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

9-1-1910 Volume 28, Number 09 (September 1910) James Francis Cooke

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J THE ETUDE

TO OUR READERS THE EDITOR’S CHAT

SEASONABLE PREMIUMS OF PROVEN FIRING THE OPENING SIGNAL. VALUE. Every earnest music teacher who is ac¬ By the time this issue of “The Etude” quainted with The Etude knows the value of t MONTHLY JOURNAL FOR THE MUSICIAN, THE reaches you the teaching season should The Etude placed in the hands of her pupils. MUSIC STUDENT, AND ALL MUSIC LOVERS. be already well under way. Your adver¬ Edited by JAMES FRANCIS COOKE We have given much thought to how to pre¬ tising matter should be circulated and sent some of the thousands of unsolicited testi- Z'XZtj your pupils should be coming back filled monials on this subject before others; many of them say they care little or nothing for the with the delightful exuberance and premium part. We prefer to give; however, eagerness which the summer rest has all that we can afford. Many teachers charge developed. The teacher who has diffi¬ The Etude in the regular bill for tuition. culty in coaxing her pupils back should For the sending of one subscription, other than your own, we will send, prepaid, any realize that something is very wrong. one of the following selected articles, the most That something is always a lack of popular and valuable on our catalogue: interest. The pupils should be so inter¬ First Steps in Pianoforte Study. The most ested that the teacher’s announcement used piano instruction book. Any Two Grades of Mathew's Standard of the date of the opening of the fall Graded Course of Studies. term should be like the firing of a signal Stainer & Barrett’s Dictionary. gun—the signal for alertness, prompt¬ Duet Hour. A collection of four-hand pieces ness and action. of medium difficulty. Popular Parlor Album. Handel Album. The best of Handel’s com¬ GETTING NEW PUPILS. positions for the piano in one volume. the A Fountain Pen is always useful and very Nothing is so precious to the teacher £ seasonable just now. A self-filler for four preservatibn - of her teaching clientele. Her subscriptions. A very good quality, not a very existence depends upon it. People study cheap pen, for three subscriptions. music because they are interested in it, be¬ Our most popular premiums of a more cause they have learned to love it. The only elaborate nature are the following: reason why there are few music lessons in A Music Cabinet for 14 subscriptions. CONTENTS semi-civilized countries is that the people have A Ladies’ Desk for IS subscriptions. not learned to appreciate and love music. Bookpases, in Oak and Mahogany, from 24 Anything which develops a love for music is to 35 subscriptions. of immense importance to the teacher. Noth¬ A China Closet for 25 subscriptions. ing can possibly assist the teacher so much in These premiums are not the kind of articles developing a love of music among her patrons that are usually made for premium purposes, as can a good music journal like The Etude. but are made by one of the highest-class fur¬ niture manufacturers of the country, absolutely FOLLOW THIS TEACHER’S PLAN. first-class goods made for retail trade. We can One of our friends was obliged to move send pictures of these articles. to a somewhat newly settled city. She tried her best to establish a music class, but the MAGAZINE CLUB OFFERS. people were unresponsive. They were too On another column of this issue we give, busy making money to care much about music. for the last time, the clubbing offers of the Consequently, she wrote to The Etude Sub¬ current subscription year. All contracts with scription Department and secured full informa¬ regard to clubbing prices expire September tion regarding the easy plan of securing sub¬ 30th. It is always wise to take advantage of scriptions and also procured some circulars these offers at the end of the current season. and literature. These she circulated intelli¬ All increases in prices and all changes of gently and effectively, and had little diffi¬ every kind occur on October 1st. culty in securing Etude subscribers. For each It will be found that these clubbing prices subscriber she received the regular commission with The Etude are exceedingly low and con¬ paid to agents. She found the work easy and. sist of only the best journals, and, in fact, all pleasant. She kept a list of The Etude sub¬ of the best are included. We certainly do not scribers, and after a few months she called approve of too much magazine literature, but upon her patrons and secured many pupils. we do approve of two or three of the best If you are not making more money than you journals being on the reading table of every need, or if you have room for a few' more teacher and student of music, in addition to their musical reading matter. pupils, try this excellent method of gaining Whether your subscription t.o The Etude an introduction to new homes. Do not con¬ is a new one or whenever it may expire, these cern yourself about the manner in which you offers can be taken advantage of. The cheap¬ will be received. A lady may always make est offer is The Etude with the Cosmopolitan herself welcome, and you should be continually or the American Magazine or the Designer. impressed with the fact that you are calling We would certainly recommend the above, as in the interests of your future patrons quite as well as our offers with the Woman’s Home much as in your own interests. Companion, Harper’s Bazaar, McClure’s Maga¬ tSKriK',... zine and certainly the Review of Reviews. GOOD THINGS AHEAD. You have liked The Etude in the past or THREE MONTHS’ SUBSCRIPTION you wouldn’t be reading it now. We wish that OFFER. we could tell you of the many fine things we This is the last month in which we accept have ahead for you. The whole world of the offer of 25c. for three issues of The music sends its riches to you through this Etude. Great numbers of our subscribers journal. We try to make each issue so help¬ have taken advantage of this offer, not only ful and so inviting that you will not want to in this year, but in years past. It gives any rest until you have read it from cover to cover. three issues from May to September for 25c., We like that kind of a magazine ourselves and this year of all others the offer gives more and we know that if you find that kind of an value than ever before. Any of these three interest in The Etude you will not stop until issues alone give, in addition to the reading you tell all yoiii' friends how necessary you matter, not less than fifty new and standard have found it. pieces of music, something in every issue for “One good turn deserves another." Isn’t it ^especially for people of high every musical person. fill your turn? STRICH & ZEIDLERjB the difference between good&nTtest Tleasc mention THE ETUDE when addressing our advertisers. ^ -^ottr Correspondence Solicited 571 THE ETUDE

MUSI SUPPLY HOUSE

PUBLICATIONS OF G. SCHIRMER: NEW YORK NEW STUDY MATERIAL FOR THE PIANO THEODORE PRESSER CO, RAFAEL JOSEFFY. School of Advanced Piano Play- HUGO BERGTHAL. Twelve easy etudes....$1.00 Net $3.00 Simple studies which, despiie their limitations, are music¬ An exhaustive cyclopaedia of modern piano technique ii FOR EVERYTHING IN MUSIC ally and technically attractive. compact and comprehensive form. The most important JOSEPH CONCONE. Thirty selected studies. Edited work in recent years. and fingered by Louis Oesterle.Net 1.00 HENRY LEYEY. The Chopin Technique.Net 1.00 TWENTY-FIVE YEARS AGO, as a sequel to the founda¬ These “selected studies ’’ provide the student with all the A series of daily studies based on difficult passages taken tion of the ETUDE (then only a journal for piano, teachers), the really essential features of Concone’s Etudes. from the “ Preludes ” and “ Etudes ” of Chopin. ALEXANDER LAMBERT. Lambert’s Piano Method publishing house of Theo. Presser was founded to furnish prac¬ CARL CZERNY. Anthology of Studies. Edited and fingered by Louis Oesterle. for Beginners.;.;..et 1UU tical teaching material in conformity with the suggestions and A practical and simple course of piano instruction, in¬ Four volumes. Flexible cloth..Each, net 1.00 A judicious sifting of a vast amount of technical material, dorsed by I. J. Paderewski, Josef Hofmann and advice of the journal. its proper classification and arrangement in order of manv other celebrities. . EUGENIO High-School of Piano Playing. Net 2.00 have been issued continually—ever abreast of the times— logical development. PIRANI. NEW PUBLICATIONS Embracing in compact form the essentials of modern adapted to all modern educational demands, carefully edited and annotated by the foremost STEPHEN HELLER. Fifty selected studies. Edited virtuoso technique. teachers of the day, and all of the most helpful character. and fingered by Louis Oesterle...... Net 1.00 EUGENIO PIRANI. Fifteen concert etudes.Net 1.25 When the Vast amount of studies and exercises is taken Excerpt from the High-School of Piano Playing. PROMPTNESS. A stock, second to none, drawn from every quarter of the world, into consideration, which the student is expected to HANNAH SMITH. Twenty progressive pedal studies. .75 linked with a corps of efficient and trained workers, means the correct filling of an order on master, the importance of careful and intelligent selec¬ An excellent preparation for the more serious study of the day of its receipt, whether for one piece of music or the stocking of a music store. tion becomes very apparent, in view of the saving effected pedal technique. in time and effort. ARTHUR WHITING. Pedal Studies. Elementary use ECONOMY means not only the giving of the largest discounts possible and the most favorable terms, but, mark you, fair retail prices as well. Our best endeavors are devoted to GEORGE J. AND HENRY HOLDEN HUSS. Con- of the damper pedal. 1.50 These studies offer a complete and clearly arranged means ) the teacher’s interests, saving time, thought, labor, giving the greatest value for the least outlay. densed piano --technics... 1.50 Original analytical exercises in double notes, scales and for the acquisition of a correct use of the pedal and a corresponding artistic control in expression and rendering. t SATISFACTION. No doubt the greatest factor in the success of any business is the arpeggio forms and trills. | personal confidence engendered by fair and helpful dealings. No less than 25,000 accounts ANY OF THE ABOVE MAY BE HAD FOR EXAMINATION f are on our books, denoting satisfaction in our publications and satisfaction in our service.

THIS BUSINESS founded on the above principles has grown to be the largest mail order music supply house in the world and is now established in a permanent home, six stories in height, 44 x 150, with an annex—all carefully planned and thoroughly equipped to attend to the wants of Every Te Itiesl Piano Solos You Ever Heard 10c Love and Flowers I Scented Posies A INFORMATION AND CATALOGUES on any subject in music free; the On Sale plan.(one of our , Hyacinths Blinking Moon - SENT FREE White=Smith Music Publishing Co. Claudia (Valse) A Reverie C ideas to aid the teacher) is very liberal; our New Music Idea pleases every te; Write to-day for Victoria (March) Sis Hopkins Dance 0 i as to our method of d Remembrance | Valse Lente p announce the publication by them of a new Song Cycle r,ap A beautiful Solo and Bargain y PIANOFORTE r ree catalogs with every *1 order • WALTER C. TUTTLE CO., U W. Ohio, Indianapolis, Ind. TEACHER’S A FEW OF OUR STANDARD PUBLICATIONS SAYONARA The Operettas for HANDBOOK A JAPANESE ROMANCE Amateur Organizations r h Founded on Japanese Melodies Graded Material By CHARLES WAKEFIELD CADMAN ESYLVIAil IN TWO ACTS [OSE who have used our “Teacher’s Books SIsshE* of Samples ” will be glad to know that we just issued a classified list of dependable ling pieces. Each grade has been sub¬ Price, $1.00 divided under the following general headings A part for second voice has been Runs and Finger-work. Left cued in (in small notes) so that when THE LESCHETIZKY METHOD OF PIANO desirable the high voice copy can Hand Work. Staccato and be used also as a duet for soprano Wrist Practice. Quiet Legato “The Modern Pianist” Price, $1.50 and tenor, and the low voice for Numbers. Characteristic alto and baritone. The time of Pieces. Marches. Waltzes. ■ OF OUR PUBLICATIONS SENT ON EXAMINATION TO RESPONSIBLE PERSONS performance, ten minutes. “A NAUTICAL KNOT” Other Dance Forms. Style and Phrasing. Broad Mel¬ “The Belle oi Barnstapoole” ody Playing. Salon Pieces. SPECIAL NOTE Both Hands in Treble Clef. Mr. Cadman is the composer of We are confident that this little book w “Four American Indian Songs, ’' togjve1thatrpupflV"r'Pre5'ntproblem of ' what which are beingsungby Bispham, . w«ar« ‘?>e largest publishers oi Easy Teac ing Music in the world, and we have what y Nordica, Jomelli, Christine Jue Stout (Bsm '."“’staiwartMate oftlw Soumibis® Miller,etc. Mme.Jomelli,Edith WE SOLICIT CORRESPONDENCE MIMIsll/imdBora .... '.. .B™". .. Barnstapool! regarding selection packages of our m< Castle, etc., will introduce effective recent teaching music. “Sayonara” to the public this

The b. F.Wood Music Co, WHITE-SMITH MUSIC PUB. CO. THEODORE PRESSER CO„ 1712 CHESTNUT STREET, PHILADELPHIA, PA.

* THE ETUDE IMPORTANT Important to Music Teachers TO TEACHERS A few select Piano Pieces carefully revised and fingered Piano Music By JACOB MOERSCHEL i—- HE piano albums comprised in Stern s Edition are unexcelled for careful preparation in every detail, and repre- Awaken and develop the musical tem¬ “The Herd Girl’s Dream,” by Labitzky. nt the best value for the money ever offered. perament in your pupils and stimulate “The Tyrolese and His Child.” “Falling Waters” the incentive for application by using SCHUMANN ALBUM the compositions of (Truax). “Golden Lilies.” “Christmas Bells.” PRICE, POSTPAID, 35 Cents This album contains twenty choice compo¬ “Beneath My Loved One’s Window.” sitions by this great master of the romantic - ’ 1, and is the most delightful collection of ALBERT KUSSNER vorite pianoforte works published.. It On sale at all first class Music Stores. :en compiled and edited by I aolo Gallico, You no doubt know his “MOON i recognized in exclusive artistic circles : of the best interpreters of this composer. MOTHS." the dainty suite of three melodies. Samples sent 10 cents each or the 6 for 50 cents If so you will be equally delighted with his other Tone Poems—Memories, Hesitation. Dawn, The Evening Hour. Dance of the Address JOSEPH FLANNER, Milwaukee, Wis. Wood-Nymphs, By Candle Light, When Daisies Sleep, etc., etc. Send your address LITTLE PRKLEUE »nd WHY I Op. IS, No. S- HOI K, Op. Os, No. 40. WHIMS, Dp. 12. No. 4. for complete thematic catalog. THE STANDARD ONB- VOLUME DICTIONARY OF MUSIC TRAUMEKEI, Tit ALJIKS Win KEN, LONELY FLOWEltS, ROMANCE/ Op. 2S. jo. i IIEKBERGK. Op! 82, So. 0. NOVELETTE, Op. 21. No. 1 L. C. Kiissner, Publisher DICTIONARY OF MUSIC AND MUSICIANS BIRD AS PROPHET, Si'llERZINO, Op. 20, No. I Lincoln Park Station, Chicago, Illinois 3Ssa», MODERN CLASSIC REPENTANCE THEO. PRESSER CO., -- 1712 Chestnut Street, -- PHILADELPHIA, PA. REPERTOIRE PRICE, POSTPAID, 35c perVol. ESBfiSS NEW MUSIC

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P. 0 Draw,, 1 107. KANSAS CI77 MO. New and Standard Publications for Piano Study

MENTOR CROSSE Z1EGEELD PIANO TECHNICS WILSON G. SMITH’S Daily exercises ior training the live fingers By Dr. F. Ziegfeld FAMOUS PIANO STUDIES The Standard History of Music of both hands. This system of technic is an original work in many Five Minute Studies. Op. 63 FOR STUDENTS AT ALL, AGES respects, being practically an exposition of the familiar Two books. Are designed for daily practice, with By JAMES FRANCIS COOKE While it may seemingly be impossible to offer much experiences of every day teaching in a successful school. special reference to the development of the third, fourth original material in five-finger exercises, there are certain The book holds in compact form all that need be arid fifth fingers. They are extremely interesting, many features in these four volumes by Mr. Crosse which are of the passages being modern in figuration and helpful especially commendable when compared with other taught to insure that training of the hand essential to for bravura study. They involve a system of diatonic volu’mes’u^iTr a^Mmited’Tme only^ °n works for similar purposes. In the present work no an early and easy virtuosity. The book provides for modulation built upon simple sequences. aim has been made to include a complete pianoforte the necessary fundamental work and embraces all that Other successful studies by Mr. Smith are: technic other than the absolute five-finger exercises is needed for the gymnastics of the fingers and essential Chromatic Studies, Op. 69, two books. which are acknowledged as necessary to a systematic A DELIGHTFUL PIECE to a thorough training and control of the hand. Bound Transposition Studies, Op. 70. By WILHELM ALETTER development of the fingers. The entire work has been Thematic Octave Studies, Op. 68. systematically arranged, methodically developed, and in flexible cloth. cautiously treated. Price, $1.50 Each Book, $1.00 The book is “ LEFT HAND ETUDES THE CHILD’S FIRST GRADE SUCCESSFUL BOOKS FOR n«rcttuSoting aCC^"ied t6Xt ^ ^ For the Child Beginning the Piano MUSICAL PINS FOR THE PIANO CHILDREN lu rTHj By Blanche Dingley-Mathews and By August W. Hoffmann W. S. B. Mathews By Jessie L Gaynor and one o^nfy °f mUSiCal hist°^ primary book of s intended to help First Pedal Studies, Price, 50 cents essras It has been pre¬ Miniature Melodies, Price, 60 cents The book may be used in private teaching as well as in material, suitable Melody Pictures, - Price, 60 cents by the shortest eachcTa'ter1 Cl“b ^ questions at the end of musical feeling id the influence The author is noted for her rare teaching ^ii^imn^red^^mes'^of^ he art of repre- qualities, particularly with the young, and these as playing studies are exceptionally meritorious in their plan and playing of arrangement, clearness of demonstration and aptness of illustration.

CINCINNATI NEW YORK the special rate of 40 cents is herewith given. It m JOS. W. STERN & CO. THE JOHN CHURCH COMPANY CHICAGO covers the cost of paper, printing, binding, etc. Theo. Presser Co., Philadelphia, Pa. 103 W. 38fh St., New York City Qrhmidfs Educational Series

v°i. M. v 16a-b. EGGELING, technical and musical THE ETVPi': VOL. XXVIII. NO. 9 Op. 170. 25 Etudes (without octaves).2 Bookg( each 0.71 SEPTEMBER, 1910 V -ii « ii*" development . Intended for prepara top study to tl^e ^°^ucturef afford excellent training Among the subjects treated are : passages. Equality of tne without learning some new and important thing. More than this, the idiom and, being purely contrap velocity. Legato and discussions inspire the thinking teacher to form new ideas of his own for both hands. Fingers. T&°e£ Choris, Pedal study. Double notes, V 3 against 1 Five Hundred Dollars For Your Ideas It is especially helpful to witness the results of different systems of motion, etc., etc. X. I°9°eIS’. *»S2Uw develop*.,,, ... 1.00 instruction, and to compare these results with those you have been able Mtateriti!igScompositions. T1 eTakhoughthe^arlier studies m to attain with the methods you use. . lent material for the third gi The incentive of the prize has long been a recognized factor in The editor of The Etude was fortunate enough to participate in a 3. FRIML, RUDOLF. . „.7B -id grades. education. The educational theorists promptly denounce it, but prac¬ convention of the New York State Music Teachers’ Association held at op. 35. Suit.. I Boh.mi.nn. 17. MODERN SONATINAS. d» th. rr«» tice has shown that theory of this kind is often ridiculous. Syracuse. The convention opened with a banquet, and the guests and SS3& song jf The most noted of musical prizes is undoubtedly the Pnx de Rome. members made a representation of which any society might have been This suite is valuable particularly for wnac rtunitiea for applying technical 18a-c. HERMANN, FRIEDRICH. This remarkable and valuable prize is offered by the French govern¬ proud. Mr. David Bispham, whose interest in such conventions has At the same time the pieces presem-iaa j Op. 29. 36 Exercises and Etudes for the Violin. OT ment not only to musicians, but to painters, sculptors, architects and 1 ; principles in an artistic manner. been most sincere and praiseworthy, made an eloquent appeal for the Book 1 12 Exercises for Beginners jfirst position) • • • • • Q 60 engravers. It was founded in 1666, by Louis XIV. Napoleon realized use of the English language in singing. The following three days were its advantages, and greatly increased the scope of prize. This entitles filled with concerts and discussions of the most helpful and inspiring V . « Kl: :: • °-60 any young Frenchman between the ages of fifteen and thirty, who is kind. The city of Syracuse “did itself proud,” and the social hospitality successful enough to win the prize to four years’ residence in Rome of the leading families of the city was unbounded. with a yearly income of four thousand francs (about $8oo.oo). The 50d"?5* ^X^ai^StEcato Studies for the Violin. ftfi, If you have not joined your state association, make up your mind ,90(1 other «■« *«»'« «”»“* „.ro winners are also exempt from military service. So successful has been Parti Exercises in the first position • ■ ..n’^r 4VYA not to let another season pass without taking advantage of the oppor¬ this generous prize that we are confronted with the somewhat aston¬ tunities it offers. Parti i^ale^tadi^fn two octeves'aiui exercises in ali positions o'.6( - ishing fact that nearly all of the greatest masters of France, since minor keys. the time that the prize was first instituted, have been successful con¬ testants. Berlioz strove to win this prize, and was successful only 60P. m^ThlcWWren^^FertiraL" 10 Easy Pianoforte Duets . . 0.7! 20. FOOTE, ARTHUR. 076 after many failures. A similar Prix de Rome is awarded at the Con¬ What the World Owes You 12 Duets on 5 notes... servatoire of Brussels every two years. 7. SCHYTTE, LUDVIG. 07 The Mendelssohn Scholarship in London assisted Sir Arthur Sul¬ 10 Melodious Etudes from Op. 66 ... • • ■ • » * * livan, Frederic Corder, and Eugen d’Albert in securing their musical The gradual advance in the social and financial status of the musician educations. The Rubinstein prize has been similarly beneficial to many. has been due to the fact that Music has been recognized more and more 2 v - —•« as an educational factor of real significance. Every one who holds the life The Nobel Prize in Norway has already stimulated a great interest Idylle 22. STURM, WILH. 076 among those to whom human progress is dear. Colonel Roosevelt was art dear should contend every day of his life against those forces which Op. 83. 12 Vocalises for Soprano or ienor. proud to win one of these prizes. degrade the purposes of music. The popular acceptance of the position of 8. LYNES, FRANK. Realizing the incentive that a prize offers, the publisher of The any following or profession regulates the income of the workers in that Op. 20. 10 Special Studies for the Pianoforte.u-1 23a-b. BOHM, CARL. Etude has decided to give prizes amounting to five hundred dollars for profession. When the only dentists were the barbers of the village, the Op. 366. From many lands. 12 Compositions forW^ana q ^ musical compositions. This is described upon another page. It is hoped care of the teeth brought little income to the dentist. Now dentistry has 9. BIEHL, ALBERT. v . Pianoforte . 15 Selected Etudes for the development of technique and ^ that this offer will develop an interest among composers who realize been placed upon a different plane, and the leading dentists earn a large and well-deserved income with comparatively little difficulty. The more expression.,*'*'*" that publication in a journal with the wide circulation of The Etude, 24;oTv„*£"'™®«XEi=h edited by A«h« Feete . . 0.75 together with the prestige of winning the prize in competition with the the public comes to recognize music as a useful, helpful, needful art, and not brightest musical thinkers, will add much to the composer’s reputation. as a mere pastime, the more money teachers and artists will receive. The Arpeggios, Octaves, Thirds, etc., and are arranged tor the equal development This offer is of such a nature that composers who would hesitate world owes you its very best—if you give your best. The days of the of both hands. 25^£Xl?«E„“’,ALE^i£D- p.eee. ter - # „ to write an opera, an oratorio, or an elaborate orchestral piece may par¬ musician in the garret are now well past, and happily so. Dr. Samuel lOa-b. BOHM, CARL. Pianoforte . ticipate. It is solely for pianoforte compositions. The contest is con¬ Johnson, with his lumbering humor, could discourse upon “The Advantages Op 367 40 Progressive Studies for the Violin (first position). ducted so that the identity of the unsuccessful contestants will not be of Living in a Garret” and state.: “That the professors generally reside Parti, Part 2. ..each revealed to anyone but the clerk who will return the manuscripts. in the highest stories has been immemorially observed,” but we want ^tTat tlm^un^timeb^mastering^^varie^^f'technical^pHnrt^srmami aa However, it is very possible that many compositions will be received none of that. The best is none too good for those who work so cheerfully 11. GURL1TT, CORNELIUS. SLution and finger equality, phrasing, interpretation, etc. The book is to help in making this groaning old world brighter, happier and sweeter specially useful for first and second grade pupils. which, although not adjudged available for prize purposes, may be con¬ Musical Sketch Book. 15 Selected Compositions for Pianoforte. 0. sidered worthy of publication. It is the earnest desire of the publisher 26. KRAUSE, EMIL. . of The Etude to assist worthy composers in every possible way by 12. TAPPER, THOMAS. Op. 99. 12 Technical Studies for the equal development of both Sight reading and memory lessons for the Pianoforte.u, giving their works the greatest possible publicity. The date of the clos¬ Has Virtuosity Reached Its Limits? An indispensable companion volume to every piano course and method. nands (Second Grade).. ing of the prize contest has been extended by request to January 1st, 1911. 13. PFITZNER, HEINRICH. 27. RITTER, G. P. In the German papers we occasionally read articles headed with such » Systematic training for Polyphonic playing.u First Amusements! 12 Easy Pianoforte Pieces on 5 notes . . . 0.76 titles as this: “Gibt es noch eine weitere Entwickelung des Klavierspiel?” “Getting Together” *1,1.„„ „»erc>se more than two voiceB are employed, the book helps (Is a further development of piano-playing possible?), and continually note ' A admiralty to solve th^p^y phonic difficul tie: lich occur in pian 28. HERMANN, TH. .. ^ thinking power of the fingers is tramed by t. Op. 100. 12 Melodious Etudes for the Violin (first position) with that in Europe there seems to exist an impression that, with Rubinstein, accompaniment for a second Violin.2 Books, each 0.60 Nearly thirty-five years ago a number of music teachers met in the Liszt and the great pianists of to-day as examples of the possibilities of 14. SCHRODER, CARL. town of Delaware, Ohio, and decided to form a Music Teachers’ National the virtuoso’s powers, it is unlikely that we may in the future ever listen Op 87 18 Very Easy Studies for the Violoncello (with second 29. BIEHL, ALBERT. Association. One of the moving spirits of this first convention was the to a more highly cultivated degree of pianoforte playing than we have Cello at lib.)..1 Op 153. 12 Melodious Studies for the development of the left publisher of The Etude’. This in a measure accounts for the active heard in the past or may hear at the present time. The feeling is that 15. HEINS, CARL. land...075 interest which The Etude has always taken in the teachers’ conven¬ the limits of human ability at the keyboard have been reached. One of. Op. 270. 6 Fancies for the Pianoforte .SI tions given in our different states. The Etude, however, is in no sense the greatest living pianists told us quite recently that he considered the Heart’s Springtime 30. BOHM, CARL. a newspaper, and it would be quite impossible for us to give the details playing of Liszt, Rubinstein, Henselt and Thalberg superior, from the Away to the Woods Op. 358. Lyric Suite for the Pianoforte.0.76 Thoughts of Home The Merry Wanderer of the many excellent meetings held in different parts of the country. standpoint of absolute mastery, to that of any living pianist. We must The Alpine Hunter The Huntsman’s Farewell Prologue Venetian Barcarolle not, however, countenance reactionary doctrines of this kind. Fairies’ Song Song of the Spinning Maiden When the first convention was held, music teaching in America was These six pieces, already very popi s separate publications, are now issued Although virtuosity may have reached its limits, there is certainly a together in one book, and form ai active set of second grade piano pieces Love’s Strain A Song of Fancy comparatively young. Most of the abler teachers of the country were to be found east of the Mississippi—some might say east of the Alleghenies. most astonishing advance in the playing of students. There are dozens Nowadays conditions are very different, and the wonderful western of young men and women of the student class who play so remarkably NOVELTY LISTS states boast of a musical activity comparable with that of the great that fifty years ago their playing would have been classed with the NOVELTIES ISSUED THIS SEASON SENT music centers of the world. As a result music teachers’ associations great virtuosos. In these days our young people are not content to finish containing thematic pages of latest issues and selected are now coming forward in many of our western states. In some their educational work with The Dying Poet, Titania, Monastery Bells or lists of standard publications. consisting of a large number of excellent leaching pieces and studies states such associations have existed for many years. The Fifth Nocturne. They stop at nothing short of the greatest master¬ FREE 1. Pianoforte 3. Violin Music in all grades, will be forwarded on approval to teachers and schools upon 2. Songs 4. Organ and Church Music The vastness of our country makes it impossible for teachers with pieces. This has led to the stupid habit of attempting the impossible. limited means to attend conventions held in cities thousands of miles The student goes to hear Paderewski, Busoni or Sauer and admires receipt of the usual references. TO ANY 5. Part-Songs for Women’s Voices ADDRESS Please state which lists required. away, but in the case of the state convention the expense of travel is some particularly difficult composition. He can hardly wait to visit the Mail orders solicited and filled promptly to all parts of the country. reduced, and the benefits of the convention are brought much nearer music store and purchase it. He reasons: “If Paderewski plays it, why to those teachers who need them most. shouldn’t I play it?” It remains for the, teacher to explain to the mis¬ It is a splendid thing to “get together” with your fellow teachers. guided student that men and women, like the trees of the forest, are, after ARTHUR P. SCHMIDT Few teachers, no matter how advanced, can go to such a convention all, very different. Acorns do not grow on potato vines. BOSTON, 120 Boylston St. LEIPZIG NEW YORK, 11 W. 36th St.

