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

11-1-1900 Volume 18, Number 11 (November 1900) Winton J. Baltzell

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Recommended Citation Baltzell, Winton J.. "Volume 18, Number 11 (November 1900)." , (1900). https://digitalcommons.gardner-webb.edu/etude/454

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CONTENTS

e»u* Editorial,.. . . . ,*W9 Qiuwtions and Answers,. 390 Musical Items, .. 301 Thoughts, Suggestions, and Advice,., . Studio Experiences,. 393 Violin Deportment George Lehmann. 31H Accurate Reading. Clara A. Korn, ...... 396 Salon-Pieces. Alfred Veil, ...... Letters to Pupils. J. S. Van Cleve, . .. 306 Don't Overtrain. Robert Braiar,. 'M'* Letters to Teachers. W. 8. B. Mathew*,.. 390 A Message to Garcia. 0. B. Skinner. 390 Slow Practice. F. 8. Law,. 399 The Difference in Fractions. Wm. Bcnbaw,. 400 Teaching: Its Purpose and It* Influence I'pon Music at Large. Alfred Metzger,. 400 Ideas for Teaching Children. Jean Parkmnn Brown, 401 The Tru4 Basis of Technic. £. B. Hill. 401 Five-minnte Talks with Girls. Helena M. Maguirr, . 402 Mental Attitude of Teacher and Pnpil. F. K. Media*, 402 A Letter to a Young Composer C m Sternberg, . , 403 Primary Teaching, II. F. C. Bobmeon, ..... 403 Experiences and Observations from tbs Clam Room IT. P. Chrliut,. 403 How to Begin the Study of Bach. EM LitbUng, . 404 The Teacher’s Fertility. J. Franri* Cooke. 404 Some Points of Scereas, I. Wm. Armetremg, . . . 405 Taking Lessons Not All. H. C. Banieter, . . 405 The Rapid Memorization of Key Signature*. John Kants, 406 Note-Books and Journals. F.m H. Marek, .... 400 The Art of Holding Pupils. C. & SkilUm, .... 407 407 Look up to Bach. . . . „•.■■ • • • • ' Organ and Choir Department Everett F.. Tmrtie, 400 Woman’s Work in Music. Fanng Morris Smith, . 410 Historical Notea. Alfred Veil. 412 Dr. Hngo Riemann. Leopott Schmidt,. 412 Children’s Page. Thoma* Tapper. 413 Vocal Department H. W. Greene. 414 Some Ways ami Means. Aden FoMer. 416 417 Publisher’s Notes,.. Home Notes, ...... 410 Teachers' Round Table. . .. 419 What Happened Tbi* Month in Yearn I’M, .... 421 Adagio-J. C. Herterich. JBOSIC me* a mm won*

jwh? 01 toe onomes. Op- *i- P Gaidr, Peasants' WeddiDg March. H. Marwhnrr, A Frances*. Arr. by P. Marion Coda, . Eepou d’ Amour. Op. 5. Bieh. Fneh*. Hunting Song. Op. ******* AK E&VCATIONAL Dance of the Elves. Edvard Cmrg. . . . A la Marcia- Op. 14. So. «. S. van *’*"• Bowing. Henry Parker. . . . . - • ■ hvsicalJovrnal The Lord 's 5tj Shepherd Jm Heart. e_5o-pefvyeak Sngle copies 15* O.PRE5SER,PHILADA£ UDE ***THE PUBL,SHt* op the etude can supply anything in MUSIC. *3*

A BEAUTIFUL CHRISTMAS GIFT. WM. A. POND & C0. Novelties in Piano Music Music Publishers, 60 cents Read Carefully About this DOLMETSCH ••Fleurs Fankes” 60 cents ELGAR. E. “Serenade Lyriqub” Famous SONG BOOK, Dealers and Importers 60 cents FERRARI. G. •Menuet” 60 cents F RUG AT A. G. “ETUDE MELODIOUB*’ “Perpetuus Mobile'* 75 cents 124 Fifth Avenue, New York GILLET. E. ••Gracibuse” 50 cents "Mes Chers Souvenirs” 60 cents Musical Poems i.OO net IMBODEN. W. **D»x Valsettes * MATTE! “Dans les Nuages" 60 cents Containing Thirty of the ANY OF THE FOLLOWING SENT POSTPAID ON RECEIPT OF MARKED 60 cents MOORE. G. P. “Nocturne Rhapsodique” WorW-Fawou* P«»eiiW of PRICE. COMPLETE CATALOGUES SENT FREE ON APPLICATION 60 cents NA V1L. C •* Menubt ” TO RESPONSIBLE TEACHERS WE WILL SEND ON EXAMIMA VALETTE. P. “Pastels Louis XV' 60 cents TION ANY OF OUR PUBLICATIONS AT SPECIAL PRICES 60 cents V1EU. JAME '* MlNUETTO ” EUGENE MAIL ORDERS SOLICITED AND FILLED *TO ALL “Chanson du Matin” 60 cents PARTS OF THE COUNTRY. “Marquis Bergers” 60 cents FIELD 60 cents WACHS. P. •* Bonsoir !*’ •*Doux Babil” 60 cents Harmoniously set to music by 60 cents “ Va-Bo.n-Train” CARO S. SEN0UR. VALUABLE TEXT BOOKS. This is the only book of the kind, and these favorite Poems Novelties in Violin and Pianoforte Basic are used, beautifully arranged STANFORD, C. V.-Six Irish Fantasias Each cents for roice and piano; it is both No. 1. CAOINS (A Lament) No. 4. War Song a work of art and an IN¬ The Modern School of Piano Technics VOL XVIII. No. 2. Boat Song No. 5. Hush Song STRUCTOR. Teacher* should •• little boy blue.** PHILADELPHIA, PA., NOVEMBER, 1900. NO. II. Bt ALOIS F. LEJEAL. No. 3. Jig. No. ti. Reel examine this book. Mothers, if possible, teach your children from this greatest book of love songs Each HO cents HENLEY. W.—Nine Short Pieces ever published. Endorsed by leading musicians. _ Latest portrait of It is the most systematic, practical and exhaustive work of its Berceuse No. 1. L'Etb No. H. Eugene Field in book. Sire of volume, 10% x 13 inches kind ever published, comprising, as it does, all the means neces¬ No. 2. Le Printemps No. 7. Souvenir sary to insure a perfect mastery of the instrument. The .ntire etable life perfecting itself, there grew up in liia stuuy and nation a* did our American laiwrll aud the great No.L* auto.w.we No. K. Menubtto r> . ^ f Beautifully bound in boards. . $1.50 work comprises 150 engraved quarto plates, and is issued inflex¬ heart and barren soul the idea of God, and again the Englishman Tennyson, so you, dear musician, even No. L Reverie No. t). March 1 rice: < Beautifully hound in blue silk cloth, . . . . 2.50 ible cloth binding. Printed from stone. She Ctude. No 5. MELODis Postpaid or C. O. D. It has been the aim of the author to make this work as com¬ ti ust in Him, and the love of Him which had wanned though your life work be the illuminating of one little HENLEY. W.—Chansons Russes. Caprice Brillant plete as patient research and careful study could make it, omminj ■ (lonthly Publication for tba T.aehara and Also the latest songs out, nothing which could serve to promote mechanical proficiency. and bedewed his happy childhood. fourth rate city, must take younrll seriously aud With separate Violin Part 75 cents Students of ^lusls. No. 1. Original No. 2. Simplified “ fTT- «“p,” .!?'■ ’• Postpaid. Everv chapter treats of a distinct class of exercises and is ar¬ Now, if a frail creation of the vegetable w orld, such avoid eccentricity. “ Little Barefoot Stranger,”. 15c. j ranged in progressive order. HENLEY. W —Star OF Bethlehem (The) (Stephen Adams) • • • tW cents as a tiny flower, could so work upon the profoundest For sale by all leading book and music dealers, or PRICE, Part One, $2.00. Part Two, $1.50. Part Three, $1.50. Bcbscription Rates, *1.50 per year (payable In advance). LIDDLE. S.—Romance HO cents depths of a great, though unhappy, mind, how much UBEHAL DISCOUNT TO TRADE AjtD TEACHERS Two Subscriptions or two years in advance,. . . *1.35 each. One little item in a recent Ettuk was startling NACHEZ. T.-Elegy Three Subscriptions or three years in advance, . L30 each. Adapted from LiJdle's Violoncello Solo HO cents more should we who are in constant daily contact w ith and saddi rning in i iU IU|ggefitiveneA*. It was to i the C. S. SENOUR, Single Copy,.15 cents. STERN. L.-Reve d’un Berc.er HO cents Foreign Postage,.72 centa. so marvelous a product of the mind of man as is WILLIAMS. J.—The Lost Chord (Arthur Sullivan) 3034 Calumet Avenue, CHICAGO. effect Duit n m •ent con MiiUiUon of H*thin muflh'Al Arranged for two violins HO cents THE SCALES, and How to Practise Them music, how much more should we be filled with the statistics remli the (ac t that there ere on record DISCONTINUANCE.—If you wish the Journal stopped, an sense of the awe and beauty of the universe! TO CHOIR. LEADERS By A. XT. PUPIN. 2500 conn ive rrva Led and [/TtHluced o| H*rne axptldt notice must be sent us by letter, otherwise It will New Educational Works This work is the experience of many years in teaching, and A few particles of carbon, of water, and of other in public, to the nu in l»er of 14,000, 1tut, of thU V A®t bs continued. All arrearages must be paid. The first issue of onr new monthly journal of anthems has been written in the hope of lessening the drudgery of Impart¬ orks, a UK iigrr 80 «urv By Madame Marches! ing and acquiring a knowledge of the Scales, by making the Study chemical units gathered in a certain order make army of w mere ive and hold the The Choir, RENEWAL.—No receipt Is sent for renewals. On tha Twc Famous Vocal Teacher and choir music, entitled is now ready. Dr. of them INTERESTING. the wonderful little plant, but out of the vague attention of the worl d. About one half of one per J. B. Herbert, musical editor ; Kev. Chas. M. Fillmore, The correct and rapid execution of the Scales is the funda¬ wrapper of the next issue sent you will be printed the data j rh A literary editor. We will be glad to send sample copies mental necessity in Piano playing, and any work that assists in to which your subscription is paid up, which serves ss a universe of tones the composer’s imagination collates cent, iust think of it la it not aaddenina. su Marchesi’s Vocal Method ... establishing the correct principles is Invaluable to both teacher to ehoi r leaders. receipt for your subscription. and groups in beauteous order the simple materials, vast deposit of human 1a Imr, hope, an xiety, ambil Lion; In use in all the principal and pupil. and we have the piece of music. It is simply the most all laid to rest in the * drt smles* ooze of Lethe”! Yet, Musical centers of the World PRICE: Boards, 30 cents ; Cloth, 40 cents. THEODORE PRESSER, L1BIRAI. D18COD2IT TO TRADE AND TEACH«*8 incredible thing among all the incredible* that a mind wbat of it! Was thii All for naught! No, no, in. deed. ** Amone several recent publications none Is of greater value TO MUSIC LOVERS 1708 Chestnut St., Philadelphia, Ps than the * Theoretical and Practical Vocal Method ’ put for¬ capable of doing such things, and a mind capable of Every noble effort does some good somewhere. If the Entered at Philadelphia P. O. aa Second-claaa Matter. ward by Madame Marchesi. This famous preceptress, who has The Musi ad Messenger taken part in the training of so many distinguished singers, is filled each month with inter¬ perceiving and enjoying them, should be a mere pi' ee trees of the forest should say: "Why should we speaks with high authority in all departments of the vocal curri¬ esting and valuable articles and vocal music. Beginning S* B* MILLS Recollections of Home Copybightxq 1900, Thxodorx PassaxA of cunningly-contrived matter. As in the little flower trouble ourselves to bring forth leave* when the frost culum ; and it must needs be that any work on this subject from with the Jannary number Dr. J. B. Herbert will famish her pen carries with it the weight of a series of experiences The celebrated Caprice “RECOLLECTIONS OF HOME, is that unknown thing called life, so in the soul of comes along and bites snd kill* and shrivels and its readers a series on “How to Write Musical by S. B. Mills, introducing a charming Scotch meloJy; ai» almost unique. The exercise in mis volume range from the ele¬ crumble* them into a puff of dustT** Where, then, mentary to the advanced, all being designed to put no undue strain Accompaniments.” This will be an extraordinary "CHARLIE IS MY DARLING," and winding up with HOMt the musician is a strange and eternal quality. Musicians in their capacities as teachers and per¬ upon the pupil. There is no questioning the utility of such a set of articles. Fifty cents will get The Messenger from SWEET HOME,” has just been transcribed for the organ by » The wonderful and vast mechanism and perfect de¬ would be the rich leaf loam out of which the veg¬ book as this.” November 1906 to January 1901. G. Reynolds. It is a very brilliant, yet organ-like piece”.f“; formers are often subjected to certain influences which cert purposes, and we fee! confident that good organists win sign of the universe moved an English poet to ex¬ etables and fruits grow, upon which man and other Price, - - $2.00 net run counter to their earnest convictions. How far glad to include it in their repertoire. claim: “The undevout astronomer is mad!” and we animate crasturas sustain life I One of the deepest Price, $1.25. Liberal Discount. they may yield to such influence is sometimes a deli¬ CHRISTMAS MUSIC may change it to say the materialistic musicisn is a mvsterira in the physical world is the abundance w ith Marchesi’s 16 Vocalises ... cate matter, especially when they involve material ad¬ which Nature bring* forth things obviously assigned With Italian Words contradiction. Joy to the World. A new S. S. concert exercise. vantage or popular success. Every teacher, for in¬ for one purpose, yet frustrated and cast away, but For one. two and three voices. This work is a supplement to Price 5 cents; 50 cents per dozen. Raymond's Cabinet Organ Instructor the well known Marchesi’s Vocal Method. stance, knows what it is to have pupils who fret under found, upon deeper reaeerch, to be subserving another All Hail to Santa Claus. A new cantata for Sunday A practical and sensible method for the study of music, aod a GOOD musician has any right to a hobby, or, serious instruction, who seek show and reject sub¬ end of great importance. Price, - - - $1.00 net schools. By Chas. H. Gabriel. 30 cents. how to play the instrument. peak more precisely, he has no right to ride his King of Kings. A sacred cantata for choirs. By Dr. By LOUIS RAYMOND stance. Tact will go far in smoothing down such ad¬ Let not your heart be over-dejected, composer or The element try part is particularly free from lies too conspicuously in the presence of others, J. B. Herbert. 30 cents. verse conditions, but when this restlessness on the pianist, when you put upon peper your highest moods, and hence readily understood. The organ P,ec®s-"avTT 1 the metaphor of a hobby, or hobby-horn, we m- Machesi’s 100 Exercises on ciously selected, and progressively arranged and finger port of the pupil is countenanced by relatives and or use up your beat nerve-fiber In causing the err*, New Anthems. Male qnartets; female quartets in to convey, usually, that excessive devotion to octavo ; also sheet songs for Christmas. Send for list. PRICE, IN BOARDS, $1.50. Special Price to Teachers, 75c. lion* of other mind* to sound egain in th* air. No Intervals... friends under the expressed or tacit threat of with¬ > curiosity or detail of knowledge whereby a man thing of beauty is valueless, and we have the ftmou* This work is designed by Madame Marches) to include the drawal of patronage, it is necessary to draw the line mes eccentric among his fellows. The good mu-. exercises necessary to attain complete vocal command over The Polychrome Lessons in Voice Culture. By text of our great poet Keats to justify u» In believing the entire range of interv als. between self-respect and subservience. The tempta¬ should not have a hobby-horse, but he must have Frederic W. Root. A complete course for any voice. FOR THE LITTLE FOLKS tion to yield to superficiality is strong, but it is better that the joy of the beautiful is immortal, being a Price, - - 75c. net 75 cents. lecialty. You might as well think of having a Little Lays for Lais and L&a to lose a pupil or two than to go against well-gov¬ part of the immortal soul. He opens bis long poem Herbert’s Harmony and Composition. By Dr. J I hard, perfect apple without a core as »?'» Twenty songs that delight the hearts of the little folks “Eodymioo” w ith that oft quoted and little compre¬ Adopted by the Associated Board of the Royal Academy of Music B. Herbert. The best hook on this subject. $ 1.00 erned principles of instruction. For one parent who and the Royal College of .Music. tty talent without one central and inspiring idea JUST WHAT IS XKEHED FUR THE PTUBSEB hended line: "fluid remove a child for such a reason a dozen will fe and being. You may b- a pianist; then . By WiVUB WHIPPLE ^ “A thing of beauty is a joy forever.” PAULINE, or An Eventful Day. By Chas. H. feel their confidence justified and strengthened, so that e a proficient one; but do not exploit ocUves or Fifty Solfeggi ♦.. This little visitor needs no apology for its jjj, To utter one's beet self among one'* fellow* cannot Gabriel A new operetta. Good music and plot. mission is to find the homes where haimony is ens * ^ ia 1 temporary loss will be more than made up in the •s or transcendental trills, or double notes or any 75 cents by its merry notes, set to the simple suggestions harvest ^ end. be of no worth. Do thy beet, and never let the cold By F. PAOLI TOSTI r element of the art ad nauseam. Yet it is quite the sowing of seeds that will insure a bounteou rain of pessimism, which comes from lowering cloud* These fifty Solfeggi have been written by Signor cheerfulness. .. * * * in the bounds of sound, healthy art, that you FILLMORE BROS., very near to the earth, ana w hich hid* th* star dis¬ Tosti specially for the Middle Register of the voice Price by mail, postpaid. Boards, 75c.; ClotiL AU we musicians and music students would do well Id shine more luminously in some specialty, as, liberal macorsa to thadk and trashk* tances, ever drench yon to the cor* snd nuke yon ■ i ; ' and are therefore, equaHv suitable for all voices. |l>d we more frequently and more deeply meditate They will be found most useful studies, and so example, ro. sluggish and inert! melodious in character as to be practically songs with upon the mystic symbolism of our beloved art. out words. NEW CHRISTMAS MUSIC Tennyson, the most perfect artist-poet that the Eng¬ “Do Honor and Fame from no condition ri*ef Act well thy part, there all the honor lie* ” IN TWO BOOKS Warren. Geo. William. "The Song of Salvafion ^ ^ ]i lish language can boast, gives us a hint when he says, Each Book, ------$j.00 Our Own Make. In Urge Styles Only. Anthem for merao ^prano or^barito^ Chris(maS jwn .. in his clear-sighted prophetic mood, that if we could • • • hnow what is the innermost nature of the little flower LANPERTI, F .—The original and transposed Italian Editions of 6 Staves, 2-4 Pages, -.f "CotnTYi Lofty, * Come Ye * Brginxhw in music, like other tyros, art often this famous master s *‘Studi Ji Bravura.'* 15 cts. 8 “ 24 la the crannied wall we should be able to comprehend puzzled and bewildered by the thousands of incom LAMPERT!. G. B. —The original Italian Editions of bis famous 20 “ i carol) . • cl.-ior's Bir» ,., ptuous beauty of to° WM there, 8 “ 36 Dressier. William. "This Day^Proclaims a - . » “Vocalliri Pre par at on i.” 25 •* "hat God and man are. t artists, who nre ebose t ^ did patible notions which fly into their mind*. *o that * *' - “ *’ —Scuola di Canto Stock. George C. "Listen to the Shepherd s^a^ yojctjr (’.ook5 are 9 And again we may find a most suggestive model in they form very erroneous and utterly preposterous am , i x 6 inches, 8-Mave Books are 9 i x 8 inches. Stock, George C. Write for our Bulletin of the- Latest English ami French ibat exquisite French story of the imprisoned atheist, bitiosa. One Of the moat common, moat ludicrous, ^§©1 Drwrorr to :"1 ;Sff% By Eaunext Composers. ANNUAL No. «, 7 carols. Grace Collection, VariojjS *“.|,or5 ■» who> during his tedious hours of monotonous cap- and moat harmful is the habit of nervous young girls '■-« fg-feiV th* aurket ,t :'h* nr, hear Music-Copying Boob, that are oa ANNUAL No. 42,7 carols, Grace Collection, var stoU3lC t*TitJ'> found interest and an ever-growing solace in and intelligent, but slender, young genUemen read for th«. bouk. *nd "?‘ tim8- Th* W** <“» I**® "“Jo «P«iaHr art. That you are a star ot _viutioa ■I' 4*3 throotkr®* or four time®.time*.

