. It is interesting, however, to com¬ i'93>; Grieg player. made so many times the same way as to make that the (Norway. 1843-1907); hie longer requires you to practice “four hours.” Poor lit¬ nifies all the geniality and goodfellowship of music. pare the growth of music with the growth of other (England, I am coming now to a very important point m the easiest way for you to do it. You can understand, tle man! Such a daily task, if kept up long, would The establishment of these singing societies through arts, and also with the growth of science. It is, of 1857—); MacDowell (US A 1861-1908); formation of your “touch.” So pay good attention! then, that if you get the habit of holding your hands have spoiled your love for music and have injured your our country has been an important phase of Our course, impossible to give the names of all the great Debussy (France. 1862—) ; ' mss (Ger- I was telling you about the movement, up and down, properly and of moving your fingers, hands, and arms, mind, also. At the very beginning, a half-hour’s daily musical, advance, and it was not long before Amer¬ scientists and artists who have added to the world’s many. 1864—). of just one finger. Now I wish to make you under-, in the correct way, that very way will be the easiest ican singing societies, such as the Apollo Club, of store of knowledge and enlightenment, but the follow¬ Hugo (France. 1802-851 Hawthorne practice is enough for a child of your age. In a few stand how two fingers are to work at the same time, for you. Other and wrong ways will be harder than Boston; the Loring Club,- of San Francisco; the ing brief summary of .the centuries gives the names (U. S. A.. 1804-64) ; Poe (l 1809-49); days, the time may be increased to three-quarters of an one up and the other down. One, finger is to strike, the right way. Try this same principle, my boy, in all Apollo Musical Club, of Chicago, and many other of those who may fairly be said to be .representative Thackerav (England, 1811 r Dickens hour. A little later, to an hour. An hour daily during the other finger is to lift. Each finger has the two the ways of life. You will find that it is good advice organizations, began to copy this foreign model. of their age in music, letters, art and science. Early (England. 1812-70) ; Brow (1812-89); the first six months will be enough. Then your teacher' sets of motors. In these days of motors of all kinds. in those things, as well as in music. In this field the names of Dr. Leopold Damrosch and composers, such as Dufay and Willaert, make poor Whitman (U. S. A., 1819-92' 1 lstoy (Rus- may allow you to practice longer, giving you a few I think that you will understand my use of the word To-morrow I will tell Miss Proctor what exer¬ Joseph Mosenthal form star points of recognition, and showing in comparison with such giants as Michel¬ sia, 1828-1910); Ibsen t Not • 1828-1906); minutes more each week, just according to the length motor—something that moves something else. The cises to have you practice in order to move the fingers Dr. Damrosch was also a powerful factor in the plant¬ angelo and Titian, Boccaccio or Villon; yet who shall Twain (U. S. A., 1835-10 Sudermann of time which you are able to keep your mind on your muscle is the motor. The tendon acts somewhat ljke just right. If you do not quite understand all that I ing of German opera here. We also are indebted to him say that the mighty tone-poets of the nineteenth and (Germany, 1857). work, all the time doing just as well as you know how. a belt or a crank-shaft. It goes from the motor to have written to-day, ask Miss Proctor to help you. I for two talented sons who are at present making their twentieth centuries do not bear comparison with their Millet (France. 1819?-75 . Whistler (U. Only that practice should be done which is carefully the thing to be moved. am using simple words and “boiling down” (as your mark upon our American music. literary, artistic and scientific brethren? S. A., 1834-1903) ; Rodin • i , 184ft-); correct. All other practice is worse than no practice, There is, as we have seen, a pair of these motors father would say in making his delicious Vermont Sargent (Italy, 1856--). because careless practice is sure to form bad habits. to each finger, and they work in opposite directions. maple sugar) my explanations and advice, so that it FAMOUS TEACHERS OF AMERICANS. THIRTEENTH CENTURY. Now, suppose that both motors were to work at the will be clear even to your ten-year-old mind just what Darwin (England. 1809 Helm licit/ Bad habits will prevent you becoming a good player. same time, one just as hard as the other. Or, in other And now we must cross the ocean to pay a debt of Music Walter de Odington (England, 12-?). (Germany, 1821-94); Past cm , ■ ance, 1822- Year by year you will be able to increase your prac¬ I mean. words, if both sets of muselPS were to pull on the Your affectionate uncle, another character. We have at present a wonderfully Letters Dante (Italy, 1265-1321). tice and improve its quality, until four, five or six 95); Edison (U. S. A.. 1847 iUtrtank (U- same finger equally hard in opposite directions the Edward. large list of American composers. Where did they Art Giotto (Italy, 1266-1337). hours will be as easy to do as the half-hour which you S. A.. 1849- -). finger would not move at all. They would be like two study? Who developed their powers? Germany and Science Roger Bacon (England, 1214-1294). began. Long, careful training is as necessary, in build¬ (Mr. Bowman’s next letter will deal with the important France might give many names to be recognized here, boys, equally strong, trying to push each other. Being subject of Finger Motions. These letters were first Panted FOURTEENTH CENTURY. ing up mental endurance as it is in developing great in the American Encyclopedia of Music, but will appear GOTTSCHALK AND IMPRESARIOS. equally strong, neither would be able to push the but one stands preeminent. Many years ago the Danish Music Dunstable (England, 1380?-1453). as a separate book.) composer Gade said to the present writer, “I wish that physical strength. other. Letters Chaucer (England, 1340?-1400). Much has been said about the impn s share ii I had some Americans to teach, but they all seem to Suppose now that one boy were somewhat stronger Art Fra Angelico (Italy, 1387-1455). THE PLAYING MUSCLES. go to Munich!” It was Josef Rheinberger that drew gaining publicity for the virtuoso. » ins chang than the other. The stronger boy would be able to A GERMAN VIEW OF AMERICAN MUSIC. Science Marco Polo (Venice, 1250-1324). but little with time, and we find that America! At the outset, even at the risk- of not being fully these Americans to that city. This composer seems to push the other, but he might not be able to do so Dr. Max Friedlander, the music director of the Uni¬ have had an especial gift for developing American talent. FIFTEENTH CENTURY. pianist, Louis Moreau Gottschalk. wrii over one understood by you just at this time, I am going to tell easily. One might resist the other to some extent. versity of Berlin, who has come to America* this year We believe that George W. Chadwick was one of the half a century ago, ltad much the sam mlitions t you that your “playing-machine” consists of -nerves, If, now, either boy were to “give up,” the other boy Music Dufay (Belgium, 1400P-1474); Josquin des as exchange professor at Harvard University, has ex¬ earliest of the American band in Munich. After that contend with.as have the concert artists day. Th muscles, and tendons, which are worked by your will could then push that one along without undue effort. Pres (Burgundy, 1450P-1521) ; Willaert (Flan¬ virtuoso remains the producer, while impresari pressed some very favorable views on the outlook of came Charles D. Carter, of Pittsburg; then came ders, 1480-1562). or mind. The nerves serve like telegraph wires to Horatio Parker. Fred Field Bullard. Wallace Good¬ seems to remain the necessary < ial facto music in this country. Here are some of the compli¬ Letters Villon (France, 1431-1484?); Rabelais take word from the mind to the muscles, telling them THE PLAYING-MACHINE. required to place the artist's products : e thc mat mentary remarks he has seen fit to make: rich, Arthur Whiting, Henry Holden Huss and others. (France, 1483-1553). what to do. The muscles move the tendons the way ket. In his letter, written in 1862. (, ti Just so in moving the fingers or any part of the “We have the word of Richard Strauss and Dr. Karl Decidedly Josef Rheinberger has had a direct influence Art Botticelli (1447-1510); Michelangelo (Italy s says: the nerves send them word to move. The tendons upon music in America. “Alas! are you ignorant of the tact the artts “playing-machine;” if the opposite muscle will “give Muck that the Boston Symphony Orchestra is the best 1475-1564); Titian (Italy, 1477-1576); Raphael arc fastened to the fingers or to the hands or to the up.” then the muscle which at that moment should be Reinecke and Haupt have also taught many Amer¬ is a piece of merchandise, which the i in the world. Those in New York, Chicago and Pitts¬ ( Italy, 1483-1520) ; Corregio (Italy, 1494- arms, or to other parts of the body, and, when a acting on the finger will be free to do so without effort ican composers. Under Reinecke there studied Van purchased, and which he sets off to tl. burg are not far behind. Your singers rank with the 1534). tendon moves, the part to which that tendon is fast¬ or resistance from the opposite muscle. To make the der Stucken, Schoenefeld, Beck, Parsons and Julia according to his own tastes and views finest. They monopolize stellar positions in many Ger¬ Science Christopher Columbus (Italy, 1446?