Fleut mention THE ETUDE when addressing our advertisers. THE ETUDE 577

576 THE ETUDE INSTITUTED BY THE MIS- Liszt has also written the Dante and Faust sym¬ phonies, which are only symphonies in name, how A NEsVE?sta?eTmus.c teachers- value, and resulted in fresh creative impetus Yet FRANZ LISZT AND THE ORIGIN ever, and in reality are symphonic poems in two s association. there was an earlier influence of greater extent OF THE SYMPHONIC POEM and three parts, and two musical tableaux of equal than many historians state. This was wieck grandeur, the Mephisto Waltz and and the Pro love for Ernestine von Fricken, a pupil oWieck; T»c*», hav« cession Nocturne from fragments of the poem His “Carnival” is built on the notes A, S fiat), C and H (the German B natural), which l,,iV'“oPmIn,,»o,i„s upon ,h, public By CAMILLE SAINT-SAENS Faust of Lenati. We shall not discuss his oratorios and masses, hit formed Asch, the name of her native place. S thereby W«™g l"« reputation, of contp.tu,, piano works, which are abundant and which influence actually engaged to her at one time, but evident^ Tramlated expressly for THE ETUDE did not keep faith; and we find her complaining o every writer for the piano, although unknown to him¬ By V. J. HILL his absolute breach of promise. This should be mor self. We limit ourselves to his orchestral works. In the Revue Musicale, Chantavoine writes about the definitely stated in the histories, which often give :ter °, h cause much hardship in some cases, The symphonic poem in the form in which Liszt has loves of Liszt, while Camille Bellaigue has done the impression that Clara Wieck was Schuman T ldpn be little doubt that the public would [Editor’s Note. Symphonic Poem as a given it to us-, is ordinarily an ensemble of different musical form or t.,—is evidently- been gain- the same for Gounod. The lave affairs of great one and only love. When we consider Schumann but t^'nd aHe/ aU the main consideration of movements depending on each other, and flowing from composers always interest us, because they give ing In popularity during the earnestness and sincerity of character, his action benefit, and of us is the commonwealth. snorL nine =.um -eath of the great Hun¬ a principle ideal, blending into each other, and forming a clue to character of men whom we are too apt garian composer who first conceived the idea 1 very clearly explainable; but tne rest examinations for teachers would raise the de- of breaking away from the more stilted_ SAINT-SAENS one composition. The plan of the musical poem thus to regard as demigods. _symphonic Ses of students and protect many youthful be- phony. The immense su understood may vary infinitely. To. obtain a great The large family of Bach is historical, and his prophetic wision of Fianz Liszt. Most of . the s; gitmers from the ignorance of amateur and mcom- aUabisHfor t^Tuse*!!? more"'advanced” readers of The Btcde^ through duet twenty children fully acquitted him of cherishing unity, and at the same time the greatest variety possi¬ :e no luoie" difficult to perform in thi race suicide ideas. He was happy in domestic MUSICAL NOVELTIES. ble, Liszt most often chooses a musical phrase, which PeThet Stat^Music Teachers’ Association of Mis¬ a favorite. The addition of a number life, to which he brought all the devotion of an a pupil’s'recital.] he transforms by means of artifices of rhythm, to give Since the German Tonkuenstlerfest was held at souri has adopted the following test and all those earnest and sincere character. it the most divers aspects and cause it to serve as an Zurich, there have been many articles in the maga¬ who desire certificates must pass this test. The phonic Fantastique” and “Harold in Italy” had If Handel never married, it was certainly not zines on Swiss music. An early master was Lud¬ Persons interested in things musical may perhaps expression of the most varied sentiments. This is one test seems moderate enough and it would seem suggested rather than opened, for they had enlarged from lack of chances. While still in his teens, wig Send, a friend of Luther, while the Monk recall a concert given some years ago in the hall of the usual methods of Richard Wagner, and, in my the compass of the symphony, but had not trans¬ he went with Mattheson to Lubeck, to try for an Glareanus, so famous in Theory, -was a native ot wrong for anyone not able to pass this or a of the Theatre Italien under the direction of the opinion, it is the only one common to the two com¬ formed it, and it was Liszt who created the sym¬ organist’s post. But Buxtehude, who was giving Basel. The church of Zwingli gave no encourage¬ similarly difficult test to expect to earn money author of this article. The program was composed posers. In style, in use of harmonic resources and in¬ up the post, made it a condition that his daughter ment to music, so a century or two ago the Swiss by teaching. . entirely of the orchestral works of Franz Liszt, phonic poem. strumentation, they differ as widely as two contem¬ This brilliant and fecund creation will be to should become the wife of his successor. Neither compositions took the form of New Year choruses. The State Music Teachers Association may do whom the world persists in calling a great pianist, porary artists could differ, and yet really belong to posterity one of Liszt’s greatest titles to glory, of the two young aspirants, it seems, tried for Best known among the present vocal writers of much to raise the standard of teaching in their in order to avoid acknowledging him as one of the the same school. and when time shall have effaced the luminous trace the post, though it is not stated whether they Switzerland is Hegar, whose choruses are known States by adopting measures of this kind. At the greatest composers of our time. This concert was had seen the lady. In England, later on, Handel through the whole of Germany. same time a test such as the following and the of this greatest pianist who has ever lived, it will TASSO. considerably discussed in the musical world, strictly inscribe on the roll of honor the name of the eman¬ was practically engaged, but the mother- of his Greatest among the modern Swiss composers possession of a certificate of having passed the The poem Tasso may be considered a type of the speaking, and in a lesser degree by the general pub¬ cipator of instrumental music. charmer objected to her marrying a “mere fiddler.” is Hans Huber, whose symphony on Arnold test makes membership to the State Association kind of composition which we are discussing. The lic. Liszt as a composer seemed to many to be Liszt not only introduced into the musical world Handel withdrew with becoming pride, and never Boecklin’s paintings made such a success in our more desirable, and thus places the association upon principal theme is that sung some years ago by the the equal of Ingres as a violinist, or Thiers as an the symphonic poem, he developed it himself and even lost his magnificent appetite. Soon after this own country. One of his piano concertos (a new a more substantial footing. gondoliers of Venice, and to which they recited stan¬ the mother died, and the father told the composer astronomer. However, the public, who would have in his own twelve poems he has shown the chief one) was played at the “Fest.” He has published No matter whether you have any desire to join zas of Jerusalem Delivered. that all objections to the match were removed, but a State association or not, it would be an excellent come in throngs to hear Liszt play ten bars on the forms in which it can be clothed. a long list of works, including nearly all the large After an introduction describing the dementia of the latter now declined the offer. piano, as might be expected, manifested very little Before taking up the works themselves, let us forms. Volkmar Andreae, of Zurich, is now well plan for teachers to impose this or a similar test Tasso, and in which accents of sombre despair alter¬ upon themselves every now and then. It is the desire to hear the Dante Symphony, the Bergers a la consider the form of which it is the soul, the prin¬ Gluck was married, though we hear little of his known, and always occupies a place of honor in nate with the diabolic shrieks, the plaintive melody easiest thing in the world to go backward in your creche and Les Mages, symphonic parts of Christus, cipal of program music. wife. His work was aided more by his great the festivals. Other composers of note are Her¬ unrolls with all the melancholy of the lagoons of Ven¬ patronesses, such as Maria Theresa and Marie personal work. The best way to avoid this is by and other compositions which, coming from one less To many, program music is a necessarily inferior mann Suter and W. Courvoisier, of Basel; Otto ice, from whence the author received it; and, suddenly Antoinette. The latter was herself a composer, as means of periodical examinations. illustrious, but playing the piano fairly well, would genre. Much has been written on this subject that Barblan. of Geneva; Joseph Lauber, of Zurich, and transformed, it bursts into a short song of triumph. a result of Gluck’s early tuition. Emil Blanchet, of Lausanne. Jacques-Dalcroze is TECHNIQUE. Scales, various forms, all have surely aroused some curiosity. We must also cannot be understood. A glimmer of reason traverses the mind of Tasso, also famous, though he is not Swiss except by major and harmonic and melodic minors. M. M. state that the concert was not well advertised. Is the music, in itself, good or bad? That is the Haydn and Mozart each married the sister of which represents his future glory; then his memory adoption. ioo—two, three and four notes to the beat. Also While the “Spanish Student” monopolized all the point. their early loves, and the former got much the worst returns; with a long crescendo, it seems that a vast’ Prof. Niecks has written three pages on “The chromatic scales and scales in octaves. Arpeggios advertising space and posters possible, the Liszt The fact of its being “program” or not makes it of the exchange. curtain is lifted, and to the sounds of a minuet of su¬ Complaints of Composers.” This seems rather of the common major and minor chords and their concert had to be satisfied with a brief notice and neither better nor worse. Beethoven never married, but was always in love. preme elegance, we see pass before our vision under scant treatment for such a large subject. inversions, of the dominant seventh and its inver¬ could not, at any price, take its place among the It is exactly the same in painting, where the sub¬ He was a sentimental idealist, who needed to wor¬ the sumptuous arcades of the enchanted gardens of Among German novelties, Mahler’s choral work, sions and of the diminished seventh at a rate of theatre notices. ject of the picture, which is everything to the ship someone. One of his earliest idols was Ferrara, beautiful women of graceful mien, in rich at¬ “Das KJagende Lied,” won a success at Graz. speed somewhat slower than the scales. All of Several days later, a pianist giving a concert at vulgar mind, is nothing or little to the artist Eleonora von Breuning, a childhood friend of his. tire, whose smiles forever haunt the soul of the poet, Then came Babette de Keglevics, the Baroness Other successful choral works are “King Enzio’s good quality of tone. the Italien, obtained this favor. Theatres surely' The reproach against music, of expressing noth¬ and the phrase of the lagoons unfolding in a new form, Ertmann, and the Countess Erdody, the last of Death,” by Alexander Adam, and Schillings’s SIGHT READING. The candidate should be able offer inexplicable mysteries to simple mortals. The ing in itself without the aid of words, applies shows us the poet himself, whose tender melancholy whom erected a temple in her park to the memory “Hochzeitslied,” to Goethe’s words. Schuchardt’s to read music at sight of the difficulty of any of the name of Liszt appeared here and there in large equally to painting. of Beethoven. More serious was his feeling for G minor symphony was much praised at Gotha, Clementi or Kuhlau Sonatinas or D Major Rondo type on the top row of certain posters, where the' A picture will never represent Adam and Eve to contrasts in the most musically picturesque manner the lovely young Countess Giulietta Giucciardi. while the rehearsals of Mahler’s eighth symphony of Mozart, or Au Matin of Godard. human eye could see it only by the aid of a tele¬ a spectator who does not know the Bible; it could with these feminine coquetteries. But the vision be¬ Some letters, found in Beethoven’s desk after his at Munich have brought forth the most laudatory- EAR TEST. Also to show a satisfactory ability scope. But, nevertheless, our concert was given, represent to them nothing other than a man and comes confused, the mind of Tassoi is again obscured, death, show that his feelings toward her were adjectives. Two writers accuse Beethoven of to distinguish the various common and seventh and not to an empty hall. The musical press, at woman in a garden. Nevertheless, the spectator and the hero expires in a last convulsion. . . . Then deep and intense. Among his later ideals were plagiarism in his ninth symphony—Heinrich Ham¬ chords and their inversions, and, upon being given our appeal, kindly assisted; but the importance of or listener lends himself very well to this supercherie begins the splendid finale; the “trionfo” succeeds the the Countess Therese von Brunswick, Bettina von mer finds a Russian folk-dance in the Scherzo, the keynote, to tell any interval in that key, as the works on which they were invited to express which consists in adding to the pleasure of the eye “lamento;” the trumpets peal,' the crowds throng to Brentano, and Amalia Seebald. The ascendency while Julien Tiersot cites a Handelian theme that well as chromatic alterations, without looking at an opinion seemed to escape them entirely. They or ear, the interest or emotion of the subject. There acclaim the genius ’they have scorned, and the plain¬ of the latter inspired Beethoven with a cheerful¬ resembles “Seid umschlungen, Millionen,” in the the keyboard. considered, in general, that the music of Liszt was is no reason for refusing him this pleasure; further¬ tive passage changed into a song of victory, bursts ness that is reflected in his seventh and eighth finale. The second, resemblance is not at all close, REPERTOIRE- To play for five (5) compositions, well written, free from certain peculiarities they more, there is no reason for according it to him. with all the power at1 the command of the modern symphonies.. while in the first case the Russian dance is not from third to fifth grades, in a musicianly manner expected to find in it, and that it did not lack a Liberty is absolute; artists take advantage of this orchestra. Such is, in summing up, this beautiful com¬ But if anyone over needed a wife to keep him given; so we still pin our faith on Beethoven. A (memorized, if possible). certain charm. That was all. fact and are wise in so doing. position which was played with such success at the Strauss festival in Munich showed that with in order, it was certainly Beethoven. No lodger ETUDES. At least twelve (12) Etudes not If such had been my opinion of the works of It is an incontestable fact that the public taste Paseldoup concerts. It is not probable that the pub¬ Richard the Second the music of the future has was ever more constantly in trouble. He would beyond third and fourth grades, from the works of Liszt, I certainly would not have taken the trouble of the present days tends toward subject pictures lic grasped the poetic nuances of the work, which no not yet become the music of the present. When thump the piano day and night, regardless of his Czerny, Cramer, Clementi, Heller. Berens, to gather together a large orchestra and rehearse and program music, and that public taste, at least explanatory note indicated; but the design of the com¬ “Feuersnot” was given, . the Prinz-Regenten The¬ fellow boarders. At other times he would shout Koehler, Doering, Loeschhorn, Krause and the Bach two weeks for a concert. Moreover, I would like in France, has drawn artists in its train. position is so clear, the different parts follow in con¬ out the themes that occurred to him. As a re¬ atre was scarcely half-full. inventions. to say a few words of these works, so little known, trast so wisely arranged, the charm of the melody is PROGRAM MUSIC. lief from such excitement, he would pour water Among works recently published, Anders H al¬ PEDALING. To pedal any composition within whose future seems so bright. so preponderant, that the musical side alone suffices to over his wrists, regardless of the ceiling in the ien’s symphonic poem, “Sphaerenklaenge,” is am¬ the third and fourth grades. It is not long since that orchestral music was To the artist, program music is only a pretext make it a success. room below. He took long walks in all kinds of bitious, but lacks inspiration. Jen Ingenhoven’s RHYTHM. To explain and play any rhythmic confined to but two forms—the symphony and the to enter upon new ways, and new effects demand “Symphonische Tonstueck” is praised, while Sind- weather, and, on rainy days the furniture suffered problem to be found in music up to the difficulty overture. Haydn, Mozart and Beethoven had never new means, which, by the way, is very little desired LES PRELUDES. ing has a number of piano- works in the list, in¬ greatly when he returned. He often shaved at his of Mozarts First Sonata, Haydn’s Sonata in G written anything else; who would have dared to by orchestra leaders and capelmeisters who, above window, to the joy of the boys in the street. As cluding a sonata. Major, or Beethoven’s Variations on Nel Cor do other than they? Neither Weber, Mendelssohn, all, love ease and tranquil existence. I should not a result he was forced to make frequent moves, and A symphony by Ludolf Nielsen, of Copenhagen, Piu. Cotta edition. Schubert nor Schumann. Liszt did dare. be surprised to discover that the resistance to at one time he was paying rent in four different met with a fair success in that city, while the TOUCH. Candidates must have a thorough works of which we speak comes not from the pub¬ violinist Axel Gade, son of the famous Niels W.. ART AND PRACTICE. melodic phrase here allures, now amorous, now pas¬ knowledge of the fundamental touches. lic, but from orchestra leaders, little anxious to toral, now warlike; a storm gathers, increases, bursts Schubert, shy and sentimental, is said to have has brought out some attractive “Reisebilder” of Ir. art, to dare is the gravest thing in the world. HARMONY. They will be examined on inter¬ cope with the difficulties of every nature which they been in love with Caroline Esterhazy, daughter of his own. In Switzerland, “Die Braut von Messina,” In theory, I grant, nothing is more simple. There and dies away in the middle of the composition. The vals, scales, the construction and progression of contain. However, I will not affirm it. the Count in whose household he was private- by Willy Collin, of Berne, has been well received. are no laws governing the arts, and artists are free whole charms the listener, independently of the poetic major and minor and dominant seventh chords anci The compositions to which Liszt gave the name teacher. It Is said that she asked him why he to do as they will. Who can prevent them? and literary thought, which suffices to demonstrate the In France, Emile Nerini’s opera, “Le Soir de their inversions. The resolution of all dominant symphonic poem are twelve in. number: never dedicated anything to her; whereupon he an¬ Waterloo,” earned favorable comment. A revival In practice, everything prevents it, the world and falseness of that assertion, that descriptive music be¬ sevenths, cadences with triads and dominant sevenths I. Ce qu’on entend sur la montagne, after Victor comes incomprehensible when one does not know the swered, ‘‘Everything I ever did is dedicated to of Chausson’s scarcely known “Soir de Fete” and their inversions. the artists themselves. New forms demanded and Hugo. program, and consequently is not music. But how you.” But it must have been a Sort of second proved a great success, that should be duplicated sought, inspire fear and repulsion, at least in ap- • 2. Tasso, Lamento and Trionfo. thought dedication, for on his first visit she was OF EXAMINERS. E. R. Kroeger and in other countries. Raymond Bonheur’s “Elegie” pearaneq. To accept new forms, to penetrate into 3. Les Preludes, after Lamartine. ^rea4j*Sj *be cbarrn’ W^en f° purely musical pleasure, only nine years old and received very little of Nathan Sacks, St. Louis; Basil Gauntlett, Columbia, shows him to be a disciple of Debussy. A “Rhap¬ their meaning, requires mental effort, and there are 4. Orphee. is added that of the imagination, unhesitatingly enter¬ his attention. City Rud°lph King and Mrs- Busch, of Kansas ing on a new path, so easily giving idea to music, which sode de Prihtemps,” by Inghelbrecht, is also con¬ few who care to make this effort. What people like 5. Promethee. Mendelssohn’s marriage, like his life, was well sidered noteworthy. is to languish in idleness and routine, even though 6. Mazeppa. it does, whatever may be said to the contrary All the ordered, and not unusual. Such was not the case TIME OF EXAMINATION. In June, 1911, at they succumb to ennui and satiety. faculties of the mind are brought into play and to the Among Italian composers, Busoni has won a Lon¬ tne next annual convention of the association. Place 7. Fest Klange. with Schumann, however. His engagement to don success with his concerto for piano, male Liszt understood that to introduce new forms, he 8. Heroide funebre. same end. I can easily see that art will gain from this, Clara Wieck, her father’s opposition, his resort to ot meeting to be announced later I fail to see what it will lose. chorus and orchestra. Puccini has finished his must cause a necessity to be felt, in a word, pro¬ 9. Hungaria. law to force consent, and the subsequent happiness “Fanciulla del West,” and is said to be at work n„ire^mi!teer haVC been aPP°'nted to draw up re- duce a motive for them. He resolutely entered on 10. Hamlet. lhat which art gains is not greater beauty, but a of the pair are familiar facts of muSicaL history. and X,KT f0n certificate in voice, violin, organ more vast field over which to exercise its power; it is on “Die Braulkranz,” with Jhe chief role designed the path which Beethoven, with the Pastoral and II. La bataille des Huns, after Kaulbach. In this case the woman’s influence was of great for Geraldine Farrar. ' sch°ol music, and to present same for Choral Symphonies and Berlioz with the “Sym¬ a greater variety of form, and therefore, greater lib¬ consideration at the next annual meeting. 12. L’ideal, after Schiller. erty. It seems to me this can not be despised. TH E ETUDE THE ETUDE 579 578 WHAT IS MEANT BY “INTERPRETATION.” HOW SPOHR LEARNED THE FRENCH HORN Buononcini was Handel’s evil genius when the Besides these poems of vast dimensions, Liszt has BY HERBERT ANTCLIFFE. latter had come as a youth to play the harpsichord written shorter ones, Orphee, for example, in which IN ONE DAY. at the court of the Elector of Brandenburg. ive recognize passages of an allurement more tense | Ludwig Spohr, the famous-composer and violinist, IN criticising the playing or singing of a great Jealous of the sensation Handel had produced, or moderate, but which in no way resemble the va¬ JZt we usually consider it from two sides, namely, Buononcini tried to discredit him by asking him rious parts of Tasso, Les Preludes, Ce qui on attend sur was a man who would not permit anything to stand the executive or technical and the interpretative la montagne, and yet the work is not like an overture, between himself and his desires. In 1808, when Spohr to play, before a large audience, a cantata that had nor a portion of a symphony; it is truly a symphonic was twenty-four years old, the great Napoleon called or artistic. The executive side is, of course, the way THE FORGOTTEN RIVALS OF GREAT been especially composed, full of what Buononcini poem, a composition of a new order, in its style as an assembly of famous princes and nobles to take place fZ which he overcomes or encompasses the physical thought would be unsurmountable difficulties. Han¬ a ffinities of the work. The interpretative is every- del acquitted himself with taste and skill, and well as its character. in Erfurt, Germany. Spohr was eager to see them, difficult the whole rendering of the It would be difficult to make the public understand COMPOSERS so frustrated the base designs of the jealous Italian. especially the mighty Napoleon, who had upset the thing else nA'L’ m the way in which those difficul- why this vaporous and delicious composition, which dynasties of Eastern Europe as no man since the time The most significant years in Handel’s career seems improvised by the artist of genius on an instru¬ tle°srkareemet and surmounted. Even where an audi¬ By LORNA GILL were spent in England. The royal opera, known of Charlemagne had done. ence of unmusical people is thrown into uproarious ment, giving it the multiple effects of the orchestra, is Each night the princes assembled at the theatre to as the Royal Academy of Music, which was under entitled Orphee. The idea of the poet-musician is delight at the showy performance of the mere vtr- the patronage of the king, fell under the direction witness the performances of a troupe of French actors. tuoso it is the command of resources which properly entirely mystic, and is explained in a preface accom¬ Spohr found, to his great dismay, that no one could of Handel in 1720. Handel’s success attracted many panying the score. It is on the frontier of program utilized would lead to higher things that pleases rivals to the Royal Academy operatic productions, be admitted to the theatre besides the princes and the music and pure music, and the wise plan for the major¬ more discriminating people. Chief among these were Buononcini and Ariosti. performers. Nothing daunted, he enlisted the assistance ity of listeners would be to abandon themselves with¬ Interpretation consists of a proper The conflict between the contending parties became out reflecting, to the musical charm of realization of the contents of a work, “Let us take care of the old musician, Neither would he put up with the airs of capricious very severe. The directors of the opera, hoping to the work and the impressions it gives. and the full expression of such realiza¬ because ha has the courage to live up to his prima donnas. He soon rid his stage of that despair reconcile the factions, ordered the composition of Nothing could be more delicate, more tion in its performance. To interpret a tdeais." an opera, entitled “Muzio Scevola,” the first act to With these words Balzac ends his study of the mu¬ of managers, that obstacle of peace in the operatic exquisite. piece of music properly we must possess be written by Ariosti, the second by Buononcini and sical genius, “Gambara.” Drawn as a poverty-stricken, household. When Signora Cuzzoni refused to sing first* a complete mastery of its physical MAZEPPA. insane old man, he was not considered compatible an aria he had written for her, he took her securely the third by Handel. Handel’s act was declared to difficulties. Until this is attained little be the best and with this declaration came a re¬ Mazeppa was first produced in the with the ideas of that generation. Balzac has enacted round the waist, and rushed to the window to throw more can be done. We might as well her out! Fortunately she consented, just in time to sumption of the warfare. Handel was blunt, and form of piano music, a heroic study, in¬ for us the struggles and musical ideals of a Wagner, endeavor to make ail important rhetor¬ save her life. spoke his mind freely to the nobles who patronized timidating, almost inaccessible for any although Balzac lived at a time before Wagner’s genius ical speech in a language we have only When Handel was an operatic conductor, his place the opera. This brought him into great disfavor but Liszt, himself. In becoming a sym¬ was acknowledged—for was not Gambara writing op¬ half learned as attempt an interpretation during the performance was at the keyboard of the and naturally these influential personages went im¬ phonic poem, Mazeppa is vastly en¬ eras in trilogy, and was he not, like our modern Rich¬ of a piece of music the mechanical dif¬ harpsichord. Upon one occasion Mattheson, a rival mediately to the support of Buononcini. riched; its equivalent is not to be found, ard Strauss, striving “to express ideas in music?” ficulties of which are beyond our abil¬ With prophetic insight, Balzac sees the future growth composer, had one of his operas, entitled Cleopatra, . Buononcini’s jealousy developed into an insidious for disheveled frenzy, as it draws with produced under the direction of Handel. In the opera and life-long cabal. Handel was soon forced out it the violins, violas and violoncellos, as ity. of music, and by his insistence upon intellectual de¬ But providing the necessary physical velopment strikes at the heart and essense of great Mattheson sang the tenor role of Antonius. Antonius, of the Opera House through the influence of the a released torrent draws blades of grass powerful friends of Buononcini, with whom the ability is attained, there are other tech¬ accomplishment in the art of sound. He states, “To alas! was killed in the first act, and the composer, anx-: in its course. It is the subject of the Italian had spared no pains to ingratiate himself in nical matters also to be considered. A be a great musician, one must indeed be very learned.” ious to keep in the “limelight,” envied Handel’s posi¬ enthusiasm of Madame Olga Janina, order to carry out his designs. realization of the structure of a work The great French novelist also indicates his high esti¬ tion, and had the hardihood to think that he could who, in a series of articles praising the Handel then rented another theatre and brought is not only desirable but is absolutely mate of the strength of character, the industry and the usurp the director’s place at the harpsichord. This was symphonic poems, by the way, treating over singers from Italy. This was no sooner done necessary before a work of any consid¬ courage which the genius must possess to enable him too much for the testy Handel. Bang! A box on the as “an old shoe” the Ninth Symphony than Buononcini offered them larger salaries, thus erable length can be properly under¬ to cling to his ideals. ear! Cuffs and blows, the opera suspended—and an¬ of Beethoven, thus describes a musical robbing his rival of the best artists. Through taken. Not that everyone who plays or Musical history seems to substantiate Balzac’s analy¬ other tragedy enacted with crossed swords on the phrase of Mazeppa: Buononcini's influence with the Duchess of Marl¬ sings, must, in order to do their work sis of the musical genius. The musical genius is rare, square outside the opera house, appropriately named “Unknown griefs, nameless anguish, borough another opera house was built. Porpora, adequately, have a full and complete and those whose genius is so great that it wins for the “Goose Market.” Handel’s precious heart, that indefinable suffering, strange anxieties, composer and master of the art of bel canto, was technical knowledge of the harmonic and them a foremost position in their day have been sub¬ Mattheson so vainly tried to pierce, was spared because morbid caprice, fantastic depravity, in given its musical direction, the greatest singers in formal design of each work in her or jected to the keenest rivalry by their contemporaries. of the broad brass buttons that Handel wore on his fact all that the depths of the human Italy, including Farinelli, were brought over. Noth¬ his repertoire; but the fuller the knowl¬ It often happens that the rival of some musician now coat, which caught and broke the treacherous weapon soul contain of love and bitterness, of ing was left undone to encompass Handel’s ruin; edge and realization of these matters, the ranked with the great masters has in his day been re¬ of his rival. A few nights after this stormy event a light and darkness, is revealed by the press was bought up, he was caricatured in a more adequate is the interpretation. garded with far greater popular esteem than the more reconciliation was effected, and Mattheson and Handel this gigantic song, with an exquisitely worthy musician. dined serenely, on excellent terms of friendship. series of drawings, called “The Charming Brute.” strange savor, expanding the limitations Without some knowledge of the subjects involved it is impossible to realize all Without the broad, intellectual life of Handel, Bach, Handel, on his side, had as a champion, Doctor of musical language, translating the in¬ IOHANN MATTHESON. Arbuthnot, who satirized the opposition in his the effects and beauties latent in the Gluck, Beethoven and Wagner, without their aggress¬ expressible thought, in the most vague “Harmony in an Uproar.” composition to be interpreted. ive temperaments, without their “infinite capacity for and elusive form.” taking pains,” they would not have scaled the heights The lines, so often attributed to Swift, were In order to get into the spirit of a Although the name I contend that no simple musical of Parnassus, nor would they to-day be known as the written at this time by John Byrom, the inventor of work, we must, as far as possible, place of Mattheson is rarely phrase, written by no matter whom, Titans of musical art; neither would they have been mentioned in this day, shorthand: could answer such a description, but I ourselves in the condition or state of the victims of fierce and bitter rivalries. That they except in connection agree perfectly wth Madame Janina mind which the composer possessed or “§,9m? „ ,say,. compar’d to Buononcini, were victims of numerous less gifted and less intel¬ with biographies of That Mynheer Handel’s but a ninny ; when she says that Mazeppa is a master¬ conceived in writing the work. The Others aver that he to Handel lectual rivals is well known. Only the strong can Handel, his life was a piece: “The imitation of the gallop of the great artist will of course go further Is scarcely fit to hold a candle. stand rivalry of this kind. Handel and Beethoven most interesting and Strange this difference should be horse is secondary, and not in the least than this, and will show that the work were particularly aggressive. Beethoven even went Twixt tweedledum and tweedledee.” realistic, as would be claimed by the contains possibilities beyond what the momentous one. He so far as to bully his patrons right and left. The The cabal was brought to an end with the dis¬ composer himself imagined. But this is was born in 1681, in enemies of descriptive music; the title spectacle of some noble and wealthy personage grace of Buononcini, who had appropriated the indicates the subject, and that suffices to Hamburg. His father, only by the extension of the composer’s struggling to keep a much irritated and somewhat madrigal of another composer as his own. He wa» fix the direction of thought. In the who was a clerk of ex¬ original intention, not by the alteration irascible musician in good temper . must have been obliged to leave the country to return no more.. midst of the furious course the orchestra cise, carefully culti¬ of it. Where the artist’s interpretation amusing. Both Wagner and Beethoven were so 1 he long fight had impoverished both composers., brings to the fore, with intensity, the vated the child’s very differs from the composer’s in kind, it is tempestuous in asserting their demands for the free singing phrases which express so mar¬ evident talent. At the and though Handel was left in possession1 of the* false and inartistic; where it differs in expression of their ideas that they made many held, he was obliged to close his house in a fort¬ velously what they wish to convey. age of nine he could degree only, it is a matter of higher or enemies—enemies who were only too willing to The horse occupies the space, but the sing, play the organ night, because of the rapacity ‘of his creditors, and lower artistic capability and feeling. rally to the support of any rival, no matter how in¬ interest is concentrated on the rider, the and the harpsichord, obliged to accept a benefit given by his friends in . To put ourselves into this condition significant the rival’s claims to greatness might be. order to save himself from the debtor’s prison. man who suffers and thinks. Toward it is necessary to proceed in two direc¬ and also made some the middle of the composition one feels . All the immortals of music had to bear as calmly Johann Mattheson. attempts at composi¬ tions. We must go from the work to as they could the irritating spectacle of men of medi¬ G. B. BUONONCINI. the impression of immensity of space; the composer and from the composer to tion. He was finely Giovanni Battista Buononcini, or as it is some¬ horse and rider vanish on the limitless ocre abilities and superficial attainments winning ap¬ educated in the classics, law and in political^_ t*le w°rk. This is why the study of plause and gaining places of distinction and emolu¬ times spelled, Bononcini, was born at Modena, ItMy steppe, and the glimpse of the man is musical history and musical biography science. More than this, he could dance, fence and confused with the thousand details of ment, because they were content to please the fleeting converse in the manner of the highly cultivated gentle¬ hVfem and Waf’uher?f,°re’ thirteen years older than 1. t .t. ,S so imP°rtant. If we are to know fancy of the public. the expanse. It is a marvelous orchestral effect. of a French horn player in the orchestra. The player man of his times. Naturally, he became very popular, we nVal Handel His father and hi* brother what the composer would desire us to do were he were both musicians, but neither was as noted as The stringed instruments, much divided, echo in the told him that there was an opening for another horn The master, on the other hand, is invariably filled and Handel was so little recognized that it became present at the time, we must know to some extent what with high aims for the elevation and development of Giovanni. After a short career as a church musician length of their scale range a multitude of sound of player. Spohr, although an accomplished musician, had Mattheson’s distinction to introduce Handel into the all kinds, slurred staccato, pizzicato, col legno, and ZZl wC°ndltI?nS obtaining when he composed the art. His very aims often doom him to years of neg¬ never played upon the French horn. But he secured a work We must remember, too, that the composer musical and social circles of Hamburg. Their friend¬ at the eyffi7Aeref « SU"Ceeded his father as conductor colarco, and from all this results a harmonic web of lect, scorn and ridicule before he can gain the sympa¬ ship soon developed into rivalry, but after the famous we!!l t hv- h °f Sai] ?10vanni in Monete, Buononcini horn and practiced hard all day under the direction of thy, the appreciation and the reward which the public sound forming a kind of canvas, on which appears he tnoCOnrh ?l-he m°St pCrfect conditions, even when , duel which took place in that city in 1703 Mattheson’s From ,,Vl!"na anu he r0se t0 great favor at court. the second horn player of the orchestra. When night he knows that h.s work has to be presented in very ly too reluctantly bestows upon genius. From 1700 to 1711 he was court composer at Vienna. in the foreground, a plaintive and touching song. admiration for the genius of Handel became so great' C °neS’ ®eethoven. for instance, evidently All end^with a Czech march of irresistible effect, came he was almost exhausted, but with lips swollen, that he became a fast and good friend, although Han¬ hmmTrr V? Londo,n.ln *720 and his polished manners to whicnMazeppa comes forth as King.” bruised and black he found that hfe could sound the mind whtbmany °f His WOrks with conditions in his- HANDEL AND HIS RIVALS. ”d*h we/e utterly impossible in his own day, del. was not always willing to reciprocate his friend¬ Enriarid 6 T W°" ln? mrany friends and admirers in natural notes of the horn and play the easy parts of the Handel, at whose grave Beethoven said he would ship. England. In 1731 the famous plagiarism was dis- kneel with uncovered head, was the victim of one of covered, and a war of words and letters again arose. Richard Wagner is a man of wonderful genius, such overture and the intermezzos. He took his seat in the Mattheson, made a resolve early in life to publish the longest and bitterest wars in musical history. Be¬ It s by no means certain at this date that he was a brain-splitting genius indeed as beseems this country orchestra directly in front of the little Corsican cor¬ Sr? one new- work each year. When he died, at eighty- sides the serious rivalry with the composer Buonon- really guilty of stealing the music of another but —a new and brilliant appearance in Art.—Liszt. poral whose very name had sent terror through all three, he had published eighty-eight works, practically cini, there were others of less intensity to disturb the Buononcini refused to discuss the matter in’anv Europe. He was obliged to sit with his back to the a s £ a all of which are now forgotten. He did much, how¬ even tenor of his way.” But Handel, the “composer ever, to advance the style and effect of church way, and won the bad will of the pablic by his “Music stands near to theology; I therefore re¬ nobles and, like'the other players, was not permitted of heavenly strains,” was not the languishing, droop- music in his time. Had it not been for the peak-like silence Leaving England in comparative disgrace joice to see the Sacred Musica enlisted in the to turn his head. Spohr overcame this difficulty by the ing-lily type of composer; he was a man of huge genius of both Bach and Handel, he might not now service of Him Who has created and given her.”— use of a small mirror, and was thus able to see all of strength and possessed a militant temperament. Fast be so completely eclipsed. As a critic and as a Luther. the famous nobles in the theatre. and fhrious were the blows that shot from his athletic writer of philosophical treatises he rendered a much shoulder upon any man who dared oppose his artistic ideas. more valuable service to posterity than he did through his musical compositions. which he sank was as complete : mmtous. 1 it was igno- THE ETUDE 581 with a sort of half grim, half humorous solemnity, to tone down his rough manners and moderate his mar¬ THE ETUDE tial stride, in keeping with the decorous demands of STARTING the fall season. the occasion and the movements of the dance. 580 The graceful, melodious trio portrays his partner, a he yielded somewhat to the taste of the day in the famous gluck-piccini war. by anna s. west. sprightly, winsome maiden, in all her festive finery of silk and lace and jewels, with a touch of playful The two greatest rivalries that musical history ^^sSrhe had Vestris, the -ost famous „_h„vs have come, the gladdest coquetry in her smile. The personality is piquante, ballet dancer of his day, who remarked that ther “The autumn days records have been in the field of opera-that between yet tender and charming. The two form a most Handel and Buononcim, and that between G1 were only three great men in Europe-Frederick IJU of the year.” effective contrast. and Piccini. Gluck by his efforts to reform Italian Voltaire and himself. His inconsistencies and his T_ are sad and not glad, just because it is THE STORY OF THE MINUET sire for display were a source of great annoyance to • tr>e take up your music teaching again, some- opera and remedy its defects of insincerity of ex¬ By EDWARD BAXTER PERRY THE MINUET BY PADEREWSKI. pression had aroused to revolt the devotees o de- Gluck. Full as the opera “Iphegenia in Aules (an E*i°s very w!ong regarding your attitude toward, The most popular minuet of the present time for cadent Italian opera. They were bored by Gluck s opera previous to “Iphegenia in Tauris ) w (The fnllntrina intcrcstinn article is the third in the series of articles on the dance and the dance forms which . Perry 'has written It is lart of Ur. Perry’s forthcoming book intended as a sequel to his extremely successful the piano the world over is the one in G major by ballets, Vestris wanted another to introduce his> son. y°lri the "spring you probably taught the “last scale,” depressing Greek themes, by his lack of light mel rk, •‘Descriptive Analyses of Pianoforte Compositions.’’) Paderewski; partly because of the fame of its com¬ odv and by the scarcity of his ballets. “You refuse me, the God of the dance,” said Vestris. “If you are the God of the dance, said Gluck, dance poser, and partly because of its own intrinsic merit. Gluck’s opponents demanded ^oveall things This ancient, dignified, and stately dance is sup¬ tributed to any one or more of the dancers during in heaven and not in my opera.” Again, vest their participation in it, or be suggested by the time It is light, graceful, and pleasing, rather than mark¬ plenty of tinkling melodies and a wealth of baUets^ posed by many to have originated in England, in fact complained that there was no chaconne at the end or .and scene; feence its scope, in spite of seeming limita¬ edly strong or original, and is doubtless the more, of It made little difference how inconsistent was the winter? work is before you. Are you is often spoken of as an “old English dance,” because the opera. "When did the Greeks ever dance a tions, is quite varied and extensive. a universal favorite for that reason. The melodie.wre relation of the melody with the emotional demands it was much in vogue and a universal favorite in Eng¬ chaconne?” said Gluck. “Did they not?’ said Vestris. We find, indeed, that the MinuSt changes materially extremely simple and easily grasped, though attractive, of the text. A murder might be jauntily accompanied land in former days, especially during the eighteenth “Thenmen so muenmuch theuic y—““yuiote for-v* *them.”—-hprri ’ . , century, and because it seems peculiarly suited to the in tone, with the passing of the years, reflecting the and the harmonies are based mainly upon the tonic with a tune as inspiriting as a jig. and music suited After Gluck’s triumph the war went on just the inwardly groan m^nt p and tink ob elegant and polished but rather punctiliously formal temper of the times in which it was produced, and the and dominant seventh chords. The cadenzas are for a dirge might be galvanized into a we(id"lg same and ended only with his death and 1 lccim s fingers t° ™a^ Tas old Aunt Dinah said. Just customs and atmosphere of English social life at that personality of the different composers. In the hands sparkling and effective, but not especially difficult; mlrch. “Melody, Melody, Melody,” was the battle retirement. hence it is a useful and available study for pupils of "to"! Tor a moment and think of the hundreds of period. It is closely identified in our minds with the of Bach and Handel it was stately and pompous, but cry of the Piccinists. . . . . even the fourth grade. NICCOLA PICCINI. ■ T who had just two weeks’ vacation, and went sumptuous drawing rooms, the elaborate costumes, the cold and rigidly formal; in those of Haydn it became For a long time, people of real musical taste had It is distinctly a Minuet d la Frangaise, best char¬ bacJ aXu,typewriter" In a ho, little ofc; exaggerated, pften stilted courtesy of intercourse in more cheerful, even brightly playful. Mozart gave it Piccini, like Buonon- or perhaps to work behind a counter in a store those olden days in England, and even in our own a more graceful, tender and dreamy character; while acterized, perhaps, by the word charming. The Sla¬ cini, was the son of a These girls may not all have the natural refinement country in Colonial times; with powder, patches and Beethoven, in many of his minuets, made open sport vonic temperament, in its higher moods, is more closely musician. As in the which is yours, but just compare lots once in a point-lace ruffles, with curled wigs and velvet “small¬ of the prim, straight-laced formalism of the old days, akin to the French than to that of any other race,' and case of Handel and wh le- it will do you good. You have, perhaps, clothes” and gold-hilted rapiers; with the days when giving to them a'decided flavor of rough and rugged it is a significant fact that the French language, others, his father was a gentleman turned an epigram or the point French thought, and French social customs FrancT®'Marie" /SSit?* On*ThV‘"other hand and fashions have been predominant in the opposed to his son be¬ "Th of his antagonist's sword with the same flXnh^-love’ coming a musician. teaching; you have absolutely no expense of trav¬ smiling nonchalance. higher circles in Poland and Russia for more than a century. for Gluck’s music, and she was jealous of the musicM Through the interven¬ eling as you either go to your pupils homes, or The true minuet is fairly redolent of lav¬ ender-scented snuff and mint julep, so It is not surprising, therefore, that Pade¬ influence of the princess and of healing Glucks tion of a kindly Bishop, you teach in your own home, and you make a suf¬ ri.:rniariv after the sensation produced by who recognized the ficient income to keep yourself. „ much is it a part of the old regime, feut in rewski, who is Polish by birth and nature, that she would have her boy’s talent, he was But forget your money! Forget the grind. reality it is English only by adoption and but largely French by education, long resi¬ own composer, and sent to Italy for Picc.m. She placed under the in¬ Remember that you are going to bring harmony inherent fitness. It originated in the dence, and at least superficial predilections, found plenty of adherents to rally around her in her struction of the famous into the life of each pupil, and into his home also. French province of Poitou the middle of should have given us a Minuet which, in intrigue to have the directors of Grand 0Pe« House Leo, and his renowned Isn’t that worth thinking of? Don’t think of your the seventeenth century. Its name is de¬ spite of its modern hybrid origin, “reverted Sve Piccini the writing of an opera for which Gluck successor Durant at pupils as a “class.” Does a physician think of the rived from menu, meaning small, as the to type,” as the scientists say, that is, re¬ the Conservatory of had already been engaged. This |as the slg : • patients who come to him in that -way? No. he steps of the dance were short and mincing. turned to the original French ideal and a furious outbreak on the part of the latter s sup San Onofrio. He com¬ thinks of them as individuals who need h.s care, Its distinguishing characteristic was a slow, spirit. In listening to the spirited yet pol¬ menced producing his porters, in which all Paris took sides Areat and really successful physicians have the tact to stately grace. ished phrases of this music, in which play¬ Piccinist or a Gluckist?” was the question that must operas in 185s and make each patient think that he or she is of the As a dance, for practical ball-room use, ful vivacity and refined elegance are so be asked and answered before peace could be assured Niccola Piccini, from the start he met utmost importance, and the only one worth con¬ it went out of vogue in our grandmothers’ equally blended, one may easily fancy him¬ between friends or acquaintances. Politics and every¬ with great favor in sidering while they are engaged on the case. So time and is now rarely seen excep.t on the self back in the days of Louis XV, amid thing else were forgotten in the excitement. The Italy. One of his operas, “La Cecchina” met with you. too, are a professional and it is your duty to stage; but as a musical form, unlike most the glitter and gaiety of the court ball¬ pres! took sides and8 satires were written in which great success in Rome. Later one of Piccini s pu¬ interest yourself in the individual needs and inter¬ of the obsolete dances, it still holds a cer¬ room, where the sparkle of lights and each side was unmercifully attacked. pils, Anfossi, produced works of even more ests of each pupil. Learn to be so fond of your tain place in popular favor, even in our jewels is matched by the scintillations of Gluck was in Germany when the feud broke out ficial order than those of Piccini. Immediately the work, and of your pupils, that when spring comes day. wit and repartee; where clever epigrams unintelligent public declared in favor of Anfossi, and the Piccinists said that he had gotten out of the again, you will wish that even the most stupid of It was much used by Bach, Handel, and florid compliment are bandied back and way purposely, and that his inspiration had given out and Piccini was so dismayed at this set-back that them would not have to discontinue lessons for Haydn and Mozart and reached its highest forth with swift, accustomed skill, like balls and he had no melody left in himl. To which one he returned to Naples much broken in health. so long a period during the vacation time. development in the hands of Beethoven. of Gluck’s warmest admirers, the Abbe Arnaud^ re¬ When he recovered he commenced producing other in a tennis court, while gallant cavaliers Start your winter’s work with a determination But an occasional belated, sporadic, but lead their fair partners through the mazes plied : “The chevalier is coming back with an Or¬ works which met with success. The offer of a salary to put your heart in your work! Love your pupils perfect and beautiful blossom of this form of the dance, to the throbbing music of lando’ and an ‘Armida.’ The Piccmst retorted of 6000 francs (about $1200) and traveling expenses and they will surely love you in return. Think of appears among the modern works of living flutes and violins, which covers the whis¬ “Piccini is also at work upon an Orlando. So induced him to go to France, and precipitated the the good you may do “as the days are going by,” writers, side by side with the waltz and pered interchange of the fleeting sentiment, much the better,” answered the Ab.be then we shal Gluck-Piccini war. After Gluck’s death Piccini gen¬ and spring will find you loath to give up your the descriptive fantasy, like the old-fash¬ born of the hour and scene, half jest, half have an ‘Orlando’ and an ‘Orlandino. Gluck, how¬ erously offered to found an annual concert in work, and next year you will find that you are ioned primrose and hollyhock in the midst ever, burned his score of “Orlando" when,h.e^^ned memory of his victorious rival. In 1789, the year of serious. several steps higher in your success as a music of the latest products of horticulture. that Piccini had chosen the same text, finished the the outbreak of the revolution in France, Piccini The composition should be played at a teacher. The Minuet is generally written in three- “Armida” and produced it with success, but a more lost his pension and went to Naples. Here he was very moderate tempo, with a certain cap¬ fourth, though sometimes in one-eighth brilliant and enthusiastic reception was given to pensioned by the king, but owing to a political difficulty ricious freedom and playful abandon, yet Piccini’s “Orlando.” The Gluckists now knew no arising from the marriage of his daughter to a rev¬ PLAYING ACCOMPANIMENTS EFFECT¬ with smoothness and careful finish of detail, The first subject consists of two periods, THE MINUET. rest until their pomposer should eclipse his rival olutionist, Piccini was again confronted with the forced IVELY. with extreme lightness and flute-like deli¬ usually of eight bars, followed by a second tmd so induced Marie Antoinette to give him the failure of one of his works which was hooted by an cacy in the opening theme, and only a rela¬ Playing accompaniments is usually looked down subject, practically a second minuet, of a more commission to write another opera. Meanwhile, the antagonistic public. In France Piccini had become humor. In fact, with him the Minuet evolved into the tive degree of power in the climaxes. Any sugges¬ upon by many pianists as a somewhat undesirable quiet, lyric character, forming a contrast with the modern Scherzo. management of the Opera House had been changed security for a friend. The friend became a bankrupt, thing to do. As a matter of fact it is a very real tion of profound or intense emotions, or of genu¬ first, after which the first subject is repeated. The following are some of the best-known and most and the new director ordered the two composers and all Piccini’s savings were lost. He sank into com¬ tgst of true musicianship. The accompanist is not inely bravura style is out of place. to write an opera upon the same theme, “Iphegenia This second contrasting strain, of which there are interesting Minuets now in general use for teaching parative poverty and was obliged to compose music only the support of the soloist, but he is also the In speaking of the Minuet, one cannot ignore the in Tauris.” The Piccinists demanded that their opera sometimes more than one, alternating with repetitions purposes: for Psalms for use in a local church. When peace arbiter of the singer’s fate. By skillful management . remarkably unique and original movement bearing that be rehearsed and produced first. The director gave of the first section, is called a Trio, not only in the MINUET BY BOCCHERINI. was declared he planned to return to Paris (1798). he can make a commonplace accompaniment richer name in Grieg’s Sonata in E1 minor. It is typically his promise, but what was Piccini’s surprise upon minuet, but in marches and all other dance music, and This is an old, but still popular and attractive, num¬ At the Conservatoire the sum of 5000 francs was by discovering hidden melodies which invest the Norse in character; wild, grotesque, yet weirdly fas¬ going to the Opera House some weeks later to find awarded to him together with a small pension. This, an explanation of this term may be in place here; for ber, of moderate difficulty, with an exquisite sensuous solo part with new interest. By his sympathetic cinating, It is a Minuet in form and rhythm, but not Gluck’s opera in rehearsal. Th. director's only ex¬ however, was not paid in the same spirit in which it though in general use, it seems to be little understood melody, and a captivating rhythmic swing, expressing insight he can inspire the soloist with confidence in spirit, in the ordinary sense. planation was that he had received a command, that was proffered, and he was again’ reduced to destitu¬ by the average student. chiefly the languorous grace and tender witcheries of and courage. The first theme, in heavy chords and octaves, is he could not disobey, to rehearse Gluck’s opera first. tion. Napoleon Bonaparte took a passing interest in A Trio meant originally a composition for three in¬ the fair daughters of the sunny South, for whom the The greatest soloist in the world will have his sombre, fantastic, and ponderous, like a midnight Its beautiful music made a profound and marvel- his work, and paid him twenty-five Louis for a military struments, and these more quiet, contrasting, middle stately figures of the Minuet served as a fitting field work utterly destroyed if he is at the mercy of a dance of the earth giants, who, according to Norse otis impression. In it Gluck’s genius had reached march. Piccini died May 7, 1800. His works are movements in the various dance forms, such as the of conquest, an appropriate setting for their charms. poor accompanist. Modern composers have a mythology, inhabited the darksome caves and gorges its height. The furore it created caused Piccini to practically unknown now, although he wrote eighty- Minuet, the Gavotte, etc., were at first written for Of all Minuets now in use, this is the most in har¬ tendency to write more difficult accompaniments . of the mountains, a rude, malevolent race that waged decide not to bring his out, but the director declared fiye operas. qnly three voices, or in three-part harmony. mony with the spirit of the dance as used in Italy. that it must appear. On the night of its perform¬ than was the fashion in the past. It will be noticed ^ perpetual war against the gods. (This entertaining and instructive article will be con¬ Later this restriction was abandoned, but the name The red blood and the rich red wine of the South are ance Piccini’s nervousness and discomfort knew no that in the songs pf Franz and Schumann, for ex¬ The Trio is one of Grieg’s masterpieces in the line cluded in THE ETUDE for October.} ample, the piano part is no less important than the and general character of the movement were retained. in it. We cannot but associate it with the sumptuous, bounds, especially when ,he saw his famous and Hence we speak of the Trio Of a dance or even of an pleasure-loving lives of the old Venetian and Floren¬ of simple tenderly appealing, yet, in a wav, uncanny costly prima donna, whom he had engaged for the voice part; the two are blended in such a way Impromptu, though the entire work is played upon a tine nobility. melodies, like the sweet, plaintive voice of one of the classic title role, come out and make faces at the that the voice part is unsatisfactory without the forest fairies, or “little people,” as they were called, solo instrument like the piano. MINUET IN B MINOR BY SCHUBERT. musicians, and at the men in the pit. She flopped . Farewell, and do not quite forget me after I am accompaniment, while in the songs of Mendelssohn who were ever striving to protect humanity, and espe¬ about and^reeled through her part until the climax dead. O men, I have deserved that you should think and Schubert this is not always the case. Considered as a musical art form, the Minuet, like This is a work of greater strength and more marked every other dance, must conform to the rhythm and cially children,_ from the brutal power of the giants was reached and the house set in a roar by a witty of me, for in my lifetime I have often thought of you As a rule in the works of these writers the mel¬ contrasts than the foregoing, vigorously Teutonic ir. general character, and express the usually prevalent and the vindictive machinations of the small but individual crying out: “This is; not ‘Iphegema in to make you happy. May it ever be so!—Beethoven— odyoay stands clear of the accompa.....,accompaniment, though_ character, containing two markedly different elements. vicious trolls. mood, of the special type of actual dance, out of which Tauris.’ This is ‘Iphegenia in Champagne,’ ” where- {From his Will). there are notable exceptions—suchexeenf-irvnc—cur'll as The Eel-King’sn- The first subject, in octaves and chords, is bold, vigor¬ it grew, hut as explained in connection with the waltz ' upon Mademoiselle Laguerre, so fitly named, was Daughter. In this song the singer is absolutely ous, almost stern in character, yet with a certain and other dances, it may also incidentally express, in marched off to prison, only to return in two days, at the mercy of the accompanist, and unless the rugged gravity. It reminds one of some old feudal rJin.WaS m,"sic by which mankind was humanized. Mendelssohn is a man to whom I look up as to addflion to this fundamental idea, any emotion, fancy, What speech cannot impart to the unwilling and fully recovered in voice,, to sing divinely in the opera piano part is played with absolute freedom, ’{fee war baron of medieval days, more wonted to camps some lofty mountain. He is a true divinity and no thought, «r even action, which might naturally be at¬ hardened is readily received from words on wings of in the fiasco of which she had played so prominent a whole effect is lost. Yet the accompanist must" not and fields of strife than to the ladies’ hall, yet striving lovely sound 1 —Herder (1744-1803). part. day passes in which he does not utter two ideas over-balance the voice at all. Only a true musi- Despite Gluck’s devotion to the elevation of opera, worthy to be graven on gold.—Schumann. cian can oreservp1 n inct THE ETUDE 583

