Gardner-Webb University Digital Commons @ Gardner-Webb University

The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

11-1-1908 Volume 26, Number 11 (November 1908) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons

Recommended Citation Cooke, James Francis. "Volume 26, Number 11 (November 1908)." , (1908). https://digitalcommons.gardner-webb.edu/etude/542

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected].

STANDARD PRACTICAL EDUCATIONAL PUBLICATIONS TO OUR READERS THE EDITOR’S COLUMN The Editor wrote a notice to use for an CHRISTMAS IS COMING. THEORY-TECHNIC-INSTRUCTION - RECREATION advertisement for a special purpose. When it You are doubtless thinking about the eternal was printed it was such an inspiration, and it question of Christmas presents. Why not was so true, that we decided to print it in give a Christmas present worth while, a pres¬ ent that will bring your memory back to the - - The Etude for this month as an advertise¬ CLEAR CONCISE EFFECTIVE ment. You will find it on page 740 of this recipient twelve times a year, a present that issue. can be saved and which if preserved will be e allowed for ob- That notice mentions particularly what some just as valuable ten years from now as it is of our subscribers have missed by allowing to-day. Take up a bound volume of The Palmer’s New Pronouncing Pocket Remlttancea should be made by post-office or express PALMER’S PIANO PRIMER money orders, bank check or draft, or registered their subscriptions to expire three or four Etude for one year and then compare it with Dictionary of Musical Terms letter. United States postage stamps are always months ago. We want you to read this ad¬ what the subscription price ($1.50 per year) By H. R. PALMER received for cash. Money senj In letters Is dan¬ By H. R. PALMER gerous, and we are not responsible for its safe vertisement and we are going to make an offer would purchase in a book store. Make the 414,000 Sold arrival. in connection with it. To every new sub¬ parents of your pupils, or your musical friends Revised and greatly enlarged; containing upwards of 3500 terms and DISCONTINUANCE.—If you wish the journal acquainted with this fact. There is no other A systematic and clear explanation of the fundamental principles of abbreviations; with a pronouncing biographical appendix giving the cor¬ continued an explicit notice must be sent us scriber that is sent in by one of our own piano playing. The late Dr. Wm. Mason said of it, “As a text-book it will within four months after the paid up sub¬ subscribers we will send these back numbers way in which the musician or student may rect spelling and pronunciation of the names of upwards of 2500 prominent scription expires. Explicit directions will be invest $1.50 so that it will bring him from be very valuable and useful to students; it contains the pith and subject musicians, together with their Nativities, Specialties, Dates of Birth, Dates sent at the time of expiration. of The Etude, from July to December, 1908, 500 to 1000 per cent, a year on the capital. matter of which it treats, in clear and concise language.” of Death (if not living), and other valuable data. RENEWAL-No receipt is sent for renewals. On and the entire year of 1909, for $2.00, and in the wrapper of the next Issue sent you will Price, heavy paper covers.60c The most practical and valuable pocket dictionary published. be printed the dnte to which your subscrip¬ addition this subscription will carry with it tion is paid up, which serves ns a receipt for all premium offers. A NATIONAL PROFESSIONAL Boards .75c In linen covers 25c your subscription. DIRECTORY. MANUSCRIPTS.—All manuscripts Intended for publica¬ tion should be addressed to THE ETUDE, 1712 We could list in these columns premiums You will find upon page 743 of this issue Chestnut Street, and should be written on one side a directory of teachers and artists which of the sheet only. Contributions on topics con¬ by the score that would be ■ particularly at¬ through its publication in The Etude is the nected with music-teaching and music-study are tractive and valuable for musical persons. MUSICAL ESSENTIALS LANDON’S FIRST STEPS GRIMM’S MUSICAL solicited. Those that are not available will be re- most widely circulated directory of its kind in There are so many of this sort of premiums existence. It will go to a musical audience WRITING BOOKS ADVERTIS1NG RATES will be sent on application. on our complete list that we prefer to send IN HARMONY Forms close on 10th of each month for the suc¬ forty times as large as the seating capacity By HAROLD B. MARYOTT to everyone interested that Complete Premium By CARL W. GRIMM ceeding month’s Issue. of the great auditorium of Carnegie Hall, List. A postal card will bring it to you; let By CHARLES W. LANDON THEODORE FRESSER, New York. A practical method of learning the principles 1712 Chestnut St., Philadelphia, Pa. us send it to everyone of our subscribers who Musical Essentials embraces everything from It gives teachers and musicians an oppor¬ and notation of the science of music. In these Entered at Philadelphia P. O. as Second-class Matter. is enough interested in The Etude and the the rudiments of Music Notation to the study A demonstration of modern ideas of harmony tunity to hand their professional cards to the music writing books Mr. Grimm successfully work it is doing and the success of the paper of Musical Form. The elementary portion is so teaching in especially clear and lucid form. very people who are most likely to require delineates from an abundance of knowledge and as to be willing to try and send us one new Every rule is abundantly illustrated with nota¬ a long experience; and with an accurate grasp their services. vMore than this, it doubtless plain that one who has no knowledge whatever subscription. of music can understand its precepts, while the tion, and all written work has a system of ex¬ of a subject which he easily makes interesting has a larger circulation right in your own as well as Instructive. The series of four books progression of the study is so consistent, step plicit guiding hints embodied in the exercises, CONTENTS district than any local musical medium of makes a complete method of easily and practi¬ Magazine Clubs. Fast approaching is the standing. by step, as to make the acquirement of a prac¬ showing not only what to do, but just where “THE ETUDE" - November, 1908. cally learning the music notation of all time season when our thoughts Any professional of good standing can have tical and theoretical knowledge of music a mat¬ and when it is to be done. Undoubtedly the and kind with an Interesting study of music Edited by JAMES FRANCIS COOKE turn towards next year’s reading. “What his or her name and address inserted in this ter of regardful application only. easiest method in existence, and unusually history and of biography—in fact, is quite a Editorial. 6 shall we take this year” is now a difficult and directory at the slight cost of twelve dollars thorough system of musical education. Four thorough. Important Musical Activities Abroad, complicated question. There are so many per year. To send a professional card to as volumes. By Arthur Elson 6 Stephen Heller.By E. R. Kroeger 6 magazines and periodicals all clamoring for many people as buy The Etude monthly Price, heavy paper covers $1.00 Bound in boards.50c Paper, each.25c From Brain to Fingers.By Leslie B. Dana 6 attention. would cost you in two-cent postage alone Thorough Familiarity with the Keyboard, We have given this question much thought, $2500.00. The Etude offers you an infinitely By Charles E. Watt 6 Sugar Coating Exercise Work. .Perlee V: Jervis 6 resulting in a list of a few magazines which better service at the rate of one dollar per The Mental Attitude.By D. A. Clippinger 6 we offer in combination with The Etude. month. Better because The Etude never goes Superstitions of Concert Pianists, The list will be found on page 682 of this in the waste paper basket. ZIECFELD PIANO LEFT HAND ETUDES FAMOUS PRACTICAL By Algernon Rose 6 issue. We offer only the best magazines in Effective Piano Practice, TECHNICS PIANO STUDIES By Katherine Bemis Wilson 6 their respective classes, magazines that it is GETTING SOMETHING FOR NOTHING. By AUGUST W. HOFFMANN How I Earned My Musical Education, by a pleasure to recommend, and we believe we We are always suspicious of the man who By WILSON C. SMITH Homer Norris, William C. Carl, E. E. Truette, have managed to suit the taste of everyone. offers something for nothing, but there is cer¬ By DR. F. ZIECFELD Perlee V. Jervis, Robert Braine, John Phillip You may send either new subscriptions or These unique and very practical studies are Sousa and Emil Liebling.. • • • 6 tainly no way in which the musician and The book holds in compact form all that need The unusual way in which results are reached based upon the plan of specialization, each A Special Class of Pupils...By Chas. A. Fisher 6 renewals in any of the “clubs,” unless other¬ student can get greater value than through be taught to insure that training of the hand largely enhances the value of the exercises and volume containing studies for a particular pur¬ American Students Should Study in America, wise specifically indicated by the word The Etude. Take the following pieces for pose. They are attractive and pleasing and ac¬ By Sidney Silber 6 “NEW” and the various magazines may be essential to an early and easy virtuosity. The awakens a lively interest in piano study. The What the Masters of Music Have Accomplished instance. They have already met with a con¬ complish the purpose for which they are de¬ sent to the same or different addresses You book provides for the necessary fundamental studies are eminently useful and practical, and in Old Age.By Arthur Elson 6 siderable sale and their retail value is fifty work and embraces all that is needed for the signed, with great satisfaction and profit to Musical Atmosphere in America, will find our prices as low as can be had cents each. They are new pieces and have will prove acceptable indeed, as there are so gymnastics of the fingers and essential to a teacher and pupil. By Rupert Hughes 7 anywhere, and we will gladly quote prices on appeared in The Etude recently: few left hand studies of the middle grade. What Constitutes Beauty in Piano Playing, thorough training and control of the hand. Five Minute Studies, Op. 63. Two any combination containing The Etude. Also, Sun Shower, Atherton; Dream Idylls, books, each. $1.00 By C. E. Watt 7 The plates and illustrations, which have been A cardinal feature of the “Hoffmann Left Classical Music as a Basis of Pianoforte Instruc¬ premiums will be given on Etude subscrip¬ Martin; March Triumphale (4 hds), Rathbun. prepared with unusual care, illustrate the Hand Studies” is that they are short. Two Thematic Octave Studies, Op. 68. tion.By Felix Le Couppey 7 tions sent in clubs, just as though they came These three pieces alone cost at retail the One book. 1°° proper position of the hand, wrist and fingers. books. Do a Little Each Day.By Carol Sherman 7 in separately, which brings us to price of a subscription for The Etude for one Chromatic Studies, Op. 69. Two Explanatory Notes on Etude Music. 7 Bound in flexible cloth. books, each.-. 1,00 Teachers’ Round Table, year. During the year over one hundred and Transposition Studies, Op. 70. One Conducted by N. J. Corey 7 Belt Buckles. On page 741 will be found an fifty pieces were printed, aside from the Price.$1.50 Price, each. 75c book 1.0° Surprises.By E. A. Johnson 7 offer of extremely attractive articles, departments, etc. Do you know of The Poor Beginner.By D. A. Clippinger 7 Belt Buckles for ladies, given as premiums any paper in existence offering the subscriber Voice Department, Edited for November by F. J. Benedict 7 for from one to ten subscriptions There so much? Does this not come near getting never was a time when a pretty belt buckle a very great deal for nothing! Violin Department.Edited by Robert Braine 7 was not most acceptable, and these are worthy SUCCESSFUL BOOKS NEVIN’S SONGS WITH¬ KNEISEL COLLECTION Children’s Page ... . 7 Club Department . in every way. Read that offer. PICTURES. FOR CHILDREN Questions and Answers. A subscriber recently wrote us: “I like The OUT WORDS FOR FOR VIOLIN AND PIANO The World of Music. Publisher’s Notes. The Designer is a fashion paper. It con¬ Etude because you give us something more By JESSIE L. CAYNOR PIANO SOLO Selections from the Masters Old and New Recital Programs.. tains about one hundred pages to an issue. It substantial than pretty pictures.”. We believe Testimonials . in pictures, but we do not believe in pictures The favorite songs of Ethelbert Nevin Iran- Professional Directory. is about the size of the Womans Home Com- The author id noted for her rare teaching petition or the Ladies’ Home Journal It «s at- that are not pertinent, educational or neces¬ scribed for Piano Edited by FRANZ KNEISEL sary. We know that the reader is after the qualities, particularly with the young, and these tractive in contents from a useful as well as a By CHARLES GILBERT SPROSS . ..U. Moszkowski 704 recreative point of view. The above notice knowledge, the sound, thorough information studies are exceptionally meritorious in their a Chevai'u Hands), that The Etude brings to him every month. Nevin is here revealed in a new form by a Adrian Smith • is gratuitous on our part and we mention it plan of arrangement, clearness of demonstra¬ A notable issue for violinists are these really _T. Carreno \ !fnlv because we can offer a years’ subscrip¬ He wants this information presented in the series of transcriptions of his exquisite songs most attractive and “appetizing” manner possi¬ tion and aptness of illustration. superb books, a gathering into practical and i tion^ The Etude and The Designer both for made in a masterly and appreciative manner :..R. E. De Reef : ble. He does not want dry crusts, nor does he and depicting pictures with mood, color and permanent form of violin master pieces, some R. E. De Reef ; want articles too complicated for his musical .Ceo. D. Martin ; $I'perhaos even a better bargain than The First Pedal Studies, Price ... 50c sentiment, perfect in each case, and each one old, some modern, some familiar, others rare. digestion. A diet of confectionery soon be¬ i comes nauseating. Let us have the sound, sub¬ Miniature Melodies, Price_60c m turn being absolutely unique and utterly In three volumes. "'S-rsssa unlike any other, even from the same pen. Chanson Russc (Violin and Piano),'H. Tolhurst ; stantial matter first, and then if a really good Melody Pictures, Price.60c picture comes along—a picture that will add Each.S1.00 IindE-flat '('Pipe Organ)'.. - E.M.Read ; hints fashions and fiction, and Modern Pris¬ nerit to an article—let us have that, too. What When Love Wake Sleep O^cal),^ ; cilla is a needle work magazine. The papers do you think? We will be glad to hear from Dolly Dimples (Vocal).C. C. you. Forget-Me-Not (Vocal).W. H. Pontius can be sent to different addresses. Published by THE JOHN CHURCH C< DMPANY Sr

i THE ETUDE when addressing - advertiser a: ■j” j :: i;

