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

3-1-1908 Volume 26, Number 03 (March 1908) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 26, Number 03 (March 1908)." , (1908). https://digitalcommons.gardner-webb.edu/etude/534

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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. The great work, he cannot afford to stop to master them, even no doubt profitable; if you look back to your first Among the many valuable bequests Dr. Holmes the most elastic and untrammeled contrivance. male chorus. teachers of the world have for the most part been if he be prompted by admiration of the compositions musical instruction with horror, the lessons were made to the world he loved so well, the greatest is Six little pieces, after sketches by J. S. Bach, for men and women of gentleness, kindness, hopeful¬ “Always he is the essential poet, the clairvoyant or friendship for the composer. If society, to-day, probably almost worthless. One of the nightmares his exquisite and ennobling little poem, “The Nau- impressionist, sealing with life in its large and pro¬ pianoforte. ness and sweet simplicity. Consider Pestalozzi, should turn and support liberally the production of of my boyhood was a tall, gaunt, stern-looking tilis,” and the last verse of this splendid conception found as well. as its intimate aspects, limning ten¬ Technical exercises for the pianoforte (two Froebel, Emerson, Horace Mann, Comenius, and works by our own composers, if it should, by some woman, who came to our home twice weekly to might well be the daily motto of all teachers who derly, yet with a controlling and serene philosophy, books). Confucius. The great Swiss educator died believ¬ whimsical turn of the wheel, announce that it would give me musical instruction. Her forehead was very aspire to make their pupils happy. such phases of the visible and human worlds as Columbia College songs. not support foreign and native artists unless they ing his work a failure, but his glorious success square, her mouth pressed together like a vise, her touch and quicken his imagination. His chief claim Many transcriptions of old Clavecin music. would give us a good share of the works of our lived on because he taught that higher and better “Build thou more stately mansions, O n eyes bulging from her head with a hatred for man¬ As the swift seasons roll! to perpetuity is, I think it will be found, that he has own composers, we would witness a zeal in the educational results could be obtained by making kind in general and small boys in particular. All Leave thy low vaulted past! Let each new *-* awakened in music that sense of the invisible, the world-wide study of American music that would children happy than by making them miserable. of this was sustained by a pious sense of duty that hidden wonder and enchantment behind the manifest Shut thee fr< WHY WE SHOULD SUPPORT AMERICAN startle the nation. Moreover, we would be no less Happiness is the most direct road to interest at¬ made her even more trying at times. Her smiles Till thou at „ presence of the world, which it is the signal privilege startled by the intense and varied interest, the high tention and concentration, those foundation- stones Leaving thine outgrown st MUSIC. made one shiver and her frigid “I hope that your By life’s unresting sea !” of the Celtic imagination to discover and enforce. poetic worth, and the magnitude of the achievement of every substantial pedagogical structure. In prac¬ The Atlantic Monthly for February contains a practice has been better this .week than last” made He has evoked the incalculable spell, has opened a of American composers. tical teaching happiness is partly a matter of per¬ one wish that pianos had never been invented. door into a new and shining world. That, I be¬ significant article entitled “Society and American If the composer have too much spirit, too great sonality, partly a matter of transient attitude of Each lesson was a battle. She had a reputation for POOR PAY FOR MUSICIANS. lieve, is what is essential and individual in his art— Music,” by Arthur Farwell. After noting that “there a devotion to his country’s growth in musical art, to mind and partly physical condition. being thorough, but I soon found that this was based the disclosure of an immemorial magic in familiar is an extraordinary and ever-increasing creative im¬ accept a pittance for his teaching and neglect for his The teacher who is unfortunate enough not to upon the fact that.she. believed it necessary to give Paradoxical it is, but true, that Germany, the things.” pulse in American musical art,” and that, “we now and his brother’s art, what shall he do in this situa¬ possess a happy disposition had better set about frequent castigations with a long lead pencil. Dur¬ most musical of all countries, is far from being the Following is a complete list of his published com¬ see one after another of our composers, striking tion? At first he might leave composition for a ™ creating one at once. It is difficult to make others ing the six months she reigned over me she taught paradise of musicians. An editorial in the New positions, with and without opus numbers: high above the international average,” Mr. Farwell time and look deeply enough into his country’s happy unless you are happy yourself. If you find me nothing but scales. No mention was made of York Post, after tabulating the meager earnings of sociology and economics to learn the true nature of minor musicians in Germany, calls attention to a observes: that you have a disposition to be arbitrary, disagree¬ musical notation and the only melodies I learned the conditions in the midst of which he exists. He radical remedy proposed by Paul Marsop in Die Works With Opus Numbers. “The time was when we had nowhere to look but able or unpleasant toward your pupils, just remem¬ were those clandestinely extracted from the key¬ will then learn that bis own salvation depends upon ber that you are very probably following the path Musik. This writer points out that “two decades to Europe for our musical art. We accepted Euro¬ board by my own inventiveness. Over the bony Op. 9—Two old songs. the salvation of all. As a next step he might waive that leads not only to the degradation of educational ago conductors like Hans Richter, Felix Mottl and pean music as a starting point as naturally as we ivories and black ebonies of African forests my Op. io—First modern suite for pianoforte. all endeavor to exploit his own compositions, and ideals but likewise to the failure of your business fingers were led to run and run. No prisoner ever Hermann Levi earned little more than the concert- accepted European civilization generally as the start¬ Op. ii and 12—Album of five songs. through a study of the works of his brother com¬ plans, as well as to a state of miserable personal turned a tread-mill with more dread and hate. Yet, masters at the royal opera houses in Vienna, Berlin ing point for ours. The love of our forefathers for Op. 13—Prelude and fugue for pianoforte. posers, learn the exact nature and strength of his discomfort. A great business firm recently adver¬ I loved to hear music and would run off to the and Dresden earn to-day. Now Mottl gets $9,000 a Op. 14—Second modern suite for pianoforte. the European lands of their birth but foreshadowed country’s musical art. Then, leaving the society of tised for an employee to take a responsible and public parks on the days when the bands played. year for his work at the opera in Munich alone. The Op. 15—First concerto, in A minor, for pianoforte the depth of our love for America; and their love artists, who cannot help him, he might take his lucrative position. The advertisement read in part: One day the teacher came and I was not there. honorarium of the leading singers has also gone up and orchestra. for the great old-world masterworks, a passion newly gained knowledge to the leaders of society— “We want a man who can hustle and smile.” The They searched the house and neighborhood, but it very much, owing, largely, to foreign competition; Op. 16—Serenata for pianoforte. which we inherit, is the measure of the intensity of not the hopelessly lost of the great Eastern cities, great world of business is now recognizing the com¬ was not until a lusty youthful appetite brought me but the orchestral player gets little more than he used to.” He ought to have twice as much, Herr Marsop Op. 17—Two fantastic pieces for concert use, for the love which we shall one day bear to our own but the misguided and redeemable throughout the mercial value of happiness, of optimism, of good to the supper table that I was forced to admit my thinks, but where is it to come from? “The opera pianoforte. . master-works. The eastern ports of entry, espe¬ land; and, disinterested himself, win their disinter¬ nature. truancy. My musical career was abandoned and Op. 18—Barcarolle in F and humoreske in A, for ested help for the sake of a national cause. They It is possible for the most good natured teacher an atrocious mechanical device which ground out houses in the most musical of all countries are not cially Boston and New York, became the authori¬ self-supporting institutions. In Berlin the Kaiser pianoforte. are more ready for him than he suspects. Whatever to have occasional spells of depression, anger or gospel hymns by the yard was brought in to take its tative centres of European music, and therefore, at pays $160,000 out of his own pocket to enable the Op. 19—Wald-Idyllen, for pianoforte. the depth of their regard for the masterpieces of hate. Then it is that the teacher must rise within place. that time, of all music, in the United States. There royal opera to produce good music. Other opera Op. 20—Three poems for pianoforte, four hands. music, their allegiance to mere musical fashions is himself and veritably steer himself into a sweeter Some years later the matter of musical instruction the great symphonies and operas could be heard. houses have a proportional subvention. To double the Op. 21—Moon pictures, after H. C. Andersen, for not of the heart, and they will welcome the op¬ and clearer mental channel. For every fee a teacher was again broached to me, but then I knew what pay of a hundred players would strain the situation, pianoforte, four hands. About this serious work for musical progress grew portunity to withdraw their social power from an receives he creates an obligation to discharge. That music was and it took almost endless threats to get unless economy were practiced in other directions.” Op. 22—“Hamlet and Ophelia,” two poems for up a life of musical fashion, a reflex of the life of artificial situation, which can hold for them but obligation is to give the best kind of a lesson it is me to consent to go through the torture again. orchestra. social fashion, which, while it served indeed to little of real life and attainment, and devote it to the possible for him to give. This means preparation This time the teacher was a bright little woman As a remedy, Herr Marsop suggests the municipal¬ Op. 23—Second concerto in D minor, for piano¬ support the performance of the master-works, fos¬ satisfying of a living national need. for each lesson. If the mind is not in the proper with sweet winning ways, who