the etude MAKE A repertoire. 582 It Should be the a®r^%°efCe"eaLP\Tthis0 end dd a repertoire of -^nze^ j ^ ^ six as ^ compositions must must strive> and each season goal for which thpP number reaches thlrty or add six more When ^ dropped The power t0 forty, the simpler o ^ b£ cuitivated and strength- memonze and reta ^ j have never in my forty ened the same as y who was unable to ye„, ol .Ub. »d r«. i* HOW MUSIC HELPS THE BUSINESS memorize. I >» selecting the compositions to be ment are needM in ]fc ^ under the fingers memorized. The n°‘. : desirable at first to select WOMAN to a great extent, repetition-as Grieg’s pieces which have ragonaise,” Chaminade’s “Albumblatt,” Massenet s, Arago^ ^ ^ BY MRS. HERMANN KOTZSCHMAR “Scarf Dance (the £ flat„ is easy t0 memorize if then Durands , • ained to play it with the )09, Mrs. Kotzschmnr had a J e"^pStheirrmSsica' you6will be doing her a there is sufficient * «?First Prelude,” always de- [Editor’s Norn-In The> Etude^July. i rcquired velocrty Bachs ^ ^ memory> parti above. Riving stlmu|?f{ 'Mm® in tile evening t. 11 *If“youknow of Ui-linolS hv'n'ferring her to this article.] lightful, is not drfh ositio„s have been mastered. in the case of a beginner over thirty years ’Blanche” is especially good for loose- Given a love for music, there is no avocation which old,used/with excellent5fi®Ue^tr^mSy™impfe^rhythm; .U?r :n Joining hands and velocity. WTheaone grave mistake so many, many teachers make °ffe.rs Sffie wSSth?«M4y rfXpiano. As a young selecting too difficult music for pupils to read ’"""cTrcumstanccs may have forbidden the continuance -S353; is in selecting thinking that the music the pupil of piano practice beyond.** “whena certain pecu-

many women “brush up” S^eTn^wST^ey had, and, if possible, acquire siZrr t

WHY TECHNIC IS DESIRABLE. ’’^The’one'essential thing, to my mind is for the p.pil to acquire two, three, half a dozen pleasing composi¬ There is a mistaken idea, prevalent among many, hat tions, thoroughly memorized and ahvays^at the hnge,^ «~ ^ryaaS;^ S With every added year of teaching I reahze ends The encouraging, stimulating effect of > SteirfS*wl’practice8 devoted.o^ork, deeply hoi essential it is for pupils to work with their on pupil and teacher, is beyond description; constant scales, chords, arpeggios and °^“My than the entire minds even more than with their ng • lude with many pupils this is reversed, an^XauSto ' ~ b-“h« to make one Pl

the measures on a line of music paper; but strn e to HOW SttHbL 1 H1V1DL, * -* *- w°'ka' “s recalh in the subway or derated, just how that left hami looked—just how it read-and iri your laj, p!ay One hour a day is very little to give to acquiring a it with your fingers. If you are m dead earnest m knowledge of music, but, if this hour is well spent to to [earn to play, that left-hand accompani¬ the very last second, much can be done if persevered ment will lie in your sub-conscious thought all your in for years. Divide the hour somewhat like this: working hours, an"d on the return home tnp you will Single and double finger work . 5 minutes be amazed to see how easily you can think of it, and Scales (C always, for velocity), one even venTure the right hand. A week of such work major and two minors. 5 n Then, with hands separately and b^ds together maste outside the practice-hour will go a long way towards Sight-reading . 20 Tearning a composition. I have proved that such work Arpeggios (C always, for velocity), one sgsrjiJr M &**=■**. major and two minors. S j; composition be played as a whole. A little pupil of eight, having had one term of lessons, Chords, one day; Octaves, next day... 5 It will be found in nine compositions out of ten that moved with her parents to a large hotei, where it wa Memorizing, reviewing work on train.. io the last two*pages, or possibly the last page requires impossible for her to use the piano. She had three Old pieces memorized . io four times the effort that the rest of the piece demands. weekly lessons, but I soon saw that she must use h These last should be numbered i, 2, 3, etc., and Make it an invariable rule to take the last page_ first, mind and fingers the alternate days. Sit down at the played one daily in regular routine, month in and month fnd expend the time needful to perfect this page before table fifteen minutes, four tunes daily, was my out. By doing this they are kept in practice, ready even playing the simpler portions. junction; “have your music propped before you, and, always at a moment’s notice. hands separately play on the table and recite aloud SIGHT READING A GREAT HELP. We all know “Change of work is as good as play” the notes in each staff.” The result was more than While undoubtedly piano practice is work, if it is To get the fullest enjoyment from piano-study the equal to an hour’s practice at the piano. properly directed it becomes in the end the most inter¬ business woman should be a ready sight-reader. She Here is a second instance: A pupil of twenty-five, esting and delightful play. desires to be familiar with the operas of the day ; her coming every week from the country for a lesson, I would like to urge in conclusion that the business friends ^spend a social hour with her in the - m lamenfed thelost time on the train. “Do your memor¬ women studying piano form themselves into a fort¬ and they want to hear the popular songs. How- can izing then,” was the very practical sympathy I offered, nightly musical club. The benefit to themselves and I accomplish this?” the busy woman cries. How can and8at the next lesson Paderewski’s Chant du Voy- others would prove incalculable. The meetings could be I learn to read quickly at sight? My ansv^r !*’ ageur” was played to me accurately, without notes, most informal. A short paper might be prepared on K. “Read.” All women know that to learn to sew one much to the pupil’s delight and my satisfaction. the music of the evening, material for which could be must sew; to master the science of cooking one must The late lamented MacDowell often asserted that found in The Etude.. The work could be'divided- S - and the same principle applies equally to learning the only way really to master and memorize a com¬ one member collecting pictures to illustrate, and to read music. Fifteen minutes daily, with unvarying position was away from any instrument.^ Of course, another, facts. It might not be necessary to even write regularity, should be given to reading easy music. a knowledge of simple harmony is of immeasurable a paper—just tell the main points. In ways like this There ^nothing better than the first and second-grade benefit, and this can be gained from any good book on girls could help each other to an unlimited extent of “Graded Pieces,” “Graded Compositions and harmony, such as those of Dr. Clarke and Homer Landon’s “Sight Reading Album (two vohtmes) Ee- physically, socially, mentally, morally and spiritually. member this: 'For sight-reading invariably select music In memorizing, it is far better to study and master of an easier grade than can be played after hours of definitely each hand separately, and then both hands “A chorus of singers is like a company of « Tn learn to read at sight the music at first together, a phrase at a time, rather than to play the brothers; the heart is opened, and in the stream of muMbe extremely simple. The reading should be done composition endlessly at the piano until fingers go by Song they feel themselves of one heart and of one Walter Johannes Damrosch at a reasonably quick tempo, and without stopping to Mrs. H. H. A. Beach reflex action rather than by intelligent directing. mind.”—Herder (1744-1803). Stephen Collins Foster correct mistakes.

^ A GROUP OF AMERICAN MUSICIANS m & * THE ETUDE 585

theI II L etude»- ■ “ ___ 584 -er represented, or use on bulletin unw/ TOIII PRESERVEr'rs. r V J . THESEA L ij—»-<*—* PORTRAIT-BIOGRA■ -- • ajeceot music uy T ^ ,Le set of picture-biographies nn rt* reverse of this page. Paste them on margin in r^hmanTvie^emps- Ft®

gy&Sr&Sfi:LJru’l«i rwcr^orlc. ft:loseffv, Chopra,eft S&.«-»bpiermi ' A LITTLE LESSON ON THE TRILL The first thing to consider then is the tempo of the THEODORE THOMAS. By JAMES FRANCIS COOKE. Mr. Thomas was born at East piece in which the trill occurs. After this the note JOHN KNOWLES PAINE. Friesland, October 11, an receive(j over which the trill sign is placed should be divided JAMES HOTCHKISS ROGERS. In many modern editions of the old masters this Professor Paine was born Januaiy 9, This discussion of the somewhat perplexing subject into the number of units or notes indicated by the Mr. Rogers was born at Fair Haven, Chicago, ^”Urar^uticaf instruction, but of the trill is not intended ■ to include anything per¬ matter is decided by marginal notes. 1839, and died at Portland, Me., April time signature. Thus, if the piece is in four-quarter Conn., February, 1857. After studying taining to the technical work leading to the ability to 15 1906 He received his first musical waT taught' to play the violin by his Written. time and the note to be trilled is a half note, the perform the trill proficiently, but is designed to assist for awhile in his own country, in 1875 instruction from Herman Kotzschmar. ( tiler In 1845 the family came to player would first divide the note mentally into two he went abroad and continued his v*™ York and Thomas soon became students and young teachers to a better understanding of Portland. In 1858 he went to the quarters. If the piece is in six-eighth time and the studies in Berlin. He was a.pupil of Triated with various musical matters of the meaning of the signs employed to represent the Hochschule fur Musik in Berlin, study¬ note to be trilled is a half note, the player would Loeschhorn and Ehrlich for pianoforte, fn the city Six years later he went on trill, and the methods of interpreting these signs now ing under Haupt, Wieprecht and Tesch- mentally divide the half note into four eighths. Each Rohde for theory and organ, and Haup, tour as a concert soloist, eventually in most general use. ner. For a time he gave organ con¬ unit or note then represents the basis upon which the for organ. In Paris he studied piano¬ appearing with Lind, Gnsi, Sontag, In Thu Etude for December, 1909, M. Isidor Philipp, certs in various German cities, but in trill is to be regulated. After the division has been forte with Fissot, organ with Guilmant, Mario etc. His association with Ma the distinguished teacher of piano at the Paris Con¬ 1861 he returned to the United States. servatoire, gave the readers of The Etude valuable made the player should determine just how many notes and composition with Widor. In 1880 son, and the formation of the Mason- Back in his own country he soon estab¬ Thornas soirees were of great ^benefit suggestions for the technical development of ability to he can play for each unit. A quarter note unit could, he returned to the United States, hav- lished a fine reputation as an organist play the trill. for instance, be divided into two, three, four, six, or ing had five years study abroad. Dur¬ to the »S”tae Thomas and teacher. John Knowles Paine was An attempt to discuss or analyze the many ways of eight beats. If the piece is to be played very rapidly ing the following year Mr. Rogers be¬ appointed Instructor of Music at Har organized orchestral concerts which playing the trill, which have taken up so much of the it would be obviously impossible for the inexperienced came organist of the Scovill Avenue were highly successful. He also con¬ attention of the older writers upon musical theory, player to play eight beats for each unit of the trill; Temple and Unity Church, Cleveland, vard University in 1862 and was event¬ ducted the Cincinnati Festivals wdh would not be pertinent to this little lesson. If we can a trill is almost without he would then have the choice of playing six, four, Ohio, and has remained in that city ually appointed Assistant Professor of marked success. In 1878 he be show how the trill should be executed, according to the scale of the key in three or two. This may be seen by the following: ever since. Naturally his services are Music in 1873, and full Professor m came president of the Cincinnati Col¬ the signs employed in modern music, the reader to in very great demand, both as a teacher which the piece is written. The only 1875. He was the first incumbent of lege of Music, but two years later he whom this article is directed will gain much. and as a concert organist, but, never¬ exception to this is in the case where " Note to be trilled. a Chair of Music in any American Uni¬ became conductor of the Phdhanmomc The trill is one of. the oldest of known graces or theless, Mr. Rogers has managed to a chromatic alteration (sharp, flat or versity. He also served Harvard Uni¬ embellishments. One of the earliest forms of the trill keep a certain amount of time available Orchestra in New York. In l8~ natural) is printed beside the trill. versity as College Organist. He re¬ was induced to leave New York for for composition. He has published was rendered thus: This indicates that the upper note or Chicago, where he was appointed head over a hundred compositions. His ceived the honorary degree of Master auxiliary note is to be raised or works include a Lenten cantata, The Man of Arts from Harvard in 1869, and that of the conservatory in that city. Theo¬ lowered as the accidental indicates. of Nazareth; an Easter cantata, The New of Doctor of Music from Yale in 1890. dore Thomas became conductor of the Always remember that the accidental Life., and many other compositions both Paine endeavored all his life to raise Chicago Symphony Orchestra, and car¬ refers to the auxiliary note, and not sacred and secular. Mr. Rogers is one the standard of music throughout the ried out such excellent work that the to the principal note (printed note). of the few American composers who country. Among the more successful orchestra has remained a lasting me¬ It will be seen from the above that this is quite The example 4 shown above from morial of his genius. The work he did is fully qualified to write in the modern of his pupils may be mentioned Foote, different from the trill of to-day,, and is merely a Beethoven’s Concerto in E flat shows French style. His song entitled ‘At Converse. Coerne, Clayton Johns, Sur- for music in America was almost of in¬ repetition of the notes at a continually increasing rate. this very clearly. Parting” is one of the greatest songs ette, Aldrich, Finck and Apthorp. As calculable benefit to the country, and The trill may be described as a rapid alternation of composed by an American writer. He a composer he was not a prolific writer, his name will always be associated the printed note (principal note>, with the next note THE LENGTH OF THE TRILL. has also written many technical works, but he wrote in the larger forms in a with those other pioneers of music, such above (auxiliary note). Knowing this, we must next The length of the trill is deter¬ and some octave studies, which he has way which showed him to be a careful as Lowell Mason. Dr. William Mason, determine—according to the principle of Aristotle, mined by the length of the note or composed, now in course of publication, and scholarly writer. His chief work, Professor Paine and many others who which tells us that all things have a beginning, a mid¬ notes over which the trill sign oc¬ will be found very useful by piano perhaps, was the oratorio St. Peter. have done so much toward musical de- dle and an end—how to commence the trill, how long curs. The trill sign is sometimes students. (The Etude Gallery.) velopment in the new world. the trill should be continued, and how it should come to a close. simply the abbreviation tr. over the note to be trilled. In other instances WALTER JOHANNES DAMROSCH. HOW TO COMMENCE THE TRILL. the sign tr. is followed by a wavy MRS. H. H. A. BEACH. line intended to indicate the duration STEPHEN COLLINS FOSTER. j Mr. Damrosch was born at Breslau, Mrs. Beach (Amy Marcy Cheney) was It is interesting to note that the subject of whether of the trill, but since printers and Foster was born near Pittsburg, Pa., Prussia, January 3°, 1862, and com¬ the trill should commence with the principal note (the born at Henniker, N. H„ September 5. editors sometimes make slips, it is July 4, 1826, and died in New York, printed note) or the note above has been a matter of 1847, and, like most musicians of dis¬ menced his studies early in life under best for the pupil to determine January 13, 1864. He was of Irish de¬ the direction of his father and Risch- contention among- many of the most capable writers the length of the trill by the duration of the notes. HOW TO END THE TRILL. tinction, showed her musical proclivi¬ upon the subject for nearly two hundred years. scent, and not of a very studious dis¬ bieter and Draeseke at Dresden. He The great mistake that young players and teachers ties at an early age. She studied first Most modern composers give the player some indi¬ position, yet he managed to teach him¬ | also studied in New York, after his Until thfe end of the eighteenth century the trill was most often make is, to think that any kind of an with her mother, and later with Ernst cation how the trill should end. In the latter day edi¬ self to speak both French and German father brought him to that city in 1871. invariably played with the upper note first, thus: alternation or twitching of the fingers may be regarded Od Perabo and Carl Baermann. She took tions of the old masters the end is also frequently fairly well, and also learnt how to paint, § His teachers in pianoforte were von as a trill. This is a serious error, which should be harmony lessons with Junius Hill for Inten, Boekelman and Max Pinner. illustrated by marginal notes. There is no hard and besides acquiring a taste for the music corrected at once. The notes of the trill must, first c a time, but owes most of her knowl¬ When Dr. Leopold Damrosch began of Mozart, Beethoven and Weber in ■ of all, be regular in their iteration or alternation. The fast rule governing how the trill should end, but in edge of musical theory to her own en¬ his season of German opera at the ■fp his youth. He played the flageolet .only trill in which the notes are not regular and all the majority of cases the trill ends with a turn, or, as deavors. Mrs. Beach made her first Metropolitan in 1884, Walter Damrosch when he was seven years old, and ap¬ I of the same length .is the rarely seen form known it is sometimes called, “after-turn.” This after-turn professional appearance as a pianist at was engaged as assistant conductor, a The writers of the eighteenth century, Emanuel parently this instrument played an im¬ c as the ribatutta, which is played thus: is nowadays indicated in the following manner: Boston, 1883. She gave several recitals post in which he continued after his Bach, Marpurg and Turk, advocated this method of portant part in his boyhood days, for c after this, and also appeared with the father’s death under Anton Seidl. He performance because they believed that the trill was Ex. 5. his first composition was a waltz for & derived from rapid repetitions of the appogiatura (the four flutes. His first published song Boston Symphony and the Thomas succeeded his father as conductor of i name employed for an ornamental note, foreign to-the was Open Thy Lattice, Love, and it ap¬ Orchestras. Her marriage in 1885 the Oratorio and Symphony Societies. .2 harmony, preceding another note, and expressed by peared in 1842. He wrote about 175 songs •s closed her professional career so far The Damrosch Opera Company was g organized in 1898, with Walter Dam¬ . means of smaller note type). in all, including My Old Kentucky Home, c as concert work was concerned, though rosch as conductor. Many perform¬ This idea was, however, much disputed by Moscheles,, Old Dog Tray, Massa’s in de Cold £ she has occasionally appeared in public Even in this well-nigh extinct form notice that the Dr. Hugh A. Clarke, Professor of Music of the Uni ances were given in New York and Hummel and Czerny, and with the advent of these Ground, Gentle Annie, Willie, We Have since. She had done very little in the ratio of increase is regular. versity of Pennsylvania, in his admirable “Pronounc other cities of the United States. Dur¬ masters of pianoforte technic in the eariy part of the Missed You, Old Black Joe, and Ellen way of composition up to the time of In the trill as played to-day there is no generally ing Dictionary of Musical Terms,” says : “To make thi 1 her marriage only two of her songs ing the year of 1899 he gave up his nineteenth century it became the custom to play the Bayne. This last song is said to have sup¬ employed means of determining just how long each tnll symmetrical with an after-turn, an additional tom having appeared. Now, however. Mrs. work as conductor in order to devote trill with the lower note, or principal note, played first, plied the melody to John Brown’s Body. J note should be. This is left to the taste and discre¬ is inserted just before the close, otherwise there wil Beach is probably better known to the some time to composition, but took it .thus: Probably the most familiar of all his songs tion of the performer, the general understanding being be a break between the last and the next to the las is Suwanee River, which was originally general public as a composer than as up again later when Maurice Grau was beats, thus: is that the notes are to be played as rapidly as possible. purchased by Christy and published a concert-pianist. Her numerous works director of the Metropolitan Opera It will thus be seen that a trill over a whole note under his name with Foster’s consent, > include a Gaelic symphony, a concerto for House, where he remained during the would indicate that the note would be divided in half though in subsequent editions Foster J§ pianoforte and orchestra, a mass in A flat, seasons 1901-2. He has also occupied Ex. 9.E as many equal divisions if the metronomic speed was was given full credit. It has been said g The Minstrel and the King, for male the position of director of the New Really, the only way for the young teacher to deter¬ one hundred and twenty beats to a minute, as would by some that Foster “adapted” old j 3 voices and orchestra, and a Festival Jubi¬ York Philharmonic Society. In spite mine the matter of whether the trill should commence folk-songs of African-American origin, j ° late for mixed voices and chorus, com¬ of his active career, Mr. Damrosch has be the case if the metronomic speed was indicated at with the note above the principal note or with the sixty notes to a minute. but this is probably not the case. j £ posed for the Chicago Exposition, 1893. found time for the composition of principal note is to have a good comparative idea of This gap between D and B is filled by the ins< This may easily be represented thus: More likely he used the negro dialect Besides these works Mrs. Beach has writ- works on a large scale. He has writ¬ the time when the composers lived and worked. If of. an additional principal tone which will mak. because his association with the “negro teh several songs, most of which, such as ten two operas. The Scarlet Letter and the composer produced most of his works prior to 1800 next to the last beat contain three tones (a tri minstrels” of the period enabled him Ex. 6. thus The Year’s at the Spring, aie as popular Cyrano. In other forms his works include it is very likely that he preferred to have his trills to find a ready sale for songs of this as they deserve to be, which is saying Written. Played. the Manila Te Deum, a violin sonata, and played with the upper note or auxiliary note played kind. (The Etude Galley) a great deal. (The Etude Gallery.) several songs. (The Etude 0al(Brw> first. If he lived and wrote after 1800 he doubtless would expect his interpreters to play the principal or printed note first. • THE ETUDE 587 one’s self of this by playing the etude onecan readily convince mrs in the room may exert till he has tried closing 586 the eyes, thus shutting out anything liable to dis¬ touch and tone color in piano on the table with t * q{ a„ the factors here tract the attention. Once having realized by ex¬ Sometimes, however, the trill has no complete after¬ playing. lt is the. com^ . what the ear conceives as perience the value of this sightless practice, the described that product toUch. lt is true student will thereafter include it in his scheme of turn, and is played thus: hard and unsympatheu ^ ^ nloment the tone is BY NIKOLAS CZERKAS. study. that they do not ^ before and some afterward, MEMORY DRILL AT THE PIANO. [This article appeared originally W ^er formed; some are, ,g yery slight the impression Lehrer” and has been translated especially jo but since the m ica, s;multaneousness. This Now, a few hints as to the best method of work. Etude by Mr. Frederic S. Law. J The Power of Concentration in Music Study and In order to realize the greatest results, the passage In such cases the trill is called incomplete. to be practiced should be memorized before it is The smallest trill used in modem music is one of| TH, question as to whether *.-*££ £”£5 played. We will take as an example the Paderewski has anything to do with the qua T understood, How to Develop It. Minuet, as that piece is familiar to most players. five notes, thus: is apparently a s.mple one and readily u ^ the pressure touch. A Seasonable Article which will Show Many Students Now Commencing their Fall Work how Waste Practice Without entering into any discussion . as to what yet one finds much said a^out * h , among ama- is the best method of memorizing we will proceed . „ Statements make clear that it is to May be Turned into Real Practice. touch, tone production, etc., Although The foregoing st accessory sounds that we owe . on the supposition that the pupil has never tried to the presence ot to the dependence of the By PERLEE V. JERVIS. memorize. Take the first measure and repeat the notes aloud, thus, d, d, c, d, c, b, c. Now close the Some trills ate preceded or prepared in the follow¬ ther;tr°ofg tone" upon the touch. This opinion is Probably every experienced teacher will agree picture of some familiar object, fix the mind upon quality of tone y (he fact that the pressure eyes and recite them once more; then with the with the statement that one of the most difficult it, try to inhibit all other thoughts, and you will eyes* still closed play them so slowly that you can ing manner : there prevails a contrary opinion which furth- -^whfch the fingers do not leave the surtace things we, as teachers, have to do is to make our realize how difficult, if not impossible, a task you mentally visualize each key exactly as if looking “ Written. vield to any proof whatever. touch, m wm in a pure and musical tone, pupils think, and, having made them think, to make have attempted. at the keyboard. Play five times, naming each note The impression of beauty of tone in piano playm of the keys, do “thrust” against the them concentrate their minds on the work in hand. It is only by daily, systematic practice that you and seeing the key mentally before playing it. The is produced by the artistic management of This is due to there De. g ^ ^ a,rcady fa contact With the power of concentration developed to the will succeed in forcing back and eliminating from tempo should be so slow that there is ample time sions of tones either of similar or dissimilar long key by the fing , thus a part of the usual reaction highest degree’, wonderful, almost incredible, re¬ the mind the stream of thoughts that seems to to think each note before playing, and also to allow strength. It is the skillful application of th^e with i„ into believing that sults are possible in piano study. well up from the subconscious, mental condi¬ factors, length and strength, that gives effect. o^ ^ an instant of complete repose after the key is is avoided This dece quality. The Readers of The Etude must have been impressed tion. The nearer you can get to the inhibition of beauty to musical performances. It « d ^ struck. Now double the speed, still thinking each ' the tone has the advantage of diminishing by the marvelous facility with which Edward Baxter extraneous thoughts, the more perfectly will you note before playing, and repeat five times. By this however, that the opposite opinion is justifi V Perry memorizes. (See Notable Article in July illusion of the senses, but its explanations do ^not Sreth°erCaccessory^disturbances; therefore the tone I have developed the power of concentration. time the notes ought to be pretty well in the the other accessory though the touch is issue.) This facility is undoubtedly due to the fingers; if so, make a dash for velocity, but observe, fullv cover the ground. How often, tor ,’ highly-developed power of concentration which he A PRACTICAL DRILL IN CONCENTRATION. does one hear an amateur, indeed a beginner praised that in this velocity playing there should be no Note in the above that the after-turn is different. not^essentlany changed. Then, too since these I possesses; a power of concentration very commonly for a musical touch when another more advanced The earnest student who is anxious to develop attempt to think at all. In playing trills of this kind note that the prepara¬ mechanical discords are very weak in companson found in the blind, whose other faculties are often c)ayer even a virtuoso, is criticised for his hard his power of concentration to the utmost may make tory notes are included in the trill and become a ft. the tone they cannot be distinguished at any abnormally developed as a compensation for the wooden tone. In this way a good tone is associated a start with the following mental exercise, which Sat distance Horn their point of origin; hence a of ti* «m.L,hi:i: with an uneven and expressionless performance loss of sight. Now this power of concentration the writer has found very helpful. Seat yourself preparatory notes are played in the sa olayer who is heard near at hand and gives the can be developed to a greater or less degree in while a more mature and artistic effort, which in a comfortable chair, and relax all the muscles fingers will not find their way through the passage impression of a hard touch will, when heard iri a every pupil, and the wise teacher will, from the cording to theory should be accompanied by a better as far as possible. Now close the eyes to shut out after a few attempts, go back to the slow practice, "‘■The chain trill is frequently employed in modern larger space, often impress his listeners much more very first, sacrifice everything else, if need be, in music This is simply a succession of trills, and ts tone production, is condemned for dryness of effect. anything that may distract the attention, and im¬ and after five more repetitions, try the velocity favorably. Another effect may be mentioned: as > order to develop it; concentration once secured and agine that you see the first three numerals stand¬ execution is riot difficult. In almost every instance the Since such judgments are pronounced so frequently made a habit, everything else comes in a fraction playing again. Just here the player will begin to has been Previously remarked.-these noises occur at ing one over the other, thus |. Starting with one, after-turn is introduced where the trill passes from it may be taken for granted that there must be some of the time and with comparative ease. realize the value of sightless playing. In sub¬ substantial reason for this common but erroneous Sir maximum before the tone thus the ear pen make as many combinations as you can with the conscious playing, a group of tones must be thought conception of touch on the piano, though it does not ceives them as an accent. Since they have but little WASTED PRACTICE. other numerals, repeating the combinations aloud, as a unit, not as individual notes, exactly as in Written agree with the facts in the case. In considering its persistency of vibration and soon disappear they thus: One, two, three—one, three, two. Now. reading a book we group the letters into words and Every minute of practice that is not done with mechanical processes the attention is apt to be given create the illusion of sudden loss of strength in the starting with two, the combinations will be, two, intensity of concentration, every muscular move¬ give no thought to each separate letter. In playing to that which has to do directly with the vibrating tone This is, however, only noticeable in the im¬ one, three—two, three, one; starting with three, from the printed page, or even from memory when ment that is not ordered from the brain, every string, rather than to the moment in which the \ Ora¬ mediate vicinity of the instrument; at a distance the three, one, two—three, two, one. Note the order in action of finger, hand, or arm that is not consciously looking at the keys, most pupils find it difficult to tions themselves are awakened. which these figures are recited, and in what follows hearer does not remark it. , . a . controlled by the mind, is to a certain extent a attain speed, not because the fingers are unable TOUCH ANALYSIS. I am convinced that it is only the influence of waste of time. preserve this order exactly. Now take | and recite to play rapidly, but because the mind is consciously these accessory and subordinate sounds that has | thinking each note. With the eyes closed, speed is If, however, the whole act of touch be taken up Not infrequently a new pupil applies to the in the same manner; after that |, |, |, !, I, *9, led a number of investigators to ascribe differences developed more quickly, because in the effort to from the very beginning with especial reference to writer for lessons with the statement that she has see each group as the figures are recited, that is, play fast it is impossibe to think notes at all, and the the instant in which the striking finger touches the in tone quality to the touch. From what has been been in the habit of practicing five hours a day. make as clear a mental picture of it as possible. Note that in the above chain trill from the Chopin playing can be quickly brought up to the sub-con¬ key, the causes which led to the foregoing remarks said it will be readily understood what Mr. Tobias Usually it turns out that as a matter of fact she has When, after practice, each group can be recited Military Polonaise the last trill has seven notes in¬ scious stage. on the connection between quality of tone and effect Matthay meant when in his book. “The Act of j been doing nothing of the kind. She may have stead of five. This is because all of the other tulls without an error in the precise order indicated, of touch will be revealed. The secret lies in the Touch,” he wrote: “The more gradually the end of been sitting at the piano five hours, but of real To return to our practice; study the second meas¬ have live notes and the additional 'notes are added to combine the eight groups into a continuous ex¬ movement of this finger, which falls on the key from the key descends the finer the tone, the fuller, the concentrated practice she has not done fifteen ercise, which should be recited from beginning to ure in the same way, then join it to the first and the after-trill for effect. a certain height with a definitely calculated velocity. minutes. practice the two together. Keep on learning a In instances where the trill is accompanied by other more telling, the more sympathetic and singing its end without an error or break; thus: i, 2, 3—1. 3, The encounter of the finger tip with the key-surtace One of these pupils, after a few lessons, ex¬ measure at a time and joining it to those already notes to be played with the same hand, a form of trill character. The more quickly the key is depressed the 2~2- l< 3—2, 3, 1—3, 1, 2—3, 2, 1—2, 3, 4—2, 4, 3— results in the so-called “thrust,” which is naturally claimed: “Why, I haven’t been practicing at all, learned, till an eight or sixteen measure period known as the “false trill’ is employed. This gives the harder its timbre; it may be more brilliant, but will 3> 2, 4—3, 4, 2—4, 2, 3—4, 3, 2, etc. When this ex¬ accompanied by more or less sound. The intensity I guess I have just been reading and wiggling my has been completed. Treat the left hand in the effect of a real trill and is very much easier for some be less carrying in quality." ercise can be recited without an error set the of this sound depends on the rapidity with which fingers. One is often asked: “How many hours a same way, naming each note in the chords, thus, performers, particularly those with very small hands. This shows that Mr. Matthay’s directions as to metronome at 40 and go through the entire exercise, the two surfaces meet, and since the key is always day must I practice in order to succeed as a pianist?” b and d, b, b and d, a and d, etc. Finally practice The following selection 5"'from the Beetho’ touch are founded upon precautions for avoiding the reciting a figure at each beat and increasing the at rest the velocity of the finger is the determining- The question should be rather “how few hours? both hands together. The inexperienced player Sonata, Opus 109. key-thrust, and that the resulting beauty of tone is speed from day to day till 100 or 120 is reached. factor; the more quickly it falls the more distinct will How few repetitions can I make of that difficult may for some, time find it difficult, if not impossible, a consequence of the diminution of the accompany¬ This exercise should form part of the daily practice be the resulting shock. passage and conquer it?” With intensity of con¬ for many months. to accurately gauge distance in passages that in¬ This shock occurs in the moment when the two ing mechanical noises, lt will be readily seen, too, centration you can accomplish in thirty minutes volve skips, but do not on that account become dis¬ surfaces are first brought together; that is, when the that the widely spread error of attributing tone color what others fail to do in hours. FINGER DRILL. couraged and give up the sightless practice. in piano playing to touch has a substantial reason key is still quiet. It then immediately begins to One to two hours of concentrated practice ought Another excellent exercise which may follow the With persistent daily effort you will become more sink in order to put the mechanism into operation and for its prevalence in the phenomena of these as¬ to leave one so fatigued that a rest becomes im¬ one just given demands concentration, and at the and more familiar with the keyboard, and eventu¬ thus to produce the tone by the stroke of the ham¬ sociated and unmusical sounds. This conception is perative, and with the average pupil three hours same time develops muscular control. Rest the fore¬ ally attain such skill that you will be able to play mer on the string. But before this can be carried due to the impression made upon the car. which was of such practice is the extreme limit; as soon as arm on a table, the hand shaped for five finger posi¬ as accurately with the eyes shut as most players into full effect the component parts receive small par¬ accepted in its ostensible significance without being the brain energy begins to flag, we are simply “wig¬ tion as it would be if placed at the piano on the do with their eyes open. If Edward Baxter Perry tial shocks in every lever-joint and fulcrum; for. subjected to any searching criticism or analysis. gling our fingers, and when we reach that point, keys C, D, E, F, G. With the eyes and mind con¬ can p ay Liszt’s “Campanella” accurately without however well constructed and fitted together these From the foregoing considerations we can draw two the attention would better be turned to other things, centrated on the thumb start that finger from the seeing the keyboard, given the same amount of prac- may be there are always slight spaces between them conclusions of practical application: as our practice will do us little, if any, good. table and carry it up, with a motion so slow that to give room for play, and the stroke of the finger atCallS° Ca" y°U; ‘S’ provided y°u can play it 1. That the high, quick finger action so frequent¬ The power of concentration varies at different it is hardly perceptible, till the finger is on a line brings out a characteristic noise from each one. ly employed favors all conditions that produce these hours, and the student can, by experiment, deter¬ with the metacarpel joints ’ (the joints connecting To be sure, it is by no means powerful because these After a piece has been learned as suggested disturbing noises. mine at what period of the day he can concentrate th« fingers with the hand); hold it perfectly still parts are all covered with felt and soft leather, but most intensely; it certainly will not be just after above, play it with the eyes open, looking at the 2. That an analytical observation of them may J in this position through four very slow counts, and it is none the less perceptible to the ear; that made a meal or when the mind or body is fatigued. Ex¬ keyboard as usual. You will be conscious of a MUSICAL FACTS WORTH KNOWING. serve as a means of judging as to the most helpful , * return it to the table with the same slow, almost There are so few singing birds in Japan that the by the large key-lever is particularly so, since the ternal surroundings may easily distract the atten¬ r senf °f freedom, which allows the emo¬ construction of the instrument demands that it have movements of hands and fingers in piano playing. imperceptible, movement. Practice this with each tional element full play, and the performance in average Japanese child does not know what a singing tion hence, the room should be quiet, and it is finger in turn. the greatest possible freedom of movement. If the useless to expect much concentration from a pupil consequence (other things being equal) will gain bird is. Now, taking a hint from the blind, we may still in musical value. The highest instrument of the orchestra is the pic¬ edge of the key be taken between the thumb and To show the importance of thought, fancy, imagina¬ whose piano is at a window which looks out upon further develop the power of concentration by prac¬ colo, and the one capable of producing the lowest note forefinger and moved Up and down within such tion, in piano playing is the most difficult part of the a busy street. Having found the time at which tice at the keyboard with the eyes closed. Anyone is the double'bass or bass viol. limits that no tone results it can be distinctly heard. work. The choice of pieces that shall have little the power of concentration is at its height, the who has had much experience with the blind, must A. J. Adolphe Sax, the inventor of the saxaphone, The lever occasions this noise by the return to its thought and little technic, and much melody, with dis¬ practice hour sh°uld be planned to take advantage now used in most military bands, was called “The original position when the finger is lifted from the tinct lines of sound and color, is difficult. To keep have been impressed by the accuracy of their play¬ ings, and their unerring certainty in gauging dis¬ Christopher Columbus of Brass Instruments.” He key; through the sudden arrest of motion in the lat¬ down pride in technic at the same time perfection in Now, how shan the power of concentration be pied in reading the printed page, and the fingers ter a second slight shock occurs. Other faint sec¬ made more improvements in brass instruments than technic is developed is difficult. There comes a time developed; When we remember that concentra¬ tances on the keyboard. Every good organist finds find the keys by the sense of feeling. The point, ondary noises are caused by the sounding-board, his pedals and becomes familiar with the pedal key¬ anv other man. He was born at Dinant in 1814 and when the pupil’s pride in technic is maddening to the tion depends upon the ability to focus the mind however, which the writer wishes- to emphasize is which prolongs sounds made by the dampers and by board unaided by his eyesight. Why should not the died in 1894- musician-teacher. His hands have become so free, so T°n P°Jqt’ meanwhile inhibiting all extraneous that the practice just described demands absolute The famous Hymn, “Old Hundredth,” was written light vibrations of the strings; these make a decided ab e, so supple; he is so much master of note-tangles; thoughts as far. as possible, we have a seemingly pianist know his keyboard as thoroughly in the same impression on the ear. The strongest effect, how¬ concentration of the mind, and develops it more over a half a century before the Puritan Pilgrims be is possessed to Hr, _nlavs s mple answer to the question; but try to do it- way? With the eyes closed it is much easier ’s made by the falling of the finger c to concentrate the. mind; one hardly realizes what, whTrfby and rapldly than a"y other plan with landed at Plymouth O620). Close the eyes, for instance, and make a mental which the writer is acquainted. There are many a disturbing influence a picture, chair, or any object subsidiary aids to the development of the power THE ETUDE 589