rapidity and finish of runs, but Mozart in expression things make up the total. That it does so is a matter and true musical quality. Symphony Hall, the new home of the Boston Sym¬ men had a huge task on hand—resolve to do the same. ngs, edited by his widow, has just been issued 1, of common experience to all teachers and students of phony Orchestra, has a seating capacity of 2509, which You cannot endure such labors, and, if you could, the comprises correspondence between the years 1867 T> music, and the best proof of the fact lies in this state¬ E. E. M. V. G.—1. The natural minor scale is used result would not be to make you a pianist who might by composers, although modern writers do not put and includes letters to Richard Wagner ’ is 307 more than the old Music Hall. The sounding ment that no one has ever succeeded in music, or in be rated as one in a million. But what of it, pray? whole compositions in this form. Prior to the time of l>oard was built according to the plans of Mrs. W. F. any other line of work, who did not systematically Bach it was the principal ecclesiastical scale, even A Russian general has ordered singing as an aux- There is room for you, there is happiness for you, Apthorp, wife of the well-known critic, and is made and most carefully value trifles, or what might seem Bach and Handel using it. Yrou will find a hymn-tune >*>ary ,n warfare. Each battalion is to have Tv “l of plate glass, backed by heavy planking and covered there is work for you. D’Albert does not average two which is composed in this mode in most hymn-books— to be trifles. with felting. hours a day, and, in fact, he actually disapproves of “Veni Emanuel," “O Come, 0 Come, Emanuel.” The supTrted‘T 0,6 ria‘ War‘80ng 10 be 8ung “> battle It is as much an obligation upon teachers so to con¬ Meyerbeer's piano lias been presented to the such amounts of drudging as are customarily reported kev is E-minor; the next to the last chord is B-D-F- drums " * miIltary instrumentalists and The Bureau of Statistics of labor, of Massachusetts, duct their instruction that pupils shall gain this ele¬ sharp, instead of B-D-sharp-F-sharp, as the harmonic Royal Museum at Berlin. of the great virtuosi, but, of course, he is a miraculous gives the following figures for 1899, in regard to musi¬ ment of character, to care for the little things, as it minor scale would demand. Composers use this form exception. The man, though only 30 years old, has A Warsaw amateur has offered a prize of $750 for cal industries in the State. The value of musical roer to give an archaic or antique character to composi¬ is for them to be able to play a number of pieces for a symphony and $375 for a piano concerto. made himself independently rich by that usual drug tions. ekandise, $0,028,345; wages paid in musical industries admiring friends. Quantity may possibly he secured in the market, a piano-recital, and this in less than 2. It is true that the rules for part-progressions, as A Sax Francisco tenor appends to his professional $1,8022573; average net earnings of the workmen, hy a student who is neglectful of the details which vate life, fifteen seasons. Be content to be a star of the sixth usually given in works on harmony, forbid the use of card “No ‘thank you’ engagements desired.” He may be heard in the United States this $578.98. This docs not include the sheet-music trade seem trifles, but quality never, except by unremitting augmented intervals. But it is also true that every season. and retail establishments. magnitude, or even to glimmer in the milky way, and Sib Arthur Sullivan has become a wealthy man devotion to the little things. Teachers should never weU-qualified teacher will tell pupils that the rules, be happy know ing that you are akiu to the great ones. as formulated, apply to the great majority of cases, from the royalties of his operas and songs. The season of the Chicago Orchestra will consist of The organ in Symphony Hall, Boston, the new home neglect an .opportunity to impress upon their pupils * • * and that there are exceptions to these rules, which Madame Mathii.de Marchesi has written a series 44 concerts. Theodore Thomas has arranged a Beet¬ of the Symphony Orchestra, has a movable console, that the main end of study is not knowledge, but the are not absolute, but merely principles deduced from Tuts indestructible fact, the piano, was invented in hoven cycle of four programs, containing his greatest or keyboard. It looks a little like an upright piano, effect, upon their own characters, of the pursuit of that the practice of the best composers. But since the of “Ten Singing Lessons” for Harper’s Bazar.- the days of J. S. Bach, but he never cared much for instrumental works, and including the “Ninth Sym¬ and by its use the organist may sit at any place on knowledge, of the work spent in gaining it, upon their rules provide safe guidance for most cases students About 15,000 additions are made yearly to the phony.” " the instrument, preferring the harpsichord, and par¬ should obey them rigidly at first. The augmented the platform as may la- demanded, since the console own development. Everyone must develop. If music Musical Department of the Library of Congress. ticularly the clavichord. However, his son, C. P. E. intervals occur, melodically, principally in composi¬ is connected electrically with the organ itself hy a One result of the performances of opera in English study be our principal work, then our growth must tions which are in the harmonic minor scale. Men¬ Up to the present the name of an American musi¬ Bach, was a true pianist, the first great one in the flexible cable containing 372 wire*. come as a result of that work, and instruction must delssohn was very fond of it. Music which is in the cian has not been accepted for the Hall of Fame. has been that the public has begun to insist upon world. He also has the honor of having so modified be so arranged as to cause growth. so-called Hungarian scale—example, C, D, E-flat, F- clear enunciation. A properly-trained singer is able The tuning-pin of a piano is not really a pin, hut a the form of the suite that Haydn, with little change, Karl Klixdworth has completed a simplified sliarp, G, A-fiat, B-natural, C—also uses augmented in¬ to comply with this demand if he is not too lazy or screw, with a thread invisible to the naked eye. The tervals in the melodic progressions. edition of his piano;scores of the “Xibelungen Ring” created the renowned and world-wide sonata form. careless. pin’ is driven into the wrest plank, which consists C. P. E. Bach proved himself a genuine pianist in that series. Sister M. G:—1. The harmonics of a tone, also called of four or five layers of the hardest rock maple, with A rare three manual harpsichord is ta be added to one of his maxims was: “Sing as much as possible overtones, are higher sounds which vibrate in sym¬ The new buildings for the Royal High Schools for the grains crossing one another at right angles. This the Crosby Brown Collection of musical instruments upon the piano.” Everybody also remembers that pathy with a fundamental note. The full series is the the Fine Arts and Music in Berlin are nearly com¬ gives the strong “bite” on the thread of the screw, note struck, its octave higher, the perfect fifth above in the Metropolitan Museum, New York City. The Chopin often said: “Go and hear Malibran sing, then pleted. necessary to stand the pull of the string when up to that, the second octave, major third, perfect fifth, number of instruments included in the collection now you w ill know how to play the piano.” Again, Thal- Tiie famous young ’cello virtuoso, Jean Gerardy, pitch, which is equal to the tension of 450 pounds. minor seventh above that, the third octave, major amounts to 2400. berg composed some superb pieces called the “Art of second, major third, augmented fourth, perfect fifth, will make a concert tour of the United States this The post of Professor of Music in the University of Singing upon the Piano,” and yet there are would-be major sixth, minor and major sevenths, and fourth Boston papers are asking for a third weekly series season. Melbourne, Australia,—salary, $5000 a year,—is va¬ exquisites who declare that the piano cannot touch octave. Illustration: Strike C, second leger-line below of concerts by the Symphony Orchestra, because the bass-staff; the harmonics that sound with it are Karl Knx'DWORTn, the noted conductor, pianist, cant The professor must lecture in English, but the the heart with tune. premiums paid for seats have raised the actual price C, G, C, E, G, B-tlat, C, 1J, E, F-sharp, G, A, B-flat, and pedagogue, celebrated his 70th birthday, Septem¬ question of nationality lias no bearing on the avail¬ This is an absurdity, yet it has reason, and the W. L. E.—1. Karganof, whose baptismal name was so much that such a series might be given at a lower B-natural and C. To explain the reasons would take Genari, was a Russian musician, born in 1858, died ber 25th. ability of a candidate. The chair is held for a period reasons arc, first, they—that is, such people of shallow too much space for these columns. Consult a work on rate is their plea. in 1890. Studied in Germany under Reinecke, and of five years. The former professor could not huve musical sensibility—crave everywhere and always the acoustics. The first concert of the Cincinnati Symphony Or¬ also was with Brassin. The Maine Music Festival held at Bangor and Port¬ had much work to do. Since the foundation of the 2. The cadence is a distinguishing mark of a phrase, chestra, Frank Van der Stucken, conductor, will take direct emotionality of the voice and the bowed in¬ 2. Giovanni Sgambati (pronounced Sganm-bah -tee, land, was financially a success, a surplus sufficient to every one, as a rule, ending with a cadence more or chair only three degrees of Mus. Bac. and nine diplo¬ struments. Second, they have not sufficient delicacy principal accent on second syllable) is an Italian musi¬ place November 30th. guarantee a festival in 1901 being in the hands of the mas of associate were grunted. Ijut year no student* cian, still living. He was born in 1843; studied with less clearly defined. of ear,—that is, heari g faculty, quickness of intellect, 3. In analysis difficulty is experienced in reducing Sims Reeves, the celebrated English tenor, recently officers. The total attendance at the five Bangor con¬ Liszt, when the latter was in Rome; and made con¬ attended the lectures and responsiveness of heart—to follow and perceive the various periods and phrases to the exact sym¬ celebrated his 82d birthday. He receives a govern¬ cert tours in Europe. He is a teacher in the Academy certs was over 12,000. metry of measurement by 2, 4, 8, and 16 measures. The latest infant musieal prodigy is Pepito Ariola, the thousands of nuances and interwoven felicities of of St. Cecilia, in Rome, belongs to the modem school ment pension of $500 a year. Sometimes a composer will begin a new phrase just Verdi celebrated his 87 th birthday, October 10th, a Spanish boy, three years and four months old. He our noble piano literature. And, third, the power to of composition, and is a pronounced adherent of Wag- The incidental music to the dramatic version of as one is closing—generally in another voice; this at his home near Genoa. Congratulations from all was only two and a half yeara old when he began to elicit fully and richly the lyric heart of the instru¬ nerism; he ranks high as a composer and pianist. makes the second one seven measures in length in¬ “Ben-Hur” was written by Edgar Stillman Kelley, the over the world have been senj to him. His strongest play without any instruction. His repertoire is in ment is lamentably lacking in many otherwise pro¬ stead of eight; again a deceptive or interrupted ca¬ H. E. E.—1. By the natural minor form of the minor well-known American composer. interest is his Home for Musicians in Milan, a charity three parts: liis own compositions, w hich he knows by ficient performers. scale is meant a series of notes beginning on the sixth dence is introduced, and an extension of several meas¬ to which he has dedicated his fortune. heart and plays without viriatiun; impressions of airs Go, then, piano-student, and learn to sing; other¬ degree of a major scale and proceeding diatonieally to ures introduced; sometimes syncopations so change Edouard Coloxxe, conductor of the popular Paris the rhythm as to introduce a new unit of measure- Edward Strauss, leader of the celebrated Strauss which he has beard, which he reproduces more or lees wise to you Chopin, Mozart, Beethoven, Schumann, the octave above. For example: A is the sixth degree concerts which bear his name, will make a five weeks’ •ment,—Beethoven did this; in passages which consist of the scale of C-major. The natural minor scale tour in this country during the present season. Orchestra, which is to tour in the United States this exactly; repetitions and improvisations. A French Mendelssohn, Field, Thalberg—yes, nine-tenths of all of thematic development of a subject phrases are often would comprise the notes A-B-C-D-E-F-G-A. The har¬ season, is the son of Johann Strauss, founder of the critic says the little fellow’s compositions are equal the good music made for the instrument—will be monic form raises the seventh; the melodic form the irregular, and cannot be reduced to a system of four The late George Gemiinder, violin-maker, said that orchestra. He received an academic education and to the works of most contemporaries who bare made utterly beyond you, though you may be able to turn sixth and seventh ascending, but in a descending and eight measures. he used old wood carefully selected from old houses graduated in philosophy, but turned to music. music a life-long study. a pianola breathless with the gyrations of your digits. progression there is no chromatic change. Sister S. A.—1. The principal intervals of the scale and other buildings, thus securing a perfect seasoning. 2. The fourth of the scale is called the subdominant; The Society of Berlin Musicians has fixed a tariff Sound-proof rooms ore in demand fur musie All music is organic. That is to say, music is music, besides the octave are the third, fifth, and sixth. the sixth, the submediant; the seventh is the leading- The house of Brahms at Gmiinden, Salzkammergut, not singing, fiddling, organ-playing, piano pounding, for theaters that have not a permanent orchestra. studios and conservatories. A scientific paper makes note. 2. The first few notes, beginning with the has been opened as a Brahms Museum. The doors and trumpet-blowing, flute-tooting, but the utterance of 3. The arpeggio sign is a perpendicular, waved line, A of the piano, is marked AAA, and sometimes call Players must receive for a week-day performance, 96 the following suggestions: The floor should be lifted windows are from the house in which Brahms lived at the human spirit in living, moving symbols of sound. placed just before a chord that is to be played in the triple octave; the lowest C is anarked CC, called some¬ cents; for Sundays and holidays, $1.44; for a mati¬ up and filled with silicated cotton, and on top of each times double octave, and sub-octave; all note be¬ IsehL It is, to be sure, quite impossible to give a course of arpeggiated form. nee, 72 cents. And yet orchestral players are numer¬ joist a strip of hair-felt should be laid lie fore the floor tween it and C, second leger-line below bass staff, are is put down again. The w all should be studded with instruction as to this matter in a paragraph, or, in¬ H. P.—1. In a composition in which there is a con¬ written same way; that is, DD, EE, etc.; the nex Heinrich vox Herzogexberg, pianist and com¬ ous. vertical studs, either lathed or covered with wire deed, by anv written words, but these hints will be of sistent carrying out of voice-parts, it sometimes does octave begins at C, below bass-staff, marked L, an poser, died at Wiesbaden, Germany, last month. He Mb. Frederick Stearns, of Detroit, has added to called great octave; next octave is the small octav , netting, and the space between the lathing and the some suggestive value, perhaps. When trying to sing happen that the left and the right hands are assigned "as president of the Meistersc-hule for Composition in the Stearns collection of musical instruments m the the same note. In such eases use the hand that is written c; next begins at middle C and is written original plaster filled uith silicated cotton before re- on the piano, get a clear idea of the exact, relative Berlin. University of Michigan 160 Chinese musical instru¬ most convenient, being careful, however, to keep the or c1, and called one-lined c or one-accented c; ne plastering. The ceili g should be treated in the same value of the various voices, then bring out the pre¬ leading of the two voices clear. octave is marked c" or c2 and so on. . ,, ments, besides the outfit of a complete Chinese orches¬ A series of organ recitals by prominent organists way. A fire-place should be filled with shavings or cut dominant cantilena with two or three times as much 2. In case you should have a chord in the left hand, 3. The tempered scale is one which divides tra. The collection is one of the most valuable in the oi the various American cities has been arranged for paper. Heavy glass partitions are also said to be energy as the other parts, giving them again a de¬ to be arpeggiated, and leading up to a single melody- octave into twelve equal parts. The resulting ton world. note in the right hand, start with the bass and finish are not in perfect time, but can be used in van in connection with the Pan-American Exposition at eflective. cided difference of weight, always giving to the mutual A new metal called nickel-aluminum-a mixture of with the melody-note. The latter comes directly with keys, and, as a result, all the keys, whether hac Buffalo, N. Y., next year. tones which are repeated to keep the rhythm going To the autograph-fiend, the collection of letters left the beat. few or many sharps or flats, are equally good, copper, aluminum, and niekel-has been devised to be the least power of all. Next take care to let the lyric, 3. In the new work, “Contemporary American Com¬ deviations from true pitch of some of the inte ■ Oae seat for the concerts of the Boston Symphony used in place of bronze for making bells The weight by Director Jauner, of Vienna, lately deceased, proved or singing, phrase rise to a climax and fall away again posers,” by Rupert Hughes, you will find complete in¬ are roughly the perfect fifth, l/» of a semitone Orchestra, in Symphony Hall Boston, was sold at $560 of the new metal is lut one-third that of bronze, and exceedingly interesting. The most important ones formation on the subject. to a point of lapse or rest, just as an artistic singer the perfect fourth, the same amount, sharp; the J premium. This amount, added to $12, the regular brought the following prices: A letter from Berlioz, 4. In playing hymn-tunes on the organ, it is not third, of a semitone sharp; the minor always does. Just imagine how absurd it would Price, makes $572 for 24 concerts. $2.40; Brahms, $2.80; Leo Delibes, $0.80; Gounod, customary to repeat reiterated bass-notes unless it be respondingly flat; the minor third, V. of a semi cost is much less. $2.00; Jenny Lind, $2A0; Liszt, $12.00; Marachser, sound if a tenor should shout out all the tones in the desired to mark the rhythm welL Sometimes a choir flat; the major sixth, correspondingly sharp. The nmnipical authorities of Berlin have decided Dr. Hagemax, of Cincinnati, 0., who has been ex¬ last fonr measures of the “Salve Dimora” at the top or congregation drags; in such a case play the full 4. Musie is divided into rhythmics, melodi , $1.00; Meyerbeer, $4.80; Saint-Safes. $120; Clara. ‘o contribute $3000 toward the $20,000 required for perimenting for years in ^ ^on ofa^ of his voice. Now, lastly, draw upon the euphonizing chord, semi-staccato to mark the rhythm, increasing dynamics. Schumann. $0.80; Johann Strauss, 11.6ft The letters the tempo until you have the desired rate. You can 1 e erection of the triple monument to Haydn, Mozart, for the piano, announces that he nas powers of the right-foot, or damper, pedal constantly, from Richard Wagner to Jauner were knocked down also get a congregation together again if they are not W. L. S.—The word “stop” as applied to a aen**^ and Beethoven in the Thiergarten. at much higher prices. A letter to Jauner concerning that the sound may be liquid, and well connected at singing in good ensemble. pipes or the mechanism that opens them to t all times. sage of wind does present a contradiction. 4 'jwut A tusk of solid ivory has been found in Alaska, si^r.*s=« the engagement of Scaria at the Bayreuth perfor¬ • * » M. F.—1. Muzio Clementi is pronounced as if spelled of the word is accounted for as follows: un l ^ measured 12 feet 10 inches in length, 23 inches in mances brought the sum of $62.40. Another letter of iloot'-se-oh, accent first syllable; Clem en?tie, accent the middle of the fifteenth century each “e-0f Wagner's to Jauner realized $28.00; and a third, dated on second syllable, first and second vowels short. organ controlled a certain pre-arranged nu ^ nish.UniferenCe, 3n<^ "e’ghs 200 pounds. It will fur- If music study can properly be considered a means October 25, 1878, concerning a performance of “Sieg¬ Maestro Clementi is not another composer, the word pipes,—in fact, the organ was a huge “mixtur . - fire ircys for a number of pianos. for education it should also possess the quality of being the Italian for Master, a term frequently applied times having fortv or fifty ranks. Mhen me. ' fried” at the Vienna Opera House, brought $2320. contributing to the development of character, for mere to musicians. Yo ®AEBT Rowe Shelley, the well-known New Finally a letter dated September 5, 1879, was sold for devised by which the player could stop cer“* ^ ^ „u EiAttr „„d E»t »“tTL. .« acquisition without the power to use is of little value; 2. The “musical duel”—so-called—between Mozart, from sounding, thus isolating others he " isj.errn sta COlnPoser> has written an opera based on the the price of $64.00. and Clementi was merely a contest as to which was and, if this latter claim be well founded, then music alone, a new era dawned in organ-building. , 17 of “Romeo and Juliet ” It received a private the better player. Each h d certain points of excel¬ “stop” then recalls the fact that slides were - should help to teach the value of trifles, for the little nng rtently in New York City. lence, Clementi being the superior in the brilliancy and rather to silence ranks of pipes than to bring 392 the ETUDE :m it is so much easier to think of doing them to-morroiv Studio experiences. be necessary to tip toward the fifth-finger side of the that ahe entertained her parents with a comprehendra tlian to set about it at once. One lady intended, for hand instead of the thumb. THOUGHTS twenty years, to begin to practice regularly, but as she digest of the lesson upon her return home. The object of elevating the first joints is to secure ever put off the beginning until to-morrow, she never A MUSICAL POST-OFFICE. SUGG) lamsjsmrice the best possible lift of the fingers; just what eleva¬ wh^l’^fr ha<1 a Pitdled ever7 day SOME INTERESTING PUPILS. became a pianist. when the child was requested to practice. So little tion of these joints any particular hand should take aimee m. wood. Time is a series of Nows, each of which has its KM11.1B TRACT BROWN. can be decided by raising all the fingers (keeping them ^ vocal teacher is the author of this device, but its day to da T ‘7 Sl'C for*ot b"r «** Practical Points by Practical Teachers glorious possibilities. The one who hastens to grasp ay to day, and nothing seemed to remedy this short- Among my rlaild pupils are two who began study¬ curved) except the thumb; the tips of the fingers thus advantages will recommend it to piano teachers as the opportunities of the Now progresses onward ami ing at the same time in Undoe s “FoundsUou Ms raised should be at least an inch and a half above the nmth rZ''; ,ly diDt °f mUch P*"*'eraoee the THE UNA CORDA PEDAL. II, in embryo it was merely a pasteboard box, into mother taught her all the major scales. After year, torials," the boy eight vesrs of .g», the girl eleven table. When the fingers have been raised to this upward, while he who, with good intentions for the nhich questions, written on slips of paper and brought of observation reflection, and experiment, she realized Ihey are brother and sister, and both eager Lo learn, J. S. VAN CLEVE. height, drop them to the table, but be careful in doing future, always postpones his action until to-morrow to the studio by pupils, were placed, and these distrib¬ that the child required constant variety. The little the girl seeming anxious to progress faster than her so that the body of the hand does not drop with them. or next week, never accomplishes anything of note. There is nothing more lamentable in musical art uted, gave each pupil in turn a question to which a one was restless and fond of play, with an inborn brother. Thus spurred on, and determined not to be The elevation of the first joints that results will be than the way in which the average pianist, yes, and written answer was to be brought upon the following aveision to monotony or concentration of mind. So outdone by a girl, the boy kept within one or two the proper one for the hand under consideration. This the pianist very much more than the average also, lesson day, and this, corrected, if necessary, by the the mother discontinued giving her regular lessons, but pages of his ambitious sister all the way in their uurk. hand shaping can be done much more quickly and neglects the unit corda pedal in their interpretations teacher, was given to the writer of the question. devoted from five to fifteen minutes per day to giving They both used Landun’a "Writing Book” in connec¬ thoroughly at a tabl« and should be practiced there THE COMrOSER AS A REALITY. of master-works. Yes, there is one thing as lament¬ In its present evolved state the “post-office” repre¬ her hints in music study. She explained the formation tion with the “Foundation Materials,” and I have every day until a good position is easily taken and able or worse; thut is the way in which the average THOMAS TAPPER. sents the ingenuity and originality of its designer. An of the minor scales and asked the child to pick out the never known a child to progress faster in inuaica] underpaid country organist trota around in a little kept. empty thread case, procured at a dry-goods store, is separate scales; this having been correctly done, she notation than did this girl. The work appeared easy * * * paddock of a half-dozen combinations, and leaves half Teach the children to know the composer as a citi¬ its foundation. Each drawer, divided into three com¬ professed extravagant surprise at her aptness. By this for her; work I aw often obliged to explain again the secrets of the grandest of instruments silent for¬ zen of the living, busy world. Tell them what he partments, is labeled with as many names, and a class artifice she induced her daughter to learn all the scales. and again to pupils much older seemed hardly to ever. Many of the organ’s lovely voices are never ON FINGERING. used to do, where to he traveled, and how ue made his of 36 pupils is thus provided with “boxes,” while the Then she purchased several volumes of short, easy trouble her active brain. guessed by the congregation. But in the case of journeys. Have them know what books he loved; After she had studied about five months I proposed CARE W. GRIMM. round of questions and answers is conducted as fol¬ pieces, giving out one book at a time; she told her to the pianist it is equally bad. How* many pupils aie what were the scenes of his home-life; what sights giving her an examination upon the work she had lows: look over the pieces and to select one after another “Correct” fingering is the horror of a careless ever told anything about the so-called “soft pedal ? were usual to him. Tell them about the city or town It is, we will say, the lesson hour of Miss Brown, which appeared pleasing; this was done, whereupon done. She immediately replied: “Oh, that will be player, but an object of most careful consideration for fine! Give me just as hard a one as you canl" 1 How many players themselves make any use of its where he dwelt; its famous buildings, its history, its who according to established custom, proceeds to the the child was allowed to learn the selected pieces by the careful, and consequently good, player. The art prepared one more difficult than 1 had ever given to many effects? geographical situation. Is it far to other places that post-office in its corner. Boxes still empty are open; herself, the mother sitting quietly in some inconspicu¬ of fingering is based upon logical principles. At pres¬ children eleven years of age, and she answrred nearly The present writer once knew a lady pianist who are noted? Who were living when the composer in those already' containing questions to he answered, ous place where she could observe without being seen. added at least twenty-live per cent, to her reputation ent I can recall but one book on fingering in the Eng¬ every question out of 20 numbers, with from two to question was going daily about his work? Tell all closed. Her query upon which she w ishes enlighten¬ The child could not, of course, learn them alone, but by her abundant and adroit employment of the unit lish language, viz.: Aloys'Bidez, ‘"The Art of Finger¬ five questions under taeh head. She wrote out music this interestingly. It forever removes the composer ment, she places, signed with her name, in an empty she imagined she was doing so; for whenever she r„rda pedal. Twenty years ago the master of piano- ing.” Louis Kohler has written an exhaustive work in */s V.. Vo Vs. and time, accenting the notes, from the world of unreality. When we strive to ap¬ box, and closes the latter. Opening her own box she made a mistake the mother would unostentatiously scintillance, Raphael Joscffy, revealed to us the mar¬ on the subject in German. Otherwise the rules of also wrote all the major scales in C, (1, A, K, H, and proach him, he begins to live, to be a man, to be ex¬ takes the question, signed and placed there by a pupil walk to the piano and explain the error,—not like a vels of pianoforte moonlight, and these sparkles and fingering are scattered in instruction books, and the F-sharp, inserting the sharps in (heir correct places in plicable in the terms of life, not in the terms of specu¬ who has preceded her, and to which she (Miss Brown) correction, but as if she were simply stating an in¬ vanishing gleams are of unspeakable beauty. But pupil is supposed to acquire them by playing five- the scales and marking the intervals for the half lation. will provide the answ er, depositing it at a subsequent teresting point; and, sure enough, that child is now enough of carping and generalizing. Take a hint or finger exercises, scales, chords, and what else he gains stops; also gave names of letters where the different Indeed, we learn that we cannot do much for the lesson hour in the box bearing the pupil’s name. learning to enjoy playing, and her ear is as acutely two as to what to do with this tricky elf, una corda. by experience. Much more attention has been given half stops occurred in all the key's she had studied, learner, do what we may. Let us seek out ways and Often answers are found to require the aid of dic¬ sensitive to false tones as can possibly be desired. first, scratch out of your mind the notion that it is lo pedal playing, at least so far as books are con¬ and, when she found she had not answered all cor means until our invention is exhausted, and then, tionaries, or biographies, constantly at hand in the a soft pedal. That name is a mischievous misnomer. cerned. mtlv, was greatly disappointed Both children but little is done; for the ways and devices which we studio, as well as the teacher’s supervision. Usually, Often the tone must be made fortissimo with the una The pianist’s hand is, after all, only a tool applied ‘TYPES’’ OF TEMPERAMENT. played easy duets outside the liook within a few seek out to interest and encourage are but those foot¬ however, the ceremony occupies but a few moments, months, and simple melodies besides. corda, as witness the wonderful passage introducing to the keyboard. As such it has a number of move¬ ALICE C. FRENCH. steps taken toward the broader life where the child for the expending of which the fund of information The hoy suryirised me one day by playing from the inversion of the fugue in the opus 110, of Beet¬ ments possible, and required, in playing. These move¬ E of my pupils, a boy of thirteen, possessed al- must say farewell and by its own strength, not by on musical topics in general, circulated in this manner, memory one of the hardest little pieces he had taken hoven. All intensity on the keyboard is related to ments can be arranged into but a few classes. When ours, go forth to find its place, to be and to do by amply compensates. no taste for music, though showing marked apti- in his work in Iautdon’s book, introducing the hand attack and its modes of intensity, and to nothing else. the fingers cover and play five successive white keys, it's own force, quickened, in early days, hv the in other ways, and was taking lessons only touch, with sharps and flats occurring in the chorda Second, never use the una corda except upon dis¬ the hand is said to be in normal position. thoughts we devote to him. r protest. Though independent enough when It was a delight to bear him, for he seemed to feel tinctly segregated phrases or integral parts of phrases, Reaching beyond the five-finger position causes ex¬ A DIFFICULT CASE. if-doors at play, he was always awkward and in his playing at this early age what few ever express that it may do what it is meant to do, viz.: suggest tension of the hand, crowding the fingers within a * * » CLARA A. KORN. ait at the lesson. in difficult interpretations of mature years. ! require the lovely contrasts of the orchestral dialogue, when lesser space produces contraction of the hand. Very had been under the instruction of a teacher who, That teachers rarely successfully instruct their own these children to give tn account of all the time spent reeds reply to strings, or French horns to clarinets. important is the passing ocer and passing under of fin¬ children is a fact too well established to require com¬ gh thoroughly capable, and displaying Incx- at the piano, and I plan and write all their work down Third, do not confine your use of the una corda to gers. Another movement is the change of fingers on RELAXATION. ment. In one instance, however, a certain woman tible patience with promising pupils, took no in in a book kept for the purpose. Thus the work ia laid the tinkles and splashes and ripples of the upper two the same key. These are the movements so far as PRESTON WARE OREM. music teacher determined to be an exception to the t whatever in those who proved dull, and the out systematically and the number of minutes I desire octaves, but use it everywhere, high and low, and if they are called for by finger-marks. The finger is t was that the boy had made little progress, rule. She had but one child, a daughter, and she early them to practice on each study or piece is marked vou have a fine ear, end sensitized heart, you will find One hears a great deal nowadays of the principle of moved from the knuckle-joint, occasionally also from 1 practice, dreaded lessons, and regarded a music so that nothing may be slighted. the solemn glooms and ghostly whispers of the orches¬ decided that that child should learn to play the piano the finger-joint below it. The thumb moves up and relaxation, frequently miscalled devitalization. It ,er as a mortal enemy. These conditions faced Another rose is that of a boy eight yearn of age, tra in the depths of pianissimo basses made spiritual well, even if she did not aspire to greatness. In this down with a very slight rotary motion, which can be should be understood that this is distinctly not a new ,t the beginning, but I had made up my mind to who, after nine or ten lessons, committed to memory and aerial by the neglected, but beloved, “soft pedal,” particular case the mother was more than ordinarily noticed on the thumb-nail. The hand has its up and principle, although a systematic knowledge of it and nplish something if possible. You may say that many of hit ittie pieces, just by thoroughly practicing handicapped by the circumstance that the child had whose honest baptismal name is Ariel Una Corda. down (wri3t) movement in playing octaves, chords, its proper use were, until a comparatively few years is useless for him to study music at all; but he them; he takes pleasure in his legato and staccato no instinctive love for music. It happened once, when • * • and sometimes single tones, and then there is the ago, restricted to a few. There is a wonderful con¬ studying, and it was surely worth while to lighten work, and comes to the studio, in fact, with such in the little girl was four years of age, the mother was POSITION. rotary movement, however very slight, of the hand in trast between the enlightened methods of technical irudgery of an uncongenial discipline, instead of terest in ail that be is accomplishing that ire can fondling her, and said, “You love me, darling, do you playing tremolos. instruction pursued by the progressive and rightly ig only'sarcastic comments and a cold manner to hardly wait to remove hia overcoat and iiegin the PERL.EE V. JERVIS. ”ot! whereupon the child quaintly replied, “Yes, To gain full command of these various movements equipped teacher and the fixed and constant rigidity lesson. He often surprises me with his smooth legato mamma,—if you don’t play piano.” A GOOD hand position is such an important factor requires years of study and is the aim of all hard¬ of contraction insisted upon by the “foreign professor ter helping him to feel at ease, I strove to awaken touch and pure tone. He rises generally st six o’etork The mother was naturally somewhat staggered at in piano-playing that the most careful attention should working students. of twenty or thirty years ago. The pity of it all is that thing of interest in the work. A *"•* «d dt ng the winter mouths and practice* Mon break¬ this unexpected reply; but, attributing it to the little be given to it in the very first lesson, and the teacher’s » » • these contracted conditions still obtain in many quar¬ was the purchase of a metronome; the boy was fast He is, in truth, thoroughly rauMctl, snd the ones tender years, was not greatly disconcerted. vigilance should not be relaxed until a perfect posi¬ ters, the seed sown many years ago still flourishing mechanical turn of mind, and this valuabemven- secret of hi* progress lie, in his lor. of music and I-ater, when the child attended school and learned to tion becomes a habit with the pupil. NOW. to the dismay and confusion of those confronted with worked wonders for him. He even remarked, willingness to work. nng, it was observed that her sense of tone and pitch Hands differ in conformation; consequently what is the annual task of undoing the evils caused by im¬ some fun to practice now!” and I f«um my MADAME A. PUPIN. "as very crude; that she would sing tune after tune FOLLOW THE PUPIL’S INCLINATION. a good position for one pupil it not so good for an¬ proper muscular conditions. ts presently rewarded by some real progress, other. In the normal position the first, or metacarpal, *ith the most drastic wrong notes and never notice a. x. MNXuvrrr. On! that more persons would realize the value of No one system or method has a monopoly of thi ^entirely different pupil was • «£- ffie difference. The mother sang the songs and pointed joints should be slightly elevated above the second the Now, and recognize the fact' that there is no time principle of relaxation. It is common property, if r teachers thwart all at tom pi« at joints, and the back of the hand should slope from °ut the errors, hut the child invariably rebelled, say- but the present ‘To-morrow never comes” is literally must be borne in mind, though, that relaxation is but -hed ™ to guard13 aga.nst onrtrp ^ ^ outside of the work they give. Imrtcad. .— lng both sounded the same, and that she had sung tho first joints downward to the wrist, which latter true, for when it comes, it is the Now, and the oppor¬ the means to an end, not the end itself. The idea fhould often be encouraged in the pupil, as the (°rtectly. should be quite a little lower than the metacarpal tunity that was lost yesterday is gone forever. Cor¬ physical condition requisite for effective piano-plaviu-- hia mind may thus be learn, d. and unexpected joints. This elevation of the first joints varies with rect that little mistake now; play more perfectly now or, for that matter, any muscular exercises, is t e The parent did everything conceivable to cultivate will perhaps be developed, especially by the different pupils; hands that have little or no back- that passage which you have just done so super¬ ability instantly to relax or to contract any particu ar kue music in her, with no success whatever for several r scholars. Two of my juvenile*, after very action of the fingers require very much more elevation j/ar?'. She bad no desire to learn, cared nothing for ficially; you may intend to do it right to-morrow, but muscle or set of muscles. Moa, “picked out" “America." Ha ring heard of the first joints than those hands which are very to-morrow you will perhaps not be in any better mood To the proper attainment of this end, absolute re e piano, and wept copiously at what she deemed ffort*. I aid: “You may learn this if you supple and capable of plenty of back-action. The and it will be put off to other morrows, and mean¬ Persecution. But the mother could not let the matter Had I given them anything half so difficult Iaxation is the first necessity. Unfortunately, man. to the work in hand v|| elempli- fingers should be well rounded and their third, or tip, while the bad 1 abit is growing stronger. In time the ®he was a well-known instructor, with more teachers, having grasped the husk, hut not the striking contrast in pn>i*' an• by a little Norwegian prl of the mm' f fifth-finger side of the hand should be elevated so that that was too weak to correct it when it would have inconsistent that she should succeed with others allowed to'follow their own bent, with the re- astrou3 results. An improperly relaxed condition unusual talent, who e e a. -,.%• .Imo the hand tips toward the thumb, the amount of eleva¬ been easy will not be strong enough to break the fet¬ as bad as, if not worse than, a continually-*00^ S. V unspeakably stupid people—and yet not tion varying with different hands. Pupils with long lc to achieve commendable results with her own ters of habit that have grown imperceptibly day by one. On the one hand, a blurred touch and un ^ fourth and fifth fingers can tip the hand more than day. J ^ i nng. At last, after several years of apparently style of execution is developed; on the other, a > those with short ones, and where, as ia sometimes the There are many persons with the best of intentions metallic tone, and unpleasing stiffness of sty e, ess effort, she is being rewarded for her endur- rase, these fingers are abnormally short, it may even * and tenacity. The one quality, patience, so in- who desire and really mean to do certain duties, but gether with a woeful lack of endurance. 