i Si ir.xnAll i 682 World’s Events,OutdoorInterests,etc. represented inthislist—Music,Fiction,Fashion,Literature, highest merit.Theneedsanddesiresofeveryonewill.befound . pleasure,profitandprogressofall.Price n TT-TTTTWr is included.PostagechargedadditionalonallCanadianand Foreign subscripts 1HE ETUDE_1712 Chestnut Street. PHILADELPHIA, PA We willduplicateanyoffermadeby anyrepntablemagazine,agencyorfirminwhichasubscriptionto“The Etude”'-T'..cDen'5,0a11dubsincludingWoman’sHomeCompanion afterH. Offers areforyearlysubscriptions. Magazines maygotoseparateaddresses.“TheEtude”mastbein everv ClubAddscb°UnJPcketBlofiraphyofBeethoven,Mozart,Wagner, Cbopmorb^ Add 5centsfoanyoftheaboveClubs foraStudent'sPronouncingDictionaryofMusicandMusicians.Add 10centsfor,„lH.k • ,lisrf- Add anyClass"A”.3.50 Add Woman'sHomeCom¬ Add Harper’sBazar.3.50 Add Designer.3.00 Garden Magazine Add AmericanMagazine-3.50 The Etude*“^7." $1.00. AlsoseeClassA. jS 'AnyClass’’A”.3.50“2.50 every home.Asubscriberwrites:"McClure's serious itide,refreshingandcharmingfic¬ Garden MagazineFarming The Etude,or1e0vvVrym“s,c < (CountryLifeinAmer- The Etude'“TvY^and''*ValueCost American genius,andstandsstronglyforthe eootl moralsandingoodtaste.Wouldbelost pendablc; thefictionisalwaysgoodliterature, tion, beautifulillustrationsAppealskeenlyto Add DelineatorandEvery¬ Add Everybody’s.6.00’ £ SuburbanLife.5.50”3.20 Th sEtude,orf0v"ryan2,lcVaIueCost without it.”Price$1.50. World’s Work American Magazine$2.50for$1.85 Magazine issocalledbecauseitshowsforth McClure’s Magazine$3.00»°r$2.25 S? Woman'sHomeCom- The followingofferscontainonlyselectedmagazinesofthe gl panion.6.75"4.00 o IicaandSuccess.7.75"5.00 MAGAZINE BARGAINS " ISuccess.7.00‘ -o (Harper'sBazar.4.00 * 'AnyClass"A”.4.00 o |BurrMcIntoshMonth- ■g Everybody’sandDe- panion andCosmopolitan.4.75 2 (St.Nicholas(Ncw)and „ .4-25’ body’s... 7.00| * IOoodHousekeeping..400' A magazineofquality,containingstrong, A giantamongmagazines.TheAmerican w jlineator.5.50* | /CurrentLiterature..6.00‘ magazine ofauthorityandpopularity,f \Burr McIntosh5.50“3.85 i GoodHousekeeping..3.50“2.50 who dothings—ashortcutlorthebti /Current Literature—S.50“4.10 who wantsanup-to-datehistoryofo 'St. Nicholas(New)and /Review ofReviewsor McClure’s Magazine THE ETUDEandCOSMOPOLITAN,orAMERICAN,WOMAN’SHOMECOMPANION—Value$2.50for$1.85 Woman’s HomeCom- American Magazine The World’sWork THE ETUDEIfflBHSEn $4.0#for$2.65 THE ETUDE,McCLURE’SandWOMAN’SHOMECOMPANION-Value$4.25for $2.85 $2.50 f $4.50 for$3.90 Value Cost 5.50 THE ETUDE,EVERYBODY’SandDELINEATOR—Value$4.(1#for$2.85 $2.00 The Etude$%£&£•$2.50for$2.00 *“ \AnyClass*'A”- fashion. Tea. elaborately andhowtodressin conducted magazineTellshowto J! Designer. The Etude,orf0veryndU8lcaluecost 2 yEverybody’s. Harper’s Bazar The Etude^&Yy“?,ic ■a |Housekeeper. £ IReviewofReviev World To-day S* World’sWorka An invaluablehouseholdguideam Z 1an’sHomeCompan- ? /McClure'sandWorn- Class “A”Magazines I ReviewofReviewsand / ionorSuccess.5.751 I StNicholas(New)a \ Cosmopolitan.7.00* 'Any Class"A”.4.00’ \ Idea(Fashions)andModernPrls- sold atapopularpric ns incolors.Theo our, andsomething n fromoriginalsourc clippings ofotherpti e. Thereaderwillfi onthly worldreview, (The Designer(Fashions),orNew) Suburban Life. Housekeeper .. The WorldTo=day Woman’s HomeCompanion Physical Culture Pictorial Review(withpattern) New YorkTribuneFarmer Metropolitan Magazine Good Housekeeping Garden Magazine—Farming Health Culture Harper’s Bazar Good Health Cosmopolitan Magazine Children. .___ Frances HodgsonBurnet Harper’s Bazar 'TfoMr 4.50for3.30 it extravagance.PriceJt.oo.Also Magazine, Editedby A MonthlyJournalforMusicLovers ETVDE ... 3.50“2.70 THEE TUDE $2.50 for$2.00 $3.00 «or$2,35 Value Cost Value Cost 3.50w 2.65 THE tS-S 'Success.3.75 Woman’s HomeCompanion Travel Magazine. The Organist. The Organ. -"-a /Harper’sBazar.6.75 delightful storiesa Contains helpful, entire household.Price$i.oo.AlsoseeClassA. clever people.Inaword,GoodHousekeeping a breezyway,howtheyhavebeendoneby ?§ 'AnyClass“A”.3.75 Woman’s HomeCom¬ Outlook (Newonly)." The Etude,or?.verya3slcvaluecost is acheery,helpful,strongcompanionforthe It tels,nothowthingsshouldbedone,but,in AFTER FEBRUARYf,1909,ADD Youth’s Companion(Newon St. Nicholas. Suburban Life. benbner’s Magazine. New MusicReview.. Century .... New Idea. House Beautiful. Home andGarden. 1 hotaEra. Harper’s MonthlyorWeekl BurrMcIntosh Monthly. Lippincott’s. Pearson’s Magazine. The ETUDEforeverymusiclover Good Housekeeping$2.50for$2.00 Modern Priscilla.. Housekeeper . North AmericanReview.. £ 0)/SuburbanLife.5.50“3.35 -g-o 'Everybody’sandDe- ’‘Circle” Magazine. la -1st.Nicholas(New)and §.* IDesigner.325 I a,'BurrMcIntosh.5.75 gC WorldTo-day.4.00 6 olHousekeeper.3.50 c:E /American.3.50‘ M .Designer.3.25“2.50 SiS ^ lReviewofReviews...5.00“3.05 tion. AnaverageoftoopagesamonthSize the sociallife—asapowerforgoodandforce -c, (SuburbanLife.5.00“3.05 magazine making.Price10centspercopy. in abundance,householdhelpsofeverydescrip, _-■£ /AmericanMagazine••3.502.50 ^ ncClure’s.4.00“2.85 for theprotectionandupbuildingofAmeri- more strongly—inbusiness,inpoliticsand the editorialandbusinesspolicyofSuccess. Add McClure’sandSuccess Current Literature of activity.Profuselyillustrated.Price.«°°- know thereatthatissaid'mldXneinallfields T */ReviewofReviews■5.503-3* -g /WomansHomeCom- Success Magazine$2.50for$2.00 The Etude,0rfoYeYa"ValueCost Its far-reachinginfluenceisbeingfeltmoreand 11x16 Beautifullyillustrated.Amarvelof Add McClure'sandHarper’s Add AmericanMagazine—5.50 Review ofReviews$4.50 Ev^tf^^az^^tLS^that^ 3 /panion.3.752.65 Add anyClass“A”.5.50 Add Harper’sBazar.5.50 ihc Elude_( Add GoodHousekeepingand | /Everybody's.6.50“3.95 = /AmericanMagazine..3.00”2.20 M (St.Nicholas(New,and S \Designer.3.00“2.35 1 Kr’s “ DelineatorandEvery-„, A magazineofr or W.H.C. e latestfashions, “ InthePublicService”describesaccurately Designer- .6.00 i World’sWorkand \ ReviewofReviews..8.00**4.40 \ ReviewofReviews..8 . __.is(New)and 'Any Class“A”.3 'BurrMcIntosh. 5.00“3.70 (Good Housekeeping...3.50'2.65 Review ofReviews Current Literature Success Magazine cwiva in11line-1y,serialandshortstories $5.5# for$3.5# The Designer i specialarticlesondresf $4.50 fo Value l 1 I 1 vessel andhangsoneveryothersailinthehorizon.” ourselves indolent,wehaveafterwardsdiscovered ever existedinanycountry.” culture, andthedeterminationtobeinformedupon land hesaidtohisformerassociates:“Itissimply duties calledhimtoattendseveralChautauquaas¬ AK we sailin.Embark,andtheromancequitsour we arebusyoridle.Intimeswhenthought philosophy ofthegentle,serene,lovingEmerson, ceiving thecovetedchurchappointment.Some moments ofapparentfailureoftenanticipatesuccess. priated byschemingmanagers,andtheinstitution >n lateyearsthenameChautauquahasbeenappro¬ tirely differentfromanysimilarconditionthathas tellectual debauch.Thethirstforknowledge,and heyond belief.Thecountryisinastateofin¬ semblies intheWest,anduponhisreturntoEng¬ in us.Everyshipisaromanticobjectexceptthat that muchwasaccomplishedandbegun when hesaid:“Wedonotknowto-daywhether way istoliveinarealizationoftheconvincing that hasbeenreturnedadozentimes.Thebest publisher maywantjustthatverysongorarticle way toyounow.Youmaybeonthevergeofre¬ ing. Togiveupforasecondistofail.Thevery hard tofightdiscouragementanddisappointment. course ofhomestudythroughthemediumespe- Were held.Thecentralideawastoconducta Astern NewYorkwherethefirstChautauquas lts namefromthebeautifulLakeSettlementin Unautauqua movement?Wesay“thebest”because scientific andartisticsubjects,areuniqueen- limited toalittlecircleofEasternStates.His that cultureandeducationinthiscountrywere Numbers ofunexpectednewpupilsmaybeontheir Yet weknowthattheonlywayistokeeponfight¬ the milesofscalesallseemtoavailnothing. demolished ambitionsandlostideals.Ourwhole with ambitionstobetterthemselves. Thiscourseof J-nurch, startedtheChautauquamovement.Ittook J" iB78BishopJohnVincent,oftheMethodist »as beenbroughtintodisfavorinmanylocalities. hours ofpractice,thepagesharmonyexercises, little worldappearstobemovingbackward.The «ken upandusedbycirclesofcongenialfriends SOMETIMES therecomedayswheneverything ' whichthemostnotedspecialists onthesubjects Vol. XXVI,. emS studiedmightaddress thestudents.The j studywasthentobesupplemented byakind Are youkeepingintouchwiththe.bestthe Such dayshavecometoyouandme;itis carries offtheprize’’—Horace convention orassemblyin the summermonths, “He whocombinestheusefulwithagreeable, seems togo“deadwrong.”Thehoursslip N Englishuniversityprofessorrecentlysecured by likevesselsladenonlywithforlornhopes, planned text-books,whichmightbereadily possessed theconventionalEuropeanidea a positioniiianAmericanuniversity.He EDITORIAL ™ETUDE Copyright 1908byTheodorePresser. PHILADELPHIA, PA.,NOVEMBER,1908. very wordChautauquainsomeWesterndistricts the realChautauquamovementisavaluableone.It town totown.Alargetentwascarried,andthe musicians ofnationalreputewereassembled,and you shoulddoeverythinginyourpowertoseethat a movementthatthemusicteacherand advantages anddelightsofhighereducation.Itis spells “fraud."TJisisanunfortunatecondition,as cus. Themanagerswereunscrupulous,andthe given, whichwerelittlebetterthantheold-timecir¬ the pastseasontwohundredChautauquaswere advertising andbusinessmanagementwasexcellent. this organizationwassentwithaspecialtrainfrom of apermanentassembly.Acorpslecturersand qua” todistrictswhichwerenotwithinthereach conceived theideaofsendinga“travelingChautau¬ lyceum bureaus.Oneparticularlycapablemanager were nottobeconcealedfromthemanagersof The Etudehavebeeninfluentialindevelopingthe J. Coreyandmanyotherwell-knowncontributorsto vacation appealedtothousands.Inthecourseof The ideaofcombiningeducationwithasummer THE virtuosomachineishereatlast.Weare town andtriestopersuadeyourfriendsthatanor¬ fraudulent onesdiscouraged.Ifyouliveinarural the realChautauquamovementispromotedand student mayjoinwithgreatbenefit.Consequently, systematizes andputswithinreachofthepublic Next cametheimitatorsofthissystem,andduring and themovementsoonbecamenational. ments orassemblieswereorganizedinotherStates, musical sideoftheChautauquawork.Othersettle¬ of theChautauqua.Mr.Wm.H.Sherwood.N. be fortheservicesofableteachermusic. the teacherandstudent.Thehigherintellectual at thesametimepresentmeritsofreal tunity toexposethishybridvaudevillecircus,and an “educationalmovement,”thenitisyouroppor¬ cheap magicians,renegadeministers,movingpicture ganization ofpseudo-scientificlecturers,bellringers, district andsomeblatherskitepressagentcomesto time musicbecameanimportantpartofthework scheme wasreligiousinintent,butnon-sectarian. status ofthecommunity,moreneedwillthere machines, canvasmenandside-showoperatorsis !£Tnise no7t0af0devi«h,'forCplayingT'p^nnby Chautauqua. TherealChautauquawillalwaysaid inventive ingenuityhasnotputforthsuchacon- o/effor/l simplyrestyour fingers uponthebounc¬ ™ WinanorUanw' - AUhailthistT1odcrn our country factory orchns,nias fhTmachine lookslikethe“kicker”ortedder”that these leversandmovedupdownatalmostany Tnd thefingersof,hcperformerarcplacedupon Sr .0Swhichoperatesanetec.riefan.This morning ..atechnic withouteitherthought J nfsneedtheoperatormaydesire.Inuse The obviousprofitsarisingfromsuchassemblies . countrycousinsemploymmakinghay.t * rnutsaseriesoffourwoodenleversinmotion. come aswearetothinkthatAmerican not sosurprisedthatthemachinehasreally TITllERE isonegreateducationaladvantagein always endeavortoemphasizethisoneparticular over teachersintheirinterviewswithparentsshould you asonetodoyourpracticing. Tausigs, Hcnselts,Rubinsteins,Paderewskis,Rci- discipline thatthestudyofmusicaffords. point, asitrevealstotheparentgreattruththat vantage whicheveryparentshouldrecognize.More¬ well trytogetamachinedoyourthinkingfor water, love,astrytofindawayvirtuosoheights or theChopinBallade. ing leversandremoveallbarriersbetweenyou an idleaccomplishment.Werefertothefactthat music isanessentialpartofthechild'sgeneral senauers, RosenthalsandJoscffys.Youmightas practice isthemachinewhichhasmadeourLiszts, educated intellect.Goodold-fashionedkeyboard fingers toobeythehighly-trainedandmusically- The mindmustguidethefingersfromwithin. that willavoidhonest,earnest,persistentpractice. One mightaswelldeviseasubstituteforair,food, work willprovelikeallothersubstitutes—useless. the covetedBrahmsConcerto,LisztFantasia, When parentscometorealizeit,theteacher’ssocial in nootherstudydoesthepupilacquiremental education andshouldnotberegardedapastimeor Fine playingissimplyamatterofdiscipliningthe will findittotheiradvantagedrawtheattention position, andsequentiallyhisfinancialconditionwill docs havearemarkableaffecttherecantienodoubt. this sideofthequestioninTheEtudeandteachers be greatlyraised.Wearccontinuallypresenting and Rome. one ofthegreatestmysteriesalltime.Thatit of parentstoarticlesinthemagazineuponthis degree ofmentaladvancementfromthekinder¬ to reachasatisfactorysolutionastheirlessscien¬ At timesitwastheproblemofhourinGreece The ancientsrecognizedit,andtriedtoexplainIt. subject. experiments havebeenmadeinmanyAmerican of anexperimentinEnglishschool.Similar The NewYorkTimesgivesthefollowinginstance it. amithattheresultsareeverywhereevident. in acquiringakindofmindcontrolthathecould garten tothepostgraduateinagreatuniversity, that thestudyofmusicassistsstudent,any tific predecessors2,000yearsago.Thefactremains subject buthaveapparentlybeenquiteasunable play theyhadadvancedbyleaps andboundstoward been arousedintheinstruments giventhemto great changehasbeeneffectedsincetheintroduc¬ for youthsofthisdescriptionbelongingtothe treatment ofthefeeblemindedoccurredathome schools withresultsequallysatisfactory: is notsomuchourconcernasthefactthatitdoes not achieveinanyothermanner.Howitdoes complete sanity,someofthe mostobstinatecases tion ofabrassband.Themasterthehome having recovered.Ithasbecome recognizedinthe stated thateversincetheinterestofboysbad Metropolitan AsylumsBoardatWitham,wherea I musicthatwedonotbelievecanbebrought We haveasuspicionthatthisnewsubstitutefor The wonderfuleffectofmusicuponthemindis Educators arcperfectlyfamiliarwiththistruth. “An illustrationoftheefficacymusicin Psychologists ofotirdayhaveponderedoverthe into publicnoticetoofrequently.Itisanad¬ No. 11. T» 690 THE ETUDE the etude 691 institution that the band boys were distinctly su¬ IMPORTANT MUSICAL ACTIVITIES ABROAD. the piece by inserting metal crooks of the perior to other patients. Several boys whose cases quired length. But the “horn in F,” with a * ^ short of the great Polish master in originality and were regarded as hopeless before are now quite BY ARTHUR ELSON. long enough to bring its scale into that key sh^ merit, yet many of these pieces are well worth while. rational.” the richest tone-color; so that some composers h It may surprise many to learn that he has written In the Quarterly of the International Musical So¬ called for that, and made it, transposing when seven Tarantelles (opus 53, 6j, 85, 87, 137), a STEPHEN HELLER—HIS LIFE AND WORKS Venitienne (opus 52), and a Saltarello (opus 77). THE INVENTOR OF THE NOCTURNE. ciety Finnur Jonsson contributes an article on harp sary. Thus a composer could use the F horn'^ playing in the North. By quotations from the Eddas piece in G by writing the part in D instead of r * which is based upon a theme from Mendelssohn’s Sir Frederick Bridge, the genial and able British By E. R. KROEGER and other early works he shows that this instrument All these anomalies and certain others that “Italian Symphony.” So many music lovers only organist, who recently toured Canada, gave a lecture was sometimes used in solo passages as well as for in the score bring about a condition very like S know the celebrated Tarantclle in A flat (opus 85, at Gresham, England, upon John Field. The Lon¬ No. 2), which is really inferior to some of the accompaniment to chants or recitatives. of the Dutchman's clock, which struck seven h don Musical Herald gives the following synopsis of others. Heller’s Wallses (opus 42, 43, 44, 59, 62, 93 The harp is probably the most ancient of instru¬ the hands pointed to a quarter of four andffi this discourse upon one of the most unique charac¬ and 145) are charming, but are not to be compared ments, for it undoubtedly developed from the twang informed him that it was really twenty minute! Richard Wagner once said, in regard to his musical ters in musical history: It is difficult to state which opus number contains to Chopin’s. His Valse-reveries (opus 122) are really of the bowstring. Thus the nanga, a typical harp past nine. Composers are beginning to see studies: “It suited me personally to rest content with Born at Dublin in 1782, John Field was called the most beautiful studies. Opus 16 probably appeals little gems. The Polonaises (opus 104 and 132) are of the negro races, is shaped like a bow with five there is no need for this cumbrous system the acquaintance of the principal men, the heroes “Russian Field” to distingush him from Henry that | most to the more mature player, but from the opus not equal to those by Chopin or Liszt, although strings. Nearly every ancient civilization possessed instrumental performers are sufficiently ’numerous Field. His grandfather, an organist, and his father, and their main works. For aught I know, this may numbers 45, 46, 47, 90, 125 one can find many of the the first of 132 is conceived on a large scale. some form of harp—Assyria, Egypt and Judaea, for a theatre violinist, made him practice so hard that and skillful. Weingartner and others have suggested have had its drawbacks; anyway, my mind has never most exquisite and individual pieces written by instance, while in Greece and Rome the more sym¬ he ran away from home, but he had to return. The some simplifications, but Stephani has now gone be been stuffed with ‘music in general.’” For a man Heller, or indeed by any other composer for the metrical lyre or kithara was used. yond them and offered an absolutely unified score pianoforte. The Preludes (opus 81 and 119) and the father got engaged in London, and apprenticed John like Wagner—a genius with a mission—he doubtless The Sonatas. The Irish claim to have originated the harp, or at system. Both are contrasted with the older method Ablum for the Young (opus 138) may also be in¬ Field .to Clementi for a premium of a hundred The Sonata has offered Heller a congenial form in least its usual shape; and Galileo credits them with was right. But how many capable composers would guineas. Clementi taught him, and also employed In the common system, matters are made more cluded. In fact, in all of these Eludes, Preludes and which to clothe his inspirations, but singularly the invention. It was probably the Irish harp that be altogether neglected if all of us followed his plan? him regularly as a salesman in his pianoforte shop, involved by the use of the alto clef for viola (C Album Leaves there is much from which the player enough his four works of this nature (opus 9, 65, 88 the Roman legions brought back from Britain, and Fortunately, the public at large is willing to listen where the shy and awkward youth produced aston¬ on the third line) and the tenor clef for the bas¬ can derive the most artistic and intimate enjoyment. and 143) are scarcely known. The first of these (in its use in the Apulian city of Arpi may have given to the lesser as well as to the greater men, so it is ishing effects from the instruments. When he was soons (C on the fourth-line). Taking also piccolo D minor) is rather an experiment and does not show the instrument its name. Max Muller, however, twenty, John Field was taken by Clementi to Paris, English horn, horn in G, clarinet in A, and con- not only the “heroes” who have a hearing. Noteworthy Pieces. the composer at his best. The second (B minor) is claims a Teutonic origin for the word. Germany and Russia, his playing being considered tra-bass (the last written in the bass clef), we find The great men, the “epoch makers.” from the time Besides these, he has composed two series of cast in a lofty mold. It is grand, although gloomy, It is certain that Ireland, and especially Wales, extraordinary. A visitor expressed surprise that that a unison in tone will involve a different posi¬ of Palestrina down to the present day, number about pieces, which contain great beauty, musical worth but it maintains its elevated character to the end. gave the harp great prominence in ancient times. Clementi and Field were discovered doing their tion on the staff in each case. The Weingartner sixteen or seventeen. Then there are a number of and originality. These are his Promenades d'im Soli- The second movement (entitled Ballade) is certainly The old Welsh laws mention it as one of the three own washing. Sir Fred. Bridge was not going to idea involves bass clef for bassoons, no transpos¬ one of the finest things Heller ever wrote. It is things necessary to distinguish a freeman from a composers of decided talent, whose works have be outdone by that story; he had had to black his ing for horns or English horns, and a figure 8 on thoroughly modern and is full of “mood.” The third slave, and in consequence it was made exempt from met with much favor, but who have not been partic¬ own boots in Canada. the upper or lower line of the staff to show trans¬ Sonata (in C major) is replete with health and ularly influential in directing the trend of the main seizure for debt. The minstrel was always re¬ position up or down an octave (as in piccolo or vivacity. Interest in it does not flag from beginning spected, and with harp in hand might wander freely, HOW THE NOCTURNE ORIGINATED. contra-bass). The Stephani system is far more channel of the history of musical art. Among them to end. This Sonata certainly should appear on even in the camp of an enemy. As early as 495 radical:—No clef, but the notes are to have the Stephen Heller deserves a prominent place. Field appears to have been the first to use the recital programmes, but our representative pianists Colgrin, besieged in York, received assistance from same pitch as in the G clef; 8 on the top line is to term “nocturne” in connection with pianoforte pieces. confine themselves to such a limited part of the his brother, who went through the hostile camp dis¬ show transposition an octave up; O to show transpo¬ Some writers had given the impression of a sombre His Musical Training. great domain of pianoforte composition that they guised as a harper. King Alfred is said to have sition stopped; and on the lower line i, 2 or 3, to overlook many beautiful works well worth hearing. night in imitating this form, but the true nocturne Heller was born at Pesth, Hungary, May 15th, adopted a similar expedient against the Danes four show transposition one, two or three octaves down. In fact these artists neglect Heller entirely for some pictured a breezy or moonlight night. Chopin and centuries later. P?:' ,j 1815. At an early age he had pianoforte lessons from unknown cause. The fourth Sonata (B flat minor) all who followed owed much to Field for introducing The idea is simple, neat and effective and the re¬ To be unable to play the harp was a positive dis¬ Franz Brauer, a good musician, with whom he has much in it of great interest. The slow move¬ this form. Field was easier than Chopin to play, viewer gives it his best wishes for success. :| grace in the early days. Bede states that it was played duos on two pianofortes in public. He also ment (Legende) is especially attractive. Other works and probably for that reason a reviewer of Chopin’s usual at feasts for each guest in turn to sing and by Heller on a large plane are the Schersos (opus 8, nocturnes when they appeared showed his preference studied harmony under the organist Cibulka. He play upon a harp that was always handed around. OPERATIC NOVELTIES. 24. 57, 108); Caprice (opus 27, 28, 64, 112), and the for Field, saying where Field smiles, Chopin makes was sent to Vienna, where he had lessons from Carl Once the poet Caedmon, who had neglected music Fantasie Caprice (opus 113). a grimace, where Field shrugs his shoulders, Chopin Novelties abroad are chiefly in the field of opera Czerny, the great pedagogue, and Antoine Hahn. cjjt for more serious studies, found himself confronted The Scherso Fantastique (opus 57) is particularly wriggles his whole body, where Field gives us a at present. Strauss is said to have chosen Moliere’s by the instrument at a banquet. Unable to bear the At thirteen his father took him for a tour through brilliant and the Caprice Symphonique (opus 28) is pinch of snuff, Chopin gives us cayenne pepper. As “Tartuffe” for a libretto; and the German master of humiliation of the resulting confession of inability, Hungary, Poland and Germany, where he gave con¬ one of the composer’s most sustained efforts. SH: to the illustrations, attention was called to the won¬ musical irony ought to make a success of such a he felt forced by his shame to leave the hall. A certs, excelling especially in improvisation. Among other original works of Heller, some un¬ ««:; ' derful filigree work, the simple harmonies, the charm subject. Other forthcoming operas are Sormann’s similar story is told of Themistocles and the lyre in After three or four years of wandering, he settled usually attractive are the six Traumbilder (opus 79), n* , and fertility of the melodies. In the Rondo Scher- “King Harald," Elsa Klapperzehen,” by von Wal- ancient Athens. four Arabesques (opus 40), studies from “Der zando from the Sonata in E flat, there was a touch tershausen, and “Une Fete de Violette.” by Brandt- in Augsburg, where he gave pianoforte lessons and 3'C ? The harp was prominent all through medieval Freischiitz” (opus 127), three Ballades (opus 115), of the Irish jig. Certainly his Irish nature was Buys, of Austrian birth but Dutch descent. Josef studied composition under the director of the opera, o; 5 times, especially in the hands of the Minnesingers Varieties (opus 118), Songs Without Words (opus revealed there. Krug-Waldsee offers “Das Bcgrabene Lied,” for a Frenchman named Chelard. Here he made a of Germany. The early harp differed from the con¬ 120), Voyages antour de »ia Chambre (opus 140), What a sad muddle Field made of his life! Lazy tenor, mixed chorus, and orchestra. The score of close study of the great masters, Haydn, Mozart and cert instrument of to-day chiefly in having no pedals four Barcarolles (opus 141), and four Mazurkas 3 habits and growing fondness of drink were his un¬ an old Nicolai symphony is rediscovered at Wil- The invention of pedals to alter the pitch of harp Beethoven, which altered his views as to his work as (opus 148). doing. He gave lessons while lying in bed, and strings is credited to Hochbrucker, in 1720, and Paul dungen. Mahler has a new symphony ready for a pianist and composer. He wrote several serious if” J4 sometimes fell asleep. One pupil refused to pay Velter, 111 1730, but the idea was developed in its Prague, but whatever grudge he owes that capital works, which he sent to Schumann for review in Transcriptions. for his lesson. Hummel visited him in the guise is not recorded. Vienna buys Schubert’s birthplace entirety by Sebastian Erard, in 1810. The concert his Neue Zeitschrift fiir Music. He was much en¬ Heller had genuine talent as a transcriber, and his E Ji 5 of a German merchant. Field, having played, invited harp of Erard was tuned in C flat. It had seven as a Schubert museum. To alter the quotation, transcriptions of the songs of Schubert and Men¬ the visitor to play. Immediately the pipe dropped couraged by Schumann’s cordial recognition of his pedals, one for each note of the scale. Pressing talent. delssohn are among the best of their class. Die lap s out of Field’s mouth, and he said, “You are Hum¬ each part way will cause two pins on a disc to Forelle” of Schubert and “Auf Fliigelm des At this time he moved to Paris, where he lived mel. Nobody but Hummel could play with such Gesenges” of Mendelssohn are known and played inspiration.” lSt"ngS and raise the Pitch a semitone, during the remainder of his life. For awhile his so¬ while further pressure will operate more discs and In Italy, Virgilio Ranzata’s opera, “Jus Vetus,” everywhere. In the early period of his career he fell pi Field died at Moscow in 1837. He had been ex¬ raise the pitch another semitone. A hundred years for Milan, treats a thirteenth century subject. Wolf- journ there was rather melancholy, for Heller had in with the custom of the period and transcribed traordinarily successful there and in St. Petersburg Ferrari’s “Joyaux de la Madone,” to be given at a diffident nature and did not endeavor to frequent of success have attended this form of harp; for the Stephen Heller. many operatic arias by the leading Italian and as a teacher and concert promoter. While traveling chromatic harp of the last decade does not seem to Berlin, deals with popular life in Naples. England the brilliant salons, where he could have met many French composers, but these have gone the way of he had to go into hospital at Naples, and was is applauding the musical play “Butterflies,” as ar¬ influential persons. So he gradually discontinued similar arrangements by all transcribers excepting rescued by a Russian family, but his health was taire (opus 78, 80 and 89), and his Nuits Blanches SrlSsSi" SPke °f the Patr°nage °f th* ranged by VV. J. Locke. Brussels is to hear Tinel’s public playing and settled down into a quiet exist- Liszt. Better than these, however, are his Caprices broken. Field had the gift of saying small things Katharina,” Fevrier’s “Mona Vanna,” and “Eros (“Restless Nights”), opus 80. These “tone poems” on themes by Mendelssohn (opus 72, 76 and 144), his ence, dearly beloved by a few friends but personally perfectly. If he had possessed a better balanced A NEW SYSTEM OF ORCHESTRAL SCORING. Vainqueur,” by De Breville. are most fascinating in their poetic charms, they Variations (opus 133) on a theme by Beethoven, and almost unknown to the public at large. His com¬ head and moral fibre, he might have said great things. The Paris opera season will include Massenet’s are full of imagery, and to select favorite numbers is on Schumann’s “Warum” (opus 142). The lovely positions, however, constantly met with more and He was not successful in sonatas. Field had perfect ‘Bacchus,” Salvayre’s “Solange,” Rousseau’s “Leone, a difficult matter. Whether they be reflective, mys¬ pieces for violin and piano which he wrote in col¬ more appreciation on the part of the public, so finger action and employed very slight movements Garnier’s “Mytil,” “Sanga,” by De Lara, and terious, calm or impulsive, they are equally captivat¬ laboration with H. W. Ernst, the violinist, and pub¬ Heller had the satisfaction of knowing that while the of hands and arms. That method, said the lecturer “Pierre le Veridique.” by Leroux. Lucien Lam¬ ing Then there are also the three sets of pieces lished under the title of Pensees Fugitives (opus 30), musical world knew him but little, yet his pieces slyly, would put him completely out of favor to¬ bert won the Deutsch prize with his “La Penticosa. called Im Walde (“In the Forest”), opus 86. 128 and must not be forgotten in this list of Heller’s Played all over Europe and America, and that 136, which bring to the mind all sorts of forest pict¬ day. And he did not have long hair. Other winners were D’Ollone, Bouval, Missa. principal works. he interest in them was constantly increasing. He ures His Eclogues (opus 92) and his splendid Scenes Field alone could be compared with Chopin. Liszt ^Marechal and Camussi. A piano sonata by Dubois said of Field’s nocturnes, “They remain new along¬ cert, and the device of transposing was invented to d,e. at Paris, on January 14th, 1888, where his re¬ Pastorales (opus 50) belong to the same category. His Refined Style. side many works that have since become old.” We make things easier for him. Thus the ohoe 4° IS ™ceivine hi«h praise. mains were interred. While Heller has trod the same ground as When “Siegfried” was recently given at Can- All in all, Heller had a rare and refined gift for should keep his memory green. We should be proud at one time handled also the English ho™ a lar£« Schumann in these compositions, yet they well stand *®rets’ a conscientious bill-poster wrote to “Henn- composition, and a special aptitude for writing in a that in those early days he put forth a new form oboe sounding a fifth deener • V• ar£er comparison. Some of Heller’s finest work is to be wrimn . „igc & Richard” Wagner for instructions. The address The Etudes. “playable” manner: i. e. his music is particularly which was adopted by no less a composer than found in his Nocturnes (opus 91, 103) and hi.-, for forwarding is still unknown. Of all his works his Etudes are probably best adapted to the idiom of the pianoforte. In a few Chopin. His nocturnes could be had in quite ac¬ to obtain the actual tones required by usfng the Serenades (opus 56 and 131). I" the first of opus 91 instances he approaches greatness (in his Sonatas cessible and good editions. same fingering as he would if trying to ge? *r> Neumann’s reminiscences of Wagner, uown. They certainly occupy a unique place in (in G major) he has written a most tender and written note with the oboe y g get the speaks of a Vienna concert where the hornist, LeTh Pianoforte literature. From the standpoint of techni¬ elnressive piece. The second (in E major) is surely opus 65 and 88, Prelude in C minor from opus 8l, broke down on a note in a Beethoven symphony- cal improvement to the student, they leave much to Suit Blanche, No. 14; Varieties, op. 118, No. 3; Polo¬ “The musician in search of self-improvement is not The same situation is found with the clarinets one of his loveliest creations, full of sentiment naise in F minor, opus 132, No. 1). While some of the only one to find intellectual nourishment in the fields The C clarinet plays the tones as written; the B£ The playwright Mauthner, in a front seat, l rd work, Sugar Coating Exercise Work and 30 of the Paderewski Menuet. This passage you will have to do a very few measures a. i time, Tnt keyboard of the piano «unda as the t„io, that there was a class of six pupils just a little manifestation of the various keys which are used consists of six groups of four notes each. Count below the advanced class, and it was a question and then rest. You must actually govc. t your fin¬ PERLEE V. JERVIS in writing music, and a* such it should be perftctli four, one count to each sixteenth, accenting count whether or not they could be made to “catch up” gers to such an extent that you could stop any one familiar to any one who hope* to l>«come anythin, one through the entire passage; play thus twice and graduate the following summer. It was finally of them, at any time, at any given poi.tl. front the of a master in pianoforte ( laying To the !**,„„* through the two measures. Now count four, one, decided that these six should be given a test, and time you set it in motion to the time you relinquish the keyboard l<-k* like the scale of C major, inth two, three, four, thus the accent is transferred to that those who were successful should be consid¬ the key. You must be able to play the two page* black keys which may be used a* sharp* or dau¬ TM average teacher find* that he has to work artistic playing, in fact the only ones that the writer ered equal in technique to the graduating class. through with such reserve that not a key will ftMtttt. the second note of each group, giving rise to this by degrees lie learns to see the »cale of G and of under certain limitation*; eliminating from his pupils cannot get along without are the Mason two-finger The six students were apparently of equal ability, although you strike each one with firmnes* That F, and of the other* in rotation, and to a certain exercises, for the reason that they unite the musical rhythm; play twice, then commence with and in order that it should be a real opportunity is what it means to have your brain control your ibe few who arc studying for the profession and and the technical and arc founded upon principles for comparison each was given the same piece to fingers. And after you can do this, "without grit¬ extent he becomes familiar with each of these, but the still fewer who have unusual talent, there re¬ of the utmost importance in the development of prepare, and in honor bound not to practice more ting your teeth.” as Master Literal puts it. you will very few students indeed see the keyboard ia ju main, a large percentage of hi* class who have the third count, which gives this rhythm: J 0 J 0, musical playing. j than a given number of hours. find that you have an entirely different conception entirety- i. e. with each individual key standing only the average amount of musical endowment as the tonic of one major and two or more forms f tHens do not study from any innate love a minor, and with the resultant scales spread oat the doing of unnecessary things. For instance, in commencing with the second count, gives this: J J ^ | of course heard the piece in six different stages of ing tone” when you hear it. whether in your own for music but because forced to by their parents, preparation—as no two people learn with exactly fingers or the fingers of M. Paderewski. before his sight as clearly as a picture. ’■? the whole range of piano literature how rarely, in and with nearly all of these pupils practice ranges equal facility—but there was such a wide gulf be¬ Hut it is not possible to claim familiarity with proportion to the vast number of compositions, do If further accent practice is needed, the pass¬ tween the best and the worst that it hardly seemed Sight Reading. the keyboard until this is the case, and no teacher anywhere from half an hour to two hour* a day. scale passages occur? In Schumann and some of age may be divided into triplets and the accents trans¬ possible the two performers had started on the In the matter of reading at sight it is a fact that should rc»t satisfied until the pupil ha* reached this This article considers the average pupil, not the the later composers not at all. One can study same terms. It led into a most salutory investiga¬ some students seem to have a gift for this, and stage of advancement, which may properly be called professional or the genius hundreds of the most beautiful pieces, ranging ferred in the same manner. Now play through the tion as to ways and methods of practicing, and it some do not. Yet this faculty can be cultivated. the first milestone in musical art and which should Probably no one will dispute the statement that from the easiest to the most difficult, without ever passage staccato, forte, pianissimo, crescendo, and meeting a scale passage. What is the sense then appeared that the unfortunate young man who Your “natural sight-reader,” if he could analyze be reached in the course of a couple of yean by without technic there can be no artistic playing. diminuendo twice each. Then play the first five any child and very much sooner by grown-up pupils. of forcing the pupil to practice scales for so many notes slowly twice, after which exactly double the stood lowest was the one who had actually been his method, would tell you that his mind is always The question as to how far exercise practice per se through the piece the greatest number of times. a measure or so ahead of his fingers, so that hi* To attain tilts end it should be made an invariable hours daily? Undoubtedly scale practice, when speed and play twice; follow this by a dash for is necessary to the acquisition of an artistic technic, "What did you use while you were practicing?” difficulties arc straightened out, or at least noted, rule in lessons that all technic given in C should be properly done, “imparts to the playing certain velocity, thinking the tones as a unit and playing bat interested the writer for many years, and after the instructor asked, with barely concealed impa- before he gets to them. It goes without saying carried on to G, when the pupil is first given that qualities of fluency neatness and consistency in the last note with a crisp finger elastic touch fol¬ that a practical, working knowledge of scales, arpeg¬ key, and then to I), A. etc Thus the pupil will, by a long teaching experience, he hat reached certain running passages,” to quote Dr. Mason, but how lowed by an instantaneous loosening of all the “The piano, of course,” says Master Literal, “and gios, and chords will often enable you to “grasp degrees, learn the scale*, chords and arpeggios is conclusion* which have been proved true for him many teachers get the average pupil (whom we muscles of the hand and arm. When this can be my fingers, and the printed music.” the situation” with promptness and certainty, and each key in successive order, and when this is thor¬ even though they may run counter to tradition arc considering) to practice scales properly, that done, enlarge the unit to six tones, practicing in the is with the mind concentrated and the ear ever on “But my dear boy, why didn’t you use your if you will form the habit of really noticing these, oughly accomplished and I) flat is as familiar as is C, and popularly accepted belief*. same way, and continue adding a note at a time the alert in the effort to realize beautiful tone quality till the entire passage can be played at a high rate brains?” whenever you run across a new combination, you not only as regards scale and arpeggio but also ia These conclusion* arc; Master Literal was promptly shown the way he will not stick twice at the same one. in whatever all technical exercises so far in hand, then the use and perfect equality? Very few. What the pupil of speed. should have practiced. Under the instructor’s guid¬ guise it appears. And you will be letting yottr of alt this material, taking the key* in chromatic in many cases does realize is ennui, disgust, and By the time the prescribed number of repetitions Individual Methods Essential. aversion to practice. Ten minutes of scale practice ance he examined the construction of the first diffi¬ brains save your fingers, as old-fashioned people order, should be begun That is, the slow trill has been completed the passage has been played daily, properly done, will add more to the technic cult passage. It was bristling with accidentals, but used to tell us to let them save our heels. should be played in C and at it* close, instead of 132 times. How often do you find a pupil who I. That no two pupil* can be developed along than hours of what passes for practice. a little analysis showed that there was method in What is your plan for memorizing music? Do stopping on C, it should creep up a half step and would play a scale that number of times? Yet exactly the same lines, each pupil must be studied their seeming “madness,” and when the boy really you play it over and over until you “catch on?" continue through the figure in D flat, this followed Now the writer believes in the development of the writer rarely has pupils object to this dose. In understood the first eight notes, the remaining six¬ And then does it ever leave you in the lurch when by D, then F. fiat, and so on in chromatic order to and treated individually. It would seein that this technic in the highest degree, but it must be a the first place they do not realize how many teen followed as a matter of course. The time and some time, from nervousness or other causes, you the end of the key circle. Other exercises should should go without saying, yet how many pupils there technic that enables the pupil to play a composition repetitions they are making, and then they feel accent were considered, and then Master Literal depart one finger's worth from the way you have be treated in the same way and then the Kales sad are. victims of a "method,'* who have been put with a musical touch, exquisitely shaded, with that they have something to show for their work, was told to think that group of notes all out, first always practiced it? arpeggios should he taken in the same order until through the same routine technical grind whether beautiful tone coloring, artistic pedalling and something that can be played for their friends, warmth of feeling. Will the daily grind that many looking at the piano, then with his eyes shut. He Try analyzing your ^iece. A knowledge of har¬ there is a perfect familiarity with the keyboard from they needed it or not. with the result that all love which is not the case with exercises or scales. pupils are forced’ to go through develop such a then played it slowly, without a single hesitation, mony is considered a necessity to any phase of this point of view for music has been killed and indifference or disgust Every difficult passage in the piece should be or glance at the printed notes, and at the third technic? Possibly, though the rarity of musical music-study, but, lacking this, try a little ordinary The minors should he treated the same way-lirst, substituted therefor. treated in the same manner as the one just described. repetition had acquired a moderate speed, as high playing would seem to negative the answer. intelligence, such as you would bring to bear on studied in the natural order <>f progression, and then a. That if a love for music and intensity of In this Menuet we have octave, scale, arpeggio, as his first effort, but with the execution perfectly any piece of workmanship. Consider it as a whole. thoroughly learned with the key* taken in chromatic interest can be developed in the pupil, her effort to trill, and finger passages. The trill in the right hand clear and finished. He had studied it with his brain See how many parts there are, how they differ, The Daily Problem. can be turned into a good finger exercise by divid¬ order— i. e., C minor, C sharp minor, 1> minor, D realize a musical concept will often he followed by before attempting it with his fingers. how they are divided and connected. Note the sharp minor, etc ing it into groups of four and giving it the same “Now you are ready to practice it as often as remarkable results, the technic will frequently take changes of time or key, and. if you do not know, After these arc sufficiently sore in mind, the two Now this is the problem that confronts the treatment as the scale. seems necessary," said the instructor. “You will find care of itself. To illustrate; the writer has a pupil, find out how much liberty a composer is allowed acts of scales should be taken together—i t., C eachcr. He must take the average pupil as he finds It may be objected that to play the passage in that where you could play a difficult bit like this a licr and make her play as musically as is possible. in this direction. After you have some idea of the major, C minor, D flat major, C sharp minor, D a musical girl aged eleven who heard Paderewski this way takes up most of the practice hour; here hundred times, mechanically, you will accomplish In order to do this he must first awaken a love piece as a whole, study the parts. major, D minor, etc play his own “Mcnuct” recently. She came to her the teacher must use his own judgment and common better results by playing it a dozen times, after [or music, so he proceeds to give her an hour or so You ought to get your piece well into your head There is in reality no possible ground for the next lesson “perfectly crazy.” as she expressed it, sense. The number of repetitions may be cut down you have thought it out. Do you know how you daily of exercise work for two or three months. before you get it very far into your fingers. Use preference that many pupils have for flat keys ova to learn that piece Though she had been playing to as few as are thought necessary. Any passage seemed before? Like a man who has been told your brain in the first place—to find out where The writer knows of one pupil who was made to that the pupil plays easily, of course needs little that he must hurry to reach a certain point, and those in sharps, or in fact for any particular k9 only third grade pieces, the writer, taught by practice exercises and scales three hours daily for you are going. Then, when you come to technical more than any other, and such preferences grow previous experience, yielded to her entreaties and practice. who at once sets out to run, without waiting to difficulties, you will be free to give them your en¬ four months, before she was allowed to play a piece. entirely out of the fact that certain keys are for gave her the piece. In three weeks time she played learn in what direction the point lies.” tire attention. It is not a bad idea to pick out the Our pupils ask for bread, we give them a stone, Systematizing Practice. It is probable that every teacher of music, during some reason or another more familiar than others, it from memory in a way that would have astonished they hunger for music, we give them mechanics. difficult passages and make them into exercises, to hut when the pupil lias been carried through w the first few years obviously given over to “gain¬ anyone who had not had the same experience with Logical, isn’t it? And yet we wonder why they dis¬ be studied with your other exercises at the begin¬ the majors and minors in the way indicated above he The writer’s method of study is to have the pupil ing experience,’’ happens upon a pupil like Master other pupils. This child had very little technical learn the piece through slowly; the difficult passages ning of your day’s work. Ascertain just what makes is absolutely sure of all keys and will laugh at any like practice. . „ Literal, who thinks that the more times he can get Next the teacher must make the pupil practice, are then singled out and numbered. Then, com¬ it difficult, for you. and work on that basis. Be one who contends that F is an easier key than j equipment anil practiced usually but forty-five min¬ over a certain number of notes, the better he will and practice does not mean sitting at the piano mencing at the beginnning of the piece, passage able to think it through smoothly before you play sharp or that C i* much the ca*ir.t key. for *|e ** utes a day. hut while learning this piece could know them. Master Literal learned to see his mis¬ working the fingers for an hour, with oneeyf- number one is practiced for a day or two; it is it—know just what you arc trying to do. know as a matter of fact that C major if a harder hardly be kept away from the piano, often practic¬ take. In a technical exercise, for instance, he was ihe clock and the mind wandering in space. No then dropped and number two given the same When you have really memorized a piece you key to play than I) flat and that no arpeggio of t»e ing over two hours. To one who can read be¬ taught it is not the number of times one plays it, the only way to make a pupil practice is in psycho¬ amount of time, to be dropped and followed by will be able to hear it, with your “inner ear” at whole list is to difficult as the one in that kel- tween the lines this experience throws a flood of nor even the number of hours one devotes to it. will, note for note: you will be able to write it logical language “by the presentation of appropriate number three, and so on to the end. Now a return It is a question of brains. Before you start to Neither is this schedule one of intolerable I**1* ' light upon the subject of interested practice. note for note, any time you care to try. You will’ • omdi to induce a reaction, in other words to is made to the beginning and the same process re¬ run, first find out in what direction you should go. it merely requires that the teacher shall. I*‘s never have the least fear of forgetting it. knowing awaken the pupil’s self-activity. The writer has peated till the piece can be played as well as A simple exercise of five notes up and five notes after lesson, faithfully advance the circle a pc* 0 that you have taken it apart and can put it together, Music and Technic Inseparable. never found exercises to be “appropriate stimuli: possible. down was surely not given you to improve your two. and he should know in his heart that his P“P and therefore your execution will be free from in most cases the only reaction they ever induce This dotation practice is productive of more rapid facility in sight reading. Use your brains. Find is not past the first stages of piano play”1* B nervousness, and you can give yourself entirely up 3- That the musical and mechanical should go a reaction against music. results than long continued work on one passage, out why it was given you, its “raison d’etre, and the keys taken in chromatic order are as an op to the fitting mood. That piece will have become hand in hand and never he separated in the practice. as in the interval which elapses between dropping practice it with that end in view. It is possible to book to him. a part of your very self. This may be disputed by the reader, the writer Getting Technic from Pieces. and taking it up again the sub-conscious mind works gain more from one exercise than some students It is infinitely better to know one piece in this ran only say that long experience has firmly con over the passage and gradually ripens it. a psycho¬ will get from the whole book. FROM RUBINSTEIN’S NOTE-BOOK. In considering the foregoing facts the writer thorough way than to half-know a dozen, but you logical fact that the teacher may make much use of “Munir is an aristocratic art.” ry vinced him of the truth of the proposition. Why vears ago determined to do away with the vill find after the first victory or two, that your with remarkable results. "Posthumous works of celebrated coinpo**”,, is the playing of many pupils so entirely lac mg many yeat. * grind and. using as few Useful and Useless Repetition. brain will perform parts of this work almost auto- In developing technic by means of pieces it is seldom add fresh leave* to their laurel c.rrwnLf0re in musical value? Is it because in the struggle to Aretes a possible, get the technical development matically, and that your memory has improved the custom of the writer to give the pupil frequently Take, for example, that study of Cramer’s which "In my opinion student* of composition ^ acquire technic they have divorced it from music, the Study of properly chosen p.eces. The amazingly. Knowing one piece will help you to a composition much in advance of his powers. This you find so tedious to practice—the second one in attempting to write for an orchestra ought to ^ forgetting that technic is not the ability to strike tlie hnicM practice was cut down to twenty m.n- piece is memorized and worked up to as high a the book (Von Biilow). Of what use to play it °Kne Jonr wi» have gained only for different groups of instruments. jfl or less as described in the May Etude, and repose it may be that you have studied for some greatest number of notes in the shortest possible degree of finish as is possible at the time, then through a certain number of times each day? You solutely astounding what Beethoven had to *\tf Katanre of the time devoted to piece study, years and yet have never known the feeling of time? the balance ,ts were m0st gratifying, dropped entirely from the practice. After an in¬ could probably read it well enough at sight. Ah, his Five String Trio*." ,n absolute assurance which comes when you really 4- That the exercises used should combine the The immediate • ^ inter€St jn their study terval of two or three months it is taken up. prac¬ but do you know the purpose of that particular Formerly there were almost cvcryswh*r - gfl|j know a piece, know that you know it. and know mu**cal and the mechanical and fhmild deal wit ticed thoroughly, and again dropped; this process etude? It is to inculcate perfect steadiness and ngly concert room* and theatres; nowaday* 7 Pup,,9th“ practice problem solved itself, there was is repeated from year to year until the composition Principles rather than with abstract mechanics. serenity into your ten fingers. You are to hold the lhafeeli^Cof Pi ayt'! Parado*ica> a* i« may seem, instead large, elegant concert rooms and ,h Lari increase in musical values and improve- can be played easily. Many pieces can be rotated melody notes, gliding sweetly and smoothly, with a feeling of absolute repose is necessary for the a marked inc ,ine thus making use of most passionate expression. Your mind and heart h"!~-!” , rifle ment all along tne _ under- in this way, the pupil steadily gaining in technic and the proper crescendo and diminuendo, from one to Songs without words’ is a very .!' Llo- Indispensable Exercises. finish and eventually building up a repertoire avail¬ K ref* 5onccrninK a» tangible things, you another, and all the while your little groups of compositions which might be called cvpre**' ..^i able for use at short notice. five and six notes are to sing sotto voce, each with And I6' uC posses*ed by th' music. dies—frequently one meets with 'song*. cJ|Ied . S. That there arc very few exercises that are an expression of its own, a little swell to the high- And that is what your brain can force your fin¬ gers to accomplish for you—freedom! words' which might be more appropriate y indispensable in the development of musical an ‘words without melody.'” 695 E. E. Truette. The problem of how to earn a musical educa¬ Failure will inevitably be the result if the aspir¬ I was imme¬ On the return to America, in 1891, A young man who had some elementarv musi¬ The methods which have been adopted by young church at the age of four¬ I began playing in was with a large and wealthy The next position been paid, In a short time my indebtedness had If, however, he has nothing to start with but a ment and mental capacity to absorb, retain and in earnest, and sion." It mattered little, for I was York City. Old First Presbyterian Church, New of my ven¬ thus demonstrating the practicability to advantage. every moment must be utilized with tal¬ When this is done, then work coupled tion, when the aspirant has but little musical has sufficient elementary musical capability to in¬ ity, will surely carry him to the goal in due time. whether or not he is fitted by nature for the career utilize musical instruction, if he does not possess obstacle, and, lastly, if he does not possess suffi¬ student days. secure, within three days, a position as clerk in a gave him lessons, after business hours, at reduced rates, and secured for him two youttg pupils (be¬ ginner*! This young min had always been ac¬ panionship of friends and relatives, made it ira- home papers, meant to get ahead. I reported for to many of and in that way received free entrance the best concerts. of the diately engaged as organist and choirmaster minute." Art ture. My maxim is “never lose a things is long. To accomplish even the smallest ent is bound to succeed. knowledge to start with. i« one which is fraught with many difficulties. If the would-be musician courage, if coupled with determination and tenac¬ desire to become a musician, and has had no ele¬ mentary training by means of which he could jud^e of a musician, the best advice that can be given to him is to pause and reflect well. ant does not possess the right kind of tempera¬ the strength of character and pluck to enable him which may become necessary in the course of his aspiring musicians to enable them to study and pay their way are as varied as the dispositions of the aspirants, and the degrees of success are va¬ ried in a like manner. Two individual cases which will serve to illustrate the points touched upon in the foregoing. hoping to become a pianist and instructor. Having no fund* it was necessary for him to secure some large dry-goods store, at a salary of eight dollars per week This position took all his time from ance of time for lunch. A well-known instructor change to a strange envfroblnetit. wlffimrt'tWiforfi- to the next. eat it while walking from one house six hun¬ ally increasing, until I had saved about I sailed dred dollars. With this small amount to bor¬ this was exhausted I was fortunate enough remain and row more, and in that way able to hours practice continue. 1 averaged ten or eleven economy—-at each day, living with the strictest or eat in the times I would cook my own meals, “cn pen¬ cheapest of restaurants—or would board dite that some degree of success is possible, his to grasp each opportunity and brush away every have come under the writer's personal knowledge cal training came to Boston, from quite a distance, kind of employment. He was fortunate enough to the rate of fifty cents a lesson, pupils, who paid at continued until late In the and the work frequently with me. and evening. I would have my dinner fees gradu¬ This continued for several years, the Paris When away to study with Mr. Guilmant, in cient physical strength to withstand the privations d.30 A M. to 5.J0 P. M„ with the customary allow¬ customed to home comfort* and VssbclaUohs. Thd for nearly eight years. church, where 1 remained was one hundred and fifty At the start the salary and not a talker. Never be dis¬ spare. Be a doer, who wins. place for the man years of continuous service the teen. After three received. glasses, the only salary year. 1 had a large class of dollars for the first have those who artists are usually the successful man own way. If a to work their been obliged right on. There is always a couraged. Work me with a pair of opera committee rewarded aid, and no financial talent and ability, has the key¬ work for it. The the money or then borrow possible, with not a moment to vote all the time de¬ hours each day, but Not a few note is “work.’’ Study in Paris. William C CarL etude the . I lu 11 I I.. _• :it hl,.v ‘•'-'in- per .. the generosity of friends are depended tipon failed to secure a position in a certain Portland the rudiments of music I Of everything except I graduated from the Conservatory in theory would like to go to Paris for a year undel Guil- Young students, prepare yourselves for the best. The man who pays his way is the one who sne- ing pupils at the present time spends six hours a aris Conservatory. Upon my return to Boston I iano under Mr. Turner. One day Mr. Ford sent t twelve years. From Rugglcs St. I came to St resent itself a little before you feel your are ready av waiting on tables in a cheap restaurant What Mt’ Remember Browning’s lines: Who has one nder Mr. Chadwick, organ under Mr Dunham, and ir me and asked me, to my utter astonishment, if lant. It resulted in my studying in Paris nearly >ur years. I studied organ under both Guiltnant nd Gigout. My principal work, however, was done -ith Mr. Theodore Dubois in theory, harmony, ounterpoint and composition. Soon after my re- irn home Dubois was appointed director of the ucceeded Mr. Dunham at the Rugglcs St. Church. Ir Dunham going to the wealthy and exclusive [arvard Church in Brookline. I played at Rugglcs ieorge’s Episcopal Church, New York City I have ecn at St George’s four years this last Easter. lS a rule, occupation in your chosen profession will ir it Don’t hesitate to undertake the work pre- ented If a very greatly-desired position falls to nother. believe it is because there is something etter awaiting you. The greatest disappointment I ver experienced in my professional life was when hurch which I greatly desired If I had won it I light still be there Don t hesitate to undertake ny sort of honorable work which will send you irther on in your studies One of my most loom¬ nd in view makes all things serve. teds Time and opportunities are often neglected •^incentive for work is always in evidence when ,e student has to rely on h.s own resources, and Conservatory Dunham, teacher of organ at the with a larger Church, but it brought me in touch youth's Com¬ Ford, owner and publisher of the con¬ quartette, the singers of which he absolutely the Free St The salary was not as large U at that time one life and I took it. Harvard St. was at the Rugglcs panion. Mr. Ford had already made male St. Baptist Church popular by an expensive of Mr H M trolled. and by the fine organ playing Mr. Ford filled the church at every service Later E. Humphrcy-Allcn was soprano and was then in in Lewiston, Me., at the salary Methodist Church of one dollar per week. it. How my was very ignorant, and 1 didn't know woman whose cheeks burned when a kind-hearted one day and children I was teaching took me aside music 1 must told me that if I wished to succeed in about com¬ began a course in a night school and home ton, for part of a winter's term. I returned increase in and resumed my class with a small the position price of lessons Then I was offered return¬ land, Me. I went to Portland on Saturdays, I was offered went to the Conservatory for a term. in Boston. the organ at the Harvard St. Church late Daniel of the Baptist churches fostered by the The peculiar style of vocal music superintended by I went to the Warren Avenue Baptist Church Mrs her best singing days. language! 1 learn something about the English Grammar." mitted to memory "Kerl'a English money to When I was eighteen I had saved enough in Port¬ as organist at the Free St. Baptist Church, 1 again ing home on Mondays. The next winter degree owe their success to Mr who to a very great look for pupils and began teach- Wood I began to and first played in the little lessons with Mr. Wood in Bos¬ take me to the New England Conservatory, to-day in our larger cities ing responsible positions Interest to Many Students Subject of Particular Homer Norris. Musicians and Teachers upon a Articles by Representative A Collection of Short Education Musical My I Earned How Cr' ^rom Lisbon we moved to Auburn. Me-, set in the path of am¬ In England the difficulties the land of “the self-made America is peculiarly man who We all have a great admiration for the are organists Mr. Carl, Mr. Truette and Mr. Norris I can’t recall when I first thought that I was to rdest-working teachers I have ever known. He Soon after this my mother sold our pretty little I was always trying to construct things that would no has since become prominent as a music pub- uere my mother kept boarders. 1 helped her in a °uatry home and moved to Lisbon, Me. Here I as much with as little financial worker to accomplish fortune by his daughters and let his sons secure steadily in an hear of Elgar working quietly and 'me nothing kept me from my beloved organ. I girls are wideawake to the man.'1 Our boys and and limited restrictions. In no great opportunities backing or family influence. almost insurmountable. By the bitious youths are side of the the privilege of doing work that on this for the young, ambitious other country is it possible to pay for apprentice system he is often expected Germany the ocean yields him a living income. In fortune among custom of the parent is to divide his for a “lucky” marriages. It is next to impossible the time it or commercial work in less than twice America. takes to accomplish the same work in We like to has met difficulties and overcome them. won their America who with little assistance have professional young man in Germany to develop his to learn of the obscure little English village; we like circumstances way in which Paderewski rose above the great conservatory worked himself up to become musician in ing are the stories of the teacher and of their dili¬ way and are now reaping the benefits in a small and from the underpaid, unknown teacher in the story virtuoso of the day; there is a romance and encourag¬ ually triumphed. No less significant and event¬ of how Tetrazzini struggled for years gence and persistence. securing large who have been unusually successful in Mr. Rraine incomes from their work. Mr. Jervis, profitable. and Mr. Liebling have also found teaching Our readers will doubtless be interested in Mr. Sousa's characteristic and witty letter. become a musician; more correctly speaking, I can't recall a time when I thought of anything else. From A very small State of Maine town, miles from a my earliest recollection my one thought was music, and this without any special musical environment. railroad, offers little in the way of stimulus in the in this town of Wayne, Maine, and when I was direction of art. But Annie Louise Cary was born her successes filtered in from time to time and fired very small was winning glorious fame at home and abroad as America’s greatest contralto. News of my imagination. My first musical instrument was nshcr. Mr. Wood was one of the most painstaking. * “dulcimer,” constructed of strands from an old hoopskirt. My first real musical instrument was a ’Wonderful accordion, bought from a rival, with two give out different musical sounds. There were two httle melodians and one old-fashioned Chickering Piano in town. Once in a while there were Sunday were cherished. The piano was never heard. I was Piano and I began lessons with Mr. B. F -Wood. dollars gained picking and selling blueberries. evening “sings” at the homes where the melodions tnade me crazy. English grammar was an almost unknown quantity thirty-five years ago in the aver- a8e home in a New England town. When I was twelve years old I went to work in a small woolen ful. I shall never again experience the extraordi- n*ry emotion that almost suffocated me, when, in Rlancing out of the mill window one morning, I saw worked in a grocery store and had a better-schooled jKncral way about the house. She bought me a terribly stupid in all school studies. Mathematics * cabinet organ unloading in our yard. From this Practiced hours every evening. Produced results. There arc many musicians hold¬ Technic. Concentration. Time For Practice. BEMIS WILSON. KATHARINE PIANO PRACTICE. EFFECTIVE student’s life, hours in the average So many you know are Set apart the hours for practice that this regular Promise yourself that you will devote world is con¬ The greatest key to success in the numerous Do not allow the mind to dwell upon Unless you practice giving your entire attention It you are practicing four hours a day, spend one practicing, that too much * wasted in listless that may in any wav ac ■ n"ot be said or written A very attractive and beneficial manner to prac¬ drawback. Even artists n° remedy this great influences that would dLz piano have outside of the ordina • from the strict concentration true artist has trained his faculties' dividual. But the under the greatest strain eo for years and often conquers himself, and is ahbT Until the student program with apparent m through his concert the influences of the outside worU entirely throw off and only then, can he exn , during practice hours, that he is striving to obtain.*" to secure the results and re the best for you mentally and physically ’of hours member that it is not the great number Strive then to work for the true and real ,n P1* the manner in you practice that will count, but more than ful daily practice will accomplish much care- six hours of practice done in a disinterested of thought which you spend the time. Four hours less manner. no foreign in¬ time to the piano every day, and let “The life of music flows onward in melody- 0 your word. fluence interfere with the keeping of fix solidly upon centration. The mind must learn to the time being the subject in hand, and to rule for trying to work trivial things, while the fingers are all extraneous influences. It is only almost entirely by the muscles alone. muscles that by the united action of the mind and said, “It is the that Ovid, the old Roman poet, Remember you will reach the seats of the mighty. mind that makes the man, and our vigor is in our immortal souls.” to the task before you, you can never reach your goal. After once forming the habit of concentration, hours in the day, and you will see a ray of light your practice hours will become the most enjoyable opening up before you that is brighter than you ever dreamed. for two reasons. Firstly, because you will have of them in vigorous technical work. And it is well to make that the first hour of your day’s practice, what is the most uninteresting part of the work, secondly, the remainder of your practice will be for most students, over with in the first hour, and much easier on account of the elasticity that will be gained by an hour’s work on finger-exercises. ■ tice finger-exercises, is to transpose them. This keeps the mind and fingers both equally busy, and until you can transpose it into all the keys, *1™ when you feel that it is conquered, begin to lear" another. In this way you will soon have a great number of interesting exercises that you can prevents monotony. Practice one exercise diligently find that both mind and fingers respond in a 'or smoothly and intelligently. Later when you reac the hours for the practice of the piano-solo, you wi position which the composer intended you s"°“ prisingly quick manner to the beauties of ‘he com¬ draw out. You will find hidden meanings that yo never before fathomed, and the loftiness aw grandeur of your chosen work will dawn upon >0® playing, aiming high, diligently working, and with greater perception than ever before. _ the gates of success will be opened unto y°u- deavoring to increase in knowledge every <»>'- various melodies, side by side; it is important. a in its flow, and in its entirety—just as it is the firs nil, to preserve this life undisturbed and unadu t of man to be, above all, trpe to himself and calling.”—Adolph Bernhqrd ilqrx. . • - not , BV ALGERNON ROSE. ETUDE THE Appearance. The Desire for Public of takes the form students this often Among music to get before the pub¬ The desire among students student to In self-defense he should hold such a time and In conclusion, then, it will be seen that is that the .. ...uMr*6Au ocuei amongst pianists The superstitions of concert pianists are often right attitude toward If one is not in the shirking. to find many things of singing he is sure the subject drudgery, consequently in the nature of that seem student had a proper be drudgery if the would not possible. These things shirked as much as are to be Another great artist, when acknowledging the ap¬ are ready is another misconcep¬ lic long before they constantly have to correct. This tion which teachers a great hindrance to the progress attitude of mind is foundation, but is constantly necessary to a good PIANISTS. SUPERSTITIONS OF CONCERT he is unwilling to do the work of the student in that in changing this state of the teacher can succeed a most difficult thing to do, mind, and it is often beyond his ability. Unless attempting something There he would much better dismiss the student. one, and it is can only be ultimate failure for such a almost certain to be charged to the teacher. to do the proper course. If the student is unwilling his allegiance this he should be asked to transfer for his de¬ to one who will have more consideration sires. any branch effort mean little in the prosecution of mental at¬ of study unless the student has the right must be titude toward it. In this attitude there industry and hopefulness, cheerfulness, honesty, the subject perseverance. To one who approaches importance. in ihis state of mind difficulties are of no Success is sure. endow them owners of modern pianos do by degrees and touch— with their own characteristics of tone ickSaTo ch-Tn hUT Lh* m°ney in his Pockets for whether hard and commonplace, or responsive and >hni «Twhln fC h'S U fk °n one occ«ion, this same sympathetic. charming. One distinguished player invariably offers up a silent prayer to his instrument, invoking its aid in performance, before he begins to play. On no account will he enter a concert room by the nrtist> entrance, it being unlucky to his playing if he goes in by the back door. K plause of an audience, after bowing to the house makes a point of salaaming towards his piano At pianist, when dress,ng for a concert, put on his un¬ derclothing inside out. K un •-SK, Rzr, “Lc",ic *« -»>* Player has closely identified itself'n°-.lJnll!cky to 0I»e ful career of another * f Wlth the access- musical qualities Five''been* ? "r " *S of unequaled they have played in public on theT*-'vhenever bringing Success, although” nearly*1 all °nl ^ °f hcen received with a storm If players have cessful piano. the twm of the unsuc- member that his best guidf-ini Success- should re- artist. anxiTusTo maJ?Tgreatnd’ Sl,perstiti°«s mnker, Who. although hc LTlTT* wifl be the stitions of ,he nervous d,sbeheve ‘he super- acquainted with the subtle??o°na-,St' Is hnimately instruments. Properties of each of his BY D. A. I'l.IPPINGER. THE MENTAL ATTITUDE. Study. Good Technical Pieces Containing Noc¬ Bcndcl; Massenet; Moonlight. Aragonaisc, 36. Chopin; Romance Etude, Impromptu, Op. Polonaise, CS min., Magic Fire, Wagner-Brassin; min., Rach¬ Novelette. MacDowell; Prelude Ct largely upon Success in any undertaking depends not by hard The belief that musicianship comes The state of mental uncertainty in which many if Brook, Song of The Bells, Koelling; Heller; May Dance. Shadow Poem, MacDowell; Lack; Scotch dc Style, Rnvina; Etude Mign- MacDowell; Etude Finder work. MacDowell; Brooklet. Idyl. Op. 3a turne, Brassin; Wachs. .Mason; Balancellc. 694 Filctise, Raff; Spring Song. V. onne. Schuett; La Hollacndcr. Nocturne. Leybach; Prelude E Lcschctizky; Fifth Arpeggio work. Scale work. Lack; The Two Larks, Chopin; Sorrcntinn. Ostrow, No. 22, Rubinstein. Silver Spring, Mason; Kamcnnoi min., Mendelssohn; Chord work. Gavotte B maninoff; Novelette in F, Schumann; It is oftentimes well-nigh impossible to convince one min., Bach-Saint-Sacns. Another mistaken mental attitude is that of a mis¬ in what the mental attitude. Those who succeed in no uncertain they undertake arc they who begin and doubt state of mind. Uncertainty means doubt confidence in spells failure. lie who doubts lacks carries within himself. Hie lack of self-confidence of the opposi¬ itself a belief in the superior strength the first gun is tion. hence the battle is lost before and fear is the fired. He who doubts is full of fear, It is the stu¬ forerunner of calamity and disaster. in failure— dent's worst enemy. It implies a belief The superficial manner in which most people himself to drift. should allow a state of pessimism into which no one Ignis fatuus work, but is the gift of grace, is the on to failure, that has lured many a musical aspirant of grace is a but the understanding that the gift away in the presence of industry and perseverance has led many a one to splendid success. difficulties fade capacity for hard work, and that all not most students of singing approach the subject, the teacher in that he known satisfactory progress is what makes teaching difficult. It is difficult for cannot begin until that condition of mind is very slowly to the efforts of the teacher. Such a state of mind closes the channel through which de¬ velopment flows, and the student is in a condition changed. In many cases it is chronic and responds foundation in fact is seen in that it affects alike the It is as difficult as it is to convince another that he until he sees his mistake. That this attitude has no should be leading the music in a praver meeting of mental stagnation in which he is likely to remain tafcntcil and untalcntcd. larly large endowment that he has any possibilities. upon whom nature seems to have settled a particu¬ instead of aspiring to grand opera. In both cases the mental attitude is wrong, and neither one will find his niche until it is changed. conception of the value of music study in the gen¬ eral development of the individual. It is surprising that the great majority of those who study music and languages are nc:r.-~ >srts of an education, but to most people music is only a pastime, an ac¬ attach tc it rc educational value. Science, literature whist or golf, and never rises beyond mere enter¬ few people will study as seriously and for as great complishment with the same educational value as tainment. So long as this attitude is dominant very a length of time as is necessary to become musi¬ cians. And yet we wonder why we have no national school of music. study is a very >ng distance away from musical creation, and it must be confessed has very little educational value. But if music were studied with the same concentraticn and determination as are that it is worthy of one’s best efforts, and its edu¬ other hranciic ■ " 'earning, it soon would be seen cational value would be apparent. Most of us have yet to learn that dishonesty may begin at home, that we may practice it upon ourselves as well as upon others.

