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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1915 Volume 33, Number 03 (March 1915) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 33, Number 03 (March 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/611
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SUCCESS QUCCESS comes to rT"vHE really great ■ most people between Passing the Dead Line in Music Study man laughs at the the ages of thirty and dead line. Failure is fifty. The tragedy of By THOMAS TAPPER only a spur to urge him the dead line is its un¬ Have you come to a dead standstill in your work? on to greater height^. suspected certainty. If Are you at loss to know which way to turn? At 56 Handel failed as Are you drifting along without realizing your ideals? you have come to the an Opera composer and If so, you need an awakening of this sort and need it badly. place in your career managpr, but before he where you realize that was 57 he had won suc¬ cess with the oratorio. it is a case of “make of Mr, Alfred Hertz, conductor at the Metropolitan glorious records of men rich in years who never sus¬ as one passes the invisible parallels of latitude at sea. Even though you have break,” let nothing stop Opera House, New York, has resigned his position at pected the existence of a Dead Line. In music Wagner, The teacher, instrumentalist or singer, who would thus least for the present, for the reason that his work tends Handel, Bach, Liszt, Verdi, Haydn, and a host of passed the dead line be¬ you. Beethoven, instead pass the Dead Line, must think not upon the Dead Line more and more to become fixed, limited to a few Ger¬ others worked with increasing efficiency to the very itself, but of those things upon which he must depend fore you realized that of being shut in by his man operas that are repeated year after year. In short, end. to carry himself past. he is afraid of the consequences to himself of his work Often men and women who have filled the passing you were going back¬ The Dead Line may be described as a will diminu¬ deafness,, which came on becoming easier through familiarity and repetition. He years with the results of increasingly efficient labor endo ; a gradual decrease of the exercise of will power. desires a period of freedom to take stock of himself, ward, there is still a THE' AGES OF MAN at the age of 30, came have worked with the constant handicap of serious ill¬ This may be graphically shown in no better way than to keep the imagination from becoming clouded, and ness. Stevenson wrote as he could between hemor¬ glorious chance if you The above diagram was circulated by The Bell Telephone Company by the use of the diminuendo sign so familiar to all of out farther and farther the initiative from growing sluggish and inactive. rhages of the lungs. Darwin, in a time of convales¬ first issued by a large industrial company for the benefit of its worker* The artmle Fassing fight for it. Success is Here is the gist of the Dead Line: The imagination in the terms of his cence, did some of his best work in ten minute periods. the Dead Line in Music Study” on the following page shows that the dead lm ^ J „ must remain constructive and the initiative spontane¬ Beethoven’s glory as a composer increased as his ability for those who command any age, twenty as well as forty or seventy and that many music workers do come back, genius. ous for new endeavor. Inevitable and unrelenting as to hear decreased. . Mary Lamb accomplished all the it. that is “make good,” after the age of fifty and sixty. It is one of the most stimulating articles Death itself, the Dead Line threatens the career of collaborative writing with her brother between fits of The Etude has ever presented. almost every individual. It is that life meridian at insanity. Chopin was a chronic invalid. In every such So long as two lines are separated at all there is a which the advancement possible to us all is arrested instance we find the predominant characteristic to be possibility of forcing them so far apart as to turn them and the worker ceases thereafter to develop. Age has a willed determination to initiate and produce; the in opposite direction's, thus: YOUR LIST OF MEMORIZED PIECES. little to do with the matter. The Dead Line welcomes individual always forging ahead in the conviction ex¬ INTERESTING FACTS ABOUT THE OPERA. JOHN MILTON, COMPOSER. all; the music student in his ’teens, as well as the artist pressed by Victor Hugo—the mind is forever rich be¬ of forty, fifty or seventy. Thus we are surrounded by Though the leit-motiv is usually.; associated with John Milton, the, poet, occupies in literature about yond anything we may draw from it in aTife-time. BY LEONORA SILL ASHTON. men and women living, breathing, working, talking, The much-garbled statement attributed to Sir William Wagner, who certainly developed its use in opera to the the same position that Bach does in music. Both were inspired by profound religious emotions, and both who are nevertheless the sepulchres of careers long Osier, which gave currency Jo the word “Oslerized,” highest possible pitch, yet he was by no means the first since deceased. wrote in mighty.epic forms. It is generally known, of The student who has finished her course of music has inflicted untold cruelty upon worthy men of ad¬ How shall we detect the diminuendo within ourselves? to use it. Weber uses it in his Der Freisch&ts, and the To the musician the tragedy of the Dead Line, the vanced age. Because a vast number permit themselves How can we find out whether we are really forging course, that Milton was a keen musician, and there are study must guard against a certain selfishness in regard suggestive music given to the Statue in Mozart’s Don passing of his ambition, ideals, hope and faith, his to decay mentally and physically before life has really frequent references Jo music in his works. It is less ahead on the road to life success or letting ourselves be Giovanni indicates that in this, as in so many other to the repertoire. All of our friends do not care for service-contribution to mankind, is too terrible for ripened by no means proves that all are useless after drawn to the brink of a cataract? well known—or at least, less frequently remembered— matters, Mozart saw far into the future of music. light, gay music: neither do they all care for cradle words. Thousands of music workers die long before a certain set year. The statement attributed to Dr. Probably the best way for the musician to tell whether that John Milton the poet was the son of John Milton, Opera in its beginning was confined to the rich, and songs, and songs without words: and perhaps only a they reach their prime, affected by the insidious Osier has been disproved time and again. he is approaching the Dead Line is to make a wholly was given only in the palaces of the nobility under the musician. The elder John Milton was the son of a few would really enjoy a movement from a Beethoven paralysis that1 undermines the springs of action in The fact that until recent years the Dead Line was frank personal inventory of his actual condition. It princely patronage. The first opera-house open to the Well-to-do English farmer who lived near Oxford and sonata, or a Bach prelude. Therefore, have a wide imagination and initiative. accepted as inevitable has possibly more to do with the is hard to do this, especially for one who has been accus¬ general public and run on a commercial basis was the was born about 1563. He is said to have spent his early latitude in your list of pieces, which you keep ready Let us trace two famous instances in music. Rossini life failure of many musicians than anything else. It tomed to receive the “plaudits of the audience”, hut it Teatro di San Cassiano in Venice, 1637. The proprie¬ days at Christ Church, Oxford. His father was a bigoted for performance, and try to keep something on hand, and Verdi. The illustrations below tell the story. is only very lately indeed that the world has become must he done. It' reveals to us that we are approaching Rossini rises triumphantly year after year until the tors were Benedetto Ferrari, a noted theorbo player, Roman Catholjc, and on account of the fact that he for each class of listeners. convinced that such a disease as consumption is pre¬ the Dead Line: was himself an equally bigoted Protestant, he was age of thirty-seven. Then his career totters and falls. ventable and arrestable. In years gone by the consump¬ 1. When we cast out life into a mechanical mold. and Francesco .Manelli da Tivoli. Ferrari wrote the In the high realms of concert playing, a de Pachmann forced to leave home and essay his fortune in London. Indolence, self-sufficiency and self-indulgence under¬ tive was doomed to go first to the patent-medicine man 2..When we avoid making unnecessary motions. words and Manelli the music of the first' opera pro¬ may indulge his own exclusive, taste, in the • perform¬ Here he prospered,in business and was also lucky mine his life-work at the moment when he should then to the undertaker. In much the same manner The person ‘who comes upon an unfamiliar technical duced there, Andromeda. The venture was a success. ance of one style of music, but even here this is an have been entering upon his amplifying years. enough to inherit a .-fortune, with which he eventually music teachers, pianists and musical directors, bitterly term in music and decides to let it go by rather than get In the opera of the eighteenth century the rules re¬ exception. Verdi climbed steadily upward until late in his retired to Buckinghamshire. His musical reputation is accepted the inevitable without making half a fight, up from his seat at the keyboard to open the dictionary garding the leading characters were very strict. The eighties, when he passed out at the very zenith of his based on a number of compositions, mostly of a reli¬ Look at one of Paderewski’s or Bauer’s programs; Instead of approaching middle life with a Dantesque four feet away, is no longer fully alive. In this and orthodox number of principal characters was six—three career. What' might Rossini have done had he con¬ “Abandon hope all ye who enter here”, the musician gious character, which (display sound musicianship but no what a wide range of musical style and thought they every like case Death has already begun the process of women and three men, or at most three wometa and tinued to work and rise as persistently as Verdi did! should look forward to the golden years with ever-in¬ remarkable genius, jle is said by his grandson Phillips represent. You may do likewise in your own smaller destruction, of pulling the organism to pieces because four men. The first woman, or prima dontta as she was We may come upon the Dead Line at twenty or at creasing energy, with the spirit of happiness in work, —who got it from n<*| less than John Milton the poet— way. it fails to respond to stimuli. That is the one sure sign seventy-five; but while there may be some excuse for new faith and love for the fellow man, new curiosity (and still is) called, was always a high soprano, and to have written a fotjy-part piotet entitled In Nomine, of approaching dissolution, for nature says I need this Perhaps you have a fondness for dreamy, -ocking it at seventy-five, the professional musician should find for the great movements of the hour. Granted this he the second or third a contralto. The first man (primo for which he received a gold chain from a Polish prince, material for some other purpose. I cannot tolerate this uomo) was an artificial soprano. So sttict waS this rhythms and plaintive melodies. They are very beauti¬ none at the earlier age. History abounds with the will pass the Dead Line as unconsciously and joyously inaction. visiting Oxford. It has been conjectured that this ful, it is true; but to some a barcarolle or a Russian rule that it obtained even when the hero of the piece prince was A'.bertus Alasco, vaiode or palatinate of “Fragment” is sad; and these people find .their feelings had such a role to play as that .of Hercules! The Siradia in Poland. second man was either a soprano like the first, or an disturbed and irritated by whgt is pensive. When artificial contralto, while thp third was a tenor,. Only they ask you to play for them then, have a bright when a fourth man was introduced was there a part little waltz ready or a playful Schumann number, that for a basso. ' will make them smile, and wake in their hearts the Spectacular operatic productions are now the order cheerfulness that they love.. .If. on the contrary, you of the day, and we read of the gorgeous presentations are fond of the gay, dancing pieces, and care only for at the New York Metropolitan, or at other magnificent what sparkles with runs and embellishments: then opera-houses with no more than passing interest. ‘ But force yourself fo learn some quiet compositions. You the spectacular element in opera is, no new thing. will need them for your own good, as well as for the When Freschi produced his Berenice at Padua the good of others. Quiet music need not necessarily be attractions included choruses of 100 Virgins, 109 sad; and the mere practise of it will help to settle Soldiers, and 100 Horsemen in iron armor; besides 4p you in your work, and give your music strength and Cornets, on horseback; 6 mounted Trumpeters; 6 repose. In every group of listeners there will be LIFE’S HARP STRINGS. Drummers; 6 Ensigns; 6 S&'ckbuts; 6 Flutes; 12 Min¬ one or two who appreciate and love the works of the strels, playing on Turkish'and other instruments; 6 14& they or'e and as they might be. old masters: Mozart, Haydn, Beethoven, and of course Pages; 3 Sergeants; 6 Cyjfibaleers; 12 Huntsmen; 12 Psychologists tell, us that less than twenty per cent, you will have these names represented on your list. of the men and women who set out to do great things Grooms; 12 Charioteers; 2 Lions, led by 2 Turks; 2 led Most people on being asked to play usually respond ever attain unusual results. The harp on the left Elephants; Berenice’s Triumphal Car, drawn by 4 by playing their favorite piece; nor are they to be Horses; a Forest filled yvith Wild-boar, Deer, and pictures this percentage;—two strings in tune ; eight are blamed, as one naturally plays best that which one Bears, and other splendors, too numerous to mention. broken. The second picture shows how many might hkes best. Nevertheless, there is a fine courtesy in In contrast to this mammoth production, it may be succeed (counting qpt all those who through disease, playing that which is most in tune with one’s immed¬ mentioned that Pistocchi’s teandro (1679) and Girelto accident and fortune,seemed doomed to failure).- That iate environment, and. in tjie broadest sense, it is the (1682) were performed by puppets, and Ziano’s Damira is, nine men in ten ought to make good. Nine strings most artistic thing to do. It demands, however, a care- placata by mechanical figures, as large as life, while the in tune with only offe broken string. This illustration lully selected repertoire covering a wide variety of real singers officiated behind the scenes. refers to Mr. Tappers article on the following page. pieces in many different mdods. THE ETUDE 171 THE ETUDE 170 THE CRUCIAL MOMENT IN YOUR CAREER. u hie that every human being reaches at I. Determine upon a Long Plan; that is, an ac^Y'^ It is probable jhat^ev y ^ he must choose the 3. When the first morning impression is that of an¬ demanding your best dynamic work for some con other burdensome day—more lessons to give, more un¬ some ‘ime, down the mountain or one (though it able period of time, say five years, or ten yea”’ path that leads leads him onward and upward. skilled hands to guide. . rest of your life; something to which every day seems impossibie) that leads him t ^ ^ and 4 When the body and its affairs reflect upon the self contribute a necessary portion of labor for the u more strongly than the self reflects upon the body and Everyone £ber this fact: The first party that mate success. , , MPh then wise to re . Matterhorn examined it from A Study of Studies Old and New its affairs. , , . , II. Every plan of this kind must be made to' “t 5. When we forget that the purpose for which we are individual case. Since your goal is determined by tne S l\CCfoutsides'to "detennin^die approach. The East Observations upon Technical Elements of Style in Piano Playing evidently created is increase of insight and power. This plan and reached by the plan, it becomes immediately L a sheer perpendicular face, was given up at once results in ceaseless inquiry, study, contemplation, ex¬ side, a sheer P R ^ other three sldes were ex. apparent how important the Long Plan is, how c By the Eminent American Critic amination, sincere and severe work, not merely in as impossible- pronounced inaccessible. Then fully one must proceed in laying if out. However, th musical affairs, but forever amplifying into new lines man or woman who has reached the age of forty stan s r^teer East wall was once again scrutinized; still it JAMESJiUNEKER of activity. When these go out of life, Death comes upon a vantage point. Failure and success alike av in: slowly, surely, silently, stealing away our power given experiences which must be looked upon as asse s. bit by bit; sealing up our senses, little by little, until i. the left hand at the expense of the right or the other nearly a half century ago, and in art that time means Be- sure that your plan is right. Do not barter snap- we are completely mummified. Sitting not so long ago in the company of two wise way about. Trill and double-note specialists abounded, many revolutions in taste and technique. The cry is 6. When activity ceases, and some form of paralysis judgment for a deeply thought out purpose. men of music, one of them asked me: “Which fingers and one could study octaves here, ornaments there, III. Work to get complete control of all that is good Condense! and thereupon Oscar Raif, who with a wave ensues, as for instance when we rely too much in our do you trill with?” I was so startled that I did not stiffness at Stuttgart, relaxation with Deppe, and yet and all that may be distinctively negative in you. in before hi . .t .g }n tbat moment that we must of his pedagogic wand banished all etudes, substituting teaching upon what we acquired as students instead of tain or down, f ;{ we WOuld not drop back answer. His companion, a younger pundit, told me no man could truthfully swear that his was the unique other words, be the master of yourself. Consider your the difficulties in a composition for standard exhaustive essay whatever is before us u w how he trilled, and being pressed I simply answered, method. Suddenly in this quagmire of doubt and dumb solving our musical problems ourselves. career a great organ upon which you may play any practice. Certainly a step in piano pedagogics, then 7. We have crossed the Dead Line when we react to 5ntn the life of inaction. . . , , Irish-like, with another question: “Why should any¬ keyboards arose a still, small voice, but the voice of a work if you only make yourself the real master ot A student of humankind investigating why men be- seemingly nihilistic, but to-day an incarnate principle the'stimulus of hard work in terms of retreat, fear, in¬ one trill at all?” Perhaps this shed some light upon mighty man. This is what he said: There is but one whatever you set out to do. The organ is responsive to in the Daily Studies of Isidor Philipp. Then said a dolence, love of ease; when we relax in our quest for the subject of the hand in modern piano-playing. The god of technique, Bach, and Clementi is his prophet. him who by persistent practice at the keyboard has won few reasoning men: Why not skeletonize the entire new musical truths and “let go.” supremacy of the finger in the republic of hand, wrist, Thus spoke Karl Tausig, and left behind him an imper¬ absolute command over it. Like the organist we must Tf we cling to that, life expands for us , it we let go, system of piano technique, giving it in pure, powerful Having made a preliminary examination into your forearm, upper-arm, is gone forever; rather is the ishable volume of Clementi. , and small doses to the patient, i. e., student? With condition, you can now form some more definite opinion sit at the keyboard of life and become its master. we slip back, not merely into the past, but into OUR Before such an organ as the following you would sit finger relegated to its just place, a servant of the It was the opinion of Tausig that only Clementi and this idea1 Plaidy, Bruno Zwintscher and Riemann have of your real status. In answering the following ques¬ biceps; above all, the triceps, and not as heretofore, Chopin have provided studies that perfectly fulfill their with the Will poised for action: literally epitomized the technics of the keyboard. Dr. tions, take stock of yourself as coldly and impersonally simple device of a tyrannical master. Liszt settled the matter forever. intention. It was that great pianist’s habit to make use rich vital and dynamic Present, by the healthy and William Mason in his Touch and Technic further diver¬ as though you were doing it for a stranger. Cast up To think of Rudolph Willmers and his one-time sensa¬ of them before all others in the school for the higher sified this bald material in making the pupil attack it your annual income, add $1000.00 a year to the total proper exercise of the Imagination and Initiative we tional chain-trills is not possible nowadays. Trill, if development of piano playing of which he was the head. with varying touches, rhythms and velocities. In his and place yourself in the position of an employer about are at the same time making for ourselves two Cher you must indulge in that frivolous proceeding, with He used them himself. Furthermore, he asserted that valuable synthetic method, Albert R. Parsons makes to engage an employe at such a sum. Do not over-rate thinas- (i) The richest possible Past which accumu¬ your thumb and fifth finger, it does not matter, but by means of those studies Clementi had made known miracles of music commonplaces for the plastic mind yourself or under-rate yourself in the answers to the late to make the Present; and (*) The richest pass, trilling for the sheer sake of the trills is as obsolete and accessible the entire piano literature from Bach to of children. Heinrich Germer’s Technics or Mason’s following. To make your condition as clear to yourself b Future which ceaselessly emerges from the Present. as a piece which only exploits the arpeggio.. The truth Beethoven, just as Chopin and Liszt completed the are sufficient to form the fingers, wrist and arm, but as possible, estimate your assets and liabilities by per¬ This is what Mr. Alfred Herts seems intent upon is the keyboard as a stamping ground for coloratura scale of dazzling virtuosity. The Gradus was one what studies are essential to a student who wishes to centages : securing. music is no longer possible. The mechanical players mighty barrier against the influx of mechanical or attain the technical boundaries of the keyboard? Tech¬ beat the virtuosi at their own game. Wagner raised nonsensical etudes. Then came Von Billow with his nics alone will not do, for one does not get figures SELF-EXAMINATION FOR MUSIC Editorial. the essential turn to an integral part of his thematic Cramer edition, . and another step was taken in the that flow, nor the sequence of musical ideas, nor WORKERS. material and thus spiritualized the trill’s aspect. boiling-down movement. Moreover, the clever Hans musical endurance, not to mention phrasing and style After each of the following questions, place Nevertheless, Touch, Tone and Technique throw up took the reins in his hands and practically said in his such a percentage rating that you believe a generally. No particular work blends these requisites. CLIMB OUT OF THE RUT. as many problems for master and student alike, though preface to the Cramer edition: Here is my list, take Piano studies can’t be absolutely discarded without wholly impartial but compt' the point of view has completely shifted. Technique thetic examiner' might give y it and study. You will then become a pianist—if you serious loss; we lose the suavity and simplicity of for technique’s sake is as-extinct as the Dodo. We no have the talent. Here is his list: Lebert and At the beginning of this article reference has been Cramer, a true pendant to Mozart; the indispensable longer waste time in attempting the equalization of Stark—abomination of angular desolation.; Aloys made to the letter of resignation sent by Alfred Hertz technics and foundational tone and solid touch of 1. Is my physic 1 condition as good as I finger, for, as Harold Bauer has told us, the process Schmitt’s exercises, with a touch of Heller to give flesh could make it if I observed all the to the Metropolitan Opera House directorate. To our Clementi, a true forerunner in the technical sense, to is unnatural and unavailing. Nor do we pin and flavor to the old dry bones; Cramer (Billow), demands wh !h I know make for good personal knowledge Mr. Hertz’ work at the opera has Beethoven; and then what a loss to piano literature health? . any faith to the practicing of innumerable exercises— Heller, Op. 46, Op. 47; Czerny, Daily Exercises and the never been finer than during the past year. Indeed he would be the suppression of the Chopin, Liszt and 2. Do I look eagerly forward to the develop¬ that way decay of the spirit lies. But, as Rafael School of Legato and