the etude • .till further, we shall see A FORCED INTRODUCTION. Carrying our ^feSS of Italy was due not so This proceeding had attracted the attention of the stranger. He seemed to guess, with painful annoy¬ 588 ITALY, THE LAND OF MUSIC? that this musical supremacy ^ ^ feeling for form ance, that he was the subject of our excitement, A German View much to natviral endowme^cient culture. As the bearer of concentration which will suggest ^msdve^to and after he had hastily emptied his glass he rose and to the inherltanceof ^ became an inspiration 4 the thoughtful ^dent, such as, *and of the traditions of amM who followed her lead to go away. Hardly had the Englishman perceived BY DR. * L STORCK. concert, selecting the transformations for the gifted of other . Even when these this than he tore himself from me with such force trying to follow itsjreavmgs ^ from the Allgc- that he left one of his coat-skirts in my hand, and the revival ot he Italians themselves they A Trip to the Shrine of Beethoven were more talented than t Thus the mu- By RICHARD WAGNER 8s threw himself in Beethoven’s path. The latter sought to avoid him; but the wretch was before him, felt the influence of^^ in her own way was many r- F 5 ..’. iHl and making him a marvelous bow according to the er h«»33iu6, . fPtnrnine: to tne sical dialect she Jad « ^ enlarged into an inter- A Remarkable Indication of the Astonishing Imagination of the Great Musician-Dramatist The above phrase is one of those ^"^aring the latest English fashion, addressed him as follows: _n remember having seen i , exercises adopted by foreign ^ Jtai;ans are not so essen- window to check off he Usv jhc * paft sions that involuntarily f“e‘°Tf0r its application Reprinted by Special Request national language. T try and in the pictorial and M “I have the honor to introduce myself to that tially gifted in music a F that the Renaissance, so very famous composer and most estimable man— f SfdaUy prjctic^ wiU -'"^^tlon1'sufficient Herr Beethoven.” plastic arts is shown by ^ talkies, cann0t boast of rich in other command!:HB P ^ be sure_ deserves He had no need to add anything further, for with a single great musician. ’ trapuntai school, his first words Beethoven, casting a single glance sicians fw^0n^sh°^tgaSthe common intellectual and > continue further development. this distinction at-the climax to the spirit of upon me, had turned away with a hasty start to Sic property of the world at large we find no ta ram one side, and had vanished from the garden with but this school tQOj what he accomplished was PART H. the speed of lightning. Not the less did the irre¬ the Renaissance, •’fluences. Italy took no part in [Si/mpm's: The flint It of this remarkable in tlcle, indicatlny Richard Way tier's unlimited pa and exceptionally rersa- pressible Briton show his intention to pursue the the result of outsid . . . t) ; was brought about tile maylnutiun. icuii vrii I in The Etude for last month. In n Wayner describes his journey 1(0 the home of Beethorcn urn hardly believe that he lius not actually covered the ground upon such a pilyriinage. This fugitive, when I seized, in a fury of rage, on the tbed^etopmento^ountW^Al™”^ /«ked atmonphne nf rertty^in t distinguishing mark of all yreat descriptive uniting. In order In l lave funds wherewith to remnant of his coat skirts. Somewhat astonished, by composers in ot bat they had done. states that he has composed a few galops and pot-pourris for a in alien gran Hag pnbiishir. 1 group nf wandering musicians, and enjoys himself by playing the ricila part of a Beethoven’s he checked himself, and cried out in a singular ss $ Rome for a finaljudB™ criticism, funded "Meptour” \vilh them, hate r. he meets an Englishman, who figures largely in the description, Wagner makes several attempts to see the yreat m aster, but up to the time of the opening of this installment he has 1 KS3 - * * .*• “■“""“t» not been successful.] 22 3";; tsafog «.« ^ “Damn it! This gentleman is worthy to be an 01 , 1 itc heterogeneous elements were The Englishman, who always watched my at¬ hour and in the same direction. He had been Englishman, and I shall certainly make no delay in tempt with excited attention from his window, had struck by this, and at once suspecting that I had forming his acquaintance!” laps K w-'i at last received positive information that Beethoven a musician in a limited possessing jr- * found some clue by which to trace out Beethoven, I stood there stupefied; this terrible, adventure put was really not to be approached. He was thor¬ opL for among the Florentine, who he had decided to take advantage of my presumed - HS“»=“«Sr e-.™.T„7e» h,d Sf=SlSII5£|S oughly vexed, but immeasurably persevering My an end to every hope of mine to see the dearest wish opera, jramma Per musica not one was discovery. He told me all this with .the great¬ of my heart fulfilled! pewits indeed, hatdlp patience, however, was soon exhausted, for I had est frankness, and forthwith' declared that he pro¬ rrxsx 4jr»tn wtxx-xt more reason for it than he. A week had gradu¬ It was very clear to me that from this time forth wrote capital Cherubini was a of a full-blooded musical temperament. Late posed to follow me everywhere. In vain were all and an intense lover of1 natu‘ e- j but none ally slipped away without the attainment of my every attempt to approach Beethoven in an ordinary in examining their works we find"°n.Cn all respects. 7 V or, was far better off; then there were many my endeavors to deceive him, or to make him believe botanist and a pa^‘°dV hn X the number and object; and the income from my galops by no that I had no other purpose in view than to visit, fashion must be perfectly vain. In my ruinous cir¬ happily'rifted natures that little recked of problems to of them approach Me"^lss°^th billiards and chess means permitted me a long residence in Vienna. for my own refreshment, a beer-garden that was cumstances I had only to decide whether I would variety of his occupations. BothjMlha ^ ^ and S'Ld merely -Hvd to plea^.by charm otfonea^ I gradually began to despair. far too unfashionable to be worth the consideration at once enter upon my homeward journey with my he played with ardor t devoted melody, -d. I communicated my sorrows to the landlord of the of a gentleman like him; he kept steadfastly to his object unaccomplished, or whether I should make in both swam more, hotel. He smiled, and promised to tell me the rea¬ resolution, and I had my luck to curse for it. At one last desperate endeavor to reach my goal. At to gymnastics; later oi . i,,fi tbe opportunity,opportunity. cacagni’sgni’s CavalleriaCavallerw Rusttcana,Rusticana, too, seen s. S“.”o“ iatfon for a iove of music is melody a„d son of my woes if I would swear not to betray it to last I tried rudeness, and sought to rid myself of the first alternative I shuddered to the bottom of and danced whenever almost1 dthe only diversionsdiversion! th originality him a genius? the Englishman. Foreseeing disaster, I made the rhythm. him by insolence; far from letting himself be in¬ my soul. Who, so near as this, to the gates of the Cards and skating Jut these were diversions of ge„,us-can we therefore py _ what_ vow demanded of me. ITALIAN SINGERS OF TO-DAY fluenced by this, however, he contented himself holy of holies, could see them close upon him with¬ mi di”* able to command international interest. How many illu¬ tjsjst. n, rage at the impertinence of these people, that he first time to behold the great Beethoven. -No words me to take—what way left me to pursue? For a and drawings preserved is very large. sions are destroyed in the theatres of Italy 1 But there is makes it absolutely impossible for any stranger to can picture my ecstasy—or at the same time de¬ long time I could think of nothing definite. Alas, no denying that the very best Italian artists form a class get admittance to him. He is a singular man, and scribe my rage—as, seated beside my “gentleman,” all consciousness was benumbed; nothing presented by themselves, and that they have something that, to DO YOU KNOW? this may be pardoned in him. It is an excellent I saw approaching a man whose carriage and ap¬ itself to my imagination but the remembrance of my mind, especially distinguishes from our German thing for my hotel, however, for it is generally lib¬ pearance fully' bore out the description that the what I had passed through when I held the vile singers—their singing appears to be a natural meansof «,e compelling erally patronized by Englishmen, who are com¬ landlord had given me of the master. The long expression; they give one the impression that they Englishman’s coat-skirts in my hands. Beethoven’s pelled by their anxiety to see Herr Beethoven to blue overcoat, the tangled, bristling gray hair, and enjoy it themselves. This no doubt comes from the side glance at my unlucky self during this frightful through a fi"e^0thed LeOdm^ splendid position at the remain my guests longer than they otherwise would. fact that .they look upon it as an end in itself; it is not more than these the features, the expression of the catastrophe had not escaped me; I felt what such Since you promise me, however, not to betray me complicated by the fulfilment of a task laid upon them face, as they had long hovered before my imagina¬ a glance must mean; he had—taken me for an to these gentlemen, I hope to find a means to se¬ by the drama. The unique and powerful effect pro¬ tion, pictured from an excellent portrait. No mis¬ Englishman 1 soon loses its vogue. The difference consists in the cure your admission to Herr Beethoven.” ssanSfo"* x— «* ,-'»■* duced by Caruso is due to his ability to unite both voca take was possible; I had recognized him in an What should I do then, to elude the wrath of the durability of effect, which is one of the evidences of and dramatic elements into a consistent whole. This UNSUCCESSFUL VISITORS. instant! He passed us with short and hurried steps; master? Everything depended on informing him greatness Have the much-abused and hackneyed airs unity is much more frequently found in Italian bassos, surprise and reverence enchained my senses. in, lost a fortune and been tantapted. ^, I of of Trovatore or Rigoletto lost any of their effectiveness This was refreshing; so I had not reached the that I was a simple German soul, full of worldly who first appeared on the stage in comic opera, which goal, because I—poor devil—passed for an English¬ The Englishman missed none of my movements; poverty, but more than worldly enthusiasm. during the sixty years they have been sung. And how is an outgrowth from the earlier mythological music rlfanCS. SetT'one <5 bi. cteditot. «. many similar airs from the old Italian operas might man! My presentiment was justified—the English¬ lie looked with curiosity at the newcomer, who So I decided at last to pour out my heart—to drama, and owes it origin to popular taste. man was my ruin! I would have left the house at withdrew into the most secluded corner of the beer- write. I did so; told him briefly the history of my hs mentioned! Such To recapitulate: In the past the musical tempera¬ once, for of course every one that lodged there was garden—at this hour almost deserted—ordered sSS2535k ment of the Italians was particularly manifest as a life; how I had become a musician; how I idolized thousand florins (probably worm ^ notwithstanding, full taken for an Englishman at Beethoven’s, and I was wine, and then remained for a time in an attitude thousand dor,ns masses fo be said for being ,he product of genms, skill in the construction of formal style; then a natural him; how I had longed to make his acquaintance; left also twenty-five florins for masses t already outlawed for this reason; but the landlord's of deep thought. My beating heart said to me, ‘ ; vitality. talent for singing led to the production of convincing how I had given up two years to gaining a reputa¬ his soul and four florins to charity. promise restrained me—that he would bring about "It is hell” For a moment I forgot my neighbor, melodies. Where they fail is in the architectonics of tion as a composer of galops; how I had begun and That’ when Mozart was a b°L entry"o^Mozart, ITALY’S INFLUENCE UPON GERMANY. an opportunity to see and speak with the master. music, in the conception of a great structure developed and looked with curious eye and unspeakable emo¬ ended my pilgrimage; what woes the Englishman In Italy musical activity has busied itself w'th the Kfheta S’r,“«o'vSui.htfh baggage from the interplay of small thematic elements, through The Englishman, whom I detested from my soul, tion upon the man whose genius had alone ruled creation of two forms, neither of which has to do -with had brought upon me, and in what a cruel situation which the expression of emotional states and feelings had meanwhile begun all sorts of intrigues and over all my thoughts and feelings since I had I now found myself. As I felt my heart grow con¬ the development of a complete organic whole from a bribes, but without result. WThat° Beethoven lamenting foe**J first becomes possible. This it is that makes the name learned to think and feel. Involuntarily I began to sciously lighter during this summary of my griefs, single germ, which is the distinguishing feature of So several more fruitless days slipped away, dur¬ murmur softly to myself, and fell into a kind of symphonic music. These two forms are the mass and of Beethoven so significant to our ears; but even before I even passed into a certain degree of confidence! ing which the receipts from my galops visibly soliloquy that ended with the but too distinctly the opera, which are closely related m that both are him it was characteristic of German music, and since from the pleasure of this feeling; I mingled in him it has led the way to the development of the music diminished; till at last the landlord confided to me uttered words—“Beethoven—it is thou, then, whom composed of separate numbers, each of which admits that I could not fail to meet Beethoven if I would my letter some frank and rather decided complaints ;rS«««.° “.t’l^lS ‘7 d Fri of separate treatment. This partiality to one style is drama. of the unjust cruelty with which I, poor devil, had Th!t Rossini was superstitious and dreaded Fn- go into a particular beer-garden, whither he went proof that Italy owes her renown as the land °^ muslc Nothing escaped my accursed neighbor, who, d,^ and SI numb,, .Ht.e.u! He died ou Friday, almost daily at a certain hour. At the same time been treated by the master. I closed my letter with less to original creative impulse than to a happynappy thoughtwougm bending close beside me, had listened with bated SCHUMANN EPIGRAMS. I received from my counsellor certain unmistakable positive enthusiasm; my eyes swam as I wrote the the- thirteenth-...m of November,nnce out 1898. int0 prison for having that coincided with her temperamental peculiarities. breath to my murmuring. I was roused in horror “I used to rack my brains for a long time, but now descriptions of the personal appearance of the grtat address—“to Herr Ludwig von Beethoven.” I ut¬ That Weber was once Put j It j* There was a time when every German musician con- from my deep ecstasy by the words—“Yes, this piayed a trickon t e: King q _ which sidered h indispensable to secure the final polish1 to his I scarcely ever scratch out a note. It all comes from master, which would enable me to recognize him, tered a silent prayer, and myself delivered the letter within and I often feel as if I could go playing I roused myself, and determined not to put off my gentleman is Beethoven! Come, let us introduce at Beethoven^ house. said that while in prison ne got ‘ , compOSi. „rt in Tta]v or he followed the example of the master, ourselves at once!” he tuned with for the composi g m My, ^ the trip thither to inform straight on without ever coming to an end.” happiness until to-morrow. It was impossible to As I returned to my hotel, full of enthusiasm- “I am accustomed to find that my compositions, par¬ catch Beethoven as he went out, for he always left Filled with anxiety and disgust I held the cursed great Heaven! what brought the horrible English¬ tion of one of h^ef k" eTssohn and MacDoweU himself as to the newest achievements m music^ Leo- Englishman back by the arm. That Spohr, .XXen besides being musicians? pold Mozart took his child to Italy, not only because ticularly the best and deepest, are not understood by his house by a back way; so there was nothing left man again before my eyes? He had watched this the public at a first hearing.” eXCtZ the g“violinist, had to give up he held the people for being the most competent judges for me but the beer-garden. Unfortunately, how¬ “What are you going to do?” I cried—“do you last errand also from his window; he had seen on That Sp > ® t of the fact that he broke 0f musical talent, but also because there he hoped to “It must always be the artist’s highest aim to apply ever, I looked there for the master both on this mean to disgrace us? Here—in such a place—so my features the happiness of hope, and this was v.olin-playmgon accM^ ^ Thg bone find financial patronage. It is_ surprising what liberality his powers to sacred music. But in youth we are and the two following days without success. utterly without regard to common courtesy.” enough to deliver me again into his power. He kU left arm when he was uvci firmly rooted to the earth by all our joys and sorrows: At last on the fourth day, as I again directed my his left ar _ ,,-i* r.bv the violin again on in matters of art prevailed inm Italyitaiy in earlierean.ci times,uu,«, Oh, responded he, “it’s a capital opportunity; stopped me on the steps with the question, “Good knit well, but he could never play the violin again 1 it is only with advancing age that the branches stretch steps to the momentous beer-garden at the ap- for instance, in architecture everywhere its buildings we shan’t easily find a better one.” * news? When shall we see Beethoven?” higher, and so I hope that the period of my higher account ^endelssohn conducted with his right side reveal what sacrifices have been made for nobility of pointed hour. I perceived to my horror that the With this he drew a kind of note-book from his efforts is no longer distant.” Englishman was cautiously and observantly fol¬ “Never! never!” cried I in despair^Beethoven j nrchestra ? His movements were al- design and grandeur in execution. The land that had pocket, and would have rushed forthwith upon the reared so many musical sons always had a place for “Ah, why do we only appreciate our happiness when lowing me at a distance. The wretch, perpetually will never m his life see you again! Let me go tUrn?d-nvisKe and were very short and decided. man in the blue overcoat. Beside myself, I seized foreign artists who wished to serve under the banner of it is past? Why does every tear that we shed sym¬ watching at his window, had not let the fact es¬ villain! We have nothing in common!” H^sCriticisms’were often sharp, but he was never¬ the lunatic by the skirts of his coat, and cried out bolize a past joy or a vanished happiness'” cape him that’ I went out every day at the same theless well liked by the members of his orchestras. * her art. ‘ furiously, “Are you stark mad?” “Most decidedly we have something in common,” responded he, coldly; “where is the skirt of my coat, THE ETUDE 591

the etude TNDEX TO map of MUSICAL EUROPE. 590 INDEX L f ny composer given on To find the b'rthP1! yFirst locate the per- difficulty with . Be. •»> “"f'i",' *“nce‘ £ the musical map of eui v the letter of the sir? Who authorized it? Do you know, sir, that you are t was he pendicular column J unti, the horizontal O me with the greate.t candor that « " )4 „ot R2* en StpemHhe acquaintance of a gen- «- “J Swi £ .d“n*Sh“ I V*.** ^rattLT^ fi“”. dissuade l' SSssKtsSi*-—— • j «v„„ shall have the coat-skirt oacK, ■p e Tensen . J 3 cried— You shall reminder of the way in Bach, J. S. • • • • • Leoncavallo ...G 9 Treasure it up S^"lreat Beethoven, and ruined S™. L by «ee.u» oi Bach, K. P. E... G 5 ^ . J 6 which you insidted the great Me never s£e each ,h. step, like an arrow, opened tlm a poor musician!—Farewell, n y Balfe . „ s Luther. £ 5 Beethoven . I0 Luily . F 8 maulSod beSemt'seLed Bellini . 6 Mackenzie . C 2 ■ -£ sawas iKold las. by them Berlioz . Mascagni . F o Biz^ . Massenet .D 7 w. s.*»d in Beetboveu’s pr..e«eitro 28 Brahms. K s Mendelssohn ... G 4 Bruch „ s Meyerbeer .G 4 ^•SArr.r Toy,; Billow (von) ... n | Monteverdi .. . • G 7 S„fAMo.-wh« sudtoly to door wa^opeued. Chammade - Moszkowski ... I 5 An old servant appeared, frowning as d about Cherubim . * ' Moscheles . H 5 us in our extraordinary position, and se anxiety I Chopin _. _ g Paganini . F 7 Clementi .^ 9 Paderewski - ■ • • J 4 asr .--I ».d C'ore111 . p 4 Puccini . F 7 to get off a packet of music by post. I expect you 'StzJ Cramer . £ 3 Purcell . C 4 Cornehus .d 5 Raff . E 6 C°uPerm .h 6 Rameau . D 6

it, Beethoven himself appeared at the door study. Taking advantage of this moment, ^rushed Dvorak. H 5 Saint-Saens D 5 ! * „ T hardlv know what I danced, but 1 remen qUiCkly mvselfd 8C?d»STto the Englishman Elgar . C 3 Sarasate . “ 7 ber that to my infinite .ham' I .ndd.nl, !»=.«• Field . B 3 Scarlatti, A.G io Franz . 4 Scarlatti, D.G 9 ST. Sp1 ~ Koven“bowed ^d^mered out »y name; Franck . F 5 Schubert . « 0 and hough he certainly did not under*; andLrt,, he Gade . 3 Schumann .G 5 seemed to know that I was the one who had written with delight to him. He motioned to me to go into his r , Godard . D 5 Spohr. G 4 A PERFORMANCE OF FIDELIO. and without being in the least disturbed Y Gounod . h* 5 Spontini .. G » thoven’s amazed look, my companion slipped hastily Grieg . * Stradivari . F 7 My woes had maae me uttciy Y * Heavens! . M, woe. had made ». «.«!, forget in after Handel . G 4 Strauss R.G 6 that I was in Vienna! How the lively stir of the be concluded in October.), / Haydn . T 6 Sullivan .c 4 people of the imperial city delighted me. I was in Heher. 1 d . J 4 an enthusiastic mood, and saw everything with en thusiastic eyes. The somewhat superficial sensu¬ g§£* :::::::: ? \ .l ; ousness of the Viennese seemed the fresh warmt ^marks of expression., Rummer . I 6 Wagner . G 4 of life; their frivolous and not very fastidious pur¬ suit of pleasure passed for natural and frank ap¬ by LEONORA SILL ASHTON. preciation of the beautiful. I looked over the fiv HOW BEETHOVEN FOUND THE THEME SaUy theatre-bills; on one of them I saw announced FOR HIS FIFTH SYMPHONY. “Fidelio—opera by Beethoven. W Is one of the established laws of performance to I must go to the theatre, be the receipts from my use one’s “own expression” in playing a piece; but Mr. Louis C. Elson in his interesting “European unless the olaver is a very thoroughly grounded mu¬ galops ever so sadly lessened! As I came into tn Reminiscences” gives the following amusing account sician he is apt to break other laws in keeping this parquette the overture begun. This was the re¬ of the way Beethoven evolved the theme of Fate arrangement of the opera that had once-to the honor of the highly critical public of Vienna-failed, er °nMoreover, unless a pupil is especially gifted with knocking at the door:” “Of Beethoven I found a reminiscence in bebon- the title of “Leonore.” Even in this latter form I the musical temperament his playing will -^ely be had nowhere been able to produce it; and the de¬ come sluggish if he does not heed with great care brunn, the beautiful palace just outside Vienna. It light may be imagined, which I experienced as the little guide marks placed before him. was an old tree in the - garden, with three branches now heard for the first time this glorious novelty. For instance, the crescendo , 1S “°re .eas,!> separating from the trunk, about four feet from the A very young girl rendered the role of Leonore, overlooked than the Italian term, which is it- ground. These three branches form a natural seat, yet this singer seemed even in her early youth to equivalent; and instead of a rising and diminishing and in this seat Beethoven did much of his compos¬ have fairly wed herself to the genius of Beethoven wave of sound, the notes under which the sign is ing in 1823-4. In this secluded perch he thought out With' what ardor, poetic feeling, deep emotion did nlaced are apt to resolve into an utterly colorless part of his ninth symphony, so he told Schindler, his she depict this wonderful woman! Her name was traveling up the piano and back again without the friend and biographer, and so Schindler told the old Wilhelmine Schroder. She had gamed for herself least swelling of the sound. musician who took me to the spot I climbed into the noble merit of opening Beethoven s work to the Aeajn */>” is sounded more as a mezzo forte, not have been quite fair to Beethoven, foi after all enthusiasm. For me the very heavens were opened; than the whisper it is intended to portray. he was the originator of this out-door style of musi¬ all was illuminated for me, and I bowed down be¬ These are exaggerated mistakes it is true, but it cal work. I can readily imagine his working thus in fore the Genius that had led me—like Florestan one analyzes one’s own playing honestly, I doubt a peaceful solitude, for I visited some of his tem¬ from night and chains to light and liberty. not that many a one will find he is cheating his porary residences in Vienna and they were in rather That night I could not sleep. What T had just marks of expression of half their due. noisy localities. It is said that once he was led, gone through and what awaited me on the morrow, Correct playing with cultivated technic and intel¬ through this fact, to write one of his most striking was too great and overwhelming to have let me ligence is in the ascendency. “The standard is very figures. It was in the dead of the night, and a drunken carry it quietly into my dreams. I lay awake; I high, nowadays” is often said in reference to the man had been locked. out of his lodgings across the wandered; I prepared myself to appear before Bee¬ modern music student, but it must be admitted there way. The clatter soon awakened even the semi-deaf thoven. At last the day appeared; I waited with is much to be improved in the life or our performances. composer, and he listened; ‘Bang-bang-bang, Bang!!’ impatience for a time suitable for a morning call; The simplest method of impressing this upon went the irate and homeless lodger, and then followed it came, and I started forth. The most important children is to teach them early and late the im¬ event of my life stood before me; I trembled at the portance of observing the marks of expression to a pause; no result; again—‘Bang-bang-bang, Bong!!’, until finally Beethoven was struck with the emphatic thought. their finest degree. But I was to pass through a terrible trial. A good exercise would be to divide the work by rhythm, and down it went into the familiar note-book, Leaning against Beethoven’s door-post there these same marks of expression, and practice each and that ‘Bang-bang-bang, Bang!!’ became the awaited me with great sang-froid, my demon—the part separately till the most exquisite gradations of Englishman! The villain had bribed everybody— sound within the pupil’s musical sensibilities are finally even the landlord. The latter had read Bee¬ reached. Then put them together as a whole striv¬ thoven’s open note before I had seen it myself, and ing always to know the meaning of each and their had betrayed its contents to the Briton. relation to one another. A cold sweat burst from me at the sight. All of the fifth symphony.” romance, all divine ecstasy disappeared. I was “Works of a true, lofty genius cannot fail to have Itii is umyonly 1fair air to' say, however, that the obliging again in his power. Mr. Elson, fearing that this version of the origin of “Come,” said the wretch, “let us introduce our¬ their purifying and elevating effect upon all who are ------—. amenable to musical influences; sooner to some, later the theme might . •. r, nf renders, offers selves to Beethoven!” —William Foster Abthort). At first I thought of helping myself out of the THE ETUDE 593 TH E ETUDE PURE AND TRUE RUSSIAN INTERMEZZO (Four Hand.)- EDEL UNDTREU T. FRANKE. MEDITATION INTRO. , H.ENGELMANN This is a light and 1]nll’^nts^‘form'^lt must be Moderato con espress. m.m. J=72 ad lib^. Quasi allegretto [Educational Notes on Etude has proven very P°P"la^ than the ordinary waltz, taken at a more rapid pace and delicacy.

Music ”o.e'£l™o“ »!Wn> W- *"d ,h,! By P. W. OREM occasional abrupt accentuations. PETITE FARANDOLE-L. P. BRAUN This is a characteristic ^nce movement m the^ ^ TROT DE CAVALERIE J. H. ROGERS This is a bright and well-written characteristic by a of one of the picturesque an exdting Southern France a"d .f^ There are usually many dance m rapid 6-8 t • taking part, participants, sometimes a wnoie

TO SPRING (Violin and Piano) SfrfISuflU «—» »eE.TtS grieg-marcosson. This is one of the most famous of all GrJ!®’S I. I. on. o. «. I-STa. r.?«d .or vIMIn

rhythm. A mayflower-w. l. blumenschein. Mr. Blumenschein is a leading Atnencan composer effective and playable arrangement, o who has had many successful works Th« lyf> to good players generally.

’ OFFERTORIE (Pip. Organ)-C J. GRR) ■ Thi. i. . useful organ number by a «11-— ^ GEORGE B. NEVIN. The subject of our sketch represents a branch of musical endeavor which deserves’the greatest pos¬ 5&ZIZSE Th'^rfc“middt” *alon win the true organ style. The “mposer * sible encouragement. To Mr. Kevin, music is first require careful treatment. of all a work of love. Fate cast him in a mercantile 2T3S line, but his personal tastes have kept him interested BADINAGE-H. REINHOLD. combinations. The showy pedal part .at the dose f the piece will afford good practice in the style oi piay in music, and he has been an earnest and con¬ Hugo Reinhold (born in Vienna, 1854) « ^ success¬ scientious student of the art since his boyhood. ful modern composer who has Presern-ed so^^ ^ Mr Nevin was born in 1850, at Shippcnsburg, THE VOCAL NUMBERS. ffied^^in trnTatd Cresting in content. Pennsylvania. He was educated in the public “Bad nagJ’ is beautifully worked out and the theme Mr P Douglass Bird’s “O Ye Who Love is a new schools and in the Cumberland Valley State Normal isBtosseTfrom hand to hand in a lively and enter¬ sacred song, very melodious and singable, which would School. In 1883 he went to Lafayette College. (For taining manner, a fine illustration of what may be ac make a good church solo for any evangelical service. further particulars see “Who’s Who in America ) complished in two-part writing. Many singers are constantly on the lookout for just He studied music principally with Miss Julia E. sucl/a song. It should be sung with devotional ex- Crane. Miss Crane has been the pupil of many PURE AND TRUE—H. ENGELMANN. of the foremost teachers of our clay and was for Pr‘‘Then Robin,” by Mr. Geo. B. Kevin, is the latest This is a fine new drawing-room piece by the some time under the tuition of Manuel Garcia, the song from the pen of this popular American writer a popular composer of the celebrated “Melody of Love. famous voice teacher. Her educational work has The piece has a graceful and song-like principal theme portrait and sketch of whom will be found m miother been a potent factor in the musical life .of America. and a brilliant and tasteful middle section. It s column on this page. In singing this sprightly and Under Miss Crane’s instruction Mr. Nevin developed of Mr. Engelmann’s best efforts. characteristic number the composer suggests that the first two verses be sung without interlude and that the his baritone voice and studied choir conducting and ECHOES OF THE PAST—R. FERBER. prelude be played before the third verse. choral work At the same time he was privately pursuing his studies in harmony and composition. This is an expressive drawing-room piece in the Thurlow Lieurance’s “Garden Coronation is a stvle of a modern “song without words.” Mr Ferber seasonable number, full of the outdoor spirit, bright Mr. Nevin’s practical work as a conductor, or¬ has vein of genuine melody and is particularly happy in and charming. This would make a good encore song ganizer of singing societies and as a church singer pieces of this type. Each repetition of the pnndpal “Love in a Garden,” by Agnes Clune Quinlan, is a led him to a realization of the requirements of theme gives it an added interest, which is further dainty number, a fitting companion to the above, lhis church and choral music. He also appreciated the heightened by contrast with the secondary themes. song should be sung in narrative or declamatory style. fact that much of the church music sung in choirs This piece may be assigned to a good third grade was mediocre and unsuited to the religious needs student as a study in style and interpretation and it of the churches of to-day. Consequently he de¬ should prove a valuable recital number. FORGOTTEN AUTHORSHIP. voutly endeavored to supply the need's of the choir Possibly one of the best proofs of inspiration is the loft and has been successful in a manner far beyond MILITARY MARCH—J. L. GALBRAITH. fact that composers and writers often fail to identify his original hopes..hopes. . In this he has been greatlygreati This is a vigorous and interesting march movement their own works when they hear them some time after assisted by his wife who has written the words to with some original features, the harmonic treatment they have been composed.. Many great composers have some of his best-known compositions. Mr. Nevin’s being particularly fresh and inspiring. The first theme said that after a composition has been completed it music is melodious and always singable. Some of is* bold and martial with a very contagious swing. In seems to them as though they had had little or no part Mr. Nevin’s secular compositions have also met the second and third themes the composer has in¬ in the making of it. Inspiration seems to come to the with wide popular favor. troduced some clever imitative devices; m the second soul of the composer like an angel guest, and then leave Among many of Mr. Nevin’s successful vocal theme the right hand carries two voices and m the third after the masterpiece has been put upon paper In¬ works are “Come All Ye Jolly Shepherds” (mixed theme there is a duet effect between the hands. Play voices), “Flower of Dumblane” (solo), “O, Hush this piece in orchestral style with plenty of color and spiration seems to be a constant visitor to some of our contrast. Its pronounced and steady rhythm renders great masters. To Raff it came but rarely and as a Thee My Babe” (mixed), “It Was a Lover and His it available for marching purposes on various oc- consequence much of his work is mediocre. The poet Lass” (solo), “The Lord is My Shepherd” (mixed), “Sands of Dee” (mixed). “O, Captain, My Captain” casions. Grey produced one “Elegy” and his other works are practically unknown. Mascagni is known by one work, (solo), “Star and the Child” (solo), and his can¬ TO A DAISY—SIDNEY STEINIIHI MER. “CaValeria Rusticana.” The angel of inspiration seems tatas “The Adoration” and “The Crucified.” A useful teaching piece for second grade pupils af¬ to have left him severely alone since the proauction of fording excellent finger practice and rhythmic drill. his one famous opera. Possibly his forthcoming work, Play it in rather quick time, lightly and gracefully. “Ysobel,” will show different results. Schubert, how¬ From time to time The Etude will present in this This composer has written some very successful teach¬ ever, was a frequent host for the divine light and he column short sketches of composers who are com¬ ing pieces. often forgot his own works. Once Vogel, the famous manding the attention and support of music lovers. THINK OF ME-H. NECKE. Viennese singer, placed a transposed copy of one of Although this will not be limited to American musi¬ Schubert’s songs before the great master. He had cians, The Etude is particularly anxious to bring This is a melodious, easy teaching piece by a corn- written the song only two weeks previoiisly. He played forward anything which will tend to make the noser of great popularity. Mr. Necke’s compositions it over and said: “I say, this song’s not so bad! Who works of our deserving composers better known. have a certain freshness and charm which invariably Copyright 1910 by Theo.Presser Co. appeal to young players; moreover, his pieces always did it?” Sir Walter Scott also made the break of at¬ The new department should be carefully read by all tributing one of his own poems to Byron. lie well under the hand. British Copyright secured THE ETUDE 595 TROT DE CAYALERIE

JAMES H. ROGERS

SIDNEY STEINHEIMER, Op.36,No.3 THE ETUDE 597 the etude

RUSSIAN INTERMEZZO RUSSIAN INTERMEZZO Primo

SeCOnd° THEODORE FRANKE

• tranquillo

Copyright 1910 by Theo Presser Co . 6 THE ETUDE 599

a a te mpo > [■jf -y ■ jq > PP leggiero

4 mp > THE ETUDE 601 THE etude 600 A Madams N. Braun PETITE FARANDOLF

Copyright 1910 by Theol Pro.ior Co. THE ETUDE 803 t„e etude

602 ECHOES OF THE PAST

Andante espressivo m.m.J =?a

CopyrigMl9tO by Theo.Presser Co BrHi*h CopT'P THE ETUDE 605 the ETUDE MILITARY MARCH J.LAMONT GALBRAITH

Jo Mrs. Jayne onrxver, uayton,u. A MAYFLOWER

_4 u

J ^ animato " \ :=»- leggiero ♦ i 1 [>«#- Y- ^

x-.-...I__ ^-"4 n f- t-TY-Jyj- f TrT*^a---^ ^.rF #P 1?^. -p ^~TTa Ifrrfifn ■ J-tjJ * [ TTJ- ' 1 0 W^rJ ,15

Copyright 1910 by Theo.Presser Co. British Copyright secured THE ETUDE 607 the etude

/steifiliSifii ifiltr 11 s»l iffirr—— •M t 1 1 v i mt >lto eresc. S Tjf!r^- *H£P-~ xr r p dolce

v fj; r i ^ LUJ f * 5 3 1 Ha - {XT . ~fe -|,- ■©> > "|f-- 2>p\ rit. 8 / Ul ju. 'Tr.-' 7?:d=r P9i> t H jEtd 1 F ^"f "" 3 ‘ 609

608 THE ETUDE

To Mme. Maud Powell TO SPRING AN DEN FRUHLING EDVARD GRIEG, Op.^3, No. 6 Arr. by Sol Marcosson THE ETUDE 611 THE ETUDE OFFERTOIRE DUOLOGUE C. J. GREY Allegro moderato mm. J =144 PIPE ORGAN

-rr~ wr a A"-—___ r RTF" TZJ "A,

2 1 5—i. |=f J - J-m * * 0 3 1 2 3 # l f^1 Gt. | R £ £ , to ST ^ .8g)~- 4>- con-*i>- senza Fed. -- r L Fedr-- a tempo last time to Coda^ ____ _j a, 4 -F^2 2 | | r L 2 'T|®l 1 », j J- 1 ^7 \

EF— b%*f ■■■■ V d*d ILlf- O rfi i i, 1 raf/f 1 | Ch: 8 ,(2d time J3w:Vox Ange!i£> ^ Sw.8’ si -si- L-r-j J -si- "E rj -e- f %

^ °r -r Manual

5 |^| i /tn /rs =t +M4 —6 i±=al

Copyright 1 ft 10 1 Theo.Pres«er Co. A A Copyright 1910 by Theo. Presser Co International Copyright Secured m

THE ETUDE THE ETUDE 612 A GARDEN CORONATION

Ring out Blue - bells, Rii _^out Hare - bells, For-the crown-ing

*&?£*'£££2? gg&s £o°oteddSM±ss°o fisgstsi-.a

Copyright 1909 by Theo. Presser Co.