in a few lessons led ization . of orchestras. “Several German cities— forte and orchestra. tered also many European developments of lesser condition to render the best educational service, it me through the elementary mysteries of musical Cologne, Diisseldorf, Aachen, Freiburg and Leipsic— Op. 24—Four compositions for pianoforte. significance. In this life the appearance of a great BACH AT THE ORGAN. must be made so. If it is contaminated with mean¬ notation. She was very exact and very persistent. have already taken this step, and it is expected that Op. 25—“Lancelot and Elaine,” symphonic poem ness, ugliness, malice, or unrest, it must be purified Moreover, she told me pretty stories and said funny the Kaim orchestra of Munich, the Berlin Phil¬ European artist would rival in glamor the visit of an “When distinguished players asked Bach to play for orchestra. precisely as a surgeon makes his hands and in¬ things which made me laugh. I was very happy and harmonic, and the Konzertverein of Vienna will sooner Athenian to a Grecian province. Coming from the the organ, he generally chose a subject and pro¬ Op. 26—“From an Old Garden,” six songs. struments aseptic before performing an operation. I remembered almost everything she taught me and or later pass under municipal control. Cologne, it is source of all music, his authority would be nothing ceeded to treat it in every shape and form, some¬ Op. 27—Three songs for male chorus. Can this be done? Yes, and with consummate ease took great pains to hold my fingers as she wanted even stated, will soon be able to support two town times playing for an hour without an interruption. Op. 28—Six idyls, after Goethe, for pianoforte. less than apostolic. and pleasure. In many years of practical teaching me to hold them. In a little while I discovered orchestras, one for opera, the other for concerts. He first took the theme as a prelude and a fugue on Op. 29—“Lamia,” third symphonic poem for "To-day the true interests of musical development the writer has found it a most delightful safeguard that I had the key to the great fairy world of melody In these cities the musicians become communal em¬ the foundation stops of the great organ. Then he orchestra. in America have nothing to do with the fashionable against fatigue and mental breakdown. and harmony. The happy little teacher was my ployees^ entitled to pensions. In Italy, too, there is Op. 30—“The Saracens” and "Lovely Alda, two enjoyed varying his stops in a series of episodes a movement in this direction. Last winter the rulers musical life of our great cities. The managers of It is difficult to be happy and good natured un¬ good fairy. The other was the witch. Once lost fragments from the “Song of Roland,” for orchestra. composed of two, three or four parts. Then came a of Rome gpve up the municipal brass band and put in musical enterprises care nothing for our national less you are physically well, and negatively it is in the lovely tone-country I resolved to become a Op. 31—Six poems, after Heine, for the piano¬ chorale, the melody of which was intercepted by its place’ a town orchestra, which gives free concerts, artistic development; their one concern is to keep almost impossible for any one disturbed by an musician. fragments of the original subject. He concluded and at other times can be hired by operatic managers. forte. unhappy disposition to do the exhaustive work of Op. 32—Four little poems, for pianoforte. secure the patronage of society. The general con¬ with a fugue on the full organ, in which he treated Since cities create and control parKs and educational teaching and remain in good health. The teacher Making Music Interesting. Op. 33—Three songs. dition of affairs in the eastern cities is nothing less his theme either alone or in conjunction with a institutions, why, it is asked, should they not foster should leave nothing undone that will contribute to The famous days of military discipline applied to Op. 34—Two songs. than the model and the cue for the social musical number of counter themes grafted upon the original high-class musical entertainments, which wean people good health and do nothing that will injure good musical instruction along the former European con¬ Op. 35—Romance, for violoncello, with orchestral life of the entire United States. As it is in New motive. from vulgar music and the demoralizing places where health, for good health generally means happiness, tinental lines have passed. Infinitely more success¬ accompaniment. “When trying a new instrument, he began by pull¬ it is played?” To which the Post drastically replies, York, so it is in Butte, Montana, or Pueblo, Colo¬ and happiness means larger success. Teaching ful results are now being achieved through the Op. 36—Etude de concert, for pianoforte. rado. Sane, beautiful, advanced musical art may be ing out all the stops and playing the great organ “Imagine New York with a municipal Philharmonic it_“I ps Orientales” three nieces, for music is confining, exacting, and often very exas¬ simpler, gentler processes of love, kindness and growing up about these western cities and towns, with all its combinations ‘just to test the lungs of the under control of a man like our present commissioner organ,’ as. he used to say. Then he proceeded to perating. It frequently leads to excessive nervous¬ happiness. Exactness does not mean severity, and forte. but it has not been the occasion of the social musical of parks!” c little pieces, for the make a minute examination of all of its parts. When ness. That unusual little book, “Power Through our younger pupils are encouraged to receive a Op. 38—“Marionettes,” : flurry of the great metropolis, and they must have he had completed, he would give full vent to his Repose,” by Anna Payson Call, should be in the much more intimate knowledge of the tone-art pianoforte. ‘Salome’ or something by Debussey. I learned re¬ Op. 39—Twelve studies for the pianoforte. inspiration. It was then he really showed himself to JpPSs library of every teacher, as it reveals one of the through patient persistence. A Bach “Invention” He who pursues art seriously, whether as an ama¬ best known methods for securing mental and physi¬ may be made a pleasant diversion by the teacher teur or professionally, will not shun any difficulty Op. 40—Six love songs. cently that the more modern French music is being be the prince of virtuosos upon the organ.”—C. M. Op. 41—Two songs for male chorus. sold west of the Mississippi than east of it Widor. cal poise. who “knows how." If a young pupil hesitates to that leads more rapidly to the goal.—Ehrlich. 155 154 THE ETUDE V * THE ETUDE ceased instantly, for atl the instruments at once one hundred years. The account of the whole pro¬ of humor, however, is his “Musikalischer Spass, or is admirably carried out. After many of the guiding “Some people call me an intellectual player, but I HUMOR IN MUSIC. grew mute with terror. don’t see how they can arbitrarily designate the ceedings was then written upon a piece of parchment musical joke. In this he portrays the strenuous motives have passed in review, the pompous masters’ Beethoven, serious and irascible, could reply only appeal of music in that way,” was his comment. and the same placed in the hands of the librarian of efforts of an ambitious but poorly trained composer theme begins to reassert itself. It will brook no in¬ BY ARTHUR ELSON. with abuse and billingsgate; but fortunately for pos¬ the Opera House, to be stored among the archives to achieve something imposing in the classical forms terruptions from the ardent phrases of Walther’s “I am very glad if they derive intellectual pleasure terity, he did write a few more symphonies. of composition. The flimsy character of the themes, music, but insists on sounding forth in the lower from my playing, but to my mind the appeal of until one hundred years to the day, when the vault In the music of Schubert we find sentiment rather music is primarily and essentially emotional. Tone will be opened, the seals of the receptacle containing One of the most difficult of emotions to depict in and the fearful and wonderful attempts at figure- wood-wind tones, obstinate, fusty and endowed with than humor, although such tone-pictures as the song, the records broken and the contents taken out, and music is humor. The art lends itself naturally to development, are excellent touches, but the climax intolerable self-sufficiency. The violins try again to in itself appeals to the senses just as the color of “The Organ-Grinder,” are effective enough Schu¬ if found to be in perfect condition they will be heard many moods—jollity, sadness, martial ardor, funereal is reached when the village composer attempts to introduce the beautiful themes of Walther’s trial a picture. Of course, specific significance has been mann, too, was earnest, serious, romantic and rarely before the entire staff of the Grand Opera House. gloom—but actual humor can be pictured only by end with a fugue. The subject is announced pomp¬ song, but in vain; the master’s motive continues in attached to certain combinations of tone through if ever felt the need of indulging in humor. One of some incongruous instrumental device, or some pro¬ ously, and the answer and counter-subject follow, its blind course, until there is almost a free fight be¬ long custom. But, dear me, I could talk a whole Those present may then hear Patti, Melba, Calve, his songs, however, is noteworthy as being a musical Caruso, Tamagno, Renaud and several other great gram idea behind the music. Yet nearly all of the but then our composer finds himself in deep water. tween the two groups of instruments. lot of jargon on this subject, and nobody would be picture of sarcasm and irony. It is the setting ot singers whose voices have charmed the opera goers great composers have tried their hands at the humor¬ The themes grow more and more tangled and con¬ Richard Strauss, too, has shown himself a master any the better off in the end. There is so much Heine’s poem, “Ein Jiingling liebt’ Madchen, _ u> of their day. How strange to think of the voice ous side of music, and nearly all have succeeded. fused. until finally he attempts to cover up his dis¬ of satire, as indeed of nearly every style or emotion rubbish said about it. I could stand here and talk which he bewails the eternal tangle of unrequited The comic opera idea dates back over six cen¬ comfiture, and ends with a blare of noise and a in the entire list. In his grandiose “Heldenleben,” to you till you were blue in the face—then you’d still being heard to the applaudits perhaps of our love for one whose devotion goes elsewnere. The have to get a doctor.” descendants long after we have passed away and turies, at least, for in 1285 the Flemish composer grandiose cadence for the brass instruments. for example, he devotes one of the sections to a jangling, almost vulgarly commonplace chords, es¬ Adam de la Hale brought out his "Robin et Another practical joke on the part of an opera portrayal of the hero’s enemies. The theme of the Incidentally, Mr. Bauer touched on the fact that the throats from which they came forth in all their pecially in the finale, give a most effective suggestion Marion.” Robin is the humble shepherd lover of composer was perpetrated by Rossini. When