Staccato; Clementi (Tausig) ; ment of mental and physical technic, so has been personally responsible for the great musical Rubinstein studies. Joseffy contends, we must play some studies, not alone Moscheles, Op. 70; Henselt Studies, Op. 2 and Op. 5; that I can do more in music?. THE VALUE OF A PLAN COVERING MANY YEARS. heights attained in German opera in America during 3. Am I suffering from the results of decreas¬ for style, but also for the sake of endurance. Pupils Haberbier Etudes Poesies; Moscheles, Op. 95; Chopin, THE NEW PSYCHOLOGY. ing will activity? Do I seek leisure and The musician will gain little power for his march the last few years. Yet Mr. Hertz realizes the danger can’t subsist on finger exercises alone. Op. 10 and Op. 25; the concert studies of Liszt and The new psychology in piano pedagogics recognizes comfort where I formerly sought work? past the Dead-Line by spasmodic resolves to “do bet¬ of getting in a rut. He saw the need for quick action 4. Do I keep constantly in touch with Rubenstein; finally, C. V. Alkan with Theodore Kullak’s the labors of the preceding generation of thinkers, ter hereafter.” Sudden spurts of practice, the purchase if he were to pass the Dead-Line. The “rut is the AN ARMY OF ETUDES. octave studies. great musical thought 5 day by experimenters and seekers; also recognizes the use at means of regular daily of some new book, “sure to revolutionize things,” filling danger signal of the Dead-Line. It will pay you to Many yeai?s ago I endeavored to write at length— Now this list doesn’t err on the side of super¬ the time of a more rigid schematology than is neces¬ best musical books and musical maga¬ a few pages of manuscript music paper with notes now read Mr. Hertz’ letter carefully. It shows the mind- it was at great length—about all the etudes for the ficiality, nevertheless it is very old fashioned, made sary to-day. But the truth is that where the old school zines ? . and then, are little more than the last flickers of a dying angle of a man of proven strength who proposes to piano. My attempt naturally failed. Yet I return 5. Do I dread new undertakings, new ideas, relentlessly drilled young fingers, giving them nothing instead of doing everything in my powo” flame of youthful enthusiasm. What is needed is a grow stronger, who realizes that his fate is in his own to the vexed question because there must be a solution but musical husks for the imagination, we give instead aster t: long, serious, unrelenting, purposeful campaign. hands for his own making and who at the height of and also because what is one pupil’s meat may be Of finger gymnastics Bach, Bach and again Bach—Bach, 6. Is my life, my practice, my study grad¬ Nothing so vitalizes the spiritual, mental and physical his career has the initiative and courage to act upon another’s poison. Since the days of grand old Carl ually taking on an automatic, humdrum in whose music floats the past, present and future of character? Do I do things more and man as the purpose on which he sets his very soul. A his convictions. Mr. Hertz’ letter is very interesting Czerny, instruction books, commonly known as methods, more by mechanical routine and less and Long Plan accomplishes two things. (1) The worker in itself. It gives us a new interest in Alfred Hertz. began to appear. I shan’t go back to the Medes and the tone art. Not only is a young mind taught habits less by intelligent direction?. treasures every minute of his life, for with these min¬ "I have just started upon my forty-second year, a Persians nor to the woad of the early Britons, so I’ll of concentration, but the fingers learn self-indepen¬ Do I continually seek out new works by period of life when I have always thought a man ought, dence ; they weave polyphonically in and out of a simple new composers and give serious atten- utes he wins his way to the accomplishment of his pur¬ dodge the ancient practice volumes, with their quaint pose. (2) By accomplishing his purpose he wins him¬ if his affairs permit, to pause for awhile in order to blowsy figures and scrolls, that were given pupils who composition, autonomous, varied in touch; in a word, 8. Do I lack initiative 1—the word with four self (always assuming the purpose to be a good one). take stock of his past career and map out his future. wished to master the spinet, virginal and clavichord. the foundation is laid for tone color, all said and done, “I’s There are many instances of men and women in music I love my art, operatic conducting, but it is wearing the most difficult of artistic problems, for tone color ... memory failing?. But to-day there are few who still remember the 10. Are any of my senses impaired—sight? who have won great success late in life after the most and exhausting, and if it is confined, as mine has been methods of Hummel, Moscheles and Fetis, Henri and its possession differentiates a human being from baffling failures. It will pay musicians, however, to re¬ at the Metropolitan, especially of late years, to com¬ Herz, Kalkbrenner, Lebert and Stark, Richardson— a self-playing piano. There is no Bach piano method, 11. In my use of imagination, do I picture call the remarkable case of Sir Walter Scott. When paratively few and necessarily often repeated operas, founded on the Lebert and Stark—and half a hundred as some of the Inventions are as difficult as the Fugues. But begin with the Little Preludes and exercises and or do I construct new possibilities that the great author was fifty-two years of age he was, so there is the possibility that the imagination eventually other methods. That they have fallen into disuse is have to be won by fighting?. far as he knew, both rich and famous. Suddenly he might be blurred and the initiative retarded. only natural. They were for the most part hu'ky, the youthful groper soon finds his hands on terra firma; 12. Am I doing something every day in the discovered that through the failure of his publishers "It is, I understand, the practice of the leading contained a large amount of useless material, and did then proceed with the two and three part Inventions, way of self-discipline? Something hard he was in debt' for $600,000. The course of the average the Suites, the Italian Concert, the Forty-eight Preludes to do and persisted in for the sake of American universities to allow their professors one year not quite cover the ground, being too often the reflec¬ conquering the smug complacency of man would have been either to blow his brains out or in every seven for study, contemplation and leisure tion of a one-sided virtuosity. Of late years the pre¬ and Fugues in the Well Tempered Clavichord, not comfortable habit ? . give up in everlasting despair, but Walter Scott, maker away from the routine of their ordinary work—the paratory school of Rafael Joseffy and his method for forgetting the beautiful Fugue in A minor—a separate 13. Have I ever recorded how I nse the of heroes, was not of that clay. Let us compare his opus with a short prelude, and the glorious Fantasia twenty-four hours of the day?. so-called sabbatical year. As my present contract with the development of a virtuoso technique are the only Add up the percentages and divide by case with that of a man written about some years ago the Metropolitan Company expires at the end of the works I am acquainted with that are new and an evo¬ and Fugue. The Liszt-Bach transcriptions, like the thirteen. Should you have a percentage above who lost his fortune at fifty-one and for twenty years current season, I have decided, after twice seven years, lution of the principles advanced by Joseffy’s master, Tausig transcriptions of the Toccata and Fugue in D seventy, you are to be congratulated. But if was a tramp and an outcast. We will call him A. B. to take a sabbatical year. I expect in the course of this the peerless Tausig. minor, may be taken up later, much later. Handel, too, you have less, know that this percentage is Scott took his misfortune as an opportunity for far more likely to go down with advancing period, besides having leisure for repose and study, to Coincident with the appearance of the methods sprang should be taken up at this period. Before the Clavi¬ greater expression of his power, while A. B. took his years than to go up. A percentage below have occasion to do both concert and operatic conduct¬ UP an]aJrny °f etudes. Countless hosts of notes, mar¬ chord is reached the pupil’s hand is ready for Cramer, seventy points to the Dead-Line a few steps as a closed door to further life. One established a ing, and this will give me opportunity for a more shalled into the most fantastic figures, hurled them¬ and some of these agreeable pieces, many poetic, may ahead on the road. Long Plan and went at it; the other ran away. diversified exercise of my art than has been possible selves at varying velocities and rhythms on the pianistic be studied. What could follow Cramer more fitly than _ for a number of years past.” world. Dire were the results. Schools arose and camps Clementi as edited by Tausig? But Bach should be the within camps. There were those in the land that developed daily bread of students and teachers alike. It was ■Scott’s setback Chopin’s. OVER THE DEAD-LINE. A prodigy organist is somewhat rare, yet possibly Sir Walter Parratt may have been regarded as such Having appraised one’s efficiency by some such series and recovery in his childhood. His father was organist at an im¬ of questions as the above, the next step is to block out a . Ym '' '■ ■, SCO portant church in Huddersfield, England, and the child plan which may aid in passing the Dead-Line, or indeed : ‘ Y failure was able to play the organ in church services at the if one has passed the Dead-Line, map out some means age of seven. At the age of ten he once played from by which the former opportunities, desires, ambitions o 10 20 30 40 SO 60 JO years memory and without notice the entire Forty-eight Pre¬ and energies may be aroused. ludes and Fugues of Bach. THE ETUDE 173 THE ETUDE 172 , may find that bridge between through Kef!55’ wh?chyi pretend, or imagine, to be more useful ttau Gottschalfs TreuuJu-nof . Clementi and C£opmJ»« ofP clementi, Kessler has In dementi we may discern the seeds of modern Op. 45, a very pretty theme and variations l P missing. luc , . , piano music, and a careful study of him insures nobility notes. The truth is Thalberg has written music tto of tone, freedom of style, and a surety of linger that cannot be passed over by any fair-minded teacner. studies and temperaments. cannot be found elsewhere. Tausig compressed Cle- same objection that is held against Thalbe g d .. - , ™inil can’t be pinioned to the same menti into twenty-nine examples, which, with discrimi¬ good in the case of Moscheles; both are old-fashioned. [j 1 NTofStudies Temperaments are as numerous as nation, may be reduced to fifteen. .The same procedure The style in either case is rococo, the round of studies That .g why x suggest these A New Educational System of elimination may be applied to Cramer, not more than banal and the tunes trite. But of the two Thalberg P the sands °f c There are other charming works be- * i one-half of the fifty in the Biilow edition being service¬ pares the hand better for Henselt, Chopin and Liszt various etude* for example. Try Eggeling and Attracting Wide Attention able in the latter-day curriculum. Von Bulow’s trinity than does Moscheles, as Biilow so fondly imagl”!.d„., , sides Cramer, H gach or Jadassohns schol- ■ ;i jj.j of B’s—Bach, Beethoven and Brahms—may be paral¬ But the greater part of these names are negfig■ Riemann as preparatory to Bacn, o J Emile Jaques-Dalcroze and His Method of Rhythmic Development leled in the literature of piano studies by a trinity o There is, however, one man who might be sugg > rly a> kL5 a composer who is as much forgotten as Steibelt, who From Notes Prepared Especially for The Etude by | C’s—dementi,' Cramer and Chopin. And that leads us Sh®ws c sharp minor prelude and fugue is to to the pertinent question: How is that ugly gap wrote a Storm for the piano and thought he was In Jadassohn s L sna P Then there are some M. Jaques-Dalcroze’s American Exponent good as Beethoven. Joseph Christoph Kessler is th between dementi and Chopin to be bridged? Bulow be found h°n s William Mason’s Etude Romanza attempts to supply the bridge by a compound of one. Chopin dedicated his Preludes, Op. 28, to him, and Kessler dedicated his Op. 20, twenty-four studies, on .he so-called Hungarian »1, SENOR PLACIDO DE MONTOLIU Moscheles, Henselt—who needs special preparatory Instructor In Eurhythmies in the Model School at Bryn Mawr College to Hummel. After he met Chopin at Warsaw he dedi¬ studies to meet his demands on the stretching power with the ralns^ds.ei^chuetSgmceMS£/«^ Itignonne, cated to him a set of preludes (Op. 31)- Schumann of the fingers—which is obviously tedious, and in the admired him, wrote of him, and Liszt—who knew eve y case of Henselt puts the cart before the horse. And _ SENOR DE MONTOLIU body and everythingr-played an etude by Kess nriiniiiiniTiTunTfTTTrmnTfiTTnnTiTiiTFTTTiTTi'nTiTTTTTniniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii/jiiiiiiiiM 1 EMILE JAQUES-DALCROZE I fear I do not appreciate the much-vaunted studies by concert. Withal a well commended young man (he was the musical Philistine, Moscheles. (Why not Reinecke born 1800 at Augsburg; he died at Vienna, 1872). Let and be done with the matter?) To be sure, they are us examine the four books of studies, too bulky and fat and healthy, indeed, almost buxom, but they lack badly fingered. Out of the twenty-four there are ten [Editor’s Note.—Although the Jaques-Dalcroze system, of just a pinch of the Attic salt that conserves Clementi worthy of study; the rest are old-fashioned. Book I, trians and Russians have written studies for which a Eurhythmies was introduced in Europe over ten years ago the person of Fraulein Nina" Gorter, who helped him the way of Jaques-Dalcrofce. Knowing that to incur German and Cramer. I do not wish to speak irreverently of the Vol I, is in C and is a melody in broken chords pecu and has since then received wide recognition in various constantly in the working out and in the demonstration enmity meant the loss of all his years of labor at Hellerau, journals here and abroad The Etude has purposely re¬ he signed the protest against the destruction of the Rheims worthy Moscheles, who was a sound, sincere musician liarly trying to the fourth finger; the stretches are served presenting its principles to its readers until it was of his methods. Cathedral. The Germans felt that this was unforgivable and pedagogue. I believe his G minor concerto is the modern, the study is useful. No. II, in A minor, is an possible to give them in such manner that a true idea of In 1905, at Sdlothurn, a public demonstration was considering the artistic hospitality and lavish financial sup- what the system has accomplished could he gained. It must port given to the method In Germany. A coterie of his greatest conservatory concerto ever written, holding excellent approach to interlocking figures in modern be understood that The Etdde does not make propaganda given. Musicians, educators, psychologists and journal¬ friends followed him to Switzerland and asked him to retract the fort even against the two concertos by Mendelssohn ; music. Valuable this one. No. III may be recom¬ of great value, for therein may be found a solution for proprietary methods. Enough of the system has been ists present saw at once that the system was out of the but he was adamant and as a result he is now virtually openly published in French to make its general principles .laazed from German educational life, and the splendid while his several Hommages for two dry pianists serve mended as a melody in chord skips. No. TV *s t*8***1 ?or criss-cross rhythmic difficulties. Adolph Carpes common educational property. Etdde readers should note ordinary. The idea of having music as an accompani¬ Hellerau is now being used a the purpose of driving a man out of art into politics. for the development of the left hand. No. V i work on Phrasing and Accentuation attacks the that this system is in no sense a pianoforte method, or a ment of physical exercise and dancing is not new, but violin method or a singing method, but a form of exhaustive fusing on account of hand crossing. No. VI serves the rhythmic problem in the most searching and practical the idea of having every motion the interpretation of As for the utilitarian, qualities of Op. 70 or Op. 95, i mental and bodily training designed to make the student In 1913 Miss M. Carey Thomas, President of Bryn see nothing in either of them that has not been better same purpose as No. IV. If you can play Nos. IV fashion, and there are no doubt many other kindred more efficient musically before the study of any special certain rhythms—the artistic combination of different instrument is undertaken.] Mawr College, became very much interested in the sys¬ done by contemporaries of this composer. For instance, and VI of Kessler you need not fear the C minor or studies which I have forgotten or else am ignorant of. rhythms expressed by different members of the body— C sharp minor studies of Chopin (Op. 10), wherein A CREATION OR A REVIVAL. tem and arranged for its introduction in the model in Op. 70 the double-note study is weak when com¬ Sufficient for the day are the studies thereof. school for girls connected with the college. Accordingly pared with that best of all studies of the kind, Czerny’s the left hand plays such an important role. Book i We have now reached the boundaries of the Chopin Thanks to Praxiteles and other Greek sculptors of Jaques-Dalcroze has stated that at first he devized has a study—No. VIII—in octaves, but I shan t em¬ Sefior Placido de Montoliu, a graduate of the Hellerau Toccata in C. In passing let me say that this old Toc¬ e’udes, that delightful and tremendous region wherein the glorious days of Athens we have saved to us in his method “as a musician for musicians." Later he phasize its importance, as the Kullak octave school Institute and former teacher at the college, was en¬ cata is a remarkable special study and is certainly the technique-worn student discerns from afar the stone something of the wonderful grace and rhythm of realized that his work was of elemental importance in should never be absent from your piano rack. JN o. , gaged to introduce the work Senor de Montoliu was number one in the famous trio of double-note etudes, glorious hues, the birds of exotic plumage, the sparkle a people who have never been surpassed in standards the training of the powers of expression and the ex- born at Barcelona, Spain, but has spent much time in unisonic study, is good and a foundation study for of falling waters, the odors so grateful after so much the other two being the Schumann Toccata and the of intellectual and physical culture. In Germany, France and Russia. The Etude effects of this sort. It might be practiced before inhalation of Czerny, Clementi and Cramer. What an G sharp minor study in Op. 25 of Chopin. looking at many of the pictures of groups is under obligation to him for much of the attacking the last movement of the B flat minor inviting vista! Yet it is not all a paradise of roses. Since I wrote the above my attention was called to of students performing the rhythmical ex¬ following specific information. Sonata by Chopin. That about comprises the value of Flinty is the road over which the musical pilgrim toils, a new edition (Herzog) of Czerny’s Studies in Perfec¬ ercises of the Jaques-Dalcroze method we Before considering in detail the nature this volume. Book III contains little to commend—a and while his ears covet the beautiful sounds *his fingers tion of Style. They will open your eyes when you see are reminded first of all of those wonder¬ of the work it may be interesting for the study, No. XIII, nasty figures for alternate hands; may bleed. Up the peak of Parnassus he mounts, the how the Viennese pedagogue anticipated in figuration No. XV for the wrist, excellent as preparation for ful effigies of Greek dancers, bird-like In readers of The Etude to get an idea of delectable land of music over yonder. But he will find and style such moderns as Chopin, Henselt, Hans, See¬ their lightness and exquisitely beautiful in the course of studies at Hellerau as they Rubinstein’s staccato etude, and No. XVIII, same that his best staff has been Bach, his safest guides ling) and others; he even met on his chosen field with Chopin-like figuration for the right hand. Book IV has their fluency. were conducted under Jaques-Dalcroze. Czerny, Clementi and Cramer. The rest may be dis¬ success Cramer. The first is Henseltian, the second only a few studies: No. XX for left-hand culture No Inspired by Greek ideals and desiring to After the war there can be no doubt that pensed with, not so this trio. You may note that Cramer, the fourth would serve as a preparation to XXI for stretches and a facile thumb, and No. XXIV, with the passage of the years I remain as old-fashioned create something which would make those whatever Jaques-Dalcroze has accomplished Chopin’s Winter Wind study in Op. 25—not, of course, a very stiff study, bound to strengthen the weaker ideals more than the mere dreams of an will be valued by all the warring nations as ever. so complicated in pattern, nor in the mood the slightest fingers of the left hand. It will repay you to look aesthete, Emile Jaques-Dalcroze has devized alike. First let us quote from Dalcroze resemblance; in No. 11 there is a figure favored by a series of rhythmic exercises very exten¬ himself. Rubinstein in his Op. 23, while the bass mounts like the sive in number and far reaching in effect, sword theme in the Ring! Yes, it sounds comical. - THE PHILOSOPHY OF JAQUES-DALCROZE. which, taken together with many other admit. No. 14 gives us a rolling bass figure—the com¬ Keep the Emotions Alive with Music educational advances, has come to be “The first result of a thorough rhythmic monplace melody superimposed in octaves—that may training is that the pupil sees clearly in 7By E. W. ABELL known as “Eurhythmies” in English and be found in Henselt’s Op. 2, also more elaborately himself what he really is, and, obtains from worked out in Seeling’s study, Lurhne; Clementi bobs thought and sentiment into some favorite piece. How “Rhythmische Gymnastik” in German. The great naturalist, Charles R. Darwin, said in the his powers all the advantage possible. This up in No. 15, Henselt in the following study, and quickly the tired feeling disappears, and all looks bright, Emile Jaques-Dalcroze was born July 6. 