nu.ni uiinLnun 696 the etude the etude 697 preliminary period devoted to study should n0, diffidence, the vapor of embarrassment once dis¬ interfered with by other interests, responsibilities ” possible for him to recover each night from the pelled, such students frequently succeed in making fatigue of his daily labors. His piano practice was occupations. Prize Essay—Contest 1908 astonishing progress. gradually reduced and in a few weeks he became John Philip Sousa. discouraged and returned home a physical wreck. myself, as 1 was quite handy with tools. It was Another young man came to Boston about the The struggle for existence after I left the parent A Successful Life. crude affair but I learned to play a few tunes on roof and the school room was terrific. Looking kl A Special Class of Pupils same time with the same object in view. He pos¬ My aunt then enabled me to buy a cheap vmysterious There are numy teachers, especially in the smaller desirable—for everybody to attempt o play Beetho¬ brought him in contact with many musicians and he sue my own studies. I then studied the violin, piano when we read of one of our profession coming into communities, who must and do content themselves ven sonatas. There arc many pcuple in the world, frequently had opportunities to do copying and this cold, cold world with nothing on but a big yell with imparting knowledge and contributing to the beyond our age-limit, who have played at them from transposing for singers and violinists. A little later and voice with good teachers. I worked night and day and finally saved enough and even lacking a golden spoon in his toothless elevation of taste, in the more or less narrow circle early youth, without learn’og to perform a single he secured a few piano pupils and was engaged as mouth. It brings large and luminous saline tears to of amateurs they manage to gather about them. It one of them with any degree of accuracy. The case second bass in a double quartet in one of the small to go to Europe for further studies. Returning to my sad optics when I read of the weary days and is rather as a word of encouragement to tlic-c than of the North German merchant is merely cited to churches. America I soon secured a large teaching business and my troubles were over. Later I visited Europe sleepless nights spent by the average musical genius for the purpose of finding fault with the overzealous show what may be accomplished technically, by ex¬ He was a diligent student, learned quickly, retained in his salad days. How I shudder when I read of for distinction, that these lines arc penned. traordinary will power, based upon extraordinary what he learned, and made the most of every little one of the starters in my profession fired by a wild aptitude and guided by a good teacher. As far as opportunity, steadily gaining every month. Not¬ would say to the student who feels the call to ambition, but minus the wherewithal, paying for his Teachers of Adults. the abortive attempts of the great host of piano withstanding the fact that he was not very robust the musical life strongly enough that there is always a way. tuition by sawing wood, carrying water, digging pupils to master that much-abused instrument are in health and frequently was obliged to relax his sewers, in fact, working at any of the numerous There is a growing demand fas (fail . ■ m t concerned, and hopeless as many cases may appear, ardor to recover from fatigue, he pursued his course Emil Liebling. dollar a day jobs, and then reading how finally, he, restricted to the fair sex atone* bat also including it is, nevertheless, much of a question to what extent so judiciously and successfully that in his second with indomitable will and dauntless courage emerged the men—the busy business men of our frantically so much apparently fruitless effort is to be con¬ year he secured a large class of pupils, which en¬ There have undoubtedly been instances where from the subway of doubt and despair into the bright strenuous age—for a better acquaintance sidered is dead waste. abled him to give up his clerkship in the store, and students, anxious to secure a musical education and sunlight of a full-fledged harmonist, contrapuntist, principles of the art, the dissemination < f which is It carries music into the family circle, permeates accepted an engagement as choir director in a small hampered by lack of sufficient funds, have materially composer, theorist, violinist, pianist, organist and our mission. They find, amid and in spite of the the home life, serving, not infrequently, to awaken church. aided themselves by taking up temporary employ¬ yellow clarinetist. hubbub of commercial pursuits, that there is a in older members of the household the dormant Now, it must not be understood that the progress ment of clerical or commercial nature. Some years No, Mr. Editor, between two most earnest and hiatus in their education. desire to scrape at least an acquaintance with the of this young man has been all sunshine, for, on ago two young men came to me from Indiana; they capable teachers, two most loving and doting Many of them are past the age-limit above re¬ subject. Who shall say how much of this effort is the contrary, he has encountered and overcome possessed some means but wished to husband their parents, splendid boy companions, a rose garden of ferred to. They are well aware that no great degree wasted when alt of it is, by slow degrees, trending many hardships and privations. There have been resources; by renting an inexpensive room and do¬ American beauties of music school girls, I cannot of technical attainment awaits their efforts. They toward a better, a more intelligent appreciation, in times when failure seemed to be inevitable, but at ing their own cooking they reduced expenses to the do not expect it. There are other objects than a the aggregate. It makes more listeners, of whom last his courage and tenacity won. and to-day he is least possible modicum, and a position as ushers see where my struggle came in. Golly, but I’d like display of virtuosity with which to dazzle their Hi¬ (as so admirably expressed in an article by Mr. a well-known musician, with a reputation extending at the Auditorium furnished them with quite an to go back and do it all over again. de of friends and acquaintances to be attained by Finck, in the February Etui*) we arc so lamentably to many quarters of this country. amount of pocket money and the opportunity of hearing all the Thomas concerts and operas, thus such pupils. These objects will add greatly to the enjoyment of life, and, ultimately, t>> the general It is a hopeful sign that parents arc beginning to Perlee V. Jervis. combining the utile cum dulci. One of them is now MUSICAL FACTS. well-being of the community in which that life is to insist, more and more, on having their boys “sub¬ the leading and most successful teacher in a central The first oratorio was written by Cavaliere. who My father was a business man with the average Illinois city and owns his home. Charles A. Fisher. be passed. mit” to instruction in music as well as their girls. lived during the latter half of the sixteenth century The coming generation will give to music more men business man’s poor opinion of a musician, so when A very estimable young lady from the far West Even in so great a musical centre as Vienna there at the age of fifteen 1 determined to study for the It was first performed at a church in Rome after listeners. fills a responsible position with one of our leading . Charles A. Fisher owes his early musical training to his lived, not so very many years ago, a singing teacher musical profession. 1 met with the to be expected the death of the composer. rather, a well-known musician of Baltimore, Maryland. piano houses in order to round out her vocal edu¬ Beyond this he Is mostly selftaught, except for such in- who was a very capable instructor and an excellent More Listeners Needed. parental opposition, which was finally removed on Peri and Caccini, two Italian composers, are said cation. She also has a church position and earns ««c, °u as he imbibed from the late Professor Fritz Fincke. musician, who finally restricted his teaching entirely condition that I should earn the money to pay to be the founders of opera, their first opera, “Dafne.' and also from Edward Bellwidt (for many years the chief enough to pay her lessons and living expenses. to this class of pupils. For a number of years he liven our own generation will give us more men for my education. It was a condition that scented being first heard in 1594. The founder of Italian assistant of Stockhausen) at Frankfort-on-the-Main. Several others have secured an income by doing After teaching and leading choruses in various parts of directed with much success a maennerehor, made up listeners. As our country becomes more settled, hard at the time, but one of which I now realize the opera as we now understand it, however, was Ales¬ the country Fisher located In St. Paul in 1892 as a chorus office work or waiting on table at the Young largely of gentlemen of means engaged in' mercantile our business conditions better adjusted, our intense wisdom. I obtained a business situation at a salary sandro Scarlatti. director and teacher of the voice. Women’s Christian Association Building, and not and professional pursuits. For this society he com commercial activity more sanely regulated, the de¬ that was just large enough to pay for a lesson once The first public opera house was opened in Venice a few assist at noon at restaurants. posed many pieces of merit, and many of its mem¬ sire for sport and for the extravagances of mere in two weeks, and at once commenced to study the in 1637. Of the human material that presents itself to a outward display tempered and confined within These are a few cases which have come under my bers were his private pupils. piano with Dr. William Mason, and theory with Lully, the founder of French National Opera, was teacher in the course of his laborious career, all can¬ reasonable bounds, more men (beyond the technical observation, but while these possibilities seem en¬ The musical world has never heard his praises Dudley Buck. As I had to leave for business at 7 the first composer to write an overture as an “open¬ not be moulded into “crack” pupils. This may be age-limit) of intelligence and spiritual aspirations couraging, they are not so in reality. Making a liv¬ trumpeted; he has acquired no international repu¬ A. M„ and did not get home until 7 P. M., my piano ing” piece of an opera. accepted as an axiom. From among the number, will give thought to the topic of music, endeavoring, ing and studying music at the same time do not go tation as the teacher of this or that great operatic practice had to be done between 5 and 7 A. M. and Haydn is known as the “father” of the stnng even, of the select few—the especially talented and as far as may be, to make up for the neglected op¬ together; either occupation takes one’s entire time, star. Devoting himself to the work that fell to 8 and to P. M. That even at that time I was mak¬ quartet. particularly promising—upon whom the teacher be¬ portunities of youth. strength and resource. Burning a candle at both him in his circumscribed sphere, he has managed ing a noise in the world is evidenced by the fact The earliest form of scale (mode) known was tnf stows extraordinary care and attention, some half People leave our shores annually, by the cabin¬ ends is invariably noticed by the candle. It in¬ to live the life of a gentleman in easy circumstances, that a choleric neighbor who heard the piano going Greek, which is said to have been introduced « dozen at best, perhaps only one or two, perhaps none load, for purposes of culture in foreign lands. They volves a serious risk to go to any large city for an with the distinct advantage, however, of being con¬ at that unseemly hour in the morning and again the sixth century before Christ. at all may ever succeed in astonishing the public listen to the best music Europe can give them. They extended course of music study without ample tinually occupied in an agreeable manner For the upon his return at night jumped to the conclusion The art of composition is said to have had as virtuosi. stand face to face with the great works of art, done space of a generation he was active in the musical that it had been going all day, and forthwith lodged funds; there is nothing more depressing and unfor¬ birth in the Low Countries (Holland) during t* by the famous masters who have long since de¬ tunate than financial worry; the mind, in order to It has been frequently asserted, by musical au¬ life of Vienna, furthering the cause of good music a complaint against me with the city authorities, latter half of the fourteenth century. . parted. And they find that these things do not move receive full benefit of instruction and amenable to thorities of ability and experience, that no additional to the full extent of his ability, highly respected by alleging that I was a public nuisance! After five Monteverde (1567-1643) was the first to use them. They are intelligent, thoughtful people; accomplishment in technic—that indispensable re¬ professional and amateur musicians, as well as by years of business life I had saved enough money to new impressions should be perfectly easy, and un¬ chord of the minor seventh without preparation- “Asti Spumanti,” in unlimited quantities, at Naples quisite of the artist—may be hoped for after a cer¬ the intelligent community at large: likewise envied enable me to give up my position and devote all my less this mental attitude exists, lessons are apt to and a gondola ride on the Grand Canal at Venice Rameau (1683-1764) was the first to put Harmony tain period in the life of a musical executant has been time to study. Just then Dr. Mason sent me my be wasted practice becomes drudgery and nothing by a few. do not, of themselves, content them. They return is accomplished. 6 on a scientific basis. „ reached; a period ranging, say from the age of first pupil with the cheering statement that she had The term Sonata, meaning “sound-piece. * It goes without saying that pupils of the sort we home with the conviction that if they would ap¬ twenty-five to thirty. Passing beyond that limit, driven him to the verge of insanity and would prob¬ Most unfortunate are those who arrange to give are considering must be handled with some tact; it preciate art even superficially, they must have at originally a general term for instrumental pieces, the virtuoso may develop in comprehensive artistic ably do the same to me, in which respect she “made lessons in families in exchange for board. This would hardly do to attempt to initiate them into the least some inkling of its principles. It is idle for contradistinction to Cantata, a “vocal piece. ^ feadth, in profundity of grasp, in sublimity of con- good.” She was a crotchety maiden lady of about results in a hybrid position, something between a beauties and mysteries of arl-apprcciat.on along the anyone to hope for any enjoyment in the contempla¬ Couperin (1668-1733) was the first to use ception, in masterful control of emotional suscepti- fifty, with rheumatic fingers and not a spark of companion and a servant; much work is exacted Rondo as an independent instrumental art to ^ lines of elementary pedagogy, such as wc apply in tion of the greatest of paintings, if he have and when the young student wishes to attend to hmty; but the essential technical equipment must imparting five finger exercises to the young Lrown musical ability. Any struggles I may have had Gluck was the first to identify the overture absolutely no knowledge of artistic technic; it is since are not to be compared with the agonies I ave been achieved at an earlier age. people are inclined to feel a little .1! at ease when Ano.Zr £rn,CUCe- ‘'ll P'an,° is usua,Iy '"accessible. opera with the work it preceded. . ;fl absurd for him to expect to be moved, except in the endured with this first pupil. This cloud had a sil¬ {hey come to place themselves in the hands of a ' *allacy .,s that of supposing that playing The organ came into use in church scrTVoei The ambition to attain prominence by becoming vaguest sort of way. by a Beethoven symphony, if ver lining, however, as she sent three of her friends accompaniments is a commercial asset; the few who private teacher: there is always the implied confes¬ Western Europe during the ninth century, known as the instructor of at least one distinguished he "doesn't know one note from another." to me for lessons, who in turn brought other pupils sion of a hiatus, to be filled up. and confessions arc b^hTm™ SpeciaIty are outnumbered it is said to have been used in Spain as e artistic celebrity is perfectly natural and likewise It lies with the intelligent teacher to enlighten that enabled me to continue my studies carefree. by the many who have made a dismal financial the fifth. .. > m Justifiable from various points of view. However, embarrassing. him; and it is the singing teacher who is most failure. Adversity may have its uses but the pale Tact and discretion on the part of the teacher are liable to be applied to in such cases. Most people The oldest form of piano was the 0, tonsidering how narrow is the chance of having this Robert Braine. of great importance; the instruction must be eon have some modicum of voice and the musical Vr r31 StU^ent who burns the midnight Clavier, and was first made in the fou - 0| the M&bition crowned with success, it would seem ad¬ visable not to allow it to become too dominant a ducted without any publicity-the lesson, must be enthusiast, even though he may be considerably be¬ My musical education has been entirely the result fifteenth century. The first celebratedn» of my own exertions. My father took no interest s1* sssrir res* *ttor in the teacher’s work—to view the possibility Private indeed. These pupils are not of the sort to yond our age-limit, naturally makes up his mind professionals have received thS- T"*- leadlng modern pianoforte was Gottfried Sub* whatever in my musical studies, as he wished me JUore philosophically, leaving its realization more bear being exploited; some cases, in fact, will bear to have it cultivated: a very laudable ambition, no to become a business man like himself. I grew up training on the installment plan so to sjea^'worked Dresden (1683-1753). „,,-onipa‘’v,r‘ ® tfiance. Too much of this sort of striving is nothing but the strictest uuogmto. matter if he have very little use for it in the way of earned money awhile and then stoH^-k ’ WOrk.ed’ The harpsichord was used as an ace ^in- in a musical atmosphere in Cincinnati. My deter¬ uch like becoming stricken with the Presidential This solicitude is perfectly comprehensible and musical performance It is here the opportunity instrument in the orchestra to the end ot usually presents itself for the teacher to make a mination to become a professional musician was SiST&ra.tS r? « ybTSS eenth century. . .fVer’ an obsession which has so seriously impaired reached when I heard the Theo. Thomas Orchestra ■ propaganda for the cause of good music Nor let it not a bad plan; it takes exeent^ d?ys and foilnrI “The enthusiastic applause of the I usefulness, disturbed the equanimity and under- play a symphony by Beethoven at one of the Cin¬ it be overlooked that his class of instruction is not nervous strength to reach a "t”3 ,pkys'cal and the aim of the musician; but true strength . Igfcly 'ued the principles of so many statesmen of su- cinnati Musical Festivals. *nor ability. How inestimable have been the sac- having V?ssede^|!^4!|5egnUhi ought* oMtselLVo'em only remunerative but, likewise, by no means thank¬ ment commensurate with tS exa^tin'1'8^ develoP- he finds only in the applause of those who . ^ I I learned solfeggio and the art of sight singing ces of capable teachers in their aspiration for tif,leaChimnto especial consideration. The seitse of less. the present age. and it stands **%££*£ understand and feel with him.”—Carl Weber. ls very problematic species of success! There the etude 699 698 THE ETUDE One of the commonest studio experiences is to from his troubles in composition. If the works of An Old, Old Story. There are many compensations in the profession hear a pupil say of an assigned piece, "That looks his riper years were not so numerous as those of his of private teaching. There is one advantage about The average music student upon arnvtng^nJEfi- easy.” Some pupils feel humiliated when given a earlier periods, they were more intricate in develop¬ selection not quite so black-looking as usual. Some¬ What the Masters of Music Have Accomplished in Old Age it that is beyond price; your pupil who has passed ropo finds himself sadly deficient m harmony, ment and titanic in conception. To this time belong time ago a young lady was playing her study, and our age-limit and comes to you to have his voice terpoint, composition and the h‘st°ry ° . ' Remarkable Instances of Musical Activity and Intellectual Fecundity Late in Life the five final piano sonatas, the last great quartets cultivated, with the incidental prospect of having What does he do? Off he goes “to^take a few to after plodding through it remarked, “That isn’t very and the Choral Symphony. At the end, Beethoven the path to a better appreciation of music pointed sons to brush up in these branches Then he en difficult.” I reached for the metronome and asked felt that what he had produced was unimportant in what the indicated speed was. We set it at £=123, By ARTHUR ELSON out to him, is never handicapped with a mother or gages the services of some celebrity («., “ comparison with what was still in his mind. He ■with a maiden aunt who knows it all. These un¬ fortunate enough to gain a hearing) and becomes and I asked her to play the first two measures planned a great Requiem and a tenth symphony, comfortable advisors having themselves—mayhap— pupil of Professor So-and-So, only to repeat this (sixteenth notes) with right hand alone. What a some sketches of the latter being in existence. performed in the days of their youth before certain experience in short time with some other master. fumbling! Then I set it down at 100. Even this William Pitt, in immortal words, once defended At the end of the following century we meet with Cherubini (born in 1760) was another master who professors of imperishable memory, are ever ready Since he has heard that it is all-important to breathe was a killing pace. Finally we backed down to 72. himself against what he termed “the atrocious crime two preeminent figures in the shape of Bach and developed a new career in old age, though unlike to help the unhappy teacher in select1'^ suitable the much-talked-of “musical atmosphere which Eu¬ But the “humble pie” did her good and she “knew of being a young man.” He afterwards outgrew this Handel. Born in the same year (1685), they have Handel he is better known by his earlier successes. pieces, or in insisting upon laying cat a proper rope is said to offer in unlimited quantities, he hurls herself” better. condition, it is said, but his words were a notable, if often been called the “Siamese Twins” of music. The whole of his middle life was devoted to opera, course of instruction for their darl .igs. Much as himself headlong in the great current of musical sarcastic, tribute to the superior position of old age. However misleading this title may be in respect to and the successes of his “Medee,” “Faniska” and the 'advancement of art is indebted to women and events, is jerked hither and thither and ends, as end Are We Too Confident? In earlier times we find the renowned Cicero, in his their works and styles, they were certainly alike in “Les Deux Journees” form an epoch in the history indispensable as 2» their assistance, is the teacher he must, a disappointed dreamer. All too late does De Senectute, patting himself and his fellows on the of the Parisian stage. Yet, after 1810, he began a We Americans are usually so cocksure that it the energy and activity they displayed in old age. who is able to interest the men of his generation he realize that art, like excellence (with apologies back for their consummate wisdom in deciding to career as sacred composer, which lasted more than sometimes requires frequent bumps to reduce us to in the subject, .' wv.om we are most in need. to Matthew Arnold), “dwells among rocks hardly become old men. “Old age cannot run, or jump,” he Bach’s Great Achievements. thirty years. Even if he is more widely known by a fair self-appraisement. Hardly a new pupil comes accessible, and a man must wear his heart out be¬ concedes; it would stand little chance at ancient or his operas and their overtures, his position in sacred to one now but professes to have learned “all the The genius of Bach was one that bloomed fairly fore he can reach her.” Only this unfortunate wears modern Olympic games; but it can do almost any¬ music was decidedly higher than in secular. scales.” Very well. “Try F sharp minor scale.” early in life, and at the age of eighteen we find him AMERICAN STUDENTS SHOULD STUDY IN his heart out too soon. Too late does he learn that thing else, he claims, and history would seem to Rossini was another who changed his style in Result, halting, repeating, wrong intervals, etc. And already active as organist and composer. Most am: RICA. that most delicate of plants—art—requires slow and prove him right. middle age. After a career of success in the florid this strikes at the very root of our common fault. of his great “Well-Tempered Clavichord,” as well conventions of Italian opera, he felt the influence of sane growth. ... . • • We are not thorough enough. A little girl was as his chief piano works, was written before he BY SIDNEY SILBER. Had he remained at home and looked about him Classic Instances. the broader Parisian school, and produced a real art complaining that there was “no music in the scales” reached the turning point of life at forty years of work in his “William Tell;” his old age was barren, closely he would have found in close proximity To begin with, Cicero himself delivered, in his and she could not learn them because she did “not age. But in the twenty-five years that followed, he for he wrote no opera after this. [While it Is undeniably a fact that some of the old world many competent instructors well equipped to furnish old days, certain stirring orations, without which our music centres possess musical advantages peculiar to them¬ like them.” I said, “Do you like to say 3X1=3, produced an enormous number of cantatas, oratorios Schumann, who fused the beauty of the romantic selves and which serve to broaden the American student who an infinitely more rational course of study, and what present high school courses would be less complete, and other large works, and the world could ill afford has the means and time for travel and observation. It Is also 3X2=6, 3X3=9, etc., for ten minutes at a time in school with a depth and earnestness that make his if less puzzling, than they are at present. More to spare the wonderful “St. Matthew Passion.” unquestionably true that during the last twenty-five years school?” “No, I don’t like them a bit, but there I music always inspiring, died at the age of forty-six. the musical__ culture of America__j h| advanced at such a active triumphs were won by his great contem¬ The home life of Bach has always been an edifying remarkable rate that for the main essentials leading to must know them.” “So you must know these scales, Mendelssohn died about eight years younger, after Activity at Home. porary, Caesar, whose crowning glories as ruler and spectacle, because of his domestic tastes and large higher musicianship there is now absolutely no necessity whether you like them or not, if you want to make a career in which his graceful genius showed a re¬ for an American student to go abroad. As the writer of the legislator were won in the evening of life. In fact, family. His first wife was his cousin, Maria Bar¬ progress and get ahead as you do in school.” Scales markably quick and precocious development. following article Indicates, the student is often handicapped America is to be congratulated that it is now during his youth he was somewhat of a fashionable bara, and from this union six children resulted. A in many ways which would not arise in his home land.— are good for weighing—even would-be pianists. With Brahms we reach a composer of longer life. Thb Editor.] waking up. Already our foremost periodicals are idler. Once, leaning against a marble pillar at the year after her death he married the beautiful singer, Another good method of self-weighing is to take Reacning sixty-four, his later years were rich in doing a great work in disallusioning our nation and luxurious baths, he was seen to scratch his head Anna Wiilken, and thirteen more children appeared. a piece of music, begin at the very beginning, look results. Had he been cut off at forty, the world Josef Hoffman, the distinguished piano virtuoso a number of musical weeklies are waging a just war carefully, so as not to disturb the parting of his When they grew up to their musical heritage, they and musician, in one of his recent highly instruct¬ at everything and ask “why?” E. g., the Italian would have lost his great “Ode of Destiny,” and against the subsidizing of foreign pianists by hair. “That man will never amount to anything,” fbrmed an imposing array, and concerts at home be¬ ive contributions to the Ladies’ Home Journal re¬ term, what does it mean? Why is it Italian, not would not have heard a single one of the four noble American piano manufacturers. It is to be hoped said a spectator; but he changed his mind some came the order of the day (or perhaps of the even¬ marks very pertinently on the necessity of going English? The staff—why five lines? Were there symphonies whose subtle depth of feeling and that they may prove victorious and that many of the years later. ing) in the Bach household. In spite of the almost abroad to continue musical study. Among other “sweet reasonableness” now charm the entire musical pernicious practices and influences now being ever more or less than five? The clefs—why such In later times Galileo was an old man when he unavoidable poverty that was always with him, Bach things he says: “While this slogan (to have studied world. brought to bear upon the masses may soon be effect¬ odd shapes? Why do we use the bar, anyhow? evolved his unheard of idea of the earth’s revolution led a life of happy usefulness that arouses enthu¬ abroad) still exercises a certain charm upon some The Remarkable Case of Verdi. ually eradicated. The American artist and musician A young music teacher in a thriving town was un¬ about the sun, and was persecuted for his originality siasm in all who study it. people in America, their number is growing less Verdi is another instance of a composer to whom may then come into his own. Let us hope that expectedly called upon to play the piano for choir by the Church of Rome. Columbus, too, was worn year by year, because the public has begun to under¬ old age brought new gifts and new triumphs. Born Americans may likewise awaken to the folly of rehearsal. Her polyphonic studies had not been as with age and disappointment when Isabella sent him Handel’s Greatest Work. stand that the United States affords just as good in¬ in 1813, he grew up in the atmosphere of the Italian sending half-baked music students abroad. thorough as they should have been. Suffice it to say, forth on his way to discover a new continent. In Handel’s activity during old age was even more struction in music as Europe does. It has also been singing-opera, and his first period of work reflected There is but one rational course to pursue in this her experience in reading vocal score that night gave marked, and had it not been for the work he began found that ‘to study abroad’ is by no means a guar¬ our modern day old age has its greatest opportunity the prevailing style. But with “Rigoletto” and “II important matter. Only he who is thoroughly her great concern and occupation for several weeks, when over fifty-five, and carried on for nearly antee of a triumphant return. Many a young stu¬ and instances like Gladstone taking up Spanish as a Trovatorc” came a greater vigor and freedom of grounded in musical study and technically equipped during which she came back to her Bach and found twenty years longer, until his death, in 1759, he dent who went abroad as a lamb returned as a mut¬ pastime when over sixty, or old Lord Kelvin weigh¬ style. Not until nearly sixty, however, did he reach is justified in leaving this country to avail himself that after all there is something more than mere would scarcely be known to-day, except to students ton-head. * * * If you insist upon a European ing the infinitesimal “electrons” that make up the his true development with the production of “Alda.” of the broadening influences of foreign study. He academic interest in his fugues. of early music, and would rank about with Scarlatti. teacher you can find many of the best in America. atoms of all material substances, prove amply that It was well after that age that he wrote his great should go to Europe primarily to become a musical This is because the chief part of his life was devoted Is it not simpler that one teacher from Europe achievement grows with years. Requiem. The powerful music-tragedy “Otello” was cosmopolitan, just as a liberally educated person in Attaining Perfection. to opera, and in those times opera was an arbitrary should go to America to teach a hundred students In music, the list of men who have won fame the work of a man well past seventy, while the in¬ any other higher walk of life may be materially grouping of airs, duets and concerted numbers that than that a hundred students should make the trip late in life, or added new glory to their youthful imitably dainty “Falstaff” was produced in the com¬ benefited by travel in foreign lands. Musical cul¬ Again, here comes a bright, industrious young was put hors de combat by Gluck’s freer style, and is for the sake of one teacher? * * * To quote a triumphs, includes nearly every name of first rank. poser’s eightieth year. The real greatness of these ture—that finer breath and spirit of musical learning fellow, who reports having practiced a half hour now wholly forgotten. In its day, however, it was case in point let me say that in Berlin I found There is a two-fold reason for this; for genius itself works, when compared with the earlier operas, —will then prove a blessing and help to himself and daily on his etude. He plays the first two braces vastly popular, as may be seen from the length of Godowsky’s pupils to be almost exclusively Ameri¬ grows by exercise, and public recognition often affords a spectacle of growth in old age that is un¬ his fellow.-men. fairly well, but beyond that he hesitates more an Handel’s operatic career in London, and the fierce¬ cans. They come from various sections of America comes slowly. In fact, many great composers spent paralleled in the annals of music. Let us not close our eyes to the tremendous prog¬ more, and finally goes all to pieces on a zigzag ness of the factional fight that made rivals of him to study with him and with no one else. But during their early years in a constant struggle with poverty; Liszt was another of the musical giants whose ress which America—young though it be—has figure that requires a rather unusual fingering- and Buononcini. But now nothing remains, and of the eighteen years he spent In Chicago they did not but persistence and ability finally won the day, and energy and creative activity seemed to bid defiance already made in musical understanding, apprecia¬ Abashed, he complains, “Bah! I went over^tna the thousands who admire the breadth of the seem to want him. Perhaps he was too near by! to the lapse of time. In his threefold capacity of tion and advancement. Let not the best of our land, measure fifty times yesterday without a break an famous “Largo,” few could name the opera Why this self-deception? Without mentioning Hans Sachs’ Fertility. pianist, teacher, and composer his life of seventy- impelled by the highest motives, but unfortunately I had it down fine.” “I believe you,” I.answere“’ (“Xerxes”) from which it came originally. names, I assure you that there are many teachers in At the close of the middle ages we find a re¬ live years became one long manifestation of en¬ ill-advised, leave our country before they have ex¬ “but you see for yourself that it is one thing to p J When Handel gave up opera, in 1741, he was at America now who, if they should go to Europe, would doubtable champion of old age in the burly figure ergy and enthusiasm. His long career at Weimar, hausted all the opportunities and advantages which over it fifty times and have it go smoothly the a an age where many would be forced to retire; but in draw a host of students after them and some of these of Hans Sachs, of Meistersinger fame. Among the where he grew to be the central figure of the America already holds in the way of music study.— time, but it is quite another thing to come here the years that followed he built up an ent.rely new excellent men I know personally. It is high time to many members of his school he was the only one world’s musical culture, had scarcely begun when From the Western Musical Herald. play it right off correctly the first time. Yet1 a career and by his great oratorios rebuilt a shattered put an end to the superstitious belief in 'studying', to win any lasting renown. The “Singspiele” (song- he passed his fortieth year. the only perfection that is worth while for you fortune and won a name that endures to-day. plays) of Germany found in him an able composer. abroad.’ ” Surely, with Handel as a model, no one need despair for anyone listening to you.” t They existed as early as the thirteenth century, when Wagner’s Triumph in Old Age. Finishing Touches. ESTIMATING ONE’S ABILITY. It is sometimes very hard to explain *° the h ffl they grew apart from the miracle plays. Later on because the years have relied by. The career of Wagner affords not only an ex¬ majority of students that it is not enough for they became coarse and vulgar in style, but were ample of continual development, in ideals as well to get the tempo, the notes, the fingering an A Great Loss. The number of American students who reap the raised to new dignity by the work of Sachs. That as in power of execution, but shows a nature so BY WILLIAM BENBOW. indicated expression. In fact, is not that all. ’ With Mozart we reach a composer who died benefits which Europe at the present time offers gifted cobbler of Nuremburg lived well over the unswerving in its fidelity to art that it could give we all know the Chopin waltz in C sharp ' voung. He was carried off at thirty-five. Such a over America is deplorably small. These leave their allotted three-score and ten. As the real hero o up years of work to an end apparently hopeless. Op. 64, No. 2. But here comes Paderewski, an life as his always arouses the question, What might native land after a thorough grounding in not only To “know thyself” is one of the most difficult at¬ Wagner’s noble comedy, he is faithfully portrayed Born in 1813, by the time he reached forty Wag¬ he not have done if he had lived longer?” Again the study of some particular instrument, but also tainments. Autobiography is full of mistaken self¬ we don’t say so, but—we are surprised t to modern audiences, except in one particular; for ner had completed “The Flying Dutchman,” “Tann- estimates of the writers’ ability and intrinsic worth. should include such an easy composition 0 of all allied subjects. They know in advance what he did not remain single in his old age, but made hauser,” and “Lohengrin.” These master-works Europe has to offer, they know the proper masters It is almost always the good but over-confident program. But ah! what is it that wakes tn v a second marriage. The union turned out very were as far above “Rienzi” as that was above “Die swimmer who goes beyond his depth. rnuch 'more dots it apply to Schubert. who died to consult. The result is that they add to what they in us as we listen? It’s the fragrance of tn js happily, for his young wife felt great pride in his Feen," and “Die Fecn” above the juvenile effort at have already thoroughly mastered and assimilated Evidently in these cases there are factors that when bTrely over thirty, and yet left us such master tragedy in which he killed off all the characters and the soul in the eye that no one can pain*- otjr. fame and position. and broaden artistically—become musical cosmo¬ have been overlooked, or there are unexpected cir¬ the supreme test. Here is where we kno works of melodic expression? In the last years of carried on the last act with their ghosts. politans as it were. cumstances for which too little margin has been selves” in the twofold sense of having 0 Palestrina and Di Lasso. Ms life he was planning to take up the contrapuntal But now, poor and in exile, with most of his allowed. Every musician can testify that when it ,• which his youthful genius had neglected, The vast majority of students, however, who an¬ sense of aesthetic beauty revealed to us and 0 j,, Practically contemporary with him were the two works unappreciated, Wagner followed his inward nually overrun Europe leave America with beautiful comes to performance the thing that gave him the shortcomings of our own performance anddthe world probably lost many noble symphonies ideal still farther from the beaten path. By essay great contrapuntal masters, Orlando di Lasso, an by his death. V words of the poet Gnllparzer visions of “becoming great.” They leave in a hurry most trouble was some factor that never before gave home to us so impressively. Palestrina. Both led a career of constant activity, and discussion he developed those theories of opera, well summarize the career of Schubert: or music-drama, which resulted in the glorious tri¬ and worst of all—return in a hurry! AlMoo prev¬ him any anxiety. We make most mistakes at places ending only near their death at an age well over alent are their ridiculous pretexts of “going. to where we felt strongest. We are familiar with umphs of his later works. But at the time when he “Music is both an art and a science. As a swty. Di Lasso led a life of comparative ease. Atter Europe to put on the finishing touches by becoming Bach’s experience in sight-reading in the house of began these wonderful musical dramas and epics he it includes the theories of sound and 0 an adventurous youth, in which he was kidnappe “iatrUha|o^«fonhtat yet greater promts," pupils of Professors So-and-So.” On returning, we a friend to whom he had expressed the belief that had no idea they would ever be produced. For composition.”—Dr. Crotch. more than once because of the beauty of his voice, find them disappointed dreamers inadequately pre¬ he could read anything at sight. So the friend Beethoven’s Richer Years. years his work was animated solely by devotion to he became choirmaster at the Munich court, where pared to enter the profession as useful propagan¬ selected something quite innocent-looking but art; he never expected to see his great “Trilogy” “Music belongs as a science to an intere1,.ieinatic»' he lived in honor and comfort. But Palestrina Beethoven, dying at fifty-seven, was not much dists for the highest and best in art. They have dab¬ intricate, and set the trap for Bach, who, visiting performed, but merely wished to leave to posterity a of natural philosophy, which, by ma tbe a long struggle with hardship and jealousy. > ®re distinguished in age than in maturity: but even bled in methods, have acquired a smattering mayhap more distmgu brought ever-increasing practical example of his theories. The world should him, saw the manuscript on the instrumeht and be¬ deductions from constant phenomena, exp and often underpaid by his clerical employers, ne of German or French, but worst of all, they have be forever grateful to him for those years of patient gan playing. But he stumbled and hesitated so often causes and properties of sounds to a cert „hic!i worked on faithfully with a fidelity to art ideals tnai not “found themselves.” What they have, is bor¬ that his friend began to laugh, whereupon Bach effort and devotion. which perpetually recurs and fixes the■ Ti wins the highest admiration and serves as a rowed, and even that possession is not of lasting acknowledged that one could not play everything they bear to each other, or to one leading benefit, since it has not become a part of themselves. firma vista. 6 example. Sir William Jones. 700 THE ETUDE