the hero himself is none too melodious, but at least we piano playing induces but little muscular develop¬ sublime power and marvelous beauty have been of mockery and railing protest against a fate which Marion, whose rustic beauty has attracted the lord manager of the Teatro San Mose, in Venice, gratified may judge him to be a person of good intentions. ment, as compared with the violin, for instance, stilled in death! of the village also. The latter surprises Robin with an old grudge by forcing him to set to music the seems to delight in spoiling so many lives. _ His enemies, however, appear to be a bad lot. They which requires a three-fold distortion of the left Among the talking-machine discs that were stored Schumann made frequent use of the device ©f Marion, and gives him a thorough beating, where¬ wretched libretto of “I Due Bruschini,” the com¬ snarl and cackle on the wood-wind, and express arm at shoulder, elbow and wrist. This abnormal away were the following records:— building themes on the letters of certain names. upon the shepherd incontinently runs away. But poser turned the tables by introducing all kinds of themselves in growling discords that at once expose position causes a one-sided development in the vio¬ Melba, “Caro Nome,” from “Rigoletto;” Patti, Instances may be found in his variations to the Marion is less easy to handle, and gives the intruder tricks into the score. In every bar of the overture them to just ridicule, and earn the dislike of all linist, and disfigurements of the neck and “jowl” “Batti, batti,” from “Don Juan;” Calve, “Habanera,” Countess Abegg, and his short theme dedicated to such a scratching that he, too, is glad to leave. the second violins had to tap their bows on the right-minded people. Yet, after all, this method of are not infrequent. from “Carmen;” Schumann-Heink, aria from “Sam¬ Gade. Practically all of his “Carneval” is based on Robin returns, and breathes dire threats of what he lamp-shades with which the orchestra was furnished. musical sarcasm is not original with Strauss, but re¬ son et Dalila;” Tamagno, aria from “Otello;” Caruso would have done if his lordship had stayed. The the letters A, S. C, H—S (or «, meaning E-flat), The bass was continually given high notes, while sembles very closely that of Wagner. REMBRANDT AND WAGNER. and Scotti, duo from “La forza del destino;” Plan- while H was the German way of writing B natural. tramp of an approaching horse cools his ardor again, the soprano was made to sing as low as she could R. Strauss and Humor. qon, serenade from “Faust;” Renaud, aria from Other musical compliments of this nature are the but this time Marion makes him stand his ground, possibly go. One of the most comical scenes was The portrayal of Don Juan falling into a comatose “Hamlet;” Selma Kurz, “Villanelle,” by Dell ’Acqua; fugue to Bach (B signifying our B flat), and the BY M. HUGHES IMBERT. and all ends happily. suddenly interrupted by a funeral march; while the condition after his revels is another effective in¬ Battistini and the chorus from “La Scala,” scene In the more purely instrumental field, the writers string quartette by some of the famous Russians in words of the ensemble numbers were arranged in strumental picture of Strauss; but the composer’s from “Ernani;” Jan Kubelik, “La ronde des lutins,” of the early contrapuntal schools indulged in puzzles honor of the publisher, Belaieff (pronounced B-la-f). such a way that when sung by the different parts best example of orchestral humor is “Till Eulenspie- The originality of painter and musician is shown and Raoul Pugno, “Serenade a la lune.” Mendelssohn’s Keen Sense of Humor. rather than jests; for they wrote intricate canons they formed an absolute jumble of meaningless gel.” Till is a wandering Brunswick mechanic, who in the way in which they contrast light to shade, For true daintiness in musical humor, Mendels¬ that could be sung backward as well as forward, or syllables. The opera, of course, could not hold the plays all sorts of tricks on everyone, and always harmony to dissonance. In this Rembrandt and sohn must be awarded high honors. Especially ef¬ with one voice beginning in the middle, or in other stage, and was soon forgotten in the success of comes out ahead, though in the present symphonic Wagner can be considered brothers, not because LETTERS FROM OUR READERS. fective are the many happy touches in his “Midsum¬ devious ways. The practice of building up masses “Tancredi”; but it was an excellent example of poem he is finally brought to justice. The music is they are identical in every detail, but because mer Night’s Dream” music. He was unusually skil¬ on popular tunes was accepted as perfectly proper, Rossini’s facility in composing, as well as his sense lively, grotesque, violent, or broadly farcical by turns. their temperaments are so much alike. They show ful in his use of the bassoon, not only in its power¬ Music Extending Throughout the World. though its effects might seem strange to us; but The composer gives no detailed analysis beyond the the same contempt for hackneyed methods, the same of humor. ful low register, but in its more comical and gro even the monks themselves would sometimes indulge The humor of Beethoven was brusque rather than two “Eulenspiegel” motives, but intelligent critics yearnings for new ones, the same delight in rare Editor of The Etude:— tesque capacity. Examples of the latter are the in the so-called "Mass of Fools,” a ribald parody of refined. We should expect strength, rather than can follow the hero’s brawling, his love-making, and and intense sensations. But the strongest link be¬ Is it not wonderful how music is spreading quaint clowns’ march for two bassoons, in thirds; the sacred form. delicacy, in a man who pelted his cook with the his masquerading as priest, with reasonable certainty. tween them is that wonderful gift they both possess through the world. We hear of the unusual things the imitation of a country band in the funeral march, With the development of the old piano (or harpsi- stale eggs he had brought from the market, and who At the end he is brought before his victims. His of awakening in us the sense of external life, of that are being done in South America, Mexico, with the bassoon making a ludicrous cadence by ohord) music, especially in France, came the fashion poured a plate of cold soup over the waiter who had themes are now appealing in character, but they meet stirring the inner man by effects that are both deli¬ South Africa, India, China, Australia and Japan? itself on a low note; and, in the overtures, an accur¬ of writing little tone-pictures, much in the style of served it to him, in a Vienna restaurant. The jovial only a gruff response. Again the pleading, again the cate and violent, of bringing, as it were, the soul Think of having a Bach organ recital in Japan with ate imitation of the braying of the transformed Bot¬ those in Schumann’s “Kinder-Album,” only more character of his scherso movements reflects this qual¬ angry denial, and the culprit must go to his well- into light, by a clash between light and shade. a Japanese organist! Is it not astonishing? advanced in character. Some of these, such as tom. His snoring, too, is excellently portrayed by ity; and in the finale of the eighth symphony, after merited doom. It has often been said that a great genius is not Another remarkable thing is that this music is the deep notes of the rough-toned ophicleide. Rameau’s “La Poule” (the hen), raise as hearty a __ The great success of this work is only one of many produced all of a piece, that he is the result, the the music of civilization. The barbaric music of the the pretty, chattering figure, The home life of Mendelssohn was Intensely musi- ^ laugh to-day as when they were first published. proofs that humor may play an important part in echo, of all the efforts and the aspirations of many semi-civilized and aboriginal countries is making cal, but his brother-in-law, the painter Hensel, could Bach’s “Coffee. Cantata.” music, and we are compelled to admit that in the preceding generations. Rembrandt undoubtedly can way for this wonderful force, that originating in scarcely tell one note from another. So when the Coming to the time of Bach, we find that com¬ tonal art, no less than in other affairs, be traced from Lastman and Pinas, while Wagner Europe only a comparatively few centuries ago, now composer wrote the cantata, “Son and Stranger,” for poser indulging in the so-called “Coffee Cantata.” “A little nonsense, now and then, owes his origin to Gluck and Weber. But have they sweeps the world. Musicians should be proud that use at a family festival, he included a solo on a sin¬ A young lady has become so devoted to her coffee Is relished by the best of men.” not vastly extended the modes of their masters they are working with such mighty materials. We gle tone, for Hensel. But even then the latter could (and the gossip of acquaintances that went with it), anch predecessors? They have engraved upon steel hear of “Esperanto,” the new language, which some not hit the right note, and uproarious merriment that not even her father’s threats can make her give HAROLD BAUER ON TECHNIC. the timid lines of the past and interpreted in a strong think is likely to be a world language. Can it ever has been given in light, dainty fashion by the flute, it up. She will dispense with new dresses, and even followed. Harold Bauer, the well-known pianist, in a recent and majestic language the first stammerings of the hope to reach the wonderful universal appreciation it is suddenly inruted by the gruff and ponderous Another unintentional effect was brought about by- bear confinement, but at last her father promises her interview in Musical America, makes a few remarks muse. that has greeted the music of civilization? Dvorak. When still almost a child, and taking his a husband, and she agrees to give up the coffee, contrabass, with ludicrous effect. regarding pianoforte technic of pertinent interest to Do they not seem to have broken off with past G. SCARPATI. Humor in the “Pastoral Symphony.” first lessons away from home, he sent back, for some though making a mental reservation that before the teachers and students. Mr. Bauer declared that he traditions, to have snapped the chain of art? Have The well-known bassoon notes in the scherzo of domestic celebration, an ambitious polka. He in¬ husband marries her he must sign a pledge to let her has always deplored the exaggerated drudgery at the they not introduced into this art, apart from new the “Pastoral Symphony” are another illustration of tended “to surprise his parents;” but as he had for¬ Cultivate Sight-Reading. drink coffee as usual. The music is of the most piano so many students are taught to consider plastic beauty, sublime moral beauty, the poetry of the composer’s humor. He aims to depict a village gotten to allow for the transposing instruments, Tq the Editor of The Etude:— elaborate and ambitious style, giving an inimitable essential. the supernatural and that intense passion? They are band, joining in some local festivity, and in this which sound otherwise than as written, the result effect of burlesque when combined with the words. “I have found in my own experience that it is the inventors