-1506). ened must move with it. As a simple illustration, two sets of motors work together perfectly, so that Rive-King; under Haupt (in composition and organ) as well upbraid certain pseudo gold mu man opera centers, notably in Berlin. Your schools SIXTEENTH CENTURY. which you as a boy can try for yourself, the next time neither will “stand in the way” of the other, or either there were Arthur Bird, Geo. E. Whiting, S. P. War¬ ing dividends which they will never jm , as to rend of music qre the largest and the best organized.. Your they have “chicken-dinner” at your house, hunt up work against the other, is the “very important thing” ren, E. M. Bowman, Clarence Eddy and other the artist responsible for the puffs oi In- managers, J ■ uriando c about which I spoke. Indeed, it is impossible to play appetite for high-grade compositions and musicians is famous organists. Lasso (Netherlands, 1532-1594) ; Monteverd poor old negress becomes, in the hands the feet and lower part of the legs that have been d the Jupil finely unless this "correct movement” is mastered. insatiable. European artists who return home doHar- (Italy, 1567-1643). ot the museum, the nurse of Washing!. After tl cut off the chicken, and take a pull at the gristly Liszt can scarcely be counted among the Germans, I think that I may now tell you that the two sets of laden report that American standards are becoming Montaigne (France, 1533-92); Cervante strings or tendons running down the leg to the feet, yet it was in Germany that he taught or assisted “ y°u marvel at the magniloquent title coupled wi muscles, to which I am referring, are called flexors and higher from day to day, and that public discrimination MacDowell. Lachmund, Boise, Burmeister, Singer, (Spain, 1547-1616); Spenser (England, 155" my name? and see how the claws of the feet will move as you 99); Shakespeare (England, 1564-1616). pull the tendons. When the chicken was alive, these extensors. The flexors cause the fingers to strike the is improving correspondingly. Lang, Dr. Win. Mason, Sherwood, Baermann, Hoff¬ tJTbe 3atist 'S Hkc the stock which is to he quott Tintoretto (Italy, 1518-94) ; Rubens (Get tendons were fastened to muscles above the joint keys. The extensors serve to lift the fingers from the “Only in the creative realm is America backward, man, Perry and many others who have helped on the urLr' ',^'1 thrown the market The keys. The flexor tendons run from the fore-arm to many. 1577-1640) ; Velasquez (Spain 1599 where the leg was cut off. When that muscle got word musically speaking. I suppose that it is partially due cause of American music. out th« •an- I”8 agcn,s- thc broker and his clique the fingers along the inside or palm of the hand. The 1660.) along a nerve from the brain of the chicken to to your youth, and to the fact that you have dedicated In more recent times we have had great orchestral are Mn 1 excellent, super!), unparalleled : the sf extensors run from the fore-arm to the fingers along Francis Bacon (England, 1561-1626) ■ Ga “scratch,” the muscle pulled on that tendon, just as yourselves hitherto primarily to the industrial arts. conductors who have .brought to us the flower of Ger¬ few«TlCa;ned °,ff b>- "»»c; there remain but the outside or back of the hand. I do not think it lileo Galilei (Italy, 1564-1642.) you are doing, and the claws went to scratching. In I can forsee the time, however, when America will man thought and interpretation. Wilhelm Ge'rickc. of dMHh Seats
STUDENT DAYS IN GERMANY WITH often giving long, exacting T'“';7recital- in tin“r evening,... summer and winter, winter and summer Haclung, pay¬ W. H. SHERWOOD ing, writing, planning, he pushed on with "‘remitting BY JOHN ORTH energy. It always seemed to me he did the work of two or three men. tation. Ortschaft is. the German for community or ilier desires to announce that we have ready for pub- district. That was his way of inquiring after the; Orth HOW SHERWOOD PRACTICED. m the last article ever written by America’s most family. 1 defended myself by replying, “Hows brusti- It was a rare treat to hear him practice 1 could aft wood to-day?" His father also seemed to have some¬ ways rather hear him practice than plaj, bei.'.i •e lie ha the etude , ^rber Felix Borowski. This piece should r and teacne , e(J or jerky manner, but cheer- BY LANTERN LIGHT JETTlSrt ULAM c- i. , ,, Ac ,he fT manner of a folksong. Grieg idealized unable to present a portrait and ^tch of the 1 tne - this manner. GEO. N. ROCKWELL mposer, M. d Haenens, a . , Educational Notes on Etude -arrival of the necessary mater • showy waltz i aIN C (PIPE ORGAN) T. D. WILLIAMS. "Coquettish Glance . .lraw;ng-room. AK 1 useful march for organists or organ stu- well adapted for recital use 01 fo ~r*i*|iillv into 3 ...... ~-ito play and effective Music t The slow and tuneful introduction leads gracefu y dents, tuneful and showy, general By P. W. OREM the vigorous first theme, after which t e throughout. Congregations6 urse, nee(1 not always oped in the modern French manner with a lively cheerful postludes^ These sti All the themes are good and well contrasted. REIN HARD GEBHARDT. tHvia^M character^A®' always* appreciated. IN CONFIDENCE-CARLO MORA. Mr. Gebhardt was born This is a very acceptable drawing-room piece o THE VOCAL NUMBERS. at Arnholt, in the Rhine type made popular by Gottschalk, particulary ^ Roth the songs this month are by contemporary provinces, on April 23, 1858. ■T-ast Hope.” Many player;i finding Ust: P American writers of original,ty and promise. Both He studied with his father, difficult will find "In Confidence well w.thm their American the West, and are actm-L engaged his brother (both of whom powers and almost equally effective. The melody n inTeSpractice of their profession. Mr. Stanley F. were professional musi¬ pieces of this type must always be well brought . in tne y «*Qjve Me Thy Loving Heart is a very cians) ; and with Dr. Hans andL the harmonies careiuuycarefully sustained. ;All the. Wideners nretty text, which will appeal i Biilow, Carl Heymann .amental passages must be played delicately and convincing setting PTJrk)W Ucur: IKe has been He and others well subordinated, but with a certain scntdlatmg tofreauently all■ represented in;n 'oourUr music pages.pages, nd his work many concert tours in Ger- quality. has proven very acceptable. “Blossom Dear ^ TJF" JHB many and in Holland, little encore song, light but artistic. , where he made the ac- BABILLAGE—L. J. ( FONTAINE, This is a capricious number ii modern French style. musicians. Later he came “Babillage” means "chit-chat,” and the three character¬ THF GREAT EVENTS IN GERMAN MUSICAL (o America, and for years istic themes are aptly illustrative of the title. Grace HISTORY. taught in New York City. Thence he went to the and delicacy will be required for the proper interpre¬ The following dat s and informalii" re as ac- •ent books of ref. ; ice permit South, where he is held in high regard as a teacher, tation of this piece. A certain freedom of tempo is curate a ' composer and pianist. allowable throughout. The staccato touch is largely make them. The dates of m- cry early Owing to the length of Mr. Gebhardt’s composition indicated, and this should be carefully carried out. events in musical history are approsm we arc unable to give it in full this month, but we quote In addition to the pleasure to be derived from its 1090. Franco, of Cologne, invent, igns for the principal theme and the finale. The middle sec¬ musical interest, this piece has real educational value. mensural music (Forked). Other nut tion, which we omit, is a quiet but ornate movement 1200. . ,, 3-1 ? 4 ^ 1 3 2 1 3518 3 ULJ 1 3 2 1 2 3 5 1 3 2 1 2 3 in tiie style of a nocturne. The "Theme and Finale” 1530. Chorals sung m German toiuo - 1- 1- 15 3 4 i_ 1 2 3 has about it a certain Schumannesque quality, while the PRIDE OF THE NATIONS—J. W. GERMAN. 1627. Daphne, first German opera pi 1 1 * “nocturne” is more in the style of Chopin. The entire This is a straightforward military march movement, 1685. Johann Sebastian Bach, burn composition is written in exalted strain, expressive, with a good, steady ' swing. This piece should March 21. Q ^ AT- ^ 4~T^2 3—— —-, 8j \ ^ 1. 3 2 1 1 lY'"'" and at times impassioned, but melodious throughout. be counted two in a measure, at the rate of 120 half 1685. George Frederick Handel. I> The harmonies are modern, but not extravagant. Tech¬ notes to the minute. This is the regulation time for February 23. nically. the piece is well within the limits of an ordi marching. Taken at this pace, this march will have a 1714. Christoph Wilibald Gluck, b"> I uly 2. narily advanced student of good schooling. brilliant and stirring effect. It will make mi excel¬ 1729. Bach’s St. Matthew Passion pi lent teaching or recital piece. 1732. Franz Josef Haydn, born Mai OTTO MERZ. 1741. Handel’s Messiah produced i i lie first Mr. Merz was born in Al¬ ORIENTAL PATROL—CHAS. LINDSAY. time at Dublin, Ireland. legheny, on November 30. This is a capital teaching piece for an advanced sec¬ 1756 Wolfgang Amadeus Mozart, L ,t Salz- f 4 * 13 2 1 4 3 ff1* J 1 3 3 1 2 34 1 ^32 1-5 5' __ 's' ’ ^ 1877. His teachers have ond grade or early third grade pupil. It is fresh in burg, January 27. been Dr. E. R. Kappeler melody and piquant in rhythm and harmony. Pupils 1770. Ludwig van Beethoven, burp and Dr. Hugh A. Clarke. will enjoy this piece and will be benefited by its prac¬ December 16. 1 4 ^ i rr. 2C He has been successfully tice. It should be played in characteristic style, with 1784. Louis Spohr, born at Cassel, N \ mber 22. engaged in teaching and in strong accents. 1786. Carl Maria F. E. von Weber, U t Eutin, playing with orchestras all December 18. tranquiUo TENDER CARESS-N. S. CALAMARA. 1 's 3 2 i~2^3 of his life. Some of- his 1787. Mozart’s Don Giovanni product This is another excellent teaching pi ce, rather 1797. Franz Peter Schubert, born nc arrangements have been 11 easier than the preceding. In this little waltz move¬ r^Tla T] played by the leading bands January 31. ment there is opportunity for the cultivation of a brisk t Vienna. 2-4-8-*- and orchestras, such as 1798. Haydn’s Creation first produced finger and e'ear touch. The piece, when well learned, \ ienna. those of Sousa, Damrosch 1805. Beethoven’s Fidelio produced at 1 2 3 may be taken at a brisk pace. Mr. Calamara writes 1809. Felix Mendelssohn, born at ! amburg, and others. very cleverly in the easy style. Mr. Merz’s prize compo¬ February 3. a, June 8. sition, "Polacca Brillante,” is an excellent concert or 1810. Robert Schumann, born at Zw: ENTRY OF THE GLADIATORS (FOUR 1813. Richard Wagner, born at Lcip- May 22. exhibition piece for a pupil fairly advanced. It will HANDS)—J. FUCIK. afford excellent practice in octave and chord playing 1821. Weber’s Der Freischuts produce This is a grandiose march movement in heavy mili¬ 1824. Beethoven’s Choral Symphony p luced. and the production of large tonal effects. This piece tary style. This would make a splendid opening num¬ must be played in a pompous manner and taken at a 1830. Hans von Biilow born. ber for commencement or exhibition purposes. It 1833. Johannes Brahms, born at Hamb fg. May '• steady, dignified pace. It is a fine example of this might also be used as a school or fraternity march. style of writing. 1836. Mendelssohn’s St. Paul produce' Diissel- Note the brilliant effect of the various chromatic scale dorf. GEORGE NOYES ROCKWELL. passages. 1841. Schumann’s First .Symphony in duced a* # Leipzig. Mr. Rockwell was born VIOLIN AND PIANO. 1843. Wagner’s Flying Dutchman produced. n 3 at Utica, N. Y. Although We have a treat for violinists this month. Three 3 1845. Wagner’s Tannhauser produced at Dresden 5 2 3 f-2 he studied piano and organ pieces are included, all very effective transcriptions gP t| ^7~~7^rv, with well-known local of standard compositions. 1846. Mendelssohn’s Elijah produced at Binning ham, England. teachers in his youth, his Beethoven's “Minuet” from the sonata (or sonatina) 1850. Wagner’s Lohengrin produced at Weimar. knowledge has been derived in G, is a melodious number, fresh and vigorous, which a tempo, 3 H \—r- 1854. Engelbert Humperdinck, born at Bonn. 11/Tn mostly from self-study. He lends itself well to the violin, Beethoven himself 2 Richard Strauss, born at Munich. June H rr itAx has had an extended ex¬ thought so well of this movement that he incorporated -mil. pf~pY. •j perience as an organist in the same theme into his famous “Septet” for strings 1865. Richard Wagner’s Tristan und Isolde pro¬ duced at Munich. diffei ent churches in the and wind instruments. 