1865, result seems to me one which should attract Cramer in No. 18; also the succeeding one; and in latter part of his life that he regretted having allowed when we grasp the violin and let all of our imprisoned at Vienna, Austria. His mother was of German the attention of all educationalists and as¬ No. 22 reminiscence-hunters will gasp over the more the emotional side of his nature to die out. It is now ancestry, but his father was a Swiss, com¬ emotions flow out through its sensitive and beautiful sure to education by and for rhythm an than superficial resemblance to Chopin’s Fantaisie Im¬ generally known that our health and happiness suffer ing from St. Croix. In this manner he came tone. This is the best expression of our inner selves, by his artist name Dalcroze (of the cross), important place in general culture." promptu; even a rhythmic problem is solved; finally, in from suppression of the emotions. The best example an Italian form of St. Croix. As a child he was that craves such an outlet, and would otherwise die “But as an artist I wish to add, that the No. 23 Henselt and Seeling are recalled—the old, dry- of perfect health and overflowing joy and activity is brought to Geneva by his parents where he en¬ within us from lack of use. tered the very fine conservatory of that city. Latei „„ second result of his education ought to be as-dust piano teacher, Czerny, anticipated all these found in little children, from one to three or four Of course music, like anything else, can be overdone. to Paris where he studied for a time under Delibes (com¬ ternalization of natural emotions. In other words, it to put the completely developed faculties of the indi¬ romantic young chaps. years of age. During this stage their emotions have poser of hakme and many delightful ballets). Finally we could, be employed by any student with the view of Herein lurks danger to the professional player. To find him as a young man in Vienna where his masters were vidual to the service of art and give the latter the full play. They shout with laughter whenever the im¬ give us an hour or two of enjoyment he spends months Bruckner and Fuchs. As a teacher and musical director he bringing a better balance between his muscles and nerves FROM HUMMEL TO CHOPIN. most subtle and complete of interpreters—the human pulse prompts, or burst into a flood of tears when their and years in constant practice. He is, therefore, almost had many varied experiences among which was an appoint¬ and his thinking powers. All pianists know how difficult ment as musical director of a theatre in Algiers where he it is to play three notes in the right hand while the At one time I believed that the gap I speak of :ould feelings are wounded. Does anyone believe for a too much under the stimulating influence of music. became very much interested in the odd rhythms of the “We must from youth up learn that we are masters left hand plays four notes. The student of Eurhythmies be crossed by the two Hummel concertos, for between moment, that they would continue to he so plump and The great artists, and those who aim to become such, native^ musicians of northern Africa. After some time he of our fate, that heredity is powerless if we realize that the early Chopin and Hummel there is a certain resem¬ ’ o Geneva, settling down as a composer, teacher thinks nothing of beating three-four time with the right rosy and full of fun, if their emotions were suppressed? would do well to guard against this danger. They ac¬ we can conquer it, that our future depends upon the Many of his best known compositions arm, four-four with the left arm, marching in five-four blance. For instance, some of the passage work of Pent-up feelings must have an outward expression. cumulate what might be called a “surplus charge” of -n’s songs and his most excellent violin victory whjch we gam over ourselves. However weak Hummel is singularly like Chopin’s juvenile style, and time and moving the head in eleven-four time all at This applies with equal force to men and women, but music. The professional player may, or may not, real¬ concerto date from this time, as well as his orchestral and the individual may be, his help is required to prepare a Chopin was extremely fond of playing the Hummel operatic works. In 1892 he became the Professor of Har- the same time. The concentration this demands is, of custom and etiquette step in and balk nature s wise ize the situation, but something is apt to happen, unless t the Geneva Conservatory. way for a better future. Life and growth are one and concertos. The resemblance is an external one; spirit¬ course, most exacting. In 1910 Jaques-Dalcroze went to provision for our welfare. In this respect women are he regularly gets rid of this surplus charge, as the the same, and it is our duty by the example of our lives ually there is no kinship between the sleek virtuoso of Dresden at the invitation of Harald Dohrn and Wolf more rational than men. They keep nearer to nature’s cloud relieves its electrical tension by a lightning flash HOW THE METHOD STARTED. to develop those who come after us” Weimar and the genius of Warsaw. No doubt the Dohrn, brothers who had become enthusiastic over the plan. They talk more, thus giving the feelings larger to the earth. It was while engaged in this work that he wrote a “I like joy for it is life. I preach joy for it alone Perfection studies of Czerny above mentioned might method. There, in a suburb called Hellerau, a remark¬ freedom of expression. If their emotions reach the The remedy is simple and easy enough if he will series of Gesture Songs, which he found immensely gives the power of creating lasting and useful work serve as a passage to Chopin, and there are studies of able building was erected,—remarkable because of the overflowing point they go and have a good cry. apply it. It is to get frequently in touch with a totally popular with children who used them. In teaching time Kalkbrenner, of virtuoso character; Ries, too, has done very new type of architecture, and remarkable because Amusement, an excitement which stimulates the nerves Strange, is it not, that we of the stronger sex sup¬ different atmosphere or environment from his own, as to a little girl he one day fell upon the plan of having some good work, notably the first in the Peters set. of the large financial investment ($400,000.00) in an instead of uplifting the spirit, is not necessary in the press, in our pride, that which would help us, while we “plus” electricity gets in touch with “negative" elec¬ her march in regularly spaced steps with the view of Then there is Edmund Neupert. His hundred daily enterprise which many might consider visionary and life of the artist. Of course one must often let oneself studies are original and his etudes are charming; they smoke, chew, drink, swear and do other harmful things. tricity during a thunder storm. Fortunately we are giving the child a more definite idea of metre and impractical. go, and I should be the last to defend the so-called suggest Grieg, a more virile Grieg. Take the Thalberg For the very reason that men fight nature’s laws, by all impressionable and readily influenced by whatever rhythm. Next arm motions were combined with the moral discipline or a pedantic rule of monastic severity THE INSTITUTE AT HELLERAU. studies, how much more pianistic, even poetic, than the suppressing the emotions, they are driven to these other surroundings we put ourselves into. Go to a lecture steps, then movements of the head, etc., so that many For a healthy active person the joy of the daily struggle evil things in the vain search for a substitute. the unusual activity attracted wide attention respectable Moscheles’ efforts! I know it is the fashion on geology, astronomy, political economy, or whatever different rhythms were marked at one and the same and stq^ents commenced to arrive from many parts of the and of work performed with enthusiasm should be suf¬ to sneer at Thalberg and his machine-made fantaisies, There is a substitute far better than those we have else you know nothing about and in which you have time. ,„A new form of stage with wonderful lightlnl ficient to beautify life, drive away fatigue and illuminate but we must not be blind to the good qualities in his Art mentioned. It is music. Through this we can keep not the slightest interest. That very fact is your sal¬ The result was an elaborate system of rhythmical that was simple and novel scenery,—scenerf present and future.. The condition of joy is brought alive the emotions that mean so much to our health ,mo£e than freely flowing draperies—made of Singing on the Piano (with one possible exception— vation. You will get out of your musical self com¬ exercises demanding the finest possible mental discipline Sivenbla«toea?r0du THE ETUDE FOUNDATION OF THE 174 „. a rule every note’s value is represented by a step THE first traces of a methodical system MODERN WARSAW CONSERVATORY. THE SPIRIT AT HELLERAU. of musical educa¬ m glves'an Foh‘rfJtiu^tpieture°ot^t^e^tmos^here Our mind of » '»"« FRANZ SCHUBERT. TRANSCRIBED BY FRANZ LISZT. works, especially in the songs, as, for example, in the Schubert-Liszt ! What an immeasurable vista of re¬ SONG FORM. Romance from “Rosamund,’ the Junge Nonne and flection is opened up as one writes down these two There is no limitation as to the form which a musical many others too numerous to mention In his larger names, a vista so broad indeed as to make it difficult to setting of words shall take; the composer treats the works equally happy instances constantly appear, as in select the links wherewith to weld together the short poem according to the poetic content. But in the set¬ the Trio of the G Major Fantasia Sonata, and again chain of which this article must necessarily be com¬ ting of simple lyrics, one or two particular forms have in the slow movement of the great C Major Symphony. posed. Surely never were there two beings, both des¬ predominated. The simplest of these is where, a song At C commences the short interlude of nine bars; in tined to exercise such a great influence in their respec¬ having several stanzas, the music is the same for all: Schubert’s original, there are only eight, but Liszt has tive spheres who were, for some remarkable reason, national airs, Volkslieder, etc., are mostly of this type, added one bar for no very obvious reason unless it is best known to herself, so unequally treated by Dame as are also a large number of the smaller songs of the to °ain a treater effect of diminuendo and to slightly Fortune. great composers: in the language of the text-book, this retard the re-entry of the theme. The material of this is called the binary form, the music frequently con¬ is clearly derived from the third bar in the second SCHUBERT’S HUMBLE BEGINNING. sisting only of two sentences, though sometimes of sentence of the melody, i. e„ the third bar from B; three or four. the rhythm, however, is altered. At the end of this Schubert’s father was a schoolmaster in very poor A second form of song, which is almost equally com¬ very simple interlude in the major key, in which only circumstances, and being thus poor, indulged in the mon is that known as the simple ternary form: that is, questionable luxury of taking unto himself two wives where the first part or stanza is followed by a con¬ the chords of the tonic, dominant and sub-dominant and having nineteen children, of whom Franz was the trasted middle section in a different key, after which a are used, a return is made just as suddenly to the minor thirteenth child of the first wife. If Schubert were at return is made to the music of the first part. key as at (6) it was made to the major. all superstitious it may have occurred to him that this thirteenth rung on the family ladder was not a particu¬ These are two more or less stereotyped forms, each how¬ ever, capable of much variety of treatment. While there SECOND VERSE. larly auspicious one from which to start on his climb are many others, we need not consider them here, as the to those unassailable heights which he scaled in such a "Serenade" comes In the first of the two above-mentioned, Now at D we come to the second verse, which very short time. These heights, be it said, were quite although as we shall see when analyzing it, variety of effect beyond the range of vision of the music-publisher, and is Introduced, as is required by the poem, by a short episode in form is exactly the same as the first. For the sake of eight bars towards the end. The original song is an of variety, however, Liszt has transposed the melody this fact, combined with his excessive modesty, and lack exquisite gem, and the transcription by Liszt shows all of assurance in worldly matters, were no doubt the the delicacy as well as fertility of Invention of which I an octave lower, marking it quasi violoncello; the accom¬ cause of his continuous financial difficulties. have spoken above. paniment remains almost th.e same as in Schubert’s original. The melody here may be played with a little Schubert Is the lyric poet of music par excellence, and THE STRUCTURE. only his marvelous spontaneity led him occasionally—es¬ more fulness and roundness of tone, but the treatment pecially in his larger works—to a prolixity which certain ex¬ This is of the simplest possible kind, for, with one in general will be very similar to that of the first verse. tremists pardonably call “divine.'’ His lyrical genius shone exception, the whole song is composed merely of two The short Interlude again appears, but this time with out iu all its glory in his songs, of which those published a slight Lisztian embellishment in the first and fifth number more than four hundred and fifty; of these, the eight bar sentences, each four-bar section of each “Serenade” was composed in 1828, the year of his death; sentence being separated and followed by a ritornel of bars: in this ornamental group the double notes, it is No. 4 of the so-called “Schwanengesang.” Of the two bars. The following sections will make this quite although dotted, should not be played staccato, but German “I.ied" as represented by the songs of Schubert, merely slightly separated. This Interlude has been in¬ Schumann, Mendelssohn, Franz and Brahms, Schubert may¬ clear: be said to be the actual originator. A. The first sentence. troduced by Liszt a second time for the simple reason B. The second sentence. that, fertile in fancy, he wished to add a third verse C. Interlude. (commencing at E) to his paraphrase of the song; in A STRIKING CONTRAST. D. Second verse (containing A, B, and C). the original there are only two verses before reaching the episode marked F. It must be admitted that this As I have already said, there could be no greater con¬ E. Third verse (containing A and B only). third verse is extremely ingenious, seeing that the trast to Schubert’s life and career than that of Franz F. Episode of eight bars. melody was capable of “imitation in the octave”—in Liszt. They were contemporaries, inasmuch as Liszt, Previous to A there are four bars of introduction, fact, it positively invites it—Liszt has taken the oppor¬ who, after an initial highly successful appearance at the consisting of the figure, which it will readily be seen tunity of making, so to speak, an echo effect which is age of nine, was sent to study under Czerry Vienna, continues almost throughout the piece. The dots under both musically interesting and ornamental, while making was introduced to Schubert at that time, the latter being the groups of eighth-notes should not be taken to indi¬ also a very happy variation. The imitation is not twenty-four years old. From Liszt’s twelfth year, when cate a crisp staccato, but only a slight separation be¬ strictly canonical—i. e., an exact imitation—as it is he first appeared in Vienna, his genius as a pianist was tween each: this applies to this accompaniment figure slightly irregular and also it is broken, as, for example, universally acknowledged. Up to 1847 he travelled throughout the piece. At A the first sentence of eight on the first beat of the second and third bars after E. almost incessantly, giving concerts in many countries bars is interrupted at (1), after the first four bars, by It is very important, in this variation, to give especial and reaping a rich harvest. In 1849 he became conduc¬ a ritornel of two bars. It may here be explained that attention the variety of tone to be used (1) for the tor at the Court Theatre at Weimar, where he made an a ritornel—in the Italian, ritornello—signifies a repeti¬ actual melody, (2) for the imitation, (3) for the accom¬ especial feature of producing new works. tion and applies to an interlude which repeats part of paniment. The first should be mf with a clear singing what goes before. The ritornel was a favorite device From his earliest youth, Schubert gave considerable tone, the second almost pp, but nevertheless clearly de¬ attention to composition, and it is truly amazing, when one of Schubert and occurs in many of his songs, though it fined and with great delicacy, whilst the accompaniment, considers the enormous amount of his strenuous concert- varies very much in length and importance. This song work, in addition to his activity as a conductor, to see the as throughout, should be p and not sharp staccato. extraordinary list of his original compositions in addition shows an exceptionally beautiful and spontaneous ex¬ lhe pedal must be used with discretion, to prevent any to all the arrangements, paraphrases and transcriptions ample of his use of it. At (2) the second section of blurring or confusion of the two “voices.” At F there which he made. Amongst the most famous of the latter four bars commences, constituting, so to speak, an appears a short episode of eight bars—poco animato— are certainly to be numbered some fifty-seven songs of answer to the first four; this is again followed at (4) Schubert, arranged for Piano Solo. These, however, are which is indeed the only passage that disturbs the very but a drop in the ocean, so to speak, for besides a great by the ritornel of two bars. The melody should be even tenor of this beautiful song’s way ; the feeling here number of other songs, there are endless paraphrases for played with a gentle, but rather full singing tone, mp, is somewhat agitato, hut calming down in the last two pianoforte from a quantity of operas, and numerous piano- excepting in the bars of the ritornel, where the tone Dars: the mutation which appears at F in the first four Unlike Schubert, who never even heard his two great should be p. Care should be taken to raise the pedal bars, between the melody and the bass, occurs in the Symphonies in B minor and C major performed, Liszt lived immediately on striking the last eighth-note in each sonf between the voice and accompaniment. to see nearly all his published works produced and to re¬ bar: the simple modulation to the relative major at (3) At (8) is a further repetition, this time in thirds, of the ceive a great deal of homage and admiration as a composer. phrase frequently heard before and at (9) is the short There has always been and is still some difference of opinion will be noticed. At B commences the second sentence ns to the merit of Liszt to rank with the greater composers of eight bars, the second ritornel appearing at (S) as Codetta of four bars: in the second and third bars of of the past, but there was never any question as to his did previously the first at (1), only with the difference hnri-teA °rnTent” should he subdued and not ovcr- remarkable genius—both technical and inventive—in ar¬ that the voice part in the song continues the melody a ’:;ieVhe chromatic scale which -follows should be ranging or adapting any work, great or small, for the in¬ strument of. which he was such a master. In this art— third below, with it; the same effect, slightly altered '-™a sl,Sht on the last four notes. T1 c con- for it is indeed an art in itself—he was facile princeps occurs again at (7). At the entry at B, there should wZJ'w are, th°se of the “Interlude” slightly The operatic paraphrases were for the most part simply be an increase of tone to mf, diminishing after the AtTHiS n, t0 an effective and pianistic close, virtuoso pieces of purely ephemeral value to the executant follow,’no-^o Pedal should be held throughout the two of the period and are rarely played to-day. With the second beat of the following bar to p at the third bar song transcriptions, however, it is different: these were from B; In the original song, there is a minimum of the finaf ^ IS an-d °nly raised b,st as the first note of handled with great delicacy and respect for the original as expression marks, a forte only occurring twice towards the present example will show. Here and there will occur the end, and even then it is far from being a strenuous chor<1" wi"” * ** a harmless ornamental addition, which the purist may stigmatize as an excrescence, but, as a matter of fact, in f. At (6) will be noticed the sudden and remarkably temSiifth- a11 p!eces of very simPle structure and con- these song arrangements, there is shown such a marvelious beautiful change, to the tonic major key: this sudden for ’ttlf.e„S1,?P 1Clty constitutes the greatest difficulty, and amount of resource and fertility of invention as to make alteration of tonic minor and major is very character¬ tion muclTstnd p®rforrnatlce of this beautiful transcrip- them a very valuable addition to the piano repertoire. istic of Schubert and is to be found in many of his ;"wn'- 188 THE ETUDE 3 r-0 , , i-I.-q 1—j^N > - bd. »• f - l|ii- 4 4 4 ■ J ■! Jm l\iii d - qa-—----- ^ j 1 1 . JKP mf aw±stV0' ■ CL 4BL , jjj-t={=^J- Mf ip i= -h-P-*M-?P=4 f 1 t §= F=r=r=f= EfrftTl T i fl-P* ^ i=fi r r r r.-F j UPl^ PP Echo. S a T jNpZrri rpy'jijw. Ip.. 1 I JEQj: L-U > y ^ ‘ rallent. smorx. marcato dolciss . » . Jt, 3S ; -jgmi* f f .tM t 6 ^ffsfg --Hri.f L.J.— iiiMlLJf WM 1 1 j -1 j>LLLU rjrr'ii II J 1 ' i|[iXJj 1 • 4 “ sempre J> e stace. 3 2 cl_ »*C, U. 41 ^ |j7^ smSrx-' ^ r ^^ tit - tt ^ \-gn- wi «• i hj>T it r r ^rT-4-r r.n frMfr rf*-1 1 ^ ; PP '3855 THE ETUDE 191 100 the etude NATURE’S WHISPER . SONG WITHOUT WORDS WALTER ROLFF, Allegretto non troppo m.m.J =72 J\h f/'- fr*1) * J3J ^ / '"I'o —" fenergico riolce 2- it • it ■ m / -^r.u r> =^f UR f f ff f ffpr p1—, 1 1 - $ F 1 1 BE3 Ji L, 1 LLS ♦«1 [LLg__ L A mi) nato _ K ^ itXSTjl (iAJii IMS =A4*=*=-« Copyright 1915 by Theo.Presser Co. British Copyright secured 193 192 THE ETUDE THE ETUDE STARBEAM MANUELITA Andante REVERIE GEO. L.SPAULDING SLUMBER SONG Copyright 1914 by Theo. Presser Co. 3 1 British Copyright secured 195 194 THE ETUDE the etude ON THE STAGE ON THE STAGE MARCH H. ENGELMANN H. ENGELMANN Tempo di Marcia M.M.J = 120 Tempo di Marcia m.m.J= lao SECONDO 4i 4i A* i * ■.murt . * ^ Me"'M . TJ- A if i«rr...t I fj r i 1 . jk [jg f »-g- fflprP|4^ wf. V «Pw 3A to 4 ° ES3 _5 i ? * um r 4 ? 1 ' ' 2 '~~t- 5# « * A ilSp ?---; a , a f#? 1 5" fc -FT' 1 cresc. do Ice. ca mtabile A ^zfi ! P A a rtr^ #4 I', H 1 5 ^ 3 1 L 1 ^ Pr1 2 ^sj* _5 | ^5 3 i 5 4 3 _ 4r* h-&r~Q- l£4£ * fttf* 1W t 0- TT— A A #^Tfr 4 5 4 l4 1 ' ==- 121- 4 3 4—0 5 U I a at——— . ■ iNT 1► TRIO >3-~N 2-_^ 1 ]'i 3 196 THE ETUDE THE ETUDE 197 TWO MARCHES FROM WEBER TWO MARCHES FROM WEBER MARCH FROM CONCERTSTUCK Maestoso m. m. J MARCIA C. M. von WEBER, Op. 3, No. 5 THE ETUDE 199 198 THE ETUDE 5 5 3 3 5 2 1 2^4 (|A 4 j 11-^4= /L- r — P . -T [) =~:p . ?=<— . >• 1 * \ r i1 n ■ 4i— J— -—-a-1 3 * ^— 5 5 5 3 4 ?r-a , ~~~'x --a i ! . IN |\ 1 0# i-q • V 3 • p s f» ^-T3J J J J. :| ^ -#■ IP 3 3 i • 77^ -g- -r Jif f [ £Xv _r== 4 t t f • I 2 1 2 * a i a ” d 5 1 2 ! 2 1 £ ^ g _r —1—s=r1-M *^4 *-1" "aa-r—* # #j7j = . i .^TTT** 4^i-A-* ^ . ^ \ ' » 0 jjf P 1 i. =fc-y£?| i = /C v*C y 1j^*C«, ' PP P^F p ^ P i f p rf r 5 -P - P 1 5 1 3 4 5, 3 1 1, | | P ^- . > J Fine P — P_ | g u #. i £ _ * 3 36asso etinto 4 3 5 45 _ 2, 2 4 Oi* 1 2 H j j .1 P f i2* ^ J» D.C. ry w L 6 1 ~ 3 Copyright 1914 by Theo.Prei sser Co. British C opyright Secured THE ETUDE 201 200 THE ETUDE ~^ 0 # 4 -- ALBUM LEAF ' 3 » 1 v\ , ALBUMBLATT C. M. VON WEBER q* ^ £~~~~2 1 3 - Allegro Vivace m. m. J = 120 13 2 1 „ 4 5 4 ESHHS z ^ a3 m 2 2 j.3 2i2 l / n£^ T33 .V,. ! S ! T** f u J J %*3=* \=& T f '-3 4 5 n tarcato il basso j- ==”~ - last time to Coda 5 ^ -.:: --u: ”, 4_. 5 . 1 1 V 3 Aj 1 . 1 .3_1 rfTT . y. 1 1 1 > tii >_ u>_ >_ ^_ T71 j > fa *JU V1- (g ^ 5 F== ”, T\: 4-0 12 1 ^ S V , 4 /i V 2, 1 in.1, 3 „ 5 4 . >.2 3 . m : / -af ^ jTn MttH c i?p» CODA/ pesante e i ff /C\ 1 = L„ r % % ff —f- j 17 j J tii tii lg" LL-U r 1 *.-i 4 5 5 *» 1 s a 4 4 i 3 2 rf-C Til i ■fa TTt fa 4—J-r fa 1 ~ — | > > ~ =*ff=: *ff== WFl **TT< *rrr fa ir" Til fl 4- ^ i <%T ~ - 48—— Hr fa fa M= MS ff=U=l 5 -- t a 3_ fa jHHi ft mm M poco rtt jp a tempo / b); P 4 p: rflj-frlm m y y y y INVITATION TO THE DANCE 4 a Tempo di Valse m. ». M.J- = 60 5 C. M. VON WEBER 11 dim. cresc. >>> p m Jl m m fa bull * A M5 2 m5 3 M 5 3 Copyright 1909 by Theo. Presser Co. ■~4T 203 203 THE ETUDE THE ETUDE VIENNA WALTZ VAtSE VIENNOISE LUDWIC SCHYTTE, Op.,2,,®, THE ETUDE 205 204 THE ETUDE THE SONG OF THE METRONOME Study for both hands in Wrist Staccato CARYL FLOR10 Moderato con moto m.m.J=90 4 li fl . p* ttti-ATTi 1.1 _ ¥j Vi VnV -, 3 ** = ^ tfplpp A ■ r rfj»j* jp _p_f , k 3^ I " 3 i d * o a k _ ' N0TE' If measures 17 to 34 staccato may be used in the right hand, on account of the legato quarter • x.»nA*iara must ^ ma(ie at fhe en CAPRICE H. A. FARNSWOR T H, Op. 32 THEODORA DTTTTOIM British Copyright secure Copyright 1915 by Theo.Presser Co. British Copyright secured THE ETUDE 209 208 the etude Revised by the Composer. MAZOVIAT SPINNING WHEEL The Mazovians inhabit the wildest district of Poland, lying east of the Vistula,This is a characteristic provincial dance. Andantino M.M.J = 88 THEODORE LACK, Op. a Copyright 1904 by Theo. Lack. 3-) Play the 6 andGt together Copyright 1904 by Theo.PresserCo. nr 210 THE ETUDE THE ETUDE 211 Registration ALLELUIA! (Gt: Doppel Flute,Gamb.i 8; Flute Harm. 4' “The strain upraise of joy and praise. Alleluia! Swell: Full To the glory of their King. Ped:16'and 8' Shall the ransomed people sing Cuplers: Sw.to Gt.,Gt. to Ped., Sw. to Ped. Alleluia! Alleluia! GEO. NOYES ROCKWELL SOFTLY THE WIND SIGLLf TO-NIGHT Yalse Lento WALTZ SERENADE HENRY WILDERMERE British Copyright Secured THE ETUDE AN INDIAN CRADLE SONG ANON KENNETH S. CLARK ijpfc ..Hi k . .4rT7 tv,—h—fc 1 h Ih ■ L H rr^^-|Jl i h T k=3 f 11 P * ■ p^- ^ t=f=mi Sleep as a pap-poose should. To the lit - tie pap-poose in his birch - en nest Qjui - et will come and . All through the sol - emn night, Andthe lit - tie pap-poose in his birch - en nest Is swing - ing low as he —V- S-,1-k 1 - L L J 1 k -,r .H--r re: * bj.:«d- 1 .J ♦ • ■*• ft* 5* J i .