MUSICAL ATMOSPHERE IN AMERICA. them with State officials and commissions. This the etude 701 Many other composers can boast of successes in increases the tax somewhat, but so does our luxu. old age—triumphs which should encourage all with WHAT CONSTITUTES BEAUTY IN PIANO rious grafting system. The State of Pennsylvania harmonic style in so far as the right hand is con- the hope that faithful and earnest effort, even in BY RUPERT HUGHES. PLAYING. unquestionable talent; at the same time he ought was taxed to pay for the Capitol robberies more than cerned and the chords should be delivered exactly middle life, cannot fail to bring ultimate success. In to have enough originality, enough independence enough to support a colony of musicians for a together and with such clever manipulation of the Russia we find the soaring genius of Tschaikowsky [In a recent Issue of Smith’s Magazine Mr. Expert CHARLES E. WATT. of judgment to accept such productions as may . century. But graft is normal here; State interest pedal as will give a genuine organ .effect. The rising to greater and greater heights until carried Hnehes writes upon the question, “Have We a Musical seem good and useful to him, even if the author Atmosphere?" Although fir Hughes takes a somewhat in art would be abnormal. A composer in this third part is a perfect example of canon, and as such off by an untimely death. Rimski-Korsakoff, too, in pessimistic view, his observations are so interesting that be obscure and completely unknown. country with an ambition to write grand opera had As teachers and pupils we are so apt to put our the left hand which begins on second count should the more modern national school, continued his we take pleasure in reproducing some of them with the kind permission of the Editor of Smith a Magazine. The better go to the surgeon for its excision than to whole attention to technic, and so prone to magnify be an exact copy of the right hand part which be¬ activity to the close of his life at an age of over Editor of The Etude.] the county council for its nutrition. If he writes a its importance, that we very frequently lose sight gan on the first count—that is, not only should the sixty. DO A LITTLE EACH DAY. Unfortunately for American music, our country great symphony, he may hear it once or twice at an of those attributes which constitute the real beauty notes be played exactly, but also every particle of In the ranks of performers, as well as composers, suffered a double handicap at its start. To reverse orchestral concert; but such opportunities are few shading, should be given in the second voice exactly there have been notable examples of success won in piano playing as evolved by the artist. Not that BY CAROL SHERMAN. the racing procedure, it carried weight for youth. and far between. as it was in the first—this passage is beautifully late in life. That artists may continue a career well technic is unworthy of consideration, for as a matter It is said that if you would make a good man you artistic as well as distinctly intellectual as written along into age is shown by the now historic example “It’s a long time between symphonies,” as the of fact it is the absolute “means to the end,” and it In my classes I frequently find that the reason must select his grandmother with caution. Artistic by Nevin, but as given by the usual student it of Patti. That they need lose nothing in vigor and composer of South Carolina observed to the com¬ is impossible to evolve a good pianist without a why so many of my best pupils have periods of America is only now living down its careless choice loses every vestige of interest, for the canon is lost energy is amply proven by the present power and poser of North Carolina. discouragement is that they try to do too much at of its mother country. We were unwise enough to continually growing technic—and one too that sight of entirely and the left hand becomes a mere brilliancy of Carreno. But there are not lacking in¬ Various of these United States equip magnificent one time. They are very ambitious and seem dis¬ be settled by English oeople, who were not merely reaches out in a multiplicity of directions, but it is jumble of notes instead of the exact and beautiful stances of sudden success comparatively late in life. universities, agricultural schools, manual training appointed if I give them a short passage to study. non-artistic, but strongly anti-artistic. not after all the only sine qua non in music and is imitation it is intended to be. And so with The name of Campanari brings one case to mind, schools, reformatories, insane asylums and poor- They almost invariably want far more than they In the first place, England has always been a very only the vehicle through which the musical intel¬ any piece that may be taken up, not only must while the recent triumph of Tetrazzini is another. houses, but they do not give any heed to sustaining are able to do. They arc unwilling to go slowly. unmusical nation; and, for all its great admirals, ligence may reach the keyboard easily and effectively. it be studied from the standpoint of correct It is doubtful, however, if instrumental performers and encouraging any of the arts. I admit that official¬ It is a part of their Americanism. I often tell them generals, poets, philosophers, novelists, painters, technic and consequently correct tone, but it that 1 wish that I had a great flying machine that can gain fame after attaining mediocrity in middle ism has its bad points. State subsidies for art mean Many pianists can play brilliant passages, and playwrights—and what not?—has never turned out a must also be considered from a multiplicity of would take them all over to Germany just for one age, for to them the physical disability of approach¬ politicians and graft and tyranny. But everything pieces full of rapid scale work, who utterly fail in first-class composer. making any slow movement effective, and this is of analytical standpoints else there will be present in day. They wouldn’t find the kind of instruction ing old age is a serious obstacle. human implies its seamy side, and without the seamy Furthermore, the Pilgrims and the Puritans, who course because of their lack of tone quality and the the playing merely the bald outlines as suggested given them very different except for the fact that side we cannot have the velvet or the brocade. The Teacher’s Prospect. disagreed so bitterly on so many points of doctrine, utter absence of an adequate cantabile. Technic lies by the printed notes and nothing at all of the in¬ we American teachers seek to get results from our were piously conjoined in the belief that almost all The United States supports its West Point and With teachers, however, no such trouble need be at the basis of the ability to make the piano sing herent beauty which was in the composer’s mind and pupils by making them interested instead of making music, and absolutely all instrumental music, was Annapolis, and trains young men in Murder as a which can be recreated by careful interpretation. them obey like trained animals, but my little foreign feared. To them the years bring a continually broad¬ of course, but it is a different kind of technic from bad and of the devil. Fine Art, but of no other art does it take cognizance. ening experience that is of the highest value in their that which goes into brilliant passage work and as excursion party would at least find that the Ger¬ In music we search in vain for any composer who It even pays the military and naval students a salary man children get their great results by working work. There is a constantly growing sense of power such must be studied in a very different way. has emitted a note “heard round the world”—unless while they study, and provides them with official CLASSICAL MUSIC AS A BASIS OF PIANO slowly and steadily. They do a little each day and in work well done that should aid them in keeping The piano is not a singing instrument naturally, we should except Mr. Sousa, to whose marches duties and a pension—all that they may learn to INSTRUCTION. they always do that little well. up some degree of enthusiasm, even in the most and in order to make it sing one must gain the ^Chinese, Turks, Afghans, Russians, French and all shoot straight and turn the enemy’s flank. But The great Beethoven said, “Drops of wat ‘ wear trying conditions. proper legato from listening to the singing voice. "have hiked many an easier mile. Of course, numer¬ there is no West Point where the young idea is BY FELIX LE COUPPEY. away a stone in time, not by force but by con¬ In all intellectual work there is continual growth. Phrasing too will be best understood by making it ous American composers and compositions have taught to paint straight, sing on the key or turn a tinued falling. Only through tireless industry are The recent dictum of Dr. Osier, that the vital as nearly as may be an imitation of the natural had a hearing abroad, but they have not had much melody with skill. Piano instruction ought to be grounded on the the sciences achieved, so that one can truthfully forces are on the ebb after forty, has been mis¬ breathing which governs the punctuation in vocal vogue or influence. study of classical music, which, if I may be allowed say: no day without its line; nulla dies sine linca.” quoted into an assertion that men deteriorate in Official State recognition of the art of music would work, remembering of course that the piano may use In 1841 two French papers pirated a story, “The to express it, is the healthiest food for students. It does not do to plod everlastingly, however. every way when past that age. Nothing could be mean much. It will come when the endowed theatre much longer phrases than is possible for the voice. Murder in the Rue Morgue,” just written by a young The style of this music, always elevated, simple and There are some days when you feel so well that more untrue. There comes a gradual diminution of comes—to-morrow. Our neglect of music springs The meltingly beautiful effects of an artist’s playing American named Poe. This started a European natural, preserves them from a certain tendency to you can accomplish much more. Take advantage physical force, and any occupation depending from the same cause as the neglect of the drama— depend very largely indeed on his legato develop¬ vogue for his prose, to which Baudelaire added by affectation and exaggeration, toward which they of those days, they are rare times and can be made directly on great physical activity may suffer. But our Puritan origin. We are not yet convinced that ment and his care in phrasing—yet these are the two his translation of Poe’s works. And our bibulous allow themselves to be led too often. Moreover, the milestones of your artistic career. instrumentalists do not need the strength of laborers, acting is as important and useful a profession as things not only most difficult to teach the young young Virginian soon became the most conspicuous classical music presents a neatness of form, a finish and any slight loss in power is more than offset by stump speaking or political advancement by way of pianist, but also the two he most cheerfully and per¬ author America had contributed to the world. of style, which helps in developing the feeling of a gain in maturity of expression and interpretation. kissing babies and flattering negroes. The actor sistently ignores. But the very things that kept America from giving time, of rhythm and of accentuation in our pupils. HANDEL’S YOUTH. If old age matters little at first in their case, it is not yet treated as a useful citizen. It is only yes¬ Franklin and Poe their due have kept back Ameri¬ On the other hand there must be a careful and a In its relation to execution, it seems as if it had The distribution of the gifts of genius is very matters not at all with teachers and composers, terday that the musician had much the same rank. can music. Our most respectable people remember consistent development of brilliant tone quality, and been expressly written for the purpose of giving strange and erratic. Sometimes they are given to where the effort is wholly intellectual. To all those Of course, certain great musicians and great actors for this it is impossible to study the scales and all flexibility, equality of strength and perfect inde¬ whole families and their descendants, as in the case adults, then, who are struggling in obscurity the of Benjamin Franklin that he was too fond of have always had their share of adulation, but so the other stock phrases of the pianist too much. pendence to the fingers. Furthermore, leaving the of the Bach and Scarlatti families. Then again, and message of the past should be one of hope. If even women, and of Poe that he was too fond of whisky. they had when they were officially outcasts and vaga¬ Even presupposing, however, that there is present a didactic side of the question to examine it from an perhaps oftencr. we are surprised to find the gift the greatest have had to wait and work for recogni¬ Morality as the censor of art has always handicapped bonds in Rome, Byzantium and Elizabethan London. good degree of brilliancy in scale passages and a artistic point of view, there will be still reason to in one member of a family that had no trace of it be¬ tion, the rest of us should not complain too much it. It may be legitimate to send the artist to jail, This was in spite of, not because of, their theatrical fair amount of tone quality for singing passages, doubt. What modern productions, indeed, should fore. Two hundred years ago there lived a man by if our rewards are sometimes slow in coming. but it is wrong to put the stripes on his muse and abilities. label her on the blotter as a disorderly character! there yet remains a vast amount of finish to be ac¬ we dare to compare to the masterpieces of the old the name of George Ilandel. He was a surgeon, which Acting as an art, music as an art, and every art For generations musicians were looked on with quired before beauty in alb its aspects can be said school, to the sublime inspirations of Mozart, of in those days was combined with the profession of as a profession have not been generally and officially THE SENSITIVE PUPIL. disfavor in America. Worse yet, their bad reputa¬ to be present in any startling degree and this will be Bach, of Beethoven? The most brilliant talents of barber. Surgeon George, as he was called, was an tion came, like old Dog Tray’s, from the company recognized in this country. That is why we lack found only through a careful study of analysis. our day are the first to bow before the illustrious ambitious, pushing man. He had no love for the “atmosphere” in America. That is why som§ of our names of these great artists of the past. I am well beautiful art of music. He considered it a trifling BY M. SNYDER. they kept. It was Music herself who was considered Style in Playing. disreputable. To be seen in her escort was a dis¬ best composers, like Kelly and Hadley, go abroad aware that the few adversaries of classical music amusement—no occupation for an intelligent and re¬ grace that reflected on a man’s whole family. to live. There their art is a species of nobility; here If the work under consideration be of a lyric will say that the works of the great masters present spected citizen. But little George Frederick, his Teachers should be careful, oh, so careful, in their “There is no musical atmosphere in America.” it is something to live down. nature, then the melody must be differentiated from difficulties of interpretation which render their son, showed an instinct for music before be could manner towards the sensitive pupil in their classes. almost everybody says. What is musical atmosphere But this has been more true of yesterday and this the accompaniment as regards tone quality and it study impossible to young pupils. I will agree on walk. His nursery delight was in toy drums and Much harm can come from an unwise word or look —why should there be one? morning than it is of this afternoon and to-morrow. must also be made of a cantabile which is fairly vocal this point so far as concerns Bach, Weber and trumpets, which he banged and blew about tbe house of yours. It was my pleasure to visit a studio not Musical atmosphere is a something that one A great awakening is taking place all over the in its effect, and it must be phrased with care and Beethoven, though the latter has written some easy to his little heart's content. long ago, and it was then that this subject presented breathes and moves about in. It is a public spirit country. Publishers are publishing more and better intelligence. If it be a thematic composition, the music. However, this objection will entirely dis¬ As the boy grew older Surgeon George thought best itself very forcibly. that envelops and sustains the creative artist and native music. Orchestras are playing native works principal motifs must be pointed out vividly and all appear if the repertory of the other composers of the to begin to repress this musical tendency. His aim A little girl came shrinkingly and timidly for her carries abroad the vibrations of his compositions A more and more. The public is beginning to take the imitations must be indicated coherently, if last century be examined attentively. In Haydn was to fit the boy for the law. So out of the house first lesson from this teacher, having taken two general sympathy with music in its larger sense is greater and more intelligent interest in the better harmonic, care must be taken that the chords be there are some very easy things, all of exquisite went the dangerous toys. Music was interdicted at years elsewhere. “Annie, you will please play over what America has most lacked, and is only now music writers. We are showing a ferocious hunger produced solidly and the various voices so evenly elegance and beauty, and Mozart’s works also com¬ borne and abroad. The old father was very firm, and the scales now,” said Miss B. Annie began, stum¬ gaining. for information and guidance. Books on “how to that the effect will be the same as that of four voices prise easy compositions, every page of which reveals every one of the household was supposed to submit bled, then began again, and finally managed in poor the refined passion so characteristic of this divine meekly to his will; but a spinet had been smuggled Can you imagine a group of aldermen getting understand music” find a vastly increasing audience. singing a hymn, if canonic, either strict or free, the manner to get through C major. Miss B.’s amaze¬ into the loft or attic. This spinet was a small keyed together m any town or city of the United States People are being so thoroughly trained to com¬ voices must each one be made absolutely independ- master. ment was great. "Why, Annie, I am surprised! A instrument, similar to a piano, sometimes called a and laying aside the discussion of a street lighting prehend the classics and the standard foreign artists ent of the others, and in more complicated Be Broad in Your Methods. little girl who has been taking music lessons for clavichord. It could be carried under the arm. When appropriation or a trolley franchise long enough to that they are becoming more and more ready to Polyphonic passages the effect of each voice must be two years, and can not play her scales; I am In a less elevated order dementi, Dussek, Stei- tbe "family were asleep little George would steal up¬ debate a question of municipal music? If you can listen analytically to our own new men. Automatic as distinct as though there were actually several shocked!” Her tones and expression proved her belt Cramer, Hummel and Field have likewise- stairs and amuse himself. Thus Nature was his first imagine that, you have a large future as a fiction piano and organ players and wax or rubber records People playing separately, each one as firmly and words. written a host of pieces, such as sonatas rondos teacher. Without any guide, and merely by letting writer. Free band concerts in the parks and on the are placing good music within the reach of every¬ strongly as any other one, if antiphonal effects are Annie became more nervous as the teacher found and airs with variations, which are all excellent for his little fingers run over the keys, he managed to body, to study, to grasp and love. Nowadays old introduced the true significance of this style of writ- more “surprising” and more “shocking” blunders. ‘ Y- J-hey,make votes> even » the music the study of the piano, without presenting any produce agreeable melodies and harmonic combinations. they play gives the judicious the earache, not to say men who could not call a single piano key by name mg must be held in mind, if echo or any other serious difficulties. Indeed, the resources are as Of these she freely spoke, not in a grave and kindly musical phenomenon or imitation be introduced it When be became seven years of age be found out a heartache. But can you conceive of a committee in can pull a throttle and engineer the performance of abundant as they are varied Any method which manner, but in horrified tones and words. At last must be made true to the original, and finally, when that he could play upon the spinet, and this was the a symphony, or sonata, or an aria of the highest confines one to a single style becomes an enemy beginning of tbe career of the man who wrote the the hour was up, and the pupil was not sorry, judg¬ C,ty- C°Urty °r State issuin* bonch is its chief charm, occurs three times on mlskTnd frequently the teacher has a long and greater and more frequent mistakes will be the result. and it should be the pleasure of all Americans to tween the essential and the non-essential, between c countries of Europe furnish subsidies to con¬ various degrees of the staff—and, whether high or Scult task in making a judicious choice for his Be patient and painstaking with the sensitive ones. difficult ia . he wi„ act prudently ,n the real and the unreal, between the truth and the servatories, opera houses and theatres, and govern know what their fellow countrymen are doing or ‘°w, it should be played with a perfection of legato ..falsehood, and between the artistic and the inartistic. the musical glory of our race. ; with an abundance of shading and climax, build- SSt ‘he pSeSe to works signed by artists of ng- Then, the second part is strictly m the the etude 703 702 THE ETUDE ity, admit of tasteful registration and are technically as to lie right under the hands, even hands of well within the range of the player of average ability limited span. In playing a march of the military The “Allegretto” (in E flat) :s the latest addition! A CALM SEA EXPLANATORY NOTES ON ETUDE MUSIC type the student should always be reminded of the having been recently composed. This piece might BARCAROLLE effect of similar marches when played by an efficient Practical Teaching Hints and Advice -be used to good advantage as a prelude at morning brass band, and encouraged to imitate these effects Allegretto scherzando 60 or evening service or as an offertory. It would also M. m. J. = PIERRE RENARD for Progressive Students and Teachers as nearly as possible. This little march is admir¬ make a good recital number. The registration has By MR. PRESTON WARE OREM able for the purpose; there is abundant opportunity been carefully indicated and should be followed as 8 2 for color and contrast. It should be played in a , It jaunty manner with snappy treatment of the rhythms. closely as possible. This piece may be effectively 1 y ^ performed on a two-manual organ with very little j iprw Note the drumming effect of the left hand part in the SHEPHERDS’ DANCE—M. MOSZKOWSKI. adaption of the original registration. It should be :W[Tjl Hi This composition in its original form is a setting played in an easy, flowing style at the metronome Fgg for solo voices and chorus with small orchestra of ON THE ROAD—C. W. KERN. rate indicated by the composer. It will afford par¬ the well-known lyric, beginning “Dcr Sch&fer puste ticularly good opportunity for the display of solo .,rr~rr This is a joyous little characteristic piece, still sich sum Tans," found in the first part of Goethe’s stops and for various soft combinations. easier than the preceding, but demanding taste and “Faust.” A rather literal English translation of the -t7 4, 2—1- verses will be found at the head of the music. There some musical intelligence for its successful, per¬ formance. It may be understood as depicting a CHANSON RUSSE (VIOLIN AND PIANO)- rn P-1 n1 ^ • ist time 1 are a number of free translations, of which Bayard SMITH-TOLHURST. Taylor’s is perhaps the best known. Although M. merry company on the way to some festive gather¬ > Moszkowski writes in a polished manner for voices ing, enlivening the journey with song and zest. It There are many, perhaps, who have take the name and scores brilliantly for orchestra his idioms are must be played very precisely, with strong accentua¬ Sydney Smith to be a nom de plume. Such, how¬ Mtrr f ^ u5> ip -ff p -0~+ ~ gi>rr- nevertheless essentially pianistic, hence the effect¬ tion, at a lively rate of speed. This piece may be ever, is not the case. This popular writer of draw¬ l ft A ‘ -t :• ISSSSZ iveness of this piece as a pianoforte solo, more es¬ used as a study in style, in rhythm and in phrasing. ing-room pieces and operatic transcriptions was a -rr tthji It would prove attractive on an elementary recital -fr-Lir pecially as the transcription is the composer’s own. native of England (1839-1889) and studied under A reading of the verses will call to mind the picture program. Moscheles, Plaidy and others, at the Leipzig Con¬ -—yr- - the composer is endeavoring to portray: A boisterous servatory. Few composers of the lighter class of jollification of rustics. The rhythm employed by the DOLLY’S ASLEEP, CATCH ME—R. E. DE REEF. music have had a wider vogue. His “Chanson composer is that of the “liindler” or slow German These are two genuine first grade pieces, easy to Russe” is one of the more popular of his original waltz. Even in the pianoforte transcription there read, simple of construction, suited to small hands, pianoforte compositions. Mr. Henry Tolhurst, a is a suggestion of the orchestral color, a character¬ yet musically attractive and of real teaching value. well-known English violinist and teacher, appre¬ istic hint of the strenuous efforts of the musicians Both are in characteristic vein. The first is ciating the possibilities of this piece as a violin comprising the local band. The entire work is a gentle little lullaby which must be played in the number, has made a very effective arrangement of it. genial and picturesque. It must be played in a singing style. Even elementary pupils should be This transcription is especially adapted for display¬ I vigorous manner, strongly accentuated. Towards taught to play expressively and with understanding. ing the singing quality of the violin. It will serve the close of the piece as the dance grows maddei “Catch Me!” is a playful movement very useful as as an excellent study in style, phrasing and tone- a stirring climax must be worked up, increasing both a medium for teaching the staccato touch. This production. The title, “Chanson Russe,” denotes in speed and power to the end. Admirers ol piece should be played in a snappy, capricious that the piece is intended as an idealization of the Moszkowski not previously acquainted with this manner. Russian folk-song style. Violinists will be pleased piece ha-ve a treat in store for them. with this number. The bowing and fingering are AMOURETTE—PAUL LINCKE. carefully indicated. BASKET OF FLOWERS (VALSE)—TERESA CARRENO. This is a piece of the “modern gavotte” type, a style which inclines more towards the schottische THE VOCAL NUMBERS. Teresa Carreno, born at Caracas, Venezuela, than the old-fashioned gavotte. It is an attractive 1853, is one of the foremost pianists of the day. In Three new songs are offered this month, all by rhythm, a fitting vehicle for melodic composition in early life she was a pupil of L. M. Gottschalk, her American composers. J. W. Bischoff is a veteran lighter vein. “Amourette” is an excellent speci¬ public appearances in concert dating from 1865. Her writer who has written many successful songs. His men of its class. It should be played in a precise, career has been wonderfully successful. Mme. Car¬ “When Love Wakes Up from Sleep” is of pleasing rather stately manner. Particular attention must reno has composed a number of drawing-room character, easy to sing, but very effective. It should be given the second theme (in A), in order to play pieces, the best known of which is probably the meet with much success. Mr. Pontius is another it in exact time. waltz published under the title “Mi Teresita.” The well-known song writer whose “ Forget-me-not” waltz, “Basket of Flowers,” appearing in this num¬ should take high rank. It is an artistic song and ber of The Etude, is a more important work and TO A PORTRAIT—GEO. DUDLEY MARTIN. will appeal to good singers. Both these songs are should be much played. It is brilliant and melo¬ This is a modern drawing-room piece of the worthy of places on the best recital programs. Mr. dious with characteristic, contrasting themes. As lighter class, by a successful American writer. It Robinson’s “Dolly Dimples” is a clever little en¬ might be expected, the piece has a decided Spanish should be played in a tasteful, finished manner, at core number, dainty and melodious, just the sort of flavor; note particularly the theme in E major with a rather moderate pace. As it is a “song without thing for which singers are constantly on the look¬ its caressing thirds and languorous swing. This words,” the interpretation should naturally be in out piece will permit of considerable individuality in the style of a good vocalist, free and somewhat the interpretation, demanding taste and discrimina¬ declamatory. tion on the part of the performer. Although marked Presto all the themes are not intended to be played PIANISTIC TALENT. VALSE PITTORESQUE^?.1 SHRANK FRY- at the same pace. This is merely an average tempo. Talent implies -a peculiar aptitude for a special SINGER. Furthermore a judicious use of the tempo rubato employment; hence pianistic talent implies a peculiar will add much to the effect. The player should This is a waltz movement totally" different in style aptitude for that particular branch of musical art. strive for contrast in coloring, in addition to elas¬ from Mme. Carreno's “Basket' of Flowers.” It is Talent depends more on special training and untir¬ ticity of rhythm. This piece should prove a favorite by an American composer and follows the modern ing diligence than on intuitive force; for intuitive concert number. “impromptu” style as popularized by Schiitt. Mos- force is genius. Musical talent may and may not im¬ kowski and others. It should be played with con¬ ply pianistic talent; but, taken separately, the former A CALM SEA (BARCAROLLE)—PIERRE RE- siderable dash and abandon in order to gain the best is of a higher order than the latter. A pianist may NAUD. effect. Particular attention should be paid to the be a great specialist without being much of a musi¬ left hand, that the harmonies may be brought out There is always a demand for teaching pieces cian, but to be a truly great artist he should be an clearly. An excellent teaching or recital piece. which, in addition to their attractive musical'quali¬ accomplished musician also. The peculiar aptitude ties, possess genuine educational value. It is the aim which constitutes pianistic talent consists in the to include a number of such pieces in each number A LA SALTARELLE—S. KARY-ELERT. command of certain organs and faculties pertaining pf The Etude, especially those of early interme¬ This is a characteristic dance movement by a to music in general and to the pianoforte in particu¬ diate grade. Pierre Renaud’s “A Calm Sea” is a contempory German composer, whose works are be¬ lar, such as a musical ear, and memory, etc., but typical piece of this character. It is suited for an ginning to find favor. It requires a facile finger more especially in the gift of' fine, delicate touch, advanced second grade or early third grade pupil. technic and should be taken at a brisk pace. which I may call inborn touch. . . . Talent, be¬ It is sure to prove popular with students, and from ing a gift, is not to be acquired by any effort 0 a teaching standpoint it will furnish material mind, nor can the greatest perseverance compensa e CHASSEURS A CHEVAL (FOUR HANDS)- for rhythmic drill, for practice in melody playing, for the want of it. At the same time, without going WM. ADRIAN SMITH. light finger work in scale passages, legato and stac¬ so far as Buffon, and asserting that “Patience i cato touches. This piece should be played in a This is a brilliant number in military style, a Genius,” it may be conceded that perseverance wi finished manner, gracefully yet buoyantly. manner of composition peculiarly adapted to four- lead further than talent, if talent be indolent. Ta e hand arrangement. In this piece the Primo and either exists, or it does not; it rarely slumbers, an BOY SOLDIERS—F. HUMMEL. Secondo part are of almost equal importance, the if it does not manifest itself when appealed to it W1 arrangement being very well balanced. The various This is another teaching piece of totally different never awaken.—Christiani. themes must be well brought out and the general type from the preceding, but also useful. It is a effect must be one of vigor and enthusiasm. This vigorous march movement in the German style, the The Psalm is the praising of God and a , will prove a very enjoyable duet number principal theme reminding one of a folk-song. This momous confession of faith in Christianity. piece has one characteristic much to be desired in can be more beautiful? Every age and each sex 9 a teaching or recreation piece of easy grade—it ALLEGRETTO IN E FLAT (FOR THE ORGAN! fit to join in it; emperors and kings, like the Pe°P ' sounds more difficult than it really is. In other' —E. M. READ. may sing psalms. Singing psalms unites the words, the harmonies are such as are to be found united and reconciles the offended. Who could n° Mr. Read’s pipe compositions are well and forgive a man who united with him in raising in larger works, while the passages are so planned favorably known. All have graceful, melodic qual¬ voice to God?”—St. Ambroses (340-397)- the etude 704 THE ETUDE J=- X. * a B___—1-1_B ._ 18 r- r- SHEPHERDS’ DANCE Der Schafer putzte sich zum Tanz dolee /a RUSTICS UNDER THE LINDEN U j - tv TFA The shepherd spruced up for the dance, He pushed himself eagerly in Now nimbly speeding in the ring With parti-colored jacket, band and garland. Gave a maiden a nudge They danced to right, they danced to left With his elbow! And all the petticoats were flying-, Smartly was he arrhyed! They grew red, they grew warm. In crowded ring around the linden The buxom lass turned round And breathless rested, arm-in-arm All were dancing like mad And said,“Now I call that stupid” Huzza, Huzza! Huzza, Huzzal Huzza, Huzza! Tira-lira-hara-la! Tira-lira-hara-la! Tira-lira-hara-la! Merrily went the fiddle-stick. “Pray be not so ill-bred!’ And leaned upon their elbows. (From Goethe's “Faust.”)

9\V • -

2 3 1 j j* non legato > M-M -/d- ■f- i H ■ H f fef *-f f It 1~T T~ mm J 5 - 5, ^7 i _ 7^|

poco marc. i 2 3 t ^ poco marc. ♦ 1 A- P i -*=£- >; CC ; ----- b~. --- - : > A ^ >_ i i - » « ».4 e:: jj * »2 J t> t it tf > > > ♦ «*:: 11 > > > » - Cr i Sc 1 I'C 3 -< j ♦ Jr 4 B 4 3 , » * L i, A U 4f3 3 3 4 5 f £ 3 8* '• * # * •

3 “* a? * Lr II1 ^ 3 3 if marc. JJJ a 4 fi + £ - m <-•- 4 f 1 2 S f 4 5 2 5A-i 4 #5 *3 £Ti 6. --5 4- j

AjL

a *i

5 3 4 3 -^-1

4 p-4~" > \ f. V- 4l_

3 Tl '■'= 1 1 p\ Jr , ^ —— 1 2 . 1 f -A | i « — id pjtr ■ ^ - tr5 1 —w— 1 □ v • i 3 5 5* i fW i ^ ji a urn uj vj *3«: < f —1-zg=r~I^=a~~Udff-K■--'T--rTYTtf~>h- !*1 /lAxL_ -1 V g!_ f w m AV- fLr r0 * - - ~= PPP —3 m m-mm«f]» --- .• LES CHASSEURSACHEYAL r 3'1X J73.W 9 J r* THE ETUDE > Fantaisie Militaire ir~Sry ; tLSi- ♦ a,- • J t ?\ • f^+*+ > j? ^ j-f cti >“ >A. if .fYl - J fr^= > i sir 551 IS 9 > > S&J !F2 1 PT 55 Sf! t TN • A Ip? / i7. i -——-#-=- ^t-= Allegretto marzialem.m.J=io4 4^T 2 - -- , ^ LES CHASSEURSACHEVAL • m‘ = 111o- the etude Fantaisie Militaire f j iI* T|% ii* PRIMO ;ppi =5-v=»- PIPP: rr > WM. ADRIANSMITH,Op.53 =m a:

. THE ETUDE BASKET OF FLOWERS LE CORBEILLE DE FLEURS VALSE TERESA CARRENO, Op.9 Andantino \ / % - 2~^\ f • 8 1A •sU*.

— 2 . 1 Peon espres. S. —= */ 7^

| GLl&'Z 11 '~it Last time onlpl 0% C - i to Coda A

;j«i «■ ! ,3- ! ! cr. y ^ Presto

ffr :|

c:: hi ■< ! rr t 5 4 * I ft A ft 5 iyi SC 3 fin JT^T?^rri^rrf1 rm iffl f i|fj f [Offf - 31

'ip- - hk M M M M m S§j- m k m jr r |j HtVTj m

:i: 3

CODA

Vivo-p— *-- ft /TS r:gdrL ^ '^•'r rfi*_~n f f

UT' U| ' LI ‘ ' U-LU-J i^| | £ ^ express. 1 * -i- L—i 9 if 1 3

s go back to“ Valse” and play to then,go t \ 3 »5 .3, frn f i* cresc.. rail. a tempo_ •M ' ■ a tempo^-~$-g— jgy 1 rit. * adlib. ^ ,r» ^ rCf^f w 1 ^- -* ^-/TN J J ■■ #r^«!» h#l ,I> p gl -| / tJ3P# t”' __—, /T\ 7\ Ts p 4=L_ " ' r—t—»-» m ^ L r ~ ^XJT ^ T ~ j etude the f- --A -J. jr u — L r \>f\. 5 * - - - r0 Li i ^P ^L, -- £f-. - u—1 L, 1 • ^—t— poco piu mosso Tempo I Tempo 1 ^ ^-1—■' ) ^ f ^ It i P / cresc. rH §|^ = if ■ jfe. h ff\ p subtt0 ** ^ rit. -«A cresc. i — rit. P W ¥ Z"3§ Mg| 0* mm . cresc 7%accel. s* , 1 \/ f] >3 ■f- , 0 nPA ••• Op. 3i FRY SINGER, J. FRANK r 1 jpj J If ■J 1 r i^- \ >> 1*1_ esc. jm 2 / -7S~~ 0^ O’a tempo ~ai - -t Pfl J^LA a tempo j 7 ” ETUDE THE ATj ==f^g t! r : r rt7. * -• rit^ pj— -| ^ , \zi a= rr- Lewi^PMadelphta Bernice Frysinger- To Mrs. PITTORESQUE VALSE p * accc/. —— y^--—-jS jTj "Tjrf _ 5 3 R#r ^ 1—1 e. **- ISC. Wl —-S- T 31 4 g i - m. m. J.= 50 Tempo di Yalse ^ P appassionato ♦3 2

j. Qraxioso

/r-0-4- ^ (PiiSfj \ -—- j dolce^-^ < V ere \ tP §; —1 / p —==. ere U^:- -

cr: jj p!i

, ::3i

Bj; I CK 5 in \Ji%i p! r\ vs. * %\ 715 714 THE ETUDE THE ETUDE 716 THE ETUDE THE ETUDE 717 CHANSON RUSSE (SYDNEY SMITH)

C)N THE ROAD . THE ETUDE THE ETUDE

-1* s * rm '' * <•-* TO A PORTRAIT ~^ 3 a JJ H [ ■ SONG WITHOUT WORDS Moderato m. m. J = 72 GEORGE DUDLEY MARTIN tempo j ere sc. ♦ m* l I, ly ~ # "T! gir^~7~iir~~

--- r [TTf * —-

J1TT IpM J 'fWPf^ m

I m d a tempo x ;is; c/. * i 3?«i I didi dTisjc 10 ^ly- \$\ gi

j K ■- A LA SALTARELLE r; - SIGFRID KARG-ELERT, Op. 69, N° 1 4 »— i »pn -i yf t f-. > ri »^"*-rr, '"■ rn || ? - ^ Prestissimo M . M. J - = 168 »^T7 * d ^Jeggiero —-^Tr~ pveloce - fve pveloce s > S i

—~~ d pu j, n uun \li vrk vj Vp UJ A 5pi3 "'a <. •~~i i^ - ,^~j *4: r-rmTTZT A: ~~~ » --^ t^: j&: ;■ 1 ui|p~7~^ str—- <—5— __-2 1 pi^a *8, *> > ^ rf 7^ *. :=► I > > , s-^gi 733 THE ETUDE

To my jrivnu «<««■ >/. " ■ Sw. Diap’s and Sal. 8' Coup, to Gt. ^ ^ Ch. Mel. 8'and Dul. 8' Ped. Bour. 16' and FI. 8' Coup, to Gt. EDWARD M. READ M. M. d =100 ■—^ 5 -* 3 a tempo 3 * 2 2 1 Q | ,^'4 B a | i *i J » /, B| 3 2 ~ '

•SLr (i H f,_ grr Irail. | Ajdcfd' to S\ < o,-]^y \ j «U J I 5p- SC JJ-J .wU. A- . J* f r r-l-ji-, | ^ JJ [H =£. 1 ^£Ff— J- rj- Sw. Bour. 16' £ al. 8' FI. 4'a id Trem. rail. 1 t -L j J J 'P-—I 5*-- Ch. to Ped. off Bour. 16' 1 r r rr r if J 1 Ip . J ^ + IIM? |.--H-.---:d l'; ^ J- 1 1 1 i| —aIf 81 -1 H=*= « tempo —^—— 4 r-— ** 4 3 4p ijf 1. 2N [ 1 jY , 2 L--- 1

f i ^ rfr jJr ,JJ j WT f M= si 5. In l 08 T- \m is T-f T ^~r , {!| SE 3 5S5' c£5» CM jjH ji S: : d:: v: > u hr

VVLy f\ VJ i j. itr 19-Ti*rf BURTON T.DOYLE ^ caresaresmall,When1 Q. t-|,|, Q-r-1-1-1-n-r-1-r-| ■y|f|1 , J ^ [i-irfrTT pan -ionsmeUp here onearthI love islifein Andante WHEN LOVEWAKESUPFROMSLEEP 1 Life spleas-uresownandsmileonmeWhereloveisal-waysnear:Andjoya-loneCom- For lovecansootheandcheerusall,Whenwearewornsad,Life’spathssmoothRarth’s learts arefulland F 'IP bloom: i- I^.1— WFu stay; on myjour-ney glad. here. This THE ETUDE Z- 4 It’s { »— 0J 5- •* •- broth-er-hood makesAn-guishfleeAnd one iswine,ThatstainThe REFRAIN Hope makesus nip • ^rf 3. So,loveisgoode-noughformeWhile 1. Joyissun-shine,Sor-rowrain,While iong, J oy makesus stay fromonea- oth -er’ssweetper 1 | h. J. W.BISCHOFF .. j lFs strong, r j ^mfTempo/ ^ jjpf:_J_• *J~—#~T—-t -'PPL H. R.HERTZBERG ■4V-. Jr-F- A jTempoI -j---1_7 n 2.' Andfait,iausethe8il.verStar,Theba-byoaes.no.JoveorMars,Aslit-tiedot., brightbeau-ty.pot.,For Dain-ty Dol-lyDimpies, steal therain-bowfromsky;Toplaceitfairuponhair,OfDain-tyDol-lyDimpies. Par-a-dise hesaid,I’mtold,ImusthavetheseonedaytopleaseTheDain-ty Dol -lyDimpies. crese. sleep, Allegro *-*■-1 i.= . Yhen lovewak pJj-j 1 DOLLY DIMPLES f L- r} i"7" es upfrom ' pocorail.^ 1 the etude -o- =|-' j'TT'^n sleep, When j •—fyj,- s rJU] J~pi\ -f r $t~ 1. Youwishtoknow'therea-sonwhyl’d --P— >■ r\ r\ love wakes colla voce Pe -terorder’dflairsofgold,In r *rT a tempo frT^l ■ J|.J-J-- r --- | up from ^ . CLARENCE C.ROBINSON f sleep. I pp ^1—frl 3. When line. n\ j— 725 726 THE ETUDE the etude 727

begins to flag you can tell them why it is better FORGET ME NOT to learn to make the right motions with their Angers before going to the keyboard. Anecdotes The Teachers’ Round Table may also be used to arrest the attention when it WILLIAM H. GARDNER WILLIAM H. PONTIUS begins to get tired. This can also be done by talk¬ Conducted by N. J. COREY ing to them about their own affairs and sports. Rhythm you can teach when you take up the notes A Department for Suggestion, Advice, Conference, Encouragement for all Readers of and measure, and let them tap the rhythm of these “THE ETUDE” who need Practical Help or who Have Evolved notes with a pencil' on the table. Singing little melodies is an excellent idea, and you can teach a Ideas That May Help Others good deal in regard to pitch in connection with them. To go into details in this column would require more room than could possibly be given. As to the details of the method employed by Mrs. A Word of Caution. judgment. Not too much, nor too continuous use Kotzschmar, you would bellcr write directly to the The Editor of this department would apologize of them. Pupils who have a natural inclination author of the essay herself. Furthermore, if you towards musicianship will gradually grow to like to some of his readers Who have sent in questions, will look over your files of The Etude you will them. There are some students to whom it ma> for an occasional apparent remissness, if he could find a number of advertisements of systems of in¬ never be worth while to try and give Bach. And feel that it was through any fault of his own. A struction for children based on these principles. they are not to be despised for their taste for word of caution is due to those who write, lest You may gain still further information by com-* music may be none the less wholesome because name and address be forgotten in the signature. It municating with the authors of these. it cannot be made to include Bach. If a person has has been our custom not to print names in the As to your second question, I fear you do not not a natural taste for Bach to begin with, interest department because the majority have requested us clearly understand the office of Plaidy’s collection of in his music can only' be a gradual growth. exercises. Plaidy does not "follow” any particular not to do so. It is easily obvious to anyone that 4. Sonata Form, by W. H. Hadow. set of studies, but is merely a compendium of the to print names might often place teachers in awk¬ standard technic that should accompany every sys¬ ward positions, especially those who have pupils 5. Thorough study of harmony, and constant tem of instruction, and there is enough in it to last who are also readers of the magazine. But when practice of transposition, beginning with the sim¬ several years. It can be used almost from the very readers ask for a direct answer by mail to some plest exercises and tunes, and gradually progressing beginning, and nearly all the exercises can be given of their questions, but give no address, it is we who from the simple to the complex. 6. Review your harmony from the beginning, but to the pupil by dictation. The exercises contained are placed in the awkward position; for with alltne in Plaidy are indispensable to every player. So- willingness possible to accede to the request, we instead of writing the exercises, work them all out practically on the keyboard, and stick to each chap¬ called modern technic includes Plaidy, and is, to all doubtless have to suffer the accusation of being intents and purposes, founded upon it. Nearly every ter until you can play the exercises as easily as you unwilling by the person who has been seemingly system of technic contains what is fundamental in can read the printed page. You will thus learn to neglected. Of course we have not a very large Plaidy. The Liebling-Czcrny studies will be excel¬ know your chords at the keyboard and, when you amount of time to spare in writing personal letters, lent to take up at this point, and it will be well to come to the chapters on modulation, will be able but have been glad to do so when correspondents have the pupil even begin with the easier ones and to work them out practically, and apply them in have been placed in an emergency, for thus far the practice them for accuracy. You will find in the privilege has never been abused. Early in the sum¬ your actual work. answer to another question further hints in regard mer a correspondent sent in a list of pieces in her 7. Only by holding yourself so closely to your to useful etudes. A thorough review is often pro¬ repertoire, from which she was to select two or three task that y?u can merge yourself in it, and thus ductive of much good in the way of accuracy. The for a concert circuit, which was to begin in six become oblivious of everything but your work. practice of sifcht-reading, using pieces that are sim¬ weeks, and she was anxious for our advice as to 8. It is certainly better not to confuse the young ple enough not to tax the technical powers of the which would be most suitable, in order that she beginner's mind with too many things, and therefore pupil, also quickens the perceptions. might begin work on them immediately. She en¬ best to give only the majors at the start. closed a stamped envelope, but there was no address 9. Yes, this is better, as it teaches them how the Grace Notes. on the envelope nor in the letter. Hence we were minor mav be derived from the major. una,ble to answer. We have had a number of inci¬ 10. Music is entirely a matter of ear, an art that dents of a similar nature, and therefore give this directly concerns the ear, and to the ear it makes word of caution. its first appeal. It is impossible to realize how Ten Questions. crude the average ear is as concerns the common phenomena of the art, and in order to acquire ex¬ “1. What exercise would you suggest to overcome the habit ot drawing In the second joint of the pertness of a high order a long period °f training thumb when the hand is extended? is necessary. This point of ear expertness can be “2. How should octaves be played, and how much more briefly reached by exercises directed taught? They arc acciaturas, sometimes, but incorrectly, “3. At what age would you advise beginning the especially upon the desired result. The art of ear called short appogiaturas. They arc all played prac¬ study of Bach? How much of his music should a training is as yet but imperfectly understood, and tically alike, as quickly and lightly as possible. student use? Please give a list of most useful things. How can they he made interesting? I ™ in many systems of musical education the They take so little time that it is hardly possible to have always taken them as a bitter medicine. mathematically try and figure it out in notes, as is "4. Where can I get the best Information in re¬ gard to the sonata, its history, construction, and often done. In the first and second examples, the the best ones to use at a lecture? octaves should be considered as one and the same “5. What sort of training should pupils have to note, and so played, the grace note preceding each. enable them to transpose at sight? sr “8. How can I learn to modulate freely at the In the second set of examples the effect is the same Piano? I have written much harmony by rule, but as an arpeggio chord, the same manner of execution can make no practical use of it, and am methodical and mechanical. My teachers tell me I have suffi¬ applying to each. cient technic to improvise, but have no confidence. “7. How can I overcome self-consciousness and Books and Pieces. Jack of concentration in memorizing? I can some¬ times play a long composition, but if I once get off Children's Classes. lew quPfiiODi xor oue the track cannot get back again, and thus never "Will you feel sure. who derives » s*1;"- of pleasure BDd benefit “I enjoyed Mrs- through*the’columns frorn thin and all ’ departments of Tub '‘8- Is it best to give all the major scales first, class teaching, and wouldI like "^outline of the and then the minors? 1CT.-,"K- From what hook or method ran 1 gti mean wr "9. Do you tell pupils to flat the third and sixth oC ‘^rToTesS the study of piano playing to ear training for children just beginning music? or^eaeh major scale in order to form the minor? at the tabic be "2. What history is best for either claim or In¬ , Can you give me any suggestions in regard to “ would the ““‘'“"Ld an anecdote of some great dividual Instruction for children? , ear training? Why is so much stress laid upon it. ••3. In using the UwbetlaVy method, whst in- musician, .^'^'"a'blTkUrd struct ton books or studies are beat, up to the fifth .' Exercise the thumb much, keeping it curved Br*4*? Dense give a list of pieces, both classical itn the point turned in as far as possible. Let the T^ois Caruthers m ner J* , -Mother Goose Rhymes and popular, for the fourth and fifth grades. 1 be finger remain on one key, and extend the 1. Already answered in this number. and key by key, ‘ the thumb keeping the curved 2. First Studies in Music Biography, by Thomas ? Position during all the practice. Then practice If the author of the essay q p|tcb or (q0 'apper, will exactly fill your needs. sixths and octaves in same manner. rtythS'mig t Plaidy’s Technical Studies will provide you •• There is not space here to go into details as to rjth all standard exercises. You will find Mason’s , e Playing, but if you will purchase the fourth ’ouch and Technic invaluable for supplementing °k of Mason’s “Touch and Technic” you will ambitious, is a PO»c fdthe correct ones I have our ideas. Use the Standard Graded Course. For the subject exhaustively treated. Anything m upplementarv study you might use: Grades 1 and that you do not understand I shall be glad to , Czerny-Liebling Selected Studies. Grade 3. Wider in these columns. j -zemy-Licbling, Book II: First Study of Bach, and !• As soon as the pupil has advanced far enough pfStSBSi feller Op. 47. Grade 4. finish Czerny-Liebling, Pay his easier compositions, then get “The First look ’ll; Bach’s Little Preludes; Heller, selections ,y.of Bach,” which is an introduction to Little Plaidy follow. definitely rom Op. 46 and 451 Presser, Octave Studies. Grade Bach's Lighter Compositions; Heller, selections eludes of Bach,” which should come next. After t would hardly he P°s*| ejn this matter as con- iii , c^’s Lighter Compositions.” edited by Franz t what you should dOjfi^ouid ^ tQ how- rom Op. 16; Cramer’s Fifty Selected Studies. Then the “Two and Three Part Inven- Inns are so various. r and fresh 4 Flirtation. Berger; Serenade. Rolling: Sal- ,7s’ and selected movements from the “Suites, arelle, Lacome: Valse Ballet, Rathbun: Second >ch may be followed by the “Well-Tempered 728 THE ETUDE the etude 729