394 THE etude T H E ETUDE 3*5 One’s interest is immediately excited by her first “The dearth of new music for the violin is due to startling question: “Is it worth while imitating the Brahms concerto is w ritten against, not Ior> the vloUll the impossibility of writing for ail instrument whose der the tone* and beautiful harmonies so carefully and old Italian fiddles?” By this she means: Does the ’ ‘ C ul‘lntent‘onally, the grimmest condemnation capacity is too limited for the expression of modern artfully devised by our great wasters, and never feel artistic worth of the violin (from the soloist’s point ever penned against the violin as a solo mstrument.” musical thought.” or know that they are prrjx-u atmg an injustice, that of view) justify the attempts that are being nude to Sueh a statement could hardly have been written by This is truly a conclusion which betrays lamentable they are insulting these wasters, and injuring the equal the creations of the Cremonese masters? ln superficiality. The facts are chiefly and briefly, as KSST18 P,attiC*1 ul violin cause of wusie. It ia, therefore, the teacher's duty to It is intended to prove that Brahms, fully appreciating order to demonstrate the sanity of her own question follows: enlighten these mulcts, tors, and to bring them to the he absurd and unnatural demands which Ltofore and also conclusively to prove that our modern fiddle- The average pianist, the average composer, the realization of their wrongdoing. have been made of the instrument, took this mean, makers’ efforts are but the puerilities of individual am¬ average music critic, has either a good or intimate The teacher should act aside (row live to fifteen of ending, once for all, the question of the actual ami bition, this lady triumphantly exclaims: “Would it knowledge of the technic of the piano. The keyboard, minutes of each lesson to the reading of assorted legitimate possibilities of the violin. Such false occur to anyone to imitate the dead old harpsichord?” with all its peculiarities, is understood more or less music which the pupil is not expected to practice. reasoning is easily destroyed by fact. The dead old harpsichord! Da liegt der l/und by all practical musicians. Far different is it, how¬ It would be best to take for this purpose music be The technical difficulties of Brahms’s concerto, as begraben; for it is plainly Mrs. A.’s contention that, ever, with the technic of the violin. An insignificant longing to the teacher which does not otherwise come every violinist knows, are, in reality, clumsily con¬ outside the field of the orchestra, the violin has ceased minority of composers is fairly familiar with the in¬ within reach of the pupil By this means students NEW MUSIC. and attractive pieces have been AndauU eon mo to. structed figures which are wholly unnatural to the to be an attractive instrument to music-lovers, and tricacies of the finger-board and the bow. The com¬ w ill, in course of lime, enjoy looking over new pieces, published by Schuberth & Co. technic of the violin. The Brahms concerto, as we that it is incapable of responding to the demands of poser who is capable of w riting correctly a violin score wiH take a more vital interest in music, and will be during the past season. The credit attaching to their know it to-day, is not nearly so illogical a piece of modern musical thought and feeling. ;as part of an orchestral composition) is usually be¬ relieved of the drudgery incidental to incompetent sud publication obviously belongs to Mr. Charles F. Tret- instrumental writing as it was before Brahms's friend, wildered when he attempts to write more elaborately inexperienced reading. Blow and faulty reading Is bar, of the firm of Steinway A Co. Sir. Tretbar's ob¬ # * * Joseph Joachim, modified its technics, absurdities ami for the instrument. The profusion of technical and nothing more than a bad habit, a habit formed by ject in purchasing the copyrights of these compositions changed whole passages from an unplayable mass of tonal possibilities perplexes him. lie is at a loss to indulgence on the part of both teacher and pupil; points more directly to artistic impulse than to pe¬ Let us consider several of Mrs. A.’s unmodified state¬ ugliness to the saner, less repellant form in which luiow what to select, what to reject. Often he calls and, if nipped in the laid, will make future work raaici cuniary considerations—an impulse which, in these ments. it has been published. It was neither the first nor the for both. to his aid the practical violinist, who puts his crudely days of cold calculation, calls for unstinted eulogy “Is it worth while imitating the old Italian fiddles?” last time that Brahms required the assistance of a expressed ideas into some feasible or elegant form. and hearty support. Mrs. A. contends that modern expansion of musical violinist; and whoever is familiar with Joachim's Together with the appearance of the “Serenade” by thought has risen so far beyond the mechanical pos¬ This practice is common among the lesser composers, manner of thought and the peculiarities of his techuic SALON PIECES Novacek, which received mention in the September sibilities of the old-time fiddle that the instrument's and has not been disdained by the greater ones. Some will easily discern his characteristics in Brahms's of the most eminent composers of the present century issue of The Etude, Mr. Tretbar introduced a new soloistic worth has ceased and its ancient glory faded. chamber compositions. ar ait mu., vkit. "Mazurka” by Sam Franko. It is quite unnecessary I,et us look at the actual facts. have required the assistance of a violinist to render It were worse than folly to imagine that so great a to comment upon Mr. Franko's musical merits, for he The past twenty-five years have witnessed an their musical thoughts practicable and intelligible. composer as Brahms chose such a means of demon¬ Mast teachers, and especially those of the "old has long been a well-known figure in the musical life amazingly increasing popularity of the violin. Twenty- Surely this is no fault of the violin. The subtleties strating to violinists the unwisdom of their technical school,’’ are of the opiniun that the musical pabulum of New Yor'.. five years ago the violin-playing girl had not yet been of its technic, the delicate tonal distinctions of which ambitions and the near and certain end of tlieir in to be offered to the young student must consist ex¬ clusively of the very heaviest diet, such as the sonatas The mazurka in question is a vivacious bit of writ¬ satisfactorily explained on either side of the Atlantic. it is capable, the intricacies of bowing, and, above all, strument for soloistic purposes. How childish to by Clementi, Beethoven, Mozart, Haydn, and others ing intended for violinists of fair technical equipment. (jrwvww She had appeared on the musical horizon, and, like the violin’s striking individuality—all combine to imagine that Brahms chose to write a concerto (which, of the claaairal period, lueeaon after lesson this must It is intentionally reminiscent of Wieniawski, both in the lieavded lady, had to undergo much scientific make the task of solo-writing for it incomparably in some respects, will ever remain an important con This melody is to be considered purely as an exer¬ more difficult than the form of writing required for cal nutriment is served up with an occasional “Song design and general treatment. Aside from its musical scrutiny and speculation. Now-, all this is changed. tribution to musical literature) for the ignoble pur¬ cise in fingering and phrasing. I have indicated only Without Words,” by Mendelssohn, to offset Uie monot¬ worth, it has this quality- to recommend it, viz.: it The smallest Southern and Western towns have their either chamber music or orchestral compositions. pose of “alarming violinists with its difficulties”! such bowings as were deemed an indispensable guide * * * ony of the program. While the writer by no means is at nil times natural and playable, its technical de¬ quota of fiddler-girls, and the larger cities of Europe Mrs. A. contends that the violin has not kept to the correct understanding of each phrase. The wishes to assert that the study of the old masters is sign being easily recognized as that of the violinist- and the United States are fairly swarming with women ‘'Spohr exhausted the technical possibilities of the abreast of the times; that, both technically and reader is asked to supply all the bow ings and finger¬ detrimental to the development of the juvenile brain, composer. and young girls who would rather dispense with eating violin. Paganini's demoniacal feats served only to tonally, it is to-day incapable of producing anything ings which, in his judgment, the character of the he desires to deprecate the escluaire use to which We are also in receipt of a “Lullaby” by Mr. abbreviate the violin's natural life.” more than on the day when Stradivari attained for it melody and its technical construction demand. than with several hours of daily fiddling. their works are put. He wishes to suggest, further Franko, a pleasing, melodious little composition of As to the other sex, the increase of fiddle-devotees History, and the evolution of violin-playing, are its greatest perfection of tone and its permanency of The chief points to be considered are as follows: more, that the graceful, melodious forms of composi¬ French llnvor which will prove especially welcome to strangely at variance with the opinions of the writer physical form. In a word, Mrs. A. maintains that 1. The character of the melody, which, in itself, w-ill has been so great that the profession of soloist is tion generally comprised under ths head of "Salon amateurs; and the following pieces which Mr. Franko of “Die Geige als Soloinstrument.” “volume, polyphony, complexity” is the cry of the be found to be a guide. crowded to the snapping-point. With the impressario piece” be mure cultivated, aide by side, with the works has transart of his stern Lutheran Protestantism. But which we are compelled to combat constantly in our degree of daily practice in such things as the technical all this overtraining either; I can mention a score of Clementi will be floundering through Liszt's rhapso¬ by thousands of people who never go to the recital at now we arc in restless, irreverent America, in the mer¬ students. The root of this fallacy is the notion that book which you mention, and be patient. teachers in this country, whose fame fills the entire dies and Chopin’s concertos; violinists who have much all, and which ia, in reality, at traded by a handful of curial, many-sided, much-asking nineteenth century. technic is like a row of dead bricks which may be laid Here, again, let me put in a motto which I love to land, and who are really thorough artists, who try to learn yet in the first position are torturing them¬ people. The teacher reasons that tits public will lie However, do not despair. If your little brother does, in their places and trusted to stay there; but that is quote. Mrs. E. B. Browning has Aurora Leigh come to add several feet to the stature of their pupils by selves with the Mendelssohn concerto, while vocalists impressed by reading of hia pupils playing the same as you assert, really love music, and if you have the a delusion. Technic is a part of the living personal¬ to this conclusion after much abortive effort: “Do pulling them up by their boot straps. From their lack who are guiltless of one properly placed tone are ruin¬ rornpoaitions as Paderewski, harass!*, or singing the requisite patience, the results may be perfectly satis¬ ity, and must be acquired by many and many repeti¬ the good you can, and not presume to fret because tis of special talent for teaching these teachers seem ing their voices with bravura arias from the Italian songs of Patti and de Bcszke, and that his business factory. Now, you say he does not like to practice. tions truly, but can never be done once for all, and small.” Patience and tireless effort will, to a large utterly unconscious that they are giving their pupils opera. I can remember well that I had this same no¬ w ill be benefited thereby. But let such s teacher re¬ Why, of course he does not. Beethoven did not; they then left to lie there solid, stolid, gelid, compact, un¬ degree, lessen the two troubles of illusory memory material which they cannot possibly master, and have tion for a whole year in my boyhood days. I bought member that, although a “rat may look u|«m a king." and a fourteen-year-old school girl essay the **Twclttli had to tie him to the stool. Real practice is, two- alterable. Now, you cannot go away and leave it; you and sluggish execution, but will never so far remove never succeeded in producing a single really good the most difficult music I could hear of for my in Rhapsodic” of Mari, yet in the time- to come he will thirds of it, tedious drudgery, and we do not any of cannot lock up the mansion of your mind, go away to them that you will not feel their vexatious presence. pupil in all the years they have been teaching. Their strument, and tumbled through it without any more find his level, and will be judged and ranked, not from us like it. 1 am personally gladder of few things more the delightful sea-shore of musical recreation, and find In the third place, as to the special matter which success has been built up on their personal skill in idea of how it ought to go than if it had been a book the fact that his pupil played this conqiositiott, but than that I am now so old that practice is not quite it in place and intact when you return. Technic has you mention,—viz.: the difficulty of springing quickly music or on the playing of those of their pupils w hom of Chinese poems. My idea was that if a player pra. by how she played it. If his pupils play the compost so meaningless as it used to be; but to the child any to go with you like the red color of your blood, which enough from the bass note to the bunch of answering other teachers have previously taught, but for whose tices the most difficult music written it will make !*•-» tions reasonably well, be will be the gainer, but if work can be sustained but for a short time, without is there because your blood is filled with particles of chords, I doubt not that a little special exercise every ability they get the credit. difficult music seem much easier, on the principle that their placing of them is a joke, he will eventually be intolerable nervousness and fatigue. Remember the iron. No matter how slow it may seem, hold your¬ day of throwing the hand with a light agile jerk back I have in mind a young pianist who had quite a the "greater contains the less.” I believe almost found ont and exposed. example of the mother of Felix Mendelssohn, who self, as with hooks of steel, to this arrangement. and forth over an octave and a half or two octaves good foundation in piano-playing, and who was at¬ everyone has to get through with this fallacy some There » another kind of overtraining that of too gave him, when four years old, lessons five minutes Take part of your available time for the mechanical would do much to straighten out this krnk in the time, just as everyone at some time or other l>eliav. » tracted by the fame of a well-known piano teacher in much practice end of ton close application on llie part long every day. elements of the art, and there is not anything better that perpetual motion is possible and will be invented thread of your music. Chicago. He went to that city and studied over a of a student or of an artist preparing for a concert. I would, first of all, take just as much pains with than the one you are using, “Touch and Technic," by As for your having dabbled, as you term it, with the ne time or other. year and a half with the teacher, who, unfortunately, So one should overtax hi* powers. If it is found (bat him as if every minute were bringing you in a dime Dr. William Mason; but take also a little time for the end of my year of “overtraining.” however, violin, the double-bass, the organ, and the piano, that 1 “'longed to the class of people who are hopelessly de¬ the preparation of the compositions to be played will in money. We teachers are quite prone, when instruct¬ the good fortune to fall in with a German etudes, which are the connecting link between technic is not necessarily a bad thing. All depends upon what ficient in teaching abilities. This teacher saw that his be too much of a strain, it i« far better to sulwt lints ing intimate relatives, to loosen the lace-strings of our >r of the old school, who, after years of ex peri- in its crude and uncut forms and the music which the you aspire to do. It certainly does militate against pupil played well and was ambitious, so he coolly something easier. Too much practicing is often worse formal courtesy, and grow tart, testy, even quite irri¬ in teaching, had become firmly convinced that imagination has constructed. your becoming a virtuoso, or even an expert, perhaps, "jumped” him about two years ahead of the studies than not enough. The mind is overtaxed, the muscle* table before we realize it. roper place to commence building a house is at Then, last, but of equal value, is the study of mu¬ but, on the other hand, it contributes to the widening "hich he should have taken, and put him on exercises I income tired and irresponsive, and the nervous system Next, I would arrange the little fellow’s time so that >ttom, and not at the top, w hether it be a musi- sical pieces themselves. It would, probably, be well and the musicalizing of your mind, and that is much, ard concertos which he was hopelessly unable to make loses its tension. When the player fed* that he is in he would not practice more than fifteen minutes at a mse or of the ordinary variety, for you to make this subdivision into about three is a very, very good tiling. We have, in fact, quite anything of. At first the pupil was greatly flattered this condition, he had belter rest until his full vigor, sitting, but two or three times a day, according to the rough mastery is the grand secret in teaching equal parts. Now, even if you were thus compelled enough—yes, too many—people in the profession who at being given world-famous compositions, which he mental and physical, returns. In nothing are the full weather, his general state of health, the fewness or Learn each lesson and digest it before taking to take six months to acquire one four or five-page think chiefly of dazzling us, and far too few who are I'ad always looked up to as the mountain-peaks of resources of the body and mind so highly wrought as the abundance of other interests, aud so forth. Do ext. If the lesson cannot be digested by th¬ piece, that would be all right. That would be the content to love and to disseminate the beauty of mu music, and struggled manfully with the music. He in playing a musical work of the highest kind. The not drag him in doors on a lovely day to tinkle at the an easier series of studies should la- taken, way in which you would make the most certain and sic. A rough, slovenly performance is not to he "as also greatly impressed with the ability of a strain on the mind and memory ia enormous, and even keyboard, but arouse in him a love for Nature and lenee vour house at the bottom; it is the „nly most rapid progress. The interruptions and the isola¬ thought of as a trifle, neither is it to be pardoned when teacher who could accomplish such miracles, and the pherica 1 labor i* very great A player must keep her beauty. Connect this, when you can, with music There is infinite strength in a lesson which the tion of which you complain are obstacles of no mean it arises from indolence or self-conceit, but if it is t e l>°asted loudly to his friends of the progress he was his physical health up to the highest point »"d his by asking him to listen to the birds, then play him has learned so that it is a part of h.mself. He magnitude, but the Romans who created one of the result of physical and adventitious conditions, it may making, and of the great advantage he had received nervous system in perfect condition, otherwise he is little pieces which depict or symbolize aspects of many inches taller musically from having ma greatest and most enduring cities of the world had a be excused, especially if the performer does niani?® ,r'!m the change in teachers. In a year’s time, how- in serious danger of a break-down. Nothing should Nature. it. if a growing child eats three ordinary mea- proverb, or rather one of their best-known poets said, give us an idea of the inner beauty of the music. 11S lu'r, our pupil began to be conscious that something lie played in puWie hut what can be played with the Use exercises in which you supply a harmonic bass operly prepared food in a day, he is made utmost ease in private. A player should remember “Love conquers all things,” and this was afterward is not talking mere notions, for the present writer ia» "as wrong. It is true he seemed to be getting over to his little finger-labors, that they may be scented J Jd has so much added to his growth. N' v paraphrased into “Labor omnia rincit,1 “labor con¬ heard many a performance which was, indeed, tec that if he is barely able to get through with a piece a 'ast amount of difficult musie, but there were times U he eats six times as much at each nwal, into a mere play ground, but have him feel that it is le fould play the difficult. His teacher’s arguments what the wild roses and the wood-violets are to the quite as precious. .. l'Ucted his misgivings for some months, but somehow a serious and earnest thing, and a thing well worth f their reach. It >s h ^ ineon)e~ ^ Memc i* not an idealizing art; it is itself not a foot-traveler through devious wavs. Feeling as you do about music, and with your tci ^ doing to study the piano. If sometimes he asks you f other the promised progress failed to come, and one “champagne appetite an selective nor >n elementary art; it ri Wseif. in it* I think one of the divinest things about our glorious why everybody must study music, try to tell him how tastes, I would advise the use of the usual teehni^ ue day our young man decided to go to headquarters, essence ideal It i* a yearning art: actually exprens- art is its power to come with a message of cheer and deep and how delightful music is, especially to grown development, with as much contentment as you • sailed for Germany for two years’ work under jve of the sensual it cannot be. Music >* a sentient ideality to those who find life crowded into remote Dlavr" ^nat ;r.to tne. p“ srs_ <- ^ nror-•** men and women; for there is nothing which so de¬ find in your heart. As to the best division 0 \ ^ 6 of the world’s greatest teachers. When he showed art- it appeals to us through one of our senses; but corners of isolation and self-dependence. The voice of time, consult what I have just said to another in^ lights a child as to think that he is getting on toward ^ ^ - what he had been playing that gentleman -raratia! it i» not.- H C. Banirfer. the poet and the Holy Spirit of God do the same, but adult life. The very life of these little'ones is the somewhat similar position, and confronted wi V* ‘Monished. He declared that it was “downright it is the sublime prerogative of our art that it is a imitation of us. an- when he can be made to see that same doubt as to whether there may not be some • ’*8’ that any teacher should give a comparative eo-worker with God and his poets. Surely sad and for the time to be better divided. 398 THE etude going into the theory of teaching, the principles, etc. authorities of the school to pass upon your course they do is to play parts. These parts are generally of than 00 at first; then rise to 72 as soon ns you can and the pedagogic application of the Mason technics and authorize it by vote, just like any other course. which should make the earnest student more intense no great individual difficulty. They are so easy that At tins rate the pupil will soon get tire knack of the complete. You will need to have a system of compensations, thirty-seconds. and determined, and to awaken in the soul of the it used to be expected that any good orchestra would whereby a serious student can offset in some way a superficial and tboae who study music merely because Where should the pupil begin? Certainly not at Some one asks what Mason means by “motive” in plav a work at sight and follow the leader as much as few deficiencies in playing—though there will be very of the pleasure it affords the sense* a desire to bo the beginning. This would be to mark out a course his \ ohime I. I suppose he means the figure which necessary at the same time. Conductors often con¬ little of this, you will find. It is not the boys and worthy messengers. for a primarjr school. Why not take it for granted is repeated over and over. In the two-finger exercise duct without the score before them, but a long or¬ rirls who have to be humored, such as you will get, The teacher should also recognise, in the highest that we are mainly keeping a high school in music! it is the two-note figure “fee-urn (accent lee), pit,-I, chestral score is a very different thing to remember hut the old people who have passed the time when degree, that be has a message to convey. Has he Then the pupil begins the two years’ course with the C, D; then D, E; then E, F, etc. The manner of from a solo. Theodore Thomas could lead the Beet¬ they can form their hands. When the new man comes fitted himself as a messenger! Is he clear and courier By W. S. B. MATHEWS. fourth grade; or you can include the fourth grade in assigning this exereise to beginners is taken up in hoven and Schubert symphonies and much of Wagner he will have to settle his overturnings with the in his statements, and does he, by precept ami illustra¬ the preparatory course, and for the nigh-school course my “Lessons to a Beginner.” It is too long for this as well without score as with it. Every entrance of tion, inculcate the message he has himself received! “I have not clearly understood your explanation of begin w ith the fifth grade. If the pupil has not al¬ faculty, and if by your means you have arrived at time. an instrument marks an epoch as he remembers ib-it such results as I have indicated above, he will have to »l a piano teacher, is he Cl 'll tent with imparting a the elastic touch :n connection with the clinging ready played my Book I of Phrasing, take that in Dr. Mason’s terms for lessons, I believe, are six means a change of tone-color. show something better before he will count for much. mere keyboard knowledge of effective salon music, legato. In alow forms I cause the hand to sink at the first year, the second book in the second year. dollars an hour. He does not give half-hours. In be¬ As to Clarence Eddy, I feel quite sure that if he and obtaining therefor the students' dollars and good the wrist on contact of the finger with the key for This insures a certain amount of very choice music As for the over-self-conscious child, it is a bad thing. ginning to teach his work, begin with the two finger had taken my advice twenty years ago and learned will? Or does he huneatly endeavor to make the stu¬ the first or legato touch and to rise when producing of poetic quality—such as every well-trained music So one might say that a child ought not to step until exercises and the arpeggios; scales later. Volume IV several organ programs by heart, he w ould have been dent comprehend what Bach, Beethoven, and other the elastic touch. Is this right?—E. T. W. he fully realizes where he is going to put his foot. I quite a bit later, 4th grade. student ought to know. great masters had to say in their message to true a much better player for the mental training involved. would like to send this kind of a child off upon an This is not my method, nor do I think it Dr. Then what pieces? I should say something like the Sight reading is acquired by practice. Play du.-ts musicians, with or without the students' flattering pieces in the fifth and sixth grade selections; or bet errand for the man who made the rule. A few ex¬ with a good player or eight-hand arrangements with Mason's. In the first editions of Volume I no direc¬ memorizing. But his old programs were—when lie good-will! The earnest teacher, who feels the mean ter add a few standard things. Your graduate ought periments would inevitably 'suggest the desirability three others and agree not to stop for anybody. Is-t tions were given for the first touch, but Mason had plenty of Bach, Thiele, and Merkel, and the like. ing of his art in his inner soul, will have enthusiastio to be able to play a program like this, entirely by of a different kind of a runner, at least. Sitting them keep count and get in when they turn the leaf. usually made it with arm; the wrist remains station¬ In short, it is no disadvantage to anybody to under¬ pupils. A keyboard knowledge of master works is not around and inviting your soul (was it Emerson who This is the quickest way. Solo sight reading will not ary a3 compared with the hand, both in the first touch herself and from memory—two pieces each from each one-half the masters' message. It ia possible to be n stand and to be completely master of whatever kind used to say this?) may be a fine thing for a college and the second. I teach a hand-touch for first tone, composer on the following list. accomplish the work; the student will stop to patch. good player, so far as aeenrsey in execution and ex¬ of discourse he is going to address to a public, whether professor, but there are few times in child-life when the hand falling from the wrist, which on its part is pression sre concerned, and still not lie a musician. it consists of his very own ideas or acquired. Bach: At least three two-part “Inventions”; all the time could not be better occupied. held at the usual five-finger position. The wrist “A MESSAGE TO GARCIA." Few realize the difficult problems confronting the the Bach in the Book II of Phrasing; one or As for your third question, I do not know. If the teacher. When Mist “Dear fiweet Thing” arranges neither rises nor falls during this exercise, but remains two of the easier fugues of the “Wohltemperirte A Systematic Course of Study. fellow persisted in playing bad rhythms and wrong BY O. K. SKINNER. entirely quiet, as also the forearm; or perhaps a very for lessons. It is with the understanding, on her part, Clavier.” notes I think I should have him move his boarding- slight motion of the forearm to set the hand in mo¬ “I have lately been placed in charge of the music that the teacher is to tench her, for a consideration, Mozart: One or two sonatas. place. As an actual fact, I generally interfere on the tion for the hand-touch, which is made with a loose department in a small Western town. There are per¬ Under this heading one of the leading railroads an accomplishment which will make her so much Beethoven: At least two sonatas, such as the one spot. It does not pay to allow them to form bad wrist. Mason does not raise the hand at completion haps but two or three dozen music pupils in the place published a pamphlet and mailed a copy to each em¬ "dearer and sweeter” to her own coterie and aoeial in G, opus 14, No. 2; F-minor, opus 2, No. 3; ployee. The principal point made was that, early in of this touch, but leaves it level upon the keys, or at present, but I have perceived this disadvantage: habits. circle. What should be the teacher’* duty. To giv* C-minor, opus 10, No. 2; or opus 26, with the * * * just above them, as in five-finger exercises. In a While in the other departments of the college there the war with Spain, the President of the United States her what she wants and pays for? Many aay "Yes.” air and variations. hand-touch the arm remains quiet, as also in finger- are graded courses of study, covering certain periods The Application of Mason Touches, Etc. desired to send a trustworthy messenger to Garcia, They get possibly more dollars and smiles by answer¬ Schumann: All in both hooks of my “Studies in of time, in this department there is nothing placed in the interior of the island of Cuba. This messenger ing the question in the affirmative. How ahould the touches. Arm-motions occur in aim-touches only; There is no rule for applying Mason touches. When Phrasing,” and the following: "Aufssehwung,” was found in the person of Captain Rowan. The never in others. Is this plain? ahead as a goal or incentive. In the elocution de¬ question be answered? “Carry a message to Garcia." opus 12; “Romance,” in F-sliarp; “Novelette,” you want finger tones you use finger touches; when partment there is a two years’ course, and while I message was important, the whereabouts of Garcia Hare moral backbone and stamina enough to ronvry * • * in B-minor; “Novelette,” in E-major. you want arm tone, you use arm, if it is where you recognize the difficulty of preparing a music course unknown. Without any ifg or and’*, Rowan carried th message of trnr and ennobling art aa you feel it in "Mr. John S. Van Cleve, in an article on memoriz¬ Chopin: At least two waltzes; “Polonaises,” in cannot employ an arm movement, you bear down adapted to the diversity of talents which exists, I am and delivered the message; and every honest man your innermost soul, and you will have performed a ing, says that a person unable to play his piece by C-sharp, A-major; “Impromptu,” in A-flat; upon the finger and get the arm quality in that way. not willing to admit that it would be impossible. A who knows the story feels his heart beat with more religious duty, have helped to njako another earnest heart cannot possibly enter into his music so as to ‘Tantasia Impromptu,” in C-sharp minor; and All rapid octaves, repeated chords, and a few detached diploma at the end is something to worK for, but the manly impulse, and deeply honors the faithful mes¬ character, and, aa a crowning consciousness, will feel interpret it properly. Do 1 understand from this that notes in melody are played by hand motions, some¬ music pupils see nothing ahead hut endless study and at least three nocturnes. senger who could do what he was told without asking that you have faithfully delivered your message and the Kneisel Quartet, for instance, or the Boston Sym¬ Eiszt-Schubert: “My Sweet Repose”; “Hark, times grouped from the arm, sometimes not. Use practice. Tell me if you think a course of study could why? which? what? wherefore? etc. advanced the cause of musical art phony Orchestra do not enter into their music and Hark, the Lark”; “Liszt Love Dream,” No. 3; your sense. There are no rules and can be none. Find be arranged to cover one, two, three, or four years The hundreds of musicians who constantly con interpret it properly? How about Clarence Eddy? “Spinning Song” from “Flying Dutchman. out what kind of musical effect you want and then for the average student, so that they could be gradu¬ tribute to The Etude try to convey to the reader Dees he not enter into his music? I would like to (Personally I should use a great deal more Liszt play to get it; meanwhile do not forget to have the ated upon completing it. some message. The reception of and benefit derived SLOW PRACTICE. know exactly what this means.—G. W.” operation of getting it look well as well as sound "Could not such a course be so arranged that they than this.) from these messages is good, indifferent, or bad in My limits to day forbid entering into G. W.’s in¬ Brahms: “Rhapsody,” in G-minor. well when you have gotten it. Most of the examples proportion to the disposition of the reader to under could at least have a certificate for work actually nr r. a. law. quiry fully, but the following are the points. In mentioned by A. C. M. are practically correct. Mr. stand and apply the practical ideas which such mes¬ done, and at the completion of the course have a good This is the ’east which a graduate ought to know. order to interpret a piece one has to know it exactly Landon’s rule that the first note of a phrase is played sages are intended to convey. The earnest, hard fair knowledge of music, from the teaching side at Then for theory, all of the primer by Dt. Mason and and to feel it artistically—fur., enjoy its particulars with an accent is a bad rule; so also his rule to play working, and growing teacher is constantly discover¬ Some disparaging comments have been made upon least? If so what would you recommend for a and feel which are the main ideas, which the sec¬ myself, and harmony for at least a year; a little the last note under a slur staccato. It depends. In ing new truths, new facts, and principles of develop¬ a recently published interview with Mile. Chaminadr, Teachers’ Course and what for a Classical Course? ondary, the proper rate, the emotional feeling of the counterpoint (one term). fact, no precise rule can possibly be formulated which ment. The unselfish give these to the world, and feel in which ahe is aaid to advise piano studenta to prac¬ In a small place like this the music department may piece, etc. A player is like an actor who means to In technics the two-finger exercises well, all the ar¬ will not kink in actual operation. fully repaid in the consciousness of having done some tice very slowly and to strike th* key* hard. It is often change hands; a new-comer might not look with play Hamlet. What chance has he with a book in peggios (Mason, of course, for it is more the manner thing to advance the acquirement of knowledge. It i- objected that such a rule of practice would ruin the favor upon a course previously adopted. * * * his hand? of playing than the actual novelty -of what he asks to be regretted that so few who read these articles touch, and that Mila. Chominadc herself does not “2. In a recent number of The Etude some one said A correspondent asks about a book on “Embellish¬ The objects of memorizing are, first of all, to have you to play—and the way and order is everything!- appropriate the meaning and make it a part of their observe it since her own playing is eminently graceful that a child ought to be made to study so carefully ments.” At the end of my small dictionary there are the subject-matter in your head; second, to under¬ All the second, third, and fourth volumes of “Touch and refilled. It is true that a hard touch is not to musical natures. . , that he does not play a tone until he is sure it is the several pages devoted to the melodic embellishments, be commended, but her evident meaning ia a firm, stand the piece more exactly than you will by the and Technic.” When Rowan took the message from the President, right one, even if it takes some time. Now I find and I believe the directions are concise and clear. Mr. decided touch, in contradistinction to one feeble or usual study from notes; third, to have something to The post-graduate course would include more di did he sav “I can’t find Garcia?” “who is Garela? that this way results in a very hesitating and over¬ Presser publishes a book by Air. Louis Arthur Russel hesitating. The term hard, as applied to the attack, play; fourth, to have splendid musical ideas working cult selections by Chopin, Schumann, Liszt, Beethoven, “how shall I get to Garcia?” “« the mes-age^ impor cautious manner of playing, in which there is no which gives a very complete treatment of the subject. it doubtless a mistranslation or misconception of the around in your consciousness, hoping that sooner or and Bach. A little modern; but this is the mainstay tant?” “must it be delivered at once. No. . • H sense of rhythm, whatever. Another correspondent regrets that, after playing interviewer. Certain it is that no other method of later they may strike something there of a congenial For entering, one should have completed the fou started at once. In a few days’ time he had traveled “3. Where a pupil is an nmate of your own home, arpeggios upon the first position and the second, it is practice produces so good a result aa that of prelimi¬ nature, and yon find yourself some bright morning grade and the arpeggios in hands singly, direct an to the coast of Cuba, landed from a small row boat and you hear him practicing improperly, playing very hard for her to go on and play the third; or nary study on the basis of a slow tempo and a firm, with ideas of your own; and, fifth, to afford the reverse, and be ready to go into the two-hand po¬ at night, penetrated into the interior of »n u-kw.wn wrong notes, etc., would you interfere and correct it after playing the latter to go back and play the first. bat elastic, touch. music time to get itself understood in your conscious¬ tions. I use these in the fourth grade, but pup - country, and delivered his message. He had some upon the spot? Or would you leave it until the les¬ This is so peculiar a case that I have found it neces- A friend of Julia Hi vf-King give* an interesting ness. that come to you will not be so far advanced. thing to do and did it son? Would not the former course cause him to be sary to write the “wise woman of Philadelphia,” who account of hearing that eminent pianist praetkw one Now as to the Kneisel Quartet, they rehearse a great Now you may very justly say that I have quo More than anything else is needed a "Krai hack too dependent upon the teacher?—A. A.” formerly rendered the Peterkin family such excellent of Chopin’s composition* demanding great rapidity and deal—twenty times or more, Mr. Kneisel told me, upon from my own works. So I have. But then mv w ^ bone Who are the successful playi re. advice in difficult cases; and she suggests that the delicacy. She played ft for the most part very slowly, one work, until they enter into it and feel it together. happen to represent about forty years’ experience The reasons for desiring a systematic course of have understood and carried out the with a foil, round touch; a listener might have This process would undoubtedly be facilitated by difficulty may be met by fully mastering each posi¬ study for music students are remarkably well stated study in finding out the indispensable for soli P The teacher accepts any and all messenger*. The *tu thought that a beginner, and not an artist, waa prac memorizing and playing by heart, and it would not be tion in turn. She says that, if the student will play in your letter, and there is no doubt about the de¬ ress of students; and how the standard niatern ^ ^ t^av or mav not learn this message and deliver tiring. Occasionally, to test her control, she took it at all difficult for these men—all of whom are artists. the three positions in succession a great many times sirability of the idea. When it comes to carrying it be safely sifted. That sifting has cost a vast amo def ,tL. all depends upon his moral stamina and in the proper tempo with the requisite lightness of But they are Germans and hampered by the German a the difficulty will vanish. I recommend the 5t "thCIS’GiTen a good teacher, whose is the fault out practically certain difficulties arise, which have of study and experience. It is all together an backbone. Giv n Iff t# Gttrcia? I. Him touch, but the slow, firm practice consumed the bulk tradition that it is not safe to play concerted music use of Mason’s arpeggios as far more productive than to be met, just as they are in other departments of can have for a trifle the active principles o of the time devoted to study. This, ahe explained, the triad positions. if the message ... Affectation. Q* Miw without the notes before them. It nsed to be thought study. For instance, let us begin. The first point is sands of pages. There is no objection to Iour^ j gave a soreness of execution, a feeling of having the Another writes that a young pupil has lately come to &«*>». f ""f « - unsafe for a pianist to try to play a concerto with to agree upon a point of graduation. How far should anything better you happen to know. I s 0 key* constantly under the finger* in the most intricate orchestra without the notes before him. The late Carl her with the four books of Mason’s “Touch and Teeh- the graduate go, and about what kind of music should could find it. -mrse. *—•* “ passage*, not to be acquired in any other way. n,e. and that she has gone about a page in each book. sage? Is ne or - , another social at- Bergmann was much frightened at the idea of con¬ she be equal to? My opinion is that the proper point With reference to the permanence of the Far too often the stndcn. is beguiled into playing ducting the New York Philharmonic in Beethoven’s ^ suggest that if the pupil is young she confine her thf MI.., « a. — for graduation in an ordinary seminary should cor¬ ra-.idlv and imperfectly by the desire of bearing bow Get it shaped first; do not overload it with nam ^ traction, the one to „M(?g t0 Gsreia”? Who "Fifth Concerto” when Madame Rivf King began to tor awhile to the two-finger exercises and arpeggios, respond practically with high school graduation— all the hooks of studies you find in ccmseirvsio " pjj Who have dehvered th^t „ndaunted hia pee* will sound. This is like th* child who pnlls play it without notes. taking the latter the main thing. Practice according which would be to complete the sixth grade of the college catalogues. They mean nothing; ^ up a plant by the root* in hi* impotiene* to are if it have unembarrassed by circumstance* and The Boston Symphony Orchestra or any other or¬ the pattern in ATo. 6 (arpeggios), and carry this is growing- In cither care wheiewm* growth and standard grades, or if you care to make it a trifle cannot go through a tenth of them, and you a by any difficulty, iin snfcess{u]! We have but chestra does not enter into and interpret music ex¬ higher, the seventh grade. You should then have a through all the fifteen derivatives of the C posi- definite results are Impnuafhk. to find out which things will really do t e ^ surroundings, and _ ■ read an inspiration cept in a very remote and secondary degree. It is the *10n' direct, reverse, and in the fourth grade the two- post graduate course of at least a year, entitling them This is what I have given my opinion con<^ ^ to turn the pages of history conductor who does this and makes them do it. What aud positions. Take the metronome at not more to further knowledge, completing the eighth grade and in the list above. When vou are ready then „ 400 THE etude THE ETUDE 401