of a sublime aestheticism, the. creators Sight-reading is neglected too much. Teachers Bach wrote a “Peasants’ Cantata,” also in humorous band is an old and broken-down bassoonist, with was surprising in more ways than one. absolutely unnecessary. I was a violinist, first, as of an ascensional movement. How has this under¬ say they have no time for anything outside of the The French composers, too, have shown due ap¬ an old and broken-down instrument, which plays you know, and the career of a pianist was, in a way, standing come about between two men so separated regular grind of technique and repertoire work. It preciation of humor. Cherubini is credited with a The music of Handel offers no special examples only three notes, F, C and the F below. Whenever forced upon me after I was grown up. But I have by time and distance? This is a mystery that can is only good sense to cut out all the fads which of humor. Haydn, however, has left one or two the music reaches the tonic chord in the key of F, tone-picture of a combat, by a man who disliked never regretted the time spent with the violin—it only be explained by the instinct which they both swarm in the domain of music teaching and to hold classical jokes on record. Best known, of course, is we find our musician ready and anxious to show his noise; and the constant pianissimo used creates a 1 taught me how to practice. When I realized that I possessed of a new poetry. They have made art fast to the main essentials, but sight-reading is de¬ ludicrous effect. Gounod’s “Funeral March of a ^ the so-called “Surprise Symphony,” the third of the skill on his three remaining notes; but at other times was to become a pianist I held a consultation with immaterial; in their creations we find nothing but cidedly one of the essentials. A scholar who can Marionette” is a bit of inimitable drollery. The £ Salomon set. The andante consists of a set of vari,' he is discreetly silent. myself. I had practically no piano technic, and I the human soul. repeat a few pieces and fails when asked to play a tions, played softly and soothingly, and just as the Beethoven showed such skill in bringing out the “Danse Macabre” of Saint-Saens, with its skeletons’ : realized that I had not time to go through years of song accompaniment at sight, has been badly taught. audience is lulled into perfect tranquillity there capacity of each instrument that he has often been bones rattling on the xylophone and cock crowing merely mechanical work, so the question was, how Some time at each lesson should be given to testing comes a sudden fortissimo crash on the kettledrum, called the “liberator of the orchestra.” Thus we find on the oboe, may almost be regarded as a huge musi- h to achieve the best results in a limited time. And THEIR VOICES TO BE HEARD A HUNDRED the pupil on absolutely new music. When he knows supported by full orchestra. “That will make the him, in the fourth symphony, giving a rapid and cal joke. A more modern instance is “L’Apprenti j in working out the solution of the problem I found YEARS HENCE. that this is expected of him, reading at sight will ladies jump,” said Haydn, andlittdoes so to-day, even difficult passage to the contrabass, an instrument Sorcier,” by Dukas. This is a delicious orchestral that properly directed mental work away from the not be a nightmare when it happens to be demanded which had had little to do before that time except picture of the sorcerer’s apprentice who tried to of him. There is no more useful accomplishment in though we are used to the tremendous orchestration instrument reduced the amount of necessary mechan¬ BY CHARLES DORAN. of R. Strauss & Co. act as a foundation for the orchestral harmony. produce water with his master’s magic broom. He ical practicing to a minimum. I made out my pro¬ music than fluent sight-reading. Scholars differ wide¬ According to anecdote, Haydn once saved his posi¬ This inspired the mercurial Weber to write a satire succeeded, but found that he could not stop the grams and picked out of every composition the pas¬ ly in this. Some of them read easily, naturally, and tion as leader of Prince Esterhazy’s orchestra by on the work, in a music journal of that period. The flow. Cutting the broom in halves only produced sages that offered me the greatest difficulties. Upon Thanks to the very ingenious idea of a Paris with many reading is something that has to be a musical joke. When the Prince once wished to scene was laid in a concert-hall, just after the close two torrents where one had been before, and relief analyzing these I found that in every such passage newspaper, the Eclair, and to the labors of the cultivated. This ability will grow to a surprising disband the orchestra, at its last concert one musi¬ of a Beethoven program including the new sym¬ came only with the return of the master magician. there was one special sticking-point, and that when American mechanical engineer, Mr. Clark, our de¬ degree with the right kind of practice. I find that cian after another finished his part, put out the phony. When the players had left, the instruments The humor of Wagner, as shown in his “Master- once the right position of the hand for it was scendants a hundred years hence may be enabled the best results are gotten by making the scholar lighted candle on his music-desk and left. Finally, came to life, and began to utter indignant protests Singers of Nuremberg,” cannot be praised too high¬ decided upon all the rest of the passage was sim- to hear the favorite music sung by the great voices go slowly, insisting that he know definitely just what there remained only a single violin, wailing out against the ruthless composer who forced them to ly. The words alone would have made this one plified. of the opening years of the twentieth century. Re¬ notes he is going to strike before his hands come mournful music. “What is this?” asked the Prince. such hard tasks. After the flute, the piccolo and of the great comedies of literature, but the orchestral “This theory I have applied in my teaching with cently, in the presence of M. Pedro Gailhard, direc¬ down, even if he has to stop short and figure things “It is our sorrowful farewell,” replied Haydn, where¬ others had stated their grievances, the contrabass score, too, is full of delightful passages. Among excellent results. Analyze the passage that seems tor of the Academy of Music, Etienne Port, Gabriel out for a minute to get everything straight before upon the Prince was so touched that he decided to arose to remark gravely: “Your troubles are of the best of the many ludicrous touches may be men¬ to bristle with difficulties, pick out the most difficult Faure, Bernheim an4 other noted musical critics of he strikes. Wrong notes must not be struck. The keep the band. Investigation has failed to find this little account, and can be borne easily; but what tioned the tapping of Hans Sachs’s hammer as be spot—there is always one particularly refractory the French capital and all members of the staff of worst thing is for a scholar to blunder along, strik¬ “Farewell Symphony,” but “si non e vero, e ben do you think of my case? Instead of letting me mends his shoes during Beckmesser’s attempt at a measure on which everything else hinges; master it, the Paris Opera House, there were placed in an ing as many wrong notes as right ones and striking trovato,” as the proverb says. Another well-known proceed in a staid and orderly manner, suitable to serenade; the terrific efforts of Beckmesser, in the and the position of the hand then practically de¬ earthen receptacle, made especially for the purpose, the same note or chord over two or three times to musical joke of Haydn is the “Toy Symphony,” in my dignity, this intolerable young composer makes festival, to keep to the melody of Walther’s prize termines the position of the hand for the whole graphophone records of the most celebrated voices rectify mistakes. Tell him: “See straight! There you which child’s drum, tiny trumpet, cuckoo call, whistle me run and jump and skip about in the craziest song; the confusion of themes during the ridiculous passage. I encourage my pupils to do as much work of the day. These records were accompanied by a have the notes in black and white—figure them cut and other toys are employed with the piano to give fashion, exactly as if I were a giddy young violin.” riot scene; the discordant horn of the belated watch¬ as possible away from the instrument, though, of brief biography of the singers and an account of and when you know exactly what they are, play a remarkably effective musical work. At this the instruments burst out in wild cries of man, and the fierce blast of pain when the sorely course, that depends largely upon the student’s when and where they scored their greatest operatic them. Don’t guess; don’t strike twice. Strike just Mozart’s Joke. anger, creating such an uproar that the janitor heard beaten Beckmesser forgets himself and tries to sit capacity for mental concentration.” triumph, as well as the opera in which it was at¬ once and that right.” This seems slow, but in reality Mozart showed a most inimitable humor in his the noise and entered the hall. When he realized down. The distinction between the intellectual and emo- tained. The receptacle, after being closed, was it proves to be the speediest way to get to be able operatic scores, as may be seen in connection with the situation he commanded the instruments to stop In the prelude, too, the foreshadowing of the mairs^p " _ tional appeal of piano playing is in marked degree sealed and a metal tag attached to it, bearing the to read correctly and surely—the speed comes very Leporello, in “Don Giovanni,” and Cherubino in their turmoil at once, or he would get Mr. Beethoven idea of the opera, the failure of the hide-bound mas¬ imaginary, and, in any case, greatly exaggerated, in date when the records were deposited in it, and then soon and with it accuracy. “The Marriage of Figaro.” A more direct example to write another symphony. At this the tumult ters to recognize Walther’s true artistic inspiration. this eminent artist’s opinion. placed in a vault, where it is to remain unopened for H. L. TEETZEL. 