^=ff » h r- „ -— S f ' tv11 It.JG-iH l>j» r #f — T 7 « r J> Refrain 215 THE ETUDE THE ETUDE America’s Part in the Manufacture of Musical Dedicated to hutpvpu heajaman tcvan ____ Instruments UCH^jdj GAVOTTE - MINIATURE. Any attempt to estimate the, musical timate, and that the figures for 1909 must Con sordini FREDERICK HAHN,Op.l2 advance of the United States by the necessarily have been affected by the Tempo di Gavotfe M. M. J=120 amount of money spent on musical in¬ panic of 1907, so that to-day the advance ra-Quality PlANOS struments or the number of firms en¬ is probably even greater than it appears gaged in their manufacture must neces¬ to be. and Player. Pianos sarily be crude and inaccurate. There The greatest manufacturing centers for are thousands of musical people in the pianos, organs and materials needed in world who are unable to play any in¬ their construction are in New York strument and do not own one, and on the State, where there are no less than 184 other hand there are thousands more who out of the 507. After that comes Illinois possess musical instruments who never with 68, Massachusetts with 59, Ohio and PIANO play them, or employ them for music Pennsylvania with 30 each. New Jersey of little or no artistic value. Neverthe¬ with 18, Connecticut and Michigan with less, the remarkable growth of industries 17 each, Indiana with 15, Wisconsin and connected with the manufacture of musi¬ California with 11 each, Maryland with cal instruments unquestionably indicates 7, Kentucky with 6, Minnesota 5, Iowa rTTrn-if-5-1 Pocopiu inoSSO an entire change of outlook towards 4, Maine 3, and “all other states” with I 1^2 II S. I v/ r 1 S n V n music on the part of the American pub¬ 18. “There has been a steady increase lic. Time was when our Pilgrim fathers in the number and value of both up¬ looked upon music as of diabolic origin, right and grand pianos manufactured while to-day there are few cultivated since 1899,” says the government report. homes which do not contain a musical “Of the total number of pianos reported instrument of some sort. in 1909, 97.7 per cent, were uprights_ According to the last census of the Upright pianos show the greater per¬ United States (1909) it was estimated centage of increase in number, but grand that there are no less than five hundred pianos show the greater increase in value. and seven establishments devoted to the New York and Illinois were the two prin¬ manufacture of pianos, organs and ma¬ cipal states in the manufacture of up¬ terials needed in their construction. This right pianos.In the manufacture of represents an investment of $103,234,301 grand pianos, New York and Massachu¬ and the employment of an army of work¬ setts were the two most important states, ers numbering 41,882. In 1869 the num¬ reporting in 1909, 6,831 or 78.1 per cent, ber of establishments was 254 and the of the total number.” amount of capital invested was $8,203,161; That the player-piano, or piano with it is possible to observe from these player attachment, has not driven out the figures the enormous development of the old-fashioned article, is evident from the musical industries in the United States statement that of the total number of in a period of forty years. Of course upright pianos manufactured (1909), only it must be remembered that the official 34,495, or 9.4 per cent., were for or with No one, not even the figures represent a most conservative es- player attachments. veriest novice, can go wrong in purchasing the D’lndy’s Tribute Kranich & Bach. Its to Cesar Franck extraordinary quality and unblemished reputation No more fitting biographer of Cesar death. There was nothing in his appear¬ are recognized the world over. Many musicians are Franck, the composer of The Beatitudes, ance to reveal the conventional artistic still using Kranich & Bach instruments, over forty JUBILEE PLAYER could have been found than Vincent type according to romance, or the legends years old, with the greatest pride and satisfaction. d’lndy, who was a pupil, or rather a dis¬ of Montmartre. Any one who happened Price, $700 f.o.b. N.Y. Write for Golden Anniversary Booklet ciple, of Cesar Franck from the time he to meet this man in the street, invariably The world’s greatest valu? in first began to study composition with him in a hurry, invariably absent-minded and KRANICH & BACH Upright Player Pianos until the great Belgian master was laid in making grimaces, running rather than 233-243 EAST 23d STREET, NEW YORK CITY his grave. Every page of d’lndy’s work walking, dressed in an overcoat a size too shows his profound veneration for the large and trousers a size too short for man, and at the same time expresses, with him, would never have suspected the bitter irony, his indignation at the neglect transformation that took place when, which Franck suffered at the hands of the fcated at the piano, he explained or com¬ French government and more particularly mented upon some fine composition, or, at the hands of his colleagues among the with one hand to his forehead and the faculty at the Conservatoire. The follow¬ other poised above his stops, prepared the ing description of Franck’s appearance organ for one of his great improvisations. affords a striking glimpse of his person¬ “Then he seemed to be surrounded by ality : music as by a halo, and it was only at such “Physically Franck was short, with a moments that we were struck by the con¬ fine forehead, and a vivacious and hon¬ scious will-power of mouth and chin, and est expression, although his eyes were almost concealed under his bushy Eye¬ the almost complete identity of the fine brows ; his nose was rather large, and his forehead with that of the creator of the chin receded below a wide and extraor¬ Ninth Symphony. Then, indeed, we felt dinarily expressive mouth. Such was the subjugated—almost awed—by the palpable outward appearance of the man we hon¬ presence of the genius that shone in the ored and loved for twenty years; and— countenance of the highest-minded and except for the increasing whiteness of his noblest musician that the nineteenth cen¬ hair—he never altered till the day of his tury has produced in France.” Mrs. Fannie Bloomfield Zeisler, the names as Baselt, Brosig, Eisner (teacher noted American pianist, who has always of Chopin), Forster, Gebel, Heinrich, manifested a valued interest in The Hollander, Panofka and Mrs. Zeisler. Etude, has written us regarding our Another slip which deserves correction is Folish issue (February, 7975), stating that the fact that the first paragraph of Mr. the list of famous Polish musicians given Stokowski’s article on Chopin was in¬ would have been better headed “Musicians cluded in the editorial note which pre¬ MAKE YOUR OWN of Polish Ancestry," as some of those ceded it owing to typographical error. mentioned were born of Polish' parents in We wish to thank our many friends who other countries. She also notes that MUSIC ROLLS Moriz Rosenthal, born at Lemberg, De¬ have written in high praise of the issue, _ This unique machine is a scientific and prac¬ cember 18th, 1862, should have been in¬ the publication of which was surrounded tical method of making your own Rolls. cluded. Those born in Silesia should not with much difficulty, owihg to trouble in Easy to Learn and Easy to Operate have properly been included with the getting certain material through the Euro- Price $30.00 including all necessary supplies Poles. This would have excluded such THE LEABARJAN MFG. CO., Hamilton, Ohio Please mention THE ETUDE when addressing our advertisers. 216 THE ETUDE THE ETUDE 217 Developing the Fourth and Fifth Fingers tion is to poise and develop the voice in Through the Chromatic Scale THIRD a simple, natural way. Following are a A Tonic By ALMA COOTS FERRELL few quotations from his book: Horsford’s Acid Phosphate taken Music teachers who are in earnest Left Hand Ascending. FROM A NOTED TEACHER. about their , work not infrequently : Department for Singers when you feel all played out, can’t “Too much exertion above or below aside a period of time for considering | PRIZE CONTEST Edited by Famous Experts Habit- sleep, and have no appetite, refreshes, the natural compass would be detrimental invigorates and imparts new life and technical problems, and evolving new FOR to the voice, and though not felt in yotfth, energy. ways and means for overcoming difficul¬ ig a Luden’s , ties. It was during one of these “orig¬ its injurious effect will soon be discovered I when the head is . inating hours” that the following idea oc- I PIANOFORTE when the constitution of the voice begins f “stopped up” or curred to the writer. The need for I to relax. I vocal cords are strengthening the fourth and fifth fingers “If scholars in their practice do not I tired and strained. '1 has been much discussed and many reme¬ The Development of Overtones in the Singing Voice themselves feel the sensation of pleasure dies suggested. Apparently, however, i COMPOSITIONS By RITA BREEZE at the sound of a single note, it must be one has so far realised that a remedy | attributed to an improper manner of prac¬ LUDEN’S If one inquired of the average singing lies in the chromatic scale. Inspired by the success of two pr which will further the development of his tice, or to the want of natural musical cTndy1 Cough Drops ous contests, the publisher of The Etuui teacher what the chief difficulty is in ideal. With such a teacher, the tempera¬ gifts. MANY ADVANTAGES. makes the following offer, being convinced training a voice, he would reply; the ment of the pupil exerts decisive influence “From the instructions I received from i “Give Quick Relief” Playing the chromatic scale is excellent I that competitions of this kind will blending of the registers. When ques¬ on the methods he will employ. If the my preceptor, Porpora, and from my own I from coughs, colds and throat irrita- drill for that old warrior, the thumb, and I awaken a wider interest in pianoforte tioned what registers are, he carefully pupil has a naturally sweet voice, which observations of almost all the best singers 1 tion. Luden’s are national “throat composition and stimulate to effort many explains that they are divisions of the his close aides de camp, the second and It n composers, both those who are known a sensitive nature dictates should be used Europe has produced within the last fifty I easers.”— voice, characterized by differing qualities softly in certain places, then the teacher Get This Set of Three third fingers, but in such practice the and those who are yet striving for recog¬ years, I find that the qualifications neces¬ i “Luden’s Have A Hundred Uses”) fourth and fifth fingers are idle and hang nition, bringing to the winners a desir¬ of tone. What causes these registers? will probably exercise it gently in the sary to form a perfect ‘shake’ are equal¬ Calendars FREE in mid air like aeroplanes. Why not, able publicity in addition to the imme¬ They are, he says, natural divisions, and medium, simply because the student sings ity of notes distinctly marked and moder¬ then, play the chromatic scale with the diate financial return. It seems unnec¬ that, in order to make the voice smooth there with greater ease than in any other ately quick.” These beautiful calendars are essary to note that the fame of the from its highest to its lowest note, these part. Gradually he extends the exercises ideal decorations for your fourth and fifth fingers in addition to composer will in no way influence the These old singing masters not only boudoir, library or den. They divisions must be blefided. are^printed^in s^of t, artistic practicing with the first, second and third? selection and that the pieces will be toward both extremes of the compass, trained the voice, but they taught sight¬ By this means the weaker side of the selected by absolutely impartial judges. Teachers do not agree as to how many and, quite unconsciously, both the teacher (Slze4^byl«)aVy ““ PaPer‘ reading, and insisted upon the student’s hand is strengthened by a movement of registers a voice can have. Some say and the pupil bridge over the two dang¬ having some knowledge of an instrument, muscles not often employed in piano SEVEN HUNDRED five; some three; and others only two. erous points, the break between the lower preferably the harpsichord (piano). In playing. At the same time, the fingers DOLLARS Occasionally one meets an instructor, who and medium and that between the medium their sight-reading they did not use the will rapidly acquire wonderful agility and declares there are no registers, that all and head voices. “Movable Do” system. That is quite a strength. The subjoined exercise, show¬ will be divided among the successful divisions are unnatural. Few use the These few words suffice to indicate a Gouraud’s composers in the following manner: I modern development. Wherever Middle TO SINGERS: ing the fingering of the ascending and same methods for equalizing the voice. process, which, if hindered even slightly, C was written the “Do” was sung, for descending chromatic scale, beginning Place I For the best three Con If you contemplate Summer Vocal cert Pieces for piano solo One starts all his pupils on the lowest since neither teacher nor pupil under¬ there was an underlying principle to this with the little finger of each hand, is the notes, intending to lay the foundation Study, Write to Me. I will send Oriental Cream offer the following prizes:— stands the underlying scientific principle, practice. In making this change we information that may particularly result of much study and practice which First Prize - - - $80.00 first, and, by adding tone by tone ascend¬ may end almost as disastrously as the moderns have lost the main link between appeal to You. Every facility for The Ideal non-ftreasy toilet assures the writer that it will accom¬ preparation, has been the fa¬ Second Prize - - 60.00 ing the scale, erect his structure upon it. methods of the first man. the Old School and the present one, if investigating the work done here vorite for nearly three-quarters plish the purpose for which it is de¬ Third Prize - - - 40.00 will be placed at your disposal. My To the uninitiated this theory may sound what we have can be called a school at signed : Summer plans will appear in April antee of its perfection. It can¬ iasslace ii.IT lorFor pieces the fourfor pianobest Par w( plausible, but, if it be pursued, the follow¬ A DEARTH OF VOICES IN FRANCE. all. When the syllables were first used' not be surpassed for giving the ing results are obtained: the low notes complexion that clear, soft, offer four prizes as follows.— The dearth of beautiful voices in France upon their corresponding notes, they pearly white appearance; try grow strong, the medium weakens, and GEORGE CHADWICK STOCK it and be convinced. Supporting Grand Opera about fifty years-ago was so marked that were not placed there by accident, hut First Prize - - - $80.00 the head voice gradually recedes. With Vocal Studio, Y.M.C.A.BMg.,New Haven,Conn. Grand Opera as we know it in America ence being that at Beyreuth, and at its Second Prize - - 60.00 the Secretary of the Department of Fine because each particular syllable brought pe rsistence, the low notes become “chesty” Author of “Guiding Thoughts for Singers" s P o uced upon so gigantic a scale that more permanent prototype, the Prins Re- Third Prize - - - 40.00 Arts was requested to appoint a special out a certain desirable quality of sound *1 per copy, postage prepaid and harsh; there is a break between the most every one now realizes the fact that genten Theatre in Munich, all of the seats Fourth Prize - - 30.00 commission to investigate the cause. After from the note on which it was sung; in FERD. T. HOPKINS & SON low and medium; and the medium itself Place Ilf For the four best experiments, which extended over a other words this stationary system of rirh JrAu? .t lepatrnagc,,?f the VCry were sold at $s-00 and more, none for t^iass ill. piano Pieces in Dance is thin and “breathy,” The head voice PROPRIETORS THsis nm newILT y mld no* ex,st m our great American opera period of four years time, Manual Garcia, sight-reading was a means of focussing Hits is not new, however, for grand opera houses. Form (waltz, march, tarantelle, mazurka, grows still fainter, and the student uses In New York This Winter the Secretary of the Commission, made and placing the voice. 37 Great Jones Street, N. Y. C. polka, etc.) we offer the following it with extreme trepidation. 19 St. Bride St., London, E. C. TlJjtTlSJnSeTS haS al™08t alwa.ys ^ may be some comfort to the man prizes:— a complete and very learned report. His The first retrograding step was made depended upon some v subsidy for its who sits in the last row in the top balcony GEORGE E. SHEA support. First Prize - - - $60.00 conclusion was that the head voice is the by a French musician by the name of Le OF PARIS (“one block from the stage” as Billy TYPES OF TEACHERS. If we may be guided by antique engrav¬ Second Prize - - 45.00 real voice. Let the student recognize the Maire about one hundred and fifty years Baxter puts it) to know that if it were Third Prize - - - 30.00 If the teacher be an observing person, ings _ the performances of Marc Antonio uper quality, which in sopranos is called ago. He introduced the syllable, “Si,” Teacher of Singing not for the wealthy patrons of opera he Fourth Prize - - 20.00 he soon perceives the condition of his Cesti s IIP omo d’Oro were given c the overtone and in tenors the falsetto; in the gamut in place of “Ti.” This Voice Development, Style, Repertory, might not only be asked to pay $5.00 for pupil, and, thinking to mend matters, at¬ two hundred years ago with scenic « Class IV. For the best four Easy then let the teacher carry down this syllable falls on B natural, which is only -iv.,»«gU who scenic acces- admission to the opera house but indeed 1 eaching Pieces in any tempts to draw the so-called “chest voice” Gesture, Perfect French quality from the head through the medium a half-tone from C, the tonic, and needs a?nthi<'Vd1Cth W°QU d seenJ spectacular even might not have any opera at all ’ style, for piano, we offer the following up over the break between the low and at this date Singers likewise have al- Mr. James Huneker in a recent article voice. Up to that time Garcia had suc¬ a strong leading to the tonic. It is a 171 W. 57th St., (Mondays, Thursdays) medium; to a certain extent he succeeds, ways demanded and received large com- h Puck oointc 1 V, ceeded with sopranos in carrying this softer sound and for that reason allows Phone 268 Columbus First Prize - - - $60.00 but in the course of this process, he only 410 Riverside Drive, Phone 4597 Morningside pulsation. Porpora’s famous pupil, the Americans™ their ar isfic thiTsTs ^’ Second Prize - - 45.00 quality down as far as F natural in the the tone to slip further back into th'e forces the break a little higher up the male soprano Farrinelli (1705-1782) was collecting paintintr, ™ thirsts by Third Prize - - - 30.00 first space of the staff, but following this throat than the syllable “Ti” would. scale. It then usually falls between the ” <“h. *h' of Spain The"^“TC Fourth Prize - - 20.00 theory, it should be drawn down to the The last authority on this subject, is medium and head voices, and, if the pupil paid him 50,000 francs a year for ten buys a picture Wa * anf ^‘an who lowest note in any kind of voice. Davidson Palmer, an Englishman, who years to sing four songs nightly to her the man who buvs mimin' 6 k'ng’ tut CONDITIONS has not already succumbed to nervous has written a small book entitled, The morbid husband, Philip V. . memory o7 a u . Purchases a prostration, our energetic instructor tries In a foot-note to this report, Garcia mentioned Dr. James Rush as the inspirer Rightly Produced Voice, published in- When the French government indicated large affairs, howler conthmall”11,,-0’ Competitors must comply with the to bridge over the difficulty in still other D. A. CLIPPINGER following conditions! of his research. Dr. Rush was the author London in 1897. This gentleman tells last spring that it would „ot |)e ,ble to cover that rhu.' oontnraaUy d,s- The contest is open to composers of ways. Since it is impossible to carry up AUTHOR OF how he discovered the theory of the • this kind of “chest voice” further than of a book called The Philosophy of the overtone, or falsetto (he was a tenor). Systematic Voice Training perhaps half way through the medium, Human Voice, published in 1833, in Phila¬ As a hoy he sang in a Church choir; will hold his Inatitute for Singers he leaves that for a time to take care of delphia, now out of print. The theory The contest will close July 1st, 1915. when his voice changed, he found him¬ BEGINNING JUNE 28th ANI „ All entries must be addressed to “The itself, and starts on what is left of the advanced by Garcia is already given in Etude Prise Contest. 1712Chestnut this book, but based upon the principles self with a shattered remnant of the boy’s CONTINUING FIVE WEEKS St., Philadelphia, Pa., U. S. A.” medium tones. If he does not force them voice, and gradually grew to depend upon The full course is a combination of privati too heavily at first, they may recover of the speaking voice. Dr. Rush scientifi¬ cally proves the existence of the overtone the new and unnatural chest quality, be¬ lessons, class lessons, lectures and recitals in "" Fr'“1’ °f ™““1 »“'■ "yf *» .ha°“l,o„b5 “da”"'; sufficiently to be used, though always with His success with the head voice has brough and gives a system of notation, by the cause he thought the lighter tones uncertainty. The head voice by this time to him singers from all parts of the country At Beyreuth, with seats at 25 marks, seatT rlgulariy^urcb116 m°St expensive me and full address of th sounded effeminate. After a time he st be written upon the U is a mere thread coming on feebly about use of which it may be developed. Reci¬ ' Find it Instantly grand opera was marketed for precisely and find sound reproducing^. SC°reS isnuscript submitted. studied singing with a gentleman, who Circular D. A. CLIPPINGER the middle of the head register. tative, being but a step higher, is the next J^ON’T let your music become torn, the same prices that Americans are asked ords to make a seri^uc^ / ?Cltne rec¬ developed the medium and then brought 414-415 KIMBALL HALL, CHICAGO, ILL to pay for the best seats, the only differ- they hear. senous study of the works WSjs&:aii My readers will at once recognize this form to which he applies his theory, and worn and dusty; don’t search every¬ down the lighter quality to about the where for the selection you want. Keep as the worst type of teacher. Of course thence to the art of singing. His con¬ end of the medium register—the corres¬ each piece perfect and find it instantly bv a voice which has been so abused, seldom clusions in the third instances are identi¬ filing it in a ind pedantic efforts si ponding place where Garcia left off. NEW VOCAL MUSK The Idea Department avoided. regains its original beauty, and then only cal to those arrived at by Garcia in his In response to its request made in the No re. is placed u| later paper. through years of patient hard work and “ON SALE” TINDALE MABIINET January issue The Etude is in receipt W’, that we shall be obliged to return n length of DEVELOPING THE UPPER VOICE. No composition which has been pub- radical measures on the part of the suc¬ The writer had the good fortune, when Beautifully finished cabinets for Sheet of a great number of Idea Letters which lishcd shall be eligible for a prize. Mr. Palmer, being of an experimental the p”fiLfena??rasC"^C^C"sA.Le'Xhi, Composition* winning prizes to become ceeding instructor. in Chicago, to find in the library of a Music, Albums, Player-Piano Rolls, Phono¬ have been submitted by our readers. turn of mind, found he could sing with to be kept: discount the best obtainable; th^onl graph Records in graceful styles from $17.00 the property of Thf Etvdk and to be There is another kind of teacher, who friend, a valuable old book of instruction Owing to the volume of contributions we published in the usual sheet form. greater ease by using the falsetto entirely, responsibility the small amount of postage- return up. Endorsed by leading musicians. Z:f,uSiin^’7£‘i%:rT >° does not accept the law of registers with¬ written by Signor Domenico Corri, who of unused music to be made once each year- a poi Guaranteed satisfactory or money back. have not as yet been able to select those thank our readers for■ We and consequently adopted it. His voice- tal card will stop the sending any time. Thousand which seem to promise to be most help¬ Vment out reservation, and who, guided by his was a pupil of the great Porpora (1685- of teachers receive p.ano music from us in thiswaj Write for Illustrated Catalog No. 31 to thh appeal fo/bri'X'ff The Etude strengthened and improved in quality they say it is most convenient to have 8 or 10 ne’ ™ innate love of beauty, has a clear con¬ 1767). Porpora was the perfector of the TINDALE CABINET CO., ful to others. It is very likely, however, without exhibiting any unevenness. Af¬ est 34th St., New York, N. Y. that we shall be able to print a number in THEO. PRESSER CO., Pubs., ception of ideal tone quality. This kind Old Italian School, and this book by Sig¬ s°^dPpianonSvSS,noctavo8 WofinT1 V” t!me' ^ terward he taught others with success. in this way; any ir alfm’responsiblepejfom mU8' The Etude for April. We foresee, how- of man will not hesitate to disregard nor Corri incorporated his principles ad¬ Please mention THE ETUDE when addressing ~P.ioe.ba PHILADELPHIA, PA. The following quotations are from Mr. THEO. PRESSER CO., precedent, but resorts to any original way mirably. The whole aim of the instruc¬ Palmer’s book: 1712 Chestnut St., Philadelphia, Pa Please mention THE ETUDE when addres our advertisers. 