THE POOR BEGINNER. rette, Blumenschein; In the Gondola, Bendel; Ballet The larynx is no simple contrivance. Intercostal breathing adds greatly to Mignon, Wachs; Song of the Bathers, Wachs; Vocal teachers are apt to ignore it for the storage capacity of the lungs later¬ Novelette, Op. 23, Reinhold; First Mazurka, Op 24. the very sufficient reason that its ac¬ ally. but does not expand them down¬ BY EDNA JOHNSON WARREN. Voice Department Saint-Saens; In Poland, Op. 10, Moszkowski; Valse tion is involuntary, and any directions ward. It is also lacking in flexibility. Impromptu, Rathbun; Concert Gavotte, Swift; to the pupil might do more harm than The diaphragm lengthens the lungs Vienna Waltz, Op. 121, Schytte; Second Valse, Children, as a rule, are fond of a surprise, par¬ In the window of a piano store the other day I good. It is a great mistake, however, by contracting downward. It acts, as' saw this sign: Edited Monthly by Experienced Specialists Godard; Mozart and Haydn Sonatas. Mendelssohn, ticularly if it is a pleasant one. Why do not more to tell the pupil that the tone is not stated above, in conjunction with upper made in the larynx for the simple rea¬ Songs Without Words. music teachers take this fact into consideration? “Upright Pianos from $60.00 to $100.00 Editor for November . . Mr. Frank J. Benedict or lower abdomen. son that it is not the truth. Fifth grade: Minuet, Op. 72, Raff; Valse in Aflat, The following are a few of the things I have done for Beginners.” The latter is not employed, as the act Moszkowski; Kammenoi-Ostrow, Rubinstein; Prize to keep up the interest of the tiny ones in the class, Editor for December . . Dr. W. R. C. Latson, As a matter of fact, wonderful things of exhalation is here accompanied by Song, Wagner-Bendel; Polonaise, Op. 26, Chopin; and I would offer them as suggestions and helps for Alas! thought I, the poor beginner is still with us Editor of “ Health Culture ” are going on in this little three-cor¬ contraction of the powerful abdominal nered box. Its delicacy and complex¬ Valse in D flat, Chopin; Impromptu in A flat, other teachers: Anything is good enough for him. Most things are muscles, thus producing a greater pres¬ ity in action fairly stagger the imagina¬ Chopin; March of the Dwarfs, Op. 54, Grieg; Nor¬ Let them find on the piano notes (and place the too good. He is expected to take what is not good sure upon the vocal apparatus than it tion. Altogether involuntary and de¬ wegian Bridal Procession, Op. 19, Grieg; To Spring, proper finger upon same, picking out only those enough for his elders, and be thankful. If he is not is able to endure without spasmodic Op. 43, Grieg. SINGING IS BREATHING. and control. Compare any great singer pendent upon freedom from outside in¬ action, as stated above. which are marked) from difficult compositions. thankful, so much the Worse for him. He is always Glee Clubs. Anything written in the C, G or F scale should be with an average non-singing man. The terference for normal action, any tight¬ The alternate means of accomplish¬ on the outer edge of things, and take what centri¬ ness or stiffness of the adjacent parts "In organizing a glee club In a high school, what recognized; most of them jump eagerly at this and BY FRANK J. BENEDICT. “singing man” will exhibit a startling ing diaphragmatic breathing, viz: in fugal force sends him. prevents it, absolutely, from performing can be done with tne boys whose voices have not it is a great benefit to sight reading in later years* superiority over the “natural man” in conjunction with the upper abdomen, yet changed, but who prefer singing in the glee its function in the way which nature club to the girls’ chorus class?" Allow them to count measures while you play for The original beginner is the small boy. He two respects. First, in far greater is not open to this objection, as it re¬ [Note.—In a brief sketch like the present manifestly intended. The main prob¬ them. This teaches them to count evenly instead usually goes through a period of eating at the second It Is manifestly absurd to undertake a com¬ storage capacity. Second, in a wonder¬ laxes with the diaphragm itself, giving lem is, therefore, to find out just how Is it because the boys think it is beneath them to of unevenly, as so many children do. At first it may table, getting the small piece of pie and the least prehensive discussion of this important sub¬ ful control of the process of exhalation; a flexibility which, in its fullest de¬ sing with the girls? If so, you should try and con¬ ject. Manv aspects of breath control as a much and just how little breath pres¬ velopment, is truly marvelous. be necessary to count aloud with them, but shortly desirable part of the chicken’s anatomy, and often¬ line art are not touched upon at all. Again, the kind of breathing which “is” sing¬ sure the apparatus will endure without vince them that in the boy choirs in some of the they attain the habit and do nicely alone. directions are given and statements made, ing. • In this way the act of exhalation, times wears his father’s trousers, reduced to a minia¬ without the explanation and illustration which losing its free, involuntary action. It largest churches in the world girls’ supplement the Read short stories to them about music, which Phenomenal excellence in these re¬ during which the process technically ture copy. would naturally accompany them ; which, in¬ may be said here that an alternate boys’ voices. It is true, the girls are obliged to sit will be imparting knowledge without too much labor deed, the thoughtful reader would demand. spects means, of course, many years of known as “breath control” takes place, When the beginner begins to study music the For these deficiencies the writer pleads, means of tone production is generously behind screens, but this it will not be necessary for on the part of the child. Nearly all children have earnest effort, but a thorough knowl¬ is achieved by relaxation only. Here same plan is pursued. The cheapest teacher in town simply, lack of space. provided, but it is attended with effort, there are no bones to prevent flexi¬ you to mention. False pride in children is often a remarkable memories, and after the story is finished, The aim has been not so much to produce a edge of the underlying principles may is good enough for him—the cheaper the better. scholarly paper as to present the subject in increasing as the years go by, and is bility, and combination with the rib or habit which can be overcome by adroit handling. If if a few questions are asked regarding it, they will be gained in three years; also a distinct you cannot make the boys sing in the girls’ chorus, Why, he is only a beginner; anyone can teach him! such a way as to be of actual, practical — never beautiful, except, perhaps, in ex¬ intercostal muscles is semi-involuntary. many times bring out points the teacher overlooked. advance in the development of the you would better have a separate organization for the Why spend a lot of money on him when he doesn’t treme youth. Of course, I do not If the chest is maintained in a high Reading at any age is desirable, and I might say apparatus itself. Pupils always show boys whose voices have not changed. If this is know anything? This is offered as irresistible logic, mean that the vocal cords are not used position we have, therefore, the largest compulsory. Too many students have an idea splendid chest development and fine impossible, for practice purposes you can let them and is intended to discourage further comment. in both cases, and some of the muscles possible storage capacity, combined that execution at the keyboard is all there is to shoulders in three years; often in much sing the melody in the glee club, remaining silent, Anyone can teach h’m in a way, but it takes a In the end, singing is breathing. are used in the same way; still, the with perfect flexibility of control. music, but it seems to me the smallest part of the less time. The whole thorax increases of course, at public exercises. I see no other first-class teacher to teach him as he should be This is one of the few facts upon which manner of action is so different that work. Harmony, theory, history, etc., form an im¬ in size and the muscles which control alternative. taught. This idea finds difficulty in percolating teachers and singers of proved ability the two styles may very reasonably be Artistic Control by Relaxation Only. portant factor in a musical career and, if started seem to agree. By this I do not mean the outflow of breath gain wonderfully Cultivating Rhythm. through the public mind. said to be altogether different. By artistic control 1 mean the power when the child is young, will usually be maintained The usual method is to keep the teacher and pupil that breathing is the only study of the in strength and flexibility. From this “1. Can you give me a good argument to convince throughout their lives. time on the gain will be very rapid, Different Kinds of Breath Control. to increase or decrease dynamically, as pupils that beating time with the foot does not somewhere near the same level. As the pupil im¬ singer. Far from it. There are many from pp to ff and vice versa. Also the produce„ -the■a -same- result- a„-s counting„ aloud? As the pupils grow older, pictures are interest¬ and it will all be needed as the voice The process of respiration may be proves he selects a higher-priced teacher. The price lhings to master. ability to suspend exhalation, as during ““ How can you develop-e a_ of rhythm In ing, and it is astonishing how quickly they will itself makes tremendous strides dur¬ accomplished in four ways: children— who-‘0 s have none?” of the teacher is governed by the pupil’s estimate of Placement, resonance (of mouth, staccatos and the speaking of the tone¬ learn all of the greater masters so that the names ing the third and fifth years, de¬ (1st) Raising and lowering the chest, himself. As an example of illogical logic this puts nose and head), registers, blending and checking consonants, resuming without Measure consists of strong and weal$ beats, some¬ will be spoken at a glance. manding always a larger breath supply called “Upper Chest” breathing. the books to shame. characteristic musical possibilities of throaty reattack. Proper breath ad¬ times recognized as “down” and “up” beats. In Try sight reading on duets—the pupil playing and finer control. With the system of (2d) Expanding and contracting the Why so many parents have this perverted mental each. Lips and jaws in their relation justment for sndden changes of register counting aloud pupils gain a sense of this essential ribs, called “Intercostal” breathing. first one part and then the other. Have them trans¬ attitude toward music study is hard to answer. Is to vowel and tonal resonance and breathing I am about to describe I do rhythm by accenting the strong beats and speaking (3d) Contracting and relaxing the and for large skips also demands fine pose some very easy melody into two or three dif¬ it commercialism in the concrete? Is it because the vowel formation. Clear but delicate not find it necessary to give special control. the weak ones lightly, but in beating with the foot ferent keys. “breathing exercises,” the mere routine diaphragm in conjunction with the child is a non-producer? Is it because he has never enunciation. Style, taste, knowledge of All this must be accomplished by they come to feel them all as down beats, and of vocal study being sufficient in all upper abdomen, called "Diaphragmatic” Start a scrap book for some of the girls by past¬ been anything but a consumer? Is the value of the vocal literature. General musicianship. means of differing degrees of relaxa¬ their music is clumsy and lacking in buoyancy. breathing. ing anecdotes, bits of history, pictures, etc., on one child determined in this way? Does he deserve General culture. cases. tion. The larynx may be relied upon When spectators see players beating time with their or two pages of an old, unused book. It will arouse (4th) Contracting and relaxing the nothing more than he has earned? These questions None of these may be neglected, diaphragm in conjunction with the' to withstand, safely, any degree of feet they consider them incompetent, and thus lose their interest and, in nearly every case, the book Necessity for Great Storage Capacity. are worthy of serious consideration. either during the five years of student lower abdomen, called “Abdominal” pressure which can be brought to bear respect for their work. Those who cannot count will continue to grow. Allow them to paste any¬ Any talk of “economizing” the breath Let us not lose sight of the psychological side life to which every singer is entitled, breathing. by this means, so there is no difficulty aloud are unmusicianly. The noise of the beating thing they wish in the musical line therein. Have means,. inevitably, loss of roundness, of the proposition. The initial processes of art are or in the artistic career. The point I There are no other means of breath¬ at all about deciding how much pressure foot is likely to become very disagreeable. Can an occasional humorous clipping to hand them beauty, carrying power and expressive¬ ideals and concepts. One who is forced to practice 'vish to make is that when these have ing. All talk of breathing from the may be used, if directions are followed you not enlarge upon these hints? As for your after a lesson; they will know you thought of them ness. No one who has studied less on an inferior instrument, which must of necessity ,ea thoroughly developed, the art of knees, etc., is pure nonsense. implicitly. second question, “Studies in Musical Rhythm,” by between lessons. Some pupils get the erroneous have an imperfect tone and usually an imperfect smging seems to be cleverly epito¬ than five years can possibly realize Raising the chest expands the upper When it comes to ’saying just how Justis, will be of great help to you. After this idea that all the teacher cares about is their money. action, is pretty sure to form a limited concept of mized, for the singer, in the one word, how the big, velvety, brilliant tone portion of the lungs. little may be used without causing the “Exercises in Time and Rhythm,” by Hepler. These Lack of trust is the worst thing that could occur the instrument and of himself. The effect of con¬ breathing.” empties the lungs of breath. Expanding the ribs increases the throat to tighten by "checking,” the should simply be supplementary to your regular between instructor and student, tinued listening to imperfect tone cannot be other¬ Whether the student has been work¬ Many an earnest teacher goes astray space laterally. problem is not so easy. This much work. Play something for the pupil which has a pretty wise than injurious to his taste and ideals. ing five years or five minutes, the by reason of the fact that a tone may Contraction of the diaphragm, the may be said with safety, however. The story in connection with it, and draw out the imagi¬ I once knew a boy who in learning the major preath is first, not only in order, but in be sustained under great pressure, floor of the lungs, increases space by resonance chambers must be filled with nation of the child in regard to what the composer vibrating air. A good deal more breath 4 am a newcomer In this department, belnc a scale in some way formed the habit of singing one "nportance. Vocal cord action may be without the expenditure of very much lengthening them downward. new subscriber, but am so well pleased with it that intended to convey. is required for this than most singers I do not see how I could do without It. A serious tone out of tune. At the last account, although a Perfect, throat free, tongue quiet, lips breath. Having observed that the re¬ The muscles controlling these vari¬ problem confronts me. Although eighteen rears I remember when a child of taking lesson after seem to imagine. The breath must full-grown man, he was still singing it out of tune, and jaw flexible, placement ideal, sulting tone is clear, true and appar¬ ous modes of breathing simply create old. yet, after six years’ study, during which’time lesson which went about like the following: never'be checked sufficiently to cause I have acquired a fine technic, and know the scales What has been said of the imperfect instrument registers developed and blended, inter¬ ently all right, he cannot really be a vacuum in the lungs. The air rushes and arpeggios thoroughly. I know nothing of the “Good afternoon,” as I entered. “You are right blamed for jumping to the conclusion loss of lustre, “floatiness” breadth or applies equally to the teacher whose concept of pretation logical and poetic, yet lacking in through the nose and mouth. The science of their formation. Now because I can on time. Now you may play the scale I gave that he has made a wonderful discov¬ carrying power. The pianissimo must read no deeper than the mere notes, I feel discour¬ music is limited to a mere matter of technic. On Wjnection ;n breath control, the singer millions of air cells, which absorb air aged. Can you advise any method by which I can you.” The scale was played. ery. Fortunate, indeed, for his patrons "fill” the room, no matter how large, the subject of a teacher for the beginner I am a radi¬ Hi fall far short of his or her ultimate as a sponge does water, expand and take up harmony by myself? I have undertaken “That was very good. Now the exercise.” The best. if he refrains from announcing it as a or it is incorrectly produced. the Instruction of two little pupils, but fear I am cal. He should have an instrument that will impress the process of inhalation is complete. not proficient enough, as my musical education exercise was accordingly gone through. “new” method which is destined to do The action is somewhat similar to seems to resemble tbe linguistic ability of - - - - * him with its unlimited possibilities. He should have fli^R13* tbe bow arm is to the violinist Dynamic Control. “Please play your piece.” The piece was listened away with all previous ideas upon the that of an accordion while the hands talk. iViT a teacher also who will fill him with the right idea « breathing apparatus is to the singer. In general it may be said that the to, corrections made and the lesson for next time of the performer are moving apart. of music as a means of expression of the beautiful- subject of vocal art! difference in breath pressure for good given out, after which she would usually remark- As a matter of fact, however, the That is to say, the power is applied Although your knowledge may not be extensive, To have an unpleasant tone constantly ringing in Breathing “Naturally.” pianissimo singing and good fortissimo tone is not all right. To the expert ear yet if you make intelligent use of what you have, ■ “Yu°U bad f very nice less°n ^d you must prac¬ one’s ears makes practice distasteful. To get nothing n ^member, when a student in from without, creating a vacuum, to singing is surprisingly slight. Far too tice hard and see if you can do as well next time.’ it will inevitably sound thin and over fill which the outside air rushes in. your elementaryeiwucuiuiy workwur* withwun your two students ougiltought The teacher was a ver„ r. from a teacher but the dry-as-dust technic makes in, how all the pupils of the cele¬ much pressure is used for fortissimo The teacher-- * * * brilliant; lacking in breadth, warmth, the whole matter of study unattractive. brated’ master, Joachim, Combined Breathing. and far too little for pianissimo singing, be good. A careful study of The Etude, month intended toLZ my lessons ! Pn T 1 ?SUally mellowness and carrying power Al¬ month, will add to your knowledge and help you possible and she seldom, if ' -_y.?crfect as I believe the first years of music study are the ’ P° matter how experienced or Each of these modes of breathing is as a general thing. though audible enough, it will not hll in your work. A person who is anxious to learn can word, but if mv'love Sp°kt a cross most important, for it is then that the taste and sufficient to sustain life. Yet from a While difficult to describe and define, im “"I m tbeir art> to learn the Joach- !he ~oom. It will not blend with other ideals are formed. If the pupil' is to have inferior singing point of view and for the there is really no difficulty whatever in aI"^Jfin.l°?POrtU^ty’ an2 of,ten fr,om ,the leas‘ ^eat I doubt if I should have contbued tW y e of b°wing, exactly as though voices. Often it is thought that these expected sources. Those who depend solely upon onous weekly hour teaching it will be less harmful any other time than y were beginners. health as well, upper chest, lateral and practice, provided only that teacher and qualitiesnualities wwill come^ with ^ practice. grQW morey their teachers for what they know do not learn A child needs variation and must have it Tnstcf in the beginning. of «;°reo'’er> we did not hear any talk diaphragmatic are all absolutely es¬ pupil arc willing to cooperate with our greatest singing master,old FatherTime. much. An inquiring mind will look for information on a good lesson- divide thTtil < t ' Ins,st The beginner needs to learn something more than is *-• st bowing naturally,” although it halsh and Jarrot-like until it loses all sential. in every direction. For your theoretical study I branef and at the dose nf Z tT Separate the technic of his instrument. He needs a teacher not -° assume that the master did Upper chest breathing fails to ex¬ After two years of free mezzo forte sing¬ semblance to a really musical singing ing, nothing being said of crescendo or would recommend that you procure “The First Year i;«i- -_*,r<. the hour have some who will not only form his hand or his voice, as iiatn Sen°,Usly contravene the laws of pand the lungs at the sides and bot¬ little surprise. When at a standstill, reading w diminuendo, the pupil will be found able in Theory,” by Skinner. A careful study of this the case may be. but who will form his ideals as “met k Why should anyone speak of tom. Moreover, it is attended with so guessing contests relative to the lesson will nearly V°There is a reason for all this. AJ- much effort, and is so lacking in flexi¬ to execute a perfect crescendo or one will give you a thorough knowledge of scale for¬ always prove effective. * well. anaiv-reathing Orally?” In the last bility. owing to its heavy, bony of those iridescent diminuendos for mation, and of the common chords. The prevailing He needs a teacher who knows the possibilities> all py1S’ bow can anyone breathe at It keeps the child amused and interested, and pressure will dehve ^ g ,arger structure, that we prefer to simply which the voice is so marvelously well fault of those who do self-study is that they do not the importance, and the value of music as an edu¬ hae „ CCpt by tbe means which nature broadens the mind of the teacher as well as estab- adapted and that at the very first at¬ make it half thorough enough. Guard against this cational force and will keep him filled with love and WellProvid®d, and so, “naturally?” As maintain it in its highest possible posi¬ tion, applying the motive power for tempt. It will be strange, indeed, if by going over each chapter several times. It is an !nvaTuable?°mra P #nd understa“ding which are enthusiasm for it. P*rform Just preach naturally,” “just creating the vacuum, from below. the most perfect shading has not been excellent plan to write out a list of questions cover¬ There are many, very many, students whose con ftc. a^a sprgical operation naturally,” MHien ^nc^n^enng^too^mucffi^pressure Being so near the throat it is di¬ unconsciously practiced almost from ing every point mentioned in each chapter, going cept of music has been so warped and dwarfed t>y “It is nature who forces us to break forth into edu’eat; S° "be£” tbe whole question of rectly in the path of the incoming air the very start. This is only one of over them until you can answer them all without their early study that they see in it nothing of any singing when our heart is moved by great and sud lines °n and training along these which is bound to expand the air cells. many wonderful things which perfect referring to the book. It will be time enough to permanent value. The only way to change this con¬ den emotions in the wail of grief, in the exultf In this way we secure upper chest breathing will accomplish, if you give advise you as to your next step when you have dition is to realize the importance of starting. nf> " baturead0X!cal though it may seem, delicate and complicated mechan.sm of breathing without motion of the chest. it time. mastered this book. Cicero. m thC S'gh °f melancholy longing.”- In this as in many other things a good begin11111 Upon ■ mus.t be enormously improved is likely to make a good ending. n this matter of breath supply the larynx. 730 THE ETUDE THE ETUDE 731 Fourth. Fidelity to pitch and rhythm Practical Directions for Combined voice: volume, lusciousness, expres¬ THE MAKING OF A QUARTET SINGER. The organ is an exceedingly dubious golden moment has passed, and it must A HALF HOUR WITH HEINRICH ENUNCIATION. TETRAZZINI’S STRUGGLE. Breathing. siveness and a perfect pianissimo or She done over again, some other day. KNOTE. fortissimo upon every note in the instrument in these respects, from the Question: Why is it that so often it Madame Tetrazzini, according to an (1) Place the finger tips at a point by frank j. benedict. Don't affect indifference when your (The Famous German Tenor.) range without effort in production. singer’s point of view, at least. As to is difficult or impossible to hear the article in the Girl’s Realm, was sup¬ about one inch below the lower ex¬ teacher compliments you. It throws tremity of the breast bone. Trained in this way, with careful atten¬ I wonder whether singers realize that pitch, the singer finds a vast difference words distinctly? pressed by her parents. They had vou open to the suspicion of fishing for BY FRANK J. BENEDICT. (2) Exhale through the nearly closed tion to all details of breathing, place¬ the quartet choir, as we know it, is a between the clear incisiveness of the Answer: There are several reasons, given her elder sister, Eva, to music, a repetition, and is more than likely to lips a whispered but prolonged “Pooh.” ment, etc., the voice will execute runs, distinctively American institution. I piano and the mellow rumble of the and it is well for the beginner to know and were determined to keep their make him discouraged or cross. Either There was no grand, gloomy or Do not exert any force in doing this. trills, etc., without any preliminary wonder whether the vocal teachers in organ. To make matters worse, the them: younger child at home. They there¬ diis or your attitude says plainly that During the act of exhalation the finger practice whatsoever. Moreover, this all this broad land realize how sinall a organ is nearly always at a considerable peculiar air about Herr Knote in his (1) In singing, more than in speak¬ fore refused to allow her to be taught vou think him insincere or incom- tips will sense a sinking in of the kind of voice will stay young as long as proportion of their best pupils would distance from the singer, so that it is spacious rooms on Central Park West; ing, the vowels must be modified, in or¬ either piano or singing. But when ietent, neither of which is calculated to tissues. the singer is able to engage in other ever have kept at it year after year, had heard with difficulty at best. More¬ no pose, artistic or social; no “vista” der not to interfere with the resonance alone in her chamber, or In the open render him inordinately enthusiastic Also, it must be definitely realized active pursuits of life. it not been for the ultimate chance of over, the illimitable continuity of the between himself and the man with and beauty of the tone. Ears accus¬ air, she listened to the birds, and sang that the act is one of relaxation only. a comfortable little church position, organ tone is bound to reveal the slight¬ about you or your voice. whom he shook hands. tomed to fine singing will have no diffi¬ as Mother Nature bade her. On her est deviation in pitch on the part of When you ask him how you are get¬ twelfth birthday she discovered that There may be some difficulty in ac¬ Correcting Old Habits. with its six or eight hundred a year, Here are the principal points he culty in recognizing the vowels, but a in return for which the singer yields the singer. In regard to rhythm it is ting along,” or, if he thinks your voice person untrained in the art of listening she could take a higher note than her complishing this little experiment suc¬ In all I have said, I am supposing the insisted upon: even worse. The organ is notably weak will come out all right, and he responds may easily fail to catch them, especially elder sister. This was F in alt. Then cessfully, due to its extreme simplicity. pupil to be a beginner. The experi¬ very little of time or effort. I wonder whether the organist, who in attack and accent, and the distance encouragingly, do not make the mis¬ First, he demanded more “nose” when overwhelmed by the lusciousness the struggle once more began with her The pupil nearly always has an ex¬ enced singer, who is trying to reform from the singer, the large auditorium take of saying that you are afraid he resonance; very much more. This he of the tone. parents, who at last consented to her aggerated idea of the amount of effort bad habits, will, in general, do well to is usually “ex officio” director as well, and the absence of visible direction says so only to encourage you. With¬ proceeded to “get at” by simple, rough (2) Singers often instinctively shun taking a three months’ course at the necessary and so proceeds far too follow the directions for the beginner, fully realizes the artistic possibilities present a formidable array of diffi¬ out intending at all to be disagreeable and ready, yet surprisingly effective the roughness of the consonants, many Liceo Musicale at Florence. Here, violently. Many trials by the pupil and and that most implicitly. The best way that lie in that compact little organiza¬ culties. you have impeached his sincerity. If of which check the tone entirely. The under Signor Cechcrini, she made re¬ many demonstrations by the teacher to correct old habits is to form new tion. It comes to his hand with far means. No matter what the vowel was, are often necessary before this wrong Fifth. No one can expect to enter he happens to be tired or nervous you crisp enunciation of the consonant markable progress. The studies that ones. Begin at the very beginning in greater possibilities in the way of he insisted that it be changed to “00.” idea of effort can be worn away. It. a fine quartet who is not conversant need not be surprised to learn that he must be insisted upon, as it is often the she had heard her sister practicing the breathing matter, and stay there ten discipline, long continued, than is pos¬ This of course focused the tone more may produce a favorable mental atti¬ with the literature. This is not very can be a “horrid old thing” upon oc¬ key to the whole situation. The art of were in her ears, and she worked with or twenty times as long as the real sible in a concert or operatic organiza¬ in the nose. The improvement was tude to remind the pupil that the tion. extensive as yet, but it is of wonder¬ casion instead of the genial, friendly speaking them enough, and not too great assiduity. Her first contract was beginner, and see what will happen. very marked. Parenthetically it may diaphragm, being shaped like an in¬ fully fine quality. Quartets, trios, etc., of man to whom you are accustomed. If much, is a very fine one and may be at the opera in Rio dc Janeiro, and More often than not, this hovering I wonder whether the preachers real¬ verted basin, contracts downward while Chadwick, Foote, Gilchrist and others be well to state* however, that with deferred until the pupil is well ad¬ South America has from the first ac¬ around the starting point will solve the ize what these thousands of beautiful, there is anything a teacher prides him¬ the breath is coming in and relaxes up¬ another voice the result might have vanced. This brings us easily to the claimed her powers. Russia was the problem, the whole mass of crooked¬ trained voices have meant to the church will be found in abundance which call self upon it is his sincerity. To be sure, ward while the breath is going out. for an exceedingly fine musicianship. been quite otherwise. A throaty voice next reason. first European country to recognize ness and wrongness falling into line in drawing power and cohesive force. you may not notice his displeasure, but The action of the muscles is only (3) The singing voice is primarily a her.—The Musical Herald. the moment this fundamental principle Surely there must be something of The marvelous intricacies of these if concealed, it will be by an effort, and or one not well forward would almost semi-voluntary. Just make up your musical instrument and only secondar¬ has been thoroughly mastered. In the permanent value in an institution which beautiful compositions, melodically, just that much effort is forfeited from certainly be made much worse. Half mind when you are going to exhale the ily a means of communicating ideas. If A BARGAIN case of a mature, cultivated (although has successfully withstood as many at¬ rhythmically and harmonically, seal the lesson proper. the lesson period was probably devoted The C. & C. Voice-Book tells How to Breathe “Pooh” and it will come to pass without it were not capable of pronouncing wrongly cultivated) voice, such phe¬ tacks as have been directed against the them to most quartets and organists. If he gives you a song and you do to inculcating this principle of nose tor Singing; How to Train the Tenor Voce; any effort at all. Imagine a weight words at all it would still be the finest How 10 Treat Children’s Voice*; How to Pl»ce nomenal changes are not rare, a mag¬ quartet choir. Special and very severe training is not like it, better suffer in silence. In the Voice; gives Instructions and exercises. held by a string. Clip the string, the resonance. musical instrument. This may be dem¬ nificent tone being realized at once, Of these enemies, not the least necessary both for singers and organ¬ the first place, you may be mistaken, Pries. 50c. Address snthor,. weight falls. So with the breath, only Another telling point was the use of onstrated by the fact that opera singers F. W. WODEt-L, The School for Singer*. much to the amazement of the pupil powerful has been the organist him¬ ists. The field is worthy the talents of and if not, he will be apt to hesitate 12 Huntington Avo.. Boston. Moss. the diaphragm falls upward. Or, if this the portamento upward. This he receive $3,000 a night to sing to people himself or herself, as the case may be. self. Not being an expert in vocal the best. about giving you selections in the fu¬ is too mixed, imagine a toy balloon with recommended in the attack of all high of whom probably not one-tenth catch Such an one would very likely feel like work he has been unable to direct his Perhaps if those kindly European ture, feeling uncertain about your taste, string attached, held lightly between tones. In this matter he instanced the one word in ten, and who would not saying with a comedian, in a recent forces with skill and authority. This celebrities who visit these shores and and so you may miss some very good Essentials of Scientific Voice Training the thumb and finger. Release the know what the words meant even if comic opera, “Did that come out of was bound to get him into trouble with are wont to favor us with their opinions things. practice of his great colleaugue, Caruso. Singer*. Teerher* and Student* desiring reprints string; the balloon flies upward. So they did catch them. No, the words ot Dr. Walters' Votra JMgtrtasmi In Ths^Rtvos the singers, who would naturally object as to whether America has accom¬ Don’t question his judgment about Herr Knote seemed to accomplish this does the diaphragm, although actuated are not the main thing, as many con¬ Where periods of study are spoken to having their voices ruined in the at¬ plished anything in music yet, and your voice. He is sure to know more rapid upward flight by vocal chord ac¬ DR. B. FRANK WALTERS, JR. by a different cause. Best of all, if the tend. The young singer finds at the of, as third-year, fifth-year, etc., I am tempt to follow absurd and impossible whether anything distinctively Ameri¬ about it than you do. In fact, almost tion alone; there was no resonance 1716 Chestnut »l.fs rHtriKlTlZ^ P“’ pupil has ever received a blow of much outset that his problem at first is not referring to the career of the absolute directions. No wonder he was inclined can is possible in musical art, would any one knows more about a voice than noticeable, only a thin thread of tone. violence in this - region (of the solar to favor a “chorus” choir whose mem¬ cast a glance at the quartet as it exists how to say the words, but how to keep beginner. the possessor of it. The whole affair occupied only an plexus) he will have no difficulty in bers were even more ignorant than and flourishes in America, their micro¬ from saying them too much. Over- grasping the significance of the phrase Don’t betray impatience. The instant of time. I question if the un¬ himself. The committee, also, were scopes might reveal something worthy pronunciation is inimical to tonal rich¬ “sinking in sensation.” A Five Years’ Course in Breathing. teacher’s great temptation is to hasten, usually willing to “let the quartet go,” of their notice. trained listener would have noted the ness. Once the voice is well developed, (3) To refill the lungs, reverse the (First year.) Breathe as above, not and if he thinks you are impatient he thinking to save two or three thousand portamento as such. Musically the effect however, a reasonably clear enunciation FRAU. BENEDICT process. A slight noise at the lips, as 'trying to get very much breath and let¬ will be tempted to force matters, which VOICE Ctl-TI KE per year. Time after time they have HOW TO GET THE TEACHER’S is of a very fine legato. In passing I is feasible, although often consonants of lightly “sipping in” the breath, if the ting it go as rapidly as it will. Do not is the very worst thing that can abolished it, only to reestablish it a year BEST. cannot forbear saying that this most as well as vowels must be greatly modi¬ expression may be allowed, promotes economize; that will spoil the whole happen. 1TOO or two later upon the demand of the effective device, if unskillfully executed, fied. , . freedom of the muscular action which scheme. Use exercises for resonance, Pay the closest possible attention to (4) Often the greatest clamor ot I Send toe for booklet people. BY FRANK J. BENEDICT. would certainly be very harmful. The accomplishes the act of inhalation. as given above, twenty to thirty min¬ the casual remark. It may be just the criticism is entirely unjustified, being I “How Beautiful Sing¬ Some ministers have opposed the ing Voices Are Made” The action is really the contraction of utes a day. Apply to a song about the thing you need to know, and there is person using it must arrive at the top due simply and purely to ignorance on quartet on the ground that it was not The finest vocal teaching is a fine art --I Plain answers to typi¬ the diaphragm downward, but being third lesson. Use songs as breathing always a possibility that it may not be note without tightening the throat, the part of the listener. Many a time devotional, although why solo singing as well as a profession. The teacher’s cal questions about Voice Culture only semi-voluntary it does not seem exercises. Do not “render” the songs. repeated. Although, perhaps, not very carrying up weight, or checking the he simply cannot remember the initial should be less devotional than solo occupation calls for imagination, en¬ and the Art of Singing. like muscular action at all. Retaining Use an ordinary degree of power, what¬ illuminating at the time, its meaning breath. Once successfully accom¬ consonant of a word which is sustained preaching I have never heard ex¬ thusiasm, poetic insight. Remember “Musical Possibilities of the Aver¬ the finger tips at the same point they ever comes most readily; it matters lit¬ nay flash across your mind in later plished, however, the singer has only several seconds, and so, even if he plained. that these are delicate qualities, easily age Voice".20c will sense an expansion of the tissues tle whether it is a piano or mezzo forte. years, much to your profit. to adjust for resonance, “turn on a catches the modified vowel and the dissipated. It rests largely with you as where formerly the sinking in sensation Breathe every other word if you need , Cultivate the faculty of quick relaxa¬ greater volume of breath and a big final consonant, fails to identify the quartet singer I have in mind the tru to whether you receive from him the was noted. Discontinue the noise at to. In a few days short phrases may tion from concentration. A too pro¬ tone perfectly poised is sure to result. quartet, complete in itself. There is best or the worst of which he is capa¬ word. the lips as soon as the idea has been be taken properly, but remember that longed concentration is bad for any It will certainly be of the finest quality (5) Many times neither singer nor vast difference between this kind of ble. Here are a few points which may grasped. these are primarily breathing exercises, one, and particularly for the singer, the and sonority, susceptible of cr”cendo hearer can be blamed, on account of ROOT’S quartet and a mere collection of fou (4) Vocalize the “Pooh” instead of and, if something must be sacrificed, let prove helpful. voice losing its flexibility. If the or diminuendo without the slightest the terrific hub-bub created by the solo voices to be used in connectio Don’t waste his time and yours by whispering it upon any convenient it be the phrasing. Take about thirty teacher finds you too tense he may tell loss of beauty or security; also it wdl over-enthusiastic orchestra, organist or Technic and pitch, keeping the lips well forward. with a chorus choir, the larger part c a recital of your troubles; he has songs of Schubert and as many con¬ you a little story to make you laugh be produced with perfect ease pianist. . t , . We have now come into touch with the the ensemble work being done by th enough of his own, and, while, he may (6) Another reason is that often the temporaneous selections. latter. and relieve the situation. When he re¬ Sitting within a few feet of Art of Singing essential principle of control by relaxa- (Second year.) Same exercises thirty listen politely, his time and patience are sumes work, plunge in with all your acoustics of the room are such that First. The quartet singer needs t Knote doting tbit demonstration one to forty minutes. Schumann and con¬ going, and you may need all that he might and you will find that your even a speaker cannot make himselt be a reader. Requirements are fa A Series of Educational Works in Singing (5) Apply this to some simple exer¬ temporaneous songs. Begin freer use has to spare during the lesson hour. strength has been renewed. By rapid heard distinctly. If he is untrammeled on Scientific Method*, for U*. in more severe in this respect than fc cise (descending scale will do) with of intercostals, but keep control at the Don’t go to your lesson with a pre¬ relaxation and concentration one keeps by modified vowels, prolonged vowels, an operatic career. The singer wh syllables to promote resonance. First diaphragm. Do not try to get very conceived notion that you are not m h,s mental and physical forces fresh top notes where all vowels and conso¬ cannot pick up any ordinary anthem e Br FREDERIC W. ROOT time boom, second time zoom, third much breath, and let what you do get good voice. No one ever really knows, ®uch longer than by prolonged, unre¬ nants are practically impossible, what sight and not only take care of his ow time zoo zee, fourth time words with go very quickly. in advance, how he is going to sin?, mitting effort. can be expected of the singer, whose I. Methodical Sight-Singing. Op. 21 part but combine intelligently with th "rsS pKS ',ndTtte«e»do«; same vowels. Transpose higher by (Third year.) Ries, Brahms and con¬ and it will certainly do no good Don’t be too critical of teacher, very engagement depends primarily Parti. The Beginning. JO other, voices, is not yet ready to tak Part 2. Through the Kera...... JO half tones. Practice with other vowels temporaneous songs. Get much more worry about it. In fact, worry W1 upon his ability to make good as a Parts. Progrcaaivellusieianship. JO a position in a fine quartet. uce in one hundred times he may and words. Devise one or two simple breath, and let it go very rapidly. quite surely make it worse, such ouch up the wrong thing or pass by musical instrument? Nothing less than actual quartf II. Introductory Lesson* in melodies, using same syllables and Breathe clear around to the back. Be¬ the power of mind over matter, I cannot refrain from saying here Voice Culture. Op. 22 - $1.00 experience will give this facility . necessary thing, but the other words. Allow space for an occasional gin lighter sort of sacred songs. course, it is likely that the teacher wi that the printed word should always be Chorus training is better or worse tha ninety-nine he will be right and you III. Thirty-two Short Song Studies improvised cadenza for flexibility. Here (Fourth year.) Exercises forty-five sense your “state of- mind” and in the listener’s hand or head, and the nothing, according to the director A ^rong. Straightening out a voice is For high compass. Ov.Zi ■■■■■■■ JO you have all the exercises I ever use minutes. Get all the breath possible. skillful enough to trick you out 0 meaning as well, lest through trying to For medium compass. Op. 25.... JO omewhat like repairing an automobile. For lower compass. Op. 26. JO for placement, resonance, breath con¬ best it is radically different from quai But think of the uselessness of the P do too many things at once he fail Breathe as high as possible without tet work. ter looking over and touching up ten trol and execution. The exercises are moving chest. Strauss songs and mod¬ formance, and remember that all utterly to grasp either words or music. IV. Scales and Various Exercise* Second. There is a certain dignit n tf a n parts & will suddenly go, and for the Voice. Op. 27 - 60c never changed, and I require that they ern classics, oratorio, opera. will be deducted, inevitably, from from three to six called an to say nothing of their relationship to of style called for, which lies some obody can say exactly what made it be practiced from twenty to forty-five (Fifth year and all succeeding years.) lesson proper. early life hi. voice He each other.—Frank J. Benedict. m PU»n V. Twelve Analytical Studies. where between the stiffness of stri< not ^ur’ng tire process it will be well Answers to Typical Questions about minutes a day. This the pupils do by Sing anything and everything. The Don’t shrink from anything he “operetta .v0,ce J\y j vojume but in Op. 20 $100 oratorio and the easy flexibility of th ., to press gratuitous advice upon themselves, the entire lesson time being (voice will now demand far more breath you to do, for it means an opportun¬ developed it not^o hr ^ ^ tQ high Voice Culture._ VI. Sixty-eight Exercises in the German art song. It is equally ir ‘‘her automobile repairer or voice devoted to the art of singing. If this than formerly, owing to its increased ist. Often he has been working y teacher. Synthetic Method. Op.28 75c regime is thoroughly and effectively volume. You will be surprised to see comprehensible to the operatic singe to a certain point during the J’ Perfection in tone production is to be (The General Principle of Vocalisation.) ‘l.nd1. church singer trained in th .Avoid oversensitiveness. It makes carried into effect for five years, and how much breath can be “worked up” lesson, with a view to some bran achieved by a long series of tentative ex- e teacher’s work doubly hard, and Lastly, he ,mp . «everywhere.” as _wtiirh exoressions must be re- VII. Guide for the Male Voice. the artistic part ably looked after dur¬ into tone, and will be likely to agree ■tpiI* school of church music. achievement. At last the mom£? & tie idea of Jmthwe only Op. 23. $100 Third. The relationship with th uses much discomfort and embarras- ing the lessons, the voice will have de¬ most heartily with your teacher when rives! Conditions are perfect! " he expressed tl. 0„n ,hor«r, other voices is far more intimate tha ent to all concerned. It inevitably veloped to a point which will command he says to you after some particularly stant more and the new era wi THEODORE PRESSER, Publlaher recognition anywhere, as equal to every in any other style of singing. This re stuH°ngS the period of Preparatory 1712 Chealaul Street, Philadelphia, Pa. gorgeous, long-sustained high notes, dawned when, instead of the longe^fs l °y» and once it becomes a habit, will demand which can be made upon a “Keep up the exercises.” quires years of experience which ca consummation of his hopes, he be gained only in actual quartet work. a burden throughout your entire So5e.rl»»ial«od.rpb^ Please mention THE ETUDE (maddening words). “I cant. su,E>ng career. [ 732 THE ETUDE the etude Popular Choirs. is the interpreter. He must have th 733 ALFRED HOLLINS. The plan was devised a number of general conception; he must hear the years ago, not a hundred miles from aoul of the composition singing in his Mr. Alfred Hollins, the celebrated ORGAN RECITAL TOUR ORGAN DEPARTMENT New York, and the little town in which heart; but he must make his choir hear English organist and composer, was born Organs for October, November, Decemb; r. 1908 the first children’s choir of this type that singing—not an easy task with at Hull, in 1865. It is not generally THE QUAINT ORGAN BLOWER. was organized is full of beautiful ma- many choirs. They will need “line known that he is blind. He was educated W. WOLSTENHOLME terial. vocally and artistically con- “p°n lme and. precept upon precept’’ at the Royal Normal College for the ,“The organ blower is passing—he Small Churches The Department this Month is Composed of Especially The fen sidered. Every year large oratorios pe*°re the spirit of the music takes Blind, at Norwood, where he is now pro¬ will soon be, like the armorer, extinct,” Soloist < Selected Articles of Particular Interest to said a musician. “It’s a pity. He was MR. WOLSTENHOI-ME w are given in a most finished manner, bold uPon them. When once they fessor of music. The following concern¬ cities this fall and winter: “Etude” Readers and many of the services from Sunday have actually caught the spirit, the ing his work at St. Andrew’s Presbyte¬ a quaint type. New York Indianapolis Most of my blowers were simple- "Won St. Louis to Sunday are gems of art. The choirs singers need to be taught to be inter- rian Church, Upper Norwood, is from the hiUdelphia Chicago are unpaid, but their love and loyalty prefers in turn to the congregation for London Musical Opinion: minded old chaps, who firmly believed they must suit their blowing to the LISZT ORGANS Vashington are such, that no matter what the day whose comfort or inspiration or devo- “Shortly after Mr. Hollins went to St. < l- v music. In soft, light passages they Furnish the most perfect substitute for Cine inn brings forth in regard to weather, they music is being prepared, Andrews, and before he had been able to pipe organs of any instruments ob¬ get thoroughly familiar with the hymnal blew soft and light. When the cre¬ Olga THE POSSIBILITIES OF CHURCH all assembled, and the music is just Tins has taken plenty of hard work. tainable, and are superior 10 small o give recitals arc requested l< in use there, a strange minister arrived scendos thundered forth, they worked MUSIC IN THE COUNTRY. 3 ”th!r country ^being the as fine for a congregation of twenty as There has been repetition after repe- pipe organs in many respects, while THOMAS J. DONLAN. Manager uie country, Deing tne tition:tition; again and again the leader t...has one Sunday morning. He wished to frantically blowing with all their might their cost is less. They differ ma¬ lonial Building : : BOSTON. MASS. only one perhaps, he stands for the *°J^ve b“®dred; and main. The uplifting influence, especially on sung or the organist played the move- change one of the hymns—fortunately the terially from all other reed organs, BY ELIZABETH VAN FLEET VOSSELLER. lofty and beautiful ideals of the whole t'~ ,‘ft " “Often a facetious reporter on the having a richer quality and greater the boys, is such that business men ments as they are to be rendered. Fi- last. The hymn that he selected was quite community. local paper would refer to ‘the excellent body of tone. (not musicians) notice and remark on nady> the choir seems to understand unknown to Mr. Hollins; but he did not Pure music in the church uplifts the With_ Htact, tolerance, ambition and blowing of the organist’s assistant, Mr. No other organ approaches the Church Organs the children and the developed ma- and sjn£> “with the spirit and the under- confess this, being anxious that no diffi¬ Mason & Hamlin in the reputation it soul and increases reverence for God earnest endeavor'ids' p0Wers are un- Bellows.’ Then the blower in his van¬ LATEST IMPROVEMENTS terial of those choirs. And the children standing also.” Now is the time to culties should arise from his blindness, enjoys among the world's most famous and man. It becomes as necessary a limited, and he becomes a prophet of and he accepted the change as a matter ity would develop all the affectations of musicians BOSTON NEW YORK PHILADELPHIA part of worship as prayer and medita- better things to a simple and unworldly themselves are so anxious to join that cl'nch the matter by spirited or sympa- of course. During the sermon he slipped a Paderewski or a Sousa. Now he’d Send for illaetrated catalogue A CHICAGO LOUISVILLE DALLAS tion, for it contains both. people. a large waiting list always exists; and thetic repetition. out of the organ gallery, left the church, blow delicately, a dreamy smile on his to sing well is considered, in this com- Now at last comes the filing of the Main Offices Works The Christian Church provides in its „ , and went to the Blind College just across lips, his eyes half closed. The music services a place for all of the wor- Childrens Choirs, munity, one of the greatest gifts that details; here a ritardando, there a sfor- ook x-v "* the road, where Mrs. Campbell, the wife would change to a march, and he’d H !_ can be bestowed upon a child. zanda, yonder an extreme pianissimo, in ASTINGS CO. shippers, as well as the choir, to join So then, to help the condition of in- of the principal, read the tune over to him stamp his foot in time, while up, down, a Such is the influence that has been an°ther phrase a crescendo that swells BOSTON Fair Prices. Established 1827. All Sizes. in the singing. But it is pure music ferior music in the country church, once and played it once. With this slen¬ up, down, the old bellows, in time also, a- created through systematic musical ’nto a double fortissimo. If the inner that the service should have, and not serious, earnest and painstaking der amount of ‘learning’ Mr. Hollins re¬ would be jerked. At a climax his face the rubbish and ear-tickling material sician is needed in every community, training in one small village. And this sense of the composition has been ap- turned, and no one could have suspected would redden, he’d bend to his task, The “UNIT ORGAN” so frequently heard, especially in our But that is not enough. There should influence has not been entirely self- prehended by the choir, all these details when the last hymn was sung that half and blow so fast and furious that the country churches. And although this he a systematic training among the cultured, for a number of towns near be easdy acquired, as they will be an hour before the organist had not organ would nearly burst.” Church Organs low musical standard exists in very young. And the children must be cul- by have adopted the plan, to their great tdle natural development and expression known a note of the tune. HOPE-JONES ORGAN CO. small communities, it is, alas, also to tivated to such an extent that on reach- advantage and satisfaction. '•bat deeper thought and feeling. To “When Mr. Hollins is about to learn a A DONATED ORGAN. Send /or printed matter be found in the larger and more pre- ing maturity their taste and musical A sincere musician and a children’s study these details one by one without new piece, it is read to him note by note Elmira, N. Y.v and 4 I Union Sq.. New York vr At a choir concert given in aid of tentious villages and suburbs, where ability will be so developed that they choir, then, are the foundations for reference to the inner meaning of the by his wife. He plays a‘phrase over to the organ improvement fund of a the “anthem” of the choir and the sing- will tolerate only the best. hopes of artistic singing in the country anthem is to make it a thing of shreds her dictation and then repeats it, having [ I j HOW TO USE ORGAN STOPS «n<1 PKDAL8. suburban church, the program con¬ c ing of the congregation are excruciat- This is possible through the intro- church of the future, and a love and and Patches—a merely mechanical ag¬ mistakes corrected if necessary. His A useful book with illuslrativn Yolunl*rl« IVUl Our Universal Air Chest System also tained the specification of the “pro¬ H affords easy access lo ihe interior and ing- duction into our churches of children’s appreciation of pure and artistic music gregation of unrelated effects. trained memory retains it after very few and excrllrut blDdioi*lo fSIFpnid!**™ 7 posed improved organ,” together with [8] VALUABLE ORGAN INFORMATION exterior of ihe organ, even while die Of course, the primary cause of such choirs that stand for the culture of *? °ne tbe greatest powers for up- When the choir has learned the notes repetition. Most marvelous is this mem¬ U a novel bait for catching donations to a condition is lack of musical culture, good taste and beautiful ideals in re- bfting man that can come into a com- ®° w.ed tbat 't forgets they exist, when ory of his, marvelous in three respects: Uc^cr^llT" ofAEib R the said fund. Here it is: “These ins the pastsi imonth w and the remedy is a development of gard to music, and its relation to the murdty-—The New Music Review. the inner message of the composition the rapidity with which it acquires any¬ E. T. CLARKE A- PO.. PulsIUhrn. a Targe lour manual organ in the stops are new, and cost approximately C artistic appreciation among the young, church. __ takes possession of the hearts and thing, its extreme accuracy and its great Brooklyn Academy ol Musk, and a still as follows: Clarion, $35.00; Horn, II The public school teaches sight read- The singing cannot be that coarse, t amo on a t t „ minds of the singers, so that they sing tenacity. For instance, any sighted organ¬ larger one in the Auditorium. Saginaw, $75.00; Vox Celeste, $45 00; Harmonic Mich. mg and stops. Voice culture in this shouting variety so frequently heard in uw DUmx ALL WE PRAC_ frorh within out, spontaneously, with ist knows that to keep in mind the pecu¬ Flute, $30.00; Forest Flute, $35.00; Vox Christmas Music Write for descriptive book “A,"giv- connection is almost unheard of. As Sunday-schools (although the choirs TICE AN ANTHEM? genuine emotion, then the choir has liarities of various instruments through¬ Humana, $50.00. inn a comnlete list of nroana limit Lv m a consequence, the children in the are composed of Sunday-school ch;l- Many a choir loses the full success it practiced an. anthem enough. This is out the country is a severe tax on the “The name of the donor of any one CANTATAS larger schools read notes well, but sing dren), but instead, through the intel- m'gbt otherwise achieve by neglecting "ot a it should be so distributed, All the latest facilities for Easy Control. QUESTIONS FOR CHOIR “discourse upon the Scheme for the head; and the condition is frequently ful as that heard in our rich citv body and neglected to breathe into his as no cb°i>* can be expected to keep Improvement of the Organ.” In so MEMBERS. a disgrace to our Christian Church and churches (where the maintenance of nostrils the breath of life. UP the necessary mental and nervous doing he used his own vox humana, for what it stands. the choir is no small financial item), When a choir has learned to read te.nsion f°r an indefinite time. They Am I loyal to my leader and my doubtless speaking in clarion tones choir? Our clergy, too, seemingly unap and this, almost without cost. The a" antbem so that it can strike all the grow weary, listless, indifferent, until he came to a full stop.—London November Organist How many practices have I missed Contains Thanksgiving and preciative of its spiritual value, fail children grow to love music so much n.0tes correctly and all the parts can In such a state °f mind anything but Musical Times. TULLAR-MEREDITH CO. sadly to support the cause of beautiful that to refrain would go hard with Slng t0Sether, no matter how unusual tbe sheerest mechanical work is out of during the last three months? Christmas Voluntaries Do I forget myself, and make some 150 Fifth At*.. New York The Organist is a magazine of easy i music in the service. One minister them; consequently the senior choir is °[ <:omplex their rhythm or independent the question. Only under the severest 57 Weehintton St-. Chicago organ or reed organ voluntaries, ammani when asked by a choir director to sug- enthusiastically volunteer, and better, J ,!r movement, its work is not even Pressure °/ need allow a choir to prac- sacrifice of my own comfort and THE ORGANISTS’ TRUE FIELD. ■ -es a year at $1.5, a year E. L. AshAshford, two Thanksgiving and three gest topics, that the music might be too, than some paid ones. ’ half done—only a beginning has been t’ce after *t has lost interest in a num- Pleasure for the good of the choir? Am I one o{ a little cHque in the Please mention THE ETUDE when addressing Christt voluntaries in the November Or- made to fit, said emphatically, “I don’t Here the talented child, poor in mad.e‘ tIlen needs to get the general ber. Better change the music for a BY R. J. BUCKLEY. onr advertisers. ganist. --‘-additional- voluntaries lor choir who chum together and keep general use. The November want the music to fit!” pocket, but rich in ability has the op ?plnt> a sense of the underlying feel- whiIe and come back to the original al°°f from the rest? Admirable command of technique is for the post to which he is appointed. T • ~ n . ... portunity to “find himself,” master the mg’ 3 dearf comprehension of the actual fask with renewed vigor and aggress- Organ-playing, viewed from the acro¬ NEW CHRISTMAS MUSIC Limited Opportunities. rudiments of his art, and form proper purp°®e. of the anthem. Every num- lyeness.—The Choir Leader. aa if they organist at St Peter’s Great was his mot rise above the level of the or Bach at his finger-ends, but one who 1 all been prepared i don t care for them? nist Wherefore the music of a ation. will not even assist to uplift the can afford to its support-a condfiS ^ C** ^ame p organist, assuming him to be also devotional feeling without which these ; that children’s choir sings eve^ i^nth ^ d^out"^ co ^Fi^^L^i^d "a." Ron* thp'i>USJm every way possible to help the city affords him greater opportunity,unitv wfor"s,x „or seven years, makes him so pose^Lnoser W me com- in 1635. It was Frescobaldi who first effects are impossible, since no man can HUTCHINGS ORGAN CO. ccss?Cader 3nd niake fbe choir a suc- (n'Jt'rTwrplace the • transmit to others what he himself do not possess. Pipe Organs && ritrz^,hai ^»ss J,fiJ ^ere to leave the choir, which i. 1. no, here he will obtain experinnee. ch„S,n“ dSed t'beL’n.imTs"! U/Tlt tehZZ S' After more than a thousand visits to Boston Office : 18 Trent on t SL. Room 308 ThL - e most> myself or they?— Factory & M.in Office: WALTHAM. MASS: l,e Choir Leader. churches and chapels of all denomina¬ tions, I am convinced that the radical Correspondence Invited defect of the organ gallery is a plentiful beauty and influence. do anything in his power to create and episodes is JZ i movements and do so; I understand myself.” Baim WANTED ad aymg before others has the great lack of imagination, arising from a !n such a city church as has been support such appreciation in others. marked the rZ/J .apprehended and relates that thTrty thousand listeners Pipe Organ Salesman wj,bntage it compels us to study want of general culture. The selection of music is marked by lamentable want > can tepresent the builder and place contracts. must U?USUal zeal- The idea that we Address: E. H., care Tub Etudb. on » P ay before an audience spurs us of taste.—Quiver. 0 a much greater measure of dili- course, the leader Organ Music.” 734 THE ETUDE the ETUDE 735 »as absolutely unsurpassed. No violin- he was welcomed as a new star. He was concert tours, which embraced practi- . t ever seems to have caught the then advised to go to Germany, but cally the entire civilized world, Sarasate master the viola in an'incredibTv'shorJ inten,ion’ P- J—I* « utterly impossible to pass languor and fire of Spanish music as ,ruaa“ * thought that, being so soon after the received many decorations and valuable space- of time. The viola is simplysimnlv a 1 h u.ld j50 n°ted that the fascina- on the merits of a violin without seeing Franco-Prussian war, there would be a gifts. All of these gifts he gathered did Sarasate. larger violinviolm with the strings tune/tr,tuned t th ° exerc!sed ®vor the listeners, and it. It is possible that the violin you Sarasate earned large sums of money prejudice against him, owing to his together and presented to his native A, D, G and C, which are indiSted on EeirTvef t™ H° horro|r -hich causes contemplate buying is genuine. To be through his concert tours, as he re¬ long residence in France and his close the staff in the viola clef as follows- * — n d‘ate. and fil1 w,th tcars’ certam. you would have to submit it to Violin Department city, Pampeluna. The collection is ceived very large fees. In his best days 3S tollows.— are principally attributable to the viola an expert, identification with French music. His valued at 100,000 francs ($20,000), it is said that he frequently received VIOLA CLEF parts.” objections were finally overruled by his and has been placed in a museum.’ 3,000 marks ($75o) for a concert in Since the days when Berlioz wrote friends, however, and he undertook a It embraces souvenirs from the Queen Germany, while Joachim only received the work quoted from above, there has Edited by ROBERT BRAINE German tour. His fears proved to have of Spain, the Emperor of Brazil, Em¬ 1,000 marks ($250) at the same period. been a great change as regards the had no foundation, for he made a sen¬ peror Wilhelm I of Germany, Napoleon ’Sarasate had an aristocratic bearing, viola. Viola players in our modern or¬ sational success in the principal Ger¬ III, and many other monarchs. but was affable and popular with all chestras are as expert as any of the man cities. SARASATE’S CAREER FROM AN EDUCA¬ classes, and was open handed and other instrumentalists, and modern Sarasate was not only a favorite with composers are well aware of the won¬ TIONAL STANDPOINT. charitable. When he visited his native PABLO SARASATE. hi: talents and career: “His beautiful his audiences but with the critics as city in Spain the citizens would take derful effects to be gained by the use of the viola. Witness, for example, the tone, retentive memory, immense exe¬ well. Hanslick, the noted Vienna critic, From an educational standpoint, the the horses from his carriage and draw thrilling effect produced by the solo (1844-1908.) cution, and certainty of finger, added wrote of him. ‘There are few violin- only impress left by Sarasate on his it in triumph to his home. to the singularity of his manners and ists whose playing gives such unalloyed time was by the effect of his matchless part given to the violas in the Allegro BY ROBERT BRAINE. (second movement) of the overture to appearance, ensured his success in enjoyment as the performance of this playing, and by his compositions, POSSIBILITIES OF THE VIOLA. - Paris, the French prov: and the Spaniard. His tone is incomparable— which were immensely popular during “Tannhauser,” by Wagner, to describe Every violinist, whether amateur or Early in January 1856, a little Spanish Peninsula. The Spanish naturally hon- powerful or deeply affecting, but of his life time, and many of which seem the orgies in the cave of Venus, while professional, who makes a serious l>oy aged twelve applied for admission ored an artist whom they looked upon enchanting sweetness. The infallible destined to live. The best of them are When the viola part runs high it is the violins accompany it with tremolo study of the violin, should study the to the Paris Conservatoire. He had a as their own countryman, but Sarasate correctness of the player contributes to be found in the repertoire of every written in the G clef as for the violin. Passages. The same effect could not viola as well. The method of playing clear olive complexion, and large lus- aspired to make his name known where- greatly to the enjoyment. The moment concert violinist. The A and D strings are the same as have been produced by any other in- it is exactly the same, the technic is trous brown eyes, and his face beamed ever music was appreciated, as well as the bow touches the Stradivarius Sarasate cared nothing for teaching used for the violin, and the G and C strument in the orchestra, identical; all that is required is for the with intelligence. He already had con- in the two_ beautiful sound nor for composition in the larger forms. strings are both wrapped with silver The viola offers so many opportuni- student to learn to read in the viola wire. ties for employment and for improvc- siderable technic on the violin, as he countries e s- flows towards He never cared for a post in any of the clef, which is not a matter of great dif¬ liad already played in public in his na- p e c i a 11 y his the hearer. A large European conservatories, although Hector Berlioz, in his masterly work ment> and it is so easy for the violinist ficulty. The viola is an instrument pos¬ on instrumentation, has this to say of t0 master it, that it is hoped that our tive Spain with great success, having own by birth pure tone many were frequently offered to him, sessed of a beautiful and noble tone, the viola: “Of all the instruments in the American violinists will give more at- even on one occasion played before and adoption. seems to me and he leaves no pupils. He also never and it is suprising that more violin orchestra, the one whose excellent tent>°u to it in the future. Queen Isabella and the Court at No violinist the prime qual¬ cared for playing in an orchestra or for players do not learn the viola as well. Madrid with such ski!! that he was re- has traveled ity of violin orchestral directing, and did very little qualities have been the longest misap- - To the amateur, viola playing offers predated is the viola. It is no less agile ANSWERS TO VIOLIN QUERIES, warded by the Queen with a present more than he; playing—un¬ quartette playing; nor gave attention to much that is beautiful and improving. of a fine Stradivarius violin. besides m a k- fortunately it chamber music in its various forms, than the violin; the sound of its strings W. A. P.—Carlo Testore, of Milan, In many instances it opens the way for The lad was taken to the examination ing his way is also a rare although he appreciated its beauties. is peculiarly telling, its upper notes are Italy, is one of the lesser Italian violin room and played for several of the pro¬ through Eu¬ quality. Sara¬ His success- shows the results pos¬ him to join a string quartet, as the distinguished by their mournfully pas- makers who has made some good in- rope from the fessors of the Conservatoire, and also sate’s virtuos¬ sible in the case of a man who has one viola player; whereas the opportunity sionate accent, and its quality of tone struments. Here is the inscription in sang a number of pieces at sight. It remotest cor- ity shines and single purpose in life, and bends every might not offer if he simply played the altogether is of a profound melancholy; fuH as found in a good Testore of of Portu- was plain that he was a born musician, pleases and energy towards achieving it. Sarasate’s violin. Among amateurs, viola players it differs from that of other instruments 1741: “Carlo Antonio Testore, figlio and the Conservatoire, that great SaI to Norway, surprises the one ambition was to be a great violin are scarce, and the amateur who can played with a bow. It has, neverthe- maggiore del fu Carlo Giuseppe in Con- mother of musical learning, gathered and fr°m Lon- audience con¬ soloist, and to carry his message play the viola, even passably well, will less, long been neglected or put to a trada larga al fegno dell’ Aquila, Mi- him to her bosom, convinced that he don to Mos- tinually. He is wherever the art of violin playing is have many opportunities of getting into use as unimportant as ineffectual— lano, 1741.” would make one more of the illustrious cpw, he has distinguished known and admired. He was a man musical company where his violin play¬ that of merely doubling in octave the There are many imitation Testore artists who have carried her name and yisited Amer- upper part of the bass. There are violins on the market, each bearing the not because he of singular personal beauty, and was ing might not be quite up to the mark. fame into every quarter of the musical 'ca> North and many causes which have operated to appropriate label. Your only method plays great the personification of grace as he ap¬ There is also much beautiful solo music world. Indeed, so remarkable an im- South. In all induce the unjust servitude of this no- to find whether yours is genuine would difficulties, but peared on the platform. Wherever he written for the viola with piano accom¬ pression did he make on the professors ^*s w a 11 d e r- ble instrument. In the first place, the be to submit it to an expert. If genuine appeared, he at once became a popular paniment, which would prove of great who heard him that M. Lassabathie, 'ngs has majority of the composers of the last the violin would be worth from $:oo to hero with the musical public, and was interest to the amateur. administrator of the Conservatoire, contrived to century, rarely writing four parts, $200, according to the preservation and High Grade Violins the object of sincere hero worship by Learning the viola is of still greater took him into his own house and carry °n his scarcely knew what to do with it, and tone. violinists of all countries where he importance to the professional, for it boarded him for ten years, the arrange- cultivation and when they did not readily find some M. B.—Violins by Fred. Aug. Glass Klein, in his played. Who shall say that his impress gives him two chances of employment, ment lasting until M. Lassabathie’s develop his filling-up notes in the chords, for it to are not especially valuable, even if gen- “Thirty Years on the art of violin playing in the nine¬ where he would have but one if he death. great natural do, they hastily wrote the fatal col basso u;ne. In the market I should not think of Musical teenth century was not much greater played the violin only. A symphony The boy’s name was Pablo Martin Life in Lon¬ orchestra in which the first violins (play with the bass)—sometimes with a first-rate specimen would command Meliton Sarasate Navascuez, and he Sarasate’s than if he had settled down in a conser¬ so much inattention that it produced a above $40 or $50 at the outside, al- don,” speaks vatory and spent his life in teaching? number, ten will employ from six to was destined to become one of the distinguish- Pablo Sarasate O f Sarasate’s eight violas, and larger orchestras in doubling in the octave of the basses, ir- though it is possible that a chance pur- greatest solo violinists of the world. ,ln? character- During his lifetime he no doubt was reconcilable either with the harmony chaser might offer more if he popularity i n heard by millions of music lovers in all proportion. Even our theatre orches¬ Sarasate was born at Pampeluna, the ,stlc? were not so much fire, force and England. After or the melody, or both. pecially partial > the violins ,made by tribute to Rubin- parts of the world. Violin students tras of eight or ten pieces number the chief city of Navarre, in Spain, March Passlon- though of these he had an stein, he says of Sarasate: “An artist viola among the players. A good viola “Moreover, it was impossible at that Glass, ILINSISSI 10th, 1844, and his death has just oc- *tore- as Punty of style, charm, of entirely different character, yet barely everywhere flocked to hear him, and time to write passages for the viola re- H. S—The fingering that you give, usually followed him cheering to his player also has a chance for employ¬ cured at Biarritz, the well-known flexibility and extraordinary facility, less serious in his aims, and certainly not ment in a concert string quartet, which quiring even ordinary skill in execution, f f *. etc., denotes that the notes JOEL EL SWE^loTsuusT, R«b7.7cr, N.T. French resort, where he had spent the sang on. his instrument with taste less remarkable for the flawless oerfec- carriage or hotel after the concert. His Viola players were always taken from over which the finger marks arc placed superb playing and romantic personal¬ will give him desirable concert engage¬ summer, Sunday, September 20, 1908. and expression,_and without that exag- tion of his technical gifts. Senor Sara- ments, and give him very valuable mu¬ among the refuse of the violinists. are to be played “harmonic.” that is ity formed an inspiration and incentive When a musician found himself incapa- wjth the finger lightly touching the The death of Sarasate will cause a g®r.atl°” or affectation of sentiment sate had just turned thirty when he made sical associations, which mean so much wave of regret all over the musical which disfigures the playing of so many his first appearance before a to pupils the world over. hie of orooerly playing the violin, he string instead of being pressed firmly many his first appearance before a London to the young professional just starting lonthly musical magazine world, for there are few violinists who vl°nmsts. It was a singular fact that Sarasate audience. Three years later (Oct. 13th, °n his career. There is no class of took refuge among the violas. Hence it upon it. “Sul G -- indicates and Violinists, contain- have been more popular, or who have There seem to have been two distinct 1877), his rendering of the Mendels- seemed popular the world over with arose that the viola players knew that the note or passage over which1 it K a tree music supplement valued '*®r* in music which leads to the 6c S1.00. Mailed upon receipt of 6c. given greater pleasure by their playing. Periods in his solo playing. The first sohn violin concerto at the Crystal composers, critics, audiences and stu¬ neither how to play the violm nor the js placed is to be played entirely on the proper development of a young artist Sarasate is the third great violinist was that of the ten years commencing Palace fairly took the town bv storm dents alike. Composers felt deeply viola It must be admitted that at the G string. There is usually a dotted line CARL FISCHER, Cooper Sq., New York 80 much as string quartet and chamber ho has answered the last honored if he would play their com¬ ' t t:me -this prejudice against the to indicate how far the G string passage summons 'v,.th his admission to the Conserva- and he repeated his triuriioh7 at the music generally. Ability to play the Wilhelmj t0««, when ^ his playing, although Philharmonic in the fo1w£„ !L™ positions. A large number of composi¬ vkda oart is not altogether destroyed, extends. You will find clear explana- within a year. Joachim and Wilhelmj m n,s P>a>-mg, although Philharmonic in the following sprint ola well often opens the door to op¬ being the others. marked by refinement and delicacy, was After 1885 he became an almoft tions by eminent composers were Ind there are still many viola players, tions of the portamento and the other portunities of this kind which would Hermann’s \# I I | ^| Of Smooth, Sarasate evinced great talent for somewhat effeminate in character, and visitor to England.” 3 written especially for him, notably tn even in good orchestras, who are not matters^ nmnt.on - music from his early childhood, and was lacked breadth and nobility. He played Sarasaff* v:c:foj Second Concerto, by Max Bruch, an t otherwise be obtainable. As a rule, P„tent Violin Schuie. Voi. 2. v lvtM1 Fine Tone really competent. a boy prodigy in his early days in Spain. Principally at this time light, showy, twice his last-visit k -6 -nitm States the Scottish Fantasia, by the sameco®- h Professional and amateur violin- “The quality of tone of the viola so C. W. S.-Paganini frequent 7 turned His serious studies dated from his en- VIrtu°so pieces, and fantaisies and he cave irstnt- mr. 1.n. 1 ,9, when poser, the violin concerto and t s would rather play the viola than iv-attracts and captivates the at- cach string of his violin half a tone The Lyon * Hc>)y cmowiRy violin wmi.i- trance to the Paris Conservatoire. He variations on opera melodies, similar in pianist Fnwn Wj • ,e ,£reat Symphonie Espagnole, by Lalo, an 1he sec°nd violin part, even although soon became the favorite pupil of the character to the compositions of his Bertln Mar» ert, and with Mme. the “Pibroch Suite,” by Sir Alexander 6,lmay j)e.°f the same grade of dif- noted violinist, Jean Delphin Alard, teacher, Alard, who wrote such a great Cess in tb* nr- • c, by Gluck( sages jn composit.ons written to fit this member of Reber’s harmony class and bis technic, with immense industry, the deks .i. Cn> r1®231"1- Viotti and Men- composition and is in the repertoire violin lnter.esting Part than the second the Iphigema ' with remorse, changed tuning. The Spanish ^ r-: secured a premier accessit (first mark of result being that he soon took rank German1’ P" u W°Jks of !he modern every concert violinist. It is doa . 5 An ’ 3S ,1* contains more solo work, Finest Violins on 30 DAYS* TRIAL - Chicane »»d EnropfU «hop». Tour distinction) in 1859. His ambition, among the first in Europe as a solo Amnno-' v • ®eIg'an school, if any violin solo of high ran u. viob V0 '11.player can easily learn the where 0restes’ quil as he repeats: Fandango," probably the most 4 collodion of both old »nd now however, was to become a great solo violinist. r *avonte works were the ever become more effective and P day . y.Swing a few minutes’ study a grows more trfiqul - my heart.’ popular piece ever written for no in Aniorioo. Everythliw tbo tIo. ‘Composure 1“,ls.agf,eeoiy agitated, the guitar, requircs the normal _ . .jn* from hi 00 to •100.00 and upward.. violinist, and although he showed talent Sarasate, although a Spaniard by birth and Sa^m-Saens ^nd5’t£° g °f , La!° lar with all classes than ^ this. w . learnin *s s’mply a matter of while the orchestra, deeply ag of the tar t0 be 30 DAYS' TRIAL before you decide to purchase. SI.Writ, Writ, today for freetree catalosratal os A VtollnWoViol Handbook. for composition, he always made com- was a Frenchman by adoption, and Es Paenole h T 1 “ S>'mPhonie transcriptions on airs from “Faust read i ^ u* fe?d t*le viola clef> and t0 utters sobs, convulsive sighs. » d thus making mus.cal E LEWIS A SDR (£>11889) M posing subservient to his career as a, lived much of his life in Paris’ He w:c g Dy Lal?-. “Carmen” are frequently heard, an ^ viola 6 di?frent positions on the throughout by the fearful and perM.n ^ that would be Jb-| 220 W.bath Ave.ua. Cl Position of til** instrument. tr Our Specialty; lm,yorfad Charlotte Sophia i„ dated from Verona, Milan, Rome, current Musical events. This half hour the oratorio of “The Redemption.” Hc song; and, with no previous Lz J Venice and many other places; and wc Next they went to Vienna, the Aus¬ will prove very instructive as it en¬ also wrote many masses, a symphony t.on, he composed a charming read the once familiar names, forgotten Ideas for Music trian capital, where the fame of the now We can picture Father Leopold courages members to post themselves and some fine songs and ducts. He little prodigies had gone before them. to the bass part of one of Hand? with his oaken walking-stick and his Club Workers on the musical topics of the day. For was said to have been a fine organist The Emperor, Francis I, was especially coat threadbare from long wear, and this department it would be well if the and hc was also skilled as a writer upon By MRS. JOHN OLIVER pleased with "the little magician,” as But the father took a bad cold % the good wife and mother. There is club subscribe for and keep in the musical subjects. (Press Secretary National Federation of place of meetings two or three gpod he called Wolfgang, and in a joke coming home from one of their™ pretty little Nannerl—she is now about A longer biography than the above Music Clubs) musical journals. fifteen, and her small brother writes would consume too much time at your made the boy play with first one finger, certs and had a severe illness. 0n * Many departments may be formed as that she “looks like an angel in her club meeting and would defeat the pur¬ and then with the keyboard covered so count of his fathers sickness UoZ the club grows in strength and num¬ new clothes,” and plays the clavier to HINTS ON ORGANIZING A MUSI¬ pose of such a meeting. You will find that he could not see the keys but had was not able to play any instrumeBl bers. Monthly concerts given by the the amazement of her stupid sweet¬ CAL CLUB. that your patrons will appreciate the to remember where they were. members will greatly increase interest idea of having the program under na¬ so he employed h,s time in composing heart who whimpers behind his pocket Little Wolfgang was devoted to the Many applications have been received in the work and at the same time be of tional instead of composer heads. Fol¬ his first symphony. handkerchief. (She afterward married Empress Maria Theresa. And he knew for information upon the subject of great benefit to the participants. lowing is one way in which this interest¬ This was in 1764, when Mozart WM a Baron von Berchthold.) Bimberl, CHILDHOOD AND YOUTH OF forming a musical club. We have made ing subject may be treated. part in a comedy set to music by the *0 little about the cold formalities of the dog, gets many kisses, and there THE GREAT MASTERS. but eight, as has been said. In 1765 hc it a practice to refer applicants to the court organist and performed in the court etiquette that, running up to her, is the canary that sings in G sharp. composed three others, and, although a issue of November 1907, which con¬ A CLUB PROGRAM OF INTERNA¬ AN INTERNATIONAL PROGRAM. hall of the University of Salzburg in he would throw his arms around her Last comes the wonderful boy him¬ tained an article giving adequate atten¬ TIONAL MUSIC. Germany. The Story of “The Little Magician,” 1761. About one hundred and fifty neck and kiss her without any cere- symphony is really a sonata for a full self, in his little puce-brown coat, his tion to this subject. Many applicants Pieces from "Kinder Album” Schumann Mozart. took part, including the young aristo- mony. She was fond of him, too, and orchestra, we can get this very beauti- buckled shoes, and long-flowing hair, In the meeting of your club you have desire to know something of the Austria. crats, students, and the choristers of allowed her little daughter to become ful music arranged for four hands- doubtless found that one of the most tied behind, as was the style at that parliamentary procedure. The follow¬ “ Fur Elisc”.Beethoven ' the chapel. his playmate. This was the small essential things is variety. A set pro¬ duet form—on the piano, or even for time—famous for his cheery merri¬ ing methods which are followed in France. archduchess, Marie Antoinette, gram for a year easily becomes very two hands. ment, as well as for his wonderful most all musical clubs will be found “Marche Pontificale".Gounod In Austria, some sixty-three miles who, some day, was going to be tiresome to the members unless you The Mozarts started for The Hague music. _ of value to those in search of a more Italy. southeast of Munich, is the little city the queen of France, the wife of seek variety. If you have had com¬ formal plan. “Consolation” (or some simple operatic of Salzburg; so deep set among lofty the unfortunate Louis XVI. on the first of August, 1765, as they Reference Books. poser meetings for the purpose of The organization of a musical club is transcription from Verdi, Rossini, mountains that one of the gateways had been invited to play at the court Studies in Modern Music—W. H. studying the works of the individual Of course, the nobility went carried on practically the same as in etc.) .Scarlatti of its citadel is cut, many feet, through wild over the children, and the of Holland, and were most kindly re¬ Hadow. composers it would be well to occasion¬ organizing a club of any sort, except ally have a meeting devoted to some English. the solid rock. Here, amidst romantic titled ladies lost their hearts to ceived by the Prince of Orange and Encyclopedia Americana. that the object for which it is organ¬ different class of subjects, such as King’s Hunting Jig.John Bull scenery, once lived a young violinist- the little fellow—and no wonder, Dictionary of Music and Musicians his sister, Caroline of Nassan-Weil- ized may be different. I should sug¬ "The Evolution of the Dance," or Norwegian. composer, named Mozart, with his for he had a face of unusual —Sir Geo. Grove. burg. But, first Nannerl became ill, gest for the benefit of L. H. who says “Women Composers.” or “National “Wedding Day at Troldhagen”.. .Grieg wife. Both were so good looking that beauty. Many of us have seen Century Dictionary and Encyclope¬ she has “not the first idea of club form¬ Programs,” or, as the title of this Hungarian. they were known as the handsomest and then Mozart took a violent fever dia. tn copies of the painting of Mozart ation” that having found a number who article suggests, an international pro¬ Consolation, No. 5.Lisst couple in the town. which lasted many weeks, so that it Music and Morals—Haweis. and his sister before Maria are really desirous of forming a club gram. Poland. 5-' Seven little children were born to was in January of 1766 before he was Century Book of Facts—Ruoff. Theresa. a day and hour be agreed upon and Practically all of the European coun¬ Nocturne in B Major, Opus 32, No. 1 co them, but only two lived, Maria Anna, able to give the two concerts at Am¬ The two children, in costly a meeting called. At the time ap¬ tries have representative composers. Chopin or Marianne, born in 1751, and the dress, are playing the piano be¬ sterdam, where all of the instrumental HOT NOTES. pointed some party interested will rise Some have so many that it will be dif¬ boy. Wolfgang—a January baby of fore the Empress and her court. music was of his own composition, in¬ and say “The meeting will come to ficult to decide which would be the best THE WEDDING OF THE OPERAS. t7S6, who will probably be remem¬ Maria Theresa sits near the cluding a symphony—doing pretty well BY A. L. PRATT. order,” and then ask for nominations for your uses. This program should be The following makes an exceedingly bered as long as there is any music in piano, and has one hand raised for a boy of ten. for a temporary chairman. One or prepared far in advance and the per¬ good puzzle game for musical parties the world; for he lived to be one of in wonderment at the skill of the They took another trip to Paris that I was trying to teach one very unruly more names will probably be offered, formers should have ample opportunity in which older children take part. The the greatest musicians the world has marvelous children. She encour¬ ever seen. year and passed again through Munich , little miss the importance of the proper then voted upon. The person elected to practice their pieces thoroughly. If answers to all of the following ques¬ aged them in many ways. And will then take the chair and ask for the club is one~composed of the pupils European children begin their edu¬ stroke of the staccato notes. “Play tions are names of famous operas. even the vest and the top-coat where his old friend the elector was | nominations for a secretary; these two of one teacher she will have little diffi¬ cation very young—and Father Leo¬ them as if the keys were red hot,” I Some will be difficult to get, but for embroidered in gold which Mo¬ much pleased with Wolfgang's prog- , officers are sufficient for a temporary culty in apportioning the work so that pold early taught Marianne the piano. said. After a while she conquered the the most part they arc quite simple for m t zart is wearing, in the picture, ress. They reached home in Novem¬ those who are the most capable will “Nannerl,” as the boy called her, and once hard task, producing a very clear, organization. advanced musical students. In the next were presents from her. ber of 1766, and the father began at have the difficult pieces. The teacher himself,.“Woferl,” were great chums. crisp tone. The next lesson I enquired After the election of the secretary, issue we will print the names of the rn But good times do not last for¬ once to carry on the boy’s interrupted I as to how we should play the notes with the chairman states the object of the must not take the following program as first ten sending in correct or nearly His ear was so sensitive that he ever, and a change came all too anything more than a model showing fainted at the sound of a trumpet. studies. dots over them, expecting “staccato” meeting. If it is agreed that the per¬ correct answers to this puzzle. soon. Mozart took the scarlet what could be done with such a sub¬ Both children loved music above every¬ for an answer. “Oh, those are hot manent organization shall take place at r. Who are the bride and groom? 51 fever, and even after he got well ject. She must adapt the music to the thing else. He listened intently to her Allegri’s Miserere. notes,” she said, and promptly began to once, the temporary officers may be 2. What was the bride called before people kept aloof, for fear of in¬ individual needs of the pupil. music lessons, and even at three years show me how they were played. made permanent by acclamation or new she eloped to be married? fection. So the family returned Four years later, in 1770, they went The practice of having each pupil pre¬ old he would amuse himself for hours officers elected, the chairman holding 3. At what sort of a party did they to Salzburg, in the beginning of to Italy. The travelers reached Rome pare a short biography to read before with picking out thirds; and he showed the election. become acquainted? 1763- But they left home again on Wednesday of Holy Week and went ANSWERS TO MUSICAL SYN¬ the club prior to playing the piece is a a good memory for the different pieces After election of officers committees 4. Hc went as a minstrel. What in June, traveling toward Paris, straight to the famous Sistine Chapel ONYM PUZZLE. most excellent one. Its greatest advan¬ he heard. MOZART AND HIS SISTER. are appointed by the chair to form the was he called. but giving public concerts, or The following are the answers to tage is that the process of reading often In fact, it was “Nannerl’s” lessons to hear the singing of Allegri's cele¬ Constitution and By-Laws for the 5. She went as an Austrian peasant. playing at the various courts, the musical synonym puzzle that was frees the pupil of the nervousness that that first brought his wonderful musi¬ His First Concerto. brated Miserere. This is the psalm, ■ganization. would otherwise accompany the per¬ What was she called? the way. Mozart also played the violin, printed in the September Etude: The Constitution should specify the cal gifts to notice, for the father was At twelve there Miserere mei Deus, the fifty-first psalm, formance of the piece. The students 6. At the wedding what Spanish as no one who and tI,e organ at several churches, for he ,me and objects of the association or so encouraged by the interest he dis¬ could equal him c which begins, “Have mercy upon me, should be encouraged to take pains girl was maid of honor? the harpsichord. had n°w arrived at the ripe age of seven 2. Flat. ' ub. the requirements for membership, played that Leopold began, almost in with these biographies and the teacher 7. What noted Swiss was the best He had even composed a concerto In November of 1763 they reached O God, according to Thy loving kind¬ 3- Natural. ive’ a list of the officers and fix a play, to teach the youngster some lit¬ will doubtless be obliged to assist the which was so difficult that no one could Pans and there they stayed for five ness.” This famous composition Had 4- Accidental. tle minuets on the harpsichord, the months. lorum. . _ __ student in securing the right kind of 8. What two ladies, friends of play it. Not at all abashed, he stood been guarded with such jealous care 5- Air. The By-Laws should contain matters old-fashioned piano. material. She should place all her ref¬ Donizetti's, were bridesmaids? his ground, telling his father, “That At the famous Palace of, Versailles 6. Pitch. f minor importance, specify the duties “ , . wner, mat is ( - ... —,. , or, Versailles that up to that time, I77°« °nl7 th"e erence books at the pupil’s disposal and 9. What four Germans were the Study in the Olden Days. 7- Tie (or substitute, Slur). just why it is called a concerto; people p * . sa^- whlch «s ten miles from copies of it had been lawfully made. f officers, place and time of meeting, show them how to get the facts which ushers? mnef I. 5 irariS. trU* Mu 1,1.—„ , . 8. Allegro. A hundred and forty-eight years ago must practice it until they can'pfay Paris, the chi.dren pHyed before But on this particular fourth day 0 id give the order of the business. The make up the outlines of their biogra¬ to. What mythological personage 't perfectly.” * 9. Staff, they did not have the beautifully- Mozart Holy Week Mozart, gifted boy «» y-Laws may be amended at any presided over the music? to. Forte, phies. printed exercise-books that we use. One writer says that the professors another distinguished friend and well- 1he was,was then[nen justJusl ..fourteen y«rs 1 me by a majority vote of the mem- Enthusiasm will often lead the pupil 11. Who sang the sermon? n. Sharp. Everything—scales and all—had to be at.f ** Whi rhf.Vhe reigning teauty. Mad- a^ wrote down the entire work, af«r to prepare biographies of impractical 12. What noted person from Japan ^t is^thepresident’s duty to preside copied by hand, note by note. And in improvised fugues on any theme they a“e ^e Pompadour, before whom he Knowing 12. Grace Note. length. Therefore, it is well to limit was present? hearing it sung that once. '3- Tonic. Nannerl’s manuscript music-book the had a mind to give him, and then rode °ften pIayed- One painting by V de that the music was to be repeated on all meetings, announce the business, the words and character of the biogra¬ 13. What noted bells were rung in a-cock-horse on hie ■ ParorW - , .... . * y v- ae 14- Strain. father began to write down little pieces a-cock-horse on his father’s walking ^edos “ g£J. Pliant drawing-room Good Friday, he put the manuscript -eserve order, put questions, annou"« phy. Two hundred words is an ample honor of the wedding? 15. Key. .suits and see that all rules are for. the small brother.- Pretty soon . scene> in Which that gorgeouslv into his little cocked hat and correC allowance for the intelligent pupil. The 14 What ship did they take for their Wolfgang began to compose similar bchachter the court trumpeter, who g,own.ed lady is extending her hand Z 16. Theme. following material could be embodied wedding trip? imu AT- vIier nana to 17. Solo. TheVrdecording secretary will keep the little airs for himself. These helie would was a £riend^r,end of°f t}theie Mozart familyfamily, tells the little Mozarf 1.:_ ing on. This clever performance -- in a biography of this length. 15 When on the voyage who cap¬ frank and art’ 7h° kisses Jt with 18. Rest. linutes of the meeting at each meet tured them? play to the father while the father of *he Httle Wolfgang’s eagerness to trank and natural grace. a great sensation. He was r*c wrote them down for him in the book. Iearn. everything, especially arithmetic 19. Minor. reading aloud the proceedings of 1ARLES (FRANCOIS) GOUNOD. 16. What virtue sustained them in everywhere with open arms, and 20. Major. ? previous meeting. In the absence But it was not long before he was —’vvhlch was lucky, considering how In London. >rn in Paris, June 17. 1818— Died in captivity? Clement XIV conferred the Or 21. Clefs. F the secretary the president must ap- 17. What gentleman of dark com¬ able to do it all—the composing and lnany fractions we are liable to meet the Golden Spur upon him. j, iris, Oct. 17. i893- the writing too. with—in music. 22. Bass. Gounod’s father was a painter of pro- plexion rescued them? left" Pari*1 °fa1764 the M°Zart ^mily But musicians were not pa -I. attend And when we go to Salzburg we He loved his father dearlv “Novt P ’ and went to London, by 23. Chord. unced ability, but hc died when the 18. What historical people enter¬ way of Calais. money in those days, and tlie 0j shall be able to see that very music- after"iftor GodGnrl comes10c papa,”->» he used to met In England also, they 24. Dominant. , all correspondence of the organ.za- ild was five years old. Accordingly, tained them in France? often felt the need of it >n sp nt; book of little Nannerl’s—for they still And. although they were very *y‘ W th 25- Counterpoint. nn notify committees. junod was brought up by his mother, 19. In northeast Italy what grand af¬ their popularity. Valuable Pr ^ fair did they attend? treasure it there—in the Mozarteuni, a with children ' ' - 3 The following readers sent in correct 10 was a fine musician. In 1836 he w.thchildren jn those daySj h' was"‘^ ei^ht-yeaf especiaI17 the and gold snuff-boxes do not P J 0( 20. Who showed them the sights of sort of conservatory of music. answers to the foregoing puzzle: idied with Rcicha. Halevy. Lesscur obedient that he was never whipped. able impression. ’ made a remark- or buy food. Yet these wc'’e.,,;,>nt 01 d Paer at the Paris Conservatory, Venice? Delighted with the great musical tal- The little brothel "and sister had M. Ruebsam. The King, who v joy and triumph—the most bri iter, he won the Prix dc Rome, which 2t. What were the wedding pres¬ J- Porter. that £ ^p^^IH/our Mozart’s short career. titled him to a three years’ residence ents? father devoted a great deal of ! to father "lade up his mind R- Bauer. to go on by Bach and uLPU „p,eces Italy and other Continental coun- 22. What royal personage attended? their education in music. concert'tours “with^them0 Th -B° c™ and Handel'before ““the'h How He Wrote. Hilda Hanes. 23. What frivolous female was YVhen Wolfgang was four years old, trip was in 1762, when Mozart JZ Tl*'* ’ Mozart. a"d the child „l,w es He wrote in all forms, but with t roi A- J- Simpson. there? hardiy more than he" w,o« £ £ T ~ «*» « ^ He wrote music as you and J ncit J- Shaw. nst success for the stage. His most letters, and his handwriting * wf0(t loular works are the operas of The answers will also be published tunes; at five and a half he made his Munich, where thl Fl^^ Went t0 years prior to that timt d,fd. f9?rteen Mrs. Bemis. next month. first public appearance when he took them kindly and admir^Them grellfy hadr been d«ad but five 301 and small, like himself. But Miss B. Mullin. letters, too that we may still ^ jr< j E- M. Wolf. Mozart even accompanied"the Queen ways traveling as he was, ft 738 THE ETUDE the etude 739 Organ Repertoire. We take pleasure ing or following, and it is best not to A Complete Course The “Technic and Calendars 1909. For a number nf decided us to import the Kinder instru- in announcing that try to say too much on a postcard. of Instruction for Art of Singing We fiave fur ■ . nients. iOur prices are the lowest, when by Mr. Frederic W. we have now in preparation and near¬ the Use of Singing year a calendar, used, no diifk?'* all things are considered for the “life” Certificates and Diplomas. We h Teachers. T ing completion a new collection of Root offers to all very large extent as a slight to 1 of the instrument is of material im¬ quite a v pieces for the pipe organ. Our previ¬ PUBLISHERS teachers of the brance from teachers to puDn 1 remem- portance, thus our trumpets are one and from ous collection entitled “The Organ ty of certificates and diplomas for the voice such a course. We will issue about pupils to teachers. We ha" "’’°“UIr0ffl ! solid piece and not weakly soldered to¬ Player” has had a flattering success and use of schools, conservatories and the time this number of The Etude ap- this year the most attra**• f gether. A complete list of instruments, teachers, which are available for all mio-ht he termed a manual which we h ,, .,,._• 1 .a«ive strict | has been widely used by teachers, with prices, sent 1 upon request. NOTES grades of work. We have various of this course. There are eight distinct of this issue you will find 11 Page 74, organists and students. In our new styles and forms suitable for almost volumes, covering almost every need advertisement, 1 Austral collection we have endeavored to work Standard Grade V. The success of this every purpose in grading and marking which arises in vocal teaching. This These calendars along similar lines and we have avoided series of works has are pictures framed I The December With every copy of l*10 pro£ress of pupils work. We• first“‘“v manualmanuai explains tnethe use of01 eacneach one otof in a ciarkdark gray mat, on the b anything which is either hackneyed or been very satisfactory. The first four o_1_ . havphave thethf> largelnr modernized, constantly. ™ang . prices during the current month the in the volume is exactly suited to that from changing conditions. Every . Botb the pictures and the frames are I of any etching that can be purchased pupils' certificates that are given by the romu changing conditions. Every «otn the pictures; and the fra special price will be 65 cents, postpaid. grade. We will issue this volume be- in any art store at a high price J teacher for the finishing of any grade t?acher desiring to keep abreast of the imported, and while we have a large If the book is to be charged the post¬ fore the holidays. It will contain a There will be a large demand for this or year' The Prices for these range all times will do well to get this manual, "“mb« °n hand- it is not likely that age will be additional. medium grade of piano compositions issue, and we would advise those who the way from 5 cents to 25 cents. y’„a"d USe the course as fuaranfee any that will be useful for almost any pur¬ -be understood that these cer- laid down herein. lection which might be--- desired,- except desire to use extra copies s Christmas A Word of Advice. If there is any pose of education. Our advance price tificates and diplomas are signed only on the very firsturst orders, as beingheina i.„ presents for their pupils, a custom d e 1 a will be 20 cents if cash accompanies which has become quite usual, that we by the institution or by the teacher. Little Velocity Studies We have now ported tbey could not be renewed in order reaching you we would advise the order. will print a large edition with that idea We furnish only the blank forms. Our Without Octaves. By in press to be tlme for tbe bobdays. The price is 10 that you first make inquiry at your J..' in mind, the price for this holiday issue naniname®1 as publisher does not occur on L. Kohler, Op. 242. added to the Fents each, or, $1.00 per dozen, postpaid, Guide for the This new work express office, as probably your express remains the same, 15 cents. the blank. It is not the province of a Presser Col- '*f cashcasb isis sent with the order."order Male Voice. which was announced 1f“ publisher to issue a certificate bearing lection, this very useful work, agent may not notify you promptly By F. W. Root, last month will be on Berens’ Velocity Studies. We will issue upon the arrival of the package. If New Express Rates. The Inter- his name for any of his works. A cer- one of the best of all the Kohler books special offer during they report that no* such shipment has state Commerce tlficate only has value from an edu- of studies. The studies are especially month th; 1, u- u ^during"“,B* 'Ithis1* the current month. It is the latest CO —... has brought about at least one cational standpoint when issued by a designed for the development of veloc- „7r, !t , • wblch fills a very in¬ yet arrived then notify us immediately number in the series by F. W. Root and we will make investigation at our distinct advantage to every one of our teacher or institution. A publisher’s ity for students with small hands or course of 0^0“ t!™5* eVCryt pU5,r5 bearing the general title, “Technic and end, and if shipment has already gone’ patrons. Heretofore as large shippers. na™. in connection with a certificate hands of limited span. These studies of which the f?,11 til " «1 °f ^ Art of Singing.” This new volume is forward we will issue a tracer and do publishers were given what was termed of this kind weakens it. Teachers will may be taken up by pupils of the early of Velocit^” This « New Schoo, entitled “A Guide for the Male Voice, Printed Matter Rates” (Sec. D.), 8 hnd a £reat variety in what we have third grade or even by advance second \tyfy ,Th.® ", paraIlel Czern>'s all possible to locate the package with¬ Op. 23.” This book is intended par¬ m out any further delay. ticularly for those who havc male pu¬ k: ss.'jsnrjxrzmPlr"c“'"* be ha<1 by risrtizTy The order blanks which we supply to pils. It contains minute instructions our patrons at all times we find to be a for the development of the bass, bari¬ great convenience, but every mail brings I tone and tenor voices with special exer¬ Jov//fE)fS Cocoa il by asking for it. We advise its use ' tot^ed^.,04116” velocity studies They might* be"fold ^ becoming almost as popular with us these containing orders, large and cises and songs for each voice. It con¬ small, unsigned, and such orders cannot tains only the necessary directions for receive our usual prompt attention and dealing with the characteristic features 1 hanksgiving or Christmas will find it Vek)clty Studies or after an interval by complete for to cents The first and r*ri The only condition imposed by the often must lie unclaimed until a com- of the male voice. It is an eminently Nothing better for the Baby or the express company is that the charges .0 their advantage to write us for selec- * ^zerny Velocity Studies. In these second books will bePublished ta £ plaint is received. Be sure to sign every X) practical and useful work of equal value must be prepaid. In other words «ol«n.«s, while the thini and I order with your name and full address. with all the preceding volumes of this CO packages returned Tathe student preparing to become a highly successful series. For intro¬ Mother than Lowney’s Cocoa—nour¬ collect Hnwill i„:c the^xc^iiL^mrteHlfofkifcharSe^. . . . luls> cnaracter - , . nana is^ an unusually Wi" low price, as the retaiKThi| -H ! teacher, also to the professional pianist ductory purposes the price of this vol¬ they are returned as printed matter price of this work is exactly $3.00. We or singer, we specially invite attention ume will be 30 cents, postpaid, if cash ishing, strengthening, digestible, deli- prepaid. Send small packages from a approval; ^ M t^’S wiij^sVp^ poSe/ fhis ofier to our catalogue of instrumental and accompanies the order. If charged distance by mail. vocal music, and upon request to do postage will be additional. r- assortment of the issues of othe7put Without °^aves.” For introductory remal" “ f<5rCe ^ °"e m°nt ' so we will also quote you the special For Convenience in writing orders our fisfiers anfl ate prepared to fill all such pprposes. during the current month Extension Exercises We have in prep- crj i discount allowed to amateurs. Our sheet music publica- °rders . 'vlt.u llle utmost promptness. "e specIa‘ Pfice on this work will be For Small Hands. aration a set of catalogue is particularly adapted to ?c?i tions are catalogued by number, and ' spec,.a lst °fi good music for Christ- ll cen*s> postpaid, if cash accompanies By F. P. Atherton, exercises which your needs and is graded from the be¬ Cocoa treated by strong alkali (the patrons are reminded that they can mas wl11 be ,f.ou!ld in the advertising th.e..order; If charged, postage will be are intended par- ginning up to the most 1 difficult, and is save much time and unnecessary labor c.oIumus of this issue. Early prepara- addltl°nal. ticularly to assist players with small « special value to the teacher’s line f_yJ?S"?g numbers.. when"uiutmig ordering h®”, SJ°,ruJhe|®, ®^-—casions msures methe _ nanushands in attaining nexioiuxyflexibility aiiu««and elastic- T0l!k' Write to us for a copy at an Dutch method) may be blacker and more from us. Orders so written are quick- „ „‘'CSV“S- Select your music as early Advance of Publication The following ity of the hand, thereby increasing — early date. ly and easily filled and the customer * P.° b e and a,low ample time for Pr»ces Withdrawn. works are now power of extension. These studies are Professional Want Notices 1...... gets the benefit of better service. The practlce- ready and llot founded on any particular method cost of five cents per word, cash with order. soapy—but free alkali is NOT good for The Kinder Symphony. The Kinder Business Notices, *.- number of each piece will be found School of Technic This great work nf spec«al prices on all of them are hereby of technic, but are the result of prac* with order. Do t opposite the t.tle in our sheet music by Philipp. Philipp’s is on a f Jr Wlthdrawn: re hereby ^ These may be used . Symphony oc- this office. pies a peculiar position in music. VEON GRADED PIANO COURSE A the stomach, and Lowney’s is NOT hanr T the Uppeff left road to be on the Horvath’s “First Velocity Studies” with any other technical works and | "‘en as ,a preliminary study to en- practical Kindergarten method for private les¬ sons. Introductory price 2o cents per vol- music itself ° hC hfSt P“ge °f ‘He ,™ark^ before the next issue. The en- RGurii.tt’s First Lessons, Op ii7’» theyr may be taken up by I tli t6-,!11118’0 f°r children who haveinot or three grades for 50 cents. Icon tire plates are engraved and the proofs Baschmsky’s “One Year in the I ife mentary pupils to excellent advantage. | e a llity to play the more serious in- School, Beaver Falls, Pa. made that way. Plain Order Writing. This house fork" t.bebands of the author. The a Chi!d” (four hands), and “Anthem They would serve as an excellent F«P‘ j * ruments it fills a want that nothing ••SCALES KEY SIGNATURES AND ItE 8 H-inrti 11^ ^ k W1 be one of the most comore- Devotion.” The orders in advan« f aration for larger studies in extension I TrATRD KEYS, ' DV • . ; , ‘lr has supplied. In the past there prehensive—Concise—Practical — Invaluable,1,1 Lowney’s Cocoa is simply the choicest very large number of orders ^aH technf A^aT^" T^-°" pian° PfCation, for a« of these works hav such as those by Phihpp. These stnd- ‘"•dor direct or through dealer. Net price wnrL Ut /ew known to the musical cents. No stamps. Th* Musical Press, kinds, to the reading and proper inter- !his workfn S ^ advertl*elne "t of very IargC- We feel sure that none ’"Vf- entI^y ong>nal and ' ThP ’ Sucb as Haydn and Romberg, " Drawer 1602. Philadelphia. pretation of which much close atten- will mve Lddh.if p3f °f ‘he j°Urnal W1!be ^appointed in them. collection. They may bcusedb) , , j, growth since then has been slow, THE TADSIG HAND EXPANDER, a, Cocoa beans ground to the fineness of tion is given; it is our unvarying aim g additional information. Our Horvath’s Velocity Studies will i,* pUpiIs y°ung or old who h f to pianists with small or stiffJmnds^ less become a ‘ Hands or who lack the power SvmP^r"apS’ *° tbe ^act tbat tbe Kinder to fill each order as completely and cor- makef °f ^ S° CentS’postpaid> leSS become a b llands or who lack the power °f our*! °ny ,ls 50 Httle know outside of dollar postpaid. the teaching reoerf addlt,on to tension. For introductory P»tPose' ourilarge cities. Carnegie Ha" ' flour; no “treatments,” no adulterants. rectly as possible, but it is often diffi- fave yet made ^ ~ .. . 8 repertoire for youne nunils _*u.-_ ^„rinir the m>r' A COMPETENT TEACHER WANTED In cult to guess a customer’s .Usua»y a work be»n ^n?,.tbe past (ew years there have every city and town to introduce the Russell meaning. asThis is because* from P\bhsbed a number of symphonies That is why Lowney’s is the best Cocoa times assume that we iu nas to nn _, . . . . rv * and in two rehearsals J'- rec'Ck!fet,<'aCAlso° Harmony ST Mill. bch,c$,.8S.. A lkf 6fa T081 creditable performance. Culture daises. Shepard Schools. Orange. The WALTER M. LOWNEY CO. instrnm° tbese works, with names of N. -T. '"Si—fers* page ents ^required, will be found on OLD BOSTON, MASS. known ageIOoLf N80 'years.^For P™.lam he 1 D?'ayS °f th^ k;nd might ™koi JhifkinT We'rivlTlI!!1 l m"Jnthem Devotion,” which is the bo‘h for $1.85. . 4lb address.mre»>. Uln■ Inier. hecevmr66? constantly on hand the Makers of Cocoa, Chocolate 0 ;.-. who desire to avail themselvec f u6 ” em coBcctions, should reoeat the The Etude and McClure’s, tion of ?li ’"stH-unents for the produc- rucinseives of the success of the ti, - -epear tne w. t b!:P'a,nly ",ri,.ten’ special Price on this worT l.lAhe ,S“CCe!s of ^ three preceding vohL^ . We are prepared to duplicate^subscrip- we trv ♦ flnder Symphonies. While v,d'• .r".r:;!,;!;:"i-.Philadelphia. and Chocolate Bonbons. each individual item being separated to ^ should^ i'^pLeaesPn;d,ng;0,Umes' clubbing rn«*u“ , in■ «uall n ° j V°.r tbe American market as not to be confused with that preced- be too late * S next month mav all«>■ ’nf *i- . . *°°r sendd rany or" 4— « maneL: Ur ldealings the superior work- aWS CKrA.,nH.^.nr all who may be interested mmatlon to by any reputable publisher or su P of the German manufacturers Poughkeepsie, N. »• tion agency. 740 THE E T DDE