British Copyright secured THE ETUDE THE ETUDE 615 614 To my pupil, Miss Anna Tharp

o YE WHO LOVE P. DOUGLAS BIRD

ZITELLA COCKE THE ROBIN GEORGE B. NEVIN Vivace In a

all the chaps who come in Spring I love the rob - in best He is the first to sing his song, The steps quite like a dan - dy when He’s out on dress pa - rade’ And tho’ Jack Frost is watch - ing him He’s good friends too with all the flow’rs And wakes them from their sleep; Tis at thte sound of his dear voice That

first to build his nest, He greets you, too as you pass by With such a note of joy, ' not a bit a - fraid, But m - de - pen - dent as you please He heeds no - bod - y’s call they be . gin to peep, I love him _and his song and_when I hear it sweet and clear,

do* believe he has a hearrt ex - act - ly" like a b'ov! “?*■ just when he has a mind in spring-time or in fall >. He Mas - ter Rob - in’s here.” shout ‘Now hur - ry up Miss Spring for

British Copyright Secured THE ETUDE 617

can find outside of your regular practice hours, in playing these pieces. Do not play any of them twice in immediate succession, and play them all up to the prescribed tempo, stopping for no mistakes. This will train you to have a grasp of musical phrases as a whole and to play them at sight. Do not let this in¬ terfere, however, with the regular practice time that you have promised your McJ^er. Your obligation to him comes first. Then spend as much time as you prp are sometimes asked why ire eon duct two departments lor answering questions. The reason is that The Teach- conveniently can in the practice of .sight-reading. ers Bound Table is intended to fill an entirely different purpose from, that filled bn The Question and Answer Department. Tins department is intended too give practical informationinformation nn.s.and friendlytm,, advice for.. teachers. —The Qoes--- READING BASS NOTES. TION AND Answer Department is designed to give answers *ot<_ theoretical and historical questions pertaining to music. Our readers are asked to remember this distinction in sending in questions.—Editor's What can I do to help a child who has trouble in learning to read the notes on the bass clef? ^ ADVANCING TOO RAPIDLY. Without Words; and Fantasies 1 and 3, Op. 16; I have a pupil who. under another teacher, has Schubert, Impromptu, Op. 90; Rubinstein, Melody, Take from five to ten qiinutes of each lesson period been working on the fourth grade of the Standard Op. 3, Serenade, Op. 22, and Romance, Op. 44; Course and Czerny’s Velocity Studies. She is, how¬ and thoroughly exercise her on reading bass notes. ever, unable to play them in a satisfactory manner. Handel, Harmonious Blacksmith. You will find On approaching a difficult passage In anything her Continue this until she can read them with facility. hands seem to stiffen, and she stumbles badly. I a list of sonatas in the first article in the June You will find that she will improve rapidly under Round Table. think she has been advanced too rapidly. Would it this treatment, especially if you insist on her spend¬ not be a wise plan to drop tile velocity studies for 2. The pedal rod may be a little too long, causing a while and give special technical exercises for ing a certain portion of her practice time in the same freedom. What studies would you advise being the dampers to be very slightly free of the wires, taken up in place of Czerny? She plnvs pieces like way. Do not forget that she has been several weeks Godard’s “Au Matin” with taste and expression. or there may be some other reason for the same in practicing reading the treble clef before she at¬ fault. The sounding board may be cracked and tempts the bass, and that at first the tendency is to Such a problem is difficult to deal with, for a just enough separated to vibrate against the two confuse the two. student who has been pushed ahead too rapidly is edges. One or more of the sounding board ribs may invariably impatient of detail work, and it is such be loose and jar. These may be found at the ADULT PUPILS. that she must do, if she is ever to overcome wrong back of upright pianos, and should be thoroughly When adults, who know nothing of music, wish habits. She should not attempt anything that she tested. There are many, things that might cause to begin, is It correct to use the flrst book of the cannot learn to play with smooth execution, and Standard Course, adding velocity studies later. the trouble you mention, but I would advise that L. A. now such music is going to seem simple to her. you investigate these points. Nevertheless, until she learns how to properly use Adults require substantially the same treatment as her hands she will not be able to acquire speed in COUNTING. children. Of course their mature minds will not be her work. If you thoroughly understood the Mason interested in some of the childish conceptions ap¬ system of technic you would now find it of im¬ What can I do to make my pupils count? I have to keep urging them to it, and yet they keep propriate for little folks, and for a- time they will ad¬ mense advantage to you in this case. She should stopping. A. vance with greater rapidity. After a few months, practice faithfully on individual finger exercises, however, this condition will be reversed and the chil¬ Most pupils have an innate distaste for counting, work that will give her free finger action, and from dren will make the most progress, due to the stiffened especially if they are weak at keeping time. In the this she should work very slowly and carefully into muscular conditions that come with maturity. The latter case it is all the more important that they need velocity passages. • E. H.’s “suggestion” in the May Standard Course is most excellent for adult pupils. constant practice. Make them understand the abso¬ Round Table will be found very useful. No exer¬ Supplementary etudes and pieces may be used as cise or etude should be played faster than can be lute necessity of counting aloud in order to become required. done with the fingers and hands held in a perfectly good time-keepers. If they are then not serious loose and flexible condition. You would better talk enough in their study to count constantly, you might try stopping them at once as often as they cease with her, and give her a thorough understanding of SUGGESTIONS FOR YOUNG PERFORMERS. the condition of things, and make her realize that counting, and make them start again. Make them it will be impossible to accomplish any results unless understand that the counting is a part of the learn¬ with her complete cooperation. Then she should ing of the piece or etude, and that if they are not counting they have not correctly learned the music work several months 6n a simpler grade of etude Begin your practice with enthusiasm: Don’t put your any more than when they omit notes or play them than the Czerny velocity. It would be a good idea practice off because you have "plenty of time.” to take up the first book of Czerny-Liebling, omit¬ wrong. Keeping right at this, as if it were the one If you are to play in public you cannot know your point at issue, for several lessons will generally cause ting the first very easy ones. Herein you will find piece too well, but remember that one hour of steady tlien^ to attend to it. As they become advanced, and many varieties of touch and phrasing, each one of concentrated practice is better than four hours of which should be understood and conquered, so that the * sense of time-keeping becomes thoroughly careless strumming at the piece. grounded in them, so that they unconsciously play the etude can be played with freedom. Or the form Practice systematically: Set a certain amount of in the correct time without speaking aloud, they may of Duvernoy's opus 176 is simple, and the possi- • time at a fixed hour, and let every day find you be permitted to drop the oral counting except to un¬ bility of working up a considerable speed is excel¬ at the piano at the hour you have decided upon lent. Heller’s opus 47 will also be of help, omit¬ ravel knotty points. Let your determination win: Success only comes to ting some that might have a tendency to stiffen her those whose strength of will enables them to keep hand. After a thorough review of this sort she will POINTS IN TOUCH. on striving in _ spite of untoward circumstances. be ready to take up her more advanced work, and Yet- always strive to determine to do the right be able to carry it on with more credit to herself thing. Do not, for instance, determine to play a and her teacher. I doubt if you can accomplish 2. Is the down a. piece that is too difficult for you. and above your much with her, however, unless she is as willing used for single notes. or is it only employed f grade, but determine rather to give a fine inter¬ to make the effort as you are anxious to have her. 3. Should th- "- ■ lerpendicular as it holds down the key of pretation of a piece you can play CLASSICS FOR PUPILS. Hear plenty of the best music: It is not possible for 1. The fingers should he under such perfect con¬ all to hear the works of the masters played by 1. I have several third-grade and fourth-grade trol that in all cantabile melody playing preliminary the greatest artists, but do not fail to utilize every pupils, and wish them to become familiar with mod¬ ern and ancient classics, and thus learn to like finger raising is unnecessary unless it be desired to opportunity you have to hear the best music. Only good music. What selections can you suggest that by comparison can you realize your shortcomings will not decrease their interest? produce a special accent. Even then it is often most 2. A piano belonging to one of my pupils has a effectively produced by a combined use of finger and and attempt to rectify them. To hear good playing s Ight roaring all the time when It is in use, espe¬ down arm touch. If the fingers are constantly held cially in the octave below middle C. This prevents work 1316 y°U and make -you better able to any pedal study and blurs the music, as when the in playing or stroke position, and assume the same right pedal is used constantly. No tuner has as vet ,Take. an 1Hterest in the other arts: All arts tend in¬ corrected the fault. Can it be remedied, and how? the instant a key is released, a preliminary raising is never necessary, except for special emphasis. Modern directly towards the same goal. Broaden your 1. In order to know whether a given piece will virtuoso pianists use a combination of various touches horizon Understand what other people are think¬ decrease the interest of a pupil or not, it is also nec¬ almost constantly. ing and doing. Read poetry, study pictures by essary to know something of the temperament and 2. The soft down arm touch is very frequently used great painters and lose no opportunity to become taste of the pupil. You must make yourself in cantabile melody playing. It is also used with acquainted with the masterworks of all the great familiar with the repertoire you wish to use, and force for heavy single note passages. artists, musicians and famous thinkers. select in accordance with what you know of the 3. The first joint should be held perpendicular or Find out what your piece suggests: Not until the pupil. If pupils are entirely unused to such a class very nearly so. music you are playing has a meaning for you will of music you will be obliged to proceed carefully, you be able to invest it with a meaning for your and not give them too many. The following are FAST NOTE READING. audience. Don’t ask your teacher, but find out standard: Third grade, Reinhold, Suite Mignonne, for yourself; let your ear. and heart tell you What shall I do in learn to read notes Op- 45! Field, Nocturne in B flat; Jensen, Canzon¬ rapidly? My teacher my technic is good, Temperament is the life t>f a performance: Unless et6 in A; Mendelssohn, Songs Without Words, but note reading bad. It. O. your playing is guided by your emotions as well Nos. 2, 6, 11, 12, 45 and others; Kirchner, Album as vour intelligence, it will be of little interest to This comes under the head of sight-reading I your audience. Leaf in F; Haydn, Gipsy Rondo; Schubert, Im¬ should suggest that you procure a number of collec¬ promptu in A flat, Op. 142, No. 2. Fourth grade, tions of pieces, such as you will find listed in the ad¬ Always have something in reserve: Never play so Chopin, Nocturne in E flat, Op. 9; Rheinberger, loud or so quickly that you have nothing in re¬ Copyright 1910 by Theo.Presser Co. vertising columns of The Etude, containing music the Chase: Schumann; Arabeske; Mendelssohn, that is of a lower grade of difficulty than you are in serve for a sudden quickening of the pace or in¬ Andante and Variations in E flat, Op. 82; also Songs the habit of studying. Spend as much time as you crease of tone See that the interest of your piece gains until the climax is reached. THE ETUDE 619

the ETUDE A young teacher. produce the upper “C” as the middle “C,” “attack,” “take,” “get” or “hold” tones, (iirpe years I taught, faithfully and is now, at this moment (if the notes We simply “breathe” them out. If we rntto one thing which made 618 F.or ‘L my irksome duties. Music be in the natural compass of the voice) wish _ to continue or sustain a tone, we those ^ayT^ndurable was the glorious performing y relaxation. 1 be- quite capable of producing either pitch, continue breathing out. If we desire to alWay inumate with a good family living provided we will let it absolutely alone to end a tone, we cease to breathe it out, I rememuer , , caT- wnthal The mother was fond do its proper work without any attempt leaving tongue and jaw alone. It is my empty Stomach I wrote t mf music, and the daughter, Therese it assistance (interference) on our part, not, we say, a matter of “holding” a brother,er, Ferdinand.rciuuiauu- i* , mv 01 1 . beautiful soprano voice, and What we have to do is to supply a tone, which to most singers means ouee to the point and unburden Y possesse ^ good ’cellist. Therefore, carefully regulated motive power, the con- holding the throat; it is a matter of heart’s secret, and notJ^HrcuitoUS ^sic was made much of, and many a trolled singing breath, keep all parts of managing the breath stream for the beating about the bush f ^ long Shtful evening did I spend under the vocal instrument free from rigidity, particular pitch and tone quality and talk I’ve been thinking a & « z. u . hospitable roof. Every Sunday I and with the pitch and tone quality de- power desired. Speaking generally we • e about my position and found t the* b P choir of Lichtenthal Church, sired. We shall then have a satisfactory may say that we trai the body to give verv well on the whole, but that visite teacher, Holzer, was choir- result, it strength and responsiveness, especi- respects it can be improved; you whe^^ j wrQte for this choir my first can master, THE EASIEST PITCH. Y. T.:—I had been wondering that the ally in regard to the motive power of know from experience that c eighteen when I apple mass. breathing question had not long ago been song. We train the mind to think and wrote it,* but I believe it is considered T. T.:—Why begin exercise work at mentioned. will a condition of responsive freedom __ a first mass, one of the best ever a middle pitch. Why not at a low BY F. w. wodell. pitch, and work up ? Ins.Well, what course would you »u tbe Parts of the vocal instrument composed, and as denoting a precious take with a beginner in regard to breath- and on these conditions, to will the musical seven when I began, and before senilis It was one of the happiest - Ins.:—There is in every voice, one ing for singing. realization of a desired quality, power reading at child twelvemonth had passed I had ^uc. - umner _Q often and so per- ~events ts of my lifeme wheiwnen .1 «« ya- Instructor So you are to have a P‘tcb> usually around middle F or G, Y. T.I should wish my pupil to stand anc^ P'tcb °f tone. R clubs.) tered the rudiments of violin playing, j,as haunted 011 last nolens volens, 1 ed especially was the second per- B _ _ AV_ atice and could play duets with my father. severingly that The few \formance_„„„ memorable,’ • forf- then I con-- lethea B. CRAW10R0 cox AND The choirmaster of Lichtenthal, Hol- change. Kf Wh,t wi”you * ss «.~t effort ssyrras pwi BUT FEW PRINCIPLES NECESSARY. ,ndshists jtMwir?.r Y. T.:—Suppose the pupil has certain Mrs. Cox made‘this funny speechsoeech ab...about me: i... am•» *1 ,oto do the rest oio.-- the —- gjrob, -JJ J'h“o» ^b||j „„ marked defects in the tone? [ editor’s Nom—Some ^eai from “When I wanted to teach him any- g you advance me completed a boo ■Get down to the few principles .hing., he_ knew it already. Consequently - , - fan, VClII WOtl ”CT",tmLa upon me, and to^commemorate 'be ,oy- good carriage and make it easier to get / . , . , * Great,tSff Musician! to" second*serles'ot thing he knew my father afterwards pre¬ ceeds, voices sometimes develop in sur- thel' taking a semi-tone higher, and inspirea ner wWith'»th Mi««MISS Alice ▼, cannot be said honestly to have given X shouid shut myself up and manage a deep breath. ?f volce Pproductionr°duction and cling to them prising ways. Especially is this the case working downward, and so on. We (an exercise is not a principle) and '■■‘'cestneftfc him lessons at all; I merely amused Jem wh ^ ^ ^ As sented me with a fine octavo piano. Ins.Very good; all pupils must come designed”to pm- him lessons at all; I merely amused you will be able to solve all difficulties masters as though -«self and looked -at mvmy oumlpupil m^as-1 m my ^ ^ tfae words of the Apostle Now, I have purposely omitted until with very young voices. Your classifi- ,,Uf aY°'d tbe difficulty felt by almost to that. It is a matter of correct stand¬ no‘w all mention of the teacher from cation of to-day might have to be re- aI[ begIn«ers regarding singing upward, that are solvable. In the last analy¬ were a-*— . We~ storles_ them- ing, pose, singer’s position, if you like .“"from Great tonishment.” When Holzer versed a year hence. Some teachers They make a special and undue effort These “Imaginary^separate net publication to me extemporize on a whom I learned more than from any sis we judge whether a singer is doing rs" will forr . other. It was none other than Saliese might be unwilling to admit a mistake 8|... "singing upward passage. This ,h“' “ “ •ie.li.r't !“». rightly by the result—by the tone he e*I given theme, he ex- 1 feeling is.no, present when proceeding himself. . . , in diagnosis. emits. As soon as possible, give the Born 1T97. Died 1828. ciajmed: “He has har- from a given pitch downward. casionally a new pupil exhibits these e He gave me daily lessons for a long Y. T.:—But one must examine the cellences, and there is nothing more 10 ,pupil an idea or concept as to what is ver failB to rescue such ninny at his finger ends.” i Y. T.:—You speak of singing from time, beginning in 1813, when I left voice in order to be able to proceed do but show such a ne that to inhale - .by means of “pattern:” hcautlM m Be*d« StU!ying Singi"! easy middle pitch downward reproduce ^t'rt u S»ted bj a »P«i* with him, he gave me the Imperial School, and continuing intelligently. for singing is to do just what the normal listening to good singers and to instru¬ with only occasional interruptions until of The1JdlvtocbArc."—Beethoven (on his iessons on the piano- laso-Cerrainly. Bar. why lab,, it ^ S^anTwoA 1W» «■»”. "j’ “ the ments of beautiful tone, as, for instance, deathbed). forte, the organ, and 1817 He was very proud of his pupil, Examine it carefully from top Y- 16 ea-r sy mi£- aie Pltc crib does, except that it is done upon the violin, flute, ’cello, French horn and calling me a born genius who could to bottomnm on scale, arnep-o-ioarpeggio anrl sns- down from ,that note> sustaining tones? Dear (Khun: My life was so full also in thorough bass Ins.:—Is it probable that a beginner, larger scale. There is a slight expansion °rgan' Lead him t0 fix.his mind firm]y c. _n,i Qtiffprim? that, as I sit or shall we say tie do whatever he chose, and he was very tained tone, with the principal vowels, who usually has difficulty in getting a at the pit of the stomach, the sides and C°^6C^ J°.n® qua!ity as he bears down "to write the story for you I amused himself with enthusiastic over my first mass. I ap¬ and do not fail to ask for the singing back, showing the action of the diaphragm 1 ,n the head,” as it is sometimes preciated all he did for me and have of some well-known, simple melody tone started easily and with good qual- ua“’. S'1UWlnfG/ne act/0n maPh expressed; teach him to will the realiza¬ find myself filled with pity for myse t. these different studies. ity, is going to be able to retain cor- ^costal muscles, chiefly, with very ever given my most grateful acknowl¬ with words. A beginner will some¬ tion of his concept in his own voice. For the poor lad, who was so lonely when eleven years of tone !ittle movement at tbe chest, and_ edgment for the same. Yet our parting times utterly fail to show the true voice £rectCCI conditions while sustaining a This is a principle of teaching—training and unhappy. Not until about to bid age i sang in thei Lich- tone- ing °f die When the singer was a very abrupt one. I left him for in any part of its range when vocaliz- ral beats? Sustained the taste, the judgment of the pupil; farewell to earthly sorrows—not joys tenthal choir, and hav- ork must be done, but it comes after exbales for singing, the waist, (front, _did I receive any appreciation for jng a fine voice I at- good and sufficient reasons. ing, yet will become natural and un¬ sides... and back)^ recedes, there^ being.. -a giving him a standard, a point to work My intimacy with the Grob family the student has attained a the great gifts bestowed upon me. The tracted much attention, embarrassed and exhibit the real char¬ cer aln e slight inward and upward motion of ffiethe J11* t0‘ 0rder that he may be able musicians of the time recognized my T is, in consequence, lasted for years, until the year 1820, in acteristics of the voice the moment a gree of skill in starting ti les, ma mg _abdomen, the^ mind being fixed uponu the i realize his concept he must work genius. Mendelssohn, Schumann and s( promoted to the fact, when Therese married. l wrat« strain of let us say. “Old Folks a series of short “starts” on a vowel th^bTorlending “fc lS IfctwRrd accordi"g t0 these principles. Correct Liszt appreciated me, and best of all, position of solo singer a number of songs for her. and in 1816 Home is sung. With some exactly correctly, and through downward scale along the roof of the mouth with some , , for singing; non-rigidity, partic- that gigantic musical wonder, Bee¬ in the Emperor’s choir. wrote for her bother an Adagio and the reverse is true. Consequently, the and chord practice has learned to have energy and considerable slowness and J1 arly at tongue. jaw and neck; and thoven, eulogized me on his dying bed. Besides my admission Rondo Concertant for piano with violm, young teacher should employ both a certain amount of confidence in his steadiness. The top of the chest is and development of resonance, I had many, intimate friends, who both int0into the RoyalKOyai cmapei,Chapel, Ii viola and ’cello accompaniment. In this methods. voice, and to realize that to sing is not practically motionless—the singer does exercises used must relate to c admired and acknowledged my musical also entered the Con- same year. 1816, 1 composed the most Y. T.:—But if you are not going to a matter of labor, but of pleasure and not lose his poise when exhaling. °r• Tr,rirpmore ofn thesef principles. It has gifts, but the world—how sadl„ it neg- vict School, famous of all my songs, of course you classify, why examine the voice at all? comfort, and as a consequence to “let Y. T.:—That sounds simple enough a happened that when a pupil has worked lecte’d me. No one cared to publish good violinist at the know the one T mean—“The Erl King. Ins.:—To discover its peculiarities; go” at the throat while singing. y°u describe it. out these principles he has produced a my music, and when at last a man ne, so toqk an impor- Yes, that is the one. nr.d I will tell you the special or peculiar vocal habits of Y. T.:—I see the point as to practic- Ins-:—It is simple, hut the very sim- * 5 °f finer• quality‘ fi " j /.““than any he hasa was found, the brief end of_ my- life rant part in the school how I came to write it. 1 was alone in the singer: upon what vowel at present ing scales downward at first, but how plicity of the act of breathing for singing, blmself, most was only lighted by a gl< of popular band_ We performed my little room and hnppcned to pick up the best quality of tone is produced; long1„„„ must this be i__kept up?....5 breath rnntrnlcontrol, when rightly done, with- ueieeis OI trtone occur because of, a viola¬ daily, playing the sub¬ a volume of Goethe’s poems. I turned and at what middle pitch the singer is tion of these principles and can be But I must begin with my childhood, lime creations of Haydn, to the “Erl King.” The weird poem most at ease and most comfortable. , . . , _ for I know you want to know the story. Mozart and Beethoven. soon fascinated me. How vividly could That best vowel and best pitch, are the S'SSLTS.'T^dgment JDne “lit; til, ariTtXSi* t .bot: t 1 was born at Lichten al, a suburb ot I was profoundly im- SCHUBERT WRITING HIS FIRST PIECE. ,w, 1M11T” I picture the whole scene—the Vienna, in 1797- 1 was one of four_, pressed by the genius of and the normal, comfortable expression children, the most of whom died tbese great composers, specially by Matthew, who says,‘Let him who hath forest, the father clasping his beloved vo,ce* - -* ------about a proper poise or ^^pose,, of the as nasality, breathiness, etc., can be in infancy. I was the’ p youngestvounsrest son.-,..- Beethoven,_ whom IT suemiysilently wor-wui- two--- coats <=-give - one-- to the poor.’■ Mean- child to his breast to guard him from Y. T.:—I4. understoodU4.UC31UUU thatnidi cvciyevery vvoice tBe ^3Ce 3I1d ^be 'w"b°le body of body. gotten rid of by acquiring skill in ■ ■■■ '■ t t-iirf Tsrill listen to the the magic power of the wicked Erl s first to be trained upon the^vowel the singer’ on the downward work, My father was a schoolmaster of the shipped from the time I could appre- while, I trust you w,U listen One good exercise for attaining breath f_peajh C°"t,r°1' re1tain!nff responsive you King. Everything seemed real to me, ‘‘Ah,” as in Father. when the student is ready to go a step parish, and my mother, Elizabeth eiate music to the end of my career. TOlce which unceasingly appeal. ■ control is to place one hand at the pit of ^?dom °f the vocal instrument and lo- Fitz, was a cook. My good mother Perhaps one of the greatest advan- to remember your loving, hoping, pm- md under the influence of this sudden Ins.:—“Ah” is the best vowel, the farther: Now let the pupil sing down- • , P cation of vibration, or resonance 7 ■ opposite at the lns.;_yeS| died when I was a big boy. I thinkkter it t a ge^^d^r i v edjf r om Vhi s ^ elm ol1 w a s^t h e “again 1Repeat in-piral i ei I • or: - ' : mother vowel: It contains or includes ward as before, and then pass upward ! , T , . and ( —-- iuS.;-les, m most casescases. It i was in the year 1811, and a year intimacies I formed with Albert Sted- poverty stricken, brother Franz.” moms the music which was fitted to all other vowels. Yet it is the vowel over the same notes and again down- bacX’. lnhale through the nostrils by ex- safe, however, to dogmatize Do not my father married again, one ler Joseph Spann, Johann Michael Thts very earnest, if somewhat in- have so wonderful a future. \ famous upon which many people, owing to ward- Insist upon his retention of the PaRdmg slowly at lower waist line, front forget the principle of teaching—the Kleyenbox, and then five mor-re cm.- *e ’ J „jyAnfr,„ Holzaoel They were coherent appeal brought me what I de- ■-inger. Y al. -ang it mnr time after faulty speech habits, or a wrong con- same easy conditions, smiling face and and back, until the breath is felt well up giving of as fine a concept of correct dren came to him. I was « 1 H?ht- my "honest admirers in those boyish sired. Possibly my brother had sundry in Vienna ami , • , •, ■•••,■ a sensa- ception as to emission of tone, exhibit easy body,- and that he wills to have- — 4.under . the breast-bone and- shoulder-— tone quality-w a 4-V.4 aS possible. Many hearted boy, and I was not allowed to ■' <> tioii. Diabelli. a puhli-her, was pre- their worst---..j tone quality. Rightly sung,B, . 5 klnd’’ of sound' throughout‘ the‘ blades<-i.j with (at the close) the very who sing nasally do not know it and grow up in ignorance, for my father, Jn at n«drs.remained ^ trUCSt ^ boy^T lmS;,nf.w a""' :M>- vailed upon to ta.l sell the in makes possible the best tone, exercise, and you will have excellent lowest part of the abdomen very slight- must be made to realize their faub 1 pie or a piece of bread. excellent teacher that he was, be¬ song, in .-iking , !i:t! fin tune mr htm- J;orpe..Same time' j* shows «P defects results. The student is now so accus- ly inward and upward. Keep tongue, jaw Give a pattern of a nasal sound and stowed so much care upon me that in EARLY COMPOSITIONS. Though so active in composition I self and m, ».-:tro H ..nvthittg! my sixth year I was well advanced in When T1 was eleven I1 wasv*a» seized with»nu *aa taught- very- little j,bout-bout it in this ( This Mter will he canting m the next isst.) wefulwTn ^ -VOWel ,LlS‘fn t0mes to take things as you find them; to singing downward on those pitches ”1 + ^ ” °rder as 38 reallzed that his tone is nasal, truly happy as the center of a merry gift for composition, neg ec e ev y ted my. imperfect knowledge of coun- ‘lelicate touch • which it is capable Progress from that which is now easi- P mentioned, contract slowly. you may proceed with exercises to group of hoys. thing else. . . terpoint. I tried in later years to cor- c:!nn"' l' • an air the thousan My taste for music showed itself I have told you how music gro rect my weakness in that direction and t,iffereiu and vivacity 7“Ab“errie."- T°ihS^8S THROAT MUST BE PERFECTLY FREE . T''lButu what about c°ntrolling cure the fault. .The most common .the ftaban sound of ‘Ah, lh<; breath when singing. That is not cause of nasality is a catarrhal condi very early. A young friend used to my heart and thoughts and how we been permitted to tarry longer 'v,nch tlu' ,1' "v violinist, or the with its fullness, and rich color, you T':—I presume the ne.xt step would quite the same thing, is it? tion of the nasal Te- . ■ take me with him to a pianoforte fac- played the works of the great immor- » conquered mnnv breath °f thc ,F"»"t. etc., is able to ; muM come as quickly as possible, for be t0 c the same pitches, beginning Ins..-The breathing muscles, so matter for t’- , hysician •! 3 SS wheTe I promptly set to work ^ls. The room where I had o prac- produce. On the other hand there U th that vowel the normal working this time at the bottom, and singing up, trained, will stand by the student, being habit of keeninp- th» t.t't ..e * 3 and practiced upon the instruments tice these works was so cold that some wQrkg The year 1813 finished mv perhaps no instrument which, like the '°ne, plastic, mouldable, the tone of ward and downward. elastically responsive to his though! i™ P 5 ' bfck of the tongue there We possessed an old piano in times my fingers were numb. I have • Itnoerial School TV ’ PiRn°f°rte. command-, hv its powerful mest tenure is ultimately to be ob- Ins.:—Quite right. And the pupil must when he desires to send out the breath too-Ptb 1 a St*ff’ the t6etb t0° near tered the early principles of music, was little else to live on, me meais , / 1 . lLW and discloses it- treasures in all won- Mv father was my first teacher, and were wretched We had to wait eight months at St Sun as School, fitting my- derful variety of form-/:. T. A. Hof 1 it 'was a great surprise to him when . hours and a half between dinner and self to be a teacher. mown to-—-—iM»- -*• %rvz tfztx*** I

THE ETUDE 621

THEETUDE lastiy with the words as written. thusiasm; but if in doing so he emits ugly, “out of breath” when attempting to sing harsh sounds; chops the phrases into bits; songs and arias, or even in doing vocalises 11 . tittle difficulty *“ p„pUs make better all-around progress WILLIS E. BACHELLER injures or utterly fails to show the legato, or exercises. It will often be found that 620 , arts Qf formed, there is ^ a so-called h.gb ^ thc study of songs n ,; dc- he does not sing and cannot rightfully the cause is the failure to grasp the mu- Teacher of Singing _ . pnthis favorable adjustment of the parts ^ng on one note ^ thereon with ^ too long. A Tonic be called a singer. It is true that to make sical clause or phrase as a unit. The ity from tongue and jaw. T°keep the VOcal instrument as stated. pitch, of sU®ta“ 8 As an aid to d - Horsford’s Acid Phosphate taken when 125 East 34th St., NEW YORK non-rigid condition the pupil must g _jjow fs one to deal single syllable. pitches are an audience feel the singer must himself young singer sings from note to note, and be under the sway of feeling. As a mat- usually uses up his breath long before you feel all played out, can’t sleep, and RESUME TEACHING OCTOBER 1st ter of fact, however, the singers, whether the end of the phrase. He does not read have no appetite, refreshes, invigor¬ on the concert platform or in grand opera, an ordinary printed page in that way. ates and imparts new life and energy. fnr It tne uvum is» ~ Singers, Elocutionists and Public Speakers - •&&&&*“attack.’“attack." we “ . • a con- 2s5ss-.es:natural comp*-— i £ - -a- - who are most highly esteemed by the He will take up a book and, reading parts, send out e -readily with type may be usc BY F. W. WODELL. cultivated people attending the perform- ahead from punctuation mark to punc- l uyJl*"^***^^p^ ?»""> -rrjr& STii* ances, and who receive the largest com- tuation mark, will deliver the clause pensation for their services, are just those without the slightest difficulty or the The first requisite for success when out oi. uic j nalate is muscu- and it who possess voices of fine quality and suspicion of breathlessness. In other VOCAL INSTRUCTION r» singing before an audience is an adequate know how to use then in an artistic man- words, provided he has had some train- IN PARIS g* ~ ■»£ A.Tsffi than knowledge of words and music. It is iter. The power of a beautiful voice ing along a purely technical plane in GEORGE E. SHEA (Georges Chais) “?aCh’?and^eyaw’f tight tone with much that ofjhe^egmner.^^ ^ ^ f da. folly f°r a y°unS singer to attempt to artistically used in song has been demon- the development of his breathing S, rue Gounod interpret a song or aria without first hav¬ :,Cti°n °VtriaT;mtnteMhPonP scales', inental idea. The beginnern often has strated through long years and is as great muscles, and provid- I he makes One of the first American men to sing in Opera in France ing made thorough preparation. No mat¬ to-day as it ever was. It is true we have himself so familiar with the selection that F. W. WODELL ^s'ehLflvonapeggi. The soft palate difficulty in causing the tone ter how simple the selection, it should be but clnefly n arpegg quietly without making either^ an «* * _ our operatic actors and actresses, but if he reads it in phrases as units, as he does SINGING thoroughly mastered, so far as committing t ,CS7and being thus repeatedly exer- in the throat with consequent & the human voice and the art of singing the words of a printed page, he will take WHITNEY MOCKRIDGE 609 PS®ES4B„La”°- Boston, Mass. to memory the music and words is con¬ are to be preserved to those of future sufficient breath and so use it as to enable Steiu«ain strength and remain noss of him cerned, before an attempt is made to sing TEACHER OF SINGING Daily Lessons, 3 Mos. Course, $120.00 1 Sal position. Further, breathy, ineffective souno. ^ „L„ generations we must ask for something him to finish the phrase in comfort it in the presence of others. Such a more, namely, that operatic artists shall mastery of words and music tends to give be able to sing as well as to act. -- confidence. The pupil in his path of progress must, THE EDUCATIONAL VALUE OF LONDON ADDRESS: UPPER SOPRANO TONES xx»~. The next foremost i therefore always be advised to aim at THE FOLK-SONG many ^quMe^fromladies aa^o^hSrthi^bik canafco ____ a~a Use a very for the budding vocalist is -- beauty of tone for the reasons heretofore Uid ' Bnon will have ga»«=“ T„„„n,e as needed. in his ability to master all the given, and for the additional reason that AcquirePTh«qu°wTtIpufrai""or1 effort^by^wrientjfle uni he thought of fb^mg th breathy a 1 fidence that he can .'H ,. one that can scarcely hil difficulties of thc composition only by such use of the voice as gives BY CONSTANCE BARLOW SMITH. iitelgsSflfefbehind the upp front tertjj ?“eathe butan “Sh” without the pre-> sight less heard; be sure that teebn through sufficient prac beauty of quality can he expect to retain K day’s examination if*not satisfactory. * _ ui »-■*— *- „ -• _ thr* stuaio or rcuc«i room along the power to sing for a reasonably long Listen carefully to all folk-songs; W. P. SCHILLING, 131 West 23d Street, New York * ontroMo as to avoid constructionSS3 at KSliminary bTf'or,7"To-,top th. to»e the ,h«r. «c.i-?- h-<* - o, ersta«l £ „ U. of SYSTEMATIC TV0^EU TRAINING time. Habitually forced, ugly production, ^ey are a storehouse of most beautiful By D. A. CLIPPINCER the th exercises student stops breathing forward of bps, notes. Do the *• ^lc sciection chosen shall present no inevitably means early decay. melody, and upfold to the mind the ML Staci sees that tongue and jaw rem«n mo- sounding the first^ Keep he arc not weU within the PRICE, ONE DOLLAR On the other hand the young pupil and 'nner character of the different peo- 410 Kimball Hall, - - Chicago, III. FRANK J. BENEDICT 3t not be prolonged. tionless, as though the rn«l eXCrC fit- he natural weight of voice. sent powers of the singer, bother the advanced pupil alike when preparing P*es ”—Robert Schumann. sung. men uiuv a., breathy tone. still .being ^siing.™ efondt ote is produced as though Pword#> the choice of niusic nms becare- for public performances should be in- ,^e are t0M that melody started in •click” or “hup” heard with the stop¬ rhe second notev ^ rebound fuUy ,nadc so that thc young singer is no structed that when before an audience “inflectional language,” rhythm in “bar- 503 Carnegie Hall, New York City “breathy” tone to be cured “Musical PosslWHUes of the Average Voice,” 20 cts. Y. T.— I ping of the tone. it were a r®p®tltl there is no col- asked to do anything he can not do well they must dismiss all thought of purely baric” dances. In a combination of (he THE MASTER SCHOOL OF MUSIC i breath control? (VOCAL DEPARTMENT) ins-JRthiness of tone may arise _fromHIGH TONES. the f’rst« ^ f ccn^r in front on by putting fortli a reasonable amount of technical questions of voice production. two we have our beginnings of music. Including Sight-singing, Languages, Theory, History, etc. ... lapse at the wai rathcr that it cffort in bis study of the composition. from a number of causes, and requires And this for the reason that if there is No other agency has been so effective MADAME AURELIA JAE0ER assisted by EDWARD Y. T.:—What ab°uthth®0hlffrJ§0f the firsf tW,wu° not®s', b_l_v lightly up-uo- There should hebe an exercise of carefulca present such thought there will be a in preserving records of historic value as FALCK and eminent Faculty PROFESSIONAL DIRECTORY on page 630 diagnosis. The chords do not vocal¬ seems to be came y >eg|dynote. j(jdgmcnt with regard to the chancier of ize” or convert into sound all the a failure on the side of interpretation. has the songs of the people. It has ever 96 Clinton Street, Brooklyn, N. Y. Inserted 12 Times, Before Half Million Musical ward and outward m. ^ make the Jfirgt appcaranCcs. Ordinarily, one wood Singers when before the public should been an instinct with the human family People for $15.00 'sent up from the lungs. Somehear thean Ins.:—Fear, that is the enemy of the LetLet, butbut do nnot°t aattemptt P her cxcrcise that ,he first public appearance of tie escapes as “free” air. and we hear the express thought and feeling. That is to to record in song political and social con- vocalized VOcal student. Within the natural com- second, note-... com o An n Js thc fol_ J vocalist should he made before a say, the words of the selection should be ditions, as well as religious and pagan sound through a fog of the sun pass of thc voice’, whatever it may be, ofo{ valuevall1 m this con > num,,cr of people and these largely carefully and thoroughly studied with a practices. HERBERT WILBER GREENE air just as we sometimes small nuu.wv. - - - there arc really neither “high tones lowillg friends or acquaintances of thc $ view to a complete understanding of their We have inherited a wealth of folk TEACHER OF SINGIN%G nor “low” tones. Tell the student that who would naturally be presumed to be 1 real meaning, and the music likewise, so music from all nations; it is our privi- and insist upon it. Make him under- rraw**5;s» and insist upon u. No. 3. in sympathy with him. and would there- that the singer when actually engaged in lege and duty to preserve and foster it As before, his days will be THURSDAYS, FRIDAYS and SATURDAYS breathhreatp control. Usually "breathy!" b £ D f the ^tand that the pitch-making apparatus is caused by ^iff.cning the bac* ot x bUi d ferences Xhe action _ of fore create that helpful atmosphere which I delivering them before an audience shall so that our legacy to posterity may he Philadelphia Address: 202 Presses Bldg. New York Address: 701 Carnegie Hall. is so important an item in the success of I almost seem to be improvising. °f priceless value. thc performer. In this regard, however, Among Chinese folk-songs we find a no two singers arc alike. For some, there studying A NEW SONG. hymn in praise of the dead and a secu- -.. ■■ could be no greamgreater trial than to appear As a means to the attainment of this Ur tune of great antiquity. Von Weber MUSICAL . . . . before those to whom thc «««»£ end it is well to take up the study of the has used the latter in an overture to LAMPERTI-VALDA Transpose. Sing lightly with breath sonal|v w,.„ known. Some would m song in this way: First, as to the words; “Turandot.” The omission of the B and SCHOOL OF SINGING POST CARDS _ controlled, smilingctnilinff eye,eve. »a 1“*—quick, loose facef.„ an audiencelienee of one thousand thantnai reciting them aloud and endeavoring by E in both melodies proves longevity, Address Mme. GIULIA VALDA, ■ Imported Platinotypes 160 Boulevard Maletherlees, Paris, France «lr mid sunshine, hollowing Pqu_ cannotcan,10t somKsoundl any pitch without throw c0f the jaw with each syllable,syllable. #}ng ;n a ^paU room before twenty-h« now hurrying and now retarding; by Tradition says that they have remained Superb Reproductions first thinking it—hearing it in the tongue tip against lower from teeth, cr 'uwl using now the rising and now the falling unaltered for hundreds of years, itrol. with absoluh *«cao nri tQne no louder on upper than on lower ^ t,,e vounft singer would better ireatli < inflection; by accenting here or there; to Ancient Hebrew melodies are reflected - 12 (s. and Willing as >-‘i.lvorablc" Y T.:-T understand that, but thc note, no effort anywhere Let the w brought OMt among congenial sur- discover the most completely satisfactory in modern Asiatic music. In the syna- - 6 Ureat Fianisls, b< a composers - 6 Great Pianists, beginner does not. All her life she bead bend very slightly downward as r()Undings. in small auditoriums a«4 manner of delivery. When this has been gogical songs of the Jews, the chants of ixiuuan Composers - 6 Great Violinists rimw what is meant has been thinking of notes as “high” pitch ascends and return to position among bis friends rather than asked n done and the verbal text can be so the Mohammedans, in the music per- R O O T’S Northern Europe Com- Celebrated Violinists think I l posers 6 one that is neither or “low” in her voice. on descending passage. Put sun- appcar in a large hall and attempt* | delivered, the memorizing of the music formed by the Buddhists and Brahmins, French Composers - 6 Technic and Opera Singers, Serif i ,v,;ght Ins.':—Talk to her along the lines shine” into the tone. This exercisemam comfivim-t,uost „{• a publicv ■ who ar stranger, should be taken up. The voice part as well as in the sacred songs of all re¬ loud i 3. ot Itsen.itself. just meiiiiuncu,mentioned, and«..v. keep at... it. TellJell contributes to the looseness^loosom - andam free-'' ' ' ; nd nlos, of ,v|,nm WIU at nrst be an- should be played through a sufficient ligious organizations, we find examples Master Violinists "C tw-‘\nd for the beginner her that+l,at eimrimrsinging after all is practi- rtnmdom of the parts, and will bring con- Utio , ,r nt h-.mt unsympathetic. number of times to fix it in the memory, of folk-songs of greater or less antiquity. Art of Singing ...... -xactiy, . He must callv but controlling thc outgoing fidence in the voice and an easy eims- Jnen it would be well to turn the back The greatest world musicians have 50 cents per dozen postpaid that is an^essen < gQ js the breath and talking. Destroy as soon as sion of high tones l.atcr. tk-r the private APPEARANCES.I upon the music and having taken the pitch drawn inspiration from folk melodies, HISTORICAL POST CARDS |ffl§| *he "Of®" he‘ lhe smiling possible any feeling that H*peshe may purpose, otof demonstrating power over , „ from the instrument to sing it phrase by Many examples of idealized and immor- LISZT—SIX CARDS-The set, 15 CENTS eye nave uuu - - matter of the voice, ask the pupil to wait an Young vocal pupils must expm “smiling "• 1 smile in the eye have that singing is a matter of the voice, ask the pupil pnrase to a vowel or syllable. The selec- talized folk tunes are to be found in the WCAEGNNt!R-TWELVE CARDS-The set. 30 eve, for It mere n-rturai" smile at the.u_ laborious_Elimv effort. Show hprher that it is iii.hiniinstant beforeiwiniv descendingch ^i-mdin: (pause on practice upon their fnetula. ^,i tion may now be studied by singing the masterpieces of Bach, Handel, Von By FREDERIC W. ROOT there will e . . “smile” may largely conversation or speech upon highest pitch! but make no extra cf- public appearances arc o>nc words on an easy pitch—monotone—to Weber, Mozart, Beethoven, Schubert, Bc1nTS perfe? _ TWELVE CARDS-30 mouth, f Company- a succession of pitches indicated by fo*t anywhere. Simply postpone the cannot look forward "■ nuk, gj | the rhythm of the music. This is attack- and the great composers of later times.’ I. Methodical Sight-Singinq. Op. 21 GREAT COMPOSER POST CARDS-Four- result only m a g . an^ neck. the composer. Let her sing as she downward movement for a moment, appt-araner. h»i.-rr • 'V Part 1. The Beginning. BO teen of the Great Composers. Printed in '%S °”e[difficulty at a time. The rhythm If the American child can learn the Part 2. Through the Keys. M St1. -1 '.'uncovers the upper teeth talks, if she talks well, with good Lastly, ask for the repetition of the who have paid good mom should be taken up with the words on one best folk-songs, as nearly as possible in Part 3. ProgressiveMusicianship. .SO oTeVch,«;dWit^hc\NTsPrer:5etbirthpUce rhe a iirfice_and as-isls in so pronnnciaiioii and enunciation. Con- highest pitch several times upon “Mali” Therefore they inu-t he prepared Pitch before the actual melody is used the original forms, he will gain not only II. Introductory Lessons in —a reftee mg s . • mouth and the trol your breath and ta% naturally, before descending, with motionless the opportnmly c at OPERATIC POST CARDS th™ ^he words for the reason that when sentiment and sympathy, but knowledge Voice Culture. Op. 22 - $1.00 Reproductions of photographs of the Wagnei disposing a ^ ^ tfin-c parts in com- elegantly, with a smile on the face Hps and jaw. and a very slight “11” recitals and smaller cmci' Op, the rhythm has been thoroughly mas- of people, place, and the elements of III. Thirty-two Short Song Studies a. presented in Uermany. Lohengrin .' 'Vi ,lf. -mil in posit'ums par- and you have 'the first step. This will bring confidence in ability either no admission or tered it will enable the singer the more musical construction. The famous suites For high compass. Op. 24. 50 favorabie to the production of Y. T.:-But we don’t really talk on to begin to sing, and without any mission • ,hi5'"‘y ticuiariy : easily to deliver the music and words, of Bach and Beethoven, so full of folk For medium compass. Op. 25.... .50 ticuiarty ., „ high or acute pitches. strain, on so-called high pitches. there is nothing like expenenct - For lower compass. Op. 26 •*...... 60 ’ To!ca, beautiful middle and high nothing is more likely to bring a melodies, will claim his interest. The Modern Operas, Rienzi-Hollander, Tanm Ins.: Some of us do. We make a Y. T.:-How soon may thc use of amount of Mud,ins ction.ors* throaty production; than the breaking symphonies of Beethoven, the greatest IV. Scales and Various Exercises hauser-Lohengnn, Tristan, Meisteraingers- THE CHEERFUL SMILE. practice ofui speakingspcarsiHg ons,,. a wide.... range vocalisesuivaixscs andiuiu songs bedc introauced?introduced? in private will lake u* phce. for the Voice. Op. 27 - 60c Parsifal, The Ring. Six selected cards, 25c. - .10 lnt0 the Tan • 1.. ... of the rhythm through lack of feeling of all works, which contain idealized ,,„ . alwavs andana Otof pitchptten anuand whenwucu runningrum.mg up Ins -—Quite early—but use your perf n therefor; and on the other hand noth- folk-songs in nearly all of the Andantes, V. Twelve Analytical Studies. Y.v. T.:—Butr..-But one cannot^cannot. always™S ana higher ^part q{of thgthe compass>compass, dodc so w REWARD CARDS wn judgment. If a vocalise be sung as Iv bring great gain in confidence a» >ng is more likely to assist the singer will inspire him to gain knowledge of Op. 20 $1.00 appropriately smile when s g ^ a light, free, pleasant tone. This posers with their birthplaces,P printed°Tail, s in»f nine«he Great colors. Com- On Ins.:—Bet" <-m tne ., , d -ins in g immg an easy • --- ■■ a ,sonS without words.” with imagi- sequcntly power to exprttt. . than a well developed feeling for thematic development, VI. Sixty-eight Exercises in the nation and feeling, the pupil will not the healthy, carc-free yo • higher range when singing, i will not Some excellent msinicw>5 - t tempo and rhythm. Lastly, the words Robert Franz once wrote to Louis C. Synthetic Method. Op.28 75c smile of sorrowful old age, there are only• - improvev”. " tone.- production,1-ivuuv.iion. buthut in teaching strong)] tingfcnnir* «#P®-w nrai , may be sung to the music as set by Elson: “I believe that our modern art (The General Principle of Vocalization.) Kn’Wn. Tb. PER set' many varieties of “smile” possible tor speech AND SONG. power of interpretation as -well. " For the composer. The words and music began with the lyric forms, and that it VII. Guide for the Male Voice. U y- ....r A look of “devotion” will first studies choose simple, ncnon-dramatie one sing^ or he does not He does s^'., having been memorized, the idea now is will end with them.” Op. 23. $1.00 sonvs. with .1. _ bringing about thetne same resulti«.i. What.. is Y.Y- T.:-StillT.:—Still there js no sustaimng songs, with more notes than syllables, thing else. Me may shout, decU>”^ to sing thoughts and feelings and' not Certain it is that the old has become i ■ - ti-ip coft raised upper lip and of tone in speech as there is m song. Study the words first next tho tv mnaniraent and do so t*1 ■ — - --v, ..cm me tune, recue to ac_. notes, words or phrases. the essence of the new.—The School THEO. PRESSER CO., Publisher THEO. PRESSER CO. e^ressive face, whicL indicates Tns i-True. Yet when the habit of Sing the tune to v-iJl ,g " ^ m X tune to vowels, making it a a magnet Young people are apt to find themselves Journal. 1712 Chestnut Street, Philadelphia, Pa. 1712 Chestnut St. Philadelphia, Pa. comfortable, unconscious, easy light speech at high pitches is vocalise, aa Studystudy of tone productionproduction, an mnhirkmgLb-d audiencea,,b, • o intointo'. a (l THE ETUDE 623