219 218 THE ETUDE THE ETUDE OPERETTAS AMATEURS THE PENNANT A DAY IN FLOWERDOM Zl'Ml D°'“b^jpa£°|t‘blt“eofdldiS THE MOON QUEEN THEODORE PRESSER CO. 1712 Chestnut St, Philadelphia, Pa. m THE ETUDE 221 220 THE ETUDE safe to say there is not an eminent pi¬ struments, organ playing should occupy the premier position. It is true that the as the public is mostly to be reckoned anist who would be venturesome enough with in the question as to the measure of to follow a similar plan, and if it is inaccessibility of the organ is largely re¬ GUILMANT favor accorded to the musician, it would HUTCHINGS sought to gain for the organ that same sponsible for mediocrity in organ play¬ Austin Organs be unwise to deny the most earnest con¬ measure of appreciation meted out to ing, and conditions are generally against ORGAN SCHOOL sideration to this matter of selection of ORGAN the pianoforte, surely we shall be doing the organist. The instrument he uses music. well if we give heed to the conditions is perhaps in a church where a liberal Dr. WHliam C. Carl STILL maintaining their The foregoing remarks would seem to which have made the smaller instrument use of the organ is possibly frowned so popular with music lovers. upon, if not, almost entirely prohibited. unique record for tonal imply that the organist should give lib¬ COMPANY quality, characteristic voic¬ A school for students Organists occasionally make use of the erally of Bach, Handel, Mendelssohn ing and blend, and for with serious aims, who BOSTON NEW YORK word “new” in naming certain numbers etc., to the comparative exclusion of the KEEPING UP THE STANDARD. remarkably faithful be¬ desire to become ex¬ on their programs, and at times it would more modem contributors to organ liter- The standard of organ playing may havior mechanically. pert organists. New Plant at Waltham, Mass. seem as if the artist attached very con¬ There’s a reason—they catalogue ready. ature. As a matter of fact large num¬ be maintained at a high level, and still sider. i merit to the employment of the are built to stay. bers of organist’s programs are planned the artist may be performing important word, judging from the frequency of its And the adaptation of so as to form an excellent balance be¬ missionary work. It should never be small organs to large spaces use. It would be very interesting to tween the old and the new—on paper- forgotten that the great majority of has long been an Austin The Art of the Organist know the reason for such usage. It has but in performance the beauty of the those comprising an audience have but a specialty. In several two on more than one occasion been in¬ manuals we have achieved [Arthui___Brook was born_ in. New Zealand in 1868. Studied Piano, Harmony and a Bennett Organ Co. very superficial knowledge of music and ■liestration under Thomas Fleming. of Sir ..Julius Benedict). Studied Organ under balance is frequently destroyed through terpreted as a warning. the essential effect of a very 'liur J. Ton:sen, of Auckland, New Zealand’ (pupil' — ” of' sir Frederick Ouseley), and later ORGAN BUILDERS MOLLER PIPE ORGANS the very evident belief of the organist The objection will doubtless be raised are not able to regard it from the same large organ, through adapt¬ ’.-’ ".-a- en>n»-B all, Sydnc" Australia. Game to this country in ROCK ISLAND - - ILLINOIS Two thousand in use. Every part made .. -.„ Episcopal Church, Santa Barbara, California: organist that all contrapuntal music must be by some that if a reversion is to be made point of view as the trained musician. ing scales and voicing. in our own factory and fully guaranteed. rector of Music at Leland Stanford, Jr., University, Palo Alto, played fortissimo. Bach is certainly the The artist at the top of the ladder loses -charge of the great organ in Festival Hall. World's Fair, St. Louis, Th as "skill* ami to the music of earlier writers, the de¬ console improvements’ will be of Pipe organs of every size, but only one I'M.,. Is now o.„_H H the Church of the Strangers (Deems Memorial), New York. Is chief sufferer in this respect, the pro¬ mand for the music of present-day com¬ nothing when he descends a few steps large interest to the fraternity grade—the best. Catalogs and specifica¬ private organist to Hon. IFm.m. .4. Clark, Fifth Avenue, New York, and to S. Milton Schatskin, longed clangor in the racing about of the in order to assist others to a higher posi¬ of organ players and organ Iovera. tions on request. Address Esq., Elliot Manor, Hut' rfortl, N. J., and is President of the National Association of posers would decrease. A correct pro¬ Organists.—Editor op Ti florid passages on the full organ being Established Sew York, 1861 St. Louie, 187$ tion. M. P. MOLLER, Hagerstown, Maryland portion, only, is sought. First of all, anything but conducive to an enjoyment GEO. KILGEN & SON make the organ attractive and compell¬ Much might be said of a Standard of A PERTINENT QUESTION. - The organ, however, does occasion¬ of the work. One frequently hears the ing by insisting that everything played Interpretation, although it is held by The question has often been put, “Why ally get a hearing of a sort, but never complaint that the music of Bach “has Pipe Organ Builders upon it, whether new or old, shall have many that such a standard does not ex¬ Austin Organ Co. does not the organ enjoy more favor as at more than twenty-five cents per head, no tune to it,” when as a matter of fact ST. LOUIS, MO. received a proper season of study and ist, save only in so far as it relates to PIPE ORGANS gjjftj a solo instrument?” The query can be and most frequently at nothing per head. the preponderance of melody is so great preparation. Let the so-called education the purely technical side of music. The Woodland Street, Hartford, Conn. Our Instruments comprise all features very easily expressed in a different way, Let us face the situation with boldness. that it becomes bewildering in its com¬ of the public begin at the right end, subject is too extensive to indulge in which areof real value. Many years of prac¬ •thus: Why do people flock to hear Where lies the trouble? If not in the plexity, and so is comparatively unin¬ which is in the organist himself. If at this writing, and will be dismissed tical experience. Write for specifications. Hofmann or Elman, gladly paying any¬ instrument, is it not reasonable to sup¬ telligible to those unacquainted with mu¬ i—ESTEY CHURCH ORGANS-i great care be taken in the preparing of by quoting the views of an organist of _THE “GEM”- EMMONS HOWARD ORGAN CO. thing from one dollar to five dollars, pose it must be, to an extent at least, in sical form. Paderewski plays the A programs for organ recitals, the earn¬ eminence who said, “Deliver me from the WESTFIELD, MASS. man that hugs his metronome too and stay away from even our greatest the player? On the assumption that this minor Prelude and Fugue to an audience estness of the artist will soon be re¬ Church Organ Pedal Highest grade of product. closely.” organists whom they could hear for is so, let us indulge in a short period of (largely musical, certainly) in such man¬ Pioneers and leadere always. flected in his hearers, and a following as¬ Attachment for Pianos Organ music should be the best in the twenty-fiye cents, ten cents, or nothing? self-examination, and endeavor to locate ner that the veriest tyro present is able Examine stop action and wc sured. In this way a good standard may Enjoy Organ Practice in Your Own Home Oboe, Saxophone, Clarinet, world, and attract the most attention and To an extent an answer is found in the short-comings with a view to cor¬ to comprehend. His enunciation of each be set and maintained, and the demand INFORMATION UPON REQUEST favor from lovers of music, and the The Hall Organ Co. the second form of the question, for recting them, and by so doing place the voice is so cleverly accomplished that ESTEY ORGAN CO., Brittleboco, Vermont, I). S. A. for organ music will grow, and ere long SYRACUSE CHURCH ORGAN CO. skilled organist should occupy an unas¬ New Haven, Conn. as long as organists publicly proclaim art of tha organist on a higher plane. the particular voice that has the floor the organ will indeed begin to “come into SYRACUSE, N. Y. (so to speak) is clearly defined above sailable position at the very pinnacle of that their performances are not worth We have already granted to the organ its own.” A pessimistic view of organ first place as a musical instrument. Two the other voices, which, having had their playing should not be held. The desire, the art-mountain built up by the giant more than twenty-five cents, or ten cents, Srtmty^rtjanlnfCEtjMrrt} iUitfitr intellects that have made music the most or nothing (see numerous advertise¬ conditions remain that stand out promi¬ moment, are now, as it were, perform¬ backed up by earnest effort, to effect an universal and the most loved of all the ments), just so long will the public con¬ nently: The Selection of Music; The ing a secondary part. The only way in improvement will soon be followed by tinue to accept them at their own ap¬ Manner of Performance. which this plan could be followed on gratifying results, and we shall have arts. praisal. This is by no means a com¬ To their great credit almost all or¬ the organ would be to distribute the people attending organ recitals the pro¬ plete answer to the question, for the ganists the writer has been privileged to voices over the different manuals, which grams of which contain a fair proportion THE SECULAR USE OF THE Thelhe Zephyr Electric elements of Fashion and Hero-worship meet have been men with a mission, no would render Bach immeasurably more Episcopal Church. For particulars address The of what is called classical music, because Secretary, Trinity- School of Church Music, ORGAN. Organ Blower undoubtedly figure very largely, and less than that of educating the public. difficult to play. The one thing that is those numbers are to be performed, and 90 Trinity Place, New York City. Nothing in contemporaneous life com¬ not everyone that attends a pianoforte The very last thing the public cares to necessary above all else in the rendering not in spite of them. or violin recital by a famous artist does know is that it stands in need of edu¬ of Bach is clearness and precision in pares in growth with the motion-picture so for a purely musical reason. As yet cation, so while this ambition is in every part playing, and what is true of Bach “HALF-BAKED” PERFORMANCES. idea. The figures as to the yearly increase there are no heroes in the organ world way a laudable one, the employment of applies equally to all music, and the The one great essential in presenting are dazzling, and the end is not yet. Musical Post Cards There must be music for the movies, Send for book —no one who has made such a stir in it should be effected with great discrim¬ moment one begins to use loud organ music before an audience is that it shall The4b Zephyr Electric Organ Blower Company, ination and diplomacy. in quickly moving parts, that same mo¬ ,be well done. All too often the or¬ and there always is music—save the mark. Usually it is mediocre; too often it is Chicago OKI,,., «lo“RS;A,■lr1M,,s?c!,1»r«oklyo, S. V., The basis of music is melody. Next to ment does the effect lose its silvery con¬ ganist has belittled the standard of his The organ as a concert instrument melody, and so close to it as to be cordance, and become nothing less than art by performances which have been unmentionably had; rarely it adds a mean¬ Italian Composers - ing to the pictured sentiment. has not yet come into its bwn, in this or scarcely second in rank, is concordance, a jumble of incoherent sounds. Great Pianists, Sene justly stigmatized as “half-baked.” The in any other country, and while there whether in form, rhythm, or harmonic Great Pianists, “ frantic chase for new music greatly ex¬ In the last year or two there has been Great Violinists - - a reaching out by the more progressive have been notable examples of success¬ structure. These features are of para¬ FAVORITE MASTERPIECES. Celebrated Violinist. aggerates this humiliating condition. ful organ concerts, it would be ridicu¬ mount importance to every musician, but It has been seen that as a rule lovers Renowned Violinists Supreme contentment can come to the managers for something better, larger Steere Organs lous to claim that the measure of success most of all to the organist, he having of music are much given to expressing artist only through the conviction that orchestra's, more carefully adapted music, until recently there was a large Broad¬ Bailey Hall, Cornell University attained at these present high-water¬ an instrument on which it is very easy the keenest appreciation for that which he has achieved a finished performance. Dedicated, October 8, 1914 mark organ concerts is all that can to render these great essentials of non¬ is more or less familiar to them. There Conductoi. The same degree of contentment can way production of a pictured poem, which Springfield Auditorium, now building reasonably be expected or desired. effect. This may be regarded as an ex¬ are “favorites” on the organ just the 50 cents per dozen postpaid come to those who comprise the audi¬ was given with an orchestra of fifty men To begin at the proper place—Is there and a chorus of forty voices, and with a traordinary statement, and an explana¬ same as on the pianoforte or violin. NEW SETS FOR 1914 ence only when they have the too un¬ .anything wrong with the instrument it¬ tion is in order. As a general rule the Musical history is full of examples of usual experience of hearing music that complete written musical score for every self? No one can sensibly deny to the organ is played much too loudly, with a preference for certain works. It must American Conductors - 6 [ Modem P i a n is ts has been diligently studied and fault¬ moment of the action. organ its tremendous superiority over Famous String Quartets 6 Series A and B- - 6 In the large opera house built by Oscar consequent loss of clearness of detail be allowed, however, that at times this American Composers Celebrated Organists - 6 lessly rendered. It is better by far to every other instrument in its capacity The full organ is magnificent in stately’ very fact works an injury to the cause Series A and B - 6 I Famous Cellists - - - 6 have at one’s command a limited reper¬ Hammerstein on the East Side of New for musical expression, and did any have sustained chords, but becomes almost of good music. To cite a familiar case: toire which the organist knows he can York pictures have been mounted in a the temerity to attempt this, they would WITHOUT DRAFT unintelligible when used in complex How very easy ’twould be to purge HISTORICAL POST CARDS play, than to have a make-believe reper¬ thoroughly adequate way. A large or¬ Through the be required to show that it was at least Church Organs florid passages, especially if such pas¬ church hymnals of all that is forbidding USZT—Six Cardt-The set, 15 cents. toire of which the only commendable chestra under a capable and painstaking inferior to the pianoforte, on which in¬ sages be contrapuntal in nature. a.nd trashy were it not for that condi¬ WAGNER—Twelve Cards—The set, 30 cents. quality that may be said of it is in rela¬ conductor, a three-manual organ of forty Bohem Adjustable Pressed Latest Approvec strument so many have achieved fame. tion brought about by favoritism, and BEETHOVEN—Twelve C«rds-30 cents per set. tion to its extensiveness. stops, and an ensemble of operatic vocal¬ Steel Window Ventilator Grade Only. The organ, then, as ai vehicle for musical GREAT COMPOSER POSTCARDS-Fourteen SANITARY—STORMPROOF SELECTING INTERESTING PROGRAMS. while this is an extreme case, and is of the• Great C" ‘ itrd in nine colors, The organ is the grandest of all musi¬ ists rendered a musical accompaniment to expression must be regarded as “safe.” Unexcelled for Music Room or Study Main Office & Works ^T5S; a begging of the question, the rule still on each card. 35 cal instruments. Its many voices, to¬ the motion picture that is bound to attract In dealing with the matter of selec¬ Made to Fit Any Size Window holds good in higher planes of music. gether with the mechanical means fur¬ an entirely new clientele. The interpola¬ Measure window same as for screen. COMPARATIVELY FEW ORGAN tion of music, has it ever occurred to the Hook & Hastings Col There is always a demand for the repeti¬ OPERATIC POST CARDS nished for giving effect to them, give tion of scenes from opera with scenery STUDENTS. organist that the programs presented bv Reproductions of photographs of the Wagner Operas as 00 —16 in. to 22 in. $2.00 tion of that which pleases. How true to the player an amazing opportunity for and costumes between the pictures was not eminent pianists and violinists comprise, presented in Germany, Lohengrin (4), Meistersingers It were well to remember that quite this is in kindred art. We gaze on a (6). Parsifal (10), Tristan and Isolde (3). Tann- the interpretation of music that is not only a delicious bit of characteristic A—29 S' to 35 for the most part, works that might al- haeuser (9), The Ring (28), a considerable portion of the audiences painting by Van Dyke or by Gains¬ audacity, but it stamped the entire enter¬ zi-ii SiSSS Various Operas printed in colon. Aida, Boheme, even remotely approached by any other :!*8-60 at the concerts of famous pianists and ,b,C fSa'd to.be. antique? It would borough, or on a Canova statue, and are Butterfly, Falstaff, Iris, Tosca, Modern Operas, instrument. This very fact at times tainment with a dignity and bigness woe¬ For sale by department and first-class hardware “Most of the leading organs violinists is made up of students of those If RPYi a P'anist can give sufficient much impressed. Are our artistic sensi¬ Rtenzi-Holltender. Taonhatuser, Lohengrin, Tristan, tends to the undoing of the organist, for fully lacking in the usual picture show. in the United States are of Beethoven Brahms, and Chopin, with Meistersingers, Parsifal, The Ring. Six selected Bohem Manufacturing Co., Philadelphia operated by the ‘Orgoblo’. instruments seeking not only a feast of bilities satisfied with that one look? cards, 25 cents. there are so many possibilities, and so A brand-new field for organists! Only music, but inspiration and instruction to L27 Crtrlbution ^om more bewildering an amount of detail, that the Over 8,000 equipments in modern works, he has a repertoire to Not at all—we are anxious to look over REWARD CARDS on an organ is it possible to properly reg¬ se. Write for booklet.” themselves, and to whom the concert is and over again, and at each look we are A set of fourteen car&. Portraits of the Great Com¬ organist is seldom able to stay long ister the correct musical illustration of the Made in sizes from as a personal lesson from a great artist. ber d t ^ llfetime- And be it remem- posers with their birthplaces, printed in nine colors. On usical publicity- able to discern something new, some the reverse is a short biography of each master. With enough in one place to permit of thorough¬ sentiment on the screen. Many pictures M Concert and Recital 1 1-4 to 60 H. P. The problem of the possession of a piano tW e’J I' rnVJar!ably the older works that seem to find the most favor with the beautiful feature that had escaped us be¬ each set is given free a Music Prize Card, a steel engrav¬ ness in any one particular detail. It demand a closely adapted accompaniment, The Organ Power Co., or violin is one that is very easily solved. fore. The same is true of literature, and ing, with portraitsof eight composers, and blank for tn- would be embarrassing to be compelled to and no orchestra can possibly change the PROGRAMS HARTFORD, CONN. audience. ^ Beyond question there is a Prospectuses and Announcements Not so the organ, which is a generally of painting, and why not of organ mu¬ admit that the standard of the organist style of playing to suit the action nor Artistically Printed A. C. FOSTER, 218 Tremont St., Boston Man inaccessible instrument. Consequently “cent the S’ altlTgh one hesitates to sic? Then why this incessant demand is lower than the prevailing standard of modulate into another selection. Only an at Moderate Cost G. W. WESTERFIELD, 264 Virginia Avenue jers, there are comparatively few students, Tit l ? ♦ resP°nsih'hty of pointing it Send for catalogue of Musical Pictures City, N. J. It is a fact nevertheless, that the public on the part of the organist for new mu¬ the pianist, when on giving due con¬ organist, and one of really first-class at¬ The Jenson Press JAMES TOPP, 613 Stein"■ ' Hall Bldg., 64 E. Vi and still fewer organ “heroes” for them sic, for recital programs in which per¬ THEO. PRESSER GO., Phila., Pa. sideration to the matter from the point tainments, can do such pictures justice. “ON TIME PRINTERS” to be anxious to hear. yes even the musically educated, prefer 1625 S ansom Street, Philadelphia, Pa. to hear works more or less familial, and haps as much as three-fourths of the of view of the resources of the two in¬ The names of a few of the men who numbers are entirely unfamiliar. It is Please mention THE ETUDE when addressing advertisers. our advertisers. 223 222 THE ETUDE THE ETUDE have been attracted from the church or to display the special and unusual re¬ STANDARD S MODERN to get a much better price than he could concert field will indicate the trend and sources of his particular instrument, the get from a dealer, but he will probably will help to make the organist who enters object being to make the organ interesting INSTRUCTION BOOKS find that it will take up a great deal of every moment. How well he has suc¬ his time. If he has a certificate and val¬ FreeTrial this field feel at home. Among the better 12 Years known are Richard Henry Warren, Dr. ceeded in this may be appreciated when 1 uation from a recognized expert, the prob¬ is realized that his featured number has FOR THE PIANOFORTE lem will be much simplified, because such Percy Starnes, Arthur Depew, Herbert All or any of these Methods cheerfully 10to30Days Sisson, Granville Smith, H. Leslie Goss been in the bills of this one house for “On Sale’* or on approval. a certificate amounts to a warranty. He Without and Th. Musgrove. Many of these still !en months with no diminution of its pop¬ can advertise the violin for sale in the 9 on any strictly high- maintain their church connections. Mr. ularity. local press, and may effect a sale in that Mr. Warren usually plays also for the BEGINNER’S BOOK grade violin in our Warren commutes weekly from Boston to School of the Pianoforte manner, or he may advertise it in a direct the music at the Church of the one feature picture of the bill, and his musical paper of general circulation, but k famous stock of rare in¬ Corns By THEODORE PRESSER Ascension. Mr. Warren’s work in Boston, method with pictures will repay the study in this case he will be put to the bother struments. A positively while in some respects unique, is perhaps of any organist. The invention of mo¬ of packing the violin and shipping it to ^ free1 trial right in tives for the different characters the Bine-jay, for 12 years, has kept sufficiently typical for illustration. The prospective purchasers probably many your own picture, the adaptation of a theme and some people free from corns. Scoliay Square Olympia, where he plays, 5‘Wfisroito iarjzizizti Selling a Violin times before he effects a sale. In this home. There Now nearly Half the people who is equipped with a four-manual Moller its musical elaboration, the illustration of every subject. Writing exercises are introduced at the rerr case also he runs the risk of having the are no strings start. The utmost care has been given to every nart nt L have corns end them in this way. of his own design, which is in many re¬ dialogue, characteristic bits invented for Many people write to The Etude for located in New York, Chicago, Boston violin lost or destroyed in transit, or in¬ to this lib¬ spects a wide departure from the conven¬ special requirements of the picture and advice in regard to selling their violins. and some of the other large cities. Such jured by the party to whom he sends it. eral offer. They simply do this: _ tional type of instrument. The organist many personal peculiarities of style are nfchjMqr *lj ^°|i,h*”l,t° deJ wiA da“**» S Thousands of people have old violins an expert usually charges $5 as a fee for An excellent plan where the violin is a Send in the is starred as the leading feature of this heard in the course of a picture. C °°' Pr°c“ 75 Cent, making th'e examination, and will give the really valuable instrument is to take the coupon for Apply Blue-jay at night It is which they consider of great value, and details. done in a jiffy, and the pain ends large vaudeville house and the organ, to Organists of limited imagination, with-- which may be so in a few cases. Hear¬ owner a certificate stating exactly what violin and show it to the members of a use a theatrical term, is “circussed.” Mr. from that moment out originality and without an extensive FIRST STEPS IN PIANOFORTE ing of the sometimes fabulous prices paid the violin is in his opinion and what its symphony orchestra before their rehearsal Warren’s chief number at each perform¬ repertoire, will find no place in this new STUDY for Cremona violins they are naturally probable market value. Such a cer¬ hour. These men all have pupils, and if In two days the corn is loosened. ance is a sort of rhapsody, consisting of field. The musical requirements are se- . , . , , . , , anxious to convert their old fiddles into tificate is naturally of great value to the they do not want the violin themselves, Then they lift it out. There is no typical organ themes with perhaps a hint vere, but the financial rewards are consid- ^ 01 Kv"d owner in finding a purchaser. they may be able to sell it on a commis¬ of a popular melody all worked up with cash. pain, no soreness, and the corn is erable and the work is intensely interest- Carefully Edited and Revised by THEO. PRESSER As a matter of fact a violin is one of Now as to finding a purchaser. If the sion basis to some of their pupils. Violin original matter to constitute an effective completely removed. ing to those who are fitted for it.