Who would have heard of Darwin or Pasteur if they IDEAS FOR TEACHING CHILDREN. For example: THE DIFFERENCE IN FRACTIONS. had not for years patiently investigated germ after THE TRUE BASIS OF TECHNIC. Allegretto. BY JEAN I'AltKMAN BROWN. germ with the microscope? The most fruitful part of Darwin’s life was the period of eight years he gave BY e. u. uill. BY WILLIAM BENBOW. Surely, one of the most vital things in teaching at "°rk °n l,U ami to the study of the cirriped—a wee bit of a thing a it didn t shake so much any more!” U was evident is to interest the pupil, be lie young or old. If young, In these days of “advauoed methods” in pinuo l cell - tenth of an inch long. that he had been practicing his live linger exercise, “The smallest hair throws its shadow.”—Goethe. What distinguishes the artist from the artisan! and he goes to the piano outside his practice-time, and with interest. nic there is a radical manner of doing everything. We sometimes wants to teach Ids little melodies to other are taught to reinforce the fingers with the forearm His finer sensitiveness to details and a more sympa¬ Recently a city engineer had to survey a line for If the teacher takes pains to notice all these little This is not an unusual or difficult passage, and yet children, the teacher may be assured that he is on the niuseles, or even the triceps; wrist-figure, must have thetic responsiveness in his use of them. And surely achievements of the pupil, that, surely, is another im¬ water-connection with a river a mile beyond the it requires a most delicate precision and accuracy of tlie conscious aid of upper arm and shoulders; chord nothing will help more to bring us nearer the stand¬ high road to success. mountain north of his city. Looking through his in¬ portant way of keeping up the interest. “It is use¬ pedal management. The pedal here helps us from two “If, then, you wish to insure the interest of your passages demand, in addition to the yielding wrist, struments and watching the operation, you would point of the artist than the study of these significant less for a dull and devitalized teacher to exhort her stand points. First, it gives the melody-notes round¬ pupils, there is only one w ay to do it, and that is to all the weight and force that shoulders aud bac k urns trifles. It will inevitably educate and refine our own soon find the reason for his extreme care about every pupils to wake up and take an interest She must ness and fullness by allowing the other harmonically- make certain that they have something in their minds cles can levy. In other words, “advanced interpre¬ Vt» of an inch. For a difference of Vmo of an inch in sensibilities and responsiveness. We must first feel first take an interest herself; then her example is related strings to vibrate sympathetically with each to attend with, when you begin to talk. That some¬ tation compels a quantity and quality of technic that the angle at his instrument would mean an expensive these little delicate distinctions, or they will not be effective as no exhortation can possibly be.” note. And again it holds the melody-note and thus thing can consist in nothing but a previous lot of cannot be produced by simple muscular meant. manifested in our interpretations. failure at a distance of three miles. One effective way to start interest and to keep it bridges over the jumps the hand must make in order ideas already interesting in themselves, and of such a Modern technical investigation seems to confine it¬ alive is to have pupils meet and play before one an¬ Have you ever stopped to consider the tiny frac¬ to reach the accompanying sixteenth notes. self largely to discovery how to do simple things in nature that the incoming novel objects which you other, informally, as often as once a month or six tions of time with which we musicians must dealt A double difficulty is here presented, because, in a complicated way. There is justification for this: TEACHING: ITS PURPOSE AND ITS INFLU¬ present can dovetail into them, and form with them w eeks. Of course, a formal “musical” could not be What a difference a fragment of a second makes in proceeding from one melody-note to the next, the modern concert standards demand a velocity and ENCE UPON MUSIC AT LARGE. some kind of a logically-associated or systematic gi\eu as often, that is, one where the parents and the character of a staccato-run! Take, e.g.: pedal must be held to the very last instant of the first power that cannot te obtained by simpler methods. whole.” friends of the pupils eouie to listen, and where the note; in fact, until the very moment when the finger One must have force and brilliancy at all costs, and If the first melodies you teach a child are those pupils are expected to play what they can play the is in the act of striking the next key. Now, the prob¬ BY ALFRED METZGER. results can justify any means whatever. with which he is already' familiar, you awaken his best. lem is to prevent one particle of break between the Such is the standard of the ultramodern tech¬ interest at once. For instance, play to your young “The feeling of rivalry lies at the very basis of our nician. He is forced to it, hut nevertheless the actual melody-notes and at the same time to prevent one Among more liberal thinking musicians and music pupil a melody he lias sung in kindergarten or in being, all social improvement being largely due to it. basis of technic must remain the same in spite of particle of blur or overlapping of the underlying har¬ lovers the wrong idea is prevalent that teaching is not school, and give it to him for one of his first lessons, There is a noble and generous kind of rivalry, as well modem short cuts. Suppose you are to reinforce the monies. In other words, the release of the pedal must Let us take it at a speed of eight sixteenth notes to a necessary' for the education of the gifted person. They lie will be far more interested than in melodies he as a spiteful and greedy kind, and the noble and gen fingers with the arm. Unless they have independimi-c second. If at that speed we give each note one-half not be made one fraction of a second either too soon claim if a man or woman possesses talent it is easy for lias never heard before. crous form is particularly common in childhood. Can and individual capability reinforcement will only or too late. such to educate themselves in the mysteries of any of its length value, the little gaps between the sepa¬ If the pupil is very young,—six years old, perhaps, the teaeher afford to throw such an ally away?” A prove their weakness in the most searching way. But no sooner is that difficulty passed than another art or profession without the aid of an instructor, rate staccato-notes would each have a duration of V« —why not teach him these little melodies by ear, be¬ pupil hears another play some piece that especially Unless the wrist is trained as a single unit of effect, comes upon its very heels. Now the task is to put aud that one who is not endowed with natural musi¬ of a second. Put a slur below the dots, and thus give fore teaching him the notes? For instance, “Cuckoo, pleases him, and he expresses a wish to learn it. Pos¬ the addition of the upja-r arm and shoulder will only down the pedal immediately on the instant the finger cal instinct can never be made a musician—no matter each note approximately three-fourths of its value, Cuckoo!” Tell him about the “pulse” in music. Let sibly it may be a little in advance of his present ac¬ make certain its inefficiency ami stiffnesa. has struck the succeeding melody-note. For as soon how energetic and brainy a teacher may mold his and we have little rests amounting to '/» of a second. him count two beats, one on G, one on E. He might complishment, but, his “emulous passion” being Never overlook the simple fact* of technic, linger-, as this second melody-note is struck, the lower six¬ musical career. While I thoroughly coincide with the And yet it is just that slight difference of 7» of a play this as a little solo, playing the same notes with aroused, the chances are that he will master it, and wrist, and arms. They need more seporale, individual teenth notes require the hand to jump down for them second between the gaps in the first run and the little latter view, I cannot agree with the former conten¬ both hands, or you might play with him a simple bass thus advance a step. drill than ever la-fore. You cannot gel complicated in order to fill in the harmonic background with un¬ rests in the second run that makes the difference in tion. A teacher is absolutely essential in order to accompaniment. How much parents can do if they will take an in¬ results with unstable elements. If you have inde¬ character between a sparkling staccato and a delicious obtrusive smoothness. spread the true gospel of music among those willing Wieck did not teaeli his daughters, Clara Schumann terest in their child’s progress, make him play to them pendent power of lingers and wrists to build upon A few trials of this jump from the high down to non-legato under the hands of an artist. That is an a to learn. aud Marie Wieck, the notes until a year after he be¬ often, plan the time most convenient for him to prac¬ there will never be any dungcr of not la-ing able to the C natural will show you that it is absolutely neces¬ important trifle. For, if you cannot make the differ¬ No one will deny that a baby is taught to speak as gan to instruct them. His first effort was to train tice, and not give him praise where it is not deserved 1 reinforce it. Never discontinue detail drill of the sary for the pedal to be down during the last half of ence, you lack by so much the power of characteriza¬ soon as bodily development is sufficiently advanced the ear. Almost without exception children are in¬ If they can read duets with their children, what a units of technic; the sulairdinates must fulfill their the instant the finger is on a before the jump is made. tion. And it is this power that the modern develop¬ to permit of imitation of given words. This is the terested in ear-training. help in teaching them to read at sight! For in a duties automatically, in order that the executive bead For if the pedal comes down one semi-moment too ment of art demands. A blurred and indefinite effect fundamental teaching a child receives, and even this Has any teaeher failed to see a eliild interested if short lesson, how little time a teaeher can give to may combine them at his will. Never neglect an late, the melody will have what the Germans ex¬ means mediocrity nowadays. Stop to ponder the fact a is not sufficient to unveil before the child the ravish¬ he strikes a tone, asks the child to name the octave this important part of a musical education. ultramodern “hint,” -Indy nut new technical devices pressively call a “dumpf” effect—the feeling of a dull, that the artist works for years and years in order to ing beauties of literature—the poetic, romantic, and it is in, and then lets him hunt it up on the second Why should not every teaeher have a musical and makeshifts constantly, hut remmila-r, above all unresponsive thud, instead of the full round ring of things, that foundation is essential lo their sucecss. acquire control over these infinitesimal silences that scientific sides of composition. In order to be refined piano? How his face beams with delight when, hav¬ library containing easy ducts and easy solos! At the cantabile. give character and color to his interpretations. He in conversation and association we must know more ing struck it, he turns around, exclaiming, “There it each lesson the pupil can be given some music to read When we consider these very important relations of gives lavishly of his time to learn how to use its than the mere words and periods which were taught is!” When a little more advanced, he will he able at home. These pieces should gradually increase in PLAYING OR MON-PLAYING TEACHERS. the tiny bits of time to clearness and smoothness of smallest tidbits. us parrot-like in our childhood, and hence our schools to repeat intervals on the second piano. difficulty; then the pupil will make steady progress expression, we are not surprised that so few of the Wuethkb the perfect teacher of the pianoforte—or, These diminutive sections of time also claim our are necessary institutions, for, thanks to them, we ad¬ In teaching rhythm, especially, a second piano is a in reading at sight without taking time for it in the thousands of piano students ripen to that pink of per¬ for that matter, the teacher of any musical instru¬ attention in connection with the singing touch. vance rapidly. great help. One may tell the pupil to keep time and lesson. fection which we recognize and demand in an artist. ment—should, ill -llift professional course, he one Take, e.g.z Now, what is true of the baby who is taught how to count evenly, but if you play tbe little melody with Some of the solos should be easy enough for the Because the mastery of these minute details demands younger pupils—for instance, Kilchenmeister’s opus who both can and will make practical exhibition to to talk is also true of the music student who is in¬ him on a second piano, he feels the rhythm. Do not two important qualities in both teacher and pupil. 120 and opus 125; also Francois Behr's opus 575, bis pupils of the works under study seems yet to re¬ « itiated into the beauties of the art. Like the baby, let him drown you out in parts that are pianissimo; -1- J First, a nice perception of the intrinsic and relative main a moot point. Abstractly considered, it would he must be taught little and simple words first, or, make him take his part in the crescendo and diminu¬ ; 1. 0 appear the only right, proper, and inevitable thing value of these moments of time. This article is in¬ musically speaking, he must be instructed in the rudi¬ - more advanced pupils, there are Krug’s arrange- 3E& endo passages, and play with expression. When I for the skilled trainer, in any art whatsoever, to first tended to emphasize their absolute importance. And mentary exerc-ises of music. And just as a child con¬ 3 of parts of different operas, etc., until the pupil -Ls - LT IT—1! spoke of teaching a young pupil melodies by ear I “show the way” to the yet iuexjiert, but. presumedly the illustrations and problems cited may help us to a tinues to utter words and phrases until a certain age [e to read the Haydn and Beethoven quartets and meant, of course, for the teacher to play it over on eager and imitative disciple. more careful and accurate appreciation of these values. has been reached when the public schools may con homes arranged as piano-duets, one piano, note by note, and have the pupil repeat it It is curious to note, not only how many arguments Here the difficulty is the direct oposite of our first It is true that the genius is guided in these matters tinue the education, so a music student should receire e expense of this library should not fall upon the on the other. to the contrary are adducible, but practically, also, problem. There the question was: “How shall I regu¬ by his intuitions, but as only one in a hundred thou¬ primary instruction until he shows unmistakable signs er. as each pupil could pay something—perhaps In teaching with only one piano, let the pupil turn how many professors of eminence have achieved good late the length of the little gapl” Here, in playing sand is a genius, we who are only more or less of fluency and complete grasping of that which has lollars a year—for the use of the music, his eyes away from you, aud name the octave in results without the least demonstrational hints' being the melody, it is: “How shall I suppress and prevent talented must not leave anything to hap-hazard im¬ l>een presented to him—then and then alone should he teacher should neglect to give bis pupils oppor- which a tone is played. What child is not interested vouchsafed to their charges. To this strictly non- it altogether?” As most frequently happens, the pulse. So success requires of us a close and exact ies to play with other instruments. It seems lie trusted with the more difficult creations of the mas¬ in hearing the dominant seventh chord resolve to the placing class have belonged such esteemed tutors as melody here is sung by the highest and most easily analysis of effects, so that we can work up to that ult to arrange for an ensemble lesson every week ters, and thus his education will become gradual, n tonic? One little boy called it “busting”; another Lebert, IMahly, Villoing, ami Drppe. We ran under¬ followed voice. Yet every teaeher knows how often habit of precision and sureness which will finally chool-children. Once a month, however, is far firm. When you build a magnificent building I®11 child, “dissolving.” “Dovetail” this knowledge gained stand how some gifted teachers - able to theoretically and much he must insist upon a perfect legato, and operate as smoothly and unconsciously as the artist’s r than not at all. The music need not be must first lay a solid foundation which may carry * into pieces and studies. direct and inspire their pupils—may, for various rea¬ how easily the little gap will slip in just the instant intuitions. ult as to take too much of the pupil’s praetne- structure without danger of collapse. As it is 1 an The pupil will listen with interest while you play sons, be not always competent or in readiness them¬ before each following melody-note is taken. And here Further, teacher and pupil must have infinite pa¬ There are the “Volkslieder Album,” the book edifice, so it is with a pupil. If you begin ^ plagal cadenc-es if you tell him that the “Amen” to selves to give the liest reading of all and sundry ad¬ it must be watched all the more closely because the tience or they will never acquire this nice perception 'avorite Tunes for Piano and Violin,” or “Piano hasty instruction, you will never succeed in ma Do hymns usually makes a plagal cadence. It will give vanced works of the classical and modern repertoires. accompanying chord-notes are to be delivered staccato and this habit of precision. And here is one great Cello,” and Peters’s edition of “Classical Pieces a good scholar out of him; but if your form a ' him pleasure to distinguish at a distance from the Virtuosi, again, are apt to be jealously retii-ent, not and the upper finger will almost always rise from its American shortcoming, in spite of the repeated warn¬ sore advanced pupils. A pupil who is to make has been careful, solid, and conscientious, that " piano between perfect and plagal cadences. And he wishing their pupils to acquire too easily certain melody-note sympathetically with the last of the two ings great European teachers have given us about . his profession should early learn to play ac- you will build upon the same w ill defy all s^°™l , 'lve will be far more interested in the cadence—say of “trieks of the trade”: indeed, for several reasons, the chord-notes, instead of holding firmlj for the last this very failing. We are so accustomed to think that animents, and should have the opportunity to earthquakes of professional life, and you wi the Streabbog opus 63, “Etude I,” measure 8—than if virtuoso, in generaL i« by no means the best possible fraction of a second till the next melodv-note falls we must “get over” so and so much each lesson—mere with another instrument as often as onee a week- reason to feel proud of your pupil.—Town Talk. teacher. There remains, however, a large class of due. And so common is this fault that composers he had never heard you play a perfect cadence. thout work, nothing! But when the work w bulk. We come to think we are “losing time” when teaehers who do not play, by reason of their sheer in¬ ®®t how shall we make the teaching of technic in¬ have to caution the would-be performer by using re¬ we stop to dwell deliberately upon such minutife as with interest immensely more » competence; these flourish strangely enough and seem peatedly the indication ten. for tmuto—to be held. teresting to young pupils? aupils’ meetings, the ensemble classes, the: litauy, the bits of a second and upon sueh trifles as the mo¬ Schumann, Chopin, and Liszt unlocked the re.^ to be rarely “found out.”—it orient Opinion. •lust here let me say that “it is nonsense to suppose take the teachers time and strength oat-.de the For it is absolutely certain that the fart fraction of mentary blur of the pedal effect. Yet we know and ures that lay concealed in the pianoforte. ’’ ^ that every step in education can be made interesting, ,1 but the benefit to both teacher and pupil m the second fa-tween two contiguous melody-notes is acknowledge that in every other line of work the and second, having immortal creative geni09, ^ Don’t imagine that ideas are only for the few. The the one that makes or mars the smoothness and tn music, as in everything else, “there is no royal road compensation. Indeed, it is » finest-on d O* mastery of detail is absolutely necessary to success. loose, developed technic along the lines sugge- reason that some have many ideas, while others have to learning.” Still, there are many helps that can be ojven bv the teacher is not. after all a fluency of cantabile playing. Indeed, it i3 the one essential of modern success. Ar¬ their own individualities; the third, having ^ few. is simply because the former people are receptive ^iren 0Tcr the hard places. Some children like illus¬ *T?:L L- for as soon as the pupil does h,s Another example calling for nice discrimination in mour’s immense fortune was built up from the profits gifts without the divine spark, developed technic ^ to them, for ideas are germs of life, and seek for con¬ trations. To be told, for instance, that the hand subdivisions of time is brought out in connection of the by-products made from the waste-material that direction suggested by the various possibilities ditions suitable for their growth. with the use of the pedal in bridging intervals too 13 *'ke a house, and that the fingers playing np and butchers usually throw away—every scrap of the cow instrument as it yielded up its hitherto unesp long for the hand. down are carpets being shaken out of the windows. and every drop of its blood is taken account of. territory to him.—IT. J. Henderson. 402 THE ETUDE T H E etude 403 a letter to a young composer. leave him, if not a pillar of salt, in a chaotic state of the material to the immortal “Fifth Bymphor most entirely upon how cleverly you succeeded in tieed for the beat results. No amount of talking can FIVE-MINTJTE TALKS WITH GIRLS. mind that is quite as unstable should a cloud burst Beethoven w as nothing but V doing this, and if you were to try to think of every Dear Madam: show a pupil how liquid the sound of some scale over his head. And no student escapes the gloomy, musical composition us a beautiful design whose mis¬ Your song has arrived and received my immediate playing should be. BY HELENA M. MAGUIItE. discouraging days when ideals travel faster than ac¬ sion it is to delight the ear, even as lovely lace de¬ and careful attention. At the risk of causing you a Always select exercises, studies, and pieties which complishment. lights the eye, you would sec how necessary it is that temporary disappointment I should not advise you to give the left hand as much to do as the right one. If, as occasionally happens, the mental attitude is Musical Odds and Ends. all the odds and ends be carefully thought of, that publish it. The full reasons for the verdict are such i he left hand must be developed equally with the non-reeeptive for constitutional or habitual reasons, and infer from it how much leas there must be no gaps in your knowledge, that every as would require a great deal of writing on my part; important the in¬ right. This will necessitate more work for the left Sebastian Bach, in prefacing his “Inventions, and neither the powers of the teacher nor the willing, 'entive portion of a composition is, than what is little “out” is going to mar your aural pattern, and aud even though I could put them all down, it would hand than for the right, in most cases, the hands not spoke of them as making a “plain method of learning ness of the student can harmonize the unfortunate done with the invention. that every mistake which has to be patched is bound still be a question w hether 1 could make my meaning being equsl in strength or dexterity. how to play clean.” Bach was a man who had the conditions except through constant effort and frequent Very truly yours, to cause a bungling place in your rendering. clear. A personal interview might be necessary for it. All piano pupils, in primary grades, will play rapidly happy faculty of being able to say well, as well as to friction, the pupil should be dismissed and inspirations Clean work means carefully-thought-out details. It The reasons can, however, be summed up in the Constantin von Sternberg. if allowed. This serious fault, if once acquired, be¬ think well, not only in notes, but in words. No other devoted to a better cause than merely the vanity of does not mean thinking down to a certain note and comes difficult to break up. Teachers must ever words would have carried his meaning so straightly, statement that—don’t be pained too soon, please— subjugating mind to mind rather than turning it to letting the rest go as unimportant odds and ends, your song is not a composition, but rather a retained guard against it Slow playing and slow practho or set it down so securely upon the attention of the the subject-matter in hand. simply because they are not in common use; it means must be insisted upon. Velocity can only come, satis¬ reader, as those two simple ones: “playing clean. improvization. The difference is simple. PRIMARY TEACHING. There is, however, even a greater and more subtle thinking the whole way down. It does not mean be¬ factorily, after a sufficient apprenticeship in slow, Bo they not convey at once to your mind the image An improvization comes and goes; a second—and it coming acquainted with a certain number of scales enemy to the unobservant teacher who is doing con¬ careful playing. of piano-playing that is dexterously fine, free from exists no more; it may please for the moment, but it BY FRANCES C. ROBINSON. and not troubling about the rest because they are scientious and heroic work, and fancies the ap¬ Teachers should reserve sufficient time for their own any fault or defect, whose every detail is delicately, does not last long enough to admit of judgment, or not in every-day use; it means becoming acquainted parently receptive attitude of the student is all that study. There must be a constant taking in if the completely rounded? Clean playing, of whatever even of a more than superficial understanding on the IL with every scale equally well, so that when you do could he desired. And this is when the teacher sud¬ demand of the constant outgo, in the instruction of grade of difficulty, is the only kind that is pleasing, part of the listener, who, if a part of it should be come across them they will not embarrass your fingers denly discovers, after months of labor, that the rich Getting Pupils to Practice. others, is to be successfully met It is necessary, too, that can convey a sense of the beautiful. unintelligible to him, can always assume that he did by their strangeness. It does not mean thinking of treasures of an enthusiastic mind have been poured to examine new music and methods of instruction, There are a great many girls who study conscien¬ not hear it rightly. The best teaching cannot make a brilliant musical and to read current musical literature, as well as all embellishments as of the same nature and sub¬ into deaf ears and the student who seemed drinking tiously, who play well, yet who do not “play clean,’ But a composition stays-, it is intended to please performer without the earnest co-operation of the in a store of useful knowledge has been dumbly pass¬ ancient. The study and practice of all elasaes of good anti, thinking about them, I have found that there stance, to be played all alike or in the easiest way; lastingly, at least long enough to be learned; it must pupil. Teachers point the way, hut progress depends ive and wholly unthinking. Such a nature is gener¬ music is also necessary, not that teachers are to be are odd bits of music—musical odds and ends, we it means the giving to each the characteristic indi¬ be understood; it will be judged on paper, in a state largely upon the pupil’s own work. All pupils should ally willing, and will be found to possess—deeply expected to be ready for performance on all occasions, might call them for want of a better term—that are viduality which was the reason for its having been of permanency. A composition, be it a musical or be shown, at the start, how to practice. As to length buried beneath a calm exterior—a strong, sympathetic, —few teachers have time for that,—but such study given little or no attention, and that these are the invented. A turn is no more like a mordent than the literary one, is a treatise, an essay, an article (call it of time, for juveniles, I advise a half-hour’s practice, even emotional, nature. and practice as will su|>ply them with an incxhaustiblr “weaving-stitch” is like the “cross-stitch,” nor are they by any name) on a definite subject, and this subject daily, for the first few months; after that an hour, cause of much defective, untidy playing. fund upon which to draw for teaching purpose*. Such a nature requires development of the imagina¬ For instance, there is an odd end to notation which to be made alike, any more than the two different must have definite features, and these features must divided into two half-hours at different times of the tion. It must learn to assimilate thought and expres¬ causes many a discord, although at first thought it stitches. be mentally tangible, or the listener gets lost day. The first half-hour can easily be used for exer¬ sion; it must be aw .kened to emotion that will re¬ w ould seem almost too simple a thing to speak of to Give your mind entirely to each of these odds and Now, there are very pretty turns in your song, cises and scales. Pupils must count aloud w hile play¬ spond to the quick, for they have never learned that any girl who has studied any length of time. When ends, as well as to anything else in the course of your which should make very acceptable incidentals, but ing their first studies, and always in practicing twic EXPERIENCES AND OBSERVATIONS FROM there is any relation between musical expression and first a girl takes lessons, she learns the lines and musical study which you feel to have been neglected, the body itself is missing, that body which the inci¬ work. When a certain degree of steadiness and THE CLASS ROOM. thought. spaces of the great staff, and then the lines and or upon which you are not quite clear, once; tie each dentals were only to adorn. Am I clear? certainty is acquired, I allow them to discontinue one up carefully with a wisp of concentrated thought, The teacher student has two attitudes to study, one counting aloud, where the rhythm is simple, and spaces w hich are added above and below, but because As in the works of all amateurs, there is too much BY 11 HUMAN r. CUELIITK. the passive, the other the active; and that which is very few etudes and none of the simpler musical com¬ once, and you will then have them always at your material in your song; there is enough in it to make I assist them to count everything mentally; but the desirable as a student seems weakness in a teacher; positions use the notes that are lower than the B on command when yon need them. If all odds and ends a hook of songs, hut it is undeveloped. I trust you moment they are faced with a difficult passage I in other words, the student who obtains from a teacher VIL the third added space below the F clef, to these lower are thus carefully taken eare of there will be no are earnest enough not to feel w ounded if, by way of urge counting aloud again. That there may be harm the greatest good is the one who comes to confess his notes there is given small attention, so that when she vagueness in the left hand, no raggedness or clutter- illustration, I liken the song to an article composed ful effects, in excess of counting aloud, I admit, and 59. Be punctual in your attendance. It allows lack sins, known and unknown, and seeks their remedy, does come to them, she plays them uncertainly, never ment, and in “playing clean” yon will be observing of nothing hut headlines, or to the index-page of a teachers must exercise their judgmeut regarding both of respect, as well as interest, to come late, time after hut the student, in turn, becoming the teacher must having taken the care to make sure of them. There¬ that orderliness so dear to heavenly jurisdiction. book. this and the use of the metronome. time, and then expect the teacher to make up your readjust the attitude from receiver to giver, and the fore, we have many errors such as the fundamental The material is all very well selected; nice little When a pupil (I refer to a beginner, of course) full time, knowing, a* you should, that it discom¬ mark of interrogation drops its shepherd crook to modes the student following. note of the chord of G being played on F and then MENTAL ATTITUDE OF TEACHER AND ideas bob up everywhere, but they die in the bud to reads a new exercise, or study, at his lesson, let him form a decisive period, if not to the imperative mood. 60. Avoid a sick, maidenish knuckle and wrist hastily corrected, simply because these three or four PUPIL. give room to others who again succumb to new ones first play the left-hand part alone, then the right-hand Where the student has wandered, tearfully and stroke, lacking vitality, energy, yes, everything hut added lines and spaces, being only occasionally used, crowding them out. I have rew ritten the first stanza part, and after that both parts together. I frequently BY F. ROENA MEDINI. pleadingly, the teacher gives forth hopefully, smil¬ conceit and egotism. have never received their due measure of attention, of the song, not to give you a model, but merely to give young pupils a study to read and work up by ingly, confidently, for he will commit a crime if he themselves, for next lesson, impressing upon them to 61. Sighing, gaping, shrugging the shoulders, and and because this bit of notation has been thrust in show you how simply the song can be written. The teacher of teachers must have natural psycho¬ oversteps by a hair the boundary of the known. Ex¬ begin each hand alone, then both together, always re looking weary are symptoms of a lazy, indolent dis¬ with the odds and ends. A melody of the first eight measures recurs now at once logical gifts that can scarcely be put into analytical periments must be practiced upon himself alone. membering to pick out the “hard places" for special position. Vigorous means must tie retorted to to rid Another “end” w hieh is apt to be allowed to go very in the piano accompaniment while the voice murmurs speech. There are stages of study when the student must be practice. At the next lesson I expect fingering and one’s self of these faults. loose is that of the sharps and flats beyond the usual the text on one or two notes; this recurrence gives It is never safe to assume anything where mind led to throw off the passively receptive condition, for time to be correct, as weU as the reading of the notes. 62. Be hopeful and sanguine in whatever you essay. five, so that C-flat and E sharp, etc., never become form to the song, without which the song is not a is concerned, especially that a point can be passed the advancing and retreating of mind-waves between Knowing this, they acquire the habit of working care- Being and thinking hopefully with s determined pur¬ really familiar quantities to a girl; she cannot re¬ composition, but the mere wandering of a musical pose will overcome many seemingly insurmountable member about them because she has never concen¬ oyer because familiar to every-day life, for the com¬ teacher and pupil are to be equalized, and, while the mind from thought to thought. Personally I should trated her mind upon them, and so plays them in¬ plexities of the brain are mercurial and altogether teacher is giving ideas to the pupil, the latter receives book is needed for the first several lessons, but obstacle*. not employ more than one octave of the voice in a 63. One of the chief cause* of ragged, slovenly, un¬ correctly first, making a correction necessary every perplexing, and often fail to respond to anything like nothing that is not returned by application, no matter ally give one to children at once; they feel more song of this type, but I kept as close as possible to decided playing lies in the fact that when striking time. reason or to the analysis of the simplest problems of how imperfectly, until, in time, the mind is adjusted rtant when they carry a book home from the first vour own notes. i from the wrist—that is, in the forward swing of the Musical odds and ends of quite another sort are life. The gift of teaching is largely dependent upon to the return of the perfected thought in tones and Your bridge or modulation to A-major is too ab¬ hand—we hesitate before alighting on the key, thus the turn, the trill, the mordent, and the grace note. the psychological intuitions that lead one to com¬ expression which speak glad and perfect victory for ^pupils should be trained, from the start, to listen rupt, and the continuation in D-minor a trifle con¬ eir own playing,-to listen as they would to Urn giving the effect of insecurity and wobbling in the These do not belong to the melody in any sense; they prehend the sensibilities of a student, who has dis¬ teacher and pupil. fused. The latter is, besides, far too elaborate for tonal production, which fall* a trifle ahead or behind are old-fashionedly called ornaments. More and more, armed himself, as it were, and stands a target of strict A half-knowledge works great injury to the world, ns of another. I advocate the giving of little such a text, making almost a left hand study for the the best. in the new editions, the notes for which these signs discipline and criticism. If this mental condition has and teachers deny themselves manna of heaven when, s very frequently, to children. By mean* of pianist. j i »| 64. I cannot impress too strongly upon all students stand are being written out in the musical text, but not been unconsciously assumed by the student, the the necessity of teaching arising, they reason that the cultivation of musical feeling, or expression, If you wish it, I will rewrite the song entirely; the great Importance of learning passage* with the although all musicians of to-day do not agree as to teacher must bring about, with all the charm of an further study will lower their standard. The standard be begun very early. Scales must be made fn- hut this would take from four to five hours. Then correct fingering at Ihe very outset. More time is the beauty of these embellishments, the mystic signs eager and sincere enthusiast, the proper mental atti¬ set for themselves should always be higher than the ting as they can be when taught m all their you could publish it with the calm feeling that your wasted thinking any kind of fingering will do, than tv Begin with a long, full tone, for each note are still with us, and there is a clean and a cluttery tude of student versus teacher. Only through a har¬ one attained, and to assume the unattained is charla¬ ideas, your style, your manner are preserved (only by any other fault, for, without definite set of finger e scale, calling it legato. Follow this with a little way of interpreting them. A trill rudely broken off monious beginning can thought answer thought. tanism, and this last has been rampant too long to be the form being changed), and that the song can boldly ings, you will never possess assurance. is a very different thing from a trill whose end is speed, making the touch lighter and explain Nothing is more depressing to a teacher, whose tolerated by an enlightened community. Life is short 65. On some students kind word* are utterly face the broad light of permanency and criticism. I this is a more delicate legato; then pass on to nicely turned and fitted into the succeeding note. A greatest wish is to unfold to a student an understand¬ and art is long; sometimes she becomes foot-sore an can say this safely, because my work should not con¬ wasted; only sharp, sarcastic, cutting, and stinging mordent inverted is quite different from one which is ing of himself and his powers, than to find time wasted bedraggled by the pressure of necessities and conse ato work. The words legato and 1 sist of addition, hut of elimination, for, as said before, remark* wiU fc« of any avaiL not meant to be inverted. Again, there are no two by unconscious antagonism, obliged to override ob¬ quent discouragements, but she will certainly deser emembered by little ones more ^ * «f 1 66. Learn a piece in strict time, perfect technic, there is too much material in your song. ,v0rd long with legato, pointing out that * h things more unlike than the long grace note and the stacles that ought not exist, and which, happily, are the man or woman who turns away with a frown broad tone, and be sure to hold note* their true values. Let my words not discourage you; the erroneous Win with 1; and short with star,ato both short grace note, than the appoggiatura and the not frequent. This non-reccptive state does not al¬ After *11 this, then learn to phraae, shade, uae pedal*, from progressive research.—Music. xiew that composition is a mere matter of natural gilt 3 ° . ... , r explain, at the same time. acciaoatura; the one has an accent, the other has not; ways appear in the aggressive contradictory or an¬ 3 beginning with.*1 ^ „ gh„rt. and color, retard, and accelerate, but do not color and |s so wide-spread that you deserve no blame for shar- the one has languishing expression, the other is crisp, tagonistic nature, hut is reached by undue anxietv shade and put on the finishing touche* first. When Sir Sterndale Bennett was Principal of mg it. Try again and again, round out your thoughts, brisk, and hurried; the one leans gently toward the on the part of the student, whose self-examination ’“Tltur Si- *“ •- -«•» 67. Never let duty and pleasure conflict Attend Royal Academy of Music, some young men caine^ 'xpress them simply and clearly, no matter how melody, the other literally crushes itself into the MU slo*l|" nCMj' 1 “ develops the idea that strive and strife are synon¬ him as candidates for admission as students, and, wi 1 to duty—that is, practice—first, every time; and as uaive or juvenile they mav look at first, and learn and the different tempos: /, /« melody. ymous. It sometimes comes from professional criti¬ the swagger that comes from “advanced” tboun ice aceen .- _ wry gradual cres- the seasons go on you will be convinced of the wis¬ [° develop a thought; then you will soon see the You know that, if you were making a piece of Bat- cism following unrest that has led a pupil to start Next I introduce shading,—a ve[? e™ , dom of this advice. lessness, with the grandioso air of superior Pe*^>D justice of mv advice and smile at the little tear of tenberg lace, it would not be of much use to be able 68. The idea that some students are possessed with, upon an investigating tour of his own, and has listened said, “Ah, we go in for Wagner and the m° *-r to put the braid nicely upon the design, the buttons appointment which may just now dim your eyes. that they can learn to play a little 1st, without know¬ to criticisms and opinions which seem diametrically r ormrnve of the school,” and so forth. i _e.ia/1 i#• minors. where they belong, the linen in the center, and to do Ask of Liza Lehmann, or of Mrs. Beach, or of ing anything, or even learning the ante* of two rlefs, opposed. Not schooled or experienced enough to com¬ Bennett quietly replied: “Far be it from me to 1 ^demoiselle Chaminade, or of any composer, man all the “whipping” if yon did not also know how to prehend that there is a difference between criticisms is too ridiculous to give a sober second thought der yon from any explorations in any region ot “fill in” all the odd little places which occur in the r woman, by what road they arrived at their skill, that are a “matter of opinion” and art-knowledge, he hut let me ask you do you know Mozarts symp nd they w ill corroborate my advice. Remember that design. The beauty of your work would depend al- suffers much as did Lot’s wife and his backward looks nies?” 404 THE etude