ANTHEMS. Marias, 0 Salutarises, etc.—that we see thF ETUDE SUGGESTIONS TO THE YOUNG BY E. R. KROEGER. how musically inferior the former is. 622 AN OPEN MR CHORUS WtTH ORGANIST ON THE STYLE Estey Church Organs Here we have such masters as Bach, CHIME ACCOMPANI- OF MUSIC TO USE. Probably of all forms of modern com¬ Beethoven, Haydn, Mozart, Schubert, position, the Anthem (taken as a whole) Weber, Gounod, Liszt, Saint-Saens, PIPE ORGANS ESTEY STANDARD MAINTAINED is the poorest in actual merit. Every MENT' f o Instead ot o concon-. by tnethe or**.—.organist is- —of gteat importance. ful Reedless Oboe and Saxaphone were not of the Catholic faith. Still, the organs. Each one is a speaking ad¬ „round it was decided t majority of churches there literature of sacred music, so he proceeds devotional and dramatic essence of the vertisement for us, because it con¬ upon this grouna an open air In tne g conttmlifln vert irinto* 7 Place ^ VwherTop~en ~ — fcw p eoplc in the congregation to manufacture musical settings to the Mass appealed to them; they threw them¬ tains the highest grade of materials canticles, the psalms and other scriptural vert 1 . 1 , erected and wnert f onnreciate classical music, and espe- Co., Brattleboro, Vt. selves into their work as if they had been and workmanship,* and is built on pulpit mig be lieid. The groU" . .. tiie organ classics. Many of these Estey Organ passages. And the publishers, in order devoted followers of the Church of scientific principles. air services beautiful lawn a . liberally for the support of the to fill the demand for novelties, issue Rome. Their genius looked upon this We have built over three hundred ?S ^osure elded Huntington Close people^ it is due them dial the these productions in appalling quantities. form as an excellent exposition of its organs, many of them being the 16 enemorial to the late Rector of the #t shaU> at least ,n part, play a A large package of new publications is quality. Now the Protestant Church pos¬ largest and most magnificent instru¬ as a memoria Huntington. *le of muBic that they enjoy; yet the §ent to choirmasters and organists for one presenting no serious obstacles « Church Organs sesses a fine Hymnology. Why are its ments in the country. We devote SOME SUGGESTIONS FOR Church, L»r. vv- • ltar erected at ' nt with its possibilities for grand selection, every two or three months, and anthems so conventional, so artificial, so the same attention to the details of a moderately advanced organist. TUe beautiful marble g wlth effects. and the time and it is a constant matter for wonder why RECITAL PROGRAMS. HUTCHINGS ORGAN CO. unconvincing, as a rule? The canticles smaller organs. i. Sonata iiin A. Mi— one end of the _ enting the Beati- o{ its use, must also be considered, clever business men will invest their of the Church of England are beautiful Ask those who have Austin Organs Eheinberger BOSTON, MASS. carved summer noon-hour nist.s OWn reputation as a irrasi- money in such poor stuff. About one in and touching, and there are many pas¬ as to the complete satisfaction they sanists.) (K (First movement) tudes. Dur1 g heJd there. is at stake, for he cannot afford to twenty seems to show anything beyond sages from Scripture which ought to in¬ are giving. A complete list in our 2. Melody and Intermezzo daily service rticUlar interest to common a grade. Bat thc ordinary. The English anthem com¬ spire gifted composers. But the fact re¬ descriptive book “A” will be sent The P° Hers is that the congregational use™* ^ ^ ^ ^ ^ o{ poser has unquestionably exercised a mains that for mediocrity the average an¬ upon request. IT is much easier, no doubt, to dem¬ ,Faulkes onstrated in a general way that the 3. Matins Sgingfeat these services is accompanied ^ congregation, those who really appte- THE PILCHER PIPE ORGAN baneful influence over his American col¬ them surpasses the average piano piece organist should play music that w 1 4. Entree du Cortege *ing,£f church chimes. ... ciate fine music, some pieces of the Embraces every improvement of practical league, for his productions have the same or song. There should be a committee 5. Benediction Nuptiale Vhe experiment proved a complete ma that they will enjoy. The value in voicing and construction, pro¬ general starn’p of mediocrity. Of course arouse the interest and hold the alter ducing maximum efficiency at minimum appointed from such a society as the (From the Messe de Manage) ln though .he organist wtio . not for pleasure alone, it should cost. Correspondence solicited .... there are some who rise above this level: American Guild of Organists which tion of his audience than lt ,s t0 _. DuboiDubois Austin Organ Company SYCCef’ the chimes was withinwitnm __ the1 J an uplifling factor. It furnishes Barnby, Tours, Stainer, Elgar, Coleridge- should publish a list of the highest class him iust what music will do it. me Brewer played HENRY PILCHER’S SONS, - LOUISVILLE, KY. HARTFORD, ■ - - CONN. writer has been asked to give some: sug¬ 6. Spring-tin ; Sketch of sight and taring of the ^the organist^ an opportunity ior elevating Taylor, and there are some Americans anthems written, irrespective of publish¬ Stebbins church, gestions to young, and, it may oe, s 7. Cantilene the taste and appreciation of his congre¬ like Buck, Shelley, Chadwick, Foote and ers. This would give to the public a Wachs SS.^®^^a8gi“fn^mrran“tOTe' what inexperienced organists regar ng 8. Hosanna gation for what is better and best in H. HALL & COMPANY Parker who have surpassed the average. standard which composers would seek to TMsXTthe more remarkable ^hen ‘'_ „ i,c - But even with these, the three last men¬ reach in their subsequent works. There the difficult art of program mak ng. This program, also, can be quite ef- New Haven. Conn. The young organist may well say, is remembered that between the Pres ^ of lhc people he has MAKSES OP ODKEN tioned have done far better work in their is room for high-grade anthems in the You May Have a -V - wel, to tell tne to pre- fectively played on a good two-manual them in a mental and spiritual condition chamber, orchestral and choral composi¬ musical output for each year. Let us It is all n s. but just what organ, although, of course, a third an'inter * .^ ^ ..I■ the sounding of the Dell W to be more fully impressed and helped by PIPE ORGANS tions. It will doubtless be generally con¬ hope that much of the insincere, trite, Talented Organist IMatiiiguished for Artistic Voicing ceded that Dudley Buck has realized the shall I Play?” ft is a fair question, but the remainder of the church service Dignified and Churchly. insipid, manufactured church music, now me, ana in ease ui . The ambitious organist can do much characteristics of the anthem more accu¬ unhappily in such great abundance, will and a Good Organ The resources of each individual rately than any other American composer. to answer, as even<» rtne 1,0s«” • At present the signal to play for the musical advancement of u:- soon be replaced by compositions of And yet, underlying almost every one of and yet not have good music enced organist will admit. gan ^ ”^"rdegrebee aXleastrX the veyeATtheveyed to the organist in relays A by giving short introductory re¬ naturalness, beauty, devotion and fitness count, m some cleg , stationed at the door of the cha (>n Sunday nights, prerenting a Pipe Organs of Highest Grade Only —should there be an in¬ Still it may be that a few hints re¬ his anthems, there is a certain artificial¬ to the text. Possibly, such a realization garding this -ost important matter ""ifone has^aXXpecially good oboe, opening on the lawn, another stands ^ q( from fifteen to twenty mi, Our instrumentscomprise all features which ity not to be mistaken. His Festival Te of an ideal will assist in bringing back sufficient or faulty wind may be useful, making due allowance fol instance one would probably in- some distance; within, and1 »».« anoW •„ ,,Ilgtl, This attracts muncal are of real value. Many years of practical Deum alone seems to stand out as a to the church many of its members who supply. for divergence of tastes and points 01 , j in each program some piece like takes his place nea brst people, and if his selection* arc gwdk experience. Write for specification;. natural and inspirational artistic crea¬ see fit to absent themselves from the ma¬ Hollins’s “Benediction Nuptiale” or When the hymn is announce si^_ n.iulll,^ bis audience into a right mental EMMONS HOWARD Westfield, Mass. tion. The great masters have done prac¬ jority of its services. THE KINETIC ELEC- tically nothing in the composition of First of all, there must be variety HUnsky’s “Berceuse.” In like manner, mentioned raises his han car_ and emotional state of feeling to get far TRIC ORGAN BLOWER what we generally recognize as the “an¬ in a program. The varying resources if. orte has the rare fortune to possess nal is repeated by the others anti nlore spiritual benefit from the church Character is the internal life of a is perfect-gives this per¬ a really good Vox Humana, pieces like ried to the organist. be ^vicc. Not the least advantage 01 this them.” The motets of Bach, Mozart and piece, engendered by the composer; of the organ, from the softest stop on & rcal]y g00(1 Vox Humana pieces like fect wind supply with slight the swell manual t^ the full power of Schumann-S “Traumerei will be found iniSbe a direct, instan- plani- utii toi" him.• is that. be n,«t do a gtea, Church Organs Mendelssohn seem to be in another class. sentiment is the external impression, manuals and peciais,pedals, siwuwshould be*.>- brought-rougur. moat-* ^eptable. So80 also, itif the stringslll^l mstaueu. .. -- - dial ..f prmt... ’ LATEST IMPROVEMENTS Probably the beautiful quartet O Come given to the work by the interpreter. cost. Besides it’s easy and "ay always remembering that the are of exceptional quality, they should taneo^s signal- ^ the success h U-M. r ... - v ,P^ BOSTON NEW YORK PHILADELPHIA Every One that Thirsteth from Mendels¬ Character is an intrinsic, positive part i that the success .., j .1 not expensive to install in extremes both of piano and forte should be given due prominence. It migh ^ - 1 ^ (r, thr gnBB CHICAGO LOUISVILLE DALLAS sohn’s Elijah comes as near as any to of a composition, sentiment an extrin¬ extremes, coin ui -- the old favorites, 0f“thi‘s“ nW idea is ’ t^the VT- 'mch being an “anthem.” And how superior any church or hall. be used sparingly, and with discretion ^ ^ ^1^ M • nee- r m . HASTINGS, MASS, sic, personal matter only. Character Mam Office Works in genuine worth this number is to the The pieces selected should be con¬ known by everyone. Without allowing fact tllat , Ted^for singing and of put their money & is innate, steady, precise; and inasmuch Write for our handsome majority of anthems! There is no “smell trasted rhythmically as well as dynam lncmthem tov, become stale by frequent rep- tune, pitched nice y Quality—each These introductory programs call lor a IIOOK y-e as it is wholly expressed by the tion. one can still occasionally pu ton specially soft, musical quality ^ ., lhc COUHe ~ new book, “Modern Organ icallv And while interesting programs etitiollf mi ui ■ ITASTINGS C-O. of the lamp” there; no display of the rhythm, more particularly by the time, program such pieces as Handels tongue being sheathed in bronze. 8 Blowing.” are often made up of compositions of a . . Ho v is thc organist to furnish it. Fair Prices. Established 1827. Alt Sizes. conventional resources of the majority and tempo, the rendering of a piece single school, sometimes even ot a su “Largo,” Schubert’s “Serenade” or - __ There is an immense amount of ma of anthem composers. While not in so can only be true to the character if Mendelssohn’s “Spring Song,” and high a class as the foregoing, the lovely Kle composer, such programs should be published for ottgan use. The sk« the time and tempo are generally up¬ THE KINETIC ENGINEERING CO. the exception, rather than the rule. touch many a responsive chord in ones gjR WALTER pARRATT ON THE organist will find little difficulty in secur- FREDERICK MAXSON quartet God is a Spirit from Sterndale held. Sentiment, on the other hand, Bv way of illustration, the following Bennett’s Woman of Samaria has consid¬ is extraneous, unsteady, varied; and, Baltimore Ave. and 57th Street “itno otaumst.nce, «h»u.a .be or- USE OF THE COUPLERS ir.f music that is worthy of his W program, of moderate difficulty, anct endeavors: Wsides this, he should prac¬ erable natural feeling in it. There are, though it may be appropriate and true, Philadelphia, Pa. ganist attempt to play pieces of great jN going about and listening to or- CONCERT ORGANIST quite within the scope of a fair-sized tice adapting suitable piano compos*® | of course, anthems of real value, which yet it is frequently inappropriate and difficulty, such as the Symphonies of gan;stSj 1 find that too great a use i* Instruction in Piano, Organ, Theory two-manual organ, is suggested: for the organ. In doing this he B are not included in any large work, such false. It is, therefore, necessary to m, . . t-- At;,,nr Bach Widor, or the great Preludes and Fu- made of couplers. With many organ- "" "TK*'" *" pedil 1003 South 47th Street, Philadelphia, Pa. as Woodward’s The Radiant Morn Hath „ Prelude and Fugue mn E MuMinor..Bach .. f Bach, until he is well advanced -lsts 1 have heard, the first thing they remember that the . keep the sentiment under control, and LYON & HEALY’S Passed Away—a composition containing always to maintain the character. In 2. Intermezzo .DeXarest Stoically, and able to render these do when they Mt on thc seal is to pull ' ’ , ' ’ much beauty and sincerity. But it is fact, sentiment should never be allowed 3. Cantilene . .Dubois compositions in finished style. Excel- out tbe swell coupler, and the swell t<> ' 11 k P - ' > K . :...,.rFs GOOD CHURCH SELECTED READINGS when we compare the anthem with the to assume prominence over, or be det¬ 4. Toccata .. lent effects may be obtained by pro- choir, too, and thus rob themselvesthemselvo of ,v■*- "cnT' ] mir* ver l : ' WITH CHOIR RESPONSES music written for the Roman Catholic rimental to the character of a composi¬ 5. The Death of Ase. I Grieg grams ot0f moderatemoaerate difficulty,unuumy. ifu well“ a rovrow of•* 1keys all11 through.•’ -1- You cannot not"l" *< therefore,* l.c is 011 Church—the Masses, Ave Verums, Ave tion.—Christiani. 6. Morningning.. arranged and played correctly, fluently, thinl* to be supp ^ and dignity of the responsive service. Well 8! Pilgrim’s Chorus- Wagner to many a church w'here they were the player in such adaptatwws ^ wilhin the reach of the average choir. never heard without the reeds at all. have to supply bis pedal note ,t Price, 50 cents net, $30.00 per 100 There are two Preludes and Fugues ... o The organ is an instrument of mi-- with the effect* that the sustaimnSP in E Minor. The one referred to above What a strange thing it is that The A. S. Barnes Co., New York Fife Foldings Organs *37.50; Fine Parlor fa the short one with the fugue some- one seems to have written an ode . o tained and fatiguing sound, and, .>1 of th« piano tad ’■ MUSICAL KINDERGARTEN METHOD M5.00; hood Second-Hand Organs at c- though I do not wish fur restless And he will need t" Bold ^ times called the’ “Trumpet Fugue.” It an organist. There are odes to music- For the Nursery and the Class Room LYON & HEALY, Dept. F 7166, Chicago change of tone color, there is neither long nor difficult and, perhaps makers of all sorts—nightingales, sky ORGANISTS’ GUIDE Especially Designed for the Use of Mothers and Music Teachers for this reason it is semumseldom played. But farks and even organ-grinders: constant change in the org jn^laoUManSstadeuti seeking eng.gemems shoalS be prepared By DANIEL BATCHELLOR and CHAS. W. LANDON it is both interesting and effective. certainly lose very largely by this ex havi - test ““P^le^'calholl^aodSsM^l'se^ieeanotori^reciiilre'EOod - W. W._ BUILDERS OF The whole program would last per¬ _ ^- cessive employment of couplers. 1 menta will often need to be l«g>W®( 'thfse'rv'S without °alteriu Ab Price, $1.50 haps forty-five minutes. If this he as Calverly sings, but i a sin trie ode S?,metimes w5sh wo had 1,0 couplers at of heing | MgM8e“a‘db“'“th”e oc“turiea a“d *a eT8'J' 7THIS is the first kimball Pipe Organs found too short, one or two pieces may u ( • a^* ;'rl>cKKic w \ a ; : them *1”, b"“ publiahe4 for Ur cise, practical manual!a iogfcCf' Kinc|j.rKartfenhMethod •published, It is a con- to an organist. This 13 imiuM icm. ring music t(i the young be added, but beware of too long pro¬ ar y a,r‘ Another thing is that organists use struck to as to • in a pleasing and at COMPANY For Churches, Audi- grams. Better that there should be their pedals too constantly. They seem rlivthmic tn..ti. n ’ !k T UepaTment8®. "' ‘ ' awaken and to hold the interest of the little l"8. lll’WettSrt 8q A™.11 '*”’*■ B‘WU" aim is to develop the subject in conformity CHICAGO , ILL. toriums and Residences ghtful it is, after a will need to add much, emit with the natural bent of the cSihfs mil r;>T' devices are simply illustrations, useful irgelv in the spirit of play; but these playful than that the audience should go away sWd they be overlooked? The aosence otd the pedals,k to hear change more, keeping withm the ” C'l.bllslied Sen Tori, 1851 St. Loul*, 1873 In the latter part of the volume ; use they illustrate the subject to be taught. Hundreds of Kimball Pipe Organs have been found, also music for marching,drills, ”*>er of useful and taking rote songs will be wearied. .... tbe . subject seems a fascinating one. Might - - recur“l" with",l 1 grave: dignity. There octaves of hi* tnamuk supply^; In fact, the book is as thorough and complete built in prominent churches throughout GEO. KILGEN & SON as it is possible to make it. • the United States lost difficult piece c.. .., . , not the “Ode to An Organist” open in is a feeling that, because an organist till in harmonic*. 1 bring i. o-.e Toccata of Dubois, but this ,‘'-g sWllUr n ??d,als with facility and use all the taste skill be posvev- Pipe Organ Builders PLANS, BST1MATBS, BTC., FURNISHED will be easily mastered if the organist 4 IS manner skill he should keep them down the Vndanh ’ o f ^ ST. LOUIS, N/IO. Theodore Presser Co,, 1712 Chestnut St„ Philadelphia Via5 a fair manual technic. O thou! who, perched upon thine oaken sei ON APPLICATION One more illustration, this time of a Dost trample mighty Bach beneath thy £eet- ahdustvmK rtmr they sound 1 stnlw. Best*of References. Prices from $1,500 to $100,000 slightly more elaborate program, yet —Loudon Musical Times. octavesocfavX belowhMSy’ evervthMicrS btC three or tations of the - W. ,-, ^co adapts ti Please mention THE ETUDE when addresssing our adv THE ETUDE 625