156 THE ETUDE e m THE ETUDE 157 sixth bar. Here, however, a lifting of the hand in than there is between four Pullman cars; less, in¬ Continuing with the consideration of the ac¬ Acceleration is natural, hence necessary where the Teachers will also be repaid in investigating HOW TO STUDY CHOPIN’S NOCTURNE. the wrist is conditioned by the greater value of the deed, because the best Pullman trains are vestibuled, companiment the player will also perceive that in emotion transgresses the original measure. The be¬ numerous other sets of teaching pieces by this OPUS 9, NUMBER a* whereas Haydn made the blunder of entirely detach¬ the penultimate bar, the second eighths (the four b ginning of the sixth bar and its repetitions offer notes. At the same time a mode of playing becomes composer. Engelmann’s music is almost invariably such instances. justified here which, as a rule, must be condemned ing the symphonic movements; and this blunder has pleasing in melody, harmony and rhythm. Teachers BY DR. JACQUES MENDELSSOHN. flat) are given the value of quarter notes. A slight Retardation steps in first where tension and agita¬ as a detestable habit of amateurs. The last two been perpetuated to the present day, although Men¬ who find that an incessant use of the more or less accentuation of these notes should not be neglected delssohn, Schumann, and a few more recent writers because they constitute the fifth (b flat) of the tion relax, as in the second, third and fourth eighth notes of .the melody should not coincide with the archaic works of the classical composers is liable have, in single instances, run their movements to¬ to result in a lack of interest with young pupils Chopin’s compositions.' Although by no means as important tonic, or first note of the scale (e flat), and this of the sixteenth bar, or in the twenty-fifth bar (the corresponding notes of the accompaniment, but fol¬ as some of the great French-Polish composer’s other works. first bar of the coda). gether, and also tried to connect them organically have found in the works of Engelmann teaching It was, nevertheless, by this composition that Chopin’s fame interval with its character of uncertainty fitly con¬ low them imperceptibly. The aspiring accompani¬ Tarrying and hastening are often necessary in by employing, to a slight extent, the same thematic material that stimulates the musical imagination of as a composer was first extended beyond the limited circle notes a mood of expectancy at the ending, in accord¬ ment connotes the inner agitation. The melody, in of his friends. On account of its areat nonularitv and its order to lead back from the opposite moment to the material in two or more of them. But the symphony even the dullest of pupils. practical teaching advantages ance with the whole sense of the composition. sweet self oblivion, wants to tarry—reluctantly, as it can hardly be saved by that device. It is too artifi¬ Mendelssohn to prepare for u- **■ Furthermore, the pedalling in this work depends fundamental measure lest the return become an tailed analysis for the benefi t teachers and students.— abrupt leap. The latter half of the tenth bar must were; its tones must be dragged along. cial in structure to survive much longer.”—Henry T. Editor.) entirely on the left hand part and is very simple, Finck. THE FIXED STAR, each new harmony requiring a new pedal. be gradually accelerated, as though the composer In considering the Chopin Nocturne, Opus g, No. could not very well prescribe it. but had to rely on The Trill. 2, we are first attracted to its technical difficulties, Since the attention of the student has been at¬ $ W. D. ARMSTRONG. the understanding of the performer. H. ENGELMANN. which, although not a matter of great consequence tracted first by the accompaniment, which in turn A last remark may conclude the consideration of led him to the discovery of the structure, he Retardation enters also where the application of to the advanced student, offer some serious compli¬ the technical means. It concerns the trill in the sev¬ H. F. Engelmann was born in Berlin, Germany, Astronomers know exactly where to point their will consider now the analysis of the melody. sufficient strength is impossible on account of the June 16, 1872. His father was a distinguished offi¬ telescopes to find the fixed stars, but the wandering cations to those in the intermediate grades. enth (and fifteenth) bar. This trill is not—as so The mastery of the elementary technic, especially thin volume of the high tones, as in the second and cer in the German army, and latterly held the post satellites are always on the move and difficult to many others—a mannerism; it is a psychologic ne¬ the independence of the fingers and a loose wrist, The Melody. third eighths of the fourth bar. Chopin prescribed of Private Secretary under Emperor William I. The locate. This suggestion needs no further application must be presupposed. The difficulty then seems to forte for these tones. The dynamic signs have only cessity. like the voice in moments of excitement boy was an only son, and great care was exercised to a part (and we are glad to note a very small part) lie in the accompaniment, in the left hand. This The first cursory playing must have revealed to relative value; a forte in a soft and slow movement trembles, swells and rises to a higher pitch, so in directing his education. He commenced the study of the musical profession. accompaniment consists nearly throughout of har¬ him the singableness of this melody which in some will not be of the same degree as a forte in an ener¬ this tone shakes and wants to swell and expand of the piano at the age of seven, under the tutorage A young teacher making his first stand, after two monic figuration, every three eighths forming one passages actually seems to struggle for the redeem¬ getic and powerful composition. But even a relative through all the intermediate vibrations until it of the best teachers obtainable. years of prosperity, struck the proverbial rocks of harmony. A special practice is required for the ing word. It is not a compilation of incidental forte cannot be applied here, for the capability of reaches the tone g. While one tone cannot swell, It was the ambition of the elder Engelmann to hard times, and was on the point of quitting. Before leaps from and to the bass note (the lowest note), catches: the soul pours out its contents in an unin¬ sound of the high strings is limited, and if it be over¬ two tones repeated with gradually increasing have his son study medicine, but the boy’s musical doing so, he went to a tried and true friend, the taxed one hears rather the clack of the hammer than which should be executed with a loose wrist and terrupted effusion. strength produce this effect, and the effect of trem¬ talent became so evident that he was sent to Leipzig principal of a school, who had held the same posi¬ the tone. to pursue a course in music (piano and musical com¬ tion for some thirty years, and asked for advice. light touch, and for the tying of the notes of the What does the pianist owe to such a melody? bling and rising. The latter, with the aid of the second to those of the third eighths. The latter is First he must stick to the conviction that here Retardation or acceleration again may depend on position). In order to further dissuade his son from “Don’t quit,” he said. “Stay where you are for lower auxiliary tone, is represented above by the effected by lifting the second finger while retaining nothing is vain and empty, that each section, each specific contents of the work, as in the second, third following music, professionally, Herr Engelmann twenty years. When the good times come you will the hold of the fifth until the notes of the third tone is produced and replenished by the feeling and and fourth eighths of the sixteenth bar the explana¬ three tones, e, f and g, at the end of the trill. A trill placed the future composer in a mercantile position. be on hand to give them a cordial welcome, and eighth are struck, the second and fifth finger being idea of the tone poet—consequently each tone must tion of which is given with example. is a shake. The shake does not consist of two This only served to heighten the talented young while they last, lay up for a rainy day, with the ex¬ required throughout for the notes of the second be rendered full of feeling and understanding by the But even in those moments where the player dis¬ equally important tones, but of one chief tone and man’s desire to devote his life to music. pectation that the ‘other’ times will come also. At eighth (with the sole exception of the fifth eighth player. cards the fundamental measure, he finds a weighty of a secondary tone. This fact must be considered the end of the twenty years balance your books and of the third bar, where, on the note f, the thumb Then he must not stop at the single motives and means of preserving the feeling of the beat in the in the execution. you will find that after conducting your school on may be substituted for the second finger). their fulfilment; he must perceive their inner coher¬ rhythmical accent. This rhythmical accent denotes A similar meaning attaches to the cadenza in the strictly business principles you will come out all right.” This procedure is circumstantial only in its de¬ ence and accordingly mete out to each single move¬ not only the structure of the single measure by thirty-second bar. The twelve times repeated motive scription. The player having thus executed the ment the significance which it has in the whole, and bringing out its chief parts, but also the higher order He stayed and was successful. of four tones is but a figuration of the single tone first three eighths possesses at once the right touch just at this place, he must observe how the same of the composition by encompassing and separating There is one aspect of the situation that may be b flat. This b flat is the sustained dominant (fifth for the accompaniment of the whole composition. movement in returning increases or otherwise its motives, phrases and sections. The technical touched upon here, and that is loyalty on the part of changes its importance. For instance the expres¬ means for the realization of such accentuation, which of the keynote), it is here a last sigh of happiness the teacher to the school or the institution in which Chopin the Poet. sion of longing denoted by the upward tendency constitutes the true artistic playing, of course, must longing and expectancy, swelling and diminishing, he is employed. Not infrequently, certain branches Chopin was a poet in tones. It is known that in of the very first interval, the sixth b flat—g, is (in be mastered by the pianist, and their application the expiring echo, of which is represented in the of a department are totally destroyed by indifference, many of his compositions he undertook to express the second bar) repeated and then increased by the studied in each single instance. accompaniment of the following bar. Since this one particularly so when regular salaries are paid and certain definite ideas, although he did not indicate it larger tension of the octave—c and afterwards made Thus the independence of one hand from the other tone, b flat, could not be made to swell and diminish the teacher has nothing else to do but give lessons. in the titles. The title of our composition, “Notturno,” more passionate by the still farther extended strug- is a common requirement. Every pianist knows _ on the piano, the composer had to circumscribe it Contracts may be and are broken, so in the middle originally signifies a nightly serenade, as practiced ling onset of the sixteenth (in the sixth bar). how to subordinate the accompaniment in one hand •W with the above figure of four tones which, like be¬ of a season he or she departs, leaving the work to take care of itself and the school to do the best it by lovers in southern climates, and the contents under the melody of the other. Still the task some¬ fore the trill, expresses at the same time the swell¬ of Chopin’s Notturno conform entirely with this con¬ times demands subtleness of understanding and han¬ can under the circumstances. Watch the career of Motion and Tempo. ing and trembling, the longing and agitation. ception. It needs no great power of imagination dling. such persons, and it usually means artistic and finan¬ to discover in the accompaniment