I know a great deal about his life. As for ten cents apiece, three for a GETTING AHEAD IN MUSIC. THE etude a student he earned his clothes and the ter! Please don’t laugh; the remem' 741 money for his lessons ever since he brance is too tragic for that. I T E.T. Pauli Music Co.’s was in the grammar school—think of cured two pupils, think of it! and I* BY FAY SIMMON DAVIS. it! He earned his admission fees to built up my present clientele from th* the concert halls, where he was always start I gained by teaching those reallv What Others Say questions Learn Piano Tuning Best Publications!!! to be seen among the “wall flowers” Heavenly Twins! I organized a clio The Christ Child “The best men are not those who whenever the great artists were play¬ rus in a Sunday School when I was' :'u,B88,on that °a" •>« Converted Into In Art, Story and Song, or have waited for chances, but who have "oney at Any Time or Place In the Civil- ing. He taught and studied, did type¬ seventeen and gave two concerts to —-practical taken the chance, besieged the chance, writing, organ-blowing—anything and make money with which to buy the any that 1 Rave seen, and those who have answers Hed World, at an Hour's Notice. The Children's Messiah and made chance their servant.” t agree with me us to its value—par- The Christmas entertainment compiled by- everything for the sake of the goal in music. In time, two or three singers Every lesson we teachers give is a tfcSurly with beginners.—Arthur M. Luther. Man Ruef Holer, with Meric-, especially view. He now returns from Europe took piano lessons ‘ofFn me,’ and grad'- *"'*ftainmcnl by Margaret chance, opportunity; every lesson we I have been dealing with voi with a purpose and self-assurance that ually more pupils from the chorus ranks take ourselves is a chance to build. J started teaching music in I’enPensacola, Fla.. you want to taSTt3l u^amfwe will yield him large returns through were added to my class. I played a lit¬ ,v --better pleased to inform you or place your question in the Every concert we hear, every magazine USJS'rear rear w’ith'tbelieamiiiiwith the beautiful publications you hands of some acknowledged expert for reply life. tle reed organ on Sundays without re¬ we read, every friend we meet, teaches 1 ~.,r • also with your polite and If the question is one of general interest to per hundred. I have another friend whom I met muneration, and by and by the people 8 treatment.' -EvelyiEvelyn M. Heine. us something if we are only hungry to Priut the answers here. Price of the but recently. “You want to know how purchased a small pipe organ and paid This department is for you to use to any ex¬ be taught. Opportunities are every¬ “Twentr-foor Progressive Studies for the tent required. 1 where if we but seize them before their I succeeded? Well, I just did things me $i.SO for two services. On this in- Organ,'' by Whitney, received, and I am very The Etude cannot attempt to give metro¬ when I started that many other boys trument I gave some free public recit¬ much pleased with it. I consider it a valu- nomic markings for special compositions, as rented lor $4.00 and expreasage both ways. coat tails fly by us. “hle work for the young organist.—lira. such information is of special rather than There is a story told in which a sculp¬ were too proud to do. My mother als. I went from that church to one general interest. Metronomic markings are Christmas Songs of Many Nations gave me lessons until I was fourteen. where I received $4.00 a Sunday, and often purposely left off certain compositions tor was asked why the face of one of by publishers and composers, to allow a A Christmas entertainment for children, coat- his figures was hidden by hair and why Since then I have earned the money for from there I worked myself up to the ponuRi. jiwirio .it Musical History...... 1 reasonable latitude tor the musical taste and piled by Kafhcrinc Wallace Da tit. price teacher and choir leader, I appreciate to the technical limitations of the performer. 25c m t per hundred it had wings on its feet. “Its name is every lesson I’ve taken by doing every¬ position I now hold. Descriptive circular* of the above entertain fail the extremely liberal jajgj ■ .... merits furnished upon applicative. ‘Opportunity,’ ” said the sculptor. “The thing—from snow-shovelling to wait¬ “I believe more firmly than ever that Student. Berkeley. Cal.—Your letter will re¬ ing on table. We once were so poor success is not measured by what a man quire a personal answer. Kindly send us your Faith and Praise face is hidden because men seldom see name and address. All letters addressed to it when it comes to them. There are that I went all over the city ringing accomplishes, but by what he has over¬ this department should have the name and HARMONIOUS door-bells and offering to give lessons come and endured. "Songs Without Words,” by Richard the address of the sender, and when desired i'O wings on its feet because it is gone and Ferber, I consider a splendid little work, and a pen-name for identification. cannot be overtaken.” expect to use it continually in my piano class—Jfiss Johanna Oehrne. TO READERS OF “THE ETUDE” Even when we do see our opportuni¬ W. F. G.—The hardening you notice under your chin while singing is due to a muscular Teachers of Piano Be Sure to Read the Special Offers ties, we hesitate, and they are lost. On I like your music and your methods bet¬ tension. If this hardening is very noticeable We Make Below-lt Will Pay You my desk I keep this little verse which ter than any I have ever seen. Your house you should do everything possible to discon¬ mii’nV. \ ,.i. :, always has been extremely courteous in all I Be^rinynd Om» Hr^mlrlng. inrjud- “THE ETUDE” Leads to Success tinue it. The ideal condition for good sing¬ non r mn- has often helped me to take decisions its dealings.—Howard House. See if the Following Interests You ing is with the chin light and floating. If lly Variant < orapoocni • We went Music Teachers and Readers of The quickly and to grasp a chance when it you will practice relaxing the jaw by letting | Instruction, and our exrlualTr! i-mruied M l'1 Etode to hare copies from the specially selected lists I am very much pleased with Women’s it drop of its own weight" several times MANUAL All- afo lr|.„r. l.-ur of our l«st selling pieces named below. All persons was slipping past. Most teachers and students take “THE ETUDE” because they find that by Club Collection; It wifi be especially suitable and then try a few tones you will doubtless J practice at your o»n borne will fully rqnlp who use a good grade of popular music will find ercry keeping in touch with best current musical thought and inspiration they become more for club programs.—-Mrs. Anna II. Aylcs- be benefited. The practice of smiling gently I jjdece in the following named selection to be the beet while singing so that the facial muscles be¬ 1 It" THK rSkLOR‘^BOEbSoN1.' rCW“rU* “Don’t linger by the way, successful. We grant our graduates •> Diploma. The value of “THE ETUDE” is guaranteed by its past. You know what that come relaxed is also beneficial. If yon will —cepted the world over as proor or MAGNIFICENT titles. elegant editions. Do it now! “Imnortant Events in Musical History” is notice the faces of some of the great male proficiency. S« n«l t<*l«j-f«.r SPLENDID MUSIC. EASY SELLERS. ALWAYS has been. Take for instance “THE ETUDE” for July, August, September and Octo¬ the most convenient and best record of musi¬ operatic singers you will note an undeniable GIVE SATISFACTION. NOTHING BETTER You’ll lose if you delay. ber; here are just a few of the articles included; cal history I have ever read.—Victor muscular tension at times. This if con- 1 ' II, F.d/tke l*ru> m Mali Do it now! Uktfsky. tinued would prove ruinous. In practice you “Lessons Wlfh Kullak”.by W. H. Sherwood will discover that this tightness may be The Following Lists Contain All of If the other fellows wait “From Beethoven lo Liszt”.by Amy Fay "Important Events in Musical Ilistorv” is avoided by the exercise of the will power and Or postpone until it’s late “Turning Points In the Careers of Great Musicians”.by H. T. Flnck a most excellent, though unpretentious, by soft singing. The Acquisition of a Loose Wrist”..by Perlee Jervis little book and is worth many times its price E. T. Pauli’s March Compositions: You hit up a faster gait, “Class Teaching versus Private Teaching”...by Mrs. Herman Kotschmar to any musician or anyone interested in KCHOK8. II, I Ua K.. A Do it now! “Amateur Courses”.by Emil Liebllng music. I cannot too highly recommend it.— “Krahoveeaynne Cerisette, ...- “False Stories in Musical History” .by Louis C. Elson Thomas S. Kerr. reason that f double sharp is used instead __ What is Gipsy Music?”.by Edward Baxter Perry g natural is that in the key of G sharp minor In our contact with men of larger ex¬ The Dr. William Mason Number with immeasurably valuable articles by W. The "March Album for Four Hands” I find and in similar keys it would be impossible S. B. Mathews, H. T. Finck, Win. H. Sherwood, P. V. Jervis and E. M. mteresting and filling a need for duets in to indicate the structure of the scale without perience we find our greatest inspira¬ compact form. Very desirable for recitals, the use of the double sharp. The scale of G “The Basis of Music Memory” Smokers tion. Through our association with all *Prnf ita hl*» Phveiral ruHura I was glad to find fingering written for pas- sharp Minor reads Gj£ AJ£ b C3 D5 e f double CLAYTON F. SUMMY CO. Wi' a;)greut heiP “ siSht reading.—Mrs. sharp Git. By inserting G natural instead of those who may have walked up the F double sharp the scale would have two g Horsford’s Acid Phosphate relieves 230 Wabash Ave. Chicago, 111. Ladder of Fame, making the most of “Paul Wachs” (with a description of his best Teaching Pieces) steps, which is contrary to the theory by depression, nervousness and wakeful¬ their chances with the heavy weights “How the Masters Waited and Worked for Success” ... .by Carl G. Scbmldf I take this opportunity to savv that I r which we construct scales. How to Play Chopin” .by Vladimir D. Pachmann “Ply pleased with the service vou have of adversity fastened about their feet, Sven me for several years. 1 know of no ness caused by excessive smoking', or CORRECTION OF MUSICAL M.S.S. These issues contain, beside the above, not less than L. U. F.—It would be impossible to Indi¬ we find new courage, a reflection of music house that offers as manv ac¬ cate Schubert's greatest song. He was so A SPECIALTY commodations.— Miss Hattie Smith. prolific and so unusual in every way that indulgence in alcoholic stimulants. theirs, which helps us to fight our bat¬ 57 PIECES OF VOCAL AND INSTRUMENTAL MUSIC many of bis songs are noteworthy master¬ A. \V. BOHST. IMS Arch Si.. Philadelphia. Pa. tles as bravely as they fought theirs. consider the “Relnecke Juvenile Album” pieces. Among his greatest songs are "The Representing every style and difficulty, and by such composers as Liszt, Lescbetizky, one Of the very best works of tlie kind that Erlking,” “The Wanderer,” “The Young The other day I called to see a friend baint baens, Wachs, Engelmann, Rathbun, Henry Parker, Mason, Jordan, Most- miico.r^r C0D?e to my notice. Its distinctively Nun,” “Hark, Hark, the Lark," and the cycles who had just returned from Europe. kowski, Le Hache, Heins, Lawson. and Pleasing characteristics have “Die SchBne Mullein,” and “Die Winterreissc. strnpsmTery POpular wlth mv Pupils.—S. E. BARGAINS IN ORATORIO Before I left him I said, “Do tell me F. C. S.—Subscriber, student and others: MUSICAL PINS something about your life, and the The coming issues promise more; can any Your letters will require personal answers AND CHORUS BOOKS work you did while in Germany.” Event. arrangement of “Important and these we are unable to give as you The Creation, Messiah, Mount of Olives musical person afford to do without them ? for 2efe2?T,MuS1^11 History.” It is excellent did not give your names and addresses. “What did I do?” he answered, “I’ll out if e?ce' No library is complete with- Stabat Mater, all in plain board covers. tell you what I did—I worked hard tv, . ’TIJE ETUDE” ha_s never been stronger, more practical, or more interesting. ccMiinV -v.er-v suitable gift, not only e- Miss M. F. B.—Our best authorities agree 25c single copies, 20c per hundred. events, musical, but from that the trill is more complete and symmet¬ THE LATEST JEWELRY NOVELTY. from the first minute to the last. I During the year about 175 pieces of music are printed in the paper. Think of what $1 So"15001 ‘or the subscription price, 1«75 pieces and upwards of 800 articles all for Ptlre irlrvi 1, pf^iit note. You will sometimes find a chain of once as I am now I would have more , n- EfmtU*° de Gooorza, the most successful of present-day male concert singers, trills without the after-turns in Bachs and L. A. PALMER uJ!^ rlrii)ppo!llH.ni,l®s for Young Concert Singers.” tMmesat 1 “ making of tL~ money to start out with, for I would Wmdn«siv!lv hnCi Rider-Kelsey, the famous American-born singer, taught ex- 6 you>nto°o Sueiciuiined”ermine 8' whenwnen the ^aftertura 73 Highland Ave., Yonkers, N. Y. ^ r,y,Sy Aroian-born teachers in America, who recently made a hit at Con- 'rtfctM? add ,mv hearty endorsement to ahnnfririd hebe used—-'' or omitted, ' but ir youlaser nre have remained right in this blessed verdict becoming the universal careful to employ careftillyedited country of ours and absorbed all the Succeeducceed^'fc In’Opera Abroad!”xLL°ld.°^.r ive‘ her °Pinions “Why American Girls Mid™al appreciation of your generous will not be so puzzled. This is a very mu r wisdom she could have given me from ^J;^.SEhu!nan Carnival” analy tarihing jn h. daa 1 ir!« with everyone desiring estlng1 subject nnd has been ndequntely on “The Meaning tfat Z 'SL1J?e’„aad 5?.” natively treated in Dr. Clarke’s Pronouncing Diction¬ LADIES’ BUCKLES her wonderful resources before I went Mr. E. M_ written an article fill wuS inspiration and sound advice on ary of Musical Terms in which eight pages “Shall 1 Teach.1 HIGH GRADE :: BEAUTIFUL DESIGNS :i SUBSTANTIALLY MADE abroad for the old world’s teaching and —- devoted to the subject of the trill. Charles Skllfon tells how conduct a good “Amateur Orchestra." atmosphere. Yes, I tell you, I’m bound “Lessons Mrs r W B.—You will find in the third N Conservator?”* Mas,erP *ece». ’’ by l. Phl Flip p, Professor of Piano at and fourth chapters of Battzeirs to succeed and no amount of obstacles nu" ,.f vr.,.te” very desirable material for tne can stop me!” Mr'Amerhi^„fa™IecH..WriteS °n “Wha‘ Teachers and Students Can Do - B HaiJllePS" £°r the y0img preparation o( your paper upon “Greek MJ?AH Jl,GoidBr?FhC?eMnh‘Mu.^ AWer Matrimony.” THE AMERICAN SPIRIT IN MUSIC. ?odr,ch tells h°w “Success in Teaching” may result Hurds,” by FertJed Songs Without taarming? ?ejT>er- and l consider It a most Such a spirit is what American musi¬ tarrsrthr mL SIoi1s s,,t of Pieces. It is a work S JSXw* T MEMBER ISSUE will be a portrait of Liszt in eojwj *hall recomtS “.Kon«s Without Words.” I cal life needs more than it needs talent. s-BIsfgfl ph^tosravnrL J ! f\ Th®re wil1 be included also a supplement of four cabinem** Triiiia Co»®eDd to “y Pupils.—ifrs. May Grit and determination, patience and THE MTISTP IvTurv-Tr8' A:ul real photogravures, not prints or litbos. . “spunk,” are just as essential for the spirited accord wPKfPl15 £MAS ETUDE” will reach a high plane of excellence," ta deal°w?H, -Tour fil'm a most delightful making of an artist as genius. “There Prompt nttenrle? Pecnuse of the courtesy and pficitv of tastl TLhe hoseason, suited to all demands and adapted toa®“ s the pleag?n°nea,CC?,Idcd its Patrons as well shall be no Alps,” said Napoleon when concL 0Thire be 15 or more pieces, many of them absolute novelty ? ItacheJ- selections of music sent To f■SSt'SsSS'MU®- ”* "l” ”a it ig from the musical centers as As premiums for getting ETUDE subscribers told of the terrible difficulties he would Jtoorc. an Invaluable aid.—Mrs. E. G. encounter when crossing the moun¬ tains. mis a nee(jn?n Without Words.” bv Ferber. I'r.ss'.sW.SS There is no “chance” of success wait¬ S 'rilal of jus^Mtudl° of Bood melodious divisions perfect Inteiwals may ts ing for my friend. He is going to coutpiim'nf tl,is grade. I feel that I _ «nl$r of thig0 onH -T?P on thR truly artistic make it. Across his musical Alps there r'fdloHnai anflThey-’ arenred r?reallytJlPr anTollirn ornamentes recently to thels- will be no obstacles he cannot over¬ fuK^vearnfioriowHI scna all the above numbers and taetiee jrom-v PJiPlls think it pleasanter to fti-SBSW come. There is no “luck” in store for I ' Pretty book.—Nan Bowron. becomeThS&f acquainted with tnis m ET. PAUL MUSIC CO. S on LS ,9??’ I8 (July, 1908 to Dec., 19°9) phenomena of sound. c.mni,5 for solicitiRQ »or»as«s ars Ires, lei b year pres»e