vary the pupil’s course of study by occasionallv and twenty-second preludes from the first book of the HOW TO BEGIN THE STUDY OF BACH. teaching him pieces of a lower grade or standard of clavichord are masterpieces ot melody, wWe nothing musical worth. Children often clamor for such piett,s can exceed the ingenuity displayed m the fifteen; Ne inborn than acquired? I am a member ings) that many ages will pass before anything can Tiie Dilemma. Tempo de la Polk* of a small club of pianists who ure interested in Bach s take its place. No one can lay claim to musical pio- Notwithstanding the vast amount of music written a t i music, and any information would be most helpful. ficiency who has not mastered his Bach. No more and published, the number of compositions adapted to —A. D. B. delightful pastime can be enjoyed than the reading teaching purposes is really very limited. This makes of his “chorales” (Peters edition), in which a never- The above inquiry, which has been referred to me, the teacher’s task much more difficult. ending melodic interest and contrapuntal effect pre¬ fW=% is interesting and significant in many ways. I venture Let us suppose that a teacher is giving a pupil the vails;0 the latter feature is an integral part of the to say that ten or fifteen years ago it would not have “Haydn Sonata,” No. C, in C-sharp minor. Let us as¬ whole, never obtrusive, and simply a means to pro¬ occurred to anyone to make Bach study the subject sume that the pupil lias already mastered the tech¬ duce effect or climax. The elimination of foreign of serious thought or investigation. Since then, how¬ nical side of the piece; the marks relating to dy¬ matter is the distinctive feature of Bachs thematic ever, music as an educational feature has advanced namics have been carefully observed; the melodic, art; when he presents his theme and answer he finds wonderfully, and the interest in serious lines of metrical, and rhythmical phrases have leen more fully LZI sufficient material therein to work out the fugue; in thought has dee|>ened materially. Aside from the considered, the general tempo has been determined, this regard even such masters as Beethoven and Men¬ pleasure derived by musical students in the accom¬ and the style of performance decided upon. delssohn fail to preserve perfect unity. Handel, how¬ plishment of a beautiful art, or the satisfaction gained It may happen that when all this has been accom¬ i MSt ever, is a close second, and Scarlatti has done some in professional success, it may justly la* claimed that plished the sonata may still remain unsatisfactory clever writing; the works of these two great con¬ musical study finds a legitimate place alongside of It may lack polish or perhaps there is a laek of a temporaries of the great Leipzig cantor can be used algebra, geometry, and other sciences as developing satisfying sense of the finished performance. It may to advantage as illustrating evidences of great con¬ the reasoning faculties in a thoroughly definite man¬ lack repose; it may lack unity; it may lack power; temporaneous musical ability. Great painters use ner, and from this practical point of view it should it may lack elegance or grace. It is then, and only few pigments, great composers few- modulations, and Is- encouraged irrespective of specific musical talent. then, that the fertility of the teacher is truly taxed. this is the ease with Bach, and yet the “G-minor ’ and As one of many means of mental and artistic culture If the pupil is allowed to go home with the simple in¬ “Chromatic” fantasies include enharmonic features music fully ranks with other specialties, such as litera¬ junction—“practice,” the outcome will naturally be which would not be out of place in Wagner’s works. ture, art, and history. Many study at our art-schools, a failure to secure what the teacher really wants—a mm A minor and yet noticeable feature of Bach’s ingenuity who never expect to paint pictures, and other in¬ true artistic interest. teresting subjects are seriously pursued by earnest lies in the unlimited variety of his endings, and it will A Remedy. workers without expectation of later utility. pay the student to study the final measures of the Bach study, more than any other, calls into play fugues with especial interest. It is the teacher’s mission to indicate some new the greatest multiplicity of demands and requirements, As to the aptitude for Bach playing, I would hardly characteristic of the composition itself; to relate that fn outer to succeed one must be guided by an experi¬ consider it inborn; there may be a predisposition with portion of Haydn’s life when he was known to lie at enced baud; it will not do to have a smattering of a some musical intelligences which would facilitate the work upon his earlier sonatas or even to represent few inventions and fugues. The pedagogue who pre¬ more rapid acquirement of the necessary ability, but, some famous pianist’s mode of interpreting some por¬ » —-v -!» 9-3— ► sumes to teach Bach properly must lie master of the in a general way, Bach study will find its proper and tion of this very popular work. subject in its entirety. A critical selection of a defi¬ 'latiniln of *4 nDrtnin ilhrolmn'miTif It makes little difference what the instrument is. i--- nite and systematic course is indispensable, and in¬ the main point is to bridge the pupil’s interest in the i t volves the nbility to execute all the works. To teach composition over to the next lesson. A spontaneity of Bach without living able to play the works in ques¬ THE TEACHER'S FERTILITY. thought at this critical period is frequently the salva¬ tion is to attempt and perpetrate an absurdity. It /ntt * tion of some composition. The teaeher should keep f * t * '«4=j ms -| goes without saying that this selection of the fittest BY J. FRANCIS COOKE. constantly in mind appropriate devices for imparting (riMpp m-i— m— f ‘ -0-1- ?—• -7 i — —t material will diiTer with different authorities, but freshness to a lesson at all stages of its progress. .... unless a teacher has definite artistic convictions in Fresh Ideas. regard to the selection of material and the phrasing After the consideration of proficient training, prob¬ JL A and interpretation thereof, the work will always be HOME-CIRCLE CRITICS. ably no point is of more importance to the piano -•—f-— . - . f . t T -: f diffuse, prolix, ami nothing will lie accomplished in / teacher than the ability to infuse a new life into an — 1---J- the eud in spite of the time consumed. The best-devised plans and systems of the most con¬ jl J—p: j ^ old subject. Any technical subject can become pro¬ :fy= Even the simple Bach invention involves much of scientious and painstaking instructors of music gang Jr saic and uninteresting if not administered in proper Ped.sxmile ; j » » interest. The leading of the voices in imitation can be. aft aglee” most vexingly, without any blame attach portions, at the right time, and in an attractive man¬ followed; then there is much of interest in analyzing able to pupil on the score of indolence or stupidity. ner. Unless the teacher is extremely careful, the pupil the musical form and various modulations; proper In respec-t to private teaching, it is seldom consider1' w ill soon come to look upon liis lessons as simple peri¬ ♦ T» phrasing, which necessitates perfect independence of how greatly, in many- instances, the ill-advised criti odical repetitions of the same old story. It takes no fingers and hands and ready mental activity, is to be cism and interference of “home friends” tend to fru little ingenuity and discrimination to give each lesson studied. In the suites we find the various dance- a tone of freshness. trate the intentions and artful routine of the be t forms cleverly exploited and the difficulties, technical When we remember that it is often necessary for experienced professor. and otherwise, multiply. Many sins of omission and All good teachers know that in the judicious sc w the teacher to go over the same subject many hundred commission are committed in the execution of the old tion of the “next piece” for the anticipative ? »uil? times a year, it is not surprising that it is difficult embellishments, the proper rendering of which seems mm to make each topic appear brand new to the pupil. student is contained more than “half the battle oft ,e to he a terra inmi/nita to most teachers. game; yet the nicely graduated classical movement is Some subjects must be carried through several lessons As to the necessary requirements for a proper ren¬ and each time the teacher must discover some new found to remain unpracticed a9 it should, the anxw® dering of Bach's fugues in an intelligent manner, they point of interest not yet discussed. Well-trained master (upon searching inquiry) being told that ce^ ? i Sr are distinctly technical and intellectual both. To mas¬ ! teachers endeavor to keep in reserve many observa¬ tain critics of the home-circle have declared the p' 1 3 ter them technically presupposes a course of study, tions, which might well be introduced in one lesson, “dry” and destitute of “tune,” while even the 'c ^ including Czerny’s opus 740, Cramer, and the Clement: for the simple purpose of sustaining the interest. Let of recreational trifles often—much to the “Gradus.” The intellectual feature consists in being the student once feel that a subject has been ex¬ wonderment—meets with an indifferent reeepu able to analyze each fugue according to its thematic since “Mamma does not like it,”—forsooth. ^ deveiopment, and the magnitude of this task can hausted at a previous lesson, and he will find little * * 1 * What with such drawbacks, and the e0U'^auW. At: readily be appreciated when one reflects that, while more use for it in the future. The ambitious student of the big schools—these being too supreme J’ ^ the form is seemingly perfectly set and definite, yet must feel his ignorance before he can completely cratic in their dealings for such considers such was the fecundity, genius, and inventiveness of master a subject, and at the first intimation of exact touch their professors—the private teacher ha= ^ I* the master that each fugue presents different treat¬ knowledge he is anxious to depart for newer and more engaging fields of knowledge. task in these days. If too severely academic^^ ment, novel problems, delightful surprises, and con¬ choice of study material, he risks an (|r vincing evidences of endless musical ingenuity. aPP Copyright 1900 by Theo. Presser. 3 The devoted student will also learn to rei-ognize the shrinkage of his clientele, while, if t°° 'n ^^ It is not to be understood that the writer is bent upon suiting all tastes while vet anxiou ^ ^ melodic features of the work. To be true, they are mg to impress the necessity of constantly chi somewhat austere, hut their t-hartn will last centuries, his duty, he will likely find his hair fal ,n- the work with a view of introducing novelties where others vanish after decades. The fourth, eighth. grizzling, with perhaps more than ordinary teachers, unfortunately, feel that it is neeessi sional rapidity.—Musical Opinion.