of our Notturno Supposing the motion be determined by precept The bending of the hand toward the side of the cial failure. the sounds of that inseparable companion of the of tempo and measure—it will soon be apparent.that thumb or the fifth finger (combined with a loose A professor in a dental college, making his final lover of days gone by—the guitar. But the accom¬ both determinations are not and cannot be inviolable wrist) is another technical means that calls for fre¬ ARE LONG SYMPHONIC WORKS address to the class, advised them to be extremely paniment suggests more than that. In its aspiring law—the liberty still exists to shorten or lengthen quent application. The upwards beating octave of DESIRABLE? careful in the selection of a location, but having motive it portrays the inner excitement of the lover the value of the single tones by the various degrees the second bar, for instance, is the extension of the once decided upon it, to stay there permanently. “Beethoven undoubtedly improved oh the sym¬ and the external agitation consonant with the deli¬ of the thrusting (staccato) or clinging (legato) touch. first motive, and needs a stronger emphasis for its The institutions and private teachers who are en¬ phonies of Haydn and .Mozart in many important cate and secret situation of a serenader. The clinging touch even if retaining the strict tempo second tone. This emphasis will best be achieved H. Engelmann. joying the most satisfactory patronage are those The singableness of the melody has been men¬ has always the character of tarrying; the thrusting through such an inclination of the hand toward the respects; there is more thought, and food for adopting the same principles. tioned; it is a real song without words, lacking only that of advancing. While Chopin ingeniously pre¬ thought, in one of his than in a dozen of theirs. side of the fifth finger. He came to America in 1891, and went directly to the title. This has been felt so strongly that people scribed a thrusting touch for this purpose of advanc¬ But his doubling the length of the symphony was But most important of all in such a composition Philadelphia. His original intention was to return BRAHMS AND THE WALTZ. with a more realistic than imaginative trend of mind ing by the slurs between each two sixteenths in the is the perfect mastery of each finger, the constant a grievous error, which has done a great deal to to Germany after a short visit in the New World, were not satisfied with the piano as its interpreter. sixth bar, thereby shortening the value of the notes consideration of and watchfulness over their appli¬ retard the evolution of music, and has consigned to but he was so thoroughly delighted with his experi¬ BY PHILLIPP SPITTA. The most eloquent of all instruments, the violin, at the end of the slurs, he was not able to do it in cation. Here the keys must not be struck or beaten, oblivion many works that might have lived had not ences in the United States that he determined to was substituted, and in this adaptation the com¬ the thirtieth bar, where the placing of staccato but touched and pressed down with feeling and ten¬ their composers, with his example before them, been make this country his home. After no little struggle Schubert’s waltzes could still be played for danc¬ position has become such a favorite that now both marks above the ascending sixteenth might induce derness. A sole exception in our Notturno makes he established himself as a teacher, and for a time ing; not so those of Brahms. Brahms won for the violinists and pianists claim it as one of the loveliest the player to strike the tones in an unwarranted tempted to stretch out their material to tedious the climax in the coda (bar 30 to 32) where the fin¬ was under the espionage of an excellent teacher, waltz its restoration to a place in the higher ranks flowers of their repertoire. manner. Still, undoubtedly a legato playing here lengths. gers should come down, not with all the strength of music. Treated at first as a piece of pianoforte The pianist who has a knowledge of composition “As the three-volume novel has had its day, so then resident in Philadelphia, named Herman Mohr. would produce a lame effect. possible, but with the strength appropriate for the music, the Valse was further idealized by being used or at least of musical form will perceive at once that the four-movement symphony is doomed to extinc¬ Mohr proved both a friend and benefactor to Engel¬ However, aside from the shortening or lengthen¬ summit of this intimate composition. This will be for singing. A similar process was gone through this Notturno is a song form in two parts, com¬ mann, but his death forced the young musician to ing of the value of the single notes by the various facilitated by raising the wrist in touching the keys, tion. It is too long. Its writers usually labor with the Hungarian dance and vocal measure. pleted with an extended coda. But even without fight his own battles in the land of his adoption degrees of staccato and legato playing, the precepts which causes a steeper fall of the fingers with under the strange delusion that genius consists in Brahms did not invent these, but he added so much this preparatory education the attentive player will alone. Engelmann appeared at numerous concerts of tempo and measure are no inviolable laws. Here greater force. On the contrary, the lowering of the taking some insignificant theme and developing it that was original and important, that his “Hun¬ penetrate into the organization of the tonal struc¬ as a pianist, with success. During this time he had the player must penetrate through all precepts to wrist causes the fingers to fall flat, and the weight of interminably with the utmost display of technical garian Dances” may almost be regarded as original ture. He will notice that with the fourth bar the first been steadily composing. His first published com¬ the one inviolable law of reason: to follow only the the hand diminishes their strength. Such flat posi¬ compositions. Every one knows how marked his melody (or the first part) is concluded and that the skill and ingenuity. Genius, on the contrary, con¬ position was “The Marine Band March.” At the idea, the meaning and nature of his task. The tempo tion is necessary, for instance, for the second and influence has been upon contemporary composers following four bars are only a varied repetition of sists in the faculty of originating significant ideas, present time there are no less than 1,200 published is the general expression of the motion of a com¬ third eighths and the following four thirty-seconds compositions listed in the catalogues of different through this class of work. it, the variation being confined to the melody, .or expressing them in the simplest possible way, and position. The direction for the tempo given by the of the sixteenth bar. The entire thumb and palm of music publishing firms. By far the larger majority, the right hand, while the accompaniment remains stopping short when all that is new has been said, composer—allegro, andante, adagio, etc.—are only the hand should be above the keyboard (the thumb however, have been published by the firm of Theo. the same. The now following four bars form whether it makes one page or a dozen or more. In approximate denotations, and it is well that this stretched out, with its point turned inside), ready for Presser. It is doubtful whether a more prolific com¬ “Forty years ago, my teachers, Moscheles, afterwards the beginning of the second part which is concluded architecture there is some excuse for skyscrapers, is so. the attack of the following four thirty-seconds: poser of drawing-room music has ever lived. His Dreyschock, and finally Liszt, used to say that Beet¬ by another repetition of the first part, the whole The fundamental law of measure is well known: a flat, f, d, c flat, so that the hand is in a horizontal because, if not beautiful, they are at any rate useful works range from the most simple teaching pieces hoven’s piano compositions were not ‘kalviermassig’ second part comprising bars 9 to 16. This second all equal parts of a bar have equal length. The ap¬ position, the fifth finger bent to the right. The ex¬ and profitable. But long symphonies are the reverse to some very intricate and complicated compositions (adapted to the natural idioms of the piano). Many of part is repeated with but slight variations in the plication of this law, the steadiness of time, must be of useful and profitable. A very talented composer, intended only for advanced performers. Many of his piano passages lie most awkwardly under the fin¬ melody, bars 17 till 24. It becomes evident that of ceptional fingering, the constant use of the fifth fin¬ mastered by every player. But there are innumer¬ who died six years ago, the Viennese Anton Bruck¬ the latter class are still in manuscript, as the pop¬ gers, and certainly would never have been written by these twenty-four bars only eight of the accompani¬ ger for the white, the fourth for the black keys, is able deviations from it, either prescribed by the caused by the necessity of testing, of ascertaining by ner, practically wrecked his whole career by writing ular market for music of this type is hardly large a skilled virtuoso who was simply a pianist per se.’’— ment differ and require separate practice. composer (like accelerando, ritardando, etc.) or neces¬ skyscraper symphonies lasting up to an hour and a enough to warrant a composer making a publication. Dr. IVm. Mason. This reduction of the technical work is of great touch, as it were, the finest equalness of emphasis sitated by the contents of the composition. These for each tone. Fingers, hand and arm should act half. No conductor dared to risk the success of a Among his best-known drawing-room pieces are: importance, not only because an excess of it lowers deviations constitute what generally is called liberty whole concert on such works, and consequently they Melody of Love. the interest in the work, but also since it is more here as a whole, i. e., neither fingers nor head should It is an acknowledged fact that every profession of time-beats. be raised independently in joints or wrist. The same were ignored, and the poor deluded man died broken¬ When the Lights Are Low. is overcrowded; but in no profession is there so methodical to first conquer one difficulty before at¬ hearted. He had been unable to read the signs of Apple Blossoms. tacking a second, which would be the case if the execution (position of hand, fingers, touches) ap¬ much room at the top” as in the musical profes¬ Liberties in Time. the times. Lovers’ Lane Waltzes. whole accompaniment should be practised in its plies to the corresponding notes in bar 24 and the sion, and he who works diligently, carefully, wisely “Apart from its usually excessive length, the Hungarian Rhapsodie. actual succession. last four sixteenths of bar 27 and the first half of the and unceasingly to raise his own standard and ele¬ This liberty can show itself only in two ways: following bar, because the underlying meaning of ^ symphony has the fatal defect of not being an Grande Valse Caprice. vate himself to “the top” will find waiting there ‘The Edition of this Nocturne, arranged for organ i organic form of art. With a few exceptions, there Days of Yore. music of thi* issue, may bemused for the piane by simply o in acceleration and in retardation of motion, which these places is the same. The repeated application for him all the patronage that he can accept.—Ever¬ the pedal notes. By numbering each ir “ both in turn may appear in different degrees and of the same finger, the fifth, for successive tones is is no more connection between its four movements Grand Festival March. ett E. Truette. nocturne ready reference may be made tf duration. necessary also for the last three notes of the twenty- THE ETUDE 159