1868. Richard Wagner’s Meistersinger produced East and in the West. “Solvejg’s Song,” by Grieg, also known as “Sunshine '■ p| ' 2 1 a 4 _5 3 1 g 3 1^ ^ 3 2 1 5 2 242 3 at Munich. 123 1-1 Song,” is taken from the celebrated music to “Peer Mr. Rockwell’s “By Lan¬ 5 lL Gynt.” As an instrumental number, it is to be found 1876. Richard Wagner’s Nibelungen produced at tern Light” is a high-class Bayreuth. teaching piece, suitable for a in the “Second Suite " This makes a lovely violin pupil of early intermediate number, expressive and full of color. laoo ^aX Reger’ born at Bmnd. March 19 Grieg’s “Album Leaf” in its original form is a short .!l:;..uR,Chard Vagner's Parsifal produced grade. It is a “nocturne” or "song without words.’ Bayreuth. with a broad, flowing melody, all lying nicely under piano piece, which has been popular for some years. 1905. Richard Straus Salome produced at Dre* the hands. Towards the close of the piece the prin¬ The violin arrangement is by the well-known com- cipal melody is accompanied, in the same hand by a sustained counter-theme or second voice; the effect is very pretty. In order to bring out the melody prop¬ Owing to the unusual number of excentinn»l i T7 erly in singing style, the “clinging legato” should be German issues, it has become necessary to nostnonL * tlC 68 secured for the special employed. In this touch the tones should slightly over¬ second Music of All Germany number of next^month1”6 °* ^*e8t feature* f°r t*ie lap. 243 THE ETUDE THE ETUDE Prize Composition THEME AND FINALE Etude Contest j Jrorn FANTASIE IMPROMPTU reinhaRD w gEBHARDT Op. 45 Allegro moderato m.m. \ m HwSIf cresc. / 7iV#ttn "T" -^ ' === 5 _ ——^ ^ . 75 34r--* 4f—*3 5 7 --^ ■ JTj r^,4 3_4 Pt4 1—a 4—a 3 LA | a* $ f—J""^TTfgnJ~!ir,rr if -a. j r 1 j — N dim. 1 k \ fl ,# 1 1 T7lff55A ;i;__ Copyright 1911 by Theo. Presser Co. 1^1 1—' British CopyrightSecured THE ETUDE 245 entry of the gladiators ENTRY OF THE GLADIATORS einzugdergladiatoren EINZUG DER GLADIATOREN Triumphal March Triumphal March JULIUS FUCIK, Op. 6 PRIMO JULIUS FUCIK, Op.68 SECONDO Tempo di Marcia m.m. J=i20 ^ ^ Tempo di Marcia 4 5 4--—- 'N > I Li. TRIO mf P Copyright 1911 by Theo. Presser Co. THE ETUDE 247 PRIMO SECONDO 1 •Q- .a £ mf J "J— ipfa fa 3 e- 1 3 2 1 2 3 •l 2 ;5r /V bo. A <5. :sE b*? V f f | ^ 1 f 1 ij i!F= marc. dim. sf 7-= A \ 4 2 ^ 1 2 3 A 3 5""-- 3 2 V V 4 S'"— 2 4 * 5 Grandioso meno mosso tempo triomphale A 9- *.r.:; n 9- O £ #: - s g ft P= T $ >r o1 1 ff. > a tempi9 A A a tiw2 ^-tr 1 o p- — !>' fi r? 1 c $ 2 " " 2 5 ■\.;■.7. 4 4 i A ■(LjrTf. t— U i ~lj. K-Xi ) 1 r=; X: f - mosso -fi- * 1 "a a A A £ , -p- 3 3 nf| 2 3 V 4 5 5 TT the etude THE ETUDE 249 Prize Composition POLACCA BRILLANTE Etmle Contest OTTO MERz Tempo di Polacca m.m. J=ios_ THE ETUDE 251 the etude ORIENTAL PATROL CHAS. LINDSAY Tempo di marcia energico M.M. J =108 1 a u M-z - 2 1 i 4 2 5 3 5 2 4 N 3 5 5 Animato 2 1 3 Ln A ^ V fZ & \\pf‘ TENDER CARESS - pp waltz nicolo s. calamara im w Tempo di Yalse m.m. J.= 54 __ 4 2 ~T—_ T"A sr^ 1 a 'rrrL iJli r-^^YSri’ L TT rj-l—ks 2 » 1 2 * J J fi 1 ^ ^ P i S y • * jj “ - B~ tf* -J- -J- ’ J." y=! ^ iT '4 5 nr-ir2 ' Te mpo 1 > a mm 3 __- \ wg or- A_a • L- • > -f- a 8 1 L»®— y sa=E> | x I""i.A i- /^0- /'£- m~9i ' i J"2~ K f ? •J- rj ■+■ > •AfLi ^r - ^ i . \ 4 ^ AT- \A J«u -f- ■■ (■ -#--■ ■■» ^—0 f FMi.r #*gi $ "® ^ . ( ft /Si • A j gg' 4 Copyright 1911 by Theo.Presser Co. British Copyright Secure 1 THE ETUDE 253 THE ETUDE 252 IN CONFIDENCE reverie CARLO Mora British Copyright Secured 25S 254 THE ETUDE THE ETUDE Prize Composition COQUETTISH GLANCE Etude Contest MINOIS FRIPON Valsede Salon ARTHUR D’HAENENS Andante sostenuto m.m.J=72 espressiyo. - l • l ^ ^ p - • 1 . K. JL — ■ JJ 1 ^1 no i i MARCH IN C Copyright International Copyright secured THE ETUDE 257 256 THE ETUDE PRIDE OF THE NATION MARCH British Copyright Secured Copyright 1911 by Theo- Presser Co- BABILLAGE 1 THE ETUDE 261 THE ETUDE 380 MINUET from SONATA, Op. 49. No.2. L. van BEETHOVEN Temno di Mftnnfitto SOLVEIG’S SONG from “PEER GYNT” THE ETUDE THE El UDE *63 BLOSSOM DEAR jptr I* Peril n Vi^ii ■ If,.P-^n n ‘i*nr iIbj t) you,- Eyes of blue,_ I love youT ~~~11 If you love? You I love,__ Ill he THURLOW lieurancl ro - sy cheeks are all a glow. Her shin - ing tress-es flow, Guess who! Can you guSSs see her smiles, I see her tears, I know her hopes and fears, Guess - ing? Guess-ing who flow - ers bloom, thetime is May, And cher- ries red come soon. Guess all? Not at all! /.*. n (7\ , . l.h. Is ^ GIVE ME THY LOVING HEARTWords H andH MusicM . by Who’s, “Bios - som Dear?” She’s my lit - tie Bios-som Dear, “Love her?”Well, I guess! is her “Tru- est Blue?” Sure I am her Tru - est Blue, “Love her?”Well, I’m sure! Once again? v Not at all! , Here’s my lit - tie Bios - som Dear, “Love her?” I am sure.- gfti , I | I J Love her sin - cere - ly. Love her sin - cere - ly. Love her l sin - cere - ly. British Copyright s< THE ETUDE 265 the etude 264 WHERE IS THE SEAT OF TECHNIC? is by a thorough training of the hand and arm on ab¬ HOW EUROPE REGARDED US A HALF A solutely correct principles, one founded upon the nat¬ CENTURY AGO. BY WOLDEMAR SCHNEE. ural, as well as upon the individual, structure of the . BY L. M. COTTSCHALK. PERMITTING THE BRAIN TO ACT. [Editor's Note.—Louis M. ttselialk. tlie American pianist and composer, writing at ■ time of the War of the In using such an extreme illustration as the com¬ the struggle with which Certain artists and teachers doubt and even deny Rebellion (1882). gives an idea bination of a virtuoso brain with the body of a black¬ recognition had to con- the possibility of hand-culture for technical purposes. smith it was with the design of making the mechanism This opinion, however, is erroneous and—let it be of movement in its two divisions clearer to the mind. It is difficult to account for the extreme ignorance bluntly said—founded upon ignorance. It has long Tt is the same, if we reverse the case and couple a of many foreigners with regard to the political and been proved beyond a doubt that the human organs much less talented brain with arms in which far more intellectual standing of the United States, when one and members may be trained for artistic ends For favorable conditions prevail; there is always an enor¬ considers the extent of pur commerce, which covers the ordinary manual occupations of everyday life the mous difference between the effect willed by the brain the entire world like a vast net, or when one views hand needs no particular education, but if it is to (central) and the execution of, it by hand and arm the incessant tide of immigration which thins the satisfy the far more exacting demands of technic as (peripheral). population of Europe to our profit. A French applied to art it is self-evident that it requires es¬ And can there be no means devised to make arm admiral. Viscount Duquesne, inquired of me ‘ at pecial preparation. and shoulder, hand and finger more flexible, so that Havana in 1853 if it were possible to venture in the The mistaken idea that all training of the hand by the impulse of the will may be manifested with greater vicinity of St. Louis without apprehending being mechanical processes is hurtful, or at least, valueless, ease and perfection? That the mere practice of exer¬ massacred by the Indians. The father of a talented is no doubt due to the multiplicity of “methods,” cises. on the piano and string instruments exclusively French pianist who resides in this country wrote a “systems,” etc., originating with incompetent instruc¬ by no means exhausts technical possibilities is proved few years since to his son to know if the furrier tors who have not regarded the natural peculiarities by the testimony of previously finished ariists, who business in New York was exclusively carried on by of the hand, hence their teaching must necessarily acknowledge that through the local invigoration of Indians. Her Imperial Highness the Grand Duchess result in harm. There are, however, methods that the extensor muscles their staccato passages, their of Russia, on seeing Barnum’s name in an American have pi oved their worth both in theory and practice, scales and octaves have gained in lightness and rapid¬ paper, requested me to tell her if he were not one and only such as have successfully withstood prac¬ ity; that in consequence of a special training of the of our prominent statesmen. All this may seem tical te-ts deserve approval. muscles and a systematic and skillful stretching of the improbable; but I advance nothing that I am not DO WE OVERRATE THE BRAIN IN TECHNIC? skin their hands have increased capability in grasp¬ fully prepared to prove. There is assuredly an intel¬ ing widespread chords and arpeggios.—From Die Musik. ligent class of people who read and know the truth, Not long since one of our most admired concert (Translated by F. S. Law.) but unfortunately it is not the most numerous, nor player- senf me word through one of his pupils that the most inclined to render us justice. he had no objection to the young lady taking a course Proudhon himself—that bold, vast mind, ever strug¬ in ham! training from me, but it was his conviction gling for the triumph of light and progress—regards that tin. seat of technic was in the brain. And he the pioneer of the West merely as an heroic putlaw, was right but only half right. What we call aptitude, and the Americans in general as half-civilized sav¬ talent, genius does reside in the brain; in the fourth SPECIAL NOTICE ages. Zimmermann, the director of-the pianoforte ventricle of the gray substance. If, for instance, the classes at the Conservatory of Paris, without hearing capacity for great velocity of movement is not pres¬ me, gaUe as a reason fpr refusing to hear nic in 1841 ent licic. the student may drill hand and ami as much THE ETUDE regrets to in- that “America was a country that could produce as he v slits—he will accomplish nothing remarkable. nothing but steam engines.” Nevertheless, the little Among several hundreds of pupils only three cases of form its readers that an im¬ Louisianian who was refused as a pupil in 1841 was the kind have come under my notice, which shows that portant article by the foremost called upon in 1851 to sit as a judge on the same they an by no means common. Take, for example, a bench with Zimmermann at the ‘‘Concours” (Contest) hundred music students of the same age, of equal living German vocal author¬ mental and physical development; let them practice of the Conservatory. ity Unquestionably there are many blanks in certain the sinne exercises under precisely the same instruc¬ branches of our civilization. Our appreciation of tion I'.mr hours a day for four years. At the end of this time many different grades of technical facility Mme. Lilli Lehmann the fine