ANSWERS TO CORRESPOND¬ tice allow these to recover. 3.—One under the general title of “Liter,. FINE VIOLIN THE ETUDE ENTS. lesson per week, especially during the ■ w _^,o&'TTIRE. C°m the Violin. As a whole, the VIOLIN LITER ture eVery possible detail of vio- J. B. 1—It is impossible to give an first few years of violin study, is em¬ authoritative opinion on an old violin phatically not enough. For the begin¬ LATEST from photographs only. Judging from ning, Spohr, the great violinist, always copy and study the subject before buying. those you submit, your violin seems advised a lesson every day. There is so much for the teacher to watch in to have considerable age. and to be in LYON « HEALY, Dept. V 7166, Chicago order to turn out pupils with correct MAGAZINE frt of Violin makmg, etc. T. be the tQ collect a library of such works, a good enough state of preservation to ,.rered to collect a library of such works, technic and of good school, that the Tmo^oftheVriters seems fn :{ Small, both for their own infor¬ warrant its being restored. 2.—The work is practically impossible where R COLLECTION OF mation and to loan to their pupils. following is a copy of a Nicolas Amati label, from one of his violins of 1669: the pupil comes but once a week. BARGAINS TSSrJ •=:=-g|;„01,... ‘Nicolaus Amatus Cremonan. Hie- There is no doubt that a majority of OLD AND NEW VIOLINS portant matter; a. go much impor- SPECIALIZING. McCALL’S ronymi Fil, ac Antonij Nepos Fecit. violin pupils in the United States have MAGAZINE )$2.00 but one lesson a week, but it is also playing often f?nh every violin student The slauustandard„u of— performancer--- has 1669.” Some of his other labels differ OR LADIES’ WORLD > FOR tant matter wl take his violin sQ greatly in music during the true that not more than two or three slightly in phraseology. The date in WITH THE ETUDE )$1.65 should know a worth of time to n ^ ^ears as regards orchestral, your violin, 1728, must be incorrect if of such pupils out of a hundred ac¬ quire a really correct technic and per¬ ------teacher $100 or ^“■ -|||§- ''0n hour. If stuSt " rmartet and solo playing, etc. that a it is a genuine Amati, since Nicolas WOMAN’S )$ - quare specializing must be done fect bowing and position with such in¬ HOME COMPANION 1 3.00 Amati died in 1684. FOR everything great {-»**«.- * ob.,_ , The chances are that your violin is a frequent lessons. 4.—E strings of AND | rodolphe kreutzer. THE ETUDE ggsr^saManv a soloist has built up a great sopy of an Amati. Still it is no doubt Italian gut possess the finest tone of l$2.45 reputation for his playing of composi¬ worth repairing. any strings, and are used by all the tions of a certain style, or of a special best violinists. 5.—Every musician COSMOPOLITAN $2.50 l8He was a voluminous composer; be- great■ ^“^orfrapid. . to L, L. S.—Neuritis of the hand (Fid¬ should possess a good knowledge of WITH FOR Every ■violinist is familiar with the THE ETUDE dler’s Cramp) is caused by inflamma¬ harmony, no matter what instrument _ .’R TONE IMPROVING CHEMICAL VIOLIN $1.85 name of Rodolphe Kreutzer. ^ He^the tion of the nerves of the hand or wrist, he plays. BRIDGE (uotmade of wood), 25o. Two bridges producing AMERICAN MACAZINEll $ 16th, 1/66. usually from too constant playing. OUR N KWA LTO ST A BI LET AI LI* IECE, which 3.00 •- . *11 onnther ior lUS suvwoa imvr Your physician is correct in recom¬ W. D. K.—It is impossible to give WITH ‘ FOR HeTeceived instructions from his fathc- ewzsasffilS gsi-ertr.® values of violins from written descrip¬ OUR UNIVERSAL SHOULDER REST, attach- When ebrated _mmh, . V* “Fuhrer durch den Vio- s early classics, or another in mending rest for this condition. There THE ETUDE $2.10 and also from Anthony Stam.tz. are other courses of treatment pre¬ tions. You might as well expect a scribed! Alternate baths- of hot and diamond dealer to value a stone sup¬ HARPER’S BAZAR j ■ — * FfjSSe?'uMSU£ Si ££ OR $2.75 sS at a -Concert cold water in which Epsom salts has posed to be a diamond from a written description. However, the violin your GOOD HOUSEKEEPING FOR been dissolved are said to be effect¬ WITH zrias.” sfiss * ive. Massage of the hand and arm friend secured from a tramp cannot be THE ETUDE $2.25 a genuine Strad, since Stradivarius did THE PROGRESSIVE VIOLINIST or a course of treatment by a skillful PICTORIAL REVIEW '-sss^^sss: r«k-" inour"^sH s'a-T^? osteopathic physician sometimes brings not inlay his violins with “scenes of Melodious and Instructive $2.50 ™ dn£ chapels, with golden spires, at the edge Pieces in Various Styles for OR SUCCESS relief. Telegraph operators are very WITH FOR of the sea,” as you say is the case with much subject to trouble of this nature, VIOLIN and PIANO THE ETUDE in orchestra, or teach. The idea is this one. It is evidently a trade fiddle $2.00 the energies of these four artists shall and many of them obtain much relief By F. P. ATHERSON -.- of no great value. McCLURE’S be given exclusively to quartet playing from wearing a leather band laced $3.00 tightly around the wrist. Exercise in - -je Idyll*. - MAGAZINE and the cultivation of the quartet style, W. H.—As to whether it was best 6777 Barcarolle Grade 11^ it has bsei, recognized a. the b.s.s Hwoa, w. H Quarrel: the open air, and anything which will 6778 Petite TaranteUe Grade III . . .30 OR WORLD TO-DAY without having their minds distracted for your teacher to have you review bring up the tone of the nervous sys¬ 6779 Andalouse-Espagnole Grade III .30 WITH ETUDE $2.30 by teaching or by playing music in¬ Kreutzer and Fiorillo, he must cer¬ trth.»,«.»../ - ;7>"yMbanb 5s?. tem, will help this. particular trouble. Both with THE ETUDE volving another style. This ldeljL tainly be the best judge. You should $3.30 study only with a teacher in whom you H. E. S.—The violins made by the To responsible teachers we will send on DELINEATOR , have entire confidence, and be guided examination the above numbers or any of our AND I $4.00 late George Gemiinder, of New York, publications at special prices. entirely by his direction. As to EVERYBODY’S whose name stands high in the list of —Catalogues sent FREE on application— AND (\ American violin makers, bear an ex¬ whether it would be best for you to go THE ETUDE / $3.05 .. to Europe to complete yhur education, THEO. PRESSER CO., Instruments,” W. Hepworth; “Repay¬ cellent reputation. They are chiefly 1712 Chestnut St.f PHILADELPHIA, PA. ENSEMBLE WORK FACILITIES. it would be impossible for me to say, POVERTY AND MUSIC. ing, Adjusting and Restoring of the copies of the great Cremona makers. AMERICAN BOY ) $2.50 The workmanship is excellent and the since I do not know you personally. “Public fav< Germany, is not Violin,” G. Foucher; “Violin and Its Teachers who wish their violin WITH > FOR R. Kreutzer. tone artistic. These violins have not yet So much depends on the extent of your , , as it is in America. Here the per- Construction,” Aug. Riechers: Violin pupils to progress should arrange to talent, your age, your plans for the fut¬ THE ETUDE J Spiritucl.” Three years later, through is a great factor and the aud.- acquired an established price. I have $2.00 —How to Make It,” Broadhouse; Vio¬ have them do as much ensemble wort ure, the amount of money you have CHAMBER MUSIC FOR the patronage of Marie Antoinette lie ^ ^ like to observe individuality, known of sales from $150 to $500. Mr. cnees like to observe individuality,-lin Making—As It Was and; Is,” Hcron- l-s possible... It is surprising • ® how little available to devote to. your education,' HOUSEKEEPER \ was appointed first violin in the Chap- aside from the playing, in tlie artist. AUenAllen;. “Violin‘-violin Manufacture,Manufacture. Schebek,Scliebck, w((fk« o{. e *i.!cthis character 1- flnih*d.-neTntTm in this Gemiinder during his lifetime often VARIOUS COMBINATIOHS $3.00 your capacity for hard work, etc., that A selected list of ensemble numbers pub AND 1 elle du Roi. In Paris he had the op¬ In Germany the slightest individual- «Bow Control,” Bates: -Chats to \ udni countrv lt is difficult to arrange tor obtained $500 and even more for his Ished In octavo size at a minimum price. MODERN PRISCILLA } FOR violins. A catalogue of a . leading a stranger finds it impossible to give portunities of hearing Viotti and others. ity, perhaps even a slight swaying as Students> or Howto Study the students’ string quartets, especiallyj^jOL m an opinion. WITH THE ETUDE ) American violin dealer offers two Two Violins, ’Cello and Piano $2.00 1-Ie became soloist at the Theatre: Ital¬ the artist plays, is enough to cause his Carrodus. -Die Kunst des \ i-n.. i ■ ! the smaller cities, largely owing to the The Klindworth-Scharwenka Con¬ .Vagner, Oscar...... Barcarolle condemnation, no matter what lus Schroeder. -How to Play the 1 id U Gemiinder violins, one at $350 and one ;; ;; Rondo ic® and there produced an opera, Jean¬ scarcity of good ’cello players, and in servatory in Berlin, which you mention, DESIGNER ) $2.25 at $150. As with all violins, much de¬ u ‘‘ .Divertimento red by “Paul musical abilities may be There he Grecswell; “Secrets of Violin Flaying. a lesser degree of viola players. A vio¬ stands very high, and has a faculty ...Allege AND ( FOR ne d’Arc,” which was follr pends on the perfection and beauty - successful, must.. - efface—«.v himself.hhiJBi Why, ir^ei-“^TT^Ta Professional-r,.- j • ’ Player:j| "Teacher of linist can usually be found to take up composed of eminent teachers. As you THE ETUDE j et Virginie,” Th< many they like an artist better it Lie ^ violin,” Shorthouse; “Violin—How of the instrument and the tone. $1.80 During the Revolution he was often the viola, but ’cellists are extremely state, a European education certainly does not dress too well. I do no t0 Master It.” by a Professional Player It Gautier.. desired to compose operas de circon- confers a certain prestige on a musi¬ REVIEW OF REVIEWS) $4.50 “Imogene.” mean that he must be unkempt,’ f Violin Playing,” J. Dunn: “Technics „ • ,,r;icti.-t.l. *.b - E. C. S.—Salzard was a noted Mire- stance. In 1796 lie produced court violin maker of the nineteenth cian, although our large American Vincent .*!!!!!.*! AND ) FOR a musician appears in a coat 01 1 0f the Violin.” Courvoisier: "Cch-bratcd can always fall back on violin duet cities offer constantly improving ad¬ Gautibr. During the autumn of the folio. latest cut, wears attractive cravats Ehrlich: "Ole Bull century; Francisco Ruggeri and Vin¬ .. .Spanish Dance THE ETUDE ) work or violin quartets. By increasing vantages for the music student, and we ...Aladdin $3.00 vear he traveled through the Nether¬ makes himself personally pleasing, lie Mcmoh. Sara c> Bull; "Carr.-du-. V cenzo Ruggeri were noted violin Ga*utikr,TIN * * * " ... Souvenir de Haydn the number on each part the entire now have violin teachers in the United waurte?ng.; :*.!!!’. lands] Germany, and Italy, and the in¬ creates a sentiment that is adverse a \ Carrodus; "De Fidi.mtms makers of Cremona; Vuillaume was ...Danse Ancienne OTHER CLUBS OF VALUE class can be given the benefit of t e States, many of them former eminent Rathbone. ..Three Miniatures THE ETUDE U,r Every Music Lover, Price, $1.50 dividuality of his Playing excited gen¬ badly cut coat goes a long wiyJ Bibliograpbia,” Heron-Alh-n: “H- - one of the leading French makers. Kkarne. ...Andante con Variazit practice. Violin quartets espe« Your violins would be valuable if they European teachers, who rank with the . ..An Autumn Song era,eral enthusiasm.. He visited Vienna . w-ard creating a ,av i t do ary of Fiddlers" Clarke: “Famous Vi.. have a pleasing effect, and make a» best abroad. As to expense, you would 1708, and then it is presumed that he c- pathetic attitude in f" susoect Hnists.” Allen; “Great Violinists and are genuine and in a good . state of :3ZZZca ideal form of ensemble work for s« find that after you consider the steamer Mendelssohn...... Gondellied came acquainted with Beethoven. As llot know why this s but I suspect ,rri.; -Sl.„hr. '. preservation. Your only course is to agaityR!1.?.::::::;::-;: dents. Although thc amount of go« fare you would not save a great deal wbber!?!::::::: Harper’s Weehh ' “ f-|» a result of this friendship, the great that, m_a country .where biography: "Stradivari..-, V.C. submit them to an expert. material for violin quartet practice by going to Europe for one or two HwaeHeeShWork'!!.. f*0 master dedicated his famous Sonata. toward the man who Fetis: "Xicolo Paganini. Hi- Co >t very large, still sufficient is art years’ study, as living is quite high at Two Violins, Viola, ’Cello and Flute A Lover of Music.—I.—If the violin Metro” olllan. ■ i I i K I i 11i J11 iiiI £g» On 47 to “his friend, R. Kreutzer. “”■* P J successful Work. Stratton; " I lie Repairing able for much valuable practical wor present in the large European cities, Mozart.Symphony in G, No.i tielan's siaga.ine'!!! . ;;;;;;■;;; |;gg Jg >s held properly there should be no We are told, however, that Kreutzer pP£ thc public also believes that Restoration ,.f Violins.” Pethevick; | Among thc pleasing works for and the price of lessons from really Two Violins, Viola, ’Cello and D Bass strain oh the left wrist. The trouble was never known to have played this ^ man cannot succeed in music. “Antomous Stradtvariu-" F tin violins thc following can be recom¬ eminent teachers in Berlin is not a very popular composition. That is nonsense! I have a case in •'The Violin Music -d Boetliovc,.” 1. mended: Three quartets by Danci you describe with your left wrist is great deal cheaper than from teachers extraordinary, and could only have in this country. You would certainly When Rode departed for Russia, he mind now wKere a rich man is really Matthews; ho A ...lm and • (Chanot cd.l. Andante and Rondo W Three Violins and Piano PMraoil.llag.ilne...... W L that eminent artist at the a great artist and where he is having History and Construction. Ah, In; Burnett (Ashdown). Quartet w been caused by an extremely rigid use find it a very great advantage to study l.im 2.00 ^ He then was enabled to pro- a tremendous struggle to convince peo- Wolm Making, ..hv-,,: major by Lachner (Augener of the wrist, and false position. The in Berlin, which is the musical capital ,.4 of operas and Edicts ,1c that because he rich is .... rea- \ ” -1”1 S'"v'' E> Flay ! 1„ Serenade by_ Slunicko (Brcitkop ^ violin must be held by a firm position of the world at present, and the prin¬ duce a, Ence have been forgotten, son why he cannot be a good musi- Althaus, The Violin. Solo Playing. Hi.rlol cdl; Tfamucrci. by Scbuma®' of the jaw on the chin rest, and the cipal center for violin teaching in ...Capric which long since hav . cjan. In my opinion it is just the op- Soloists and Solos, llenlcy: Joseph pieces from__ “1Lohengrin, ..licnprin." arrange“| action of the left wrist and thumb must Europe. Rikdu . tim gjj He held various appointments posite. The necessity of making a liv- Guarnenus, His Work and ITis Ma-- .Prelude and Fugue by i'r. Hermann; Violin Quartets ■ be at all times flexible and free. A Pour Violins J. N. B.—Johan Baptiste Schweitzer, oi already mentioned that under uis hinders the artistic development, ter,” Pethevick: “Advice to Pupils . , 1 G. 7.angcr. Op. 16. Book 2d, and nu® lesson or two on this point from a °AKE. Gavotta Spiat xyi- this was followed by the ottice ^ .g bard t0 go ahead when one must Teachers,” Althaus. Budapest, one of the most noted Hun¬ others of similar difficulty. A pkjS1,’ really first-rate teacher would set you Four Violins and Piano fi’st violin in the “Chapclle” of the CHnsidcr the matter of earning money garian violin makers, was born about Tot HURST.. Graceful Dance straight. 2.—Your idea of dividing your a ^0ieyn Gavotte ,nsul (1802); violin soloist to {or the next meal. The most ideal FOR -CELLO. comcollection a.0.1 fortor fourI- violins,;. wnic_", fr0 J 1788, and died in 1865. Your label Boriptkmaf ad4‘'tl0Iml roJai^TS practice time into periods of half hour ...Allegrett ^ Fmoeror Napoleon (1806); maitre state ;s that of the artist who has cut “Chats to ’Cello Students” Broadl q'"U 1 hc signifies that the violin is a copy of each is a very good one. Violin play- °AKH.Gavotta Spianato Send all Remittances to de la chapelle to Louis XVIII (i8i5h liis living expenses down to a minimum “Techincs of Violoncello Plaving" Iw"l'Cchcr" an Amati. Only an expert could tell ■ng causes a great strain on the nerves The price of each number Is 50c net, subject =nd Chevalier of the Legion of Honour and does not then need to consider Straeten; “Violoncello and Its ITUtorv ” hn , V n ,6 hv G Zanger. if your violin is a genuine Schweitzer. to a liberal discount, Selections made aud muscles involved, and the periods Schweitzer was noted for his fine re¬ THE ETUDE °f rest between the half hours of prac- Theo. Presser Co.,I PHILADELPHIA, 1*A.' 1712 Chestnut Street productions of the Cremona makers. Philadelphia, Pa. ■ **‘■ AcadeTnie””'from”1817 •• - to•• 1824.-■ and that-. stifles—"- art!”- h******* Pleaae mention THE ETUDE when addressing Professor at the Conservatoire of Paris cal America. 1 musita illustrations. Inn pm b : • .. ROHRS. THE ETUDE WOLFGANG. known as an ebonized c e may be seen AN APPRECIATION OF JENSEN ever heard of a musical ear? One might Upon my word, you must be out of 626 (Jumping down and running over quite frequently. This : simply an much dpfelkuchen he never • your head. as well say that because a man had a to his mother.) ordinary wooden FATHER MOZART. painted and BY ARNO KEFFEL, 0retty mouth he could preach a better Just think, mama; a new violin, a new enameled black. sermon or make a better speech (Going to the door and calling.) violin. One of the most desired woods used (Enter Rohrs with a cello and Maria, Maria. MOTHER MOZART. in piano cases is known as mahogany. Adolf Jensen unquestionably be- Niedemeyer with a violin.) MOTHER MOZART. rss1-"* (Taking her little boy up in her There are several different woods longs to the most sympathetic and case under the other.) (Going anxiously over to the side ROHRS. arms and smothering him with known as mahogany, but the real ma- gifted tone-poets of his time. The SCHACHTNER. of her husband and grasping his Good morning. What a magnificent AT j‘SSeS') uoganyhogany comes fromirom tropicaltro; America, thoughtful, dreamy characteristic which Hello everybody! You see, I^ver arm.) ... y dear little Wolfgang, my dear little Some has been" found day it is! ®out^ern forms the unmistakable note of his disappoint. What! Rohrs and Nieder niedemeyer. Please don’t punish her. Remember, WoIfgang' Florida. At one time it " en compositions was also stamped on his We won’t have to tune our instruments Leopold, you are excited. She didn’t , , rr j (CURTAIN-) tiful in the West Indies that ships were , . , , ... . low to-day. It is as dry as a bone. Just mean anything. (Act II of the playlet will appear in built of it. Now real mahogany is be- face> the characteristic features of look out of the window at the mountains (Enter Maria Mozart, a girl of eight 1HE Etude for next month. We will be coming more and more rare, and the which were the fair beard, the brown, there. You can see the top of the oM years of age. She is daintily, and pleased to hear from teachers who have most of our present supply comes from expressive eyes and the classic nose. waiting! What do I smell? Ah! its snow peak. It seems good to get rid of simply dressed, and has pretty conducted readings of the playlet and Central America, South America and That, had he lived longer, he would dpfelkuchen. You most have known that MOTHER MOZART. that damp, muggy weather weve been manners. She enters with great suggestions for future playlets will be San Domingo. The tree itself is a very have completed larger works, especially 1 was coming Frau Mozart. How are timidity.) (Breaking away from her husband’s having. we corned.) beautiful tree, and sometimes grows to for orchestra, is not probable, for the those children? grasp and going to the window FATHER MOZART. FATHER MOZART. the great height of one hundred feet. Heroic-Pathetic lay rather outside his and looking out.) 1 MOTHER MOZART. Yes we can tune our instruments right Perhaps you will tell me, Miss, what A Study Playlet to be Read (Not THE GEOGRAPHY OF THE THE INSIDE OF THE PIANO. nature. Thus, in the course of his Why do you want to flatter me? Splendid Herr Schachtner. They up to ’the pitch of the harpsichord to-day you mean by writing in your study book Acted) at Children’s Recitals, Ju¬ l their music PIANO. FATHER MOZART. making regular progress p afijr ™ without fear of breaking the strings. without my permission. The wood in the interior of the piano artistic development there is no par- venile Musical Clubs or Young It’s not flattery, my dear, don’t you every day. (All the players commence to tune MARIA. is spruce pine, which comes for the ticular period of storm and stress to be Folks’ Musicales. SCHACHTNER. BY FRANCIS LINCOLN. remember that when we were married their instruments and make a hor¬ I, father? I have written nothing. most part from our Southern States. observed. In his first song, the oft- Not the boy? why he’s hardly out of Poplar, maple and boxwood everyone said that we were the hand¬ rible din.) FATHER MOZART. Have you ever thought of the many, also sung Lehn’ deine Wang', he already his cradle yet! SCHACHTNER. used for parts of the action somest couple in the city. Speak_r_ the truth,, young_B lady. If youj,uu many hands which .have worked to- ji ma- stands before us as a fully mature and MOTHER MOZART. (Sitting at the piano and hammer¬ chinery of the piano. [The exceptionally enthuslns MOTHER MOZART. didn’t write“rite this you can explain how getber to make the piano upon which refined master. Nevertheless, we can’t keep him away •, _ • _ 1 1 vnn nlovr — j_n The iron frames are made which the study .idplaylet in' Seentne JUiy E/ruufi. aI hopexivAp*, you are not getting ^ ing upon the keys.) n your book. you play every day? • t , r mer~ An outstanding feature of his nature del's Boyhood''eivedT byprlnte numbers of our readers, pold> lf you want to0 compliment from music. Wait, wait, wait. Wait. Donner uni T pj. 11c i../ • / ,« , „ ica, from ore mined from < FATHER MOZART. MARIA. °0,kJln‘° the geography of American mines, was an almost painful, a limiting, cor- I us that they wUl ^oiuke^ttiese play- you^ will haveimun to talktoll/- oKmttabout the children,/'ViilH blitsen ! What kind of a noise (Jo you 1 It worries me, Schachtner. Every time (Crying.) the piano and find out where some of The steel wires in some pianos are rectness- His handwriting was as clear to the preparation call that, if you please? the many parts come from. hi foHowinj^f,ig aiitti dramatic treatment — Now, one at a time. I Please, father, I really don’t know how made in Germany. Others are made and correct as his musical style. Never e life < : M o'/.ar it came in my book. “'The0 advantage of the dramatic form will will strike the notes on THE PIANO KEYS. in America. Piano builders are unde- 'n his letters was a word erased or the keyboard. FATHER MOZART. cided as to which are the best. modified, and his manuscripts are more Xrehimrenar.,mtVllaloKa<. you touch the keys i fnBnrcfcrcnce to descriptive matter. Children (Again the players Has anyone else had your book? !" p horn actors and mimics. They have commence to tune, a-scr”p,,o“ MARIA. tusk of an African elephant. . . - — -~,lke musician’s jottings. But if bv the and Schachtner Only Wolfgang. A fine quality of felt is manufactured nature of his gifts he worked , opens a little note Years ago the elephants in Africa were ;n New Vnrk _- ”* «**«*••>vvciiteu on a forra. aP.r,.!a^i°u “K?. suweet fitr lreat- SCHACHTNER. book on the piano Send for the boy and you will find out t\VghTthTtTe°Uu ?at the, hunt-rs W°o1’ and the best felt eomes from the Iimi!ed domain’, he had extraordinary ISXtibleW cJPP.fr ^most ln- wool of the Merino sheep, because the mastery oyer h,s various reflections and commences to who the culprit is. play over some creeohm in clylbaatlon bas >ten wool is long. This makes the felt more and Phases of feeling and emotion, (The door opens and the little pieces.) the Wles H T *7 ™tmg durable' Tbat he was capable of taking up a scrlptlon of Mozart, four years old, rushes in ROHRS. and runs to his mother. He is a many people wonder wheZ^the su7 7™’ yf°U Se6’ th-l pian° is reaIly humorous subJect with remarkable skill Ik's Notb.]P Isn’t there enough music very handsome child, and although ply will meet the demand The price’ ZZt 7 7 contributions from the is proved by his delicious Gaudeamus- in the world, Leopold, small in size has a face of re¬ of ivory has gone up so much in recent doms Lm® if .l/ if'T a*er Scheffel’s poems. But he re¬ that you have to write markable intelligence.) years that it is impossible to use it on toM untV " Z°Tf 11 I™"8, at Ws greatest in the d«nain of new pieces for your FATHER MOZART. cheaper pianos. Pianomakers have told that parts of vouf nfanf h“ f 8°n,g' ,Here he created forms The Living Room of Leopold Mozart daughter to play? (Grasping Mozart by the shoulder us that ivory is rarely used for the handled hv hLZ7 7 °f magJcal cha™' Especially above in the City of Salzburg. Austria. FATHER MOZART. white keys of pianos which sell for less it” « ^H»? “d (The room is a fair sized one, and bringing him to the harpsi¬ ,1 ( Tuning a viola for chord.) and is in an upper story of a Schachtner.) s cel- slaves, fishermen (for fish glue exotic fragrance not too often met ir “Wohnung," or dzvelling-house, for Yes, but somehow they Si, down there, you yountj scamp, and MoWi.tLY:a. ’Ub"“" known is sometimes used m parts of your the whole treasury of German song- play that piece through. d 18 Used' very feiv Germans in the cities don’t seem to be just what Celluloid is made from cellulose, piano), woodsmen, carpenters, farm- London Musical Standard S' (The frightened little boy sits at ers, miners, aside from the piano-mak- _^ have their own private homes. l want for Maria. which is the starchy, fibrous parts of the harpsichord and plays the ers themselves, all helped to make the The furniture of the room is (A string on the vegetables, combined with acids and piece through, hardly looking at strong and simple. There is no viola snaps.) with camphor. It may be made in any musical instrument in which you find THE STORY OF A FAMOUS SONG, the notes.) so much pleasure. carpet on the door, but in the There, I knew that color, and it looks very much like ivoiy. No song with English words is better corner of the room there is quite FATHER MOZART. string would break. I I ,„t,a -The onlT reason why it is not so de- known than The Last Rose of Summer an ornamental altar with a statue wonder if we dare tune thought so. Now will you please suable for use on the piano is that it WHO ARE THEY? Many musicians will be surprised that of the Virgin Mary. The room them up so high after ten me what you meant by writing this has a peculiar feeling to the sense of this exquisite little melody, associated is heated by a huge stove covered three weeks of damp >n your sister’s study book? touch. This some people find objection- BY DANIEL BLOOMFIELD. as it is with a very poetical idea, was with glased tiles, which stands in weather. WOLFGANG. aWe and much prefer the glossy sur- f ., , ,, 7 b5-St ^et t0 comic words and known as another corner of the room, like nd r he foIIowmg represents the Castle Hyde.” Later this song was a monument. There are tables NIEDEMEYER. Yes, father, hut first please tell me why face °f the real ivory keys. Celluloid of ef u of,some, composer, each dash parodied and the melody came to be with a number of books. The F. EMPEROR. By all means. I’m sick you raised the pitch of all of your instru- i® made in Connecticut, and of playing way down in ments a whole tone to-day. the African ivory used in pianos inof standing for a letter in his name. Can known as The Groves of Blarney Thi" harpsichord, which occupies an you fill m the empty spaces with the became popular ' T • - - important place in the room, is father mozart. his sister plays, there he is right by ROHRS. America is cut into the proper shapes correct letters? * " --: rr* *“.T r'FU.“\‘ 111 Irela“d about 1788. in Connecticut. covered with sheet-music . and (Sitting down to the table and the harpsichord, and he cries if I order (To the child.) T w ‘ ,^be If.lsb onSin of the song seems to You heard? The black keys of the piano were 1. W - ..-- - t be undisputed. In 1813 it was published music books. There is a long starting to write in a book.) . him away. SCHACHTNER. 2. R- formerly made exclusively of ebony. in Moore s Irish Melodies together with window with swinging window- That reminds me, I promised to write schachtner. (At the piano.) NIEDEMEYER. 3. G- frames looking out upon the out a new piece for Maria to-day. You (Clapping Mozart on the back.) Here’s a fine little minuet. You have (To Leopold.) Ebony is the w*>od from a large tree 4. G-- the words with which the melody is street below. On the window know I haven’t missed writing for her He’s a chip off the old block, Leopold: a great talent to dash these things off It’s no use, Leopold, you can never whicb grows Principally India and 5. G.. now invariably sung. Flotow made it sill there are some vases filled for a long time. pernaps you never took a look at his in this way, Leopold, but you ought to make anything but a musician out of that ?ear-bT countries. Ebony„ -s obtained 6. R-- m the latter part of his opera with corn-dowers, and that lovely write them so that anybody could read child. other parts of the world, but it is Martha. This somewhat inconsequential MOTHER MOZART. ’ - - 7. - - - o W-. little white mountain dower, the them without ruining one’s eyesight. t the beautiful jet black wood which opera owes much of its popularity to (Resuming her dusting.) 8. -x W- edelweiss. It is a bright sunny (Plays 0 minuet.) Don’t be- -a ILmnu. xou maxe • S° m“cb admire-. just as I have done with Maria. very thin sheet of wood glued 19-.. - !,h‘S ,me°dy ;ln^ employed it to the their parents that Leopold Mozart has a my musical friends come to play with me FATHER MOZART. thicker piece of wood. This thin MOTHER MOZART. WOLFGANG. 20. F.- - - - n Tb dS Sad,and Luckless Was the Season. good housewife. this morning. (Brandishing the book in the air.) sheet of wood is rarely more than a (Coming up and grasping Schacht¬ (Throwing his arms around his 21. P.‘ . ZHe[e 1S also a version of Beethoven’s MOTHER MOZART. Why, I never wrote that minuet. This thirty-second of an inch thick, and is LEOPOLD MOZART. ner’s arm with delight in her father’s neck.) T... h *rpeatment set to the words: “The kiss. That’s true, I must make the eoffee face.) is a joke. You, Niedemeyer, you wrote called veneer. The reason for doing 22. .e F.. 1 'r? maid> by Lord Byron. Men- (Arising and putting his arms to? 6“ 1 Can Play and writ at once, and get out the dpfelkuchen that Oh, do you really think so? this. all I want this is that the real woods usually de¬ 23. E ------u " ‘ dt SS£hn Wr°te a fantasia upon the air about his wife.) NIEDEMEYER. sired for piano cases are so rare that 24. - - - - s_a n C WaS, publisbed as his Opus 15 Not only that, my dear'Maria, but they LEOPOLD. FATHER MOZART. a case of real wood would make the I never saw your old book. jes, and T will buy you t 25. M-e - - r. Jhev^b °f ^anscriP«°ns—br should may tell them that I have the handsomest Nonsense, Schachtner, you are making FATHER MOZART. you the new violin price of the piano very high. Ebony wife in, all Austria. a fool of yourself and my wife, too. Who ^ have been beggiyfor. Then it was you, Rohrs. You did it. r fnr ” rarely used for cases, but what is ne^isL"?^ t0 tWS WiH 3PPear in the 'l^SS THE ETUDE 629

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0 What is a strophic song, and why is it l0 called? (J. L.) A POET’S INFLUENCE UPON THE MUSIC OF HIS DAY. tli« strophe form, is'one which’ has music only for the first stanza, the later stanzas One of the most significant charac¬ Learn Piano Tuning living repeated to the same music. A song ters in the musical history of the eight¬ LaBLACHl that has music throughout, and does not go A Profession that Can bo Converted into hark to the beginning for another stanza, or eenth century and at the same time Face Powder ^ ••verse ” is called an art-song. The strophe one of the least known at the present Money at Any Time or Place in the Civil¬ form has two very definite faults—first, if ized World, at an Hour's Notice. the poem Is long, the repetition of the music day was the Italian poet, P. A. D. B. causts monotony, as in many of the old bal¬ Metastasio, whose dramas and poems lads : second, the same music is often used Broadway, ■ NEW YORK * x« fn this department can be answered tor words of different or even opposite char¬ inspired many masters to produce nota¬ m ■* . „n Questions nf the sender, not necessarily for acter. Thus the third phrase in Hullah's ble works. Like Scribe and Boito in ••Three Fishers," of almost savage intensity, later days, Metastasio furnished the -M&g suits well in its last occurrence, "The women IMIWOK"-, - similar are weeping and wringing their hands,” hut words for many of the most successful «sss«sJ3a.*s’zss&ffz wj’zs&ZiSs:. does not fit at all. at first, to the words, musical production of his time. He aSeild^nleUer^i “Each thought of the woman who loved him the initials or a nom u the best." The singer, of course, gives each was born in Rome in 1698. His talent line a different expression, but cannot en¬ became evident when he was a child was always tirely offset the defect in the form. Schu¬ WL^oiVcHOOL OF COMPOS.TION, .«.•«•>« most iTuse forV^t^^fthe ™Z?vi?e where LtSt ^ .^udwlg^of®! bert's "Miller's Flowers” is another example and at the insistance of a patron his fS^X^truCnt "Ju & the piano ? £g! of a poor employment of the strophe form. real name, Bonaventura, was changed Where the poem expresses only one sentiment, as in Schubert's "Das Wandern” and “Unge- to Metastasio. He became Court Poet ' 'l,/course the roost ’J>se,'J„Pi pf.orus6 from «ho"’f£, nfchter^leldl ”and Thomas were duld," the strophe form is properl.,- used : lint ~ .„ homy and COMPO^TION changing sentiments, such as that of the “Erl at Vienna in 1830 and kept this posi¬ tion until his death fifty years later. john s n„ oxiiec ,v nP1. King." for instance, must he set in an art- " lessons bvm^L^. song. Such a poem as Kingsley’s “When All Among the musicians who employed Sic.music. 1SS° But there are pma^ D£^BplthalameEg|thalaroe,’; WO*" agn the da„, of0f JennyJamll Unld$ the World Is Young, Lad," ought only to A most practical course for '^''"''Iljfnleresting throughout. Satisfactioi “ble ?insen's “Hochseitsmuslk” containing ^^IndAlorio an highly trained a, the, appear in art-song form, since the first verse Metastasio’s words for their operas °tL weU-known,& a%t MaMnuna tthe, new form of «sc suggests major and the second minor. Tcn- and their oratorios were: Porpora, publisher should t>® a“,e ‘ud otlier music. droma wade <'n«COT»arv for nvsim's “Ask Me No More” is definitely all ??????????????????????? ALFRED WOOLER, Mius* DOC. art-song, yet both of these have been set as Jomelli, Piccini, Paisiello, Paer, Mer- ’"“buffalo, p “T'heapTn0oPr^t%eSe^ly%ultable andePiano -^^""hetter‘trained ,n the mat- strophe forms—which is a musical crime. cadante, Handel, Gluck, Meyerbeer, G. DO YOU ENJOY READING; 322 West uilco St. arrangements may be readily obta A,fr L rutiiru work, or display singing filled We teach by PERSONAL correspondence instrnc- \ ariangemeni of fhe four ter of coloroiuro ^ emb(.nlghments, but fte Q. Arc the diffe, __ Scarlatti, Caldara, Mozart, Cimarosa, tlon. Each student is a class by himsel f. Each student movements of the Is under the direct .personal supervision of President J-J^Tho°are VoJdered ^ greatest^ with ru ^ of rous^ drama has forced^™ suite always in the same key? (S. of C. Haydn, A. Scarlatti, Spontini, Hasse, Bryant. Our course is simple, complete.practical. It \MARK TWAIN?’ HUGH A. CLARKE, Mus. Doc. A. It is a fault of the old suite that its and many others. Some of Metas¬ thoroughly covers every branch of the tuner’s art — SCHOLARSHIPS- each of the foil01CIM (R. E. K.) to 1^°“c anS dramatic, Colorofuro singing movements were all in the same key. It is Tuning, Voicing:, Action Keg:ulating, Action IN LESSONS BY MAIL contralto, bass and ten • f tjle four best elamatory a e and few singers of to-dt/ tasio’s dramatic poems have had as ??????????????????????? lessons by mail Anyone maklnga as vojce must be is o»* lust ice to the chief roles possible that this was done for the sake of PUBLIC SCHOOL MUSIC u “do °even scan t' Just Ice to the chiei roies the lntenist, who had to retune when the many as forty settings. The; best contemporary ce left out key changed; but before 1722, when Bach es. The ^ol" known of all his works were “Semi- HARMONY ' wr(ie(or JoTfffiR SUBJECTS | considered sMfSSS." 3K”K1K»”.— adopted the present or tempered scale in his I CHANICAi,aAI DS fa few week i? Wsure-hour The loss of Samuel L. Clemens (Mark Twain) “Well-Tempered Clavichord, ’ it was not prac¬ ramide” and “La Clemenza di Tito.” reveals the importance of the gift of looking 4632 Chester Ave., Philadelphia, Pa. jowlng^lmt t assert mu. " l“mil Id1(1 Ul-unudtf*Ttrum ..Iliptrihwt will«iih ticable to modulate far from the key. So the you as an expert to earn the splendid rewards on the bright side of things. Many think that EUGENE F. MARKS abroad of whom ,. . .. ve iMM-n more audible as "Eiectra" Bach suites were almost always in one kev. Strange to say none of the operas for of “THE PARLOR PROESSION.” few books by contemporary writers have Among those now , W© grant our graduates a Diploma, scarcely hear at all. about ^“"retire,to retire. than ovin a HV.ccesaful singer like Mme Mar- His "Christmas Oratorio,” which extended which he wrote the librettos are pro¬ Ji accepted the world over as proof of gotten so nearly to the keen and excruciating the stage, and not about ™mlnent; arm,ar?n whow ,,o creacreated ted tthe part here, while La- over twelve days, came back to the original humor of Mark Twain as following names seem prematad, ?rml _ ivoss voice far more ponderout duced in these days with the possible ”— . proficiency. Sendtodajnor opranos, Melba. K6ache, Homer, Se exception of Mozart’s “La Clemenza (?eiymeZB6ache, Homer, SS dr Reminiscences of a Musician’s DUNNING system di Tito.” _ ‘d? 7 “Winning BInde- ;>arrcones j MOTHER’S NOTIONS. suite of the present. id Gilibert. A NAPOLEON OF THE PIANO. Vacations Abroad me ptiou aree desired " Good for Yotmg People to Follow, Q. Which Herman-born musician has done The name Napoleon is used so fre¬ it the list mightlight readrea the most for music in the United States? I By LOUIS C. ELSON OF MUSIC STUDY Tietjenslens, Patti...... uiu.ucians who have emigrated to the quently and so inappropriately to de¬ Malibran. rr,*~ ‘My little grandson often comes up Gervill scribe the successful men of finance If Mr. Elson had not won an international Mario, Rubini Nonrrit, Jean d.de Resznt;,ie ... show me how large the muscles oi and in other lines of human endeavor for. beginners i, Edward de Reszi is Theodore Thomas, who,'although musical books, he surely would be regarded as with the his arms are. East Friesland in 1835, was of German par¬ that it has become ridiculed by many. the successor of Mark Twain. The above “He was a delicate child, but has de- entage. He was one of the early directors However, our readers may be some¬ book is one continuous chuckle and ranks with of the Cincinnati College of Music, but he the best of Mark Twain’s works from that It is a significant fact, and one that intelligent teachers 'it usually^ - be thTprelZt veloped into a strung,strong, »««>“;healthy boy —H is best known by his long career as orchestral what surprised to learn that there was standpoint. More than this, it is filled with 1. Which •.» ..... leader in Chicago. In this post he showed a pianist by the name of Arthur Na¬ sound information upon musical subjects oi Loreto? , Weber? *£**££!"" ir Postum has been the principal factor. himself thoroughly progressive, and always immense value to students. Send $1.50 to are recognizing, that this practical, unique System is piano fiecA^ of Ton devoted to the highest Ideals. Through his poleon who, during the middle of the It !^errwehe?‘sSso“aCtas^^^?ea?cSr “I was induced to give him the TheTheo. Presser Co., 1712 Chestnut past century, aroused such expecta¬ Street, Philadelphia, and the only one endorsed by the most renowned educators ®„“®rrpanccts than Beethoven's, postum because of my own experience ery few critics will tions that-many felt that he would be¬ in music and pronounced by them the best in use. "Invl- with come one of the greatest virtuosos of -?LP«e PIMuc^ °whrf still » for considering Theodore Thomas the i_ "1 am sixty years old, and have been his time. He was born in Oporto, Madam Gadski’s message to teachers is as follows: The two polonaises are considered Influential of all foreigners in the field of Try the Laughter Cure! •s uiun iUlJKJL.il..--itatiye pianoPlan” a victim of nervous dyspepsia for American music are given in detail. Portugal, in 1843. When he was six it we include the concertos, his Concertstu St. Louis, April 25th, 1910. Op. 79, has been the most widely known many years. Have tried all sorts of 0. Kindly tell something of the work of years of age he played with the Phil¬ Please give the^ story^o/ the PaPassion,n medicines and had treatment from tic composer Wollenhaupt. Was he an harmonic at Oporto. Before he was the Oratorio. American or a German? (F. S.) My Dear Mrs. Dunning: , . and tell hoiv many physicians, but no permanent re¬ ten years old he had played with much (<>■ A. Heinrich Adolf Wollenhaupt was a Ger- Your name should appear in I greatly enjoyed your lucid and in¬ Tile jrassion m Hist was really, eau one of lief came. I believe nervous dyspep- bo™ of Schkeuditz, near Leipsic, in success in Paris and in London. His Teachers telligent delineation of the Dunning System the old miracle or mystery Plays, it2].- He came to New York in 1845. as only teacher up to this time had been PROFESSIONAL tion as well as -music. These arose in t;cs suffer more than other sick peo- teacher and concert pianist. Ten years later Pianists DIRECTORY of Music Study for Beginners, with the England and^ Fran he made a successful- concert tour 'in Europe. his father, who was an Italian. Meyer¬ terSa“Ge™any aSattri/to*tta?iat£ pic. as they arc affected mentally as He wrote nearly a hundred brilliant piano (See page 630) unique apparatus used which must he as m beer took such an interest in him that Organists The revival.7 very““ne” iike°WBthough well as physically. pieces. Among the most interesting of these teresting and instructive to older pupils as £Lf“« unitary March. Op. 31; the Vaises he called the attention of the King of THE WORLD RENOWNED The cost is small every man” has jracticaiiy no mu’stc. The “I used to read the Postum adver- htjrlennes. Op. 27 and 47 ; the Improvisa- Singers The advantages inestimable the children. I was deeply impressed with Prussia to the child and he was given compositions. I__ were LuiumuuiCo0fnplX^ng belts’'With tisements in our paper. At first I gave I §S?'■ the Nocturne, Op. 32, and the its adaptability to the vocal teachersneeds •— --‘-’nation of plain- Schero Brillante, Op. 72. a royal audience. Later he toured rue freedom of the ponular chanson. (jUt little attention to them, thinking I England with such noted artists as as well as to the instrumental, and. I believe !el1 ihe difference between a S7ofintheU lofh wee fl4n5 SiUnt' piiill'p it was a fraud like so many I tod | nansiUon and a modulation. (New Reader.) Sivori and Piatti. When thirteen he SOHMER that its general use would revolutionize went to Brazil and was so successful the Study of Music for the masses and give S"as8 he SUt'‘DCo"rya ot PbU tried, hut finally something in one o tnA„',A>,mn’ of a. 80n,ata form is repeated, there made long tours in the United States tainly fills a long-felt want m eartrain¬ Vhomopholiic)(homophonic) " style whichwhich' he^clalmed^to1 ’ 1 ‘ “I was very particular to have •• Shi rt ea "turning passage leading back A Complete Course of Self-instruction have originated. This piece was brought oreoared strictlv according to 0 interest. Please mention THE ETUDE when addressing or THE ETUDE 635

634 JUSTICE TO WEBERone t<> The PRESSER A great injustice ha h^storians and What Others Say Recital Programs Weber by the mus‘c;* asly they gave COLLECTION critics. Almost ^f'^ations that «We are advertised by our loving Music That Progressive Teachers jj PENNSYLVANIA SCHOOLS Berlioz credit for f Weber. It friends." Shakespeare. If bound In book Have Found Desirable sprang from the g suggested to was Weber’s scores thatJ^ents in Berlioz his audacious P ho an. Received “Standard Compositions,” A WORD TO OUR FRIENDS. 42nd SEASON Vol VII- It is certainly an excellent se¬ This department of Recital Programs is orchestration. It wafS, S^use of Op. 70, Fifty Studies v conducted for the assistance of all of our ticipated Wagner in Berlioz did lection of many desirable piano pieces. 1 readers. No charge is ever made for the find all the numbers playable and pleas¬ "Tiwjiiy S insertion of a program, as we consider it Philadelphia musical Academy leading motives long b that extremely advantageous for our subscribers it. Countless writer have „Fantastic ing, in addition to their musical value.- to know what other teaehers are teaching, _re Studies. liowever, the number of programs received 1617 Spruce Slleet, M“" S»“'- G«">»n.ew» the idee fixe ^er 9Z historically Jno. Keopff. . Op. 100, Twenty-five Studii Is very many times greater than the size Symphony” is interesting what I wish to say that I am having splen¬ Biehl, A. Op. 30, The Elemenl of the space we are able to devote to this as the first instance in music o m _ did success with Presser’s “First Steps” of Piano Playing . subject. In fact, it would be possible to Cl... . 'S fiStt SA«." Mu.ic Wagner afterwards termed^ tfa and Mathews’ “Graded Course” for the cover many pages of The Etude with the Ua*» ana3 rr RICHARD ZECKWER. Director pi ogiams received during one month. We more advanced pupils. 1 find I can get not. 1Ike to disappoint our friends, but the interest of the very young children the only conrap noscihia J «_ with “First Steps” better and quicker phony till eight years^after the^ there than I ever could before with any other book. In fact, it has, so fr ’

and otherpiano-playing inventions emphasizes Baldwin superiority.

SfolAtim (hwm^ San Francisco

THE MOST SUCCESSFUL ELEMENTARY INSTRUCTION BOOK non* w pupU.,-B«.u Jfag* ^ FIRST STEPS IN PIANOFORTE STUDY TESTED AND SUCCESSFUL Complete School of Technic FOR THE PIANOFORTE By ISIDOR PHILIPP PRICE $1.50

Pen,JbuTo°rfior7f PRACTICE and should become an indi,.