158 THE ETUDE * pains and time it takes to acquire it, and no singer For the same voices, the following songs of a tirely upon the information obtained from this who hopes to attain a good position in church work good grade, tuneful and having good texts, are also official as to whether there is or is not a vacancy, girls and girls—well girls not so attractive. * or a trial of, singers in view. He is not always him¬ should neglect the subject. There is now available listed: The lady members and such of the gentlemen as a goodly number of vocalists who are good musi¬ self fully posted as to the status of affairs or the notice such things, have a hazy recollection of cians, ready readers of notation, and who phrase •The King of Love My Shepherd Is—F. F. Bullard. intentions of the church authorities. Sometimes he seeing a succession of big hats and little hats; dressy with intelligence and interpret the meaning of the •Sun of my Soul—L. Carey. is designedly uncommunicative. The information as gowns and shabby gowns; gowns that hung just •Father, in Thy mysterious Presence—C. P. Scott. to present or possible vacancies obtained from him words and music in their singing. The poor reader, •Be Glad, oh ye children—F. Shackley. Trying for a Church Position.' right, and gowns that did not “hang” at all. All the ; the non-musician who sings tones, from note to Tarry with me, oh my Savior—S. A. Baldwin. had better be supplemented by that to be obtained members are troubled to remember the voices one note, no matter how beautiful the voice, has little •Lead kindly light—Bohr. from the chairman of the music committee. Even from another, for they have heard so many. There chance of success in competition with them, •God shall wipe away all tears—J. F. Field. then the enquirer cannot always be certain that he •Peace of God—Gounod. has all the information in the case, or that what were high, thin piping voices; full, dark dramatic especially in churches where the director is in¬ O Savior Hear Me—(Gluck). D Buck. voices; voices composed of equal parts of vinegar fluential with the music committee, and the class •Rejoice in the Lord—Shackley. he has been told is the condition of affairs will be By F. W. WODELL. and water; and voices as smooth as oil but with¬ of music used is of the best. And it is in such •Lead Kindly Light—Shepperd. the condition two hours later. It is astonishing how out character or virility; singers who sang sharp, •O Loving Father—Cesar Franck. little some musical directors and music committee churches that the salaries are apt to be worth while. •Come unto Me—Coenen. and more who sang flat, and singers who sang flat Wherever possible the candidate should arrange Rock of Ages—Shepperd. chairmen and members know about what is really and sharp in alternation, as well as others whose to sing two numbers. This will give him an oppor¬ I heard the voice of Jesus say—Rathbun. going on in connection with church choir changes. I Heard the voice of Jesus say—Harris. voices wabbled so much that it was difficult to know tunity to exhibit more fully the qualities of his ♦ At times their statements vary so widely as to •Just as I am—Hawley. arouse the suspicion that some of them at least are Many churches change their organists and choirs, near the end of the list, he or she is apt to secure just what pitch they intended to indicate; singers voice and his power of interpretation. Certainly •There is a Green Hill far away—Gounod. either ignorant of the facts, or, to put it mildly, ex¬ or some part of their musical organizations, every the place, for the last impression is the strongest. who were strong on “method” and in taking care of he -should insist upon being allowed to sing a number year. With most churches the “moving day” for The large city is a tremendously powerful magnet their method forgot to sing; singers who mistook right through. Some directors and committees have For the same voices, songs of a high grade, in¬ ceedingly “diplomatic” in their methods. Many church music committees do business in a business¬ choir members is in the spring; with a few in the to the talented young singers of the smaller towns a well-developed nasality for “rich color in the a habit of stopping a candidate after he has sung cluding numbers from cantatas and oratorios: autumn season. There are in each city a small of this great country, and aided by admiring friends, tone;” singers who were full to bursting with en¬ but a part of a selection. This is fair neither to like, above-board, courteous way. Others make as number of churches in which officers and members there pour each year by the score into New York, thusiasm for “high tones,” and exploded on every the candidate nor to the committee. Nervousness Hark, Hark My Soul—Chadwick. much mystery and fuss about their doings as though are opposed to frequent changes in the choir per¬ Boston, Chicago, Philadelphia and other large cities, one of such indicated in their scores. Then there may, at the beginning, prevent the singer from doing •Repentlr—Gounod. they were managing the affairs of some great nation •Fear Not Ye, O Israel—D. Buck. sonnel. In some of the choirs of wealthy churches seeking an education and the opportunity to hear were the singers who had “never sung a Gospel himself justice, whereas, if permitted to continue according to the principles of the old school. of Cry aloud, spare not (Isaiah)—W. Patten. diplomacy. Candidates will do well to take nothing in a certain city, quartet singers have been known fine performances of music, many hoping to “get hymn,” and their sister vocalists who certainly to the end of the number, he may regain confidence, Turn Thee unto me (Eli)—Costa. to sing for fifteen or more years. In America, a church position” to assist in making a meagre fund could not sing anything else but Gospel hymns; and be able to show what is in him. I will extol Thee (Eli)—Costa. for granted in connection with statements and however, such long terms of choir service for singers of cash last out the year. This accounts for the singers who sang very well on “the piece I brought Be thou faithful unto death (St. Paul)—Mendelssohn rumors concerning vacancies in church choirs. very large number of candidates with really good from home,” but who “fell down” into a very deep (tenor). are not common. Indeed, it is unfortunate for both Choice of Pieces. I will lay me down in peace (Triumph of David)—D. Prove all things. singers and congregations that the desire for change voices, who offer themselves for quartet and solo well when asked to sing with the quartet at sight Buck. It is usually unwise to sing for a committee in a is so characteristic of the average American city church positions in the large cities at the annual the soprano part of an unfamiliar hymn. As to the choice of pieces for the trial, these How long, O Lord, wilt thou forget me (Triumph of small room, as the studio of an organist, or the “trials.” In consequence salaries in those centers The committee cannot remember, without con- 1 David)—D. Buck (tenor). ordinary small office of a musical agent. The con¬ congregation and music committee. Even where should be two in number, and of contrasted styles. If with all your hearts (Elijah)—Mendelssohn. suiting written notes, wheth¬ ditions are apt to be unfavorable. There is not the congregation may be sat¬ It is said that Jessie Bartlett Davis, once a well- My hope is in the Everlasting (Daughter of Jairus) — isfied with the present choir, er candidate number three Stainer (tenor). space for the voice to show its real quality, and known church and (later) opera contralto, obtained The soft southern breeze (Rebekah)—Barnby (tenor). a newly-elected music com¬ was tall or short, dark or there is only the thin tone of a piano, instead of the one good church position by her soulful singing of My soul is athirst for God (Holy City)—Gaul (tenor). mittee, or a dominant mem¬ fair; sang like Patti or Sem- " - -nteth all vour sorrows (Hymn of Praise)—- solidity- of the church organ, for the accompani¬ brich, or like a schoolgirl. a hymn to' the tune of a simple song, popular many Mendelssohn (tenor). ber thereof, is apt to imag¬ The Lord *-cShepherd (Rose of Sharon)— ments. Even when it seems to be absolutely un¬ ine that a little better can be Of course there are church years ago, and known as “O Genevieve, Sweet Gene¬ Mackenzie. avoidable to have a preliminary hearing in a studio done for the church with the music committees of a high¬ vieve.” The important point is to select trial num¬ or office, it is well to urge strongly another hearing music appropriation than had er calibre, and better quali¬ bers which will give the voice and style of the Those numbers in the above list marked with an in the church before a decision is arrived at. been accomplished by the fied for their duties. These singer the most favorable medium possible for their asterisk may also be had in keys for medium or If possible, the committee should be persuaded former committee, and so a are made up of men and effective exhibition, and which are of such a char¬ low voices. to allow the candidates at the church to sing before change in the makeup of the women who are naturally acter, musically and poetically, as is likely to com¬ Following is a list of songs of a simple character the committee without other candidates being choir is brought about. The musical, possess a cultivated mend them to the tastes of the members of the for alto, baritone or bass: present. At the present time it is the custom with average church music com¬ taste for good singing, and particular committee for whom the candidate is some churches to ha”e a sort of “round-up” of mittee, as is well-known to understand the requirements singing. It would obviously be unwise to' offer an singers who are candidating, and singer after singer professional church musi¬ of church choir work as re¬ oratorio selection to the representatives of a Congre¬ us)—Old Welsh n is obliged to walk up to the choir loft and make cians, is usually fearfully and gards type of voice and style ,;JT ve gation which most enjoys simple anthems and her trial before a crowd of competitors. Such con¬ wonderfully constituted. The of singing. Singers who in- ~-r\ Gospel songs in its regular services. So would ditions are unfair to the candidates. They do not very congregation which is tend to “try” for positions it be poor judgment to sing compositions of ele¬ obtain at the Sunday service, and for this reason would do well to prepare 1 so careful to put none but mentary content before committees the members of Songs of a good grade: they are also unfair to the committee, for under men of tried judgment and themselves