arts is not always as enlightened, as dis¬ will lit found among them: the difference between criminating. as elevated as it might be. We look upon them somewhat as interlopers, parasites, occu¬ the most advanced and those who have made the least arrived too late to be included progress will be very marked. This proves that pying a place to which they have no legitimate right. genius is not, as Newton assumed, identical with in this issue. It will appear Our manners, like the machinery of our government, are too new totbe smooth and polished: they occa¬ perseverance but that exceptional ability presupposes in the second “ Music of All particular capacity in the gray matter of the brain. sionally grate. We are more prone to worship the Whoi a student devotes himself to an especial art I Germany” number which will golden calf in bowing before the favorites of fortune test ban carefully to ascertain if he is sufficiently than disposed to kill the fatted calf in honor of the be published next month. endow ed in this respect. If he is not he will never elect of thought and mind. Each and every one of succeed in reaching a high artistic position. This us thinks himself as good and better than any other endowment, this capacity, undoubtedly dwells in the man—an invaluable creed when it engenders self- brain. But it must be developed and brought out; respect; but, alas! when we put it in practice, it is otherwise it is valueless and will produce no effect. generally with a view of putting down to our level THINGS FOR THE CARELESS PUPIL TO those whose level we could never hope to reach. IMPROVING THE* HAND. REMEMBER. Fortunately, these little weaknesses are not national traits. They are inherent in all new societies, and The chief questions are: How shall such a will completely disappear when we shall attain the capacity be most readily developed and brought out? BY DOROTHY M. LATCHEM. full development of our civilization with the maturity How shall I train the young plant so that it may of age. _ most speedily and abundantly yield the ripe fruit? The study of music demands, first of all, accuracy. These should be our aims: The pupil who studies for years, and is unable to TALENT FOR TEACHING. 1. To strengthen the muscles and sinews play more than one or two lines without an error, that have to do with playing. is a great disappointment to parents' and friends. E. BRESLAUR. 2. To make the ligaments of the wrist more Most all carelessness is unnecessary and unfor¬ givable. flexible; and, if possible, stronger. The supposition that in combination with artistic The opposite of carelessness is carefulness. That 3. To make the outer skin of the hand— thoroughness there is always a capacity for teaching is means “taking care,” anticipating difficulties, making in the palm, as well as between the fingers— unfortunately a popular error. The error exists not the necessary effort to overcome hard passages. more elastic and yielding. only among the general public, but also among people If a man whose brain is as strongly disposed to vir¬ The pupil must discriminate. First of all, he must cultivate the power of discriminating between what who might reasonably be supposed to know better. Many tuosity as that of a Paganini, has arms with the people who are gifted performers believe that on that strength and inflexibility of a blacksmith, his genius is right and wrong sufficiently ahead of the passage to be played in order to avoid error. account they will also be good teachers. They believe I’ve a heart for yours beating fast, A true lovers’ heart at the 1 will not be able to produce the slightest effect, be¬ The pupil should go to his lesson with a sense of that so long as students imitate them a'l will he well, cause his central nervous system is simply not in a and that nothing else is necessary. position to overcome the obstacles that exist under responsibility and with every faculty alert. Such teachers are obviously not conscious of the sig¬ j such antagonistic muscular conditions. First, there is Making the same mistake twice denotes that some nificance of the teacher’s profession. An exact knowl¬ too great a disproportion between the flexor and ex¬ part of your thinking apparatus is not on guard. edge of the requirements of teaching demands a very tensor muscles of hand and fingers; second, the liga¬ Listen all the time, Th'e experienced locomotive ments of the wrist are so tight and inelastic that any engineer has his ear so finely trained that amid the wide compass of learning. The teacher needs to know how long to dwell on each grade; how to work out rapid action of the wrist is hampered or even made din of his run he can hear the least irregularity of impossible ; and third, the stiff, unyielding cuticle pre¬ his engine. With bandaged eyes lie can tell by the theoretical matter and adapt it to practical ends: how vents all extensions, such as widely spread chords and “tune” whether “she” is running right or not. to cultivate the musical ear; how to increase the per¬ arpeggios. Thus it will be clear to any unprejudiced The careful pupil listens for discords, slips, breaks ceptive qualities; how to develop the susceptibilities observer that the brain itself—that is. the force of with the same care that the engineer listens to his to appreciate what is beautiful in works of art; how to will alone, can never conquer such hindrances in the engine. continue self-improvement: how to maintain courage wav of acquiring velocity of execution. It is evident Practice with open eyes, open ears, alert mind, and faith in his own work so as to stimulate and that the best way to meet the muscular difficulties that and remember that carefulness means success in encourage his pupil, and show the keen sympathy so are encountered by the brain of the budding virtuoso many cases. vital to the interests of the student. THE ETUDE 267 266 THE ETUDE notes on the leger lines, to be afterwards struck with artistic qualities, but who was not their pupils undo at home what lias been raoidly on the keys. Your first space above the an artist. He was dependent on out¬ accomplished in the lesson; that instead treble is G, first line added. A. Continue the com¬ side conditions, and that an artist must of following out the instructions re¬ putation and practice until it becomes easy, treating not be. He had not obtained control ceived they return with not only a per¬ added lines below in the same manner, and also over his vocal organs, therefore his verted idea of vocal tone, but also with those on the bass staff. vocal organs controlled him and de¬ a general misunderstanding of the direc¬ Department for Singers nied him the expression of his emo¬ COUNTING ALOUD. tions given. Nor is this fact to be at¬ Edited for April by the distinguished Prime Donna, Teacher, Author, tions. Hg was not sufficient unto him— tributed to dullness or lack of talent, for V Natne^ttdrantuges'”'nd disadvantages in count- CLARA KATHLEEN ROGERS (“CLARA DORIA- self, and that an artist must be. How it happens alike to the most intelligent can we best define such an one? I think among students, and to those who have have to be conceived entirely by an imaginary TREBLE AND BASS ONCE MORE. i THE ETUDE 271 270 the etude study of counterpoint, as is witnessed by proved “the fittest to survive” which are RELIGIOUS VALUE OF THE Organists sometimes complain that The- the crude melodies one hears improvised especially distinguished by beautiful VOLUNTARY. with them personally. In mo*• oi these Church Organs occasionally by immature musicians (?). BUILT BY harmonies ■ and modulations. The A large proportion of modern organ¬ Wirsching Organ ,-aces known "to the writer the lack ot French composer Saint-Saens was the Then again, in the study of counterpoint HUTCHINGS ORGAN CO. ists confine their voluntaries to arrange¬ their ministers This work is New Publications The following is a Te Deum in F, George Noyes Rock- clarence c. robijnson tenor com Characteristic Studies We will con- Interpretation Grove’s There is no reference now ready and Issued During list of the new well, Grade 3 to Tenders rf6'The Etcm' for the Pianoforte. tinue these and Mechanism. Dictionary, work on musical subjects the special offer the Month. publications issued 0 Sing Unto the Lord (Anthem for in a city at 25,000 or more in the 2aiacitr By F. Saoathil. studies on the Pianoforte Studies, by the Theo. Pres- in any language that can is hereby with¬ General Use), T. D. Williams, ^ special offer Op. 175. ser Co. during the month of March: SIX MONTHS OF REMARKABLE be compared with the new edition of drawn, but, as Grade 3. “,“8 and choral societies and is well during the current month, although By Georg Eggeling. Piano Solos. GROVE’S “DICTIONARY OF MU¬ usual, the book See the Streamlets Swiftly Flowing requirements, Te* is^at^nresmt e?e-cutIve they are now nearly ready. This is a Roly-Poly Waltz, H. Engelmann, (Trio for Women’s Voices), Wil- well-known Dunbar Co- ■ SIC AND MUSICIANS,” recently will be sent for examination, to those fine set of third and fourth-grade liam R- Spence, Grade 3. “ETUDE’’ FEATURES completed, and now being sold by sub¬ who are interested. It is a fine set of studies, original and every attractive, Carmen March, W. P. Mero, Grade If Love Lies Dead (Part Song for INCLUDING THE SPECIAL scription on easy terms, within the new graded studies for advanced inter¬ < OBSERVATORY OP HIGH STAND¬ reach of teachers and students of and musical in addition to their real 2)4. Mens Voices), Richard Ferber, ING and commercial rating wants male mediate students. Studies which com¬ On the Goal, F. G. Rathbun, Grade moderate means. The publishers have technical value. It is always well to Grade 3. pianonlann teacher. Must be conservatory gradu- bine the technical and the musical in 2) 4. ate and experienced instructor wnu iuor- “Music of all Germany” May Issue (Section ll) issued the work in two styles of bind¬ review one’s work in studies from time about usual proportion, and which tend ough knowledge or all elements of music, be- Jolly Sleigh Ride, Chas. Lindsay, Alhum of Sacred This volume con- Sinning and advanced theory, harmony and ing, ornamented blue cloth, gilt tops to time and to introduce new studies. containing g wealth of information, advice and ideas from many to an all-round mechanical develop- Grade 2)4. ($25.00), and blue morocco ($40.00). It gives added interest both to the nc ,vp1I ns artistic advancement. Vocal Duets. tains sacred duets The Junior Ball—Six Pianoforte of the great composers and teachers of the Land of Masters. Either edition may be purchased now teacher and pupil. for all voices in bran,ch .conservatory. References and bond Pieces, Atherton, Grade 2)4 to 3. on easy terms, a small advance pay¬ The special introductory price on general use. The duets are varied in MucatM Anthems for This work is Souvenir de Vienne, Op. 154, Theo. ment, and then $2.00 or $3.00 a month this work during the current month character and suited to all occasions, tistic, care of The