l’upils of Mrs. Cora A. Beels. Daisy Waltz, Watson; Dancing in the SlfELBYVILLE, IP> Sunshine. Grayson; Waltz. Wintnrop; Song of The Sea Shell, Krogmann; Away to i ne e tlie iatfiuor Central School ^ Woods, Heins ; Let Us Try—A Child s Good- Metropolitan opera House. Recital Programs Lmil I’a t' ii has almost completed the Fink; Forgetmenots. Engelmann; Rose fourth movement of his new syuiphonv, Music That Progressive Teachers Leaves, Franz; La Chasse uu Lion (4 has), which is to he performed by the Fittahurg Rollings; Song of the Birds, Heins; Lut- coming season. The Have Found Desirable zow's Wild Chase, Hlller-Weber; Staccato Etude, Rubinstein; Allegro (Concerto No. 2), J. Field. The first Belgian opera to be produced In this country will he "La Frlncease O Au- Pupils of Western Conservatory of Music. Pupils of Mr. Silas Rosser. herge, by Jan Blockx. This opera, which Is very modern in eharacter. Is regarded as Desire *Knrofv”* Sodnc Tbme Reverie.H(ioer- Hand in Hand Marcn,March, uueeiieDucelle; ; Dreams of Ear Traising sperl.IlM deler Swiss Vir n"glidsi CzernV’ Sailor Youth,Youth. Sartorio; Mazurka, Krogman ; Merry one of the most interesting of coming Man¬ Hoys Dream, La llache; La Chasse Aux Go Round, Goerdeler;Goerdeler, ,JTrampr.au{P Through1,1 the hattan productions. Marla I-abla Is to ap¬ ALCHIN t«r. Gazelles (4 hds), Calvin!; The Bird's MoodsWoods March, Noriis,Norris; Little Boy Bluel March, pear as Rita the "Tavern Frinccss." C. W. Wilcox, New York. “Great Farewell. Read; the Fairies Dream, Field- EnglemannEnglemann; Twinkle, Twinkle LLittle Star. Oaks from liitle acorns grow.’’ Beginning house* Bird's enrol Morlpv • Forcetmenot Metzler; The Zephyrs, Webb, Kiriuess, uur- THE WORLD OF MUSIC. BARTEL""-’ Engelmann ; Song of The Troubadour, Rei- .H?rynHH^rS|YiMfhiilltrphd lt Ai nZr" only a few short years ago to teach com¬ necke; Pofka—Mazurka (8 hds), Bohm; mann.. Holiday to the< \ illage, Heinsi; Sun- ——- this year In Boston. The lecturer position and arranging of music by At Home. is aided by a small orchestra, which Illus¬ becker r.:: trates the points he describes, and the lect¬ mail; to-day he has erected a college for In the ures are of great value to those who wish the same, and has his offices in one of the 4? lack,of sPace. It is freqnently dinc“el(4 hdsf, Itfaberg; LEtude ’ Mtdodfquei Pupils of Mrs. Nelle DeM. Oibbs necesstiry to omit many desirable notices BEETHOVEN handsomest buildings on Fifth avenue, in Dolmetseh. Awakening of Spring (6 hds). Bach; kindly sent to us by our readers. Whenever this city. Surely no greater proof of the Adieu to the Piano, Beethoven; Minuet from our space permits, we are glad to print Pupils of Mrs. A. 0. Crowe. Sonata, Op. 4!), No. 2, Beethoven ; Allegretto notices without charge, providing we deem Paderewski plans to return to America BURROWES . success and efficacy of his method could them of interest to the greater body of our in January for a short mid-season lour, Stephanie Gavotte, Cziibulka; La Lizette from Symphony, No. 20, Haydn; Sonata, No. THE WORLD RENOWNED readers. Tin- Rtihwi ia « nn(Ln.i ___ be desired.— The Dominant, Sept., 1907. Chummade; Galop Brillante, Behr; Die Sil- 9- A m:|.ior. with variations, Mozart; Gvpsv making some thirty appearances altogether, CARLjz,:.. berulxe, Carl Heins; Fairy Queen Galon Rondo, Haydn; Solfeggio (left hand alone). about half of which will be with orchestra. Smith ; Twittering Birds. Scott; May Breezes Bach; Turkish March (6 hds), Mozart; A publication of evenly of merely local Interest. LEARN TO WRITE MUSIC Bohm; In the Arena (4 hds), Engelmann: Joyful Song, Richter; My First Waltz, CHANDLER-' In Rank and File (4 hds), Lange; Military Bichter; Jack and Jill (scale studv). Dore ; , A singer of decided promise whom Lou¬ March (4 hds), Schubert. Melody, Foster; Galop (4 hds). Behr; Dance don Charlton has recently taken under Ills Lessons in Harmony and Practical SOMES managements is fLellaf Livingston Morse, n ArU Hid* . « II Composition by Mail of the Toys (4 hds), Behr; Good Morning lo«' ?abUo OM? T PROPER FOUNDATION CHASE”-S Pupils of Mrs. Sadie E. Leach. (4 hds). Gurlitt; The Flatterer, Chaminude ; FOR MUSICAL EDUCATION “SU. *20.00 Overture, "ltosamunde” (8 hds), Schubert: Spring Song, Mendelssohn; Mazurka (4 hds) DANCING ;t; Simple Aveu, Thom.' ; Gavotte, B flat, Han- Behr I Nocturne, E flat. Chopin ; Two Larks THE SOHMER-CECILIAN INSIDE PLAYER The Demonstrator “Mail Lessons’* The Times says that New York restau¬ in at least half tSe part*of the aervlce',|n :0. DUDLEY MARTIN, SCRANTON, PA. del ;Canzonelta, Schutt; Country Dance (4 Leschetizky; Spanish Dance, Op. 12. No .’{ Scales Cards and Keyboard place of the organ and choir. Staid deacons lids), Kerin; Violets, Itelsslger; English (4 hds), Moszkowski ;Triiumerei and Romance, F SUb^pASSES ALL OTHERS rants pay over $1,000,000 yearly for their Ufclladrlpbl*. I*i Ibmce, Smith ; Serenade. Nolck; In Uniform Schumann; Second Mazurka, Godard; Mill- dinner and midnight music. Judging from at first feared the Innovation, but so well davis ’T,:::: [ - bus), Orth; Away to the Woods, Heins; tury March, D major (6 hds), Schubert. SOHMER &. COMPANY ial and improved demonstra' the samples we have heard, we should say (lid the phonograph perform Its part that rt'e!elementary rudiments and t that the New York restaurants are being now ministers and congregations alike nt A MUSIC SCHOOL Impromptu Mazurka, Rego ; Au Matin, God- Warerooms, Cor. 5th Ave. zad St., New Yoi overcharged most outrageously. the various churches of Lynn have welcomed DETROIT r i1. ’ Bpnse Hongroise, Borowskl; June Pupils of Miss Smith the phonograph, which uot only delivers DANA’S MUSICAL INSTITUTE It is rumored that the camp-meeting three-minute sermons, but renders numbers Warren, Ohio. authorities at Ocean Grove resent the In¬ from the great oratorios and Go-qs'l hymns DUNNING r; •n>« oldett and 11,00 InSluintliil icliool or miul. tn Address, “Demonstrator,” Park’s Musi. creasing importance of the concerts under in the spirit which worshippers expect, the 2?/e‘le J4. M-s). WoIIenhaupt; Birds’ Awak- VOUR MUSIC IS TORNIII W. 125th Street, New York City. the direction of Tali Esen Morgan, and that congregation remaining in a devotional atti¬ I pupil*. Sena for 64-page Pupils of Louise C Brown SH5*> KuhnhoM • , Norma, Leyhaeh ; Sleigh Write for free circular. the latter has already opened negotiations tude while the numbers are being given. EBERHARD JUNIUS DANA.lSecly. It will take one minute to repair it by using with a view to ... - ■* torium at Asbur We omitted to state In n former lasur that THE MARY WOOD CHASE excellent work a the magnificent new organ In Trinity Church. FLETCHER'": MILTUM-IN-PARYO BINDING TAPE New York, was built by Hook and Hastings. FREDERICK MAXSON School of Artistic Piano Playing The formation of new orchestral organiza¬ ORGANIST FIRST BAPTIST CHURCH 5-yard roll of white linen or 10-yard tions has resulted in offering Increased scope Mr. ARTnrn ne Guiciiard has assumed the GREENE Instruction in Interpretation, Technic, Harmony, Theorr, Com. directorship of the Boston School of Sing¬ Seventeenth St, above Walnut, Philadelphia, Pa. roll of paper, 25c each, postpaid. ponillou. Ear Traluing Analysis, Sight Reading, Transposition, for good orchestral performers, and both the ■pan,ring, Ensemble, Normal Tralniog, Musical History, New York Fhilharmonic Society and The ing. It Is planned to teach singing In this HAGERTY.'.V:, Teacher of Organ, PianoS Harmony Orchestra'Stud r, I’hiladelphin Orchestras have been obliged to Institution along the line of that pursued at OrcM)ne Hundred Orgau pupils have obtained churoh posl- Twelve especial., ,.rep«reu find new men to replace those who have left the Paris Conservatory . of the Director. Send for Pr to take up other positions elsewhere. HAHN S SCHOOL Theo, Presser, Philadelphia, Pa. 630 Fine Arts Building CHICAGO A musical burf.au has been organized In reads'/: Kasture*Lindsay: “ead°- ; The International Grand Opera Company connection with the Sherwood Music School, is to open shortly for a forty weeks’ en¬ of Chicago. ^ This Js ^an excellent plan as HARMONY Pupils of Myrtle 8. Colvin. ““hds^Suil gagement at the International Theatre In \alse ((! hds). Streabbog; Petite Bar- }«exteti ’ nlrt i, aUCI!? dl Bammermoor” Chicago, under the management of Edward artists often find dlfflciilty In securing de¬ The Sternberg School of Music Crane Normal Institute of Music sirable engagements at first. HAWTHORNE Training school for supervisors of music. M. Beck. CONSTANTIN VON STERNBERO, Principal Spaulding;m ss’jssn. Forgetmenot. masStMetzler- ling 83h£( ds)’ EnSel“ann.■Sjur&.wsi \oice culture, sight-reading, ear-training, har¬ MR. Legrand Howland, the American Complete Musical Education in all branches mony, form, music history, chorus-conducting composer, whose opera “Sarronn" has been heinze WRITE FOR CATALOG otArKiiai'l^TT^SBSL"-'. JTffi«‘Ri%.?ga. n . . methods, practice teaching. Graduates hold successfully produced in Europe, has re¬ important positions in colleges, city and normal mi 10 South 18th Si.. P«P<’» of Mine. Elsa MacPherson. Son,Spaulding ; Dolly® Daritoj? CLASS PINS schools. turned to New York in order to complete PHILADELPHIA PA. Special designs for musical clubs and classes arrangements for the production of the work of Strauss' "Salome" as "bizarre and In¬ kinder";;;" Write for illustrations to the manufacturers POTSDAM, N. Y. In this country. genious." and lu parts Mlstneniably poor, lids)/Behrt;ZChasp5ofethe^ntaertlfesPDenn’ee^ almost laughable." Tbe^^181 Curious Storv, Heller; Danse des'Sorcleres’ Ferter^Th^KW®^1'^’ ,?r?nard • Romance, BENT & BUSH CO., The distinguished Wagnerian tenor, Herr KNOX' Schytte; Solfegietto, 1‘h. E. Bach; Etude de ford® Spvut®i!£JLor..Jhe■ ".l,nds (song), San- Nusic typography in all its branches Cornelius, is to sing at the Metropolitan TEACHERS^ Se', f,avin;lMelodic in D (Violin Solo), Keepsake PetrG - v.iLuv-a’ -PontzettiThe 15 School St., - Boston, Mass. he^llkens" "Pelleas and Mellsandc" to the Tf™ ; J“ril“tel,o. a minor, Dennee ; Ballet S ' ene(ienn<., Ringuet; Opera House. New York, for the coming music played by the pianist nt a cinemato¬ KROEGER Mlgnon, Machs; Tnrantelle, Op. 85, No 2 CanzonnotrJ^»Mise. Engelmann; Gavotte and three seasons at a salary of $17,500 yearly. graph show, unheeded by llie audience, while WANTED;; HeTer; Butterfly Study, Minuet a 1 Antlco 'ra Z1 Goidner; Love’s Memory, the performance Is going on. He predicts !g:Dudley T. Limerick Prof. Wilhelm Middelschulte, the emi¬ that the public, having applauded audacities, NATIONAL SeeTmeck: Mnunlalu Scenes Op. 30, D^nee: Warner ' Marcl* from “Tannin. •' H0WT0SECUREPUP1U j nent organist, has become one of the mem¬ will return to pure, sane, national arL c^cef,rdr "agner- Is a question we are solving forteaehers throne) bers of the faculty of the Wisconsin Con¬ out the country. If ynu are a teacher and deu servatory of Music. NORMAL ous of making a greater success ill your prolet No. io 8. Ricks Street, Philadelphia to be heard at the Metropolitan. New York, sion, it will pay you to write for our free boolde The new home of the Chicago Musical _( Market above Fifteenth ) College is to be a very beautiful structure. this season. Is only thirty-one years old. and NORTHWESTERN I’S and circulars. Do it Unlay. There is to be a fine concert ball on the spends most of his lime In the Erencl) Espagnoi, tip. 'The Mills School. Blanchard Hall Bide., Los Ancles, u ground floor, with a seating capacity of Son. provinces, and traveling In Spain. Anderson bureau and the interior arrangements are to he tne QUINLAN AND CHURCH CHOIR AGENCY best that experience can devise, both In the Secures Positions for Teachers of f™25).JESS’; fciSSS'ort, f?sh^% tr , ^^“'(varlau'on^.^Td??-; See way of beauty and convenience. TOUt* •IBS • vv Ullj Alt. t Let Me Teach You Piano lui fulfil a long series of engagements In I-oi SHENANDOAH VOICE, PIANO, VIOLIN, ETC. don. He recently sang »« *»'a ..w“rS™'* 5 W. 38th St., New York Port's Of F. A. Franklin. WATCHES (Eng.) Festival. In "The Elijah, and E s-au?1”’ JS* *PK! s ?.r.K.“r.'s “"£• gar's "Dream o SHEPARD I uIh/,D!'!ns Port- Gottschalk ; Spring Song -- —■»«*—***■. Mendelssohn : Rv the River (violin) Mors,.- for securing sss sSjw ansa ?rs: •Recollections INCORPORATED 1900 Is Mr. Georgt Do”“;,Bmr«tor, fon of Brahms" It the famous shryock THE PENNSYLVANIA :hi.k.Tlttf*fr>Mg.B« subscribers to composer held that composers were■re fttempted -- SsSiSSisS r-t Several talking machines are now In use Into giving rates by the necessities o production, and r1"""’* •f,“r regretted It. st. clara Milan Conservatory, for the benefit of iH_ _ka played as College Music «”’■ the students. lie liked to hear often as posi In MS. before printing. TRACY '".'"'.l' DEGREES OF MUSIC CONFERRED C:M'!,e,K-J"lrlcV- Beat. Franke ; Sonatina On'i In, a Mr. Douglas Powell, tne well-known —-- -- — comp oserI Mr. Douglas Powell, A new form of muslca entertainment has 1511 Cirard Avenue Krogman; Serenade ^4® 'lull°, fo^Sabatfu0-* s0^ of* til ?Prenade—Barca- SEND US TOUR MANUSCRIPTS now been introduced at the lamdon Colls- M %rfcincianna,tfQCoCnt^f Music serles of tableaux virgil r.:;;; ■;pnhi"f.’ K«'d: The Mill In the B ack Forest £a<* O* iSStern' mL?'"“i"*- Sarrar: WE PRINT MUSK faculty. Mr.. Powell ^should ^prove cum. Id (he form of rt K. H. CHANDLER PREST. entitled mcr." accompanied for composers aud the trade. Send for oar pU« <»■ • .,..._.tion to the I ^ Jacques Bouhy. ),y carefully made seb OTTO ZIMMERMAN AND SON MUSIC PRINTERS and ENGRAv'Kf . ofcj DellaS s'edie Sbrlglla, Ilandegger. Tosti and ,pr ^ operas. It claim, The Organist and Choir Bnr&an HUGH A. CLARKE, Mus. Doc. Maiodv’ani0 Nevada Bldg. - - WB Rwt'hansen’ Mr Powell will assume bis r0.,|iZe the YYagner Id. duties6 at the Cincinnati College early In gm. from stage conv, Frederick R. Davis, Manager LESSONS BY MAIL !wnSsah: chn?-t p^t°qu®e“WlmfrPoll'sh “s.J GuHiuIn1 y'fnm# Waltz (4 rr-. , ,',' 'nrVI'?ka : vatlna. Raff ; Second P^nette Durand - n ®ond‘> '■ Heins : Pom- Given for September. i iiano .. tablet placed on m Ml. Pi In Harmony. Counterpoint and Composition the Uni ri-ontfront .ofof theme honse^ In the BJIMMj; Disscldnrf. commemorating the verelty8Extension^S-fa ideana^oSl"lea^e.under^he with rcgard to. opcra half years' residence of HohwrbRobert -----and ---- Competent Church Orcanisrs, Choir 'TonVrC *l4toSJb,0^f,tftj’.e®D«OT. Con0.^',,50, 6 Sr Schumann. It was dnrlnp[ their^ «in> nere Masters and Choir Singers supplied to 4632 Chester Ave., Philadelphia, Pa. L^HIES^GUN METAL CASE, g «« ruspirft^e various that the first signs of falling Intellect began any location. House clubs, is inaugurate amateur to manifest themselves In (he composer's ROLLED GOLD work and forced him to resign the position Vocalists and instrumentalists of re¬ edl F’ (p,am- polished or chas- he held finally terminating In hl« attempt pute also furnished for oratorio, cantata VON UNSCHULD face i?i.yea.rs’ guarantee, open C (( on his life, and subsequent removal to an and concert. ffilsst50 CENTS POSTPAID. ^ I «nre.hu"u"* case- l'A li'"- ® ssf fSSdtsdsr^r- 2 _ UNIVERSITY OF MUSIC JAS.P. DOWNS,BOX52 .NEW vurv LCAS^’ r°lled gold SEND FOR CIRCULAB^^_ ^^n°diamS'g”ara,ltee-.0pen. 10 “ i^of the highest *tsadla* li zabeTbrothers ffitravsi if3sr%3^* ?:'»r .'™“” CShl??L\,NE PIN included 1 (< ''ith any of the above for - - * scenic and stage effects. TWEATV.FOURTII YpSc MUSIC £N’S. thin model, rolled gold imdmm^MmSS ^12*17wh Pr troiVui’r'i BROAD ST. CONSERVATORY^™ m Merbrv'BohoMn®k k""' 0o ,ln1- Gurlitt;'TTie ~ ' T-mnroln"t>i. Sehnu^.1'*0^'’- Beetho- ses„:.r ^ears: 14 “ wSssWSH15^ .. je jnptltutlon^^lat T- Gurlitt • Earlv ttern 'r'iiwt' The Brave Bov. above have been used and have MUSIC PRINTERS Op. 15, Blose: VarnlU" piVnt, e®Rfpn'hTss’ t.^i?TKS5£S^?!sj SELES?** “‘isfaction. Satisfaction is VON UNSCHULD, I guaranteed on any premium given. ccess?KMa*EJE last season, there *n5 chronolB?3„gicalft TBC ‘ COheSfor SO ’Citing Purposes are free. AND ENGRAVERS :n addressing P^iish Dane*? * s).hi0t)* 57* R^thovpn- PIE ETUDE, 1712 Chestnut St., Phila. Iaate. Op. 22/ MendelSnV “Lov^®'orea^m Please mention THE ETUDE wnen»« nr advertisers. 744 THE ETUDE