—The V * i»“W the most difficult things to sell, and one violin is to be sold to a violin dealer, it teachers are often able to place good and legitimate organ number, but planned New Musical Review. ‘lli mod cuHfoilr the pis is not so necessary to have it put in per¬ violins with their pupils, which they are Pare corns and they remain in a way Ji»t U eadly understood and there i. nodi, &&, of the most difficult things to buy to ad¬ dleman’s pro¬ fect playing order, for the violin dealer glad to do for a commission. The violin ever-present Use old-time treat¬ vantage, unless one knows exactly how to fit*. We have nt by (foie wl will buy the violin if he thinks he can may also be left at a leading music store 34 year* of expert ments and the corns don’t end. go about it. The reason of this is that violin experience. thoroughly competent judges of violins sell it, just as it is, and have the restora¬ to be sold on commission. Pick from our large, carefully graded «tock But apply a Blue-jay plaster Sensible Names for Organ Stops are so rarely found. Almost any one can tion and repairs made himself. If, how¬ Selling even a really valuable violin is the violin o£ yonr choice. We will Bend tt to yon on and that corn will leave you. If Price, $1.00 ever, the violin is to be offered to violin¬ often a discouraging business, and takes free trial so that you may examine it ^ We all know that the titles given to literature of the organ as well. I think give a pretty good guess, or thinks he ists and amateurs, it is of the greatest much time and patience. Many people use it. Our Btoek comprises representative Instru- it doesn’t, apply one more, for many organ stops, while picturesque, give that many composers like Mendelssohn FOUNDATION MATERIALS FOR can, at the value of a house and lot, a ments from the best of the foreign violin makers— horse, or a suit of clothes, but to the un¬ importance to have it put in perfect repair will be found who would like to buy the Herman Todt, Joseph Corretell), Wilhelm Duerer, some corns are stubborn. little idea of the tone quality or strength and Saint-Saens often place their most J. F. Straube, frranz ^eidler and^manyothers^lheM of the row of pipes thus designated. Who THE PIANOFORTE initiated violins look pretty much alike and in perfect playing order. I have violin if they could be really convinced A million corns a month go valuable ideas out of the reach of the violins are honestly made and honestly sold. of the uninitiated could tell at first sight the By CHARLES W. LANDON and sound pretty much alike. Out of a known many cases of where people of its value, but since they know nothing that way. Let yours be among organist, and confide them to the orches¬ This method let meaning of terms such as the following: crowd of vi’olins, good and bad, cheap hawked their violins around for years try¬ of violin values, they are extremely skep¬ them. Start today. tral conductor, for the reason that they “Doppel-flote,” “Spitz-flote,” “Corno da and valuable, the average man whose ing to sell them and failing because they tical. Rare Offers—Now are surer of the proper rendition of their ort bCTsJa.d U[ML tfc Our instrument ie hand-made tone Caccia,” “Flauto-inversa,” “Gambe,” “Na- knowledge of the violin is limited might were in such bad shape that no one would Large cities are the best in which to i uhu, Dvzid at exceptionally low sard,” “Cromorne,” “Dulcian,” ‘‘Fugara,” instrumental effects. I do not refer, of pick out' a $10 factory fiddle in prefer¬ buy them. Then again I have known of sell valuable old violins, since in the “Tuba-mirabilis,” “Armonia-aetheria,” course, to those works which depend upon •““<»» » given <° rhythm, tin ence to a $10,000 Strad if given his choice. many instances of quick sales which were smaller places most people want violins the wiaale-mnnnle of otj** n,rth.od. calcul- ed Blue=jay etc., etc. ? While the original signification the wiggle-waggle of fugue and counter¬ Then again a master violinist can make made because the owners were wise for $5 or $10. In such places $25 is con¬ of the words is sometimes obvious, it is point for their chief interest, but to com¬ a $5 violin sound better than a priceless enough to have their violins put in per¬ sidered a large price for a violin, and $50 Ends Corns difficult if not impossible, to see their positions of the triore modern school. In¬ Cremona in the hands of a player who fect condition by a master repairer. A is considered ruinous extravagance. In application or appropriateness to the organ deed, it seems as though a large field LANDON’S PIANOFORTE rasps like a saw filer. This being so, no comparatively inferior violin will sound the large cities there are many professional For Only $8.80 were being opened to the imagination of much better than a much more valuable violinists and advanced pupils who are m, cash, we will send on approval, postpaid, a 15 and 25 cents—-at Druggists stops which they embellish. True, as METHOD wonder the public is completely at sea ienuine Pfretzschner Violin Bow Samples Mailed Free Sancho Panza says: “A man may call his the composer by the wonderful improve¬ EASILY GRADED FOR BEGINNERS when it comes to buying and selling vio¬ one if the poor violin is in perfect' play¬ constantly on the outlook for good violins Regular retail value, $18.00 and $20.00. house an island if he choose.” Still, I Thiabook is by a practical teacher who has proven the value ing condition and the good one is not. and who understand the immense impor¬ Bauer & Black, Chicago York ments which have been made by the lins. It is natural to assume that any ■nrcrnarkable special sale^rice.^ TT,aW* Makers of Physicians* myself should be greatly pleased to see organ builders of to-day, rendering pos¬ good violin player should know how to Almost every city of any size has violin tance of having a good violin for solo and ,he “■ri1*^hiyw^ ss&Tf--Tyt Whig81catalog? Wzitefor it today. a uniformity of names adopted by all .sible novel combinations and effects Mason system of technicL-! • 1 * The teacher's select a violin, and to he able to judge of dealers who will buy violins if they are high-class orchestral work. really good, but the trouble is that they manufacturers, not only for the sake of colors hitherto unheard of.—Edgar Ns?,he valuable_ led so guide I the value of a violin very closely. The will not pay the full value for them. the composer and organist but for the Stillman Kelley in Sharps and Flats. thJb^k 37««PT!^hie' re well wofll fact of the matter is, however, that many HAND DEVELOPMENT. method or courae of piano all professional violinists have a very limited Dealers in old violins expect to make an There has been no more important knowledge of violin values, and are poor enormous profit because old violins are development in violin playing in Europe ■ today and let us ship you this bow on sis days’ judges of violin tone into the bargain. of very slow sale, and it takes much time within the past two or three years than and negotiation to make a sale. These GUSTAV DAMM’S PIANO In selling a supposedly valuable old that in systems of stretching exercises How THE ETUDE Helped the B Sharp Club dealers send their violins to prospective violin, the owner should first take steps and hand development of all kinds for 10 to 30 Days9 Trial By GRACE BUSENBARK SCHOOL purchasers all over the country on selec¬ WITH ENGLISH AND GERMAN TEXT to find exactly what his violin is. In producing the movements required in Try any instrument In our stock before you The “B Sharp Club,” composed of tion, and a dozen violins may be sent, a decide to buy. We will allow you 10 to 30 days’ home As teacher I am an “honorary mem¬ An exce-LMedihon of this widely used work, the popularity order to do this he must first submit the violin playing, and increasing the "reach’ trial free. We insist that you shall be satisfied and twelve of my pupils, aged from ten to °t which may he judged by the fact that thcoiijioJ Germo few at a time, before a sale is made. I of the hand. There are a number of we will pay the express charges both ways on any ber of the B Sharp Club, and mark the IwUishet has issued no ess than two hundred ediioci of it. instrument to an expert for an opinion. have known of cases where a New York returned instruments. Send the coupon today- now. fourteen, subscribes for The Etude. At attire" B Somewhat larger tfuuynort others, so the note these systems, and while many of the articles previously selected for their spe¬ If the violin is a comparatively crude violin dealer sent as high as twenty-five each bi-monthly meeting we decide upon exercises have been known td violinists ■deal edition fcrbtfhtei affair, a violin maker or repairer can be old violins in batches of five to a pur¬ one especial topic for discussion at the cial interest and helpfulness in line with and teachers for many years, their being Violin Book Free found in almost any town, of any size who chaser in some distant part of the country next meeting. Each member is to report the general work planned for the year grouped together into a system has made Write today for free copy of the new Lewis can assure the owner that his violin has without making a sale after all. All this catalog of Violins, Cellos, Etc. Don’t think of buying on some subject. If it is a broad one, f only part of the article is applicable them more valuable and available to the An Enlarged and Revised Ecition of little value. In case, however, that it is packing and unpacking and keeping the like the Life of Beethoven, or the Use tor our stage of progress that is also student in violin playing. Some of these marked. an artistically made instrument, it will violins in repair takes a large amount of and Construction of Musical Instruments, LOUIS KOEHLER’S PRACTICAL systems are winning recognition in high often require the judgment of a profes¬ the dealer’s time, and makes him demand the topic is divided, each member having During the two weeks intervening be- places. Prof. Ostrovsky, of London, who ‘STARS OF THE CLOUDLESS SKY” METHOD FOR PIANOFORTE very large profits when he does make a one phase of it. If the subjects chosen Opus 249; Volumes I mid U sional violin expert as to whether it is has won a European reputation with his Sninr,nf e*ch ™-nber consults the sale. Special '“ROSE TIME” are less comprehensive each member has Revised by the Author’s daughter, genuine or not. There are not a great system of hand gymnastics for develop¬ « Day Service, scored for Voice, Violin and a different one. . CLARA KOEHLER-HEBERLEIN If the owner of a violin decides to try area e Wkept on filea with other musicalTHE E ™bookss many really competent experts in the ing violin technic, was recently invited to 1 hu 19 a work needing no introduction to tcachen. T1k to sell the violin privately, he may be able In charge of the club “librarian” is an on low shelves in my studio and are whole United States, most of them being lecture before the pupils of the Royal Etude card-index containing such sub¬ j t F"d 5 e °h SsBiSiaKS — lor the AMERIt High School of Music in Berlin on the jects as History of Music, Harmony, bembers.y STThehe Lt'articlesC llic nu -- Ths Etude; fingers of the left lund, and , , ROOT VIOLINS A correspondent writ s , j a greater pressure of the bow arm l?' For more than fifty “As I have often read tha*^re ^ thc case \ choice oFmuskians good field for stringe in ’ . j neglected opportunity for the stJ '1 and discriminating desirous of learning to playthe^.o^ ^ ^ ^ ^ ^ <*, < fl MEuoRflNT buyers. The smooth. L p_if, as you say, your present teacher be studied from childhood. People studying not "well enough educated in violin play- the piano for the first time in adult life seem D° 7? Wn?thei Vam very fond of the both instruments, since by doing thiTT inc himself to turn out good pupils, you had to be able to make some little progress play- ment to learn? I am very to WOUId have "two strings to his if^ better change teachers without delay. Poor ing with either hand separately, but when violin lessons are dear at any price, and it they try to play with both hands at once the viohn, but t ereju-e best to could get engagements for either hJ? is better to take a Jew lessons from a really case seems hopeless. good teacher, than a great many from a r BOW-HAIR preparation that LT tart ^ » —- .o*™ j? •!•' <««... fct Door teacher, for under the latter faults are _is much superior to rosin be- w;11 vou give me an idea as to ture of the violin is so ranch more acquired which it will be di&eult, if not im- J-,4: V—A good authority on the prices ' cause it produces tone by ad¬ color illustrations. J Dossible, to eradicate later on, if the student of violins gives the value of a Nicola Amati how many years it would take to be- plete than that of the viola I Woui4si wishes to learn the art of violin playing in at $1,500 in 1890, and from $4,000 to $6,000 hesion instead of friction—produces a at the present day. However, prices of Cre¬ pure, full, clear and beautiful tone, no come a fairly good viola player. Also vise the prospective viola player ,0 * a really correct manner. 2. The fourth mona Instruments vary greatly, according to finger is the "weak sister" with every violin state of preservation, quality and other cir¬ matter whether the weather is dry or give me a list of good studies for the mcnce by studying the violin. Iara,titf olaver and constant practice is required to damp, hot or cold. 11 does away with THE GREAT PAGANINI make this finger do its work passably well. cumstances. The fact that your violin con¬ tains an Amati label proves nothing, as there all whistling of the strings, grating a d scratchy sounds; preserves viola.” . \UrC .th.at V,°la Stud«* *h° Played Practicing trills with the fourth finger at are hundreds of thousands of imitation The viola is a noble instrument, and the violin also, and worked through th( first in very slow tempo, and increasing the and lengthens the life of the bow-hair and strings. speed later on is a very good method of Paganini's Tone Ameliorant jc will last five times as long as any ordinary we think our correspondent would make splendid educational material which goes strengthening this finger. Almost every in¬ struction book and set of studies contain rosin preparation, so that it is Jy really cheaper, besides giving you better no mistake in learning to play it. Really to the development of an artist violin sDecial exercises for developing the fourth •The object of the positions in '• ' ' ------:tes, the large” size in a unique, conveni- FIMP Of n VIOI IN tions are to be cut up and put in the What They Do in number of pieces. The book was origi¬ Reducing the Cost of place marked in the volume. Wondertown. By Ruth Alden nally published in Germany, but it is re¬ Next comes the house in which John Theo. Presser Co. Renewal to The Etude This work is a descriptive one fo. ceiving a thorough revision in our edition. Sebastian Bach was born. This space Besides there will be a number of addi¬ By taking advantage of one of the spe¬ will be for the picture of the birthplace children. It takes the children on a jour' Publications tions and omissions by the editor, E. E. cial magazine combinations given in “The of Bach. Then comes a little description ney through Wondertown and discloses Etude Thirty-six Page Magazine Guide of the early days of Bach’s life. Then to them most beautiful pictures withmus Hipscher. In all there will be over one ical illustrations. The child interest ii Issued February, 1915 hundred piano solos that will be treated a considerable saving can be effected there is a little description about the on your subscription to The Etude. Wartburg, and a picture is to be pasted awakened through works of this kind to in this book. Our special advance of pub¬ Do you realize hew much a greater extent than most any other lication cash price is 50 cents, postpaid. These special magazine combinations were in the place reserved for it of the Wart¬ time is lost hunting for your burg, where the Tannheuser story is laid. The Big Musical Mes¬ means. There is music enough in this arranged specially for the benefit of the So the book goes on, in a simple child¬ work to last the child about a month At *' PIANO SOLOS Musical Ideas for Beginners. readers of The Etude. music ? like way, giving the main facts of the life that time the journey is completed with a 12195 The Little Brother, By F. Marion Ralston We give below a few of the more popu- of John Sebastian Bach. There are at march called “Homeward Bound.” It ;s ...... , lar clubs taken from this catalog. All 12884 One Pleasant Day, least twenty pictures that go with each sage of the Times one of the musical novelties which » We continuing during the current subscriptions are for one year; may be T1NDALE month the specialsnectal introductoryintrndnrtnrv offer on ^ Qr renewa, and may begin with any biography. On page twelve will come the most welcome to every child. Our special Music Cabinets facts about the life of Bach. It is a Hark back a thousand years and we find introductory cash price in advance of pub¬ this valuable elementary work. This issue. Magazines may go to different ad¬ sort of a review of the previous pages. music chiefly as the pastime of monarchs. lication is 20 cents, postpaid. R. S. Morrison 3 book is the result of many years of ex- ■dresses,d7e7ses,‘7xc7pt'in'the“few except in the few cases stated Fifteen of these are facts, and five are Keep your music in Five centuries ago the Meistersingers and 22182 Village Fiddler, 3 penence in teaching and handling young otberwise. Canadian and foreign postage questions asked. Then on the fourteenth students. While it is not strictly an in- additional. order so that you their like made it the joy of the people; Studies in Syncopation. page of the volume will come the story 22869 Two Gems frora0G\“ck’Gluck 3 struct,on book it may.be taken up to send The Etude, can find what you written by the child. The story of John everyone who would, might make his own ; Op. 1079. By Sartorio 22876 Song Without Words^Op^ 2^, ^ good advantage in connection with any _ , * want when you Sebastian Bach, written by . On music. These special studies are very timely at elementary method. To-day’s Magazine and McCall s. -(Date). The child signs his name to 12892 ^get^Notfop. 22a,rteft g want it. A variety Today the foremost thinking men and the present when Tango rhythm is So In this work it is the intention of the F°r $1^°.we wiH send The Etude and the sketch and binds up the volume as a popular. They are intended for the de¬ 12895 Amusette, Op. 23. F. D’Orso 3 of graceful designs, book made by the child himself. It is a women declare that: author that technic and musicianship shall Modern Priscilla. velopment of rhythm in general. They 12155 On Moonlight Waters^ ^ develop hand in hand from the very be- For $2.00 we will send The Etude and beautifully finished most excellent manner in which to ac¬ are very melodic and exceedingly interest¬ ginning. Our special introductory cash Mother’s Magazine. in Mahogany, Oak quaint very small-children with the salient ing musically. We are sure of a genuine 12184 Song of Teaming ^ 3. F. Widener 3 % in advance of publication is 30 For $2.25 we will send The Etude, or Walnut. Prices moderate— facts of the lives of the great composers. Music is Not Merely a Pastime, welcome for this set of studies. There is 12186 Valse Bagatelle, ^ The books will be gotten up in a very a place for them. Most pupils are defec¬ per copy, postpaid. Modern Priscilla and McCall’s. cash or convenient terms. Satis¬ popular manner so as to make them valu¬ But One of the Greatest 12190 ___Carillon, Op. _C.I Heins tive in syncopation and rhythm, and the Le Kangourou (Valse Char¬ For $2.35 we will send The Etude, faction guaranteed or money able to every class of pupils. We will special course which this work would give Note Speller. Designer and Home Needlework. make up an advance price on the whole acteristic).P. Wachs refunded. of All Human Needs would strengthen every pupil. Don’t fail 12877 An Indian Tale..C. Loewe By Adele Sutor For $2.75 we will send The Etude, series and also on a single one. Our 12059 Prelude, Op. 23, No. 5, price on a single biography will be 10 to have at least one copy of this work to S. Rachmaninoff In this work it is the intention of the Mother’s Magazine and Pictorial Review, Cut out this advertisement, write The Etude has been fortunate in se¬ cents, postpaid, and we will send the examine for future use. There isn’t a ohengrin’s Reproof to Elsa writer to make the best possible note For $3.00 we will send The Etude, your name arid address in the curing a remarkable series of opinions from teacher in the United States who hasn’t (from Wagner’s “Lohen¬ whole six for 40 cents, postpaid. grin”)_Trans, by Fr. speller with the addition of a great deal Delineator and Everybody’s (last two margin and mail it to us for our men and women famous in many differ¬ had pupils who need just the instruction Wagner that is given by these very studies. Our of other material for the youthful stu- mUSt go to the same address), Illustrated Catalogue No. 1. ent and distinguished branches of human 12862 Senta’s Baliad (from Wag- Literature special cash price in advance of publica¬ “Flying Dutch- dent. It contains all the good features For ^325 we will send The Etude, It is quite safe to say that no person¬ endeavor. tion js 15 cents, postpaid. hy Fr. of any book of this kind with consid- Modern prjscjUa, Ladies’ World and Liszt erable added original matter. Our spe- p;ctor;ai Review. Tindale Cabinet Company ality in the world of music has been the t These opinions are invaluable to Etude readers, 12873 Polonaise.Fr. Chopin 8 cial introductory cash price in advance of For $3.2S we wiu send The Etude, One West 34th St. New 1 subject of as much writing as Richard since they are far more convincing as far as the great Liberal Offers for Renewals 12872 Polonaise, Op. 63, Wagner; the enormous mass of pub¬ public is concerned, than anything we might publish Fr. Chopin 10 publication is 15 cents, postpaid. Woman’s Home Companion and Ameri- lished literature with direct reference to to The Etude During PIANO, LEFT HAND ALONE from poets, scientists, or the music-makers themselves. 12192 Valse D’Adele... .G. Zichy 7 i Magazine (last two i t go to the the composer or his works gives ample the Current Month Popular Overture proof of the impression his vigorous brain The world listens to the voice of the successful man FOUR HANDS same address). How's of large affairs. We invite all of our Etude friends to em- Subscribers to The Etude who renew 12139 In the Attic, Album for Four Hands Additional combinations has made upon the musical, dramatic their subscriptions during March can G. L. Spaulding 2 and literary world. No great composer ploy these messages as a means of making clear to all of Garlands of Roses, This collection will contain the best page 239 0f this issue. If the magazines their acquaintances that the study of music has a vitally take advantage of any one of the three G. L. Spaulding 2 and most popular overtures with the des;red are not included, ask for free copy that Boy? had more enemies, but now, little more special offers noted below. important value in public life—a value so great that it 12193 Funeral March of a Marion¬ most modern editing. It contains 0f “pHE Etude Magazine Guide.” Is he healthy? Does he than thirty years after his death, there Offer No. i—Add 15 cents to the regu¬ ette.G. Gounod 3% cannot be measured by coin, and so practical that the big such overtures as “The Raymond Over- show any interest in music? are few, if any, who do not acknowledge lar subscription price ($1.65 in all) or to 12868 Hungarian Dance, Op. 284, his genius or who fail to note his vast broad business man stops to tell the world of the wonder¬ No. 3.F. Kirchner 4 Do you know that the cornet ful returns music always brings for the investment. the price of any magazine club, and we ,” by A. Thomas; the “Jubel Over- Advance of Publication influence on the art with which his name SIX HANDS .b7 C. M. von Weber; the “Merry offers Withdrawn Look oyer the following list of the names of noted will send, postpaid, choice of any one of 12175 Meadow Queen, Op. 40, will always be identified. Vet even the following musical works: . Franklin 2-3 Wives of Windsor,” by Nicolai, etc. It .. , .... when his enemies flourished he did not men and think for a moment what the force of their is a most attractive volume throughout. The following four works which have 1 hig'h.’fi™ chwti’ Playfng COTnetiiTot'only Mathew's Standard Compositions, Vol. I, VOCAL • le, but a healthy one. The lack a certain few discerning and en¬ opinions must mean if you employ them to carry the Our special introductory cash price in been offered at about the cost of paper great gospel of n : to others. Grade 1, to Vol. II, Grade T. (Any one thusiastic friends and supporters; among volume.) advance of publication i. « cents, port- »d pnn.mg *™«S« I>*»<«. j these was Judith, the daughter of one of EDWARD BOK Beginner’s Book, by Theo. Presser...... J. H. Adam - THOMAS EDISON onGzerny-Liebllng’ Books I to III. (Any 12181 The Man of Sorrows (L. York Home Cornet France’s great poets, Theophile Gautier. V.).J. H. Adams 3 Pal ’ low price is withdrawn. The works will Her book, “Wagner at Home,” is a Standard Organist; 43 pipe organ pieces. 