Etude. Congregational Use. hereby with- Lack, Grade 3. until the remainder is paid. To those will be 25 cents, postpaid, if cash ac¬ By E. N. Anderson. drawn from the and practically all combinations of two WANTED-Lady teacher of violin, guitar Plan for a Summer of Success Morning Song, William R. Spence, subscribing now we send Thi-! Etude companies the order. If charged, post¬ special offer, al¬ voices represented in the collec- f|bJisT0gaJlocu}t^)'et,1-?5 JlHnois. Address Ii- Grade 3. •f The Etude. age will be additional. tion. The material is all new and orig¬ and Progress tor a year. WITHOUT CHARGE. though we shall be pleased to send it Chapel Bell, I. V. Flagler, Grade 3)4. WANTED—Experienced teacher in thriv¬ This is a liberal offer—three dollars for examination at any time. We feel inal, chiefly by American composers. ing town of Colorado to take place of Semper Fidelis, Henry Parker, Grade teacher moving to California. Large class During the next six months THE ETUDE will offer students and for twelve issues of The Etude and The Musical This is a veriest sure that those who have ordered it None of the duets have appeared in 3) 4. any previous volume. free by purchasing studio furniture. Ad¬ teachers a remarkable opportunity to progress by means of home study. the immediate free delivery of the five Picture Book. beginner’s book of will not be disappointed, as the an¬ dress, F. R. Winant, No. 2 W. 16th St., Petite Rhapsodie Hongroisc, F. G. As the volume is now ready, the Our editorial safes are bursting with articles of the very greatest use¬ volumes of "Grove’s” without fur¬ By Octavia Hudson, pleasing melodies thems are excellent for the purpose Rathbun, Grade 3)4. special offer is herewith withdrawn, fulness, ther obligation beyond the moderate with words. They and will fill a demand which is cov¬ EXPERIENCED teacher of piano and Feast of Flowers, H. W, Petrie, but we shall be pleased send the theory desires information of a favorable Many students and teachers go backward every Summer. Resolve monthly payments that are to begin in are suitable for kindergarten or for the ered but by few similar works. locality to open a studio. West or South Grade 3)4. book for examination to all who may to go ahead this Summer by letting THE ETUDE point the way. thirty days after acceptance of the very earliest stages of the training of preferred. Address, J. W. P., care of The Rapsodia Zingara, H. Necke. Grade be interested. Etude. order. Present subscribers to The the child in music. The author is a Music Mail order buying of music Commencing with the May issue—the second of two exceptional trib¬ very excellent teacher for children Supplies, supplies is destined to be 3)4. EVERY PUBLIC AND PRIVATE utes to the Music of Germany, THE ETUDE will publish some of the Etude not wishing to extend their own Valse Excentrique, Georg Hggeling, SCHOOL in the United States should have and has produced a number of very more used in the future than Eight Melodious This fine set of on its Decoration Day programme the splen- most interesting and stimulating articles ever printed. We have selected subscription to that journal may trans¬ Grade 4. successful works. All the music in in the past. This house originated the and Characteristic octave studies for _ _ them from hundreds, solely with the view of giving you real help. fer the free subscription to another Military March, I. V. Flagler. Grade this little volume is within the range system, and that system has been fal¬ Studies^Op.^911. the, pianoforte Js person without affecting the terms of 4. of the average .child’s ability. The lowed by every dealer to some extent v ready, and the and South grow nearer the offer. The arrangements with the hearts.” etc. Arranged for solo and mixed WHI. H. SHERWOOD. This article was written and completed only a few book will appear in oblong form with Minuet in G, Carlo Minetti, Grade pecial offer publishers of Grove’s “Dictionary” from the time this house was first male and female quartette. H. W. Fair- days prior to our foremost American Virtuoso’s death. Its subject is large notes and will be very tastily 4. hereby withdrawn. Good octave studies hank Pub. Co.. Auburn Park Sta., Chicago. “The Spirit of Life in Music—Rhythm” and is one of the best he under which we make this offer are for noticed. gotten up. The number of houses carrying a Idyl, Jos. Suk, Grade 5. are always in demand, and we feel sure POSITION AS TEACHER of piano a limited period only, so we recom¬ Winter, Johan S. Svendsen, Grade 6. that the teacher who will give this music or director of music desired in col¬ PROF. MAXMEYER-OLBERSLEBEN. Oneof the most eminent of German mend early acceptance on the part of stock large enough and: an organiza¬ lege. seminary or ladies’ boarding school musical educators will tell “What is Expected of the Student in the Pianoforte Instruc- There are so many book a careful examination will not those desiring a set of the Dictionary tion complete enough to supply the for next school year. Best testimonials and German Conservatory.” tion During the teachers who are Abide With Me, Sacred Song, Homer only use it once, but many times —•-be given Address, Miss Annie on the easiest possible plan of pay¬ wants of the music teacher and music DR. OTTO NEITZEL. The Distinguished Virtuoso and Authority on German First Months. puzzled to know professional is growing less every day. Norris, Grade 4. s the studies will surely accomplish :T- Hamme' Musical Art writes on “Teaching Traits Which Have Made Germany ment. For further details write us. Fairest Lord Jesus, Sacred Duet, Two . . . . . FOBFOR SALES4 —Growing Violin and Plano By Rudolph Palme, just how to go This business, both in the supplying for which they are School In a small city in New York State. Famous.” about teaching the of everything which the teacher needs Sopranos or Soprano and Tenor, A very large violin class. Possession given FR. CORDER. The Professor of Composition at the Royal Academy of Music of Beyer’s Piano- This method which we Grade 3)4. July 1st. Address Onandaga, care The London:has written'aspecial articleupon“The Simplicity of Harmony.” veriest elements of music and at just and in the publishing of teaching ma¬ Etude. _ forte Method, have been offering in what time to introduce certain prin¬ My Jack, H. W. Petrie, Grade 3. RAOUL PUCNO. The great French Piano Virtuoso on “An Insight to the terial of value is steadily progressing. SIMMER STUDY WITH LOUIS AR- Works of Frederic Chopin.” these columns at the My Love’s an Arbutus, C. Villiers THUR RUSSELL. Author of ‘‘Russell ciples of technic and just how to go We are constantly increasing our facili¬ DR. L. L. C. LATSON. “The Physical Culture Side of Strengthening the Pian¬ special price of 25 cents postpaid will Stanford, Grade 3. Foreign Publishers' Announcements Books” for singers and pianists. Address Mr. about' the thousand one little things ties in every direction, more employes, Russell at Carnegie Hall, Manhattan, for par- ist’s Hand” by the editor of the well-known Physical Culture Magazine be withdrawn after this month. The that constantly occur in teaching. This more space, more system. The future The Lass With the Delicate Air, Dr. Health Culture. book is now in press and will be on the little volume by Dr. Palme sets forth of our business is being taken care of, Thomas A. Arne, Grade 3. THOMAS TAPPER. “How to Analyze Musical Compositions” (and other market by the time the next issue is in a precise way every difficulty and you see, and, as regards space, we are If Love Were What the Rom- Is. Op. articles) by this able American educational specialist. out, and therefore the offer will only principle in a logical way. It begins just on the eve of building a new eight- 6. No. 1, High Voice, John Lilley fingering by Eugen d’j enterprise. The invention of new fibre (not H. W. GREENE. “New Ideas in Voice Training.” hold good during the present month. with the position of the player at the Bratton Grade 3. important piano work* metal) needle has worked a revelation in F. S. LAW. “Why Playing in Polyphonic Style is so Beneficial.” story building directly back of our Tin, Handel, Haydn, M< this wonderful machine. The tones produced Those desiring to have a copy of our piano, and then the position of the Chestnut street property, on Sansom Piano —Four Hands and Eicht Hands. by this new means are soft, mellifluous, smooth PERLEE V. JERVIS. “How to Develop Delicacy in Your Playing.” A new and improved edition of this most body and the hands in preparation for Viennese Life, Waltz, Geza Horvath, and always gratifying. Whether you' are favorite pupil of Dr. Mason gives out some valuable secrets. teacher or student it will pay you to go to HARIETTE BROWER. “How to Plan Your Music Ahead.” popular of all pianoforte methods can touch.' The int oduction of scale play¬ As we guarantee satisfaction, the re¬ Grade 3. the nearest Victor agency and hear the fol¬ have the opportunity of purchasing it ing and octave playing, the carrying Tinkling Bells, Gavotte, Geza Hor¬ lowing unexcelled records played with the J. de ZIELINSKI. “Great Innovators in Piano Playing ” (A vital.article dis¬ ceipt of criticism and suggestion is new fibre needle. The Valentine “Death now for only about one-fourth of its the thumb under the hand, ear train¬ vath, Grade 3. Jusl Published By Schleslnger, Berlin cussing the great epoch-making changes in pianoforte study.) thankfully received, and all is given Scene,” from Faust, by Signor Antonio C. SAINT-SAENS. The Great French Composer talks upon “The Road to cost. Our edition contains all that is ing, legato playing and all the various careful consideration. The reason for Pure and True, Meditation. H. Engel- Scottl and a metropolitan chorus : the three new Homer records from Meyerbeer and Progress in Music.” in the original edition as well as .new phases of piano playing, are presented criticism does not always belong to the mann, Grade 3)4. G0D0WSKY Gluck; Geraldine Farrar’s record of Ben A. HEINEMANN. “The Physiology of Practice.” material of the most modern kind. in a' most thorough and interesting dealer. We are perfectly willing to Nibelungen March, G. Sonntag. Bolt; O, for the Wings of a Dove, by Men¬ SONATA fo Plant Solo, $4.00 delssohn. and an aria from La Tosca: three manner in this little pamphlet. Be¬ take it in every case, but it does not Grade 3)4. new records by Otto Goritz. the famous bass Shipment Almost every mail brings sides this there are exercises given for always belong to us. For instance, we Marche Grotesque, Op. 32. No. 1. of the Metropolitan Opera House, of New York, including arias from Mozart’s Magic (symposium) By Express, complaint to this house every 'difficulty which makes the have received in one day during Feb¬ Christian Sinding, Grade 5 Flute; Humperdinck’s Hansel and Gretel; A DEBATE of the non-receipt of an pamphlet an instruction book. It is a ruary 28 packages of returned music* Tarantella from “Masaniell D. F. Nessler’s Trompeter von Seckingen. The