The death is recorded of Prof. Patti Weixgartxer has refusal . Homeyer, formerly of the Gewandhaus, and Kurz from her three t0 release s«>„ CHICAGO SCHOOLS „ mooting of the “Deutsche Sangerbund” Professor of the Organ at Leipsic Conserva- Vienna Court Opera for ” A°.?.tract with ®3 “The graces—namely the shake, the tory, where he had many American pupils, ante this season -i 1 ViL i, Auj<'*'ican aim.? BCTlin *n September, was attended by about He was a noted editor of the works of Bach, House. 1 1 Metropolitan ?£?r' §0,000 singers. turn, the appoggiatura, etc.—are the Mendelssohn and Schumann. per> BDSH TEMPLE CONSERVATORY „ vow York Commercial says: ‘Tlans flowers of music; and the clear, correct, NATIONAL CORRESPONDENCE NOHTII CI.ABK STREET A.\D CHICAGO AVE-, CHICAGO A gebman paper announces that Puccini Trust" ShasUbeen formed a° , Hnliaa “On... . rT?ho great People's Opera House in Berlin, and delicate execution of them embel¬ ing System WM. LINCOLN BUSH, Founder KENNETH M. BRADLEY, Director has completed his opera “Lit Fanciulla dell' houses of Italy and An' ^,be luaera l?ollse in Paris for the him? birthday. He is still actively engaged in his LESSONS ing andacarefully selected list of one scientist. Dr. Eichelberg, who has just spent exciusfveK- ^lplof,men‘ of American work- His greatest service to the Parisian Dark Cray, with Decorations in Thorough and Complete hundred songs for teaching and con- a term in a Chinese prison, declares cap- stmlYII,,.Y i.‘ orey. >t is said, has E public has been bis effort tr> ,rs a|- Courses In TERMS ON APPLICATION °tf Producing vocal harmonies quite ^dfcafeY J,Tn r'e Reszke' and Counterpoint, Instrumentation to be much different from that of the litttelittle fnh^°»!rA0Aff?I)0ratIV art wwhich^ich will be operatedODerat^d yellow bird, there heinir iMrowico » distinct connection with the nnpi-a hAnaA , Henri Mabteau and Ernst von Dounanyi, nhvSnibin ’ there being likewise a distinct whow t,h Vle opera house- Students of the Royal High School of Music of Berlin, Write us lor our New Book ol Terms physical analogy between the two, even to V ° a/e not, abIe to meet expenses will > have recently been given the title of Royal NORTHWESTERN UNIVERSITY 410 Kimball Hall, Chicago, III. the peculiar nibbling manner in which they {Lm,?;, Peceivo fr,ee instruction at this new HAYDN EVANS. Manager rin take their food. But what we want to know i,a,SJltUt on' Provluccini1“0operathict vir«irI'nrst rPPvn?.rmance contains a drug—caffeine,dr«g—caffeine ul|rcoiid!tiotw<^areUconiP^cuo!rBy^hie^^o^1^i ’ the Golden vVj?J.,C.-T.*rsdon °f “The Girl This ,V . S. Gilbert (Macmillan Company). Price number. I Invite intelligent and capable music teacher* to Chicago Conservatory rerioudy “ ,he Pr0,,er P>»<=«nm af «• toibS"^ in itaiton1 This dru^ « what causes the coffee $2.00. correrpond with roc in regard to joining the Fall das* and WALTER PERKINS, President title role^f to “J^creitpd iwe,«Tork - 'Ph‘' rablt and the many ailments that The most famous of the Gilbert, and preparing for ibis work. rosthodi°of1 °T wnslc and dmmatlcii The Englewood be‘cur kin's Harrar”0^ wh] frequently develop from its habitual orM1's Sullivan operettas, “Pinafore,” has been EVELYN FLETCHER-COPP W i Limlu-I number of frrr and,»ar:l«l Kbolarah!^.* Musical College totoCU5ta,'fan°ohpe^ p,ay tUcd Address Brookline. Mass. made into a book by the author of the ;o i A«4lU»iiam Build In*, Chi,.**!>, Hans Biederznann OccridonTed”r ^ ’tltle of ““igito % . ‘‘I,.^as drinking coffee twice a day or P. O. Bo* 1336 Boston, Mas*. out did not know it was hurting me, libretto. Americans have a way of hv* RortniriaL5ENn.BDTTEarPv,” a new oner, writes a Neb. lady. “I don’t think I caviling at the supposed obtuseness of Englishmen in seeing the point of a SHERWOOD MUSIC SCHOOL compofer nnddLth0oVrnofa“RohlnrrH „Slaith. Jlad ever heard or read that coffee was be produced this season. °b'n Uood’ ls to harmful. joke, but we must remember some of PRICE. 10c. --w. Berth* Stevens, Ma “La Wallt" thn to.* , “Sometimes I couldn’t lie down, had the choicest, keenest, drollest humor $1.00 per dozen, postpaid, if cash is sent. >r. VOCAL.—Arthur Brmtord we have comes to us from the little old ter Keller. THEORY—Dwil. “raodu?edCOTfhe Av‘r4do Cataltolf toVbe ‘° -’CCp in a sittinS Pasture as the heart THEO. PRESSER Jowph ca.p.1, John M.lkk. Pt BLlT StltOOLer«s Keller. The work was^flrs^nonS011^11' New York action was so slow. The doctor did not insular mother country over the seas. 1712 Chestnut St., Philadelphia »A H. 1IOLMKS, Socrctarj ITU -tonunry is^ aYd though^uewst ^ I if 1 drank coffee and the ^ What would the literature of humor Musical Moments with Children at any time. Forculojaen V. KELLER, Mgr., T! repertoire. Through eath»'n i ehe estabHshed Clne 1 took did not seem to help me. he without Dickens, Jacobs, Barrie, 1 Art* Bldg., CmCACO Jerome, Anstey, Thackeray, Lamb, "your music always i.andy or the Art of Developing the Musical Side of Child Nature fWyrand Te1 succesY°in drink, ‘‘^ina,Iy half a1 cup,^ot as50 the bad dull 1 heavycouId painfl0t Lewis Carroll, William S. Gilbert to say r0iMaED AMERICAN CONSERVATORY KIMBALL Produced at‘Bumo^AlYo11'1?' around my heart would be worse. I nothing of the other immortal William? MUSIC, DRAMATIC ART, MODERN LANGUAGES^00’ conductor of hls“frifnribab he sllould beSthe stoPPed it for a while and felt some _ rn«ur|M*wI PMUI«yufWr*„.y. Course of ,i,„lr h,.i .... Though lacking the spicy chic elements “Your plan is thoroughly ingenious. It strikes, it onmarinnv„,P ,fil!7tion- ‘'I-a^WaHv^ ilfh^S bet.te5>. but was soon drinking it again, ■s.'.T/onnS,1'*' SawUI<1'P*rt- ™ of French humor, the gemiithlichkeit of seems to me, a new path in musical education." 8fmM ( our.. „f f„l,ll, s,h„„l cm. andVthe°Hbrettoaimei naTme’ by von Hill- and felt the same distress as before. German humor, the naivete of Irish 5eem THOMAS TAPPER. Secs ara laid ta the uppe^ivrol"^ “Then 1 decided coffee caused my Front a Musical Momenta Teachmr: ^ ^ hurailay, Srpu-rahcr loth, 1008. ry modern and richly harmonized^ trouble, also my husband’s, for he com- humor and the broad human character¬ JOHN J. HATTSTAEDT, Pm, • Some ol the older girt, in last year s ctoi arr now *k,nB PrivMe Bnch . nafertunate great-eranrMn„ l* plained of severe heartburn every morn- istics of American humor; this new piano Icaaont o< me. and their parent* are much plemed with the good P- BmhSf^'f£^d ia fhcT,^ °ol af‘er breakfast. j,°?.k by the author of the famous “Bab start the Musical Moment, gave them. A number ol the mothers have A'™^™^£ST mo bsti?e fl00ES band8 JS the mcma brenkdo°wnGofeir'V' 5o1' “My daughter had used Postum on allads” is a delicious satire upon exprMsed to me their belief that .his wnrk la the only aucceaaful and straHened* efr^ums^n 3 visit a"d asked why we did not try eomic opera and his own opera in logical way for beginner*.” H'H in GermanyPSinaSu latl h.igh,y U' We did, following directions about Particular. It is a book to make you The expense of this course is reasonable. For circular and infor¬ Indorsed by Press and Public “any mementos"'ofT'0- ,havin? preserved rnakin& «t, and for four years we hate cmickle and then chuckle again. There Stage Dancing, Etc. grandfather. “tOS of her UiustrfouY great used it and prefer it to coffee. be many musical illustrations of parts mation, address Dramatic Art, Sir Frederick RRInn “My old trouble has entirely left me .j the famous operetta and the illustra- MRS DAISY FAIRCHILD SHERMAN n.s °f scenes from “Pinafore” are Vocal Culture toufln ibbey- Who SSaWlr of tYost- and my husband has no more heart- . providence, r. I. ^"ao?’ cfarn°£the ^ttea toCt?he burn’ 1 can saY frora experience now my done. Altogether it makes a 227 Irving Avenue, . RuoV TiiU?;t?'?ate cver>' detail.) sumri a,h,Rh standaYd^of1 nh!-?+rs that thev tIlat Postum is the most wholesome °st excellent gift book for infants und«r eighty years of age. f iSt-ftSSS; apsaj*a round, a*r rasmi;v * y wood& ■“;thev si "S f failures'0'1**’ MODOl°^ Et^eNO .. ’ 4M .1-"“:’ SS :■ day without harm, but •>with dtc.W S'emeD0fb?h''^'V^ Pan'of "r gn^’ the t "I rtn°Ut narm’ °Ut ... PROFESSOR P.J. RIDGE, ?- benefit.” . Minstrel With the Self-Same Song, Miss Prances Day and others. ' 'Name given by Postum Co.,- Bat*Battle p-, h:jrles A. Fisher (Published by F. Rrf All Firculars Frec- Price $i.oo. SOWES COURSE OF MUSIC STUDY. PETER J. RIDGE. Mgr. D ram atic M irrorX to^nn^hanS^tLTviS; Clipper. N. Y. eaders °f The Etude who are fond UUI1I1U11 i-v ~ Teachersby Home study# * JtSWKi^sSsSSia ®rse w’fl find in this volume several _» jiaaison S Kindergarten &nd Pnnury burbowes. Please mention THE ETUDE when addressing our advertisers. ' ESsfeJS%53%3 I™'™£’ISZ«E* ™ oueT Upon musical subjects by a fre- Caciiie Chorus aatDreSed„rn conductor ‘of Sthe ?re genuine, true, and full of hum O,; c°ntributor to The Etude, Mr. S- f,.d y-o.;r;Hddrea?..un,,dd ^* ■ _rev' r hA^re„«ion THE hi UL>t whtu addressing our adverusere. interest. ^rles A. Fisher. m.v TheOnly Teachers'AgencyExclusivelyMusical Write forCatalogue. The MusicTeachers’Exchange Piano, Voice,Violin,Organ, Theory,PublicSchoolMimicr,„jt OVER 1,000STUDENTS. 60 THOROUGHLYSKILLEDSruCT0RS MUSIC TEACHERS DETROIT CONSERVATORY OF MUSIC Beethoven ConservatoryofMusic ZZSESSZ THERUSSELLSYSTEMS Law* •ohoolInNorthwest.Cornpiei.cour«e*Ptono.Voice,ViolinandallRand Musical 1 S°ng:EverreadtheabVelett*--Tb«I tem Hereisaf*ing.thanthe tonesys-Wellville,”inpkgs.»ne* minute ButthePP'ngasetn, -tone aNamegivenbyP°stu”}CRoadW difficult artofHrnacquired theGrape-Nuts.”“TheresaK^ taught; theS5d?Inha COnStant'y outadropofmedcineafter^ — u.jjzrc- the conclusion;PCredtohimat“The" man inhisnewUa"I-anCe'Aworking4teaspoonfuls atameal., the faffitest!“mehehldnotalittlemoreuntil shecouldtakeallot church sanpwithn°hd°rEaStEndteaspoonful. As thatdidnotdistt* dropping intohab,Sl°PA0fCanterbury’“Shebegan Grape-Nuts withon) wiSi Whosetmeh31!3fo:ceahymnherandasshe couldretainit,she0 his love"‘ry’"gtotest‘hatIpersuadedGrandmothertryL mvTrieud ^ec?.nrsat,onalabilitiesof«Mygrandmother,7iyearsold. Cayenne. G.veamustcale.”consumptionofthestomachand Cayenne “r7eaSy’ans,wfredMissvalidfor18yearsfromwhatwascalled draw outth°som®tllln£31willovercomethegood.„ fudl 3tehaVmffmyhaircut!~testinesfromcertainkindsoffood io^J, w*Jd°n1knowbutIfacture’spoisonsinthestomachandin- 111 teachyoutobeagreatmusician, thing.”—Washington Star. r>ly. “seemslikeitcanstandmostany¬ for music.” piano,” sheexplained.—ChicagoNews. xou arefondofmusic—yes? ligious pieces?”hequeried. while shewasdoingapianostunt. ening tohim!”—LondonTit-Bits. aforesaid; “sorealistically,infact,thatcouraSe-—LondonOpinion. I feellikefightingallthetimeI’mlist¬ ally?” he singsthosebattlesongsrealistic¬ the youngmaninfrontrow,“that American. u‘Env7him!”echoedtheother. o’ thaebloomin’fiddlesata’.”—Scottishoww^°wass'ngmg-” nicht, an’I’llwarrantye’llnohearanedorofa shair o’t;butyouwaittaethemorn’sothera plied: “Man,yekenthemusicisa’ strange taeme,asyet,an’I’mnojist comer eyedhimgratefully,andre¬ do betterto-morrownight.”Thenew¬ stitute. Afterthefirstperformanceteacherdidn’taskyouthat." done prettyfair,butperhapsyou’ll however, ofthesuitabilityhissub-“Idon’tknow,dear.Surely amateur. Hewassomewhatdoubtful,bushel.1'’ “Guv-nnr ;r.strongandher trouble mtne-. accept theservicesofabrassbandmother,^howmanyturnips Scottish orchestrafellill,andthecon¬ lin’.”—New YorkPress.A»thesewildwoodflahrs, wouldn’t whistleatyourvrrk.”-_ replied calmly.“I’monlyjustwhist-Nonesellfairtehme, his deskimpatiently. ductor wasreluctantlycompelledto.- the office,andbosslookedupfrom The lateA-et,k-u,„stomachformore thanafewnumie■ Merry Widow”waltzfloatedthrough e rowsesthere withtheirreubylips, “I t£kdeanaTreiShere?”sawsomuchaboutGrape-Nuts “Ma wh„A.^■bowels.Thedoctorhadgivenherup “That’s Urthe.>°SteSS-writesaN.Y.lady,“hadbeenan>«- “T a~,•kind>sused,theinjuriouselements “Well,” saidtheconductor,“you’ve German Teacher—Youcometome. “Yes.” answeredMr.Crumrox,vt^„- “Your daughterhasawonderful “Why isitthatyouplayonlyre¬ He washoldingdowntheparlorsofa “Yes, indeed,”repliedthegentleman “Don’t youthink,major,”inquired ‘Well, yousee,thisisanupright‘‘Not,at?"■l£*°n'yhajfas The regulartromboneplayerofa iove. -ChicagoRecord-Herald.Shecouldnotkeepanythingonher “I ain’tworkin,’sir,”theofficeboyButnonesehfairtehme, The passionaterhythmsof“The the wholeybloomin'S1”S'd°nt“P"wasgcmee,ltirely - S,leg0.tUj»-e “Frederic,” hesaid,“Iwishyou m 7d0CSSlssin^50«chtodie player inquiredhowhehaddone. - Sweetwildflahrs. STACCATO ANDLEGATO. a gardenyehmyoneappears fromtimet0.J11”*‘j,uman Humor, WitandAnecdote. interest. are genuine, true, andfull ' OldLadyGotWellwithChangeof stuffs andunlesssufficientoftheright course, isnecessary.Thebodymanu- the bodyproperly. off “oldage”ifwecanonlynourish cornet.”—Philadelphia Press.• She cantsingwhileshesplayingthe net, that’sworse,isn’tit|”■ got herparlormelodeon?” I’m gladInsay.” heard.” “Well, ifIweregoingtoenvyasinger I’d selectsomebodywithabettervoice. many beatsinameasure?”—Century. His wasaboutthepoorestIever ies, andfoundthedemandtobe,“How to-morrow inourmusicexam.” mother, howmanv" Ever readtheaboveleITe.rl ~The! Penks the’unnybylovestehsit led, busyoverhishome-work.“Say A greatscientisthas-saidwecanput To dothistherightkindoffood, "But gracious,ifsheplaysthecor¬ "No; sheexchangeditforacornet, “Has thatgirlnextdoortoyoustill “It’s nothisvoiceIenvy,man,” “I tellyou,”saidonemantoan- The perplexedparentmadeinquir¬ ASTONISHED THEDOCTOR “Gee, Ican’tdothis,”complained Rich asthecrahnofaking. Teu'^taUip,, gya,ab«,te,y, Merrygolds richasthecrahnof, She did,sure;we’vegottohaveit the reply;“it’shistremendous king. i concerthall,“Ienvythatfel- 5 theyemergedfromthecorri- Food. your and hunger,yet,inhisshortearthly agement, buthealwaysclaimedthatthe "assionate devotion.Beethovenhada :n .eechoeswhichcomefrom their bv *I'10usness'Ifoursoulsareuplifted ...1 ,taketntoaccountthetfmusical mnCf .,“auwciriuiycase.v.c melody whichhasbeen,andcontinues tareer, pouringforthastreamofpurest ^ Sdiibertlivingalifeofprivation “®a,th. Yettherewassomethingin erty, sometimesculminatinginanearly struggle withdisappointmentandpov¬ unsatisfactory. Theyhaveoftenhadto creative musicianshavegenerallybeen us fteacbers> this subjectappealsto weilt, S0U*S'Momentslike that out- .1, -,ns°fharmonyfirstsurged through sira'Ua exaltationwhenthe grand SDir'trat!°n wbatmi,Stbavebeen tbeir that of m8 l6wbicbtheseandothergreat Known totheunmusicalmind.Think musician livedahigherlifethanwas full shareoflife’stroubleanddiscour¬ their livestowhichtheyclungwith ard thelifeexperiencesofgreat of life. unreal standoutastheeternalrealities comparatively unimportant,whileother values. Whenseeninspiritualperspec- j°n' Besides,intheirinspiredworks things thatbeforeseemedshadowyand tive, wealthandworldlyenjoymentare when hemakesAbt.Voglersay: stand whatthepoetBrowningmeans vealed tous.Atsuchtimesweunder¬ aspirations talkeholduponusand which isconveyedin“TheLostChord,” musical sensegivesanewmeaningto litfed intoaloftierregionwherenew our livesbecometransfigured.Weare and explainswhythatsonghastaken spoken toourawakenedsouls: thies. ItisasiftheDivineOraclehad such astrongholduponoursympa¬ at unexpectedtimes.Thisisthelesson life andadifferentestimateof higher possibilitiesofbeingarere¬ things arespirituallydiscerned.” ulty isawakenedwithinus.“Spiritual musical form,anewandhigherfac¬ "Gqd hasafewofuswhomHewhispersIn the spiritwhichisenshrinedwithin perience anintellectualpleasurewhen form; butwhenwebecomeawareof we recognizethebeautiesofmusical musical trainingdevelopsandenergizes be quiteunconsciousoftheinnermean- the faculty.Itisasoulactivity,akin and technique,althoughundoubtedly thing asamasteryofmusicaltheory consciousness, again,isnotthesame jng-the soulofthemusic.Musical even toharmonicprogressions,andyet keenly alivetotimeandtunerelations, AWAKENING MUSICALCON¬ to religioustonsciousness.Weex¬ rect earformusic.Apersonmaybe ® ,e’afountofinspirationtothe ° theynotliveagaininexalted 5? haveattainedisworththeprice °m®nts °fourlives?Yes;butthisis usical world.Well,wesay,thelast- Judged bytheordinaryworldstand¬ Like religiousconsciousness,this In theseraremomentsofinspiration Musical consciousnesscomesuponus This issomethingmorethanacor¬ 'ch theypaidforit—toilandpriva- gn centuriesofsluggishexistence, Judged byahigherstandardthan all. Thelifewhichtheylivedmust n atwofoldmanner. First.To wealth andworldlye BY DANIELBACHELOR. SCIOUSNESS. We Secondly. Dowefosteritinour teach thebarefactsofmusicalnotation pupils? Theteacherwhocanonly realize thismusicalconsciousness? has reachedaninspirationalplane. The workmaybeconscientiouslydone and technicalskillissimplyamechanic. pupil. Ateacher,tobesuccessful,must much wehavehelpedourpupilsto much wehaveearnedinfees,buthow the mainconsiderationwillbe,nothow takes asecondaryplace. or lessremunerationforthelesson Now timefliesandthequestionofmore teacher’s enthusiasmcallsoutare¬ laborer. Ontheotherhand,when but thefactremainsthatheisa and thelaborerisworthyofhishire; disposition andcannotbetreatedinthe be asortofcompanion,mustunder¬ good feelingbetweenyourselfandthe things ofthekind,inordertokeepa a favoritepiece,playitforhimorother Tell himsomelittleanecdoteorplay may devotealittletimetosociability. not permitanyplayingoridlingaway terested inwhatheisdoinganddo during thelessonhour,andallownoth¬ sponsive interestinthepupilwork above allthings,becompanionable. stand thepupil. some prettypieceforhim.Ifhehas time untilheisthroughwithhisstudy. firm butnotunkind,keepthepupilin¬ ing tocreepintakeitsplace.Be years youwillprobablybeafinished cheerful andthuskeptmypupilinter¬ whole soulintothework,Isoonbecame expression. Whatevermoodtheteacher and atthesametimewearagloomy pearances. Neversitdowntoalesson depressed, shemustkeepupap¬ cheerful. Evenifshefeelsgloomyand same manner.Tactmustbeused.But But assoonthelessonisended,you Leader. very wellandseemtohavemusical not inthemoodforit,butbyseem¬ forts willberewarded.Manyatime, the work,andinmostcases,youref¬ countenance, throwlifeandspiritinto interested. Alwayshaveacheerful terested. thechildwillbecomedis¬ to thechild.Ifteacherisdisin¬ is in.thesamemoodwillbeimparted you doitinhalfthat OOUUIC -- intelligence, Ishoiddsaythatmfour S°Masten ?”“Well,asyoualreadypUy thStudent: “Butcan’tyougiveme order tobecomeaconcertplayer. ested totheendoflesson. ing tobecheerful,andputtingmy I havecommencedalessonwhenwas It dependsuponsomanydifferent it willbenecessaryformetostayin place recentlyinthestudioofone rived): “Canyoutellmehowlong Berlin’s bestknownviolinteachers: THE TEACHER’SSOCIABILITY. Above allthings,sticktothelesson When ourlife’sworkissummedup Again, ateachermustseemtobe No twopupilshaveexactlythesame Master: “Thatisdifficulttosay The followingconversationtook Young Americanstudent(justar¬ A POPULARFALLACY. consciousness inourselves? BY ELPHASMITHSON. Please men the etude THE ETUDEwhen addrexing HUNTINGTON CHAMBERS,BOSTON.Maaa. ARTHUR deGUICHARD FRANK DAMROSCH,Director of MusicalArt Prospect a*ofSupervi For SupervisorsofMusicin INSTITUTE OFMUSICAL ART Literature Sent Fall Term Sept. 16th.1908 rranis. ^secretary." w*^ Frank Damrosch,Director incorforatfp Organists _ ,YournameahouhlappearIn VIOLIN INSTRUCTION Singers 212 West59thStreet,NewYork Catalog** emrefer"■_ r^Tv,?C~. NEwro»K PIANO SCHOOLandCONSERVATORY HERWEGH VONENDE own vicinity.Itinterested.WRITENOW.Bosuretooutteyourregularoccupationandhowmuch time youcangiveTubEtude. Address: THEODOREPRESSER,1712ChestnutStreet,Philadelphia,Pa. THE ANNAGROfF-BRYANTINSTITUTE f AnnaGroff-Dry%ut,fe ?ac. Professional THOMAS TAPPER,Principal of theCityNewYork tarns sDirectory Immediate CASHandaregularINCOMEmayeasilybehadbyre|,r«.cntmtrTitleEttidkinyour ARE VOUBUSYALLPAV? t&u OpenConcert*.Ontourwith(Kruno T«*ch*r ofKotUwky.RoloiitMctropnli. TEACHER OfSINGING Km puticuUn•d4^MARVv.\au.“«!ioFrV,Mir,1^Am'It'lltliAti 53 FIFTHAVENUE OF THECITYNEW YORK Special Course Public Schools Institute Sent NEW YORKSCHOOLS or advertiser*. LET USEMPLOYYOURSPARE:TIME . ENPOWF.P end EDGAR O.SILVER.Prc.ident212«•<»•«*S‘"YorkCity VIRGIL •’ CourseMailedo “ 23dyearbegin*Monday.September (THE METROPOLITANCOLLEGEOKMUSIC) THE FACULTYANDEXAMINERS Mix Clare'iPianoCoorubyCorrtipondmcr 2 Weal12lotStreet•NtwYork (iLSTAV l..BhCKiR* Marks’ ConservaforyclMusic Including RoomandBoard CONSERVATORY®/MUSIC $400 YEAR < hartrrrdby-forl.lArtnf1-r*talela,rav1*•* HUM MKitTERM,JULY20toAUGUST22In DEVELOPMENT OHTHEVOICEAND Three PartialScholarships *W,'U AlaitIdawlMwlHaaakla Carnegie Hull,NewYork FORTY-THIRD SEASON JOHN DENNIS Mr. andMra. 181 LeaoxArt.,comer119thSt. ( ATALMCCKaKoKWABiini EXPRESSIVE SINGING L C.PARMA.Director to BeAwarded Denver. Colo. NEW YORK SCHOOL OFMUSIC Thorouth MselcMEducation AN ADVANCED ME HAN 747 SHERWOOD SOLVES THE PROBLEMS OF TEACHERS

Teachers are constantly asking such questions as the following (hundreds more might be given): « WU yoo kindly inform me how to start teaching young children to play the piano; what to teach

fu.f. Vite „X,r hari Normal instruction a8 teach proper technique.) “I have a girl of nine years. 1 am an 010old music teacherreadier u,,^.myself. I would rather continue-- teaching,,—* my daughter myself, and yet I am In doubt as to whether I am giving her the instruction she really needs. I wish her to have a satisfactory musical education.” (Poor mother 1 Eager for her child_ ambit, our.for her welfare anxious to teach her herself, so that they can develop and enjoy their music together and not drift apart, but, alas, conscious:ious of her own shortcomings and lalack of a definite, scientific modem method ) “How shallhall I correct the habit of playing indistinctly ? I have a pupil who does this constantly. I always iiinsist on slow practice and correct fingering. Am I wrong, and if so, what shall I do?” (Here is ai---„mother teacher laboring away—. in the dark. How can ^she give value received to her pupils, when she has Ill never learned the science of pedagogy i applied to the teaching of pieces. I have been giving her Kohler’s first studies, but she wdl not practice. Yet, she must acquire technique in order to play, that I substitute something else ? ” (The experience of this teacher is commou to thousands. So many children do not care anything about techmpue is The country is full of music teachers who are eager to impart their love of music to others, but who do not know how to train their pupils CO along the best• musical' lines.— They"T'1— are— anxious-nxious to do__ honest,-, faithful, conscientious work,_____ but are hammeredr_ at every__ turn_ byjy ana: almost ^total lack of preparation. Many of them have. gone_„__,_of into the teaching business by accident, but them have never had what would be absolutely r< 3* teacher in the public schools, namely: » Normal rCoursei of instructionnctmetinn to»r> fit th.mthem totn teachtoarh the subject of their choice. fa Mr. Wm. H. Sherwood, who has been teaching teachers for twenty-five that they have long felt, and that they are already noticing an improvement in E years, and who is witnout doubt one of America’s foremost concert players and their teaching. It is, in some ways, better than “going away to study,” as teachers, has been painfully conscious of this lack for many years. He has been they have the lessons always before them for reference. besieged with letters from earnest teachers unable to afford an ordinary course The complete course includes ioo lessons in piano by Mr. Sherwood, and of study in Normal methods under a first-class teacher, asking if there were not ioo lessons in Harmony, Thoroughbass, Counterpoint and Composition by Mr. some way in which he could teach them his methods by correspondence, so that Adolph Rosenbecker, director of the Chicago Symphony Orchestra, and Mr. they in turn could improve their own teaching. To meet this demand Mr. Sher¬ Daniel Protheroe, whose reputation as a composer is so well known as to re¬ < ■ wood has been engaged for the past five years in putting his wonderful principles quire no further comment. The work in the piano course embraces, among fin of piano instruction into written, illustrated form, and is now offering a thorough other things: How to teach the rudiments of music, reading by note, legato course of instruction in normal methods by correspondence. The work is given and staccato exercises, major, minor and chromatic scales, arpeggio exercises CO i in the form of weekly lessons and examinations, by the University Extension andoctate studies. Considerable stress is laid upon Mr. Sherwood’s wonderful Method. Inasmuch as the business-connected with the enterprise calls for a large system of physical exercises for the development of all parts of the body used and perfectly equipped business organization, Mr. Sherwood, in order to relieve in piano playing, which constitutes the underlying principles of correct touch, :3l his mind from all worry and anxiety in connection with that part of it, is giving technique and tone-production. Great attention is given to the teaching of ex¬ the course through the Siegel-Myers School of Music, Steinway Hall, Chicago pression and interpretation, the use of the damper pedal, rhythm, analysis and —without doubt the leading Correspondence School of Music in the world. expression of harmony, phrasing, dynamic treatment of melody and accompani¬ The course of lessons takes up such subjects as those suggested by the in¬ ment, varieties of tone, etc. The work in Harmony includes musical notation, quiries above, together with everything else that a teacher needs to know. The intervals, formation of scales, chord combinations, progressions, transposing, CD i very fact that the instruction is given m the form of weekly lessons with exam¬ harmonizing, writing of accompaniments, composition, modulation, suspensions, :d inations thereon keeps the pupil in personal touch with the teacher, and en¬ thoroughbass, counterpoint, orchestration, etc. ables the former to obtain many helpful suggestions from the latter in connection The teacher who completes this Normal Course in theory and practice with the pupil’s own particular problems which would be impossible under any under these eminent teachers will receive a diploma, entitling him to teach &; other system. these methods. Inasmuch as the object is to bring the very best possible in¬ The course of lessons is proving very successful. Since the first advertise¬ struction in music within the reach of all, the price has been made very low, ment was printed in The Etude last July many teachers have availed them¬ and terms of payment to those who cannot pay in advance will be made to suit selves of the privilege of the course, and are deriving the greatest satisfaction the conditions. There is no excuse now for any teacher going without Normal from the study. They write most enthusiastically that the lessons meet a need training.

OPINIONS OF OTHERS: Harman P. Chelius. for twenty years director of the Piano department of the Boston Conservatory of Music, says:

ilea student™mler0th^h^ond«ful^™s«rsfh Abbe^LiszrKnlEk DieDDe2SnpleS d"5 id?as which were instilled .....i.es Mr Sherwood entered the musical professionbeinRfu'i f°r g°?djn theiJ tidings, and as their representative he came to us long ago to unfo d theiMechnirs^l S.Tl , “al*° S,pre!?d thf g°?d forceful piano recitals and sv stemalic piano teaching. The good he has done forth. , h Tr aS P°eUca! Principles, by America can never be described. Fol thirtv years he has Seenwritit^t^ehin 1Pj5u,.,d,n.« ° , t°“ch aPd technic in with universal success The correspondence lesSns »"hi?h he fsh«mas?.fhth,ng ‘J? a!'I2rts of our ““"try "tips are meeting with immense c^mendatiS!^d ^d^^^®,®’i,“f cIearV

(Signed) HERMAN P. CHELIUS. The following letters speak for themselves: It am pleased to state that tfthe wotk I have done Werner Pension, Berlin. Sherwood liasha "been very ....helpful to me in the advanced nfusirS?^Ii?nd.fnceT course under Mr. In Berlin. I would advise anv Uacktr or aspirinTm?sicHn .!'■ at 1 am Pursui"g here how far.he may want to earrv his musical instruction or h!« '.s j"tlre.c?urse- No matter taintv be of great benefit to him. °r hlS mUS,cal studies, this course will cer- I have met several people here that know about your school and th. p • , several of your faculty. Very-truly, J c a n , P“n.g,e Sisters know (Signed) GARNETT TAYLOR.

-...... -uiem>SE5fkffiM2l oecuon National SMESSKH&.Federation of Mus7c“cinbs. ADOLPH ROSENBECKER r inquiry for terms. SIECEL-MYERS SCHOOL OF MUSIC, 1230 Steinway Hall, Chica