4 X« 331tf Peasant’s Wedding March. N? 3316 Peasant’s Wedding March. 5 Bauern-Hochzeitsmarscli. B auern - Hochzeit smarsch. (Hans Heiling.) H.Marschner. (Hans Heiling.) Vivace. H.Mar hnn PRIMO. , - 3n."—>xt £Zr. ■ *|t: S3> tan* —r —7 . SPWi p=zxi±zd * -S—L— ~:Ua [j-d rr—f

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Edited by Anthony Stankowitch. (Romance.) Rich. Fuchs, Op 5

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a) When Elfins dance, their feet are not sup¬ erate the rhythm of the first motive as slated posed to touch the ground;so light is their 4 * in the two preceeding measurers. tread that the grass blades hardly bend under (1* Here begins the ascent towards a cli¬ it. Let your touch be equally light and dainty. 2jm max which reaches its summit at e),and xW^y b) This is a suggestion of the Horn-call of Hi then descends until that pianissimo is reached Oberon, the King of the Elves. ppp 0 - . which is required for the resuming of the first 240- d The t.h. should endeavor to plainly reit- -J T*---r— subject. -#-4=jc -----J u— ‘ Copyright,1S9».by Theo . Presser. 2 .

5962 2 14 n?88« Hunting Song. Jagdlied. ADOLF SCHULTZE, Op. 19. No. 3.

Allegro vivace. m.m.J = h«. 16 N? 2947 ALLA MARCIA. Revised by Constantin von Sternberg. NICOLAI von WILM, Op.14, No.6,

This pretty piece affords an excellent opportu¬ striking the sixteenth-note following a dotted nity to establish in the young player’s mindthefol- eighth, until the following note has been mental¬ lowing important rhythmical principle: the frac¬ ly so well prepared that both can be struck in close tional note succeeding a prolonged (or dotted) one, succession. If wait we must, let us wait on a pro¬ belongs to this dotted beat only in an arithmeti cal longed, not on a foreshortened tone; this will in¬ sense; musically it forms an introductory part of sure rhythmical precision and prevent distort¬ thefollowing beat, andistobeconceived like the ion of rhythm. It may be well to mention also that first syllable in “before” or “prevent” etc. There is slurs and accents have nothing to do with each no exception to this principlein;thispiece,and else¬ other: if a slur starts on a strong beat, -accentu- where, too, exceptions are very rare. It will be well ate! if it starts on a weak beat, don’t! to observe this in the very first reading, by never Allegro moderato.

• ‘St/”lke the B flat as softly as the Dflat above xi has become in the meantime; the B flat is not be¬ . ^ Players whom this piece addresses will hardly longing to the melody. e a e to strike this chord in any other way than 'T.08*11^ thumb on the two lower notes,and sac¬ rifice the tie on E flat. Copyright 1889 by Theo. Presser. 5 18 N? 3280 ROWING. Words by NELLA.

Slow ly but cheer-i-ly row - ing; Skiesgrow-ingdarkand the riv-er wide, Au * tumn winds ire Bright is the sky thatsoer us; Sun - lit thebankson the riv-erb side, All the worlds be*

k dc rfr--——:—j—-K—| H-1— k--N - ft—1 ^ -~I 4 r. ^ i J/L. h 9 * L J ' - i—n-r -a r w - - m ’ . - « « m * : Trs v r-- -9-9- 9-1-)—- H—m- -9 1 ptr* . . - . 1 'J . * vy ~f -rrm—w-i1 r i r j r j ^ -- tt: r r r r » r blow - ing. Thus clown the ri1v-cr of Life we go, Sp ite of the shad-ow* di- fore us. Oh! life is ea s-y wh( sn day by day, he r - tuneher smile be- /dh=d==fetd==c J i . i h f -4-4—4 —4 ^ hdb i - --7- 1 1 RFfl i i : i ri: -4 p ten. ► n. i 1 * ** ~~ ~ .ri" 1 ■= *. A Itt- ~ \ ^4—• It-^- ...- H

<1 > The left hand,.while playing very precise in ©) Strike this E flat well, and make the changeun- rhythm, must do it so softly in this partthatthedif- derneath it tin the next measure) quite softlysothat ference between the touches of the two hands must the melody-tone E fiat pan be still heard above it. be considerable; only thus can the melody in the right hand be brought out.

l) Play these four quarter-notesin.bothh.andsstrong k) Imitate in the right the manner of playing at ih and slightly detached from each other. l) Remember whgt you did at e). 2847.5 20 Meno Mosso. 21

rit. Allegretto-u 1*-f A-iii J.—r E tf—F—-—-—* -=-*-1-1-:—ta— n-r Pass where theeilouds are lift - in gt| Row- ing, row - ing, Down the stream we go- Chang-ing its t ide for- ev - er

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• 3li80 22 NV 2 874 23 The Lord’s My Shepherd. 1 1SJ verse only.

Jean Bearl.

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Copyright 1900 by Theo. Presser. 4 2874 tHE ETUDE SOME POINTS OF SUCCESS. •40.0 “TT*1 *»—». BY WILLIAM ARMSTRONG.

NO. I.