Victor Light Opera Company has also re¬ order which has been sent some days: sort of handmaid to the teacher. We with no name upon them, so that we E. Auber, Grade 3. (Eight hands). vived the operas Patience and The Mascotte. “Shall Teachers Have Slate Licenses?” previously and which, from previous recommend this little book very highly. could not tell from whom they came. Piano Studies. The April Booklet, full of helpful little notes, It can be bought for only 15 cents illustrations, etc., may be had gratis by any¬ dealings with us, our customers know During the past three months we 12 Short Octave Studies, Op. 118. B. one interested who sends a postal request to AFFIRMATIVE NEGATIVE or two for 25 cents. Special Notices is overdue, since every order that is have handled 5,000 more orders than Wolff, Grades 3 to 4. the Victor Talking Machine Company, Cam¬ den, N, J. ’ ’ E. M. Bowman Dr. Hugh A. Clarke received by us is attended to on the during the same three months a year 12 Melodious Studies in Embellish¬ Formerly Professor of Music at Professor of Music at the Univer¬ same day and should be returned by No Name Many of our customers, at ago, and we have handled them more ments, Op. 902, by A. Sartorio, rd, cash with orders. sity of Pennsylvania the next mail. After investigating Packages, other times than the usual easily and more successfully, and we Grades 3 to 4. Dr. J. Humphrey Anger many such complaints we find that in¬ season for settlement at the are prepared to handle 5,000 more. Louis C. Elson Violin and Piano. t,BAI,ALAIK. Russian folksongs for Professor of Harmony at the well- variably the shipment has gone for¬ end of the teaching season in June or Our publications are carefully pre¬ Beauty Waltz, Leon .Ringuet, Grade —■> played everywhere. __ known Toronto Conservatory Professor of Theory at the Neva ward with our usual promptness, but July, desire to return .packages for ex¬ Catalog.— CBBiglg“ CDiscount.i>isc(mnt. 0enwashlng- England Conservatory pared and carefully made, without idea 2. J. Lawrence Erb has been sent by express, and owing to change or credit. This notice is to !on Musk Co., Washington, D. C. AMATEURS' of expense. We want them to be the Salut D’Amour, Edward Elgar, Grade Professor of Music at the Wooster W. s. B. Mathews the fact that perhaps the express com¬ mention how important it is that the best. Our discounts and our retail 4. “SOMEHOW OR OTHER,” a beautiful U niversity Great music bargains. Distinguished American Educator pany, in that particular town, has no return packages be marked plainly with prices are made as low as we con¬ Pipe Organ. E. Guilford Music This debate will be conducted delivery, the package lays there wait¬ the name and address of the sender. sistently can make-them, and, strange Virginia Intermezzo, Roland Diggle. cJicLBLWE£Ki0S2l!n. upon absolutely new and unique ing a claimant. This precaution serves a double pur¬ to say, the discounts are larger ‘and the Grade 3. pages of type matter. lines and will deal with a condition which is arousing an immense The deduction therefore is for our pose: If the packages are lost in CORRESPONDENCE LESSONS in Music- amount of interest in various parts of this country. The judges will retail prices lower than most anywhere Marche Moderne, Op. 2, H. Edwin eor‘.‘ Especially adapted to the needs of THE CADENZA \E^b» customers to always make inquiry at transit the post office will return it to else. We solicit the trade of every Lemare, Grade 3)4. '' gers pianists and teachers. Stanley T. Reiff. Contains 16 pages of absolutely NKW music for MANDOLIN, be our readers themselves and the matter will be determined by the express office if there is a ship¬ the sender or when we receive it we NarberthC ’p1712 Che8tnut st- Philadelphia and BANJO and GUITAR, besides 36 pages of type matter. teacher and of every dealer throughout Octavo. Sample Copy, 10 Cents. State which magazine desired. letters from our readers. ment due from us. Then if no trace of can readily identify the sender and the entire country. We don’t ask for The Easter Herald, Anthem Collec- the package can be found, advise us im¬ make the exchange or correction de¬ all the trade of all the people, but we CoS°GR,ESSB E TEACHERS invited to - ALTER JACOBS, Pahli-ber, 167 Trwnont St- BOSTON mediately that we may start to search sired or allow credit promptly on the will take care of everything that comes Dawn of Hope, Complete Service Renew Your Subscription During April from this end. account of the person making the re¬ to us. We gladly send an On Sale for Easter (Sunday Schools). SCHOOL OF PIANO TONING During the past week one customer 1st, systems of Music Study for Flan- Get Your Friends and Pupils To Subscribe package, regular orders going else¬ Christ the Lord is Risen To-day. It ,L„,,oc?"sts' and Theory Class Work. The REGULATING and repairing telegraphed twice, with reference to an in one day during February this where, and the reorders from the On ear-no I books are coming Into use among Thorough, practical individual Easter Processional Hymn, George __;ne8t musicians throughout the country. Subscriptions entered now will give the reader the benefit of the results of the order due, and the fault was alto¬ house received 29 packages with no Sale package even coming through the P’ .e_ling)!®TrV] st Noyes Rockwell, Grade 3. —- a snortshort umc,time; free practice, most active educational campaign we have ever conducted. gether with the express agent at the name or address written upon them to local dealer if that is more satisfactory. r, _Prnsnec Easter Triumph, Easter Joy (An¬ WalVc, - 1!y Those Gates of Gold a Mother Diplomas granted. THE ETUDE subscription is the subscription you never regret. customer’s end. The express agent tell from whom or whence they came. Let us send our first catalogues. The -_ ’ 15 cents. Safford Co. Keene. N. H. ALEX. SCHEINERT had failed to advise the consignee by It is most necessary that the name and them), William Dressier, Grade 3. Philadelphia. Pa. ease of mail order buying and the fleaVhvNTEl>—:music TEACHERS, quali- LIBERAL PREMIUMS AND CASH DEDUCTIONS ON CLUBS mail, which. is customary, that the address of the sender be placed on Passion and Victory (Anthem f°r promptness of the receipt will rather '■esnnn.ri., st Gaining and experience to fill PROFESSIONAL DIRECTORY on page 278 OF SUBSCRIPTIONS shipment had arrived. every package that is returned. Passion or Eastertide), William tCs a'L positluns In Educational Institu- astonish those who' have not tried it nionr "Address Boston Musical Bureau. Tre- 12 Musical Dressier, Grade 3. nt St, Boston, Mass. Please mention THE ETUDE when addressing advertisers. THE ETUDE 279 the etude 278 the opera Natoma has been produced. The first hearing was received in Philadel- y'.e, wifh warm favor, and on the Metro- '^iftan production in New York the verdict Worcester Cathedral to hear a the Philadelphians was fully endorsed. by, t rj Jyor Atkins. The King not only S,. work is melodious, though critics say selected the program, hut played one piece that it suffers from a poor libretto. Never- himself namely, Handel’s Harmonious Black- PROFESSIONAL DIRECTORY !k»ie THE ETU DE 283 282 THE ET UD E NEW BOOKS. PRONUNCIATION OF SOME GER¬ Cornelius. Kor-nay'-leus. MAN MUSICAL NAMES. Czerny. Tschair'-ne. The Pianoforte and Its Music. By If any one is anxious for notoriety, H. E. Krehbiel. Published by Charles Von Fielitz. Fon Fee'-lits. SPRINGTIME probably the surest way to get it is to Franz. Frahns. A SONG CYCLE FOR CHILDREN'S Business Manual for Music Teachers Scribner’s Sons. Price, $1.25. Were Aware pose as an authority on the correct pro¬ VOICES. WORDS AND MUSIC BY This new addition to the excellent Mu¬ Haupt. Howpt. Uie ability of Pears’ Soap to repair the nunciation of a language. Even with the By GEORGE C. BENDER sic Lovers’" Library, which the house of OTHER Henschel. Hen'-shl. harm caused by common soaps; and its English language the subject invites criti¬ Humperdinck. Hoom'-perdink. Scribner has been issuing from time to MRS. E. L. ASHFORD Price, $1.00. cism, partly because the letters of the Jadassohn. Yah'-das-sohn. time is well worthy to rank with its com¬ wonderful effect in keeping the skin in a MAGAZINES alphabet are inadequate to convey any idea Price, $1.00 This book is a compendium of the latest and best ideas upon the most practical rade’s. Although Mr. Krehbiel’s chief condition of perfect health—if you knew Jensen. Yensen. of the subtle differences of tonal inflec¬ Klindworth. Klint’-vort. This cycle consists of five very pretty methods of compelling your professional work to yield you a larger income. A claim to fame comes through his very ex¬ how matchless for the complexion it is tion which exist in spoken, words, and and well contrasted songs, intended to be glance at the following will reveal to the*practical teacher the great desirability cellent work as a critic and as a writer WITH Kohler. Ku(r)-ler. (The German d sung by children’s voices in unison. As •—you would choose Pears’ Soap every partly because no two English-speaking is a combination of the vowel sounds o the songs are connected by interludes, the of possessing this work: of helpful books, rather_than through any work may be used complete, or any of the How lo make musical advertising pay. particular experience, either as a pianist time, no matter what it cost But you people are agreed as to the proper v/ay to and e. It is pronounced as if the vowel songs may be used separately. Should it How to write advertisements that wiU not fail to bring the right kind of pupils. pronounce English anyhow. This being sound of both letters were merged into be deemed advisable to produce the cycle or as a teacher of piano, or as a com¬ THE ETUDE ought to know in costume and with action, complete How to get up a business bringing booklet. the case, the task of spelling German poser for the instrument, he has encom¬ These combinations are selected one sound—something like the sound of u directions are given for this purpose. How to conduct pupils’ recitals with profit. names phonetically is much harder—espe¬ in slur.) Both words and music are such as will How to write letters which hold old pupils. passed the subject in most excellent man¬ from our records of the largest sell¬ How Inexpensive Is prove appealing and interesting to chil- ner. In the first chapters the artistic and ing dubs. They’re all good—and as cially as German is pronounced differently Kreutzer. Kroit'-ser. How to hold the interest of the i —rit. The titles of the songs are as foi¬ ir profits will in mechanical evolution of the instrument is cheap as you can obtain anywhere. the famous Pears’ Soap. Its price is as low as in different parts of Germany. The best Kuhlau. Koo'-lou (last syllable rhymes How ss side of yc that of ordinary soaps. It is absolutely pare, st *‘Voice of the South Wind,” “Two usicalac with ei traced from its earliest prototypes to its way to learn to pronounce German is to with thou). Robins,” ‘‘Buttercups