12269 O Perfect Love, Time Studies for Four now be sold at the regular retail or pro- charming and intimate account of a visit Hon. RICHMOND P.HOBSON Standnrd Vocalist ; 50 songs for medium H. T. Burleigh 3 will help build him up physically and will furnish voice. _W. II. Neidlinger 3 him and his friends many hours of happy and profit- to Wagner at his retreat, Triebchen, on Hands. Op. 824. By Czerny JX'St RUSSELL H. CONWELL ELDR1DGE R. JOHNSON Operatic Selections for Violin and Piano; 12750 The Courts of Heaven, &&*** Lake Luzerne. The whole book reads 13 pieces. T. B. Starr 3 This is a work of Czerny s that deserves jan tQ tbose wbo are interested, like a novel with the scenes laid chiefly 12783 The Lily and the Bluebell, Offer No j>— Add 10 cents to remit¬ to be better known. It will be published in Switzerland with a side trip to Munich DANIEL FROHMAN DAVID STARR JORDAN H. Wakefield Smith 3 Write for our booklet “A Hobby for Your ] at the time of the first public representa¬ tance, $1.60 in all, and we will send, post¬ 12787 I Heard the Voice of Jesus complete in the Presser Collection. Origi- "Six Forest Sketches,” by F. Flaxing- paid, choice of any one of the following Say.0. G. Spross 4 nally it came out in three books. In the fgn fjarker, a set 0f short piano pieces tion of “Rheingold,” before the days of Dr. G. STANLEY HALL JOHN LUTHER LONG 12199 The Sweetest Song, J. W. York & Sons, Grand Rapids, Mich. Bayreuth. Even those who know Wag¬ lithographs, 22 x 28 inches, selling regu-- W. E. Haesche 4 Presser Collection the price will be less of more tban ord;nary musical worth, ner only through the strains of “Lohen¬ lady at 50 cents: Bach, Beethoven Han¬ 12864 I have Lost My Eurydice, than that of any of the separate books. T1 are of medjum difficulty and very i • atTHe °Pinions of ,these men and others who have del, Haydn, Mendelssohn, Mozart Schu¬ C. W. Gluck 4 grin” and “Tannhauser,” will enjoy this kindly promised to assist The Etude in this work are Rain on the Down, The beginning of the work is in the first « • as tQ mei0dy. Price 75 cents, book and will be encouraged to enlarge mann, or Wagner. Nicholas Douty 4 grade up to about the tenth exercise, then P# u C?n!itant en and Tone Control Tone Two Victrola characteristics The Victrola tone is a wonderful thing. It is the tone of pure reality—throbbing with life and power. When you hear the world’s greatest artists on the Victrola, you hear them just as truly as though they were singing or playing right before you. Besides this true-to-lifetone there is incorporated in the Victrola the important feature of tone-control—the ability to play each in¬ dividual selection just as you personally want to hear it. These two distinguishing features demonstrate the perfection of every detail in the Victrola. It not only brings you the world’s best music in all its beauty, but enables you to enjoy it to the fullest extent. There *re Victrolas in great vari- Alway. n». Victrola. ■ ety from SIS to $250 and any Victor dealer will gladly demonstrate them and play any music you wish to hear. boards and a m p 11 f y i ng compartment of wood—pro- amplifying compartment, so Hr Victor Talking Machine C Berliner Gramophone Co., M< New Victor Records dt THE UNDERWOOD is the machine upon which all World’s Speed and Accuracy typewriter records have been established. THE UNDERWOOD Abroad is the holder of the Elliott Cresson Medal g|Sf|§ps for superiority of mechanical construction. UNDERWOOD present “The Machine You Will Eventually Buy” stairs and the accident induced concussionconcuss of ^ one-actu«e-act operanm»ro entitled rLo.tAnGuido Jrerranw*Werranti. by«/ the brain.hrnin. Fortunately, however, he is re¬ van Etten Andrews was recently pro- covering and hopes soon to resume his n uted for the first time in Chicago. It is duties, UNDERWOOD BUILDING :: NEW YORK funded on Oscar Wilde’s nlay, The Duchess , . . f Padua. P Berlin appears to be still very active in a musical way, the chief artists heard at the Summer School Announcements Ask about Special AtVVT1'' — be the « g Please mention THE ETUDE when addressing our advertisers!"- • Rates for April Issue Please mention THE ETUDE when addressing our advertisers. 233 232 THE ETUDE THE ETUDE THE death recently occurred In of Gregorio Verdi, a nephew of the great om the place where one of the leading rifle ,S poser. Gregorio Verdi was tor .““MgS ammunition manufacturing firms does it, an officer in the British Navy, and served wun deadly work. Somehow the two statement! the British fleet in the bombardment of Alex_ don't agree very well. 11 looks as if art anj Do you FILE or PILE your music? andria at the time Great Britain was at war __ conflict wn„ with her present ally, Russia He a«ffwaras usual result that art gets the worst of it set up in business for himself at HjUifa ^ ^ Birmingham has seen the premier of man; Systematic 8., where he passed away in his ninety nxs great choral works including Mendelssohn', Sections for year. Elijah, Gounod's Redemption and Ekar! FILING Sheet Music, One of the first musicians to fall in J**® Dream of Gernntius. war was Alberlc Slagnard, who was snox instead of Disc Records, while attempting to defend his house from the Is it not probable, asks “Lancelot” in «5 invading Prussians. Many in Paris are now London Itejeree, that Continental composers Promiscuous preparing to honor the dead composer by giv of late have, perhaps unconsciously to them Player Piano ing a performance of his opera, Guercoeur. selves, been expressing the evil turbulent, have received an interesting letter from PILING It Is also suggested that a street hitherto which has culminated in the war? Certainl, „ E composer regarding GUssandos in THE MANY MOODS Rolls, named after Richard Wagner should be named it would be diiHcult to surpass tile suggestion thirds which were spoken of in this depart- the public loved repetitions, and seem neve after him. Whether these plans will material- of cataclysm that is found in some of their recently. It may serve to show With to have had too much of them. But the makes reference bound volumes works. The tendency of such music is •ft; rf^TiiE Etude is studied abroad. We taste of the present is somewhat against the IN MUSIC easy and pre¬ much the destruction of form, law, and order eppmda literal translation of the communi- unnecessary repetitions, and therefore the of sheet music, Gunsbourg, the insure to more people happy, self-forgetting rec¬ vents unneces- It is reported that Raoul and all that makes for symmetry, balance and ■ cation: teacher often cuts them out in the works of ______etc., may be director of the Monte Carlo Opera, so dis- beauty, as the firing of Krupp’s guns, if ty. Haydn, Mozart, Schubert, etc. reation than any other form of entertainment. the end of his On US2P 926 between the questions, I find sary wear. W stacked together likes the German syllable at be so, it explains why the widest-minded .newer about "Glissandos.” In the interest In sonatas the first repeat (the exposition Endowed with a tone of infinite variety and name that he intends to eha musicians failed to see any indication of Sf vow journal I am sending you this addi- of themes) is generally made, but if there Is grad. If war ..the most heroic of a imaginative charm, the pleasure of a great and been claimed by no artistic development in works of such inco¬ I J There are quite many double glissandos a repeat at the end of the first movement it J^^Music Room Sections man's qualitii herent and extreme dissonant character At ii°nTistence in 3rds, 6ths as well as octaves. is almost always omitted by the intelligent soothing art is trebled by the Baldwin Piano. ct filing pri ncip.~ ... less than Rur any rate it will be interesting to observe if LTifzt KaooozkyMaroh; Liszt, Tadtentanz ; teacher. After a “D.C.,” or “D.S.the ...* Unit” idea provides fo^ future growth ceedingly small sides to his character. Continental composers continue to write in Uszt Concerto .in A major; Brahms, Him- repeat dots are not to be observed, ’unless Here is that vibrant mass of tone ready for SHEET MUSIC is filed vertically, classified alphabet, The death recently occurred of H. Lane this manner when peace Is restored. ,SS’» Dances: Beethoven, Concerto in O the melodic structure seems wrong without the musician’s stormier impulses; here, too, the tr y’fi|etwecn gaKiItaly, jfranee and Boston opera as usual, but during the past out. Mr. Kriens was conductor of the French Germany, such laws have not been called for, flat, F flat. The next key beyond it would be season Boston has had no opera. Further- Opera in Paris, Boulogne, Cairo, and later and England has not attempted any such B double-flat, being the same as A major, and ®<£e' the splendid field of operations that lay in New Orleans, after which he remained in legislation. In these countries the diploma would contain two double-flats, and so on. before him at Darmstadt, where he was to the United States for several years. He was of a good Music School, or, In the last-named, 2. If you wish to study r little modulation JST® hbeen director of the Court Theatre, has a native of Holland, but lived mostly in Paris, a degree of Mus. Bac., or Mus. Doc., stamp of this kind look at the second countertheme Every music-lover should read the $1.00 A Year— also been temporarily closed to him. He is and Joined “The Corps of Foreign Volunteers” the elite of the profession. I hope that I in the slow movement of the Sonata Pathe- certs in Vienna, and and was the very first one shot, the entire shall not be mobbed for expressing an opinion tique, by Beethoven. The theme begins in -§-""— t the company being entirely wiped out afterward upon a subject which is being debated at a A flat minor, which is the relative of C flat by one shell. white heat just now, in America. But we major. This key is usually written G sharp music-study articles by Worth More, „ London Times has fished up a letter may yet learn that too much legislation is a minor,. but the composer desires to show the The British troops In France have signified dangerous thing. connection with A flat major which has pre¬ g|£n a delight in mouth organs and accordingly an ceded. But he modulates first to the re¬ To a woman—almost enterprising English contemporary, J/iiiicai 0. Is there any quick way by which one lative major, C flat, and then to the sub¬ any woman—The Mod¬ Italy should in lts • ins,stence that Rows, started a fund for providing Thomas Atkins with his favorite Instrument. Ail can learn to "vamp" an accompaniment to dominant major of that, which would be F LOUIS C. ELS0N ern Priscilla is worth went well, and an order was sent in for the a song or violin piece?—C. D. flat major. But in order to avoid the double¬ more than it costs. The flats, he changes enharmonically in E major. America’s foremost musical authority in instruments, but unfortunately at the last A. Only a knowledge of harmony will It looks like a very bold modulation if you woman who likes to moment it was discovered that such instru¬ help you to do this. A good knowledge of glance at the many accidentals caused by the embroider finds here ments are made only in Germany. Attempts the chief chords of music will help you in enharmonic change, yet it Is simple and con¬ instructions for all were at once made to procure similar instru¬ ments from Switzerland or America, but iu the simplest melodies, but it requires a ventional, if one continues thinking in flat kinds of embroidery. knowledge of melodic harmony to do much in keys instead of sharps. who wilSb?ameTer°iniame ner in ttthirtyhirtthe years time?strtfe vain. The prospect of assisting the enemy this field. I mean that in listening to a She finds beautiful by both aiding him in cash and relieving him melody the trained auditor attaches harmony Some of the moderns have used these ex¬ THE MOTHER’S MAGAZINE designs by the score, of two hundred mouth organs seemed unpa¬ treme methods of notation. I have even seen triotic. Fortunately It was discovered, how¬ to every note or group of notes, every tune a triple sharp used, where a double-sharp was patterns for which ever, that the instruments wore purchased ought to suggest its harmonies. I think that raised (accidentally) a semi-tone. But all she can easly obtain. there should be more study of simple counter¬ This favorite home publication is the from Germany before the war. and rouse point at the beginning of the musical course these things are affected and merely theoreti¬ quently any further profits made on them than there is at1 present. Nowadays the cal and had better be kept out of practical The woman who likes must go Into English pockets. Thus J/rncct Pupil gets into the habit of adding chords to music and notation. AMERICAN MOTHER’S BEST FRIEND Aeica is Justified of Its patriotic act. a bass part, and thinks far too little of melodic progression in his exercises. There ought to be study of melodic progressions Every woman needs the help of the and their combinations from the eariv stages ; inds china painting. No What Others Say that is some exercises in simole counterpoint sr magazine teaches: The Modem Priscilla— should precede the study of chords a la PERSONAL SERVICE BUREAU Richter. f The Virtuoso*pZTTcT nadOTSed ^ MUSiC W°rkCrS With Housekeeping it is the same as it is with Fancy work: The Modern Pr -—oroughlyppn thnrmirehi^ A--xt Tj. H&non, has — lead in the Housekeeping field. Its popularity is steadily growing among Dr ommend it highlytested to ear? Vine and Q' t What is the difference between the HOME AND SCHOOL DEPARTMENT tj (0 reduce the cost of living without : piano.—P. Walter, Ohio. ^ students”of the Qkia dpllghtfu*-—Mrs^'mei customed comforts; how to make the dai.., „„„ trn time signs C and ft t housewife time for something besides housework; these an ' 1. When playing from D.C. to Fine, should Also, what is the meaning of the following BETTER PARENTS’ LEAGUE tie practical problems l%^|hthDitaSiedacopy of , 1 think the "Chamln,minnde Album" i ■ terms, which are not in my dictionary, Car- that our “Everyday Housekeeping” section is helping to sc -- uoc of my choir -Ms? p?r r>u can take a complete course of weekly small cost, in the quiet and privacy of your oi Mr. Adolph Rosenbecker and Dr. Daniel Protheroe; 1 iSp former noted soloist and conductor, and a pupil of Richter, and the Each lesson is a step in advance, clear, thorough, and correct; _S'Ici SCKRtcSp no learning of a few cut and . dried rules without knowing how to apply them in a practical way; a written examination on each lesson, in connection with ample original work, develops your iiSPiiieigl knowledge and-fixes, the important principles in your-.blind. You are thus able to compose, arrange or orchestrate a piece of music in a thorough and musicianly manner. Complete Easter Services for Sunday Schools Harmony Teaches You to THE RISEN KING DAWN OF HOPE “radSj “t!”- .1 SS^X-tS^ Single copies, 5 cents. Per dozen copies (prep •aid), 55 cents. Per hundred (prepaid), $4.35 THEO. PRESSER CO., 1712 Chei the EDUCATION of the MUSIC TEACHER wmmmmmThomas Tapper’s Latest and Most Helpful Book T^.^wXfc^.tpPTdV^ mWmm SSHw; . SAMPLE LESSONS FREE Fill out the Coupon^ below ^ and mail it to us. ^ We will then send you ZABEL BROTHERS MUSIC PRINTERS MS ENGRAVERS Send for Itemized Price List and Samples COLUMBIA AVE. AND RANDOLPH ST. i SIEGEL-MYERsj Do you wish to learn to teach?— 239 238 THE ETUDE THE ETUDE Substantial Rewards for Obtaining Subscribers to THE ETUDE COMBINATION SCISSORS rptSET Greatest Savings in Magazines Ever Offered No. 1563-2 subscription*. Three g, GENERAL INFORMATION INDISPENSABLE MUSIC WORKS . ,u;s page Are given carefully arranged magazine combinations costing much less than Canadian and foreign postage additional. Canadian postage on THE ETUDE No. Any one for TWO Subscriptions . Any one for ONE Subscription .iLn^^in^ro^ry’i^ i. rrcular prices of the magazines. These special prices arepossible only because of the 25 cents; on other magazines about SO cents. Foreign postage on THE ETUDE, 72 cents, MYSTO “ERECTOR” FOR BOYS T Sop«*fion of other publishers, and are as low as those quoted by anyone. All on other magazines about gl.OO. Ask for the The Etude Magazine Guide-36 pages. 206 Cho£in“ Lighter Compositions for_*e Pia” No. t ecc—1 tubscrintion.crlption. Makei nr,69 0 —..Lyric PL™. 207 Church and Home. 18 Q,,, m98pi cl°, ,re mven immediate attention. Prices are for subscriptions of one year. Sub- These clubbing offers supply a ready solutiQn of the gift problem. music loving friends who would readily subscribe 109 Anthems of Prayer and Praiserif“?;i 212 Concert Album. 25 pieces. Popular or Lias _ '2P1.rub. sription*. Makes 88 m • tinns can'be new or renewal (unless otherwise stated), and can be for different An annual subscription to one of the magazines listed here makes if shown the immeasureable advantages of re¬ 110 Bach’s Two and Three-Part Ii 213 Concert Duets. 150 pages, l* pieces. a 140 parts. Skesses. Remit by check, money order, express order or registered letter. a holiday or birthday gift that will be appreciated. ceiving The Etude regularly. -0-s’ Boolj; for the F 216 Czerny School of Velocity. n t* , dar METRONOMES Conditions—Subscriptions musrfce for one 116 Dictionary of Musical Te 218 or the piano _~J—5 aubacrlptiona. American make on k.» year at the full price of *1.50 each. Each Etude 117 Duet Hour. No. 401-7 aubacrlptiona.American makewltluf Special Price subscription in magazine club wilLhe credited ...rHiadJi Study. 1 Handel *“ :es for the plan FOUNTAIN PENS $1 75 . 17 Di ... a Text-noon. Dr. H. A.- No. 640—2 subscriptions. 14 kt. .... „„ __ _„_jhorn Studies. Op. 65, 66 or 67. two gold bands. Especially designed foT^omw . 16 Du e 237 Mason’sTouch and Technic. In 4 VoU.Any2vc No. 641-3 subscriptions. Self-Sl%, Ffc 137 Little Home Player. 28 pleasing piano pieces gold pen. 139 Mathews’Standard Compositions. Vol. 1,Grade 10 Mat..... —-j- MISCELLANEOUS ARTICLES 1, to Vol. VII, Grade 7. Any one volume LADIES’ WRITING DESK 140 Mathews’ Standard Graded Course of S’ " 241 Modern un Room Piec * piece‘- BOHEM WINDOW VENTILATOR 243 Mozart Sona™. .-- — in quartered oak. Sent by freight, coU«t,0' Made of Steel, adjustable, and in various sizes 142 Modern Dance Album. 18 piano select! MUSIC CABINET tdows up to 35 in. wide, 6 s' 1214 Standard Vocal Album. 30 songs mediun 250 Preparatory School of Technic. I- Phillip 585—15 subscription*. Mahogany or mi 1215 Operatic Four Hand Album. 22 duets. 261 Songs Without Words. Complete. Mendels: Sent by freight; collect. ’ 149 Operatic Selections, Violin and Piano. 265 Standard Third and Fourth Grade V Piano Player’s Repertoire of Popular Pieces. 1217 Popular Recital Repertoire. 31 piano pieces 266 StandirdFifth and Sizth Grade Pieces. Mathews ARTICLES IN SILVER 1216 Popular Home Collection. 46 piano pieces 273 Tranquil Hours. Quiet Piano Music Collec - BON-BON D^SH 159 School and Home Marches. 20 piano pieces 274 Two Pianists. 26 Brilliant Concert Duets. 1218 Selected Classics. Violin and Piano 19 oicr-ei 275 Waltzes. Complete. F. Chopin. THEETUDE1$1 60 160 Selected^ Studies. Ctemy-Liebling. T'clr —-276 —You Virtuoso, The To-Day’s \ J. — ,15? f laniard Opera Aibum for Piano. 15 piecei. for THREE Subscription* (Women)J Ssva40cu. ^il:;SteS>ss-sit''Krw 177 WellTnown Fables Set to Music. Spaulding 1222 Brahms’ Hungarian Dancea.Two boots. Anyone 1 SOLID GOLD JEWELRY H ssPSSs ™s3i SOLID GOLD BREAST PIN m Eiizilliplk iSSes LEATHER GOODS LINEN GOODS -BaaSSSJBBft—*■ VALUABLE MUSICAL NECESSITIES AT COST- ™E::s m [j THE ETUDE .V m t —:| as as FBslS3 THE ETUDE . . 1 t THE ETUDE . World’s Work . . J j KSfr::: cm m THE ETUDE . . 1 Current Opinion. s 50 Technical World 1*2- cm :lS' THE ETUDE . ga?.::! m Collier’s. 11! ® THE ETUDE . J. S. Bach. Pictorial Review 275 Complete WiSSe? ■ofchopi P‘a sSZZJSZ ' ''*- Metropolitan. . }s2- ti^MlLLPRIC 34p!a— ™ ™ Save $1.15 26 First Study of Bach. (Leefaon). 1211 mSHhSSv,' 5b',tkno'vnpiece8- £ THE ETUDE . 12 Handd Album l0rPi'Ce8' 17Duet5’ Grad«3-4- Travel . s£3£ ‘^fefS^IT^V0,,r*0rrfe ! Modern Dance Album. 18 piano pieces i Operatic Four-Hand Album. Any ONfi of tho f Readers of All Ages irtuoso Pianist (complete). Q. L. Hanon SIX MONTHS’ OFFER TWO years, ! PopuUrCHometCoUection!m46npirnonpieces “* Cosmopolitan, . . I Popular Parlor Album. 23 piano pieces ' 308 1DDIT'°NAL ' THE ETUDE $Q50 Good Houaekeepini r Popular Recital Repertoire. 31 piano pieces, J (6 months) 1 - i Practical Piano Method. Kohler. Vol. I. 1 X 345 Great*Pianlau1 orf'piano0^^^’^?^* Tapp,? No. 635—4 subscriptions 2K I 3}f. > School and Home Marches. 20 piano pieces 1- "xiff’js.S... 1 Singers’ Repertoire. 38 songs. Medium Voice. Sta8nd R,ep„'.rto!r=- ?S2o5S?£iiL?- C~ke Weekly J < Standard H.story of 11.00 - -- SEND ORDERS ONLY TO THE ETUDE, Theo. Presser Co., Publishers. 1719 ru . „ w.i^’Sras. ASK FOR A ToPY OF THE 1915 “ETUDE MAGAZINE GUIDE”-36 PAGES. SUlilUhestnut St.. Philadelphia the ETUDE, theo. Presser Company, Publishers, Philadelphia, Pa. 240 THE ETUDE miiiiiiiiiiiiiin ittiiiiiiiiiiniiininuiii1 THEODORE PRESSER COMPANY, PHILADELPHIA, PA. EASTER MUSIC IMPORTANT RECENT PUBLICATIONS SOLOS IN SHEET FORM ': Nals:'~ PIANO TECHNICS AND STIIDIFS VOCAL METHOD AND STUDIES N"”SSh"“USw VoS,’.y.‘~ .00 CONCENTRATED TECHNIC MASTERING THE SCALES AND STANDARD VOCALIST THE VOCAL INSTRUCTOR FOR THE ARPEGGIOS " S FOR 50 CENu n,—-By EDMUND J..— MYER Price,.t $1.00,j. By ALOIS F.LEJEAL * ’“I... : - : : .. jmm : ELEMENTARY PIANO FOR THE ORGANIST AND CHOIR MASTER TECHNICS, OP. 19 - ■ By Dr. J. M. BLOSE STANDARD ORGANIST ANTHEM OFFERING -PIPE ORGAN A COLLECTION FOR GENERAL -- CAROLS IN OCTAVO FORM ANTHEMS IN OCTAVO FORM * PICTORIAL REVIEW jo)' r 1 u/)'('f mm SPRING Z FASHION NUMBER DAY! by R. M. Shills 15f Out Today 15( by R.M. Stulls and Others .MAn- THEODORE PRESSER CO. E ■ :VA' ii'^lli\!!!li'!' ' V .. : 1 If THE attractive piano shown here is our most popular upright model. It is an especial favorite with musicians and teachers, for while like every Ivers & Pond, it is of supreme musical excellence, yet in design it is simple and tasteful. _ . Half a century’s experience is woven into the Ivers & Pond of to-day. Used in over 400 leading Educational Institutions and nearly 60,000 homes, it occupies a unique position among America’s best pianos. Whatever your piano problem, we invite inquiry. 1915 catalogue showing all our uprights, grands and player-pianos (free) on request. How to Buy If we have no dealer near you, we can supply you from our factory as safely and satisfactorily as if you lived near by. We make expert selection and guarantee the piano to please, or it returns at our expense for freights. Liberal allowance for old pianos in exchange. Attractive easy payment plans. For catalog, prices and full information, write us to-day. Ivers & Pond Piano Co. 141 Boylston St., BOSTON, MASS. “I’ll send No Money Down this to you Free!” A DAY Price So Low We Don’t Dare Quote It Except By Letter Rent Money Life Guarantee >py of our record-breaking ure very Best possible care to'th^' 1 • ^ actresses> all of whom must give with its beauty, have come to use Elr hair anc* who dare not take the least chance full size commercial machine. ^ _ No Red Tape CANTHROX SHAMPOO b09’taPfJS th°mfa'S t Not a makeshift, but for head wash!™ „„1 rtgtisfledcustomers to testily that we live up to quickly dissolves and removes dandruff excess oil ir * “ » St\fueitheaiSrCalPitt° P’er^Ct health makesTv„„ .u_ t, -■ nairhalr‘- 11ft Producesproduces a massy fiSBSESems strand has a silk^W ““j’ 'leavicr than’ i Creative Plan tair a pleasure. l e and softness thatmam SSHSS? t!’ al Your Dr, Everything Free “*00":““"" third, fourth positions, etc., and is arrive at the highest artistic excelbct intend to invest only $50 or $G0 in a violin, violinist, who was educated in the Paris Con¬ a new one would probably be best. You servatoire. If your teacher was, as you say, |t54j» 1 11 ‘ Catal * soon as mucb at home in them as in the without having studied the leading violin cannot obtain a really good genuine old vio¬ a well-known pupil of Sainton, and you containing plrtraitn onE first position. It is not more difficult to works, the Bach Sonatas for violin alone lin for such a low price, except through a studied with him long enough to acquire his piece of luck. No regular dealer would sell method, you evidently belong to the French *“ learn to play in the viola clef than it is and the leading violin concertos, you one at this price. 5. If you will write school of violin playing, which is noted for romantic ?toi^of^ThFk“Yo? t0 master these different positions on the If our correspondent will make the via. to Miss Maud Powell, in care of The Etude, brilliance and facile technic. Some of the she will no doubt be glad to furnish you most important solo violinists of the world S“toYoIuiSlE-^'otwiSSio^8a vi?hn. It simply “reads different.” For lin his principal instrument, giving a cer- with the information desired. 6. Violin les¬ belonged to the French school. 10 Days Free Trial CREMONA VIOLIN SHOP this reason it is strange that so many tain portion of his time to the viola also sons in cities the size of Omaha would prob¬ ably range in price from $1 to $3, according Take the instrument of your choice and Dept C 596 Chicago violin players neglect to learn the viola. he will find that he will make greater try it out in your home for 10 full days. to the rank of the teacher. -There are many opportunities for se- progress than if he confined his atten- C. S.—If at the age of fifteen you can Your Choice ™',pro0d-f curing profitable engagements open to the tion exclusively to the viola. The mas- play Kreutzer and Rode well you have made viola player. The viola is used in the tery of the viola will cost him little more excellent progress, but it depends on whether The Etude you can really play them well. 2. How can YOUNG PEOPLE’S HISTORY OF MUSIC . Farny Baader, Glicr, string quartet, as well as in many other time than it would to learn a few extra I tell without hearing you play whether it Fiedler, Wuriitze; forms of chamber music. It is also one positions on the violin, would be advisable for you to make violin wooden p-.. ______By JAMES CARTWRIGHT MACY VIOLIN STRINGS playing your profession? Go to a good vio¬ pipe for tuning the ’cello, with four pipes, ETUDE Violin Strings offerplayers a chai of the most essential instruments in large The following methods for the viola linist and get bis advice on the subject. It giving the different notes. 