Tiie Singer. iipHSSH nothing tobituslly „ to fc,V( Success means work, but it means also intelligent a stiasi ».h« « w mark ujkw the v.,i„ work. The plea is often made that the mind is only itt i Never!” 8,Dg ln-v BrUnnhilde? lo touch upon all the pm.it. th.t go U make .4,. fresh and receptive for a certain length of time daily. s wit 1 "ingcr would require tin space nms'swarv This is all very true,—fresh and receptive in one di¬ Mhen be met her personally his decision was re to 1*11 the experience* in U»r lit, of the succ.«ful. rection. When this time-limit is reached, a limit 8t Sight- "'hen Shc BP°kt there w as a good-humored friendliness — the Germans uccesa means to swallow pride; it means to take which must vary according to the physical strength, call it the rile, or part. you do not want sod to do and not according to the lack of energy, it is a simple gemuthhchkeit that made one forget the appear- ance of her face in repose. them well, no matter how small. And an important thing to give, within reasonable bounds, both mind point m doing u.iag. well 1. »„ do them .Wfully, and body refreshment by change of occupation. By While good looks arc very desirable in a singer, good art is more so, and surely you will not st<»to bucees. mean, sw ing paupi* wh<> are inlet lor in this I do not mean to keep the thoughts and energies energy and aUamnunl to ours.lv.. thrust far ward lit consider the matter before you agree that a singer is fastened always upon the one theme, music, but upon accident or lavmaU* dmimaUncr. and when, better remembered by the beauty of her song than the those things which tend to cultivate the mind in any shall eventually surjws. if w« work Itard enough. and beauty of her features. Homelinesj is a help i„ direction. And to none is this broader cultivation, supplant entiniy »l.rn they shall k*v<- vanished from success. It compels more than ever to a devil...pin- this keener mental insight through knowledge of the the scene through tarompetewoe, Ask somr really of the beauty that is within, the only source of rdf wide range of subjects bearing on his art more im¬ great singer how many stalled out slits hr did how ance when it comes to the final decision. portant than to the singer, and particularly the opera much greater tbe racagnitKi* <.f some of (W -mgr,, I do not deny that some achieve a certain success singer. "** than hit own, and where tbowr mini, singer* arc through their looks, but a day arrives when we dan Rosenthal, the pianist, once said to me: “Every¬ now ? no longer to scrutinize them through our glasses, and thing a man has studied and learned shows in his In musical srl, as in every other art, it is the man then they are bad for the eyes as well as the cars. music. When he fails to arouse his audience the or woman who works kihillpHy and tinUtWI 1 who It is one thing to feel that you nave within yon trouble comes, first, through his lack of intelligence; fuwwdi, and not thr ou« »t*i|* in U uwil u„ the undeveloped power eventually to accomplish cci afterward through his lack of temperament.” But it *UCd it U ulm, the prm! instance self-knowledge sustains you, in the second cliriiiruttov, unliu u* ittiiiti t i jf No simple going over of a subject many times and you have the right to expect recognition according to SumwH iiiian* Mailing lo do Ikiny* uni <1 you urr then dismissing it, but study with a thoughtful con¬ the development of your powers. To he denied that prq»*md to do thini, mid «fv*df9ip Uw lituo tttci.tt centration that means retention. recognition or to be given it only partially and yet whllt in l«,«i nitiy to do tbm %r|l. Madame Nordica has been to me a most interesting to go on steadily progressing is a matter needing both example of success through unstinted and unyielding courage and energy to face. The school is a hard on., work and sheer force of energy and will. She, herself, hut the art that is based on such experience is more once said to me, in speaking of the relative successes self-reliant than any other. TAKINQ LEB80NB HOT ALL with and without work: “If you work five minutes Miss Marie Engle, once in apeaking on the snl.jc. t you succeed five minutes’ worth; if you work five of study for opera, said, with the trulh which exp-rh WY II. C, ItAOJVTICH hours you succeed five hours’ worth. Plenty,” she ence sustains, that many studied for too long a time added, “have natural voices equal to mine, plenty before putting results into practice. Years w ere spent TllElUt il n gnat fiM.ir to Idoit. * j*f.«t .Im) have talent equal to mine, but I have worked.” in class-rooms to the exclusion of actual experience in on* knowlrd#** to irauirr, tiiai snii 1st* nr But her work has been intelligent work, reaching on the stage. Many such aspirants are lost sight of unjuircfl by Wooti takittft. i fhli^inth \«>»i »nt*\ its first real climax, in the sense of showing the ap¬ completely; theory has crowded out the vital appli H)*|)|y yoiir*Hv(«* to Uir <)triling f«*>m tW thul plication preceding it, in the study of Elsa under cation of practice. They know how to do tilings, hilt y* 4 rwm* *11 p1i« in bund; wnu b formance at Bayreuth. It was the exhaustive study¬ comes to the point of public demonstration on a stag, iti cannot, in limitrd titrt**, »t^M*k voih Mood vitl» «ti ing out of that one role that gave Madame Nordica and amid attendant surroundings. By this is m.i needful muhiienl knoulr^i^e; y|.r»Id’llt <4 UiC the gradual development of the character from girl but public opportunity after earnest study to find «irt *• nhiill d fiahlt yon Ut mid< m to n uhoul* t ■ »ti to woman; the bearing of other roles in the story weak points that must lie strengthened in private. and we all no* arc in that noltiiWi. V<»u (dtouhl «» ]»i«niaUf for irthtaiof , urn of movement, and, above all, the study of the words, undertake certain Wiles until a certain age. n mailer the tiHttk tlitbD frrr mtM k«)e4 ftot* Mnglj and with full knowledge and value of the settled in the main by physical development. Yd the older forma of |*rUtai and »uiu t-* IV «« »hi* '"caning these things, constituting the coherent this powerful factor is commonly disregarded. The funuita; and the r«**on» fo• !««****- r»f passage ''hole, tended not only to give powerful impetus to physical development by gymnasium and phymsl tml cert*!• kind* of .snsicni m.psit I do not mean the scries of superficial wriggling* that work Madame Nordica had a good long apprenticeship the largeness of moil.in j4»*wd'*4e tmrsh Is. the ohl.-t are sometimes made to stand for it- build upon. The elemental must precede the step music by adding wSar«*. MUw# «q. I.armaw.™ sad Another tor to success, and frequently in the case lu&her development, and in losing sight of this fact so forth, is *n anseht*'**'. *»> hisi.a.iwl swd citis'ie of artists with otherwise admirable powers and «}<"!• "" many end their art before they have begun it. mistake. swwK.ist.sl «itk *i.ig»» wWie^akWi Osat « ment, is lack of sympathy. They arc too comply takes years, and not moments, to make the artist, wort eiumnt I* great witkoai he»n* »««»; <•**< he most successful of artists have faced the most absorbed in themselves to have any spun » ,n 1 " i,lra inv.dna many notes, and be lik*, pronounced defeats. Mr. Jean de Reszke, after years for those about them. Whether strong sympathy is a gift or " 1 ' st"dy> was hissed from the stage of the opera at moderate degree of it is developed to greater f jl'1 r*nP> as me better nmlerstoml **d nrtf.M.»b«il ta imwory ten 6 h’1*p*r givp i' °^lers is the strongest evidence that we can which shows in his music, but also esting ninsical ewer.Is mate* vt ton* at «* h- Lng sure,} th° p0^ession of that will. We may feel as- 2874 . 4 a$s,ir- t*1<> vah,e of our achievements, but it is the felt , , tiv Wn stated that great opera g„ 1Ilg °t others of their value that makes our " W* “» O'*™ singers are 406 T HE ETUDE THE ETUDE 407 Mi future reference; anything you do not understand in the art of holding pupils. NOTE BOOKS AND JOURNALS. pupil may become ambitious of studying i„ THE RAPID MEMORIZATION OF KEY your study. oity with a noted teacher. ’ B B’ LOOK UP TO BACH. SIGNATURES. Remember that a good teacher often gives words of BY CHARLES S. SHILTON. BY EVA HIGGINS MARSH. I’upiUJose interest when they have not enough to advice or facts worth remembering. Lose no such The celebrated violinist, Edouard Kemenyi, who dh d hints. Keep a list of studies and pieces; a separate A.T the beginning of a new year it sometimes hap¬ N0t mCreiy » ‘he matter of private pru’uce, BY JOHN KAUTZ. though it is irksome for * few years sgo, wrote the following paragraph*, Methods which are practical, original, and pleasing one with enough technic to li of composers studied. From this transfer to your pens that a teacher finds his class seriously diminished. which show dearly his views as to the source of the are important factors in a teacher’s success. A prac¬ to he kept at Mozart’s sonatas; journal a short comprehensive sketch of the life of fjome of his best pupils have decided that they can¬ inspiration which composer* and musicians of all Probably all experienced teachers have noted the tical method aims to advance a pupil, an original one ut still more in lacking opportunities for public per eaeh, including his best-known works. not study any longer at present, so that his most am¬ classes must look- apparent difficulties that beset young pupils in clearly to interest him, while a pleasing one in combination formance. Busy teachers often shirk the arduous & Under the second heading I have used the following bitious plans for recitals come to naught. One or two If you want to hear the endless melody—lawk up apprehending and remembering the signatures of the w:.l succeed in keeping old pupils and in gaining new of preparmg frequent recitals, and content themselves plan. At the beginning of eaeh year devote a special whom he had considered the most loyal and interested to Bach. various major and minor keys, and the relation sub¬ ones. In no one thing can a teacher combine original¬ with the one or two a year which they consider neces¬ corner in your note-book to each pupil in this manner: have gone to other teachers, new pupils come in sisting between them. ity, thorough usefulness, and variety as in a pupil’s sary as an advertisement. Then their best players If you want music for your own and muaic’a sake Crace Graves, began September 7, 1900. slowly, old ones are failing in enthusiasm, and every¬ To obviate, or at least to reduce the difficulties thus are naturally put forward, and the beginners get no Look up to Bach. note-book. Weak points: Careless fingering. Poor tone-pro¬ where he seems to he losing ground. early confronting pupils, a number of mnemonic ex¬ Why use one? Each day do we not find things chance. It is a good plan to get the younger pupil, If you want heavenly music sent down to Mother duction. Too much haste in her work. Let us suppose that such a teacher is capable, con¬ pedients have been proposed. Most of them, however, worth remembering which a busy or overburdened Ogether to play for each other once in awhile. They Earth—Look up to Back. Advantages: Quick in reading. Diligent in prac¬ scientious, patient, and persevering; if he lack any have proved valueless owing to their absolute im¬ mind refuses to treasure? Our attention may be at¬ gam confidence, grow interested in comparing pieces, If you w ant to discover all the genius music might practicability. Others, again, were too circuitous. tice. of these qualities he need look no further to account tracted by something worthy, which needs further and look forward to surprising the others with their possess—Look up to Bach. Their application in the learning of key signatures Is studying: Kohler, opus 157. Diabelli. fur his ill success. His errors, then, do not arise from study to make it ours. Here is use for our note book. pi ogress the next time. Find something for the Pieces: “Wayside Brook” (Smith). deficiencies in character or purpose, but from lack of If you want absolute beauty and all that beauty demanded, on the part of the pupil, more time and players who are correct, but not yet interesting. Give By jotting these things in it now and referring to may suggest—Look up to Bach. Add to these lists as the child progresses, and often experience and mistaken judgment His very devo¬ effort than did the ordinary routine process. Hence, them duets and accompaniments for violin or vocal them when we have time for their consideration, the H you want to hear so-called Catholic music, or ao- the profession has wisely discarded them. Of course, note the weak points, with the aim of constantly tion to art has probably led him to believe that every music. Then, after twe ty minutes of music, talk in¬ previous gain is not lost. So we make our note-book, called 1’rotesUnit mush- Look up to Bach. this does not affect the desirability, nor does it neces¬ strengthening them. pupil is as serious-minded as himself and as willing to formally for ten minutes on some point of musical not our memory, but memory’s valued aid. When sarily imply that there may not still exist some un¬ Note any questions asked you which you find your¬ undergo ceaseless toil in pursuit of an ideal. history or biography. Let it all be over in a half- If you want to hear how they will or may sing properly used, it should be often reviewed and its in the seventh heaven— Listen to his Pamion Musir. known short-cut methods by which the acquisition of self unable to answer fully. Therefore he has been inflexible in teaching technic, hour and they will not be tired, but glad to come contents learned. The act of writing itself will serve key knowledge can be greatly facilitated. In the be¬ sometimes spending all but five minutes of the hour again. If you want absolute music without any deviation to fix it more firmly in mind, and make later ex¬ Journal lief that there might be such, it would be highly de¬ on exercises, unwarned by the pupil’s half-concealed A conscientious teacher is often in danger of falling from the same line of beauty, and without any void - planation of it more clear and connected. sirable if their inventors could be prompted to com¬ This book you may not wish to keep unless you glances at the clock. It is very likely that he gives into a rut. He knows a certain set of pieces, becomes Look up to Bach. Such a book should be of convenient size,—a dime municate them, through The Etude, to the profession. have plenty of time at your own disposal. It will be only classical music and insists upon Schumann’s accustomed to teaching them; and never uses any¬ If you want rhythm, melody, harmony, and counter¬ will buy one,—and should be divided into depart¬ It would appreciably lighten the drudgery of their your own communion with yourself, and for your own “Scenes from Childhood” with a pupil who longs for thing else. Often he gives the same piece to half a point drooling down on you as easily as a tepid sum ments, as General Reading, Music in General, Special brethren. It is with thi3 anticipation and hope, also private inspection. Keep a record of each day, writ¬ the transparent harmonies and rhythmical fancies of dozen different pupils at the same time, unconscious iner rain-—Look up to Bach. Branch, Receiving and Giving Instruction. The style in order to make a beginning, that I submit to the ing up the day’s best events, its worthy thoughts, and a Bolim or Behr. Or, again, because some inexperi¬ ol the small crop of bitterness and jealousy he is sow ¬ If you want drama, if you want tragedy, comedy, should be, above all, clear and concise, each entry consideration of the teacher the following method of its noble aspirations. Here many a good thought or enced maiden of fifteen summers does not exhaust ing. To some extent this is unavoidable in teaching sublime farce, jollity, humor—I-ook up to llacli. lie dated and properly headed. The following suggestions imparting to pupils a rapid knowledge of keys, their new idea may be saved. the possibilities of a “Song without Words” he dwells the classics, but it should be done so that the pupils had the absolute gamut of every human feeling, with may open lines of thought for each department. relationship, and their accredited accidentals. From your note-book transfer the list of composers upon the difficulties of apparently simple music and do not remark upon it. Far worse is the policy of the exception of satire, which has no heavenly at¬ Process: Let the pupil memorize the first four odd General Reading studied and write here the sketch of each one’s life, holds her to the severe compositions of older masters some music schools of having all the advanced pupils tribute. and then the next three even numbers: 1, 3, 5, 7, of which I have spoken before. You might also trans¬ when her unsophisticated soul is longing to employ practice several months for a competitive examination Bach ought to be the Daily Bread, U>« Shibboleth, may include fine passages met in general reading, such 2, 4, 6. Having done so, let him now identify each fer under same date and general heading any musical her agile fingers in the first intoxicating draught of in some large work. Only one can win, and the disap¬ the Talisman, the Panacea, and the Vode Umtm ol a j suggest thought for future study, familiar quota¬ successive figure with each successive note of the fol¬ event you have previously noted, writing here more tone-color and bravura effects. What wonder that pointment and discouragement of the others is apt to every musician; and if that would or eould he the tions, quotations on music. Follow eaeh by the book lowing scale progression, and each figure placed above in detail of the program or musician or the character¬ the young nature rebels at the weary grind of technic overbalance the benefit of their careful study. Pupils case, then music would be the art of all arts, as, bring and its author. Reserve a page or two for hooks read the note will indicate the exact number of accidentals istic of style or interpretation of the latter. and baffling study of works she does not comprehend, are quick to see whether a teacher is squeezing them not yet rightly treated, it is already an art and sci¬ during the year and your estimate of them. particular to the key of each note sounded. For in¬ Choose some theme for special study and a special until she begs her parents to send her to some teacher into the narrow mold of his established routine, or ence combined, sent to us from heaven as a consoling Note also words the pronunciation of which you do stance: writing in your journal. The writing of it will be of who gives pretty pieces. studying them as individuals and giving them work medium between here and there, of which the arch¬ not know; words of whose meaning you are uncer¬ inestimable value to you. You may, perhaps, learn This is one of the first and greatest mistakes of which suits their personality. angel is Itaeh. Major Keys Having Sharp Signatures. tain; new words, with a special heading for each. how really little you know along certain lines. young teachers,—too much technic, too much classical After the teacher has considered every ground for Children of lender age who learn music, and after Use a separate page for the new books of the day. 1 3 5 7 i 4 6 You must be your own critic, and, with this thought music with young pupils. Regularity of technic is dissatisfaction on the part of pupils, and sought to re¬ having acquired the necessary and elementary rudi¬ Thus you will be making the most possible of your in mind, I would advise you often to re-read your more important than quantity. Do not devote to it move it, there still remains the question of his own ments, and after haring learned how to play the reading. personality. Some there are who can never hold work, aiming to constantly improve both style and more than half the lesson or require for it more than scales pretty smoothly ought to he put at once to t» t: f ? I Music in General pupils. Good concert players, good lecturers, writers, use of material. “Reading maketh a full man,” but half the practice; the means is not greater than the play the two-voiced pieces so wonderfully full of may include, first, books specially devoted to the in¬ end. Approach classical music gradually. Mingle composers, all these they may be, and yet repellant in jollity and rimon pure invention by Sebastian Bach. This shows that G-major has 1 sharp; A major has “writing maketh an exact man.” terest of the music student, date and author of eaeh. with it good popular music. Give that girl of fifteen manner and not able to impart instruction. If yon A child put to such a task in a playful way, and en¬ 3 sharps; B-major 5; and so on. There are other note-books in connection with gen¬ have unmistakable proof that you are one of that dowed with a little talent would make astonishing Group these under biography, fiction, history, har¬ eral study which should be kept. One on musical a Godard waltz and she will follow you cheerfully class, give up teaching, practice some other branch of progress, and thus save a great deal of precious time Major Keys Having Flat Signatures. mony, or miscellaneous. Second: noted musicians form—fugues, sonata construction, etc.—is valuable. through a Bach “Invention” and a Haydn sonata. the art. But they are few, the reaUy incapable. Most and unnecessary trouble in after life; and would be you have heard, date and place, a copy of the pro¬ One devoted to history of music should accompany Let her have something bright and taking to im¬ I :s r> 7 -j ib musicians who are well-trained have pleasing manners, tbusly endowed, through studying Bach in hit tender gram heard, if possible, and your personal estimate of that study. I saw recently an interesting “Orchestra press her unmusical friends with her ability, and she staying powers, and enthusiasm, can keep their class age, with an alinoet unerring judgment in music, and them; special musical programs to which you have book,” greatly prized by its owner. The first page will not fail you at your recital. Later, if she be a full every year. Above all, enthusiasm. especially such a musical child would never say, in listened. New composers, new pieces; collections of contained a drawing of the New York Philharmonic musical soul, she will outgrow the light popular vein “Without enthusiasm,” said Schumann, “nothing after-life, "This is s good piece for an encore,” songs or etudes which you wish to remember; any Orchestra, showing position of instruments, followed and at twenty will laugh with you at her fondness for great can be accomplished in art.” Have an ideal. and “It takes with the public,' and such en¬ The same process is continued in discovering the opus of which you are uncertain; any important by names of pieces composing various orchestras. it, while she is grateful to you for indulging her fan¬ Try to live up to it Believe that music is one of the core pieces would never see the light of day, trash¬ relative minor-key signatures. musical event. Fol owing a sketch of the growth of orchestras and cies as you led her higher, and wholly devoted to the eternal things really worth having, part of the treas ily compiled (not competed) by ao many musical If the pianoforte is your special branch, this head¬ orchestra music, each irstrument was fully described, masters you love. ure laid up in heaven. Your work is to give as much nincompoop* all over the world. Relative Minor Keys Having Sharps. ing may contain the following rules, an outline of various schools of playing named, noted performers Again it is possible that our young teacher does not of that to others as you can. Think how much you which I give: on each listed. Each sketch was preceded by a cut of offer sufficient encouragement to a pupil really deserv- I 3 giv ing, not getting. Work as hard as you can. I. Scales, formation of major and minor; their re¬ the instrument, cut from a large dealer’s catalogue, lng of it. There are some who seem to believe in con¬ are Two Elements of Scccem.—“Success in life it lation to eaeh other; related chords written out. don’t stop to think how you are getting on or to and neatly pasted in the book. demning the bad and taking the good for granted. largely referable to the fulfillment of two conditions H. Rules for fingering same. worry at fluctuations in success, hut fix your eyes The sketch of the piano, which was very full, de¬ Vou very properly criticize your pupil for lacking indicated by th* terms ’aptitude’ and ‘courentratioe.' m on the goal. You will never quite arrive there if IH. Special pedal exercise to precede use of pedal. To be successful, one must possess aptitude for the scribed fully the process of making the instrument, elasticity of touch and for careless practice, but do . * _Knf will sfintf tiflif? vou have the soul of an arUst, but will sometime particular business that engages him. H* must love Relative Minor Keys Having Flats. IV. Practice schedule (on basis of three hours for the woods and metals used, the veneering, number of you praise the firm legato, the clear rhythm and per¬ average student). find that the recognition you longed for w th« early it for its own sake. If, suited to and hiring it. he vibrations, etc. The different schools of piano play¬ fect time, and the musicianly feeling? A little praise 1 3 5 7 2 16 rears has come to you, aud that it is noti at Ulthe concentrates upon it all his energies, be is tolerably ONE AND A HALF HOURS. ing and their exponents followed. The organ, the judiciously bestowed will make the pupil eager to Important thing yon supposed. Your work 1 sure to succeed according to the measure of th* bual king of instruments, closed the list. As a valued profit by the criticism which might otherwise be dis¬ IF- t « ie v. --1--t- Scales, finger exercises.30 minutes. gained new meanings and absorbed more and more of ncas itself and of his own capacity. Is other word*, — 1 r- 2f— note-book on history of music, this surely is unrivaled regarded. Says one teacher: “You spoil Mendels- tt ^ Etudes . 30 minutes. your energies. success is the round peg in the round hole and the r on orchestra work, and the teacher who required an 'uhn’s ‘Spring Song’ by bad pedaling. Now practice Eiece .. minutes. square peg in the square hole, and, big or little, is to I surmise that the reader will not have failed to succeeded in getting such a work is to be congratu •f>is exercise for two weeks.” Says another: “You Beview .15 minutes. To Liszt we owe the deep study of t^possibffitics be attained in proportion to the coincidence of these lated. But will we not find that pupils take a pride ta'e the ‘Spring Song’ almost done. Your leggiero notice that the key of C-major and its relative, A- requirements with the opportunity and the man. In SECOND ONE AND A HALF HOURS. and pleasure in such a hook, more than repaying us ‘0Uc'h is delightful, you make the melody sing, and minor, are unprovided for in the above. This is due the eases of Osar and Napoleon, they reached the a'e the fresh buoyant feeling. Now all that remains to the fact that neither has any accidental in its key Seales, arpeggios, etc.15 minutes. for our extra thought and labor? !• in the individual fingers, ne oc altitude of human endeavor. In the case of the coun- native emphasis ^ ^ ^ ^ ,hLondon, and can be ordered through mastery of the organ. How can a choir-master ex¬ ignoble and repulsive. instead of being strut*, and always held their full the publisher of The Etude.—Everett E. Truette pect to mold his crude material into anything ap¬ value, special care being given to the legato bidding The organ seems to be essentially the instrument proaching a finished product if he has not the slightest each note or chord to the very in.tanl that the neat for the accompaniment or performance of religious is noticed. If one boy, with a good voice, is overtired is sounded. Sf.l.ECT only such boys as idea as to how tones should be produced or the voice If a pupil comes to you music of a pure kind. Not that kind of religion that MAXIMS E'OK have good personal habits as or perhaps not very well and robust, he will fiat and Generally speaking, the difference in touch is the eared for? is fostered by trumpery kickshaws and tinsel and drag down all the others. It is needless to say that PREPARATION. each week for a lesson, say¬ TRAINING BOY well as promising voices. “In addition, the choir-master should lie a man of difference between striking the keys and pressing ing: “I have not practiced dressed up dolls and every kind of theatrical trickery, CHOIRS. As a general rule, boys he should be excused from singing during the rest them down, together with the fact that m organ taste and cultivation, pledged to high ideals, and fitted which is only an external tickling of the senses and of the rehearsal. a note since the last lesson,” your patience would be playing legato, staccato, isirtaiuento, etc., depend under nine years of age by familiarity with the best music to make his work sorely tried and your admiration for that pupil would has its part on the outer man, but that religion which should not be accepted. Occasionally boys of seven Encourage the boys to sing softly at first and to wholly on how the key is left, and not on how it ia measure up to a high standard of excellence, even lives in the innermost soul of man and holds its plure avoid forcing the chest-tone. Counsel the boys not to be near the zero point. pressed down. or eight years exhibit vocal talent which can be util¬ though there may be difficulties in the way. How many organists go to church on Sunday morn¬ and exercises its influence in its deepest emotions.— ised, but generally their perceptive faculties are in¬ shout and strain their voices when at play. They “Finally, if he is to conduct a boy choir, he has .1/usical Opinions. ing without having given a thought since the last C. L. B.-—The exact time for commencing the organ sufficiently advanced. are liable permanently to injure their voices. special need of a large measure of sympathetic insight prelude depends on several circuinstances. If there In examining the voices have the candidates sing The director must preserve perfect discipline, at the Sunday toward their preludes and postludes, and, ar¬ and practical helpfulness, perhaps the two leading Mr. J. Wall auk Goon- is a bell on the church and it is rung the last five various scales (slowly) ranging between one-lined C same time using tact to keep the sympathies of the riving at the church, grab up some collection of organ characteristics of a personality that can control and minutes before the time set for the srrviee to begin, music, playing “any old thing” which they run across! MIXTURES. kich is to give an organ re¬ and two-lined G or A, using only the major scales and little fellows. rightly impress the young minds under his care. cital inaugurating the new and if it is distiiu-tiy auditde within the rbureh, the having the candidates breathe after every third or Constant repetition of difficult phrases with ex¬ Is it a wonder that organ music is unpopular in The conduct of a boy choir is a responsible under¬ organ in Symphony Hall. Boston, on October 25th. prelude cannot be commenced until the bell ceases planations of the errors, causes, and corrections are some localities when the public is treated each week fourth note. After thus hearing the tone-quality of ringing. If there is no tail ringing and the pastor or to such shiftless performances? taking and one that should not be entered upon care¬ the voice, play or sing various notes at random, high necessary. Correct breathing, enunciation, and phras¬ lessly. The personal equation is, of course, an indi¬ Mr. Clarence Eddy announces a recital in the above the parish committee explicitly stipulate that the an l low, regardless of key, requiring the candidate to ing must be carefully explained and insisted upon, but If you will allot a certain amount of time the first vidual matter, but the other qualifications can and hall on October 30th, when he will be assisted by prelude must end at a certain time, the organist must reproduce tones of the same pitch. This will show correct notes and rhythm must be secured above all of each week to preparing your organ music for the should be acquired in advance.” Mrs. Katherine Fisk and Miss Leonora Jackson, the commence the jireludr soon enough to end it at the whether or not the boy has sufficient musical intelli¬ other points. following Sunday, and after selecting suitable and in¬ violinist. stipulated minute. Select interesting music (remembering that all teresting pieces, practice them, you will find that you * * * gence to sing a phrase after he has heard it. Do not * * * If the proper authorities in the church are suit) will enjoy your work yourself, and others will like¬ expect too much, especially in sight-reading. If the music which is printed is not necessarily interesting), My own experience of a eiently advanced in their ideas to believe that an What is the difference between a dentist and an boy has a fairly agreeable voice with a sufficient com¬ and avoid too difficult music. wise come to enjoy it. If you have more respect for QUARRELS choir, and also of an organ¬ organ prelude should not lie considered an agreeable organist? pass and an ear musical enough to reproduce various Never attempt a public performance of any musical your work, others will have more respect for you. ic THE CHOIR. ist, has been altogether de¬ noise to rover up the disagreeable rustle of people Answer: A dentist manipulates the forceps, draw s notes at random, the director can supply the other number till the choir arc familiar with it and can Is it not worth while?—Everett E. Truette. lightful, which is one of my entering church, they will stipulate that the service tne ivories, and stops considerable pain. An organist needed features. sing it fairly well.—Everett E. Truette. * * * singular mercies; but I move about in the world, and commence at a < retain time with the organ prelude, draws the stops, and takes considerable pains in Great discretion must be exercised in accepting or 1 have heard things. As a choir consists, it is pre¬ at 10.30, for example, in which ease the organist be In playing the organ, es- manipulating the ivories. rejecting boys who sing out of tune. If a boy does sumed, of a number of select persons, male and female, gins to play at 10.30. AVOID pecially if the instrument is not open bis mouth properly, or if he favor the chest- I have just received copies who have correct ears and rich voices, and are lovers SUPERFLUOUS one of the old-fashioned Once upon a time a Western pastor was preaching J. N. M-—1 Should the “band touch" and “staccato tones, causing bad intonation, he need not necessarily A NEW WORK of a new theoretical work on of the most delicate and spiritual of the arts,—the NOISE. tracker-action organs, great in a Boston church with the intention of accepting touch” be used on tlie reed organ? be rejected, as a little care will overcome the defects; ON THE ORGAN. the organ entitled “Organ Con¬ most refined persons, in fact, in a congregation,—one care should be exercised in a call to the church. In making suggestions to the Assurer: The keya should be pressed down exactly but if he is idle, inattentive, or constitutionally lazy struction,” by J. W. Hinton, would take for granted that the whole atmosphere manipulating the stops and combination pedals. It is standing committee with regard to several alterations the same for staccato as for legato (unless tb* passage it is hazardous to accept him, unless some one can M.A., Mus. Doc., of London, a work of more than of a choir would be full of gentleness and peace. Ru¬ not necessary to make a racket when drawing the in the church which he should like to have made, lie ia verv rapid), hut each one should lie held Ult the devote' considerable time to him alone. ordinary interest and value to organists. mors, however, reach one’s ears that the power of great-to-pedal coupler, for example. The mechanism recommended that the organ should be moved from next for legs to and cot held for staccato. If there are to be 18 boys in the choir, 4 should be A largo percentage of American organists are abso¬ quarreling within certain church choirs can only be is simple, and only a small amount of force is neces¬ the east end of the church to the gallery at the west 2. What is meant by “two stojie of different pitch ?*’ between nine and ten years of age, 4 between ten lutely ignorant of the internal mechanism of the in¬ sary to draw the coupler, and yet how often an organ¬ exceeded by the high spirit of a body of Irish patriots, end, saying that “it could be placed on rollers, rolled and eleven, 4 between eleven and twelve, and 4 be¬ strument which they play, and all theoretical study Answer: If one stop sounds the same pitch as the ist will use force enough to lift a trunk, in drawing and that there is almost nothing so trivial and in¬ to the other end of the church, and raised to the gal¬ tween twelve and thirteen. A few- boys under nine of that instrument is considered, by them, a waste of piano and another sounds an octave higher or lower, this stop, making a noise not unlike the dropping of visible but that it will set a choir by the ears. It lery by means of a derrick” {sic). The organ was years could be preparing themselves to enter the choir time. While it is not necessary for an organist to be the two stop* are of different pitch. In pi|« organs one end of the aforesaid trunk! Such a noise is de¬ may be the place in the stall, or the singing of a par¬ thirty feet high and twenty feet deep. later. By the time that these sixteen boys have be¬ (and occasionally in reed organs) the atop* are marked an expert carpenter or general mechanic, it is a notice¬ * * * cidedly objectionable to the hearers and does not tend ticular part, or a correction of the choir-master, or a come efficient choir boys the older ones will commence able fact that the organists who have some idea of 8’, 4’, or !«’. etc. With an 8 feel stop any note on word of approval to another chorister, or a remark A Frenchman, once giving a description of a fugue, to improve the reputation of the player as a careful the keyboard will sound the same pitch sa on tin- to lose their voices and the younger boys will have to how the tone is produced in an organ, and of the dropped by one of the choir,—so tender are the feel¬ and painstaking performer. said it was a composition in four parts, where one piano. With a * feel stop it will sound an octave take their places. various differences in construction of pipes which ings of a chorister,—anything, or, for that matter, A flexible wrist, either in drawing or pushing in part rushed in after the other, and where the audi¬ higher, and with a 16 feel stop an octave tower than On general principles there should be as many boy produce different qualities of tone, are the ones who the drawstops, will obviate much of the noise men¬ nothing, will hurt. He will sulk, or make unpleasant ence rushed out before any of them rushed in. To sopranos as there are men on the three other parts; handle the organ with greater ease and facility. the piano. remarks, or resign, or drive some other persons out, understand a fugue, it must be listened to intelli for example, with the above 16 boys (sopranos) there tioned above, and will thus enable the hearers to fol¬ For the average organist this book contains much R. J.—The beat kind of almes for organ pedaling are- low the music without having their minds detracted and then on some great occasion all the members of oentlv and attentively—Music. should be 8 basses, 4 tenors, and 4 altos. If boys sing valuable information, presented in a manner at once thin soled, lace, button, or congress shoes, which by the unnecessary racket.—Everett E. Truette. die choir will resign and take themselves so seriously the alto part there should be twice as many as when concise and comprehensive. Such technicalities as should be about half a orn out, so as to hr soft s«d ■Lit the event will be considered equal in interest to dnis for a young organist: men take that part. concern only the organ-builder are omitted, and every # # * flexible. Some organists prefer low shoes, but they 1 war. Upon the whole, the choir rather enjoys a en a piece is too difficult for you to read, use Rehearsals for the boys should be as near daily paragraph in its 157 pages presents to the thoughtful slip at the heel and prevent easy pedaling. Every A whiter in the sew crisis of this kind, for it gives stimulus to the artistic unba and four-rank mixture. No one will he (short rehearsals) as possible, with two rehearsals organist some useful idea. organist ought t» be able to play i« W» ordinary walk CHOIR-MASTERS England Conservatory Vay- temperament. But there are some who do not enter a tell whether you play the pice right or not. each week for the full choir. If possible, rehearse with The chapters on “General Notions of Organ Stops,” ing shoe*, as carrying a pair of special shoe* is .» FOR BOY CHOIRS. azine has this to say on wholly into the enjoyment.—Ian Maolaren in Ladies’ m you wish to enlarge your chorus draw choir the piano in a room large enough to contain sufficient “Descriptions of Principal Stops,” “Glossary of Tech¬ the above subject: “Interest lime Journal. unnecessary nuisance air and admit of good circulation. The organ lacks nical Terms,” and “Answers to Questions on Organ in boy choirs and the consequent demand for them pn you wish to dismiss your chorus draw “choir characteristics which are necessary in teaching boys, Construction set at the Royal College of Organists’ is on the increase, in spite of the fact that they arc and the cabinet organ is apt to force the boys to Organists often express Examinations,” will prove particularly valuable and stoutly opposed in many churches for a variety of Invou wish to par the choir draw a check (not imitate its nasal tone quality. The last half of the A DEARTH their surprise at the limited NOT the leant unfortunate result of the popular al¬ will aid candidates who contemplate taking the ex¬ reasons—more or less tenable. For example, the ad¬ final rehearsal should be with organ accompaniment, OF GOOD quantity of really first-rate check).—Ex. lude toward music ia that people in general, having aminations of the American Guild of Organists. vocate of chorus singing in church worship declares • * • as boys miss the rhythmical accents of the piano, ORGAN MUSIC. organ music there is in ex¬ -■thing definite to say,—about the fifth symphony, A few definitions and descriptions do not coincide J. N. Hardy, organist of Wakefield Cathedral. that the boy choir is only a makeshift, resorted to be¬ ,r instance.—try to ek* out their indistinct thought which are impossible on the organ. istence. A little considera¬ i l. ajj kinds of organist*. with our ideas on this side of the pond, but the dif¬ cause it is impossible to adopt the ideal method. There is a difference of opinion regarding the ex¬ r falling into the rhapsodizing v«4n. N«*r, of ail ference is purely one of locality. For instance, the tion would, however, show how inevitable this is. Stated thus, the question seems to be merely one of lIV about music, the rhapsodical is unquestionably pediency of rehearsing just before the service. While L Hubert Parry' puts it very well. author defines a “sforzando pedal” as “a coupler personal views as to what the ideal may be, and there various points in the music are thus freshened in the kj flimsiest. Sweet poetry ami soul s< irrmg eloquence brought on by means of a pedal.” This is true in * organ, he says, is too grand an instrument to is no real argument. ,n illumine most things in this world with a new minds of the young singers, the rehearsal also uses F.ngland, but the American builders generally give . ^actable. There is a good deal of romance about “The truth concerning all of the objections to boy ad heavenly light; hot when they try to chant the up a certain amount of vitality and poor intonation that name to a pedal which draws full organ with and long association with religion and religious choirs that have been advanced is that they do not raises of a Beethoven symphony yon have only to often follows. all couplers—similar to the German “Yollmcerk.” ^ tas east a gor£ glamor over its sounds which reach the root of the matter. The real difficulty and ar a few measures of the divine music to make both The rehearsals must be regular and well attended, jmdon Musical Herald The book is copiously illustrated, and all the illus¬ fables people, up to a certain point, to make great # • * it is a serious one—is that of securing compet'd s-trv and eloqocnre seem very dark, indeed, The and the director must remember that his work with trations are very clear. The plate showing all the ^ very simple means. It seems easy to g_l. The natural and ar- choir-masters. It is not sufficient to be merely a" rightest gas-flame shown, dark against the *»«»’♦ disk; the little liand is much more important even than the ■ « . i . .. ../■ it t ^ rp observed action and pipes of a three-manual organ is the finest ^ Hce\ery attractive results by extemporizing; and who shall worthily rhapsodize dhrmt music, wfcch selection of the voices. Oftentimes hoys will sing out organist, even a well-trained one, much less one "im I have ever seen. a theater an organ has almost always a telling has taken six weeks' instruction in registration am itaelf the most imre-mparable of rhapsodies’ tr. F. of tune from fatigue when the rehearsal is half over. effect The chapters on “Rough Tuning” and “Close Tun¬ taught himself the rest. And yet men with this in m a ehurch scene of any kind. A short recess is often beneficial when this tendency pthorp. ing, if carefully read, will remove the veil of mvs- adequate preparation have recklessly undertaken the a "^en m°sic conies to be written down, or taken 7 from the illusive conditions of a theater, it is 410 T \iE ETUDE 411 The felt is a large, almost triangular sheet of ma¬ The majority of people terial wrapped about the core with the point inside— national imagine that the various nuuj me llltated city of Galveston. which a pianist require*. At the Edinburgh Confer¬ so that the inner portion is in a condition of great federation of women’s clubs, reversing the ence Mr. \ ugii gave a specification for the building compression, and the outer edge, which is violently MUSICAL CLUBS. habit of the bear, “hiber¬ “P of a piaaiat. It waa aa follow*; (1) brain*. (2) strained to cover the mass, is exceedingly tense. All news from nate” (!) during the sum¬ honest purpose and high aima, (S) health, (4) phy- the varieties of tone effects arise from the different mer. On the contrary, a the western Slque, (5) power to breathe deeply, («) meehankul degrees of compression, and therefore hardness, of the most vital part of the year’s of rr . 0 y t0 ““derstand the advances section. ability, (7) a deep fore for muair and s refined taste. hammer proceeding from rim to core. A light blow work is at that time under o! musi lT them Mady t0 oali8t ia ‘he army usical workers laboring for the upbuildin- o’f 1 am quite sure women possess all these. compresses the outer felt, which is the softest layer way; namely, arranging the program for the year, music in America. Mrs. D. A. Campbell, Vice f, c*i Nothing hss contributed so much to the advance but little, and the tone is delicate. A harsher blow- assigning parts, procuring lecturers, etc. In the dent of the Western Section. of musical art during the last few years, and ia giving drives the point of reaction further toward the center strictly musical clubs this is particularly true. All such fair hopes for the future, as the increase of the of the head, which is more and more hard as it nears through the warm, grow ing days of the summer just number of efficient lady violinists, who are making The share which woman the wooden core. A very harsh, hard blow drives the passed, by individuals, by committees the plans for WOMAN AS A it possible to create orchestras in nearly every town This is the month when ing. “That must be a woman,” said our visitor, “she lias taken in the develop¬ hammer upon the string with such force that the un¬ the winter have been made and the pleasure and profit MUSICIAN. I. of any aixe, thereby cultivating the love of the highest THE BEGINNING OF club-women are inaugurat- plays with so much sentiment.” ment of the art of music, yielding core affords the rebound and then the loud, for the many have been made possible by the effort and best class of musk. For, surely pure instrumental THE CLUB-YEAR. ing the work for the coming It is now many months since we came into posses¬ hard vibration, characteristic of the stroke of one and diligence of the few-. , and ber present position in music (a the highest and best class of music; it re- year, when new club-mem¬ sion of this particular sanctum, and day by day from the musical profession, are deserving of our highest hard object against another, is painfully perceptible. It is just at such a time that the value of the feder¬ ceives no assistance from outside source*, it has no bers are entering, and old ones dropping out of club- the rooms beyond sounds of music have drifted in at consideration. Every day she is playing a., inerca* The depth of compression of the hammer made by ation idea makes itself evident. Club after club limiting conditions of expression," and, more impor life. If the year's work is to mean all it should to the open door, but never yet has either sentiment or mgly conspicuous part in regard to music-by her the blow is the cause of the differing tone qualities writes: “We have found the work of arranging our tant still, it demands for its construction some definite each club-woman, it will be because she looks at it tone-quality proved on inspection to bear any rela¬ power and intelligence she is sweeping away all silly of different players, and different touches executed bv programs so much simplified by the exchange of form of art. To quote Sir John Stainer, "There eaa be and goes about it in the right way. tion to the sex, age, or worldly estate of the musician. prejudice, and proving beyond doubt her fitness, both the same player. In my last paper I presented a cut year-books”; or “Many thanks for the programs sent, no doubt that when music ia severed from words and What, if we sift it to the last grain, is the origin One morning, for example, fragments of Liszt physically and mentally, for a high position among of an upright action, w hich showed the large number —they have proved full of suggestion.” The new club becomes purely instrumental, the necessity for pre¬ and reason for women’s clubs! Is it ambition, or love rhapsodie (No. 12, of course)—percussed with aston¬ artistic musicians. In fact, I do not think it is too of levers and springs which are employed to make the at Sheldon, Iowa,—only five months old,—finds itself senting it to us in s definite art form la greatly in¬ of culture, or need of combination, gregariousness? ishing energy; and vulgarity tempted us forth on a much to say that she will have a large share in the creased.” hammer sensitive to the slightest variation of touch. already under obligation to the Federation for as¬ future progress of musical art in England. Or is it something deeper still—and of more vital con¬ voyage of inquiry. “This,” we said to ourself, “is cer¬ I am firmly convinced that the great increase oI These variations affect the velocity of the hammer. A sistance given. Other clubs have discovered the sequence! I am sure, if we think carefully, we should tainly Herr Gump, come from Germany to revolution¬ In the dim and distant past, the art-history of female executants will give sucb an impetus to orehm slow motion gives a light stroke. A quick motion a economy of engaging artists through the artists’ com¬ which is more or less speculative, we do not find recognize the truth; it is a longing for more life, fuller ize American art.” tral music, that, in a few years to come, our com¬ heavy one. The strength of the blow accomplishes mittee, and regret that they have not availed them¬ life—higher life—that brings women together in club- Not at all. It proved to be a black-eyed young women standing out with any prominence. Tie true posers will be induced to return to the symphonic the same result, viz.: to drive the hammer against selves of it before. work. woman in a picture hat, come in town with the com¬ we read of Miriam the prophetess singing her song of form, and start again where Beethoven left off, for I the string so as to compress it in direct proportion to As society grows more complex, the constant tend¬ mittee of a suburban fire-engine company to select an It is still early to know what artists are to appear triumph, timbrel in hand; of Sappho, the Greek do not think the art of composition hss made much the force used. The greater or less jerk given to the ency is to isolate women in the home; women need instrument for their new hall. before the various clubs, but it is certain no steps poetess, who is supposed to have invented the Mix- progress since his time, or, to put It differently, 1 piano string by the blow of the hammer is modified not work in the fields, or administer the alTairs of the Next time a repertoire of romantic music played backward will be taken. Many clubs cannot afford olydian mode; of Lamia, the beautiful Greek flute think that llie progress has been in a direction which by the harder or softer layer of felt which comes in business as they did in earlier times. Men have grad¬ with delicious sentiment and a very remarkable soft¬ Clarence Eddy, Madame Gadski, David Bispham, player, who had a temple dedicated to her honor; of cannot be followed by anyone not possessing the mouu contact with the string. It is also greatly modified by ually aggregated all the functions of business life, at ness and purity of tone attracted our attention. “This Max Heinrich, Leonora Jackson, William Shakespeare, the Druid priestesses, who invented their own sibyllic mental genius of Wagnrr himself, the sttewpt to copy the condition of the outer surface of the felt itself. least in America. Women have been left with none must be a debutante fresh from the hands of some or de Pachmann, but each club is determined to pro¬ utterances; of St. Cecilia, our patron feminine saint; whom is most disastrous to the best interests of musk. of the cares and responsibilities that reach out into great European teacher; and she will make a sensa¬ A new piano with a set of new hammers, not voiced, cure as good artists as careful financial management of the great number of female performers, engraved I woud urge women to study tbs violin and other national or even civic life. Women have been obliged tion.” But the player proved to be a middle aged sounds to the inexperienced ear exactly like a worn- will justify. upon monuments and tombs, playing upon all sorts stringed instruments, with the object of helping to to concentrate their thoughts on the administration Cuban artist, a pupil of Marmontel, and first prize out “tin pan”—every harsh dissonance comes out with In looking over the year-books for the coming sea¬ of impossible instruments (in one case an angel is de¬ form orchestra*, for by so doing they will assist the of a large number of small, vexing, and perplexing winner at the Conservatory of Paris. the fundamental “klang” of the vibration. The reason son it is a pleasure to note that American composers picted playing upon the bagpipes); of the Trou- progress of true musical art more than by anything details that make up the unparalleled difficulties of More than once precocious “wunderkinder” have is the same in each case. A harsh and unsympathetic will receive no small share of attention. The Boulder, veresses, who to some extent preserved and composed eke in the world. In some rare instance* lady violin¬ American housekeeping. Everything has turned in¬ produced on us the impression of mature and some¬ condition of surface. The tightly strained felt of the Col., Club says: “It is our desire to make a great the folk-song of this and other countries; but until ists make auperb «o!o artists, but the goal of the rank the sixteenth century woman had not really shown and file should be the orchestra. ward—nothing led outward. what hardened age by the vigor of their tiny fingers; new- hammer and the well-worn groove of the old ileal of our own American music, as we have so many any great capacity for musical art. This is not to The harp teems to be essentially a lady’s Instrument. Now life grows by extension (not expansion), and and we take it as a principle of action that the most one, cut almost to the core, produce similar results. composers of rare ability.” Canon City, Col., a new The busiress of voicing is the preparation of the be wondered at, for her social and domestic position I think we all recognize bow efficiently our femak health and vigor increase with mental and soul growth. brilliant, unfeeling, loud, and stylish playing that as¬ member of the Federation, having spent two years in surface of the hammer for the blow, and here lies the up to that time was anything but desirable. She had harpist* perform their work. Bra** and wood wind As a means of escape from self-contraction, out into saults our unsympathetic ear is the work of some studying operas, will this year devote all the morning no freedom of action, and hardly of will; at one time women executants are somew hat rare, and I hope they the larger common life of an intimate circle of kindred small, slim, youthful blonde, in a blue-and-white cos¬ art (for it is only pianos of the great art-pianomaker meetings to American composers. that are ever really voiced). Every art-piano is an she was idolized in a silly manner, at others she was will remain to, for it ia not a pleasing sight to ore minds, the woman’s club is the greatest blessing of tume and natty hat. The Fortnightly Musicale, of St. Joseph, Mo., will independent organism differing from every other. As made a slave of. them straggling with the bassoon or trombone, with modern social development. We are not drawing conclusions from solitary in¬ study, among other things, Wagner and Beethoven, The invention of opera, about 1600, seems to have starting eyes, swollen Ups, and distended cheeks. It is obvious that this blessing is only possible to stances. Through the door aforesaid strains from it comes from the factory crude and dissonant, it opera and oratorio, folk-songs, and cradle-songs with I must not forget to my a word about women or¬ those who are fit for it. It is to those who are anx¬ famous fingers more than once have stolen in. Velvet- offers the problem of its future quality to the voicer. been the starting-point of woman’s success as a pub¬ a miscellaneous program every other one. In Des ganists. They hare great diffirultks to overcome in ious to give and share that the blessing of woman’s and-satin notes betrayed the presence of de Pach- In it is hidden one quality of tone, “one chord,” as be lic artist, and this fact brings me to the consideration Moines the Woman’s Musical Guild has the same gen¬ the exercise of their professional work. No one calls it, which, being found, it yields its greatest of Woman, as executant (vocal and instrumental). organized life comes back, in good measure, pressed mann, showers of prismatic hail the colder genius of eral plan. The Maurice Grau Grand Opera Company We read of a very accomplished songstress, Vittoria doubt* their executive power*. 1 know them to bar* down, running over. To those that enter club-work Breitner, or rhythm piquant and exciting the intel¬ totality of power, sweetness, and sympathy. Till it give two performances in Lincoln, Neb., in December, been practically illustrated at the Royal College of to get and snatch and keep there is no blessing at all is found it is weak, harsh, and unsympathetic. It is Archelei, taking part in the first Italian opera that lectuality of Bloomfield-Zeisler. And now and then which has induced the Matinee Musicale to devote one Organists. Aa you are aware, the examiners are eon —only bitterness and unrest and disappointment. his art to find that tone, to divine it, choose the means was performed in public at Florence in 1600. It was the exquisite cantilena has apprised us that Paderew¬ program to the study of the operas to be given. An¬ eealed behind a screen, and the candidates are only You are tired out with economical housekeeping. to elicit it, and bring it to perfection. His means lie evident at once, that woman, cast out of the Church ski or Dohnanvi sat behind the long wing of the other program presents music suitable for morning, known to them by numbers, and when I tell you that You are weary of keeping up an artificial life of cruel in the operations to which the hammer may be sub¬ as an official musician in the sixteenth century, found grand piano. noon, and night, while a third gives that suggested we have passed women candidates with high marks, etiquette; you are perplexed in the daily and hourly jected, and in variations of the escapement of the her true vocation as a singer and actress in dramatic But never in all these cases—as charm first invited by the months of the year. and that we did not know they were women until solutions of problems of loving helpfulness, or dis¬ works, and her success, so freely acknowledged, has attention and then stimulated recognition—has any hammer, depth of the touch, etc. the pans lists were read out after the examination, The Cherokee, Iowa, “Tone Circle” will give a sacred been more or less continued to the present day. In cipline, or comfort; you are lonely because the op¬ peculiarity of sex mingled with the impression made. With his needle he gives a velvet surface to the you will see that I have good reason for not doubting concert Christmas night in addition to their regular the middle of the eighteenth century her supremacy portunity for loving self-denials has been taken from Neither musical touch nor musical temperament felt, with his iron he hardens it, with his steam be their power to execute the practical part of aa orgia- programs. The Denver “Tuesday Musicale” has a was, to a certain extent, overthrown by the male you, and time hangs heavy on your hands. Then go judged by this test are dependent on sexual consider¬ softens it. All his manipulations are so slight that iat’a duties; and pet, as I said before, they have some good idea in having the vocalists study examples of soprano. However, this success did not last very long. into club-life—and make an honest and serious effort ations. But race, breeding, and personality, on the to the uninitiated they seem to leave no visible trace, difficulties to encounter in regard to choir training dramatic, lyric, and epic songs, while the instru- At the beginning of this century we find Mendelssohn, to throw your thought and will into the new and contrary, appear to control the tone, touch, and in¬ but, if successful, a voice almost human in its sensi¬ and the management of a choir, and 1 do not con ■nentalists study the symphony. Other programs take in one of his letters, expressing his great loathing of extrapersonal channel which it offers. Live an hour terpretation absolutely. tiveness is produced. aider that organist's work can in *U eases he quite sue np study of composers individually. Velutti’s singing—one of the last of the male sopranos. with Mozart or Beethoven or Liszt—realize and help * * * There is no rule by which voicing can be taught. ressfnlly undertaken by women. It is not possible here to give a list of all the illus others to realize what life meant to them. Spend a day It is the work of the artist. In a large manufactory A beautiful feature is introduced in Portland, Ore- I have spoken at some length of executant*, both trious songstresses who re-established the re.gn of the at the club music class, and enter into the feelings of After the action of a where there are several voicers, each man’s pianos can 8°n, in the free concert for the poor given each year rood and instrumental. I must hasten on to the next prima-donna. Among the foremost were Bar-1., Cats- the working-girls assembled there. Lend a hand in TONE REGULATING piano has been properly be picked out by their quality, and it often happen* by the musical club. The secretary writes: ‘It is part of my paper, viz.: teachers (practical and theo¬ lani. Pasta, Malibran, Jenny land, Grnu, N.ls*on, T.tj- starting the young artist, bred a quarter of a mile from AS AN EMPLOYMENT regulated the final and that a piano which is good ns it emerges from the touching to see care-worn faces light up as the retical). I think it calls for comment that, up to last ens, and Patti, whose names will ever be hrrtoncally your own door, and share her hopes and fears. Do FOR WOMEN. most important operation manipulation of a fine workman can become far better music finds its way- to weary hearts; even tears Christmas, the number of Pianoforte Licentiates of the famous for the part they played ,n uPh”ld‘"^ your part in getting up the book-club, and make the in its preparation for use if again taken in hand by a better artist. *re n°b a® unusual sight among these simple-minded Royal Academy of Music certificated to tench were supremacy of woman as an incomparable exponent best reading on the list your own. In short, get out takes place—it is voiced. This is an art equal in deli¬ There is in New York a man, famous in hi= Prff ‘'toners. No club, having once tried the experiment made up »» follows; flfiO women and 77 men. At the of yourself into that kind of helpfulness that organ¬ cacy to that of miniature painting, and exceeding it fession, who not only “voices” concert pianos for th« o ministering to the music-loving poor, will ever be Ktindworth Pchanvctika Berlin Conservatoire there ^In^rrto female instrumental executants, though ization best promotes, and the year will be the richest in difficulty and dependence on special talent as a public, but is able to voice them for the artist " h * 'filing to give up so satisfactory a work.” Taking are npward of 50 teaching professor*, of whom 12 are not si himous as singers, they have made remarkah.e of your life. prerequisite. It is, however, as faT as physical is to play them. He can go into a rehearsal, listen o work as a whole, it is evident that more time is women. In most of the Continental town* female during the last one hundred years especially * * * strength and deftness of finger are concerned, abso¬ to the touch of the player, go home and prepare t e ing spent in planning programs and that the aim musk teachers are In great demand. In Russia they must SB pass through tbe Government school*, then lutely in a line with women’s work. hammer for him so that he can get the widest an 13 to make them educative as well as interesting. Not long ago a lady who through a nnivereity. They are then qualified to Voicing arises from the construction of the piano- best possible effects from the instrument he ph*!5 The Western section of the Federation has sustained THE FEMININE IN has won for herself an en- teaeh in the schools and are paid by the government; hammer. To understand it let us look at the various His delicacy of ear and fertility of resource are °ss in the resignation of Mrs. Hardt as director. FTANO-PLAYING. viable reputation as a pian¬ and many others have { eaeh town contributing to the maintenance of the parts of a piano-hammer. They are four: the core boundless. And yet the day may come when a worn* unfail'H2 interest in all club matters has made ist and writer, sat in our sehook and -tad of teacher*. of the head, made of maple-wood; the felt; the shank can learn the same art. When she does so it is 1 er a valaed assistant, w hile her connection with the women are iT-f piano- editorial sanctum. In the piano-warerooms beyond [To hr eontimticd) and at the end of the shank, the butt, which fits to tain that she will create a quality of piano-tone her ^nergetic musical club of Topeka has made her sug- some one was playing with considerable taste and feel¬ the jaek which propels it to the stroke. tofore unknown. ° 'ons carry more weight. Her place has been filled .< *■**•*• 412 THE ETUDE tHE ETUDE ■m most thorough knowledge of all the literature of individual at the instrument was Franz Liszt. “As the HISTORICAL NOTES. music, and exploring into many subjects—as, for in- last sounds died away,” Blavet continues, “Munkacsy, class of music the tearhr II stance, notation, the history of the older theorists, the suddenly awakening from his ecstatic reverie, turned know that only by begin Uitig with amuHlung BV ALFRED VEIT. attempted reforms of J. Ph. Rameau—has brought to .ily his face to the door. I never shall forget the ex¬ understood, and gradually ruining Ox* nUttdard »« the light much that is not only new to historians, but is pression in his eyes. ‘Ah, who comes there?’ Mun¬ pupil progresses, on she bUupe U» develop n genuine rf The Origin of the Kreutzer Sonata. also authentic. His unwearying researches extend kacsy cried, making an angry gesture. Then he recog¬ love for the beautiful and mt, 1 Ut* child nual into every branch of musical science, and display, Beethoven did not write the sonata tor the French nized me, and added, somewhat pacified; ‘Ah, it is Conducted grow. Hi* artistic cannot he forced, but ran in every ease, the same certainty, the same exhaustive violinist Rudolph Kreutzer, to whom the work is dedi- you! You are just in time to realize how the genius and should be helped in iu growth. He will work thoroughness. eated, but for an excellent young violinist now totally of our great Liszt changes illusion into reality! enthusiastioally to surmount difficulties ia a pies* that And still more; Riemann has put the enormous Thomas Tapper. appeals to him strongly. forgotten. His name was Bridgetower. He was a “ ‘What illusion are you alluding to?” treasure of his learning into the service of teaching, mulatto, son of an African father and a European «‘Parblvu! The one that allows me no peace since In a certain school the children aw obliged t mother. He was born in Poland about 1780, received has made his object—as hardly another man before There is one way to hymns in the daffy devotional exercises, marrl I have taken up this “Requiem.” I knew nothing of she is little still, though now seventeen, came shyly for his first musical training in England, and produced a him—the education of the coming generation of musi¬ TO THE TEACHER. learn about children, their the pupils to leave the chapel, and dance mu this sublime music, and nevertheless it throbbed in orward and sat down at the piano to give in* the fur mild sensation there as a boy of ten. With another cians. The sum of his achievements would not be doings, powers, observa¬ the dancing classes; and, instead of its pro my brain! And do you know, as soon as the genius most beautiful rendering of this great work that 1 young violinist, Franz Clement, and under the patron¬ complete w ithout mentioning the vast amount of labor tions, conclusions, desires, and convictions. That way hindrance to their musical growth, they aw of my celebrated compatriot invoked the spirit of the have ever heard. And I must tell you that 1 have age of the Prince of Wales, he gave a series of con¬ expended in his revision and editing of music for the structcd that it proves to be a great help. Th “Holy Child,” I thought I saw how the lips of my is to watch them in activity. The mother and the heard Clara Schumann play it many times. certs. Bridgetower became the lion of the London instruction and assistance of music-teachers present teacher, more than anyone else, can bring this knowl¬ taught to play the hymns with expwmiuu, to figures opened, how the breast heaved, and how the The next day I had the great privilege of attending season-lie was called the “young Abyssinian prince.” and to come. edge lor us from the mystery of the child’s inner life. out the Upper voice and Uie foundation rarefu bloodless features of the dying took on a crimson hue.’ her private lesson with her master. And what do you Dr. Riemann has accomplished all this in the face of get a good finger legato, and the pnlaliug He visited Vienna in 1803, where he met Beethoven, “While speaking, he looked at 'me as though de¬ The art of child-training can never be formulated from think she played then and had studied for a fortnight? with great rare. and became quite intimate with him. The latter de¬ the difficulties which must attend an unsettled life. mented, giving me the chills.” theory. It must be based on what children are. Will Another great concerto? No, indeed, but “Childhood clared himself willing to compose a sonata specially He w as born in 1849, the ISth of July, at Grossmehlra, The teacher insist* on the marches' 1 It is well known that Munkacsy exhibited the pict¬ you help ns all toward better teaching, and truer Scenes,’ opus 15, by Robert Schumann! Anil if you near Sondershausen, where his father, of noble descent, with strong accent, with fife, sod dash| tin for Bridgetower and to play it with him in public. ure later, simultaneously with a performance of the understanding of children by sharing what you learn could have heard how she p!ayed these pieces, and yet music teaches them to play connectedly The composition in question was this very sonata, possessed an estate. The elder Riemann was an ama¬ with others? “Requiem.” how much there was to be corrected and further definite length of time, without the sltgh opus 47. It was played from manuscript May 17 and The final mental collapse which occurred later—and teur in music, and composed songs and choruses, even studied, you would have learned this great lesson: and it i i gives th at “4, 1803, at Bridgctowcr’s concerts. Bridgetower, in operas which received public performance. From him Children, this is Bertlia by the way in the same institution in which Robert the need of perfecting little things. She is learning it ia invaluable. This proves that even music of a a personal memorandum on the performance of the an . from Frankenberger Hugo Riemann received his ABOUT SOME ONE Schumann was confined—was thus foreshadowed in Jalin. Look well at her wonderfully. character can be u« making melodies and chords. Wien she was —Bertha Uaas-Tapper. which he devoted himself with ever-increasing in¬ ♦ » * plenty of It “Composers’ Iky*" color at leant Ms* appeared in 1805 with the title: “Sonata pu il Piano¬ W'en years of age, she had the great fortune to come terest. These took shape in a system of “Dynamics ’ When the teacher realizes per month. Then the children and myself either play forte cd un Violino obligato, scritta in uno stilo molto ®