and Daisies,” and of highest quality in every particle—and listen carefully to educated Germans, and ‘‘The Bigotty Bumble Bee,” ‘‘Away to ills for old highest modern development. Thereafter every particle is usable. When one cake is worn Lange. Lahn-ge (the final ge is pro¬ the Woods.” How to secure the right rewards. Mr. Krehbiel leads the reader from the The Etude . . • $1.50 to wafer thinness, moisten it—place it on the imitate them as much as possible. The nounced with the g as in get and the e The songs are all highly characteristic, following names frequently occur, how¬ and the accompaniments, while admirably Nothing has been omitted from this work which could be of value to you in early writers for keyboard instruments Woman’s Home Com¬ next cake, ft will stay all right. There’s never as in the word the in saying “the boy”). supporting the voices, all are showy and ever, and the phonetic spelling conveys a step by step to the present. While lack¬ panion . . . • any waste in using Lehmann. Lay-man. pleasing. makR«nember7it?fnPot the most learned teache? who makes ■^f+tfe^rSk'and ing the keen pedagogical insight of J. C. slight idea of the way they are pro¬ Moscheles. MoY-shel-ez. Total $3.00 $2.20 Fillmore, shown in his History of. Piano¬ nounced : Meyer-Olbersleben. Mire-Ohl'-bers-lay- THEO. PRESSER CO. forte Music and Pianoforte Playing, the Abt. Ahbt. ben. 1712 Chestnut St. • Philadelphia to-day. Bach. Bahch (final ch guttural as in book, nevertheless, fills a very necessary The Etude . . $1.50 Mozart. Mo'-tsart. the Scotch word loch). Neitzel. Night'-tsel. THEODORE PRESSER CO. place. As the chapters are largely made The Delineator . up of a series of articles which appeared Beethoven. Bay'-toh-ven. Raff. Rahf. PROFESSIONAL DIRECTORY on page 278 1712 Chestnut St. ... Philadelphia, Pa. in serial form in a New York Sunday a Cake for He Unscented Behr. Bair. Reger. Ray'-ger (g hard). Inserted 12 Times. Before Half Million Musical People for $15.00 newspaper, they are naturally popular in Bohm. Bohm (to rhyme with home). Reinecke. Ry'-nec-keh (final e very Bruch. Brooch (ch guttural and the oo short). style and easily understandable. The me¬ The Etude . . . $1.50 chanical makeup of the book reflects great sound short). Scharwenka. Shar-ven'-ka. The Pictorial Review BLANK MUSIC PAPER credit upon the publishers. Bruckner. Brookner. Schubert. SHoo-bairt. Total $2.50 i Your Music is Torn! paper ha's boen^n^e exactly the'same'for^nmnber'of^y^raanclvre h^e th'eiSrtcompiaint to hear* $1.90 Billow. Beeloh (the German ii is irre- Schumann. Shoo-mahn (the last syl¬ produceable. It is very like the French u lable not too broad). MADE IN 12, 14, 16 LINE AND VOCAL, SIZE 14x22. Clara Novello’s Reminiscences. Pub¬ and is pronounced as if you were going Be sure and get that manufactured by this house. lished by Longmans, Green & Co., New The Etude . . $1.50 Strauss. Strouss (to rhyme with to say ee and then suddenly changed your house). 1.00 MULIUM-IN-PARVO BINDING TAPE TABLETS, ETC. York, N. Y. Pictorial Review mind and said oo instead. There is no Clara Novello was a daughter of the Wagner. Vahg'-ner. Clarke’s Harmony Tablet, 100 leaves 7 x 1054 inches in size.Pnce, 2Sc Modern Priscilla .75 English dialect in which it is used except Including' Synopsis of Harmony. M founder of' the great London publishing Weber. Vay'-ber. Student’s Harmony Tablet, 75 leaves 7 x 7 in size. .« Ladies’ World . that you will sometimes hear a Southerner Transparent Adhesive Mending Tissue house of Novello’s. Her early recollec¬ $2.35 Weingartner. Vine-gartner. - " :$% Wide Spacing • • .. m say “yeou” in a way that remotely resem¬ tions include reminiscences of Charles Total $3.75 bles the German ii. Also in Cornwall, If your music dealer does not carry it, send to BLANK MUSIC COPY BOOKS Lamb, Shelley, Keats and Leigh Hunt, The first baton was that used in the svery way—paper, ruling, binding. England, you will sometimes hear “biits THEO. PRESSER CO., Philadelphia, Pa. The best copy books on the mark* and many other notable? of the great Sistine Chapel in Rome in the fifteenth early Victorian period. As a singer she The Etude . . . $1.50 and shiis” for boots and shoes). Multum-in-Parvo Binder Co. 8 staves' 24 pages .... 20c 8 stav Bungert. Boongairt (first syllable short century. It was not a stick but a roll 624 Arch Street Philadelphia, Pa. Presser’s First Blank Music Writing Book - was in high favor, both in opera and ora¬ Modern Priscilla . .75 32 pages with extra wide ruling, a handy, cheap book, but accented). of paper, and was called a sol-fa. complete explanation of the elements of music included. torio, and enjoyed the friendship of Men¬ Total $2.25 $1.10 delssohn and Rossini, both of whom ad¬ ^Contains alternate pages ruled for music writing and h mired her greatly. Later recollections manner of writing the characters and signs used in Music 5 cents each, p give us a glimpse of Dickens and Flor¬ The Etude . . . $1.50 ence Nightingale, besides many other Woman’s Home Com¬ WMAT THE FLETCHER MUSIC Liberal Discounts to notables. She married Count Gigliucci. panion .... A; Tone Philadelphia, Pa. THEO. PRESSER CO. and lived a great part of her life there¬ Cosmopolitan . . 1.00 after in Italy. Her husband became in¬ $5.05 JMusic typography in all its Branches volved in the political troubles, and she Total $4.00 1 THOD MEANS IN ENGLAND SEND FOR CATALOG was compelled to take to the stage again e Outside for a while during her husband’s exile. IN England the position of the music teacher of the young child is The Etude . . . $1.50 However, things eventually righted them¬ even less enviable than in America. Hundreds of young women The Delineator . selves. The Reminiscences are preceded walk from home to home teaching in the cold, musically uncon¬ ale. Every device l9 practical and interesting to t by a memoir written by Arthur D. Cole¬ Good Housekeeping . L25 genial atmosphere of the drawing-room, one unhappy solitary child at JNo. 10 8. Kelts Street, Philadelphia ridge. This volume is a fascinating one, RATClIELIiOR & SONS, 454 W. Ilrlnghurnt St., Pi Total $3.75 $2.90 a time. No teacher can have much respect for herself who is obliged (Market above Fifteenth) and is one of the most interesting works to carry on this “Musical Tramping System,” neither is the mother imaginable. Clara Novello was born ZABEL BROTHERS 1818 and died in 1908. During that time The Etude . . . $1.50 overburdened with respect. KEEP the piano looking bright and new by she met practically everybody worth t McCall’s Magazine . dusting it with LIQUID VENEER. That tioning in the world of music and HOWEVER unsightly “mistiness” will vanish like magic, and the beauti¬ MUSIC PRINTERS and a vast number of interesting people Total $2.00 $1.60 connected with neither. She had also the Fletcher Music Method is changing all this—SLOWLY BUT SURELY. ful factory finish will be instantly restored—all in the simple AND ENGRAVERS remarkable personality. FIRST. The mother catches the respect, admiration and enthusms.n o dusting operation. The Etude . . . $1.1 the greatest educators of the day for this Fletcher Music Method, and respects Modern Priscilla . .75 the teacher who has studied the Course and is authorized to teach it. SECOND. Her child joins a class of four or five children and gets two full The Delineator . . 1.00 $2.50 hours’ instruction instead o! two half hours. Two New Works for Music Lovers Total $3.25 THIRD. The Fletcher teacher can afford a ^’four^MsJ^ pupils (who consumed forty half hours time) now orga .. . h hi]d eet’ LIFE STORIES 2E GREAT COMPOSERS consume only eight hours of her time (m spite of the fact that each enuage RICHARD WAGNER AM)'WORKS is not a furniture polish. It is a natural beautifier that does its work by re¬ THIRTY-FIVE BIOGRAPHIES In subscribing for more than one of twice as much time as formerly) and the teacher has time to LIVE, BRLA1HL, By A. JULLIEN OF THE GREAT MASTERS moving dust, finger marks, discolorations and scratches. In this way it . PRICE SI.75 these clubs have THE ETUDE sent for STUDY and GROW herself. . . . PRICE $1.50 more than one year to one address, FOURTH Thp nricp the F M. teacher can command ana prove she restores the original newness of everything when used in the daily dusting / A-Notable Biography of the Most Sig¬ Compiled by a staff of able critics, historians and writers. nificant Musician of the Last Century. or to different addresses for one year deserves is^ust*double &Tcharged by £e on an ordinary cheese-cloth duster. Being a surface food it imparts y child of time, nervous strain, drudgery, wrong impressions-all convince the The interest in a great novel, a great All knowledge, all progress is based upon the achievements each. For each additional ETUDE not elasticity to all fine finishes and prevents cracking and checking. / play, or a great life is in the struggle. of the past. The thinking man studies the past in order to desired, deduct $1.10 from the com¬ parents they cannot afford cheaper methods, ... The stronger the struggle the greater avoid mistakes and to learn how to profit from the discoveries bined prices. Mrs. Fletcher Copp has been in England since N°vem er anre of others. The lives of great men are charts to enable us to America early in April She has given an enormous number of lectures^before the interest. No musician ever strug¬ SEND ORDERS TO gled harder or triumphed more glori¬ navigate our own careers. They show us the rocks to avoid Conservatories, Royal Colleges, Clubs, and Guilds of B»n«ition, wmmng^great Trial Bottle Free /& ously than Richard Wagner. The and the ports to make. These thirty-five biographies include credit for America as well as for her method. .Dunng y America / B"wpaSnPvf' story of his fight and his victories is all the greatest factors in the development of the art of music. give free lectures on many vital aspects of Musical Education botn in America Prove for yourself that LIQUID VENEER will “Cheer Up" m*. told very graphically in this inter¬ They are written in an authoritative, yet stirring and fascinat¬ THE ETUDE everything in the house—from the costliest furniture to the / rte.se send me free, esting work. It will prove a most ing manner. Each chapter is followed by a chronology of the 1712 Chestnut St. and ^Conservatories, Clubs and Associations in America and Canada, apply at cheapest—from hardwood floors to the very chandeliers. A mypart”sampiebottieofL? composer. As a book of reference, a book for the library, and stimulating and appropriate musical once for lectures to Simply fill in and mail the attached coupon and get a trial / veneer. Christmas gift—especially for all those a book for study it will be found a most profitable investment. Phila., Pa. who are struggling for success. It is The book is finely illustrated with full-page portraits. 