Volume 26, Number 03 (March 1908) James Francis Cooke
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Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1908 Volume 26, Number 03 (March 1908) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 26, Number 03 (March 1908)." , (1908). https://digitalcommons.gardner-webb.edu/etude/534 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. 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Violin studies op. 20, Bk. I. IqpgzzDudtey C. Llmenchiz=| THEODORE PRESSER 1712 Chestnut Street Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. q| ja ey a ^ ^ are noted for Purity, Power, and Resonance of Tone; Respon- I §\ |\| \J siveness of Touch, Unsurpassed Construction, Workmanship, STRICH & ZEIDLER and Excellence; and New Artistic Designs of Cases. Manufacturers of Artistic Grand and Upright Pianos. 132d Street and Alexander Avenue, NEW YORK 152 THE ETUDE 4 THE ETUDE 153 “First and last, many American compositions come HAPPINESS IN TEACHING. Czerny and Liszt. An Appreciation. Op. 42— Suite No. 1, for orchestra. to performance on American programs. Society play scales, it is generally the fault of a lack of good- 43— Two Northern songs, for mixed chorus. natured effort and clever imagination upon the Op. has always sanctioned the trivial American work as 44— Barcarolle, song, for mixed chorus. BY JAMES FRANCIS COOKE. If you will read the letters of Franz Liszt to Carl teacher's part. Laurence Gilman, so keen in his appreciation of Op. a foil to the serious European; but never the more 43—Sonata tragica (November 1), for piano- Czerny you will realize what Sidney Smith meant contemporary music and composers, says in his Op. significant American work for its own sake. Com¬ The teacher of children should love the little ones “If you make the children happy now, you make by his tersely expressed thought. Throughout his interesting book “Edward MacDowell:” forte. posers and their friends are able to force hearings with an affection that must be fostered as tenderly 46_Twelve virtuoso studies, for the piano- them happy twenty years hence by the memory of life Liszt looked back to his student days with “His method of harmonic manipulation is ingen¬ Op. here and there, so that the composer will not be Czerny with a splendid devotion and affection. and faithfully as are the altar lights of the shrine forte. it.”—Sidney Smith. ious and pliable. An over-insistence upon certain wholly without knowledge of the effect of his work Every letter is reminiscent of happiness. of the Holy Sepulchure. Once this light of love 47— Eight songs. There can be but little wonder that Sidney Smith, formulas—eloquent and vital in themselves—has Op. upon an audience, or for that matter, upon himself, has failed, the usefulness of the teacher has past. 48— Second (“Indian”) suite, for orchestra. brilliant and trenchant, witty and genial, loving and A well-known American musician recently dis¬ been charged against it, and the acquisition is not Op. both to a certain extent necessary things, for only The writer once heard the head of a large New York 49— (Some dances published in a Boston loved, met with such great personal popularity when cussed with the editor his student days in Leipzig. entirely without foundation. MacDowell is exceed¬ Op. in practice can art and the art-nature grow. Again, He had had several teachers and among them was conservatory confess that he had become so that collection.) he became a London preacher. Happiness is the ingly fond of seventh and ninth chords, and of certain obviously good and appealing works, not he “Could not abide children of any age.” At that Op. 50—Second sonata, “Eroica,” for pianoforte. greatest magnet in the world and Sidney Smith was one who, through unnecessary severity and harsh¬ suspensions of the chord of the diminished seventh. requiring any effort of the understanding, have time the school had hundreds of pupils and was Op. 51—“Woodland Sketches,” for pianoforte. always happy. The people of the great English ness, had made a particularly disagreeable impres¬ There is scarcely a page throughout his latter work quickly found their way into public favor, and sion. “He treated me as if I were in a reformantory very successful. Now it has practically gone out of Op. 52—Three choruses, for male voices. metropolis flocked to hear him, and his little church in which one does not encounter these effects in are safe for an artist to use. But this insistent fact or prison,” said the musician, “and although I have existence save for a worthless charter and an anti¬ Op. 53—Two choruses, for male voices. being too small he was obliged to preach through but slightly varied form. There is no doubt, how¬ remains—that upon our concert and recital pro¬ forgotten almost everything he tried to teach me, quated library. The light of love and happiness, the Op. 54—Two choruses, for male voices. the pen and the printing press to reach so vast and ever, that it is in his adroit and copious use of such grams generally those works which best represent there still remains the recollection of the rancor and mysterious essence of educational success, had failed. Op. 55—“Sea Pieces,” for pianoforte. eager an audience. Nor is his preaching done, for combinations that one must ascribe the continual the brains and ideals of our American composers hate of his character, which will always disfigure It is said that when Dr. Oliver Wendell Holmes Op. 56—Four songs. to-day throughout the world the influence of Sidney richness of his harmonic texture. I can think of to-day are conspicuous by their absence. The army entered one of the class-rooms at Harvard to give Op. 57—Third sonata, “Norse,” for pianoforte. Smith is still potent. His was a message of love, my memory of him.” What a contemptible legacy no other composer save Wagner whose chord pro¬ of persons whose fortune, or whose very sustenance, for any man to leave to his pupils. his lesson upon one of the most technical of all sub¬ Op. 58—Three songs. and life, and hope, but he never uttered anything gressions are so opulently colored. His tonal web is assured by the maintenance of our exclusively jects in the study of medicine, his geniality, his fine Op. 59—Fourth sonata, “Keltic,” for pianoforte. more beautiful than the homely aphorism: “If you Now and then we hear of some noted teacher with is always densely woven. He avoids thinness as he European musical system is kept busy explaining to a reputation for extreme harshness, even brutality. affection for his fellow-man, his sweet disposition Op. 60—Three songs. make the children happy now, you make them avoids the banal phrase and futile decoration. In society that if Americans could produce sufficiently Kalkbrenner was said to have been such a teacher. and his edgeless wit made him so welcome that a Op. 61—“Fireside Tales,” for pianoforte. happy twenty years hence by the memory of it.” addition to the plagency of his chord combinations good music artists would place it upon their pro¬ Investigation, however, usually reveals that such body of tired students would be immediately gal¬ as such, his evident polyphonic tendency is re¬ Op. 62—“New England Idyls,” for pianoforte. What better motto could the young teacher take? grams. This explanation may satisfy the unthink¬ teachers’ reputations have been created by very dif¬ vanized into an eager audience. A graduate of the sponsible for much of the solidity of his tonal It embodies one of the great secrets of practical ing, but it can no longer satisfy those who see that ferent methods. Harvard medical school recently said: “I could never fabric. His pages, particularly in the more recent pedagogy. Works Without Opus Numbers. since the artist will not be paid for performing Do you remember your first music lessons? If forget anything Dr. Holmes made clear to me; we works, are studied with examples of felicitous and American compositions requiring real study and Bitterness, sourness, taciturnity and exaggerated your recollection is a pleasant one the lessons were loved him, and his teaching was ideal.” dextrous counterpoint—poetically significant and of Two songs from the “Thirteenth Century,” for severity have no place in real education.