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c' affection and confidence of of hi* life. dedicata al suo amico Rodolfo Kreutzer per L. van ler ^es're 1° learn how better and better to express CHILDREN IN For example, I am #1 present preparing myself on mann’s theory of accent, on which the system depends, her pupils are, she will not Beethoven (Sonata for the Piano and Obligato Violin. erself in the beautiful language of tone. With great MUSIC. our December “Compower's Day.” Beethoven was born is opposed to that of most other musicians of the past simply make a rousic-ma Written in Very Brilliant Style, Almost lake a Con¬ Da. Hugo Riemanx. °'e ^or and by earnest study she has gained an December sixteenth; and I am trying to deride and present. It is founded, to some extent, on the chine of herself, but, by showing a genuine personal certo. Composed and Dedicated to his Friend Ru¬ ^minent position in her master’s class. What this whether to piny some of hi* work*, which 1 know, writings of Westphal and Lussy, and requires entire interest in those intrusted to her guidance, gmn dolph Kreutzer. By L. van Beethoven). rare combination of gifts—versatility of talent and fullvt means you will realize only when you have been to the children: or. to tel) them of hi* life, or, to read reconstruction—w ith reference to accent—of modern a wonderful insight into each tta^i JJ- * * * thorough-going scholarship. Artist and savant, he Vienna and have heard what wonderful players from hi* letter*: or, whether to make op a Beethoven commands the highest admiration for the depth and notation. This he has done in many compositions o enable her to work far more mtell.gentlv. snd con Munkacsy and Liszt. ILh ^lready you know of some of them: program between the children and myself; or. to talk extent of his learning. He is a composer and a con¬ Bach, Rameau, Clementi, Haydn. Mozart, Beethoven, ame Essipoff, Paderewski, and our own Fanny to them from • Beethoven scrap-book (chiefly pict¬ The recent death of the great Hungarian artist lias ductor. He has written songs, studies and pieces for and others in his “Phrasirungsausgabe.” I °°mfield-Zeisler. And there are so many others that may, in any possib Y- to love the ure*) which 1 have.—-III** Binyrn. called forth the following story from the Parisian the pianoforte, sonatas, chamber-music, and a system His historical writings comprise many studies in the ^nnot begin to tell you about them, writer Blavet: of sight-singing,—of a sort to win him professional dis¬ history of notation, “The Melodies of the -^'aneJ. ul ^ heard Bertlia Jahn, seven years ago, —--*.** • In 1886 Mnnkacsy was giving the finishing touches tinction and to show that his theoretical works are singers,” a history of musical theory, a hand-boo' o Sts John firiivm has defined the qualities neves ^7 fozart’s “C-major Fantasie” and Mendelssohn’s to his picture "The Death of Mozart.” Stepping into far from being those of a pedant. But it is in his operas, and his famous “Music-Lexicon.” Such a „„ do satin- pomes* a knowledge of reading music *t right tad of Mnnkacsy in an cestatic posture before the painting the n0^ s*Te*c*1 an °etave; and the master supplied himself one of the modern specialists, and dares—fol¬ sidedness could have created. He has revised a*1 mu* be p«l b™I »»««" W ^ Harmony: (2) that be should be acquainted with th* Xot ll^>€r ^ones °i every octave on a second piano. with folded hands as though listening to a voice from lowing the lead of Helmholtz and Moritz Hauptmann edited quantities of music and text-books, has trans stvle of rnmk performed: (J1 that be should know 'ery longo —Oago I*- heardiivuiu heruc i ii^amagain; • and can jyou above. In the background some one was playing —to open new paths and to harmonize theory and lated Gevaert’s valuable treatise on orchestration, tbe ctarartwiatic* of thorn performers be Has to ac¬ for c '®k"e accomplished? I am sure not; softly the “Finale” from the “Requiem” on a small practice in mnsie. Besides all this, Riemann has a writes many articles for current journals, and is D 1 •l* even t * company; (4) while pitying with firmue*. and de- harmonium; to the right of the instrument stood a completing the musical division of Meyers Konve the 1 1 Was ast°unded when tnere was given—as ririim, be should not attempt to lend. nurr|ber of the evening’s program—the Sehu- woman in tears. She was the wife of the artist; the 1 Translated from the German by Florence Leonard. sa tions-Lexicon.” A-minor Concerto,” and little Bertha Jahn. for 414 THE etude 415 Et-vde for October, corsiderahle was said about the ness of its approach; second,-impatience at its delay- freedom of the reflectors, or resonating chambers of and, third, relief at its completion. "" >« ... of both performer* in the uaa per** it inimical to the voice; and it is to the freedom of these that we the best result, in .other direction. n«;de», 17. The middle voice is the picture, the extreme must look for pure and accurate vowels. """"T ■“> ■ «•"»». u, t e long established custom of having a second player notes the frame; while fine frames greatly enhance For every vowel there is certainly a definite posi¬ nA ... ° ’ 1 18 Slraply impossible to describe the portions of all the vowel color, in the 1 for the accompaniments, and, as the soloist of today the effect of inferior pictures, it must be remembered tion that gives the purest vowel color and at the Pbcal^lepartineixt that a fine picture with no frame at all is far more guage in a way that would he of servke !‘„Ler 18 a well paid Individual, he does not begrudge hi, same time the easiest action. To put it in other desirable. they must all be reduced to one principle, which8., esa favored confrere the pittance that falls to his l,.t words, the tongue and soft palate form a resonance Conducted by 18. If you are expending both time and money for have already stated, is the greatest fLdom of V Notwithstanding the example set by the great ar chamber which changes its shape according to the instruction, and do not work, you are not only making gue, soft palate, and resonators. The vowels then lists, there are many, tower down on the ladder of vcwel produced. fame, who fail to profit by it. Many a young H.W.GR.eeNe a dunce of yourself, but worse of your teacher. Yon For example, in the vowel e, as in feed, the tongue sure T T “ 8 thal i8 Rightfully who can perform her number at a pupils’ recital with may be able to stand it, he cannot, as your progress sure. The accurate description of the vowel action rises in the middle and occupies most of the space in stems to make them rigid and colorless. credit to herself and to her teacher, will undertake a parts of each that seem best to express the composer’s is his capital. • WHEN I planned talks on the mouth so that the resonance lias to find a place difficult accompaniment with no training for aurli # • * A wise European teacher puts it somewhat like this: thought. The rhyme will be disturbed, you will say. in front, by the tip of the tongue, and back of it in work; and, unlraa ahe possesses exceptional native REPERTORY No. 2. “Repertory,” as outlined in Do not make the position and then try to make the Yes, but better unhappy rhymes than faulty phrases; There is an old tradition the throat and nasal chambers. So the direction so talent, the result is a disappointment the October issue, 1 hardly vowel fit into it; on the contrary, think the vowel but better yet, for pupils who are strangers to foreign ENUNCIATION IN among certain singers and often given to singers to keep the tongue down is not She, and others like her, may wonder at this, for, expected the work to take shape as indicated in the and let the breath, as it were, blow the position into letter which follows herewith. It was intended to be texts, to select the repertory from the really excellent SINGING. teachers that the English only wrong, but, if carried out, makes the perfect ac¬ place. a* they say, the piano parts are no harder than the a discussion as to the merits or otherwise of vocal material, that is so rapidly increasing, with English II. Vowels. language is very difficult to tion of certain vowels absolutely impossible. The least music to which they have been accustomedj inV slow to place before pupils translations with glaring Think of that, you with uncut gems in your throats. in this article are logically carried out, there otl e Sturn. And no doubt it would seem safe way is to examine all translations, and use the raanv readers that we might carrv the proposition all of which may be pleasurable. First, a conscious¬ In a previous article on “Reverberation, 111 416 THE etude THE ETUDE 417 music teacher should have a cast-iron method and place and recognition, which but few obtain—the ma¬ same rules as that of the same class of vocal music. adhere rigidly to it, but what I do mean is that our jority never being heard of, and all winding up voice- thus form a complete tex,book ^ gotten up in the mort .rustic «,U, mad. by owe of The more scholarly compositions of this kind partake ideas should be conveyed to our pupils in a systematic wrecks at an early age. t finest lithographers is Germany, and designed with more of the nature of chamber music, and are virtu¬ way. the greatest care, ihe preparation Isusg done by u* ally duets, although not written in sonata form. Why is it that in all branches of music there has And first of all, when a pupil presents herself to us, such manntMas^rotdrden8C<1 a"d ^ iu tions found in the°olte^Ueatjg^jaB^ con*ll8',18 exerp- he object of the card it an incentive lor children to The accompanist still remains the Cinderella in the been more progress than in the voice? Have we not we should endeavor to find out her reasons for study¬ lived under the ministrations of the Italian school of study. The plan has been tried by a great many family of musicians, although there seems to be a ing music, and the time she intends to devote to it, The printer has the work in hand, and we will be growing appreciation of the dignity of his position. voice-culture, lo, these many years? Has it not been teachers, but there baa never bren a musical card for our manner of dealing with a pupil who is only U. Ul tkPnaCe 11 LUP°n tHC market iD a 8burt “me. used, there not being anything of the kind on the His pecuniary reward, however, is not proportionate heralded from the house-tops, quoted as all-sufficient, As an inducement to those to study for two years should differ from our way of For 5fi 1 T Ul thB f°ll0"ing Hberil1 ... offer; market. to the value of his services to art, judged by the taught, and unsuccessfully attacked? Is it not heresy SPECIAL of our subscribers who de- treating the child who is to follow a regular course. will T.v ? ’ 8Cllt ,n advanc* of publication, we Me will offer a set of these fourteen cards for jo standard of soilsts’ prices. This is probably because, to doubt a tenet of its faith? Is it not a matter of will send the book to any address, postage paid as In either case let our work as teachers be solid and RE.N’EWAL OFFER sire to renew during the rente, or we will -nd a sample card, postpaid, for A as a rule, he is rated no higher than the mediocres of jeoparding musical standing to do so? soon as .t is published. We will charge the book to lasting. FOR NOVEMBER. month of November, we the profession, no matter how great his skill. We Now, what is the matter? Oh, we are told all these any of our patrons having an open account, at the It is very easy to interest young children, in fact make the following offer: must look to a more discriminating public taste to people have had poor teachers, and the traditions of If you will send us $1.85, we will not only renew special price, but in that case the postage will be much easier than we imagine, but we must vary our In the September number w. warned our subscriber, correct this evil, and to place the accompanist where the pure school are forgotten and ignored. Who your subscription to The Etude for twelve months, extra. Alany of our patrons have added largely to work, not our ideas, for that would be productive of ot an importer who went under the name of D. U, he rightfully belongs,—in the ranks of the world’s would dare suggest that there might be something but will send you a copy of “Classic and Modern Gems their musical libraries by taking advantage of our confusion; but present our ideas in a way that will Tucker, claiming lo I* from Newburgh, New York. art-workers.—Georye irffliom Xecdham. wrong in the traditions themselves—innately so—in¬ special offers.” Remember this is a complete manual appeal to the child-mind, for instance, telling a child for the Reed-Organ.” This is a book of 117 pages He has been known by no less than five names This dependent of any vitiation brought them by individual for advanced study,-three text-books in one. that the notes on the staff are counted from the bot¬ of reed-organ music of a higher quality and a more man baa at last been brought to justice, and baa been voice-teachers? Because it has been the best system * * * tom, upward, it is quite probable that she may forget difficult grade than any other reed-organ collection. sentenced to eighteen months' imprisonment, in Law The work of the musician known, does that absolutely prove there can be no that fact and calculate from the top; but ask her U fills a want which has been felt by all reed-organ Me will publish, in a very Bliort time, a volume con¬ fence. Mass. He has taken over live hundred sub “OLD FOGYISM IN' player, as a rule, is superior fault in it? It is interesting in this connection to note if it be possible to climb a ladder from the top, and players for many years; the result of numerous in¬ taining the best selected studies of Loeschliorn. The scribers and never made return for any. He will now VOICE-CULTURE.” to that of the singer. Take, that in all other branches of music there has been she will at once see the ridiculous side of the question quiries from our patrons work will be under the charge of James 11. Rogers, sit in a lonely cell fo a year and a half and meditate for instance, the work of advance and development. Why do not people play and will avoid a similar mistake in future. To those who w ill send us $1.75, we will renew The who spent most of last summer at the task. The over his wrong-doings. piano and violin soloists, ns well us orchestral players. the piano with the technic of a hundred years ago? Young people, as a rule, are most independent, and Etude for twelve months and send a copy of “Class- studies will be graded and annotated. We have ae If at any time any of our |«lrona should suspect These have a technical value and artistic finish rarely Compare the orchestra of to-day with that of olden you will find this characteristic when you show them book for Music Teachers,” by E. AI. Sefton. This is le ted only those studies that have been found to lie anyone calling on them in the interest of The Kn ur, found in the vocalist. We hear artists, occupying times! Compare composition with that antedating how to build their scales. Give them the clear plan a book which fits in the pocket, for keeping music of unusual worth and attractiveness. Loeschhorn, without bating the proper credentiala, we will esteem highest places, sing flat and deliver the voice with the day of Beethoven and Bach—and note especially of the first one and you will be surprised at the teachers’ accounts. It contains bills, receipts, daily above all writers of etudes, is the most musical, and II 3 favor if they will immediately send us a telegram such bad method as to be pitiful. Conscientious ar¬ the improvement in the field of opera. Every once in amount of nerve displayed in completing the circle of schedule of lessons, cash account, pupils’ sheet-music is to be preferred before Czerny or Kohler, w bile Hel¬ at our expense. It was only by telrgra|>liing that w* tists, too, who have dramatic ability, and artists awhile a mighty man has lifted up his voice proclaim¬ caught this nun Tucker. fifths. This rule, of course, holds with pupils of ma- account, and is devised to meet every want of the ler’s studies lack in technical point There is no writer schooled in everything, apparently, but the use of the ing a new doctrine and advancing his art by his teach¬ turer years. Try it, and see how well it succeeds. music teacher in keeping accurate, systematic ac¬ who has combined the technical with the musical more t '■ * * * voice as an instrument. ings. Were not Bach, Beethoven, Wagner, Liszt, and One of the greatest helps to the earnest music counts. than Loeschhorn, and it is these two points that will The December Emm w il be a »jc isl number, aim Chopin such? * * * In pianoforte building, when an instrument has a teacher is a good, sound music journal, such as The be brought out very clearly in this volume. iIf■ to those op Bach, Schubert, and Schumann, with In truth, everything moves on but voice-culture. scale with one tone strong, another weak, and a third Etude; through it we come in contact with the large These studies will most likely be ready during this Richard Msgncr as the central figure The articles Who dares lift up his voice in the interest of any¬ Tiie musical journal is now recognized as a neces¬ a cross between the two, and also when one tone is army of teachers who are traveling over the same month, and may be published in two volumes, but we will be by such writers as H. E. KrehUrl, W. J. sary adjunct, not only to musical culture, but to the thing new in it? Brave indeed is he! Is he not at Henderson, H. T. Kiack, L C. KUott, Kmil LirbUng, mu filed, another is brilliant, and a third a cross be¬ road as ourselves, and often meeting with the same will send the first volume as a Special Offer to anyone daily routine work of the teacher as well. Every once a charlatan, a fraud, a crank, a what-not? In A. J. Goodrich, and will make a Very complete survey tween the two, that piano is designated as having a opposition. Sometimes wTe feel that the burden is for the sum of 20 cents, postpaid. This about covens all the active departments of life man may delve, in¬ trade, every profession, lias a special magazine based of Magnrr’i life and work.. It will be illustrated. bad action. So ft is with the voice perfected as an greater than we can bear, when lo! we read of the paper and printing, and is done mainly to make vestigate, invent, and expound, hut in voice-culture upon the idea of bringing to its readers the latest The music supplement will contain several compost instrument. When we hear a few tones well placed some fellow-worker who has had the same and even the work known. be must still employ the methods of a couple of hun¬ and best ideas, as well as new statements and investi¬ tions by Wagner, making the whole issue one that forward (it would seem almost by chance), mellow, greater difficulties, but who has had the pluck to con¬ dred years ago!—3/. L. Broicn in Musical Record. gations along the line of established practice. Such will he a distinct contribution to the library of the full, and sonorous, accompanied by a vibrant quality quer them instead of allowing them to conquer him. “First Steps in Pianoforte Study” is, unfortunately, a journal is The Etude, a journal which brings to musician and student A handsome eupplemrnt will grateful to the ear—followed by others made in a • * * “It was the sun behind the clouds.” Usually when not yet ready to be delivered. There are numerous the attention of the teacher of music every month cur¬ be a part of this iaene. different wav. perhaps by the mouth’s being held so “The purpose of presenting we embark on our teaching career we have very lofty delays in every work that is undertaken, and, rather rent musical news, helps to teaching and study, stimu¬ w ide open in the middle register, on all the vowels, OPERA IN ENGLISH, an opera in English is prob¬ ideals; the having of such ideals is in itself praise¬ than hasten the work at the risk of a poor production, lus to more energetic, progressive, and broadening We bare a very complete steak of musk, suitable ns almost to betray the whereabouts of the diaphragm, ably not one of reform in worthy, but the living up to them is still better. It we have concluded to allow the oiler to still remain work, and to an earnest purpose to live up to the for Thanksgiving and (hrietmae for both Sunday thereby dispersing the vibrations, and producing that musical culture, so much as it is of entertainment. is only by being practical that we can communicate open for this work at 40 cents, postpaid. It will be a highest demands of the profession. No teacher can school and choir, and nil) he pleased to send same “on shallow, colorless tone termed “white,” only to be To the popular mind—and I mean by popular mind some of our idealistic virtues, this requires discretion work of the first steps in piano study, as the book is selection” to our patrons followed in turn by others clutched at the throat; do without this monthly impetus. It will keep him rightly called. It will be about the size of the average all people, self-important and non-important—the and common sense. "ut of ruts. pianoforte instruction-hook, and, while it is not along and if, as a result, some tones are open and clear, music is an inspiration, and requires the detail of a We, ourselves, may be great admirers of classical Be receive every day letters in which teachers tell Mb. Tapper's new book. "First Studies in Music others choked, others thin, and so on, that voice is human story to create a definite interest. There is music, and often marvel at the inconsistencies of re¬ any new lines, the material will be entirely new. "i their success in placing the journal in the homes Every teacher who reads The Etude should at least Biography," went to press early in Octotwr In paper, said to have a bad action or method. so much indefinite talk about the impression and in¬ fined people who are not of our opinion; let us not "f many of their pupils, and what excellent results, get one copy of it. It has become a general practice typography, binding, sin, and general appearance this Voices built like those of Pol Plangon and Anton fluence of music! It is quite possible that English content ourselves in looking askance at the apparent huth in character of the work done and interest in among good teachers to change instruction book*. book will be as attractive and convenient as the me¬ Van Rooy, every tone of which is placed well forward, opera will sweep away many theories with regard obtuseness of our neighbors, but rather seek to eulti —not a hit or miss in the whole range,—are a source music study, have been manifested. The music sup¬ This gives a breadth to teaching and lightens the chanic* of book-manufacture can make it to music that are much talked about and misunder¬ vate a correct taste in our pupils, and I know of no plement, alone, is worth several times the subscription drudgery of teaching. If you have any beginners dur For the teacher's assistance each biography is prac¬ of the deepest satisfaction to the listener, and have a stood. To my mind, the purpose of music is to easier way of accomplishing this design than by an tically a complete book in ilarif. For instance, Bach reliability most gratifying. Mr. Plancon sang in New pnee of the journal; new music, classic teaching ing this coming winter, send for a copy of this work. enhance, even to idealize a human story, and with¬ alyzing the pieces they study. How many of our pieces of purest musical quality, duets, songs, sacred This may be the last month of the offer, so be sure it presented in about six thousand words; questions York for weeks, and I do not once recall his having out such story it has little meaning. All songs, for pupils can explain the form of a simple sonatina, or follow which desl directly w ith the test, and by other* and secular, and pieces for the hours of recreation to get your order in. Forty cents pays for the book been off duty because of a “cold.” I suspect that half instance, tell their simple story. Why should not can define a sonatina? And as to the composer—well, which demand • little rcteerrbwork an the pupil's of the colds are more the result of bad method than of iunn a fine musical library. The supplement given if ordered now. operas have their plots made clear to audiences? I he might as well be an inhabitant of Mars, as far as pert The work of Bach, hie eon tern porsriea. hi* bad weather. 'ith the October issue has received general commen- cannot see any difficulties that can arise for the singer the pupil is concerned. Now, this state of a airs geography, the instrument* of bis time are dearly 'lation. This is a sample of the good things that The annual “Holiday List of Musical literature Voice-building is, in reality, instrument building; in English opera.”—Susanne Adams. should not exist, even when the teacher has not 3 presented. Each biography is divided into short chap Etude has in store for its subscribers. The next sup¬ . published in the next issue. It wiU contain for, without first the perfected tone-instrument upon * * * the opportunity of studying form. Mr. Ridley re ten, thus enabling the teacher to nmlgn definite plement will be issued with the December number. which to develop a technic, no truly excellent work tice, an Englishman, has compiled a very satis ae ory if the new works that have been issued during The December number will take up the October lessons, long or short, st pleasure The retail price can be done, and the voice-culturist certainly rests B e shall be pleased to arrange with anyone who de- t year, and will be given at the usual low Pnc« and November accumulation of questions.—Vocal work to supply this long-felt want; it is pu ot the book will be gIM, but our advance price is only '!n' 1° canvass his community in the interest of The rer years. Our foreign subscribers caniu*e last under a disadvantage not to be met with in any other Editor. in six volumes, and is called “The Musician. SO cents, postage paid, the book being sent a* soon ** Etude. Send for sample copies and liberal premium- list'to make their selections from the pn.es department of musical study. All musical instru¬ * * * By teaching in the manner above mentioned, we g"e issued from the pres*, hot the order, with cash, must list, inc the same. This will give ample time ments are of themselves lifeless. The violinist forms a solidity to the character of our pupils. *^*'cr a ’ be sent before the book is published. Customer* who The meaning of song goes deep. Who is there that, * * * his own tone, as does the singer, but he does so on have good open accounts may have the book charged in logical words, can express the effect music has on what is education but formation of character. a quiescent and inanimate object. While, on the other More attention is being paid to theoretical study in to them at the special price, with postage estra. us! A kind of inarticulate, unfathomable speech music. This study should not stop with harmony, iriSr—. --"t: hand, the voice-instrument—the human throat—is a which leads ns to the edge of the infinite, and lets us very-much-alive piece of mechanism, and for this m>t include work in the higher grades as well. for moments gaze into that!—Carlyle. The season fa approaching when most of the sub reason a knotty problem to handle, especially as it is The whole character of our contemporary tec ^ 1 erto the study of counterpoint was conducted on ^ription work of the year U done. subject to such influences as the health and tempera¬ is the result of romanticism in innsic. It has er7 conservative lines, old-fashioned text books, and SSSSSKms at the lowest possible rate. We would draw our subscribers’ and patron*' *t ment of its possessor,—conditions quite outside the from the efforts of romantic writers to bn ue ^ plan that did not of itself lead to practical results * * • tent km to our liberal premium offer* to persons rend control of the voice-teacher. piano with a greater power of emotional utteran » 3 fiuickly as could be w ished. In the new text-book . . re»ard card for music pupils, SOME WAYS AND MEANS. will soon publish » „, wil| be four- irg u, wbreriptioa. to The Etude. W* JwWh* * Throat-action must become automatic and mechan¬ make it a dramatic force, and, even more t an “Counterpoint” Dr. H. A. Clarke has embodied the lias never been done before. There wait ^ ^ little h«A. “About the Etnde." which give, a Hrt of ical in response to the will of the singer, and free a personality. Classicism means perfection o ^ . !** Pr'nuiples as those contained in his very success- cvh deductions *nd valuable premium* to those .b BY AII.EEN FOSTER. fferent cards. All t ^<*, the 0n* from any restraint imposed by temperamental con¬ unfailing beauty of thought and utterance. ' work on “Harmony.” It is not only a text-book, taining oae or more eubeeriptlou* other than their uted, on by eac colored por- sciousness of its owner, before artistic results can be science of the beautiful in music. But roman ^ trie 1 S^s^em of teaching. Unlike the older works on obtained. It is safe to estimate that in each genera¬ means personality, characterization, indhidua subject, strict counterpoint is not made the the ^^r wiPth ShlrthPUre. and the “Order is Heaven’s first law,” wrote the poet, a few f the composer, with ^ * We would *bo draw your attention to the fact that tion there are in two continents not more than thirty hundred years ago, and never was there a truer sen¬ sion, even universal revelation; nnd it has no ' ing feature and modern free counterpoint tiKW, of (jut subscriber* who rend u* 25 aubreription* voice-instruments produced. Against this is an array tence framed in hnman language more applicable to tion in pouring forth abrupt rhythms, bars ^ ^ ^ touched upon, but both are taught side by during sbv V* of hundreds upon hundreds of voice-students, pursuing the teaching profession. Pray do not misunderstand nance, startling progressions, when these 3Pe‘ • die latter division being based on modem har- premium of five dollara' worth of oar own book pnM. their studies with conscientious fervor, struggling for me, and fancy that I mean to insinuate that every thought of the composer.—IF. J■ Henderson. The' ^US ^eaIndiana, with Chi¬ ways remember that it is not eminent talent that is vriters arranged in progressive order, fingered, phrased cago Symphony Orchestra; two concerts at the St. required to insure success, so much as purpose; not We will give a supplement with both the December Fourth Church by Mr. G. N. Brandon. CONCERT QUARTETS, NO. 2 r» Macs Louis Festival -at the Coliseum in that city, with or¬ and the January issues. Do not let your subscription The Faculty of Haw thorne College School of Music, mi annotated with reference to the needs erf the piano merely the power to achieve, but the mil to labor chestra, making his third appearance in St. Louis Conums seven Hi run out and miss either of these numbers, as they will energetically and perseveringly. Genius, after all, is medley * A of C under such circumstances within the year; and a Future Mr*. 'Atehms.” recital. itutlcflt' By ALEXANDER LAMBERT a pr be the best we have yet issued. short trip in the State o. Ohio the early part of only patience, and the power of lighting one’s fire. skiin’ Bruiirr '* and **i Mr. Herbert G. Patton has taken charge of the •alt* refrain. Favorit November. Self-help, persistent application, and perseverance * * * violin department of the Fort Wayne, Ind., Con¬ Old Sweet “AH Three Volumes Price, $1.00 each alone will reveal what is in you. Eyes So Blue.** etc., etc Beginning with the month of November, we will servatory of Music. WANTED—A TEACHER OF VIOLIN, WHO CAN SUty*fnur pages. Roy a. When Moseheles submitted his score of “Fidelio” * Mb. Leslie F. Watson gave an enjoyable organ re¬ assist in the mandolin and piano departments. mtc'ic. so <*«nrrm pkr cwat»v start to send our new music monthly to our patrons. Fivjt ourikm. . . , , pa.uo cital in the First Baptist Church, Richmond, Va., as¬ Highest reference required as to ability and character. object of this series is to lighten the labor for the pianoforte to Beethoven, the latter found The first bundle will go to all persons who have re¬ sisted by the church quartet. Address: Mrs. J. Frank Alexander, M. C. Institute, lL and economize the time of both teachers and written at the bottom of the last page: “Finis with *.... v...- ceived regular “on sale” package from us. We will Frederiektown, Mo. SACRED QUARTETS, NO. 1-^. The Detroit Conservatory of Music, Mr. J. H. Hahn, ** pupils by supplying a course of studies com¬ God’s help!” Beethoven immediately wrote under¬ charge no postage on this package, and if any re¬ Imperial E Sixty .four r«er». Ifo- .1 Oct director, is now in its twenty-seventh year, and reports prising everything that is needed and excluding every¬ neath: “O, man, help thyself.” No wonder that so paper, neatly b< ceive it who do not desire to continue, a postal card a most flourishing outlook for the present season. lets, duets and i thing that is not needed. many fail when they are always dissatisfied with the I’Hirr.. no < mnvm *•«** wpt will stop the further sending of it. If we do not hear The School of Music of the University of West Vir¬ *riva cumin, . * . • f x.oo The multitude of technical exercises existing for smallness of their opportunities. It is not those who at all, we will presume that they are desired. The ginia, at Morgantown, had a very successful year last season. The school is open the whole year. Mr. C. A. the pianoforte is fairly bewildering. Of the many vol¬ have enjoyed the advantages of conservatories, con¬ *V« Vou mm packages consist of either vocal or instrumental, or SACREO QUARTETS, NO. I Ellenberger is the director. umes of studies, most contain one or two of special cert halls, and public libraries that have become the both, about ten pieces of each, sent from November Just»5sued, and by tar the best Collection of sacred nutli for The Department of Music of the Kansas State Nor¬ value, the others being diffuse, immaterial and easily greatest geniuses. Why complain so much about the ok form. It* « ontnnta tm tod* to June, the busiest teaching months of the year. It Mr. Parks rad Kindly Light ' and "Abide mal School at Emporia, Mr. C. A. Boyle, director, has dispensed with. The experienced and competent teacher tools you have to work with? Tools do not make the With Me enables the teacher to have a limited supply of good, a very complete course, with many free advantages. Y'our “on sale” accommodations give perfect satis¬ has hitherto wasted time and effort in selecting from artist of to-day, but the trained skill and persever¬ I’Mirn. so uKistn »»b* ronr new teaching material constantly on hand. The Utica, N. Y., Conservatory of Music, founded riv* ..•uw faction. Miss C. A. Cavanagh. this vast mass such studies as he knows are needed, ance of the student himself in using them. It is well by Louis Lombard and now under the directorship of • * * I am delighted with “Music Talks with Children,’ E*. B. Fleck and R. J. Hughes, has engaged Dudley while the inexperienced teacher, failing to do so, has to remember, also, that the advantages you and I by Thomas Tapper. Mbs. J. H. Jones. Dn. Willtam Mason’s great work, “Touch and Buck as examiner and lecturer for the year. burdened his pupils with needless labor. The pupils enjoy are in every way far superior to those our MEMORIAL QUARTETS-*** I find Clarke’s “Dictionary” is an excellent work, Technic,” is not merely a system for developing fluency The Etude has received copies of The Aloysian, a themselves have been put to the expense of buying forefathers enjoyed. If you are wise, you will make In order to meet the constantly asing < MALE VOICE COLLECTION, evp of fingers, but for teaching the artistic use of the pedal, quarterly magazine issued by the students of the and just the book I have been looking for. Miss B. I. Duncan. much material that was useless, for the sake of getting good use of the means you now have, and time will AL SERV ICES. •« take pleaamrs»im an art in which Paderewski excels. Read what he Mount Aloysius Academy, Cresson, Pa. preparation a book that •• I of Music, Alfred Arthur, director, gave the first of the I have been a subscriber to The Etude for four In vurt. Coiml»» wUciiom ituiubl* for t.rtUu*ti*e l *m Me“te“ Practicing every single study here given, lrtJepcoi*lK« D«r. D*cot.«o* D.v. •* *• •**•» booK l» H>«f* school recitals for this season, September 26th. HOME NOTES. years, and it is one of the “good pearls” that I ua\e Mu the arrangement is such as to insure real and con¬ to bTfoooi vac It «« MWV of ftr.Kl«. hu»of..u. cw*«*mK.u*». found. William Tollington. Mr. Robert That.i.on, of Brooklyn, has started his stant progress. “motives.” Sixty four pages. Royal Octavo. Imperial tdmoo. p«ick. an »*** poi't series of pupils’ concerts for the season. Miss Grace “Sight-Reading Album,” by Charles W. Landon, con¬ The opening recital by the Faculty of the Toledo psva OMPian, * . • » Thallon and Mr. William King were the performers. • |nJ^e ^ree v°iu|nes so far issued are included one “Out of the heart are the issues of fife.” Out of Conservatory of Music was held in Collingwood Hall, tains excellent material for practice in this branefl o ■ ndred and four studies; among the authors repre- the instincts and ergons are the achievement!- o! 1 eachers who are looking for eli> in arranging re- music-study. M. A. Goodnoug —PWn Mubb 1 October 9th. -ted are the most noted modern writers for instruc¬ SACRED QUARTETS, NO. I cital programs should send to Mr. Carl Faelten, of the the will and the intefct As “like begets like, ’ so Mb. E. R. Kboegeb, of St. Louis, has issued a neat The “on sale” music you sent us last year was the ts Purposes, including E,t«laUv rt»U lo th. »m of ■»*. I consider Mathews’s “Graded Studies” indispen^d'^ tow tn ^ sPecial technical object of the piece and Tta forty pupils assisting. * hook ‘ha* No t, and *avy--*A w»th a CUMlltr nnr* to every progressive teacher, and take tort h3pra^Ce '*■to obtain the best results. Mr. Lam- fJZEjSnm «S tai 8E8PONSLS fa. tbUMta . «• ‘ Cbrl.tia.i aa4 th. Hr* ?« • •*.?£«•- * Mb. W. J. Hutchins is giving a series of organ re¬ recommending them. S. L. St. J • v°lume , wrlrten a valuable preface to the first *ott«. fF*'** t NGBAVUJ M*u« citals in Nova Scotia. | HANDSO« do*...... it that I make haste to order another one. - ® ®at ev'ery student ought to know, ignorance I took pleasure in piously Orchestra, New York City, at a recent concert. publication in the next number. Minnie 0. Tbacv ■ 1 ®tat and *las °*ten brought disappoint- of a character beyond she prac Miss Annie Pabby Bundy, of Topeka, Kansas, has AMERICAN NATIONAL SONGS, NO I A BRILLIANT MUSICIAN (LADY'), ALSO FINE I must express my pleasure in your arranged very thorough courses of study for her school been introduced to, an . , [rT she «-a9 now row hit* Vrwrme singer and violinist, desires position,as accompanist “Organ-Book.” It is to me the most satisfacto „ __.04 tatarwr taJtocHta *» N.«otal. Ptal*«c K«w» in that city." A free circulating library is a prominent ticed with much the same U j ^ w by an with a first-class company, or to teach in a small town. of the kind I have ever used. _ feature of the school. Georgie DavisO-’-- Sjojj. *,1 or- mm ,s c-wsin rmm. c*>*nr (Miss) L. Marsden, Albright, Preston County, W. Va. G. SCHIRMER fTVM OOPUhM. . . * * Da. Henby G. Hanchett has been engaged by the “The First Violin,” in yonr edition, is Board of Education, New York City, to give a series Y'OUNG WOMAN MUSIC TEACHER WISHES gotten up, and the fascinating story is we 35 uWon luare of lectures on music and the piano in the Teacher’s position in music store. Address: H. S., Wyoming, NEW YORK trated and splendidly printed. ^ L WhEDoX- Educational Course. 420 T fl E ETUDE 421 We must be put in paw*** of e instructors, whose whole knowledge they know they of the composer’s life that we nrovidei ' have quite gone beyond. New Recital Songs vated mind and a trained • ’ P d Wlttl a culti‘ A short time since she played for me a little com¬ position of a popular character, and when I remarked Important Announcement Key. Compass. Price. that it was pretty and asked the title, I was told she BERWALD, w. Geo. L. Osgood “didn’t remember its name’’; she "hardly ever1 re¬ Love s Whispers. Gfl. [dfl. to^-fl.] .50 ZTZol “* >■ £ Visions of Hope .. „ Fanny Crosby side of the composer as well as the artist- for the membered the names of her pieces; all with a pouty Dfl. [dfl. tog-fl.j .50 ■rtal, according „ „„' After a lapse of nearly six years wc toss of her head. It became apparent to me that she BURNHAM, CHARLES S. I. nng kindred hta „b. “» unu it po&sible to resume tlit ixsue of [c to g] .50 viewed herself as a competitor in the teaching busi¬ Good-bye! the Music Review, the publication of HADLEY, HENRY K. We conclude, then, that the teacher should snare no ness, and had no intention of giving me a chance to No. 4. Der Asra (The Asra). Heinrich Heine which was suspended in Dec., riv/j, E min [c to g] .40 pams that the pupil’s mind be stored with i.Lls of “catch on” to any of her nice new pieces. I thought No. 5. I Plucked a Quill from We shall not, however, as then, con of Mr. Carl Kaelten, of Boston, and the students of Cupid's Wing. Aubrey Boucicault taereYuT1" fr°m What ,W,re# obtai"<>d- Tlmt duct the magazine feature of it . . . [F to F or o] .40 there should be an effort made to bring the pupil to his music school, who are only too happy to send to The publication of the Review was HAMMER, MARIE VON Elizabeth Barrett Browning see that a musical composition is no more than the musicians copies of their programs, so replete with A Rose Once Grew. D fl. [c to rib] .40 originally intended to be a most ef If I Were Thou. Afl [dfl-toH •5° representation of the human mind, stored with fieient aid in presenting to the teach lists oi the finest compositions, while this girl would Love's Doubt. D [c nat.-.too] •5C beauties and assisted by a trained imagination; and deny me the name and author of a single, little incon¬ minetti, carlo ing and musically cultured public Blue Eyes. F fctori •50 “ " m,IK)rtant that it is only when the throughout the country, information sequential composition, though having received as¬ 1 Love But Thee. G [d to*-] .60 feelings and thoughts reach so lofty and elevated a sistance upon and copies of a number of pieces of me STEVENS, ALBERTA STOWELL regarding desirable new publications Linger Near Me. D fl. [c to Atlanta Constitution to whom they may he communicated, that they find houses of any note. It is this feature As straws betray the wind's course, so a trilling re¬ Dreamy Days. G [d to E] .50 expression in music. mark had given me the key to unlock the mysteries BENNETT, HOWARD S. Henry R. Follet of the Review that will be resumed This is the Hour. D fl.[b fl. ore tojgfl.or I** or afl.] .60 It has been said that the musician, out of three now, with perhaps the addition of of her ambition, erstwhile so deeply steeped in ret¬ DOUTY, NICHOLAS F. IV. Bourdillon sounds, can frame “not a fourth sound, but a star,” noting a few of the most important icence. She works hard to advance self. Unless the The Night Has a Thousand Eyes. * A [E to E sh.] 40 which, if it means anything, means that imagination events. We shall now. as before, motives are high ones, the appreciation of the art will KOEVESSY, M. L. Morris Rosen/eld fills in the space, in accordance with esthetic sense, give space in the Review only to the also be low. When the appreciation is little, the pupil 1 Know Not Why, C [c to D] .50 MACY. J. C. w ith some ingredient which, taken with the preceding, listing of such things as we find after will make no sacrifice to attain perfection, and the Dear Little Heart. Afl. [d nat. to E fl.] .50 make up an ideal whole; and in this, according to onr careful examination to be the most low- priced, blindness-producing, flattering quack gets WOOD, MARY KNIGHT Anna Warner Love’s Missing Bow. art, will be contained the enrichment, the fullness, desirable for their purpose. We shall a pupil. (With 'Cello Obligato.) E fl. [d to F] .60 the nobility, the beauty, of life—A. TV. Hendrick. endeavor to have our classification When chariots are propelled along the road of art FISHER, WILLIAM ARMS Herbert Randall and grading so complete that it will by the power of unworthy motives, such as the wish Ga. to Sleep. [a to C sh.] .50 • » « MIERSCH, PAULTH. Martin Greit be a helpful and reliable guide in to make neighbors envious of our accomplishments, or Im Walde (In the Grove). A fl. [g to E fl.] .40 Schopenhauer says that mere acquired knowl¬ enabling subscribers to judge of the for brilliant show rather than for the love of ex¬ (German and English words.) OLIPHANT, SARA J. Baroness Nairne edge belongs to us like a wooden leg or a wax nose. nature of everything that is recom¬ pressing noble feeling and sentiment which must be Baloo, My Dear (Hush-song). D [b to D] .50 Know ledge attained by means of thinking resembles mended . Special and separate men - cultivated and dwell in the heart, they will never reach our natural limbs, and is the only kind that really tion will be given wherever it is a goal of any real practical or spiritual efficiency. All belongs to us. deemed necessary ...... true art grows out of a natural love and desire to ex¬ New Piacrvo Solos We take this opportunity to an¬ press to others in ideal forms the True, the Good, the mne WV nounce the connection with our Beautiful, and for their benefit, edification, and highest (7/i every KROGMANN, C. W. house of Mr. Walter Spry, a pianist happiness. Five Laurel Leaves. Op. 36. Key. Grade. nice. WHAT HAPPENED THIS MONTH IN and musician of high standing, cPiece * •No. 1. Little Coquette. (Valse.) C Cases like the above are all too apt to be misunder¬ •30 YEARS PAST. •No. 2. The Zephyr and the Violet. F •30 whose study abroad for many years stood by the average teacher, who is generally ready •No. 3. Jack O'Lantern. (March- and whose experience in teaching in The Delight Humoresque.) •3° to give the pupil credit for entertaining only the best •No. 4. Fairy Hunting Song. B fl. .40 BY THEODORE STEARNS. this country since his return, gives Of Every Lover of Confections. •No. 5. A Forest Lullaby. f .40 intentions toward art and man. It would be well to him unusual fitness for conducting Their Purity and Delicious Quality Have Made Them Everywhere the Choice of Connoisseurs. MANNEY, CHARLES FONTEYN examine every pupil in order to be sure that the wilt •A Happy Day. Op. 5, No. 1. C a work of this nature. The Review WE HAVE A TRIAL PACKAGE FOR 10 CENTS IN STAMPS. 2-3 MKNDF.LSSOII.V-BARTIIOLDY, Jakob Ludwig Felix; is right. Make use of your knowledge of psychology In the Theatre. (Mazurka.) Op. 5, will be under his charge and he will No. 2. p .40 born February 3, 1809, at Hamburg; When not to be had of dealers we will send on receipt of price : i-Ib. box, 60 cents; 2-lb. box, 2-3 be ably assisted by others connected now if ever. $1.20 ; 3-lb. box, $i.8o; 5-lb. box, $3.00. Delivered free in United States. •Fantastic March. Op. 5, No. 4. F 2-3 •5° died November 4, 1847, at Leipzig. Grandson of A wrong motive will drive a good cause to disaster, ADDRESS ALL CORRESPONDENCE TO SCH.NECKER, P. A. the famous Jewish reformer and philosopher, with our house, and by competent A Summer Outing. Moses M., this classical composer is, like Handel though headed in the right direction and upon the THE WALTER M. LOWNEY CO., Dept. N. Boston. Matss. musicians whose special services are No. 1. Romping Thro’ the Fields F •30 New York Retail Store, 1123 Broadway (25th St.) Boston Retail Store, 416 Washington St. or Beethoven, so universally known that a criti¬ ‘right track. Think of a rapidly-moving engine with No. 2. The Merry-Go-Round. G 2-3 40 secured for this purpose. No. 3. Blind Man’s Buff. F cism of his life and works is almost futile. Like 2-3 40 Former subscribers to the Review a man at the throttle not an engineer. An absolutely SALMON, ALVAH GLOVER Washington Irving, hi3 life was one of well to-do right motive always contains within itself energy in Gavotte in C. Op. 36, No. 1. C and cultured ease; like the poet Shelley, his most will not need to be told of the fair¬ popular, or at least his most faultless, work, sufficiency to consummate to the utmost all its plans. SCHNECKER, P. A. A ness with which the listing of new A Summer Outing. Midsummer Night’s Dream” overture, was com Right motives can be born only in true feeling or in compositions was conducted, ami we No. 4. Resting in the Shady Grove. C 3 40 posed when only seventeen years old. He was a No. 5. In the Row-Boat. G •3° can only give renewed assurance true instruction, created only by a fullness of true and No. 6. In the Swing. D 3 precocious musician, and a thoroughly sensitive 3 40 that such fairness will lie continued. correct knowledge, and without which only a cheap No. 7. With Drum and Fife. G 3 •50 one. He was much of the Meant and highly- polished litterateur, and essentially correct in Ac Our aim will be to make the Review fanaticism, prompted by ambitious and active thought, BERWALD, w. Horsford’s Acid Phosphate Dance Serenade. 4-5 •50 tail, but also grand in conception. Some will liave the most efficient and reliable record which without proper nourishing condition develops Evening Song. E fl. technique Gavotte. 4 it that he wrote with kid gloves and a goldIpen. of desirable novelties that can be D 4 •5° an unhealthy mentality.—Edicard Foster Beal. Spring s Message. However, his oratorios, symphonies, ?r('heg“*' A Great Tonic. 4 •50 had. Extended reviews will be made *alse. works, concert!, songs, choruses, and minor ” • • • Dfl. 4 .60 Invigorates and strengthens the system, positions in overwhelming number easily refute only of large works of importance . *«>DS, E' McCALMONT °aoinage. THE FUNCTION OF IMAGINATION IN MUSIC, relieves nervousness and headache, and cre¬ and TEETH 4- 5 .70 L aim at his “gentlemanlineas. His fine U* The Review will be issued monthly DLM*ER. ANGELA “Victor, to breadth of --ral cu .u;, ates a good appetite. Gjgue in B fl. at least ten months in the year and Music, like literature, is the external representa¬ B fl. 4 •50 and his undeniable importance as a creativt.artist Genuine bears name Horsfoud’s on wrapper. As you cultivate ^ALBERTO we have fixed the yearly subscrip¬ tion of a beautiful ideal which is contained within valae in C-sh. Minor. quickly made him the center of all musiral Ger Op. 8. C-sh. min. 5 •50 tion price at fifty cents...... the mind, and is the result of certain circumstances one, you must °VTH, JOHN 2," M was the first to perform the great “Matthew Passion” f Bach since that compo*r* The reappearance of the Review will and associations, both of external things upon the Etude Brillante, in A fl. Op. ro, No. 3. A fl 5 •50 care for the other death The life of M. is very satisfactory reading. make further publication of our mind, and the innate tendencies of the mind itself. &e^Humored.LVAHaL0VE Op.R 20. G .60 Dnnf lpu’o NEW METHOD of instruction 5- ^ He was one of the world’s great men in mu. Bulletin unnecessary and that will What use is music without expression? And how can U6IJtlSj 0 IN the art of piano playing RIGHT’S MIS HARYEV WORTHINGTON therefore be discontinued. you obtain expression without first being able to ap¬ RhaPs°dy. Op. 53. No. 2. An up-to-date work of interest to Teacher and Pupil. To do this work thoroughly and con¬ NTOMYRH»^«S ical Record Competition, 1899. D preciate, esthetically, the piece of music which you Ira pages. Retails at $2.00; teachers’ price, $1.00, scientiously requires an enormous are to interpret? A pupil in music must feel or must plus postage, 20 cents. $1.20. i'VT'UI Being an antiseptic, OTll mouth of all gf it amount of time and labor and it is SBMD ORDERS TO be led to feel the temperament of the composer in dentists everywhere en 3 °UR- NEW ILLUSTRATED CATALOGUES 1828. The greatest ^^‘^d a.nong the brat therefore hoped we will receive lib¬ H. D. BENTLEY, - . Freeport, I1L QTF Best druggists sell h. s order to be able to infuse into his interpretation the ° 1 C tube-same price as W^jnJ creator of u, and orchestral mum. eral support in promoting a publica¬ composers of mstrumen master mam- notes of genuine feeling. For no one can hope to in¬ e.mt TiTf>rrc\ Renowned Myrrh Too Songs and Selected Piano Music tion of this nature. We will appre¬ (IN TUBES) Antiseptic Myrrh Tooth The creative genius ^ ^ musical abilities. terpret what he cannot feeh And it is to be noted, ciate every effort that is made in our Dr. J. Taft, Dean of the Cincinnati Dental College an fe9ted itseU, with cxtr^05 "“raining bv hi* father A little girt being left at home in care of Grandpa seeks to MAILED FREE at a very early ,.and to jLured the too, that there cannot be a variety of temperament author of Taft’s “ Operative Dentistry - B00th$ sge behalf towards securing new sub¬ improve the opportunity by giving him a lesson in danc¬ assigned to any particular musical composition, any have used your Dentomyrh Dentifrices So stn* on selection. Mail orders receive special atten- (a humble schoo’:“ffim vjolin-plaving; and his ing. As she has been taught so she instructs him to scribers. Yoon very truly, m free to say that I am much pleased of J*1'5 taon. Send for sample copy of boy’s talent, ‘^“i^^itVa^fresh soprano more than to a piece of literature. You cannot hope “ Raise yonr little skin,” •• Point yonr little toes,” etc. The know they have no superior inip., D.D-S CLAYTON F. SUMMY CO. to show that it is the outcome of several tempera¬ incident is told in verse and prettily set to mnsic in gavotte Mtuic 'Rexjiebo time by C. H. McCurrie, composer of the new and popular ments. Hence it is necessary, not only that one should ample and interesting booklet on th „o Wihtik Ave., - - ■ book. Wee Wee Songs for Little Tots,” etc. This song C^AV.ER MTSON COMPANY, - - Boston possess the musical faculty but, in addition, have “Grandpa. Come and Dance With Me," is mailed nostraid for E, on request. 25 cents net by the ■ P H’ DITSON & COMPANY, * New York cultivated the esthetic faculty. Nor is this all. les Wright Chemical Co., Dept. W, Detroiter— The composer must be studied, not only in his com¬ ALAMEDA MUSIC COMPANY, - Alameda, Cal. ^ WTSON & COMPANY, - Philadelphia positions, but in his life, his walks, his temperament THEO. PRESSER - * Philadelphia THE etude 422 vibrate. With h™ music was law and a part^f his being Composition «t*e3 Zetei out ^READERS to his daily routine. - secure ease f to him, a[| probability his against bis „birb iailnl to be of theeTUDE fci; SEE IF THIS COLUMN INTERESTS YOU fr I '■\r> ■ s„t.. (READ IT THROUGH CAREFULLY AND SEE WHAT WE OFFER & Beyond belief Over 600 songs there are, and operas, syrti nhonies overtures, instrumental and chamber- \ the music in astounding quantity. (See the May num¬ ber of The Etude for detailed information eon- WE want Music Teachers and readers of The Etude everyxlwn earning this master.) who use a good grade of popular music lo hare copia c[ GATES the following: TSOH UKOWSKY, Peter Iljitseh; born December 25 No. 1. Ben Hur Chariot Race March. „ l o f 1840, at Wotkinsk, Wiatka; died Thegreat seller. Universal favorite. Best march published.' " No. 2. Charge of the Light Brigade March,.’ j. til November 5 1893, at St. Petersburg. Thought by Companion piece to Chariot ltace. Magnificent piano L&CC'Y many to he the greatest of all Russian composers. piece. Great introduction. PARADISES He was certainly the greatest of his modern com No. 3. N. Y. and Coney Island Cycle March and Two. Step,. 5j patriots and easily ran^ks with the great romantic One of the best two-steps published. Splendid bass solo. composers of all time. He studied law, was m t e No. 4. Sweet Memories Waltzes,.( m Oueof the pretliest sets of waltzes published. Get acopv! government service, and finally entered the No. 5. Della Fox (Little Trooper) March,.. 59 THE LATEST SACRED SONG SUCCESS Petersburg Conservatoire, at the instigation ot Oue of tiie best marches published. Galloping horses imi¬ Rubinstein, soon after its establishment. From tated in bass solo. By HENRY V NEAL and ROBERT A. KING No. 6. Mardi Gras March and Two-Step. a An exquisite, soulful melody. It ranks with “ Holy 1S66 until 1877 he held the position there as The latest success. Played regularly by Sousa’s Band. OUt ’’ Soft and sweet, then swelling into stirring volume. teacher of harmony. Then began Tschaikowskys Trv til is piece. It shares the glory of the grandest success of the decade. creative period, his life being, until his death, de No. 7. Queen of Beauty Waltzes. a Price 75 cents. Without any exception the prettiest set of waltzes pub¬ voted exclusively to composition. His works con¬ lished io years. / SPECIAL OFFER sist of ten operas, a lyrical drama, three ballets, No. 8. America Forever I March. a symphonies, symphonic poems, orchestral suites, E. T. Pauli’s lafest, greatest, and best march. No. 9. Uncle Josh’s HuSkin Dance, .. a TO TEACHERS ONLY overtures, an amazing number of songs, instru¬ Played in the “ Old Homestead ” every night Ask to see mental and chamber compositions, and ail bearing The pieces mentioned here are the best in their this p'iece, it is a uoveity. a peculiar and fascinating beauty—highly and No. to. “ The Conqueror March,’’. 50 respective classes—carefully selected and unquali¬ New march issued in 1898. A prize winner. Nothing sensitively poetic, yet punctuated, here and there, fied successes. lietter published. Try it We want to interest yon in our general cata¬ with irrepressible, scowling, savage, lartanc No. 11. Ice Palace March and Two-Step,. 50 brutality. Tschaikowsky’s inner life had best A very brilliant and bright piece in six-eighths time, by logue. This ought to do it: E. T. Pauli. I if* never be sought out, but his influence upon musi¬ Any Six Pieces in the List for $1.00 No. 12. Cupid’s Awakening Waltzes. 60 cal history is indelible. Oue of the most beautiful sets of waltzes published. Be The Entire Ten Pieces for $1.50 sure to get this. Single Copies to any address, postpaid, 25c. No. 13. We ’ll Stand by the Flag March. 60 Companion piece to America Forever! Good swing. / RUBINSTEIN, Anton (von); bom November 28, Teachers and pupils unite in praising No. 14. Uncle Jasper’s Jubilee...... » 1830, near Balta (Podolia); died Characteristic dance, cake-walk, and two-step. ByE.T. / “ STAR OF THE SEA ” November 20, 1894, at Peterhof. One of the great, Pauli. M est of all piano virtuosi and a very prolific com¬ No. 15. The (Rudyard) Kipling Waltzes. » Reverie by AMANDA KENNEDY Do n’t fail to try a copy of this piece. at the best teaching piece extant; over one million copies poser of orchestral and instrumental works. At nlreadv in use and continues to tie the teacher a favoriteand the age of ten Rubinstein appeared in public con¬ is the pupil’s delight. Price 50 centa. cert at Paris, where his talent was instantly recog¬ 3 NEW PIECES JUST FROM THE PRESS i “THE NORTH STAR” nized and admired. Liszt then advised him to complete his studies in Germany. Rubinstein now Reverie by KATHLEEN A. ROBERTS “Dawn of The Century March,” . • • - - • ’ 1: 59 Companion piece to the famous Star of the Sea. Has the traveled through Holland, England, Scandinavia, Without anv exception the greatest march everwrttten or unqualified eiidoreemeut of over one thousand teachers. and Germany, giving concerts, and returned to E. T. Pauli. Simply try it. a United Nations March and Two-Step...... Price 50 cents. Moscow in 1843. A year later he was in Berlin Brand new. Just out. By W. A. Corey. j.ry it. ^ “CAROL OF THE BOBOLINK” studying composition under Dehn. Soon after he •• Midnight Fire Alarm Galop,” . . • ’wi-h fire composed four Russian operas and gradually built By Hi G. Lincoln. Arranged by E. T. Pauli, with ore WAGNER Morceau de Salon by WM. LORAINE up a generous list of compositions. At the age of bells, etc. Descriptive i is a daintv, catchv, pretty teaching piece,—nsparkle with life. You'can’t help likiug it. Price 50 cents. twenty-four he was again in Berlin, and for a NUMBER time lived in a garret, where his leisure was prin¬ “ JAPONICA” cipally spent in composing with savage fury and, SEE WHAT WE OFFER By TONY STANFORD like Balzac, finding solace from hunger in his CY > Accepted bT all as the only successor to the famous ideals. In 1858 he as court pianist and concert We believe the above pieces to be 7^ *• Narcissus.” ' Price 50 cents. and in order to introduce them more fully and gi e ^ ttr»w director in St. Petersburg, and a year later became etude an opi>ortunity to obtain them a‘f„r 75. . t director of the Russian Musical Society. In 1862 furnish any oue copy selected for 25c., or a?J. “ , i„ nukinj “CALANTHE” any six copies for 81.00. This is Iras ^an wholesalereura^^^ he founded the Conservatoire, and in 1872 visited . .1 Hr—11, Waltzes by ABE HOLZMANN an order lie sure to mention this ad iniThe Ettd , h ndMSSt '•■'lit Strauss could have written it. It’s a love waltz,—soft, America, arousing everywhere the greatest en¬ rate will be 28c. a copy throughout .Ou^Xmiu)0 can be tent i« dreamy, dainty, exquisite. You ean’t be clumsy under its issued by any publisher; amounts for less than*l.wcan rSi thusiasm. His influence was ever for the good, vl >* /' vs ' influence. Price 50 cents. postage stamps. __ ■ and his playing rarely failed in arousing an in¬ 4JC) • 9 *•» A NEW SONG TRIUMPH centive in other musicians. November 14, Itarc and beautiful; a new conception ; a master hurst of We have a set of six teaching pieces which^Eacbpiece be emotion It is a soug to thrill and enthral its listeners. A 1778, at Pressburg; died October 17, tion the best pieces ever placed on the £ made as to the Kg niece •• lie resistance" for the repertoire. Price 75 vents. 1837, at Weimar. An erratic genius, an eminent duly graded, fingered, and special f ,bese pieces. T* J VI ■a Positively the best songsince ‘‘Thy Sentinel Am L tor rendition of same. Do n’t fall to or'l’’r a *1-„,hjng better tobebni- pianist and capellmeister, but taking his art more are just what you want in vonr teaching. - 8 .V Bass and Baritone. lightly than the large number of his compositions, Be sure to try'them. They are as follows: “ BUNCH O’ BLACKBERRIES ” and the value of some of them would seem to in¬ l No. 1. Mexican Echoes (Serena(ie) GraJe3, - ^ -3’ ; ; . a f H Character March. Cake Walk, and Two-Step dicate. Hummel studied under Mozart for two No. 2. * Queen of the Night (York Caprioft Graoa ’ 9 1 By ABE HOLZMANN years in Vienna, and from 1788 to 1793 made con¬ No. 3- Southern Zephyr* (Gavotte), Gr» ..fj The greatest suecess of the year; a companion piece to No. 4. Morning Vespers (Idyl), Grada*,. - Gde 5 . . * “ Smoky Mokes,” by the same composer. Contioually cert tours as far as Denmark and England. From No. 5. Pearl of the Antilles (Cuban Dance), “. 9 featured by Bandmaster John Philip Sousa at the Parts 1804 to 1811 he occupied Haydn’s place (the latter No. 6. The Cossack (Pollaka), Grades. Exposition. Price 50 cents. being then infirm) as capellmeister to Esterhazy, “ BELLE OF THE REGIMENT” after which he lived a more or less secluded life until called to Stuttgart in 1816 as court capell¬ March and Two-Step by TONY STANFORD READ THE SPECIAL OPFERWEjjAg meister, which post he exchanged with a similar Endorsed by Miss Helen Gonld; merits the highest opinions. A pleasing march and strongly recommended. one at Weimar in 1819. His life thereafter was To any reader of The Etude, we agree to for 75 Price 50 cents. one of almost constant travel, and it would seem for 20c., or auy four copies for 60c., °r * ingdirect fro® * that his compositions, though brilliant, imbibed ll DECEMBER “GALLANT 71ST MARCH” These special prices can only beobtained y -> ne pieces. ™ therefrom a certain spirit of restlessness. He is Bv F. FANCUILL1, Ex-Bandmaster United States and areonly offered to introduce this set © fa to-day known principally through his third, fourth, Marine Band ing an order be sure to ?‘“T'he'«litioa Vi Played during the entire season with unbounded success and sixth piano concertos, and the “Bagatelles.” price of 25c. a copy will be charged. T _t__e jfeimp*- * + '19 0 0 at Manhattan Beach. Price 50 cents. In all, Hummel wrote one hunured and twenty- Amounts for less than $1.00 can be sent m ^eniatic pi**8**’ i «|,rr Send ns ten cents and cards with the names and four works. out a sample order and write for catalogue ax icatfaifl w rK r r addresses of five teachers in yoor own city or free, postpaid. Address all orders and communi a town and we will send von a regular 50-cent i PUT3 LI SHE R. g P3Mt^%Lg>iaiA?-l^. copv of one of the best teaching pieces published. Seud an PADEREWSKI, Ignace Johann; born November 6, Publishers. THE0-PRE5SER. communications direct to the publishers, 1859, at Podolien; studied with Leschetitsky, was Professor of the Pianoforte at FEIST & FRAMENTHALER the Warsaw Conservatory, and since 1883 con- E.T. PAULL MUSIC CO WBTBfl certized extensively in America and Europe. FIFTEEN CENTS 36 W. 28th Street NEW YORK, N. Y. Paderewski is a very distinguished pianist, and 44 Wist 29tli Street. New Yor* the opera upon which he is now working is said to be full of original beauties.

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