3. If you wish PRICE, $1.25, POSTPAID Write for Special may save you years of misspent lnbor. 3. to take up the study of the 'cello for a time, orerfnroH T* asTsy*?ph°ny and grand are available: I'into Method, by F. David; That you have learned the viola and mando¬ I do not see why it should injure your violin Circular The ETUDE Strings opera orchestras In the case of a Fes- New Method, by H. E Kavser Pm- lin without the aid of a teacher would indi¬ playing, but would advise you to make either NEW AND REVISED EDITION cate that you have talent and ingenuity, but ” the other your principal instrument, WITH i^one^fCStra 1°f H6-men’ Wh'ch playcd tiral Viola Method, by H. Sitt ’ I would advise you not to waste your time "*■*"*• |H|'~ -- proficiency on on the mandolin. If you have the time to BIOGRAPHIES AND SUPERB PORTRAITS OF FAMOUS MASTERS OF MUSIC The Rudolph Wurlitzer Company tiolas were°UusIdrgeTnC,tleS ?“ 13 A vcry lar«' '<* of exercises and viola spare, you might give a portion of your prac¬ both. Of c 8. Wabash Ave^, Chicago, HI tice time to continuing your studies on the thing in taking lessons by mail, just as you 9293£. Foarth St., Cincinnati, 0. o say five sL or sevTn me “d Piec« «" be obtained bv cot- viola, and it would be an advantage to play can learn a good deal from good instruction "Interesting as a Story" "Holds the Attention of Young People” f in small tbe viola part in a string quartet, if there is books, but nothing can take the p 1-ace of per¬ "Is Not Dry and Tedious” THEO. PRESSER CO., Philadelphia, one in your city which you can join. 4. sonal instruction by a good teacher. 5. You da, Pa. Counting the time mentally would be a great ought to be able to get a fairly good violin "Tells all that is necessary in Plainly Worded Outline of Music-History” help to you in learning to play in time. Get for $100 of you have a good judge of violins the number exceeds Teven'or Sht^the $* °f K"lte some very easy music at first, the easier the to pick it out for you. Violin Instruction better, and learn to count it correctly, and viola should, and usually docs hake a Jh'° n°L R°n' a"d °thcr simi'3r ™k Many Teachers Use it as a Convenient Text-book for Young Students place. e. a the Bach cello studies, transcribed for the then gradually take up more difficult music. F. L.—1. If your violin has never been Ovide Musin’s Virtrv°j£h001 varnished or has had the varnish entirely And it claims the attention of all, old or young, who have neither the time nor . VICTOR KUZDO without counting." 5. There are so many scraped off, you had better take it to a good Many good solo numbers for viola can T J* ,oktaincd’ ,hc *rca< causes that might make your E string violin maker, and have him varnish it in .the the opportunity to study the larger histories and encyclopedias “squeak” that I could only hazzard a guess be obtained, and a viola solo by a reallv !°S °f th* v,ol,n are not av3'llblt for proper manner. Do not trust it to a car¬ “A revised edition of a volume which has deservedly won quite a position good player always offers a pleasimr n - V*° a Pract,cc> unless the viola player at the cause. Maybe there are several penter or cabinet maker, as the varnishing Chaperonage causes. Your E string may lie bad, your of violins is an art of itself. Just what the in the domain of pedagogics, and although designed for young people is so LEOPOLDAUER elty on a concert program. The vi 1 S^10U^ work at them himself, by tran- rosin poor, the hair in your how old and effect o£ the varnish is, on the tone of a vio¬ admirably written as to awaken the interest of older readers as well. In¬ Teacher of Elman, Zimbalist and Kathleen Parlow. lin, is a much mooted question. Some au¬ simply an instrument slightly laro-Pr°.4,JS posinK tbeTn fron> the violin par;. A faulty, you may bow to far from the bridge, valuable to teachers in schools having to do with music as part of the Studio: 560 West End Avenue, New York City thorities have not hesitated to ascribe the Special Correspondence Course the violin, with strings reading A D C° kpowledRe of these great concertos is and there are many other causes which would peculiar beauty of tone of Cremona violins curriculum.”—Music Trade Review. act against your producing a good tone on to the quality of varnish used and to the Write for catalogue. , corresponding to the E, A, d' G of Vrfy neccssar.v for achieving artistic ex- the E string. A few lessons from a good method of varnishing, which is commonly REGISTRAR, 51 W.76K. Street, New York City Tt? 1°' c ^ bow somewhat heavier ccbcnce on either violin or viola, violin teacher would dispose of many of your looked upon as one of the lost arts. Other troubles, and set you straight on many of authorities claim that the varnish affects the FINE VIOLIN, $20 longer strings116 ’S USed’ since the Tt 'S imPossibIe to say how long it tbe difficulties you name in your letter. tone only slightly, and is principally of value 1 SOME STACCATO NOTES FOR SINGERS heavy wire-wramW ^ th.lckness of the v/ould takc to master thc viola, when so in preserving the wood from wear and from ^ By MARIE WITHROW Guaranteed Satisfactory or S.—The inscription in j . .’ atmospheric changes. 2. It is Money Refunded weightier bow for a "T’, dc|,cnds on t,lc performer's talent i py doubtful^if leaving,„„s— your- unvarnished vould Price, $1.00 Postpaid Send for ARTHUR HARTMANN the strings in vibrati e Pressure, to put fnd how much practice he gives to the injure it, provided it were kept well wrapped Wholesale Catalog F . (a famous Cremona maker) in _ . l^!16 Platedal consists of short, concise paragraphs on matters connected It is my opinion that it ,. , instrument. A talented pupil might get up and in a good tight ease. 3. A violin year 1813, at Budapest Schweitzer was one stamped on the back with the name, “J. W. with singing, technical, artistic and interpretative, the purpose being to help JOHN MARKERT & CO. for the student wishing t ?vou,d be best enough technic to play the viola parts in of the most famous Hungarian violin makers. iolin Makers, Importers, Dealer. Concert Violinist Banks,” is of no particular value on account singers to attain artistic freedom and independence. “Staccato Notes” refers of the name, although it may possess a fair especially to the numerous pithy and extremely practical and illuminating 33 WEST 8TH ST., NEW YORK SB— , ; EU2 player to learn the viol;?, ecome a vi°la » symphony orchestra in- practicing three W. J. M.—1. The list of works which you tone, as is sometimes the case with occasional Obliged,“6w> on a^cuunLaccount uiof methe Warv great similarity of the t &S -WC ' The bours a day for five or six vears. For say you have studied are all excellent, but I instruments by obscure makers. sentences which are scattered throughout the book. We predict a big success suspect from your difficulty in being unable to to transfer his Studio from makes the technic of bothV?de7rS-tr^mcnts easier parts would not take so long, and t'S wb*cb ‘s tbe fruit °‘ a long and valuable experience as a singer OUR “SPECIAL” Play fast passages, that you have not studied W. J. H.—Fine specimens of Joseph Guar- Paris to New York, requiring a little longer stretch"’ °n,Iy but in cascs of this kind no hard and thoroughly, nor in the proper manner. If your inability to play a series of rapid notes nerius, the great Cremona master, have been g tfetch for tbe fast rule can be laid down sold in the American market as high as $12,- or terms of instruction address: lies in your bow arm, your trouble likely OfiO. The late Henry Havomeyer, president Our Spring Bulletin of New Publications will be mailed FREE on Request ] 25c"ilvie„1ta Effo;2S« comes from not having acquired of the Sugar Trust, purchased the “King MR. HARTMANN stroke. Some v1 Joseph" Gnarnerius at that price. There is Send for Violin and Cello Catalogue scarcely an effou, k and file find probably not over one chance in 500,000 that 3a BOSTONcSsBaNEWYORKcS MUSICIANS SUPPLY CO. “THE LINCOLN” it very difficult,’u s they i your violin is genuine. 60 Lagrange St., Boston, Mass. hands of a 1 ’ 130 Claremont Ave., New York City x„ fact ,Jhe AmeriCan Violinist's Opportunity lu teacn it. Many amateur violin players Miss P. A. S.—You have copied the in¬ and students go through life without 'ever scription in your violin incorrectly. It should having mastered the wrist stroke. Try rest¬ read, “Andreas Guarnerius Cremome, sub EuroDera ?loIlnists are nefw fight[n Statcs as is a,rt'aivJj my rpiano_ is very,vlj otujsensitive to Advance of Publication Offers— In order to introduce this new edition and noises come from neglect and from heat and coid oh very> very ^ we are offering single copies at the special Studies for General wear. Then again let me ask you this, you see it is fitted with many complicated March, 1915. price of 25 cents, postpaid. Use. By Matilda Bilbro Do you really know_ when your piano is ljttle jacks and SprjngS and screws; there Hnw to Plav Well-Known Piano A collection of piano studies for the Some New Musical Games Solos—Charles W. Wilkinson. . . 1 out of tune?” are many wires large and small, there are How to Study the Great Composers Mail Order child. These studies are interspersed “Oh, no, sir,” she answered blithely. a great number of pins and felt hammers' —Thomas Tapper. Six biogra¬ Music Supplies with short pieces containing words. The THE orchestra. takes Handel; the sixth having O, takes phies, price complete . useful is mingled with the entertaining This ' a very noisy game and may Offenbach; the seventh having V, takes ‘Mama attends to all that sort of busi- noWj my dear, to keep a piano in g00(j Teachers and schools throughout the ness. I just practice.” form you must use it> play oftelli, entire country are not aware of the con¬ throughout the whole book. The studies be played by any number of persons. Verdi; the eighth having E, takes Emma are strictly in the first grade, and they “But, little girl, I think you should be- littie springs and jacks and wires limbered venience and promptness with which First of all the players must select their Eames; the ninth having N, takes Nevin. I ideas ' for ' Beginners—F. their orders for sheet music and music are charming from cover to cover. They conductor, and the dignified appearance gin .giving your piano your loving care up every day. You know how much you Marion Ralston 30 books can be supplied by mail order un¬ are made by a practical, talented, active of the conductor may be enhanced by THE CONDUCTOR'S BATON, right away; your Mama is busy; and iove to run and play and jump; well these Note Speller- AJ*' less they have given this system a trial. teacher with a complete grasp of the popular ““ presenting him with a pair of spectacles Any number of players may take part besides your very own piano and jiot ,inle jacks and springs are the same’; ^ The distance covered by the mail in _,_subject. They_. will be a delight both t Progessive Studies—L. A. Bugbee. to wear, also several badges and medals 'n this game. The Conductor is blind- hers. See how its polished case gets exercise and sometimes they need 15 twenty-four hours is almost unbelievable, the teacher and the pupil. We have yet Scale Studies for the Violin—H. An order sent from nearby towns one to find a set of juvenile studies better may add an extra touch. folded and stands in the center of the seratched and marred! Just little time it badly. I’ll tell you one secret, they hate Schradieck .. Showy Parlor Album for the night often reaches the buyer the next meeting our approval. We thoroughly Seat yourselves in a circle around the room w!th a baton, which is made of from yodr Play and every to be pounded almost as badly as you do, Pianoforte . night. An order shipped on Monday believe in them. They almost make us conductor and pay close attention to his newspaper folded lengthways and tied ™oved by a flannel cloth or a chamois skin, If you could only know how they shrink Studies for General Use—Matilda night can be returned filled on Wednes- want to be a beginner again to enjoy the directions; he assigns to each player a securely at each end with string. The }.Lou love to Polish your rinS> don,t y°u? and jump when the girl with the bad Studies in Syncopation, Op. 1079— day morning to a radius of 400 miles, lich treat set before us. Our special in- musical instrument and shows in pan- other players, who call themselves the Why, I have seen you at it dozen of times, touch comes around.” Sartorio... 15 and a few hours more at each end will troductory cash price in advance of pub- The Daughter of Jairus—Stainer. . 25 take care of a radius of 600 miles from lication is 15 cents, postpaid. tomime exactly how it is to be played, orchestra then join hands and stand Jour pian° a.far more precious thing “Do they!” she inquired. Time Studies for Four Hands, Now corfies the noisy part. When all round him in a circle, o you—see the keys how soiled and ___ Op. 824—Czerny. 2o Philadelphia. “Indeed, yes ! They resent it by giving There are very few general stocks of have been provided with their imaginary Some one plays a merry tune „„„ tidy they are! A drop or two of alcohol Victory Divine. Church Cantata Little Folks’ Song Book. out the shrillest and sharpest sound, just for Lent or Eastertide—J. 25 s,heet Tsic anywhere in the country to- By Wm. H. Neidlinger— instruments, the conductor says, “Tune piano and the orchestra players dance i cloth will remove every particle of Christopher Marks. the sound you give when Johnnie hits you Wagner at H ome—Theophile day sufficient to take care of the needs rfmrmind Roto Son{5s up.” This gives a fine opportunity to around their Conductor until suddenly soil and dirt.” 75 of the average school and teacher. This 67 Charming KOte SOngS a fearful whack on your back.” You Can Weigh make all sorts of funny noises. the music stops; the Conductor takes the “Well, I really never thought of doing What They Do in Wondertown— means houses like ours are called upon Here is a genuinely unique book. “What do they say after a caress?” she Ruth Alden. Now the conductor waves an imaginary opportunity of lowering his baton upon that,” said the little girl interestedly. 20 to fill the orders of the dealers for all First of all Mr. Neidlinger is one of our Exactly What asked. their miscellaneous necessities. How best known American composers, but in baton and hums a lively tune in which °ue of the members of his orchestra, and DON’T LET your piano catch cot CARESS YOUR PIANO. Easter much better it is to drop a self-ad- addition to this he also has a great repu- You Should the whole band of musicians join; each the one upon whom it has fallen must COLD’ Music dressed postal card, supplied free by this tation as one of the foremost authorities ‘Then, too, see the piano now—it’s far ‘‘Under a loving touch, they respond as player imitating with his hands the mo- take hold of the baton. The Conductor We have already supplied hundreds of house, in the post-office or the post box, upon the psychology of the child. Mr. necessary in performing upon the then sings a tune, any bit of classical worse *°r tbe piano to stand in a draft you do, no doubt; they give their best... choirs with music for the approaching and have the music or books actually Neidlinger has worked with children for real instrument. Every once in awhile, or popular song will do, the captive mem- than it is for.you to stand there your- sweet full tone, they know—yes, indeed, Easter, but it is as yet bv no means too delivered to you, in a great many cases years, knows what they want, what they -scientifically,, natural^, the conductor pretends to play on a cer- her of the orchestra must imitate what- self~~'c” they do. They use about the same late for leaders and organists to make more quickly than if purchased in your ought to have and how give it to them, tain instrument and the player to whom ever song the Conductor sings, if possible “Why?” she asked wonderingly. methods as you use in your play—a blow their selections, and we trust that no per- own city, and far more quickly than if Every child ought to have a charming that instrument belongs must alter his imitating the instrument he is supposed to “Because you can move out of for a blow and sweet response after a son actively interested in arranging a the most likely thing to ofccur does song book, just as much as a book of You Can Be motions to those of the conductor, keep- represent. Should the Conductor detect the piano can’t ” caress.” suitable musical service for Easter will occur, that is, that the local dealer has fairy stories, a painting book or a book overlook our offer to send anthems, solos not the desired music in stock, and re- abotd the wonderful things of Nature, So Well! ing time by wielding the imaginary baton who holds the baton, the one who is “That is so, isn’t it!” and she began tn “How many strings did the first piano or cantatas for examination. Our cata- orders it from one of the few houses The tunes are: simple yet denghtful,-ust our vitality—at n1l£ei^UCt0r 5668 ^ t0 aban~ rght HaS t0 be ^.Conductor; if not, look at the matter somewJa mo^ seH- have?” She thought she had caught me; log covers the complete range of practi- carrying publications of all composers the kind of tunes a child likes to sin, tie I strengthen but I answered bravely, “One.” cal and effective material for the occasion such as we do. abou , the, housf, and whl<* thfe *dd ShouldXX; fail to take the con- ** ^ ^ °" Untl' ^ <*** ^ and we are also fully prepared to supply To the above features of promptness should and would sing instead of mdis- how to breathf “One! How could that be; there ductor’s place at the right time he must GRAND OPERA. JNo doubt your P>ano beckons and calls the issues of all other publishers, always and completeness of stock must be men- criminate yelling, if the right mater.alwas lch ailments as wouldn’t be any music ?” she piped. Nerv< t. Torpid pay a forfeit. The company divides itself into equal ^ ?°th‘ng until the in‘ a: the lowest prices and best discounts. tioned other advantages in mail order at hand. Mothers and little folks alike The real fun of the game depends sides. Each part of the opera company get wheezy and rattle in every joint “Yes, there was music! And I’m won¬ The following Easter solos have been music buying from the Theodore Presser will be charmed with the pretty rhymes n,PEtc°n’ recently added to our catalog: Christ’s Company. Not_ moM essential, but quite Kerens the first of the thirty-seven songs. upon the conductor, upon his humor and must have an Opera House in opposite .y°U mUSt remcmber, little girl, ‘the dering whether the primitive musician 4 8U_ w*th one string stretched over a tortoise Victory (3 Keys) Neidlinger; The important, the best discounts and terms 'Said the gold fish in the globe, quickness in abandoning his baton for corners of the room. The two companies P‘an° catches cold> too, and you ca strength.” Another says: the instruments of his orchestra. Dream of Life (2 Keys) Avery; The obtainable. Perhaps of greater import- As he gently waved his tail, “Last May ^1 weighed^ Jj)0 now retire to their own Opera Houses and ^ayS telt wben !t has bad no care, The sbeb d'dn’t get more enjoyment out of it Day of Resurrection (2 Keys) Starr; ance, an “On Sale” system which for When I grow much bigger FAMOUS MUSICIANS “““one company privatelypiivaeciy cnooseschooses an opera. plano‘ doctor come—ntties with his little case, 1he ‘llan somc of y°u youngsters with a piano Death Is Vanquished (2 Keys) Neid- liberality and originality is not equalled, And become a fine big whale FAMOUS musicians After the name of the opera has been de- “opens thtbe<= lidHd,> presses down some< kevs ,fiUed W“h five ln,ndrcd and one ™re « linger; Easter Triumph (3 Keys) Shel- but upon which all other systems have I’ll seek the Arctic Ocean a SaT ^ reiqU‘reS Clded uP°n, the manager, followed by his °Pens the top and looks inside he shakes esss‘nnSs; I turned away disgustedly; ley; Hail Thou Risen One (2 Keys) been based. And shall sit upon the pole good memory for famous players, company, crosses over to the other Opera bis head knowingly like the fpm'l u • but tbe bttle Rirl said seriously - Ward-Stephens; King of Kings (3 Keys) An order is the best trial. Catalogues For I’m getting mighty tired and information will be cheerfully sent, singers and composers. One of the party Hot£c u.. f.’ llke the famdy P^ys.- "I'm going to take n,v ni.nno nut Shelley. Of just swimming round this bowl." Susanna Cocroft goes out of the room while those who opera_ i gives the initial letter of'the cian when he feels your pulse™ K<>'ng to.take m>' Piano out for however. All we ask is an opportunity your pulse, then he ercise every single day, really I am.” If you are looking for the hook to make Dept. 29, 624 Michigan Boulevard, Chic: remain decide upon the name of some Victory Divine. A Church to prove our worth to the musical educa¬ The company in the second Opera the musically inclined child’s eyes brighten well known musician; the Cantata for Lent or Easter tional interests of the country. this is unquestionably the book. Our spe¬ up of as many letters_a ass lnerethere area may. ^ouse raust try and guess the name of Time. By J. Christopher Marks State £xactly cial offer permits Etude readers to get Beginning at one end of the circle, °pera' When they have done so they this work at the introductory rate of 40 Riddles in Musicland Mr. J. Christopher Marks’ “Victory Wfrat a Remittance i each player is assigned a letter of the Ch aS ™any as.they can of the rival What makes more Umne is one of the best cantatas of its _ , character name, and then each player ccmpany before they reach their Opera noise than a girl at Nadine n B me House. Those caught must go over to a piano? If an egg were to be found in the piano kind we have ever seen. As in the case Ior H . c, j chooses another well-known person in the of all Mr. Marks’ church music, it is When our patrons send money and an WOW to Study Two girls. what poem would you think of? tne Face Powder music world to impersonate, one1 whoswhose thC °ther comPany. and the game goes melodious throughout, yet never com- order at the same time, we would ask that "The Lay of the Last Minstrel." Great Composers, (In Green Boxes Only) name begins with the letter assigned t on until one company has won all the monplace, and always dignified and they kindly mention whether the money Ry Thos. Tapper players. him. When may the piano stool be said to Why is practice time like a French The.. one who..as has lrtleft theme iroom now t,The comPan>“ take turns in choosing verb? ChTKork is just right for use at spe- 5 SSAffi uN Keeps the Complexion When it can’t bear you. returns and begins to question each of 1}ame, °f ,tle opfa' This gatne may Because it may be regular or irregular. nal musical'services, and it may be taken the letter simplyjeads,- Pg^find en- Resting lines, by an interesting writer. ■ I Beautiful the players in the order in which he is S° be p,ayed 0Ut of doors' XA g£°d advantage by t,le averagC 2°Sed.a m ;L nf „;X«™lVnoVs and The first series will contain six of the ind velvety. Money back told the letters of the name come. What is the key note to good appear- Why are deaf people like opera houses - I entiiely pleased. Nadine DANCING DOLLS. CXInrch order Ch0lr to'. afford all who may he it h“'hglv a subscriotfon we find that ”n ^eat composers as follows: Mendelssohn. He must ask questions to which the abroad? plat all It is Schumann, Mozart, Schubert, Bach and heres until washed oiT Prevents^ullbnrn and Take an old glove and cut the first two B natural. terested an opportunity to examine this many“ frJtMl Haydn. These are intefided for children; return of discolorations. A million delighted answer “Yes” or “No” can be given c ?“ , - Because you can’t make them here. work we are continuing during the cur¬ 3 This kind of a mistake occurs almost in facb they are children’s picture books users prove its value. Popular tints: Flesh, From guessing each individual chaS gWeLtoThehLd ^ ^ rent month the special offer on single Pink, Brunette, White. 50c. by toilet counters Why is a music box like ; Who was the first whistler? daily and if our patrons will only make it and the entire book is to be made and or mail. he gets one letter of the whole name WrsoutiLlrnf Tn™ J ^ copies at the rate of 25 cents, postpaid. until the entire name ;= nngers put a pair of dolls socks, the first .Because it doesn’t The wind. clear that the money which they enclose wr^“pbyJi]e „C“d' I National Toilet Co., Dept. T. E., Paris, Tenn. ■ long without Daughter nf Toirns is to pay for an order already received . There will come an outside hack for hnger must be padded at the toe to make Wlndmg. What did he whistle? The is to pay for an order already received PrB w’ rnrnl' Bv Tnhn J JairUS* or for an enclosed order, such mistakes tbe Yolume> and f envelope will contain gested the name “Over the Hills and Far Away." By John Stainer ld be prevented. ab the material for binding the volume the »ame is begun Jgain ^ ^ ^ Z Why opera singer like , We are about to publish a new edition . v after the pupil has made the book. A Rare Bargain °t this standard church cantata. It is one prize In to a better idea of what Mail us two dollars and we will send you BeSethPoPv«i^mre’nine ice cream, (a f of the best of all cantatas suitable for Contest S5 T-l be we wlI!„tabe ®ach s biography, locket with adjustable neck chain, one