31 York Terrace, Brookline, Mass, bottle FREE. Do it now while the matter is in mind. ^ Name. ipiously illustrated. This Book may be lhe deciding Factor In your Fight for Fame. or P.O. Box 1336, Boston, Mass. BUFFALO SPECIALTY COMPANY / 191 Liquid Veneer Building / Street and No. THEO. PRESSER CO., - 1712 Chestnut Street, - PHILADELPHIA, PA. , . Applications for the Fletcher Music Method Summer School are also now BUFFALO, N.Y. / City.ad State. being received. ition THE ETUDE when addressing our advertisers. ition THE ETUDE when addressing our advertisers. THE ETUDE 285 284 THE ETUDE Useful Recital Summer Schools What Others Say Music Summer Schools Q /r SIX WEEKS’ COURSE 44 We are advertised by our loving i Detroit Conservatory Mr. D. A. CLIPPINGER n fl i For Teachers and THE COLUMBIA SCHOOL OF MUSIC friends.” Shakespeare. pupils of Mrs. Popefoy. EMIL LIEBLING ■==of Music== Trnvatore (4 lids.), Verdi, Sidney Smith; 'r 1''^ Advanced Students CLARE OSBORNE REED, DIRECTOR. Massa’s in the Cold, Cold Ground, Willie Piano Teachers’ Institute INCLUDING BOARD Announces a Summer Normal Session in Piano, Voice, Violin, pone’ Gypsy Kendo, Haydn; Joyous Return for singers and vocrfl teachers, (4 Ms), Kinguet; Concert Waltz, Schneider; beginning July first and ending Theory and Organ. Opens June 26th. Closes July 29th. July 1st to August 5th 1911 August fifth. The full course in¬ Piano, Organ, Voice, Violin, Other Instru¬ procession of the Phantoms, Engelmann; Lo ments, Elocution, Etc. For Information Address J. B. Hall, Busina.. Manager, 328 Waba.h Ave., S. E. Cor. Congre.., Chicago Secret Gautier; Waltz (6 hds.), Mack; cludes' fifteen private lessons, ^six At Kimball Hall, Chicago Teachers educated in Europe. Leschetizky Heart's Springtime, Ganne; March lessons fn ear training, analysis, minor (6 hds.). Franz Schubert; n PRIVATE LESSONS TEACHERS' MEETINGS MICHIGAN CONSERVATORY OF; MUSIC ■jflK&foTfrcXnSented Kimball Hall : : Chicago COURSE IN1 PIBLICSSCHOOL 'mUSIC-BEGInS 41CK“[e“D- A- “,LL 2 “«s?StrereVtatCry “Srk - .amiTE FOR SUMMER CATALOG. K. 1 —it—| WILLIAM H. PONTIUS, Director Department of Music. CHARI.IiS M. HOI.T, Director Department of Oratory and Dramatic Art =FOR VOCALISTS= American Conservatory MINNEAPOLIS SCHOOL OF MUSIC Minnea|)0lis CARUTHERS SCHOOL OF PIANO =S.W9SSi3! KIMBALL HALL, 304 S. WABASH AVE., :: CHICAGO, ILLINOIS Eigidh'sh, s. ORATORY AND DRAMATIC ART SU1VUV1ER NORMAL SESSION 784 FINE ARTS BUILDING - - - CHICAGO THE WILCOx" STUDIOS “Superior PianoforteTeachlng” SEATTLE, Washington ELIZABETH GOODWIN JAQUES VON ENDE VIOLIN SCHOOL Mr. and Mrs. Crosby Adams — MUSIC EDLJCAXIOIV — .slSrfrzfS. SUMMER SCHOOLS AND NORMAL COURSES SPECIAL SUMMER CLASS CLEVELAND, OHIO, June 5th to July 1st Secretary ALBERT ROSS PARSONS For Teachers of Plano in the study, discussion, il- WFIRFSTFRvT LluLO 1 Ln M Parsons and his pupils : C 0 URTR1GHTJ5YSTEM^^OF KINDERGARTEN VOCAL° MUSIC Crosby Adams, Oak Park" (Chicago*), Illiaois 109 E^S^^NEW YO^KOTY* ATI c'coJ^S 0 R s|n G E R S ---“ " “ . . ^ BOSTON B? tL Sea | July 6 28 1 DunningSystemsIu^TorBeghintrs The Summer Normal Training Class for Teachers will open July 5th, at Chautauqua Lake, N. Y. There is a reason WILLIAM JOHN HALL PROGRESSIVE MUSIC TEACHERS SBKSsssaae^sassi win hold a “^./hHita^ AU8U!' “ Courses in Art Touches and Tone Colors. The Improved Mason Touch and Teachers —w mi«m. AnalysU^o^Forms^^aily Lectures^on MusTcal Pedagogy and Psychology. Pianists* P'ihrectorv'L For details and prices, address Organists (Seepa0e 278) CHARLES W. LANDON Kel,ogg Btlt‘?^t;Yt?.f,aecre),,le’ Kansa8 li1—-- j—, For Results, Advertise Summer Schools in “The Etude” | For Results, Advertise Summer Schools in “The Etude” THE ETUDE 287 286 T H E ETUDE Grand German Singing Festival Sight Reading for Pianists, leschetizkv Method Wit, Humor 250,000 Birthdays every day Summer Schools To Be Held in Philadelphia in the jear in the United States in 1912. Play Music at Sight Without the Drudgery of Practice. and Anecdote SPOKANE, Wash, ANNUAL SUMMER SCHOOL OF MUSIC lessons have the personal supervision of Mr. Felix Lamond Lecturer on the You can be positively school of Vocal Art Science of Reading Music at Sight at Columbia University. The coming twenty-third National Saenger sure of £jvin£ a most Five weeks Normal Course by eminent teachers. Piano, Theory, Voice, test of the Northeastern Siingerbund of “Your daughter practices on the appreciative £ift in Violin, Public School Music and Musical Kindergarten, beginning June 5th. America, a federation of some 250 individual erewski, Hambourg and others, prove that the..... piano faithfully, I notice. Now mine presenting a box of SUMMER I'LASSXB BEGIN JIM 3rd. societies, which will be held under the aus¬ chetizky, possesses the Secret of Success. The above College offers pices of the United Singers of Philadelphia „ (-respondent_ hates it.” j -rector. el Child Walton, 601.2-8 Auditorium I e on his principles of technic ana interpr Bush Temple Conservatory, Dallas, Texas from June 29th to July 4th, 1912, promises tation. They will improve your.---illy, and ym. “Mine does too. But she’d rather to surpass all previous events in the history pupils. These Ii--— j—' g>ven:-' by Miss Jeanne Mattoon, who taught for of similar festivals arranged by German under Leschetizky. Address: practice all day than help with the LOUIS G. HEINZE Director singing societies. NEW YORK COLLEGE OF APPLIED MUSIC housework.”—Louisville Courier-Journal. A male chorus of approximately 7,000 9200 Melropolifan Tower World Renowned voices Is, expected to participate in the two NEW YORK CITY Heinze School o! Music great festival concerts, of which Philadelphia Farmer Oats, at a concert, during the alone will furnish 1,200 voices. Candied Through the persistent efforts of the Ger¬ performance of a duet, remarked to his friend: man singers, aided by the liberal policy of IM. J. COREY Rare (Quality 1712 Chestnut Street, Presser Building, Phila., Pa. the municipal authorities, headed by the “D’ye ken, Tammas, now it’s got to Mayor of the city, John E. Reyburn, the build¬ Pianist, Organist and Musical Lecturer The Recognized Leader of All Practice Instruments ing of a large convention hall with a seating 10 o’clock, they’re singing two at a capacity of 20,000 and facilities for a stage Illustrated Lecture-recitals upon time, so as to get done sooner?”— There is satisfaction Has Piano Action and Touch Interesting Catalogue ’latform. holding 6,000 singers is assured. rgest Universities, Colleges, Lyceums Argonaut. in knowing that you give the best THE KROEEER SCHOOL OF MUSIC When the eighteenth National Sangerfest that money and skill can produce. E. B. KROEGER, Director was held in Philadelphia in 1897, the United a Sonata of MacDowell,” Mr. Corej“s Musical Art Building, St. Louis, Mo. Singers were compelled to build a hali, at u A little colored girl appeared on one The Virgil Piano School cost of $32,000, from their own resources, especially adapted for music schools and musical clubs, Bf tail Stores and Sales Agents Evramm Summer School Especially for Teachers and due to the liberal response of all citizens tor information, address of the city playgrounds the other day, 42 West 76th St., New York the festival was not only a great musics I and accompanied by two pickaninnies, who, social success, but a surplus of some $s.noo 38 WOODWARD TERRACE, Detroit, Mich. was realized, which is held in trust for iso she explained, were cousins of hers, Special Summer Session for Teachers in 1912. visitors in Newark. Judging from the great interest ink v NORTHWESTERN UNIVERSITY EMMA. E. CLARK the American and German public in the aa “What are their names?” asked the and Students—June 28fh to August 8th SCHOOL of PIANO ing festival, a still greater success is a-.I. young woman in charge of the play¬ —= EV ANSTON-CHIC AGO = and encouraged thereby the Music Come in whose hands the preliminary arrang-. .-mi ground. of the concerts rests, has contracted wi: lie “Aida Overture Johnson and Lucia SCHOOL OF MUSIC 65 LESSONS .... $55.00 Theo. Presser Co. to furnish the vocal • ,-ie HOW TO TEACH THEM for 325 individual societies and 7,000 si as. By JOHN ORTH, Steinert Hall, Boston Sextetta Johnson,” the girl answered. SEND FOR EXPLANATORY BOOKLET Suite 406, Kimball Hall, Chicago Already orders have been received 0 , - These lessons contain the cream of forty years’ experi¬ “You see their papa used to work for music, which will be ready for deliv, n ence, in a compact and thoroughly practical form. May 1st of this year. The scores u an opera man.”—Newark News. the English text of the choruses. Ti di¬ PORTLAND, OREGON rectors of the concerts have each selei i- a MRS. STACEY WILLIAMS most Interesting program. Judiciously ca¬ The auctioneer held up a battered ‘The bining well-known and effective chorus, . li fiddle. the eminent teacher of singing has returned from hertannual season the best of modern compositions. An , s- of teaching in Paris, and has re-opened her studio in Kimball Hall. tra of 100 musicians and world-ren :.„d “What am I offered for this antique soloists will be engaged. ■ FRANK DAMROSCH, Only earnest, serious students accepted. Carson School of Music violin ?” he pathetically inquired. “Look The reception concert by the United Sinst-rs AN ENDOWED SCHOOL OF MUSIC it over. See the blurred finger marks 6th and Morrison—Stearns Bldg. of Philadelphia, under the direction oi Ur. The opportunities of the Institute ere intended only for students of natural ability with an earnest purpose to do serious Qualified pupils placed in Opera, Concert and Church work. Emil F. Ulrich, will be given either on : ;ne of remorseless time. Note the stain of ROBERT BOICE CARSON, Tenor, - Director work, end no others will be accepted. Application for admission should be made not later than October 1st to insure con- For particulars and terms write direct to 29th or 30th. The following is the vocal i ■> " ' 1 ' ” '■address Secretary. 120 Claremont Avenue, New York. the hurrying years. To the merry notes RHEA CARSON, Soprano. • Assistant gram. MRS. STACEY WILLIAMS 1. Voyage of the Vikings.Spoiild of his fine old instrument the brocaded 406 Kimball Hall, Heme mention th. Erora Chicago, Ills. ALL BRANCHES TAUGHT 2. (a) Fragrant the Linden Blooms... . i: n dames of fair France may have danced has no peer (b) Norman Folk Song.I :>i 3. The Snow.Sir Edward I - w ONE, TWO AND THREE COMMENCEMENT Roofs Technic and Art of Singing PI AIM OS AND EXHIBITION \ Series of Educational Works in Singing on Scientific , for Use in Private Instruction and in Classes One Piano, Eight Bands ^=MUSIC^= S— 11 A Teachers Certificate and Diploma ami the Two Pianos, Six Bands Pianos, Twelve Bands SS La' Sas Can Now Be Earned Without Leaving Your Own Home IN THE PAST it has been impossible for music teachers to secure a Teacher’s Certificate III. Thirty-two Short Song Studies and a Normal Diploma without leaving their classes, giving up their income and going to some distant conservatory or private teacher for special instruction. This EassASfeE i necessarily involves a heavy expense, means a loss of valuable time, and is at best a great inconvenience. 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