Theo. Presser Co., Pa. THE ETUDE 637 THE ETUDE THE STUDY OF HARMONY. THE COMPARATIVE DIFFI¬ 636 Vour keyboard work can be made CULTY OF SHARP AND astonishingly interesting by the study elementary FLAT KEYS. WESTERN SCHOOLS ^^™--So=MUSICAL of harmony. There are many excellent books suitable for beginners, which BY GERTRUDE BEANE HAMILTON. EASTERN SCHOOLS . -ll „ JOHNSON WARREN mav be studied at leisure and alone, PIANO STUDIES pew young teachers realize the benefit Thb Eti.de presents the following simply The tttajoriry of amateur derived from this study. STUDENTS’ SELECTED PRIMARY BEETHOVEN C0NSERYAT0RY ===s New York=== A teacher recently came under my STUDIES OF MUSIC TUITION, $200 YEARLY ers seem to sausij execute com- observation who had twenty or more lio. 8565. By II. Engelmanu music by being able compara- Doubt relieving studies for the per¬ Every teacher of piano has been con¬ Conservatory of Music pupils and had taught instrumental The oldest, largest and best music school in Specially Low Rates for $500 Including Room and Board plexed teacher. For the beginner, fronted at some time by the complaint 181 Lenox Ave., Cor. 119th St. music for many years, yet she had not this collection is ideal. Correctly- the West. All branches of music taught. Beginners *»>*”•lively well. Sf *.S£n.Ther »&«”*d the deeper■" ”° the slightest conception of the forma¬ that “sharp keys are so much harder Chartered by special Act of VeS^t“^,86s’ desire on their part ^ tjie corn- practiced, these studies will establish FREE Uundsomely Illustrated Catalogue on application to Piano. Voice. Violin, Other Instru¬ tion of either scales or chords. She than flat keys!” ments, Organ,Elocution, Languages a thorough command of the fingers meaning of the II“ b’oard, of course, had been taught that the D major scale and hand. Studies and Pieces from "Oh, I hope you won’t give me a piece posers lives. The y musical per¬ THE BROS. EPSTEIN, N. W. Cor. Taylor and Olive Sts., St. Louis, Mo. TEACHERS’ COURSES had two sharps and the D flat major the works of Czerny, Kohler, Loes- in several sharps!” exclaims the pupil. is the outward sign■ °* find the ordi- chorn and other noted writers have Whereupon the teacher very probably Latest and Best Kmdergarten and Primary had five flats, without any reasons being given. Therefore, she had been judiciously introduced. Pro¬ has insisted that actually there is no less Cartificto. e‘ ° ‘ Diploma started and continued her own teach¬ gressively arranged throughout. In difficulty in the key of A flat, with its two books, each 80 cents. MICHIGAN CONSERVATORY OF MUSIC _CATALOGUE- "«P the other character. ing in exactly the same way. four flats to be borne in mind, than in Washington Ave. «ft Park St.. DETROIT, MICH._FREDERIC L. ABEL, Director Marks’ Conservatory TWELVE INSTRUCTIVE PIECES the key of E, with its four sharps, since MUSICAL PARTIES. Including PUBLIC SCHOOL MU8IC 2 Wet 121.1 Street. NEW YORK the signature is the same in number and, FALL TERM OPENS SEPT. 12,1910 a D NORMAL TRAINING . . . Form musical acquaintances and Valuable technical problems com¬ n each instance, merely causes the inter¬ bined with those fancy-tickling mel¬ associates. Then if your teacher has val relationship of the tones to conform ILLUSTRATED € ; WILL BE MAILED 1 too large a class, or for various other odies which appeal so strongly to CRANE NORMAL THE NATIONAL young pianists. Suitable for the latter to the simple major scale principle. reasons is not able to give musical INSTITUTE OF MUSIC part of the second year Primarily It should never be forgotten, however, CONSERVATORY parties, invite these few or many intended to develop an instinct that every prevalent instinctive feeling of Music of America friends to your home to a musical for beautiful tone, dynamics, and argues some basis for its existence. Chil¬ Incorporated in 1885^ and^ chartered in 1891 by party of your own. Play games, have touch — complete expression. A dren, especially, with their intuitions un¬ puzzles, guess contests (with or with¬ splendid volume at an exceptional obscured by a diversity of reasoning, tods *of* teaching' Established^The THOROUGH EDUC A- out prizes), and make it so pleasant price—75 cents. “know without knowing why.” MINNEAPOLIS SCHOOL OF MUSIC TION of §f"X« Md”Amafteurs! for the guests that the parties will con¬ FIRST VELOCITY STUDIES The adult mind cannot afford to ignore Faculty of Renowned Specialists. tinue in other homes. For one person nor ruthlessly exterminate the straight¬ ORATORY AND DRAMATIC ART MRS. JEANNETTE M. THURBER alone this kind of entertainment re¬ Though technical in character, 42-44 Eighth St., S. - Minneapolis. Minn. Founder and President these studies are interesting. They forward instincts of childhood. SStT^K-r* IT then to read quires quite a little time and work, but 26th Year begins Sept. 8th. Address Sec’y. aim to enliven the rhythmic Bense. One may assure his young pupil re¬ The Recognized Leading Institution of the Northwest for an hour than it is to practice t where several are willing to help the Besides the original studies, many in¬ peatedly that a key with sharps is no 126 W. 79TH ST., HEW STORK CITY. different ideas work together and the Emirs It is an unfortunate fact that ventions by Cramer, Qurlitt, Spindler re difficult than- a key with an equal ;ctor, C. N. I. M„ evening is a rich reward for the labor well-educated and refined people fre- and other noted writers have been in¬ number of flats. The student may en¬ and time spent. Much of this kind of cluded. As a preparation for the auentlv say, “A good musician, but deavor to overcome his prejudice and BRIDGEWATER SCHOOL OF MUSIC amusement for winter evenings can be higher grades this assortment is un¬ A department of Bd.lgewnter College knows nothing else.” I am sorry to say thus win approbation; nevertheless, in MASON METHOD planned and arranged on the veranda in surpassed. Price, $1.00. that in the majority of cases this cnti w of his own perplexities, it is im¬ the summer time, and carefully laid BESSIE MORGAN cism is only too just. ETUDES MIGNONNES possible for him to agree with his in¬ away in boxes. It gives more time for Ko. 6885. By Paul Wacln DANA’S MUSICAL INSTITUTE, WARREN, OHIO Why is this so? structor. Fourteen short, smile-producing THE OLDEST SCHOOL OF MUSIC IN NORTH AMERICA BRIDBEWATER COLLEGE, Erldgeivn The only reason I could ever give a variety of ideas than when an even¬ was because the pleasure the performer ing is planned quickly. It is astonish¬ studies for students in the second f we look for the cause we shall see year. While each study deals with a Music taught in all its branches. Instruction derived from playing the melodies ing what a vast amount of knowledge that the child-instinct is in this instance, to that purpose.--- Fine dormitoriesrTrvrrm+rYriVcz for the piDUiiils. ucoituiui specific technical problem, the com¬ ; usual, not at fault. own farm. Maintains a large Orchestra and two uuc muua Bands. VON UNSCHULD makes the quietness of reading seem is gained at two or three of these meet¬ Send for a 64-page catalog and the blue book which givt 3 full information. UNIVERSITY OF MUSIC poser has most deftly clothed his It is possible that to the child mind a Studios 50 Jefferson Ave. J a bit dull. If this be true, read first, ings. material with sparkling little mel¬ WILLIAM H. DANA, Preisdent. sharp suggests mounting upward; hence, Jsrsey City Heights, N. 1.. but by all means read. odies that ring of joy and humor. This volume will appeal particularly endeavor, effort. The flat suggests a LEISURE READING. HOW VERDI BECAME A to those pupils who shun technic in passing downward; hence, relaxation, re¬ MUSICIAN. the abstract. Send to-day for this pose. This sub-conscious influence is the Author of^the Band rf the^ Mat, Method ^LesAetidj. Take a good musical magazine and _peruse v it_ ,from cover to cover. Read liIt is ainjuiniiRappalling tow think»■»»••*•' w*of the ““—*narrow unique collection. Price but 75 cents. actual reason for the pupil’s complaint. CHILD STUDY OF MUSIC the advertisements. They bring the escape which many of the masters of TWENTY SHORT EXERCISES This subtle distinction is sometimes ob¬ The Jessie L. Caynor Method r-of the City of New York - names of eminent people to your mind, niusic have had from missing the very served by the average composer. Wit¬ supplemented by whom you may never have heard of vocation for which nature moulded them A treatise that takes cognizance of ness his choice of a key through which 120 Claremont Avenue the simple fact that the piano is Mrs. Eben White Sloan before. Read the practical helps. Handel was to have been a doctor; Wag- to express his emotion. E flat major is •with many feature! of vital importance to the FRANK DAMROSCH, Director played with two hands—a fact fre¬ young music teacher. These will often bridge a difficulty that neJ. a painter; Schubert a schoolmaster; quently overlooked. These exercises chosen to present a restful effect rather Interpretatn ' ■ * - - . . has *been obstinate for weeks.g|jr Schumann a lawyer, and so on. The can be studied during the latter part than E major with its four sharps. Nor Best Teaching Mati Special Course for Super¬ Come to Boston world nearly lost its Verdi. Father of the first year with great benefit. s this choice a matter of pitch, since G Model Classes of Litt le Tots READ MUSICAL HISTORY. Advisory comments as to how to lal, a whole tone higher than E, is un¬ - Write for particulars and terms to- visors of Music in A week will do if pressed Seletti, the parish priest, would have had Then try the historical plan. Begin- ,]K. horn opera composer a monk. He practice—a valuable feature—have deniably more calming in its full influ- SLOAN STUDIOS - Kansas City, Mo. for time to take my course Public Schools ning at the present time and going was officiating at mass, however, when been added by the editor. Price, 80c. e than the key of E or even of F THOMAS TAPPER, Principal Teaching Teachers How backwards I find is usually easier for ycrdj happened to be deputizing at the SHORT MELODIOUS STUDIES sharp, the enharmonic key of G flat. small children than beginning at the Busseto organ. Struck with the unusually No. 4848. By Ludwig Schytte low in order to succeed, the teacher J. C. BELL, 580 Woodx EXAMINATIONS: earliest times.- The child’s memory re- - - ■ • • ------* *l“ These studies introduce in a clever SEPTEMBER 28; OCTOBER 1 and 5. beautiful organ music, the priest, at and pupil must continue in harmony with KROEGER, to Teach Piano tains the names of virtuosos and com¬ manner,though simply, double notes, 3 to 6 p.m. end of the service, expressed a desire to repeated notes, and chords. Both each other. Denial of the pupil’s idea FOREST PARK posers of to-day better than it does see the organist. Behold his amazement legato and staccato touches are without effectually effacing it and estab¬ JOHN ORTH those who lived centuries ago. The on discovering his scholar, whom he had treated; in some studies the hands lishing the duplicate of the dictator’s Steinert Hall, Boston lives of all the most important mu¬ been seeking to estrange from harmony use either touch simultaneously, and opinion in its place creates between MARY WOOD CHASE Chicago U. 24 Instructc Prospectus of Supe s’ Coarse mailed on sicians should be read, and studied, in Apply promptly. Send at once for circular to theology ! "Whose music were you play¬ in others, separately. The technical, teacher and pupil a sort of latent antag¬ Concert Pianist ANNA S. CAIRNS, order to help the pupil in the interpre¬ ing?” inquired Seletti. “It was beautiful.1 the pleasing, and the interesting are onism, a flaw in what should be perfect President. St. Louis. cleverly combined. Price, 60 cents. UNIVERSITY tation of their works. There will, no Verdi, feeling shy, informed the pries* cooperation. Author of “Natural Laws in Piano Technic.” EABODY CONSERVATORY OF MUSIC doubt, be one particular, composer ,who . tnatthat hene hadnaci brought no music wuu»«with hint STUDIES AND STUDY PIECES Those of older growth have proven, Director of Mary Wood Chase School P will attract the mostr attention and ap- and had been improvising. “So I played x». 8781. By A. Schmoll of Artistic Piano Playing. Washington College of Music Washington Square and Monument Street, Baltimore, Md. In three books, these Studies and however, one thing that the child, again DAVID SC1IEETZ CRAIG, Director pearpeal tro one the most. This is a pretty as j f ,, hc a(‘ldcd ••Ah’” exclaimed with unerring instinct, will accept on Pieces supply an abundance of ma¬ 630 Fine Arts Building, Chicago, III. MUSIC and DRAMATIC ART good sign that the music written by g , ... , • , wrongly. You terial tending to awaken an apprecia¬ faith. This is, that whatever seems dif¬ these favorite composers will be played * • . i \ musician”-Tk tion of artistic piano-playing. The ficult, possibly well-nigh insurmountable, with more relish by the student ’™s . c !’° pnCSt’ bU* 3 ” pupil completing this course—but may be studied until it is understood, Scrap books are wonderfully inter- otntnatt . __ Arcade Hall Building, Seattle, Washington moderately difficult—will have practiced until it becomes “second esting to children. A collection of pic¬ acquired, unconsciously, a well de¬ nature” and finally possessed as a tool, tures interspersed with facts and anec¬ veloped technical equipment and SCHOOL of MUSIC of SHENANDOAH COLLEGIATE INSTITUTE It has been suggested that as subject at will to one’s skilled manipu¬ dotes gives a delightful half hour on sense of the beautiful, by reason of pass by there is a slow and steady to lation. the veranda on a hot summer day. crease in... thei„c demandueiuuai for a high®. the concrete form in which these studies have been written. Edited by When a pupil exclaims, “Sharps are METRONOMES Another very excellent idea for the class of music, and for the best «* EjLKroeger. Books I, II, III, each, so much harder than flats!” why not We retail more Metro- Every instrument we sell We handle only those teacher is to read the list of composi- of the best teachers and artists, to* to.idlfl buildings. I)pHghlfnl cUi make this reply, embodying at the same names than any house is guaranteed against of the best makes ob- tions sent to the musical magazines this slow improvement in the defl1” Address SCHOOL OF MUSIC OF S. C. I.* Dayton, Virginia time concession and a demand?— in the world, mechanical defects. tamable. under ^the heading of “Recital Pro- may be immeasurably accelerated W It is true that pupils sometimes find THE STYLES ARE: grams. Look up the unfamiliar names more rational, logical, and dirt* ng’ and m°y much. Send to-day. the sharp keys more difficult to conquer ZJt; composers and. after becoming methods, and by the exercise of M* ?200 4-Fr?0-T‘L-) PyraraidaI Maelzel.de- THE YOUNG DUET PLAYERS; than the flat keys. To the accomplished 2—American Pyramidal Maelzel with door tachable Ud (no bell). t, 00 twT d u he prmclPal P°i»ts in judgment in the management ot + THEO. PRESSER CO. musician, however, one is as simple as the attached (no bell) ... «2 „ K dme ^ SHvVS anCrtr^’ nati°naHty, sieal institutions; therefore, by ««* 1712 Chestnut Street J-AmericanPyramidal Maelzel with door ’ 5-French (J.T. L.) Pyramidal Maelzel, de- other, because he is equally familiar with attached (with bell) .fe.25 tachable lid (with bell).$4.25 obJain the 5? T & a£d standard> judicious expenditure of the enow* PHILADELPHIA, PA. the sharp keys. He enjoys his power to Pols ble andTrr. r th,em"?ve«» if «f energy- and money that PRICES NET TRANSPORTATION ADDITIONAL DISCOUNTS ON TWO OR MORE THEO. PRESSER CO., 1712 Chestnut St., PHILADELPHIA, PA. ascend as well as the ease with which features’. 63 °f their chief ™»ted annually in every he can descend.. THEO. PRESSER, PHILADELPHIA. Please mention THE ETUDE when addressing of any size.—Julius Klauser. Please mention THE ETUDE, when addressingouradyertisc THE ETUDE 639

IMAGINATION IN TEACHING STANDARD AND MODERN ATTEND TO THE LITTLE THE LITTLE ONES. INSTRUCTION BOOKS THINGS. CHICAGO SCHOOLS FOR THE PIANOFORTE NEW YORK SCHOOLS All or any of these Methods cheerfully sent “On -, i a that he Did you ever stop to think that the How often do we hear during the A great artist has declare mor- opening and revealing of one of the lit- lesson hour some such remark as: “I THE COLUMBIA SCHOOL OL MUSIC iust have a PiecV<°rThe dares add tie factors of your mind will lessen and FIRST STEPS IN PIANOFORTE only slipped on one note,” or, “I only CLARE OSBORNE REED, DIRECTOR ized for six years before ne ^ student Hghten and add positive pleasure to Played natural for sharp,” or, “what Offers most complete education obtainable in this Country or in Europe in Piano, it to his concert repertory.yerfuliy seat Work with the most unresponsive STUDY VIRGIL The combined and condensed results of the work of several difference did it make if I did not Voice, Violin, Theory and Public School Music Methods. For 1910 11 Catalogue, of average abili y . ■ j^a Fileuse Qf your pupils? practical teachers of the young . _ „„„„ v address J. B. Hall, Business Manager, 328 Wabash Ave., Chicago, Illinois. Practice Clavier himse f at,the Piano and^gm^ & ^ ^ IMAGINATION you pos- raise my hand when you told me?” WSSKITS advanced ._doubtless Far superior in its latest construction to any R?ff h'^was given him more with the sess int0 piay> and you will find the “open and melodious ntroduedon to the study of pianoforte playing equally inclined tO Condone little er- other instrument for teaching and practice. hboetf equalizing and strengthening his sesame” to many a knotty problem, ™rs’ bf ^ve the tact to conceal their fingers than the expectation that he wou d Take a study necessitating continued .. .,-■-.a. —-. • indort!; thoughts. Yet many of the significant FINE AIMS Ul II.IMNr;, CHICAGO B VIRGIL SCHOOL OF MUSIC soon arrive at the point where he could jegato movement, in one or both hands, a specialty of teaching beginners--=- is events of life rest very much on our interpret it or even the unattractive old scales, and you have often hoped to find; let us attention to small details. You may lorriwreL lUblrfSa Autumn Term begins Monday, October lOtb. A student who is capable of playing instead of repeating to the point of ex- spend your summer vacation in the Enrolment day, Saturday, October Stb. Raff even by way of exercise, should asperation, “Steady, steadier,-not so dense woods of Maine or Canada. For catalogue and prospectus address: have a repertory of a dozen pieces which ky, 0h; be careful about taking up FOUNDATION MATERIALS FOR There you wander about without the K. VIRGIL, 45 East 22nd Street, NEW YORK he can play efficiently from memory. your fingers!” Why not “Now let us least fear of meeting any of the larger THE PIANOFORTE wild animals. Even the deer, moose and They should be pieces which he has ^ ,{ we can>t hear the little brook By CHARLES W. LANDON WESTERN CONSERVATORY known at least six months, and «e sho“1“ running along from the old mill, just bear would not molest you. But be¬ STEINWAY HALL, CHICAGO ware of the little black flies and mos¬ HIGHEST ORDER OF INSTRUCTION UNRIVALED FREE ADVANTAGES understand them thoroughly and be able _steadilysteadiiy aas can be. Oh, there must quitoes; they will leave their poisonous EACH PUPIL the object of special attention particularly adapted to individual needs. The American Institute of Applied Music to make others understand them. Io have been a big boulder right there that love-taps wherever a particle of skin NORMAL TRAINING CLASS FOR YOUNG TEACHERS York «, play a piece correctly, as to notes, an stopped the pretty murmur. We don’t is exposed. In music, the greatest ar¬ ad'Q°.r- Fal1 Te™ September with approximate accuracy as to time, i want any rocks in our little stream, do Special attention is giv js 5th. 9BBUBSCT:lfg8-. but half of playing it-evidently the tists will tell you that it is mainly ow¬ It is an ideal method calculated • half, since i in the study of pianoforte playing. ing to the time they have spent on The simplest translation into the sitn- what m fast and faster and faster, until bong the valuable suggestions intended to guide the teacher. daily loss of five minutes for a year courses f^Up ents wb,°TY'sh thorough guage, read aloud, when, although they tbey are so tired they drift away These suggestions and directions are well worth the price of to the Teacher’s Certificate or Grad® Music, Elc. and you will realize how you have de¬ ation Diploma. pronounced each word correctly, it is the book and are applicable in connection with the use of any Fall Term Opens Sepl. 12,1910 quiet sigh.” I know, for I have tried it. method or course of piano study. frauded yourself. Sitting a little too perfectly clear that they did not under- _Price, $1.50_ Fall Term begins September 12, 1910 With older pupils a bright little low at the piano, in order to save the For catalog address INSTITUTE OF MUSICAL ART°NFETw stand what they were reading. A page Catalogue i mailed on application The Registrar, Box 13, Auditorium Building, Chicago, IIL FRANK-- is naMDACruDAMROSCH, nir#»r.tor - ™ free summary a composer’s trouble of raising the seat. Tn this of music, rendered note for i incident from his career will provoke GUSTAV DAMNS PIANO an endowed school of music case, a considerable part of your tech¬ from errors, but without proper expres¬ an interest in an otherwise dull lesson, i„ „f the hutitut, arc intended only for MudenU of natural aMLty with an SCHOOL nical work will have been absolutely ,CS or me insmuie j A a<}m|ssion should be made not later than October I st to msu sion has the same effect. and any girl or boy will work much WITH ENGLISH AND GERMAN TEXT NORTHWESTERN UNIVERSITY us Secretary. 120 Claremont Avenue, New There is, then, more than technic to destroyed. Cutting down the strict Mr. and Mrs. Crosby Adams more enthusiastically on “a piece that An excellent edition ofthis.widely used work, the popularity EVANSTON-CHICAQO- be taken into consideration in playing a ot which may be judged by the fact that the original German value of the long notes, rests and will resume their teaching Beethoven wrote out in the woods publuher has issued no less than two hundred editions of it. the last week in September piece of music. The MacDowell pieces Our edition is somewhat larger than most others, so the notes pauses- Treating double-dotted notes SCHOOL OF MUSIC many of them, easy to read. Do while a funeral procession passed with and text are correspondingly larger and clearer, making this the as if they were single. Ignoring such Mrs. Adams’ name is widely known as a com¬ ideal edition for both teacher and pupil. snvvt however* tnake*the”mistake of think- hushed chant in order not to disturb Price, substantially bound in boards, large apparent trifles as the printed signs poser. As a teacher of piano she Las an ex¬ EDUCATI ON tended reputation, her work being not alone MUSI C ing them easy to play. It is a question him, than he would on a plain _quarto (329 pages), $2.00 and words. Inattention to the grada¬ ■ 900 Beacon Street, - BOSTON, MASS. of brains, not of muscle, and you must be “Sonata.” with children of different ages, but also with CALVIN BRAINERD CADY, tions of touch. Very often the “mar- advanced students and teachers. These teach¬ 11 be in New York City keen enough and sincere enough to rec- Ask you pupil if he cannot see the PRACTICAL PIANO SCHOOL cato” is mistaken for the “staccato;” ers come to her not only for general work and i Chicago’s most By LOUIS KOEHLER After Sept. 20th K ognize your limitations. Begin with To high cliffs and the deep fjords of Nor- the latter, in its turn, is often not given methods of teaching, but for the deeper study . Course in Applied Mu. sition, and classes in normalNormal wuiwork x^udresa will be Teac a Wild Rose, of the Woodland Sketches, way when he plays such and .such a Opus 300 .tins of the Mu.ic Department of the Tea Not the well-known “Practical Method ” of this author, of sufficient lightness Placing the foot of beautiful tone-quality and the artistic inter¬ York City. Bull. it is love at first sound, with most peo- thing of Grieg’s: make him see them winch there are 10 volumes, but a later, more direct, condensed pretation of music. JVORMAL tf00^Sjg-;s!chEtfuSitfon.’ ' on the pedal a little too late. Holding pie, and try to give it just the right jn a way that will give unsuspected and practical course of pianoforte instruction. We consider it Write for further particulars to be ter for beginners than any other work of this writer the hands too far from the black keys simplicity—rather bright than sugary. pleasure to you both. Crosby Adams, Oak Park (Chicago), Illinois But do not attempt the Will o’ the Wisp '_ * hng mSlm ''er?d?8 and f“U °f “5eful ideas su**es,ed by in certain chromatic passages. Keep¬ __In two books -each, 75c_ V- P“blic Sch°o1 Mu,ic (ir. public) unless it will just run of" ing the finger nails a trifle too long, PURCELL’S BUSINESS INSTINCT. An Enlarged and Revised Edition of Courses I, II and V include literary studies ir your fingers, with a flirt here and thereby straightening the fingers too Chicago Piano College flicker there. Do not play it if it is to Musicians, as a whole, are not credited much or suggesting “castanets.” It LOUIS KOEHLER S PRACTICAL Kimball Hall' . Chicago, IU. NEW YORK SCHOOL OF MUSIC AND ARTS sound like an exercise in skipped notes. with a very acute business sense, may seem a very insignificant matter 58 WEST 97th STREET And do not play the sonorous and c though there are many instances one can METHOD FOR THE not to know the flame and something mltj. of Study RALFE LEECH STERNER DIRECTOR plex Sea Pieces, unless you can. readily call to mind which go to show PIANOFORTE of the biography of the composer who It is the effect of simplicity which you that the generalization is somewhat libel- Opus 249; Volumes land II is laying bare for you his deepest FOR MANY YEARS NEW YORK’S PRE-EMINENT MUSIC SCHOOL Revised by the Author's daughter LUTKIN, Dean, Evanston, III. Delightfully situated between Central Park and the Hudson River must attain, and what is easy for another However, a very curious instance emotions. If you devote only a few may be hard for you, or vice versa. The ALL BRANCHES OF MUSIC AND ART TAUGHT occurred in the case of the English com- -ue2^tL°uX™lR;Xc_EhXft RTm h:Ne every day acquiring such grade of difficulty of a piece has nothing bV‘- ? » '« >be drstinctr rfmracter of the knowledge, you will be surprised to ob- Special Normal Courses for Teachers. Pupils'Concerts, Carnegie Hall. Send for Booklet. Mehiin Piano Used, •, Henry Purcell, which goes to show ™ whatever to do with its musical value— - oarin? mT the Author s daughter, who asi ._ kow mucj, better you will enter it is absurd to call a piece “trifling” be- bal’ besldes be,n« a composer of genius, &CAL METHOD “’reTogt-ed^ o the spirit of the music. KimballAmerican Hall .... Conservatory2ao.M, „ * . ~ V M cause it is light. There are “easy” pieces hc bad a keen e>e for the mam chance’ rwSffi,ta’ txc.elkF,' d« AMERICAN PUPIL; 239-253 Wabash Ave.,. Chicago, JIII. by composers of unquestioned merit, When William and Mary were crowned 0rt1"ry.““^'^Won" Teachend pieces which sound hackneyed to the ear K’ng and Queen of England in I®), PRESStRrfL m °*l’eI draI"! should ask fot lhe 3rHoEf^mS( ol of Music and Dramatic Art. Seven of a professional, perhaps, yet by the Purcell was organist at Westminster Ah- Volumeg | and II, each, 50c. Combined, S1.00 NEW BOOKS. m ° do not helWg,t0 l?par! .^orou8hness to their work and who NORTH CLARK ST. and CHICAGO AVE., CHICAGO Finest and best practice instrument made everyone loves, and there are many jollv ? d afford the steeP Pnce be Pfobab y method. tHe ultunate value of a so-called “easy mens of work of this nature. 1 IfINTII SKASOV ___ vniCAGO KENJiETn M. BBAHLEY, Hirer FOR CATALOGUE ADDRESf sturdy little pieces suggesting nothing so , rged (the exact amount 1S Marmontd, Lachner, Moscheles much as a jig. To “long to get up and k"°.wn')- Unluckily for the businesslike A Twentieth Century Harmony Text- dance a jig” is not the noblest of our °"genius,>n5”' however, *’-the authorities-*i—felt felt that MRS. A. M. VIRGIL PIANO SCHOOL and Book. By Edward Schaaf. Published M. BALI.MANN moods, nevertheless it is entirely human, he was taking an undue advantage of by the author. Price, $1.00. Director VIRGIL CONSERVATORY and the pianist who can express it un¬ his position, and ordered him to hand — E,ei'b'»es a Etudea-Third Degree, S2 *• A. WILLETT Fot those who are already acquainted 42 West 76th Street mistakably has conquered one phase of ....r the proceeds, “and in default..- thereof Fall Term expressive playing. Many of the songs bis place to be declared null and « liberal discounts to the profession with the study of harmony in a gen¬ September 19th, 1910 Booklet Sent. NEW YORK trorn the lighter operas may be obtained and his stipend or salary to be detained Published by THEO. PRESSER CO. eral kind of way, but are rather vague IVIUSIP flCTING and Address after Sept. 1 s . 42 West 76tb St. in piano arrangements which are charm- in the treasurer’s hands until further about it, this book might serve as a LANGUAGES ing, and easily mastered. I7'2 Chestnut Street, Philadelphia, Pa. i”'"! pnl'tlal scholarships. orders.” means of epitomizing their knowledge, re pen'iculertyTntoesW. 8CU ^KEB, Secretary. Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when thee EASIER GRADE Wit, Humor PIANO KINDERGARTEN COURSES and Anecdote COLLECTIONS |l --—======Every Music Teacher Needs This SOME SUPERFLUOUS questions. STANDARD COMPOSITIONS answered toy a Pro- [These questions .are q£ the leading Graded and compiled by W. S. B. Mathews fe8Sor who was .ianitoi in lD addition Six Volumes : Seven Grades conservatories for many . Fi:anz Liszt, and Normal Course of Piano Study to this, he delivered man to roU for Fletcher Music Method -—led Anton Rubinstel11 ^ ™ abte to pepAipJj°fdewith™the "greatest benefit; and BI Jef anf and % music" questions sub¬ e course is planned to promote sound By William H. Sherwood mitted.] its use will afford much gratifica- ‘ ■ateth teacher and pupil. In single vol- , each SO cents. T IS but natural that you should desire to learn how to teach music by the Twenty-six more teachers by September 1st will have n An elderly gentleman of my ac- I graduated in the Method, and still there are calls for STANDARD GRADED PIECES kmlraPPr°-^hmethods' Your PuPils Progress, under such circumstances, a second Patti. I am forty-two and hree volumes covering six grades nnrJ • than your comPetitor s, and as a result you have larger classes Fletcher Music Method Teachers unfilled. somewhat plain in appearance we i By W. S. B. Mathews To-day the standard of music is increasing, the price verv wealthy, and offers to send me to no ber,s ”orceoin4rgf mtrjs UNLFARNlwh’8 y°U grf sat!sfacltlon- Your pupils would never have to Paris to study with Jean de Reszke. UWUUARN anything you had taught them, no matter how far they might wish of Mechanical Piano players decreasing and the music er s araud'ardGrade Studies can be devised. He offers to pay all my e^Pens®S Better to dispense with unskilled experime aHenT^pheir StEdlCS‘ APPreciatl£g that it is impossible for many tefehers to teachers between the two, bid fair to fall to the ground. give me $3,000 a year spending money; -Mch results in disappointment ae greater and surer results which attend a Conservatory or residence School of Music, we offer them, through the But at this critical moment comes the F. M. M., prov¬ He will also provide me with an aut ow me use of this widely imitated but mobile and seats at the opera. What ing that music is of incalculable educational worth; that a equaled 'c°ll““e' $,-°0 * lZTLE^rS1°n Mf ^ a formal Course in music, bringing to thefr ve^ shall 1 do ?—Daisy. child shall have his own thoughts and express them, and A. Roll over, you are sleeping on features can be taught, imdeSgr^teTt^hvLg teachS? °f ^ imp°rtant hence be able to more easily and happily analyze the your back. -olume 01 easy, rarapm „|y^[0“s •rn and classic composers are represented musical thoughts of other*. *ir mo^t pleasing and melodious inspira- Q. Mother used to send me to sleep Musically and practically a work of The F. M. M. is epoch making, proving that the ■with a tune that went something like value, affording preparation for the study WILLIAM H. SHERWOOD ^Ve Teach You How To Teach musical imitator and copyists' day is drawing to a this: “Dumptidy, dumptidy, la, la, la. : easier classics. Price 50 cents. close, and that the joy and freedom of the broader Dee, dee, dum.” What was thfs tune r MUSICAL POEMS <□> his method of piano whicehCdedtermTmPlete SeHeS °f TT”’ ilIustrated Iessons embracing education is at hand. No cheap imitations of this sys¬ —Honor Bright. ■ Original Melodies with Appropriate Ver A. You probably mean that touch- By Octavia Hudson framed that the answers to them enable you to receive much of TheC W°rL l The queStionS are s° tem can stand in its way. Mrs. Fletcher-Copp needs ing little ditty: correct you when wrong. In this way you can get in permanent systematic ordeX 1™ JL k Af s£en£the1}, Fou where you are weak and jffiagi'nation. *Wholesome and joyous, teachers to fill the demands, and every Earnest, Pro¬ Johnny, get the tweezers, and successful principles of music study and piano playing. His conception of a harmnXTX ° X Sher.w°od s wonderfully scientific, artistic There’s a clove in father’s breath light and graceful^ ‘ho”nd to cultira”'a gressive Music Teacher of any grade needs the L. M. 1V1. ror music in any child. For tnc teacher sensibi ity for expression, so that carefuly developed fingers, hands wrists arms iZT ll jT °l mufcal,.feeIm£, mind> muscle and every children this work is unsurpassed. Price , put m such form that you, too, can tmin ypurXpilsXsSy,^^ ***** °f a,CuItUred ^genc? The next class opens September 15th and closes Sadie Bower socks: No: fortissimo ts. Mr. Sherwood uses in his own practice and private teaching. Mr Sherwood charp-es^SO P 7cal]y’ ^principles and exercises that does not mean to keep time with the November 12th. TUNES a practically al taken even at this price. But you can enjoy his ^LeTn The ^0/ your owThol?UY£TE'™™«on and his time is feet on the floor. at a cost easily within your reach. q your own home by The University Extention Method Apply at once, as the number must be limited. By Geo. L. Spaldii Here’s a help for the teacher of the kinder¬ Q. Who were the greatest tambour¬ garten or any class of young pupils. Fo Home Address, 31 York Terrace, Brookline, Mass, ine virtuosos ?—Nervous. mirth-provoking little selections (that 1 ig or played, or both togethcr),accompani or P. O. Box 1336 Boston, Mass. A. Lew Dockstaeder, Primrose and >y amusing ditties set to melodics lancllul ai Harmony West. ileasing. A volume full of evident e Under • price of SO cent*. Mr. Adolph Rosenbecker and Mr. Daniel Protheroe Q. Can I tune lity piano with CHILDHOOD DAYS AS accomplished and well-known in their field as Mr. Sherwood is in his monkey-wrench?—Faithful Reader. Instructive Duets by Dr. Hans SCHOOLS AND TEACHERS A. By all means, if there is no 1 .. collection of easy duets adapted . «v . part ?f the, c°urse includes the Formation of Scales PROFESSIONAL DIRECTORY on page 630 Advertise l our Fall Sessions In cycle-pump handy. reading ami initial practice in ensemble play¬ Musical Notation, Interval, Chord Combination, Thoroughbass Pro’ Inserted 12 Times, Before Half Million ing. Arranged forthe pupil's playing of either —— THE ETRJDE - ‘l-a Primo or the .SV-condo, to familiarize him gression, Transposing Harmonizing, Writing 0/ Accompaniments Musical People for $15.00 Lh both clefs. Progressive, melodious aud Georgia, aged 4, was watching the cresting. Price 50 cents. tm°tbn° etc"’ S’ ^ Analysis> Counterpoint, Orches¬ COORTMT SYSTEM OF MUSICAL KINDERGAHTEN cus parade, and just as the elephant: tration, etc. This harmony work is given by means of weekly lessons KINDERGARTEN TRAINING were passing, the calliope began to play. A YEAR IN THE LIFE OF A CHILD with written examinations. You are required to do original work Twelve Little Four-Hand Pieces which is carefully corrected or revised, and you are given hdnful "Mother, I don’t like the way the ele¬ By P. Baschinsky Id,responsible positions, Hon phant. sings.”—The Delineator. An attractive volume of original p suggestions at every step Harmony is to music what grammar is to named respectively after the months 0 - „(jcrs elementary four-hand rr.a the English language, and no musical education is complete without Friend (at Paris Opera)—“Why did Catchy verses accompany each pitce. Price A U'KU C3n k U‘dL y°Ur pupl-ls through Ae intricacies of Harmony you applaud so vigorously when that and Theory by the same, simple, easy lessons, original work and speech was made at the end of the first examinations that you receive. B ana NEW MANUAL brings the Burrowes act ?” 24 PIECES FOR SMALL HANDS DANIEL PROTHEROE After taking a thorough course in harmony you can: (l)Anal- Course of Music Study absolutely abreast Bluffe—“I wanted people to think By H. Engelmann Then you are looking for pieces ADOLPH ROSENBECKER of the year 1910 understood French." . practical and the pleasing are liappi Friend—-“Well, it was hardly d prop os. associated, don’t overlook this volume, for NEW MANUAL contains many additions The tenor was explaining that a substi¬ n many and equal jjH NEW to the study-scheme, leads into more ad¬ tute would have to assume the role MANUAL -f vanced fields, gives fuller uses for the drills account of the sudden death of mother.” FIRST DANCE ALBUM and appliances more recently added to the Twenty-six pieces representing all method forms. Easv and suitable for all dance -dons. A remarkable collection bound to pleast “Your daughter’s music is improving, it but 50 cents. NEW MANUAL makes the Burrowes A Few Comments From those Who Know BURROWES said the professor, “but when she gets t \Perry, Oklahoi FIRST PARLOR PIECES says: “The daily prac- Course of Music Study the newest, most the scales I have to watch her pretty Thirty-four characteristic selections antici Ft lie wristfmove lts and the pedal work. 2i^fpsh^ro. A, complete, most up-to-date vehicle for kin¬ closely.” pating every possible need for instruc' ^things Inever )W before, and am bo that this workls' dergarten and primary instruction now before “Just like her father,” said Mrs. Nu- interesting pieces. No mistake will I could go on studying in recommending this collection tor applied COURSES the public. The Burrowes Course of 1910 ritch. “He made his money in the grocery the second year. Price 50 cents. that he .. L. Gresham, of Benoit Miss > -h.lP,LnJ(,tJ10““"d8 to a thorough mnslcal educaHou tlon of the hand and arm “I think your posi- business.” >re my pupils in a simpler and clearer r£ where he previously is the Burrowes Course of 1895, but en¬ Trades, Christmas Ntmber? bU* UQdreds’”^-From the Music great Improvement ove “hi old^avof flngerlng, Is a larged, improved and clad anew in the best controllingmethod my fingers,’ Am veryhand mSch and arm pie “sed" %}thhteRching y pr°sress P»- In thought of the present day MUSIC Mr. Orkestra—These By Carl Rolling S°^d,3aS ^ 't'USUaI Opportunity At Once NEW MANUAL should command the gave me are in different As an aid in developing steadiness and the other. pose, the value of duet playing cannot attention of all teachers interested in kin¬ overrated. This collection furnishes t1” Ticket Seller at Opera House—One Mr. Protheroe and Mr. Rosenbecker dergarten and primary instruction, and all melodious pieces, written in : II keys and to each p-radimte Sh^^’ seat is for a lady isn’t it? in the compass of five tones. Suitable ‘ requirements for the degree of Bachelor of Music. STUDY second and third vears. In two books X,’fadUatC) £ntitling *he Wder t0 teach these^ exclusive and ap^rovedModern "methods. The^oTdc such are requested to communicate' with Mr. Orkestra—Yes. $1.00. 's credited on the KINDERGARTEN the authoress. Illustrated Booklet sent free. Ticket Seller—Well, that’s all right, WRITE US TO.DAV FOR TERMS AND PULL PART.CULARS AND KATHARINE BURROWES then. You are expected to sit behind ‘ Dep’t F, 502 Carnegie Hall, New York City lady, and if you bring one with a big SIEGEL-MYERS SCHOOL OF MUSl’c'^ PRIMARY THEODORE PRESSER C( Dep’t F, Detroit, Mich. it’s your own fault, That’s the way .. . . miJalWi84SMononBlock, CHICAGO sell them n'"" PHILADELPHIA. PENN. m THE ETUDEwhen addressing . — SUPREMACY —

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NOW READY-3. HANDS TOGETHER Important to All Pianists arid Students SELECTED "CZERNY ' THE NEW GRADUS STUDIES AD PARNASSUM IN EIGHT BOOKS Copious Annotations, by EMIL LIEBLING By IS1DOR PHILIPP IB THREE BOOKS PRICE » CENTS EACH <| In this unique work each separate department of technic is considered by itself, all the studies bearing upon any particular technical point being VALUABLE and noteworthy addition to the technical lit¬ classified together and arranged in logical and progressive order. Proceeding erature of the pianoforte. This work represents a in this manner each subject is treated exhaustively in a separate part The diligent sifting and careful selection of material from main points thus covered are : the entire works of Czerny, including all the popular opus numbers, together with many less known, but 1. Left Hand Technic 4. Arpeggios equally meritorious studies. Mr. Liebling’s editorial 2. Right Hand Technic 5. Double Notes work has been of the most exact and painstaking 3. Hands Together 6. Octaves and Chords character from both the technical and interpretative sides; the annotations are of real practical value and •S The entire literature of educational piano music has been ransacked musical interest. The three volumes, which are care¬ order to select the best possible studies adapted to each of the above fully and closely graded, the studies being arranged in progres¬ sive order, range in difficulty from the early second to the sev¬ classifications. A student completing any one of these will have (ought that enth grade. . , particular subject to a finish and have imbibed the ripest and best ideas on Czerny’s mastery of technical detail and his mastery of the subject. musical expression are truly remarkable; he was a most voluminous writer. „ . , Monsieur I. Philipp, leading Professor of Pianoforte in the Paris Conserv¬ It is of course, impossible to study but a small portion ot atory, is admirably equipped by knowledge, experience and natural talent lor his work's, and even m the more generally used opus num¬ the compilation and preparation of a work of this type. He has engaged bers there are many studies which are unnecessary in the pres¬ in the task with devotion and enthusiasm. ent day. But in practically every volume there is to be found some pianistic gem w hich should not be neglected. €J Each classification will be published as a separate Part.- The object of this present compilation is to present his very best studies of all grades in attractive and convenient form for general use. The success of this work lias been of the most ADVANCE OF PUBLICATION OFFER flattering character. It is the best work of the kird ever offered We will send No. 1. Left Hand Technic, when published, (or only 20 It is printed from beautifully engraved special plates and substantially and thoroughly bound in heavy paper. oents postpaid to anyone sending us this amount, or. No. 1. Left Hand lechnic and No. 3. Hands Together for 40 cents. An exceptional opportunity. THEODORE PRESSER CO., Philadelphia, pa. Theo. Presser Co. ,c”Td'" ^

i Lave been established 60 YEARS PIANOSi teveryVieIY family in moderatemo<^eratt- circumstancescireumsr™ can <_ our syslem of .payments J. lilil V/VJ take old instruments in exchange ami dein-e home tree ot exoense. Write for ra.ai,^ n 'T !.. vose vose & SONS PIANO CO., Boston, Mass. ‘ explanations.