as though each which are musically cultivated ladies and gentle¬ such a state of affairs it is not the best singer, but experience upon committees committee was to be of this men, accustomed to attending symphony concerts The hills of God (baritone)—G. B. Nevln. often the candidate with the most “nerve” who having to do with finance, stamp. There will then be and high-class choral and vocal performances. It At last—Liddle. makes the best record. Blest are the pure in heart—B. Huhn. will place upon the music less risk of disappointment. may be pointed out, however, that almost every¬ When the singer is actually “on trial” much will Personal appearance (in¬ committee a retired sea-cap¬ body, whether musically ignorant, or cultivated, en¬ Songs of a high grade and selections from depend upon his manner. Timidity and uncertainty cluding matters of dress), tain, a carpenter, an insur¬ joys a simple, tender, genuine melody, associated cantatas and oratorios: create a bad impression, and undue self-assertive¬ ance agent, and a charming have far more to do with with words of poetic worth. It is sometimes diffi¬ ness is also undesirable. A simple, natural, pleasant, lady who confessedly knows success in obtaining a good cult for the candidate to obtain information as to Defend us. O Lord—J. W. Metcalfe. quietly confident manner, having its root in kindness nothing at all about music, church position than most I do not ask, 0 Lord—C. G. Spross. of disposition, knowledge of attainment, and personal the type of music which most appeals to a com¬ Invocation (bass)—W. Berwald. but takes such an interest in singers think to be the case. mittee, and therefore, in a general way it would Pilgrim's song (baritone)—Tschaikovsky. and artistic sincerity, will go far to prepossess a the choir, because she “just More than one young lady seem best to prepare at least one selection which, Behold the Master passeth By—W. G. Hammond. committee in a candidate’s favor. There must be, Zion (bass)—B. Huhn. loves to sing in the hymns.” THE TRIAL IN THE ORGAN LOFT. has obtained the preference by its simple, attractive melody and familiar and Turn ve even to Me—F. F. Harker. while singing, animation, but waving and swaying over superior singers because beloved text, makes a direct appeal to the heart. The Virgin's Lullaby (Coming of the King)—D. about, mouthing, grimacing, lifting the eyebrows at A clergyman was heard to Buck (alto). defend the placing of those ignorant of music on are depressed, as must naturally be expected. There of a stylish appearance and an attractive manner. It may be of assistance to some to name selec¬ O God b “expressive” high tones, “staginess” in the choir loft, church-music committees. He made the argument are in the large cities a few church positions where A beautiful voice, skilfully used, is by no means the tions (for the various classes of voices), such as are offensive to persons of good taste. that as musical people are well known to be consti¬ none but a singer with a fine voice and thoroughly only, though an important factor, making for success • have been used by successful candidates for choir Thou Wilt Keep him in perfect peace (Isaiah)—W. A favorable verdict having been obtained, the artistic style are desired, and the salary is com¬ in trying for a church position. The special circum¬ Patten (alto). tutionally touchy, not to say quarrelsome, it would positions, or which have, in words and music, Love not the world (Prodigal Son)—Sullivan (alto). singer should see to it that his contract is reduced be folly to ask them to work together in such a mensurate with the requirements of the position. stances of each particular case should be considered. elements likely to make them effective with com¬ And God shall wipe away all tears (Light of the to writing, and signed by the responsible parties. It But the great majority of church positions in the World)—Sullivan (alto). should state the beginning and length of term of ticklish matter as the engaging of organist, director mittees. It would be easy to present a long list Eye Hath not seen (Holy City)—Gaul (alto). and singers. Being musical, he claimed, each would large cities carry comparatively small salaries, for Sight Reading Essential. of worthy sacred solos, including standard numbers office; the salary, and when to be paid; what it is the reason that the supply of good talent is so large have a very strong opinion as to the individual to Is much new music used, and does the director from the cantatas and oratorios. The design has Speak the Words Distinctly. to cover, that is to say, whether the singer is to be that there is quite strong competition among the paid by the service, the Sunday, the month or the be engaged, and neither would wish to give way want to get through a lot of work at one rehearsal? been, however, to set forth a carefully selected list to the other. On the other hand, when the members second and lower grades of vocalists. of pieces which, in the writer’s judgment, are When actually singing before a committee the year; how many services and rehearsals per week Then the candidate had better be a good deal of a of the music committee knew nothing of music, The largest cities, of course, draw also con¬ particularly well adapted for the purpose in view. candidate will do well to remember that to most are required; whether the contract is terminable on and were aware of their ignorance, they had no tinuously some of the very best vocal talent of musician; at the very least a ready sight reader, This will explain the absence of some well-known people a song is worth nothing if the words are not notice or without. It is of course understood that musical prejudices, no set opinions, and it was com¬ the country. The singers seek to make their head¬ and of cultivated musical taste. If these qualifica¬ songs, and numbers from the oratorios which, intelligible. As a matter of fact very few people the sensible church soloist is willing to give extra paratively easy for them to agree as to candidates quarters there, for the advantage of such a resi¬ tions are lacking, better not apply. And it may be though most acceptable in themselves, are perhaps are good listeners. Most auditors fail to concentrate time to rehearsals for special occasions, but if the for church positions. Thus the danger of quarrels dence gives in obtaining solo engagements through¬ said in this connection that the number of churches not fully adapted for the use of candidates. The their minds upon the words, and then blame the contract is made to be specific, then whatever is among church members on music committees could out the land. Therefore it is not really difficult to where readiness in note reading—reading at sight— list is very far from exhaustive, and some might singer because they cannot understand what is done in addition to the requirements thereof stands be minimized. But surely church members should find suitable material for city choirs where a very is required or made much of, is steadily increasing. question the value of this or that selection. Never¬ sung. The singer, however, cannot change this con¬ upon the basis of mutual good will, and there is no not be quarrelsome, even though mere musicians high-grade of musical service is required and large A musicianly director, alto, tenor and bass cannot theless it is hoped that such a list will be of service dition, and so must take extra pains to meet it by chance for a misunderstanding. The candidate may occasionally give way to an exhibition of bad salaries are paid. be expected to spend toilsome and precious minutes to at least some who are seeking help in this paying great attention to the matter of distinctness should take no one’s verbal promise as to any busi¬ going over and over a passage which they read at direction. of enunciation and articulation. Take care of the ness matter in connection with his choir engage¬ temper. The average church music committee may The Candidates. have their little quarrels among themselves, but sight in order that the soprano with the beautiful Of the more simple tender songs for soprano, consonants, and the final consonants in particular. ment. What is put into writing, there can be little they generally manage to present a united front This condition of affairs tends to make church voice, who stumbles repeatedly in her reading, may mezzo-soprano and tenor: Something can be done, too, by choosing at least doubt or misunderstanding about. What is “under¬ to any movement for the increase of expenditure music committees arrogant, finical, fussy, notional, learn her part. But it may be replied, “she can one number which has for a text a well-known stood” upon merely verbal arrangement is very on the music. Of course there are the exceptions hard to please. Many of the committees really do always get the music a week ahead, and learn it There is an hour of hallowed pea'— — hymn, for in that case it will be comparatively easy often later seriously “misunderstood” by one or •One sweetlv solemn thought—Ambrose. which prove the rule. not know their own minds; they do not know what by heart.” Not at all. It is often most incon¬ •Thou'rt with me, oh my Father—Wodell. for the most careless or unskilful listener on the both parties to the contract. The “trying” for church positions naturally be¬ they want for a choir. And after they have heard venient to furnish all the music for a service at a •Just for to-day—J. B. Abbott. committee to “hear” the words. Gethsemane—Lee Carlton. gins some weeks in advance of the date of the twenty to fifty candidates, their last state is worse considerable period in advance; moreover, circum¬ •My God and Father—Marston. When a singer is seeking an opportunity to sing What the fingers produce is hollow workmanship, actual change. It is sometimes the “early bird” than their first. When the session begins they stances sometimes make it imperative to change •Alone with God—J. B. Abbott. before a committee it is usually well to first consult but the tonal message transmitted through the mind •There Is a land mine eye hath seen—Crowninshield. that secures the place, and sometimes it is the very know nothing about the singers, their minds are service selections at very short notice, and what can Crossing the Bar—V>. Buck. with the organist or choir director—the responsible and soul of those for whom the message was in¬ untroubled, and they are presumably at peace with the unready, stumbling, non-sight-reader do then, Just for to-day—Paul Ambrose. musical head of the church choir organization. At tended, and is remembered long after the body has last candidate heard that is chosen. When the •Take my heart, oh Father—L. Brackett. average committee has been hearing singers for themselves and with the world. When it ends their poor thing? Besides, the ability to read music read- ^ •Jesus, Lover of iry Soul—H. C. MacDougall. the same time it is not always best to depend en¬ ceased to exist.—Schumann. weeks, most of the members cannot remember much minds are in a state of confusion; they have a ily increases confidence, gives surety in delivery, and about the first ten of the dozen singers listened to, recollection of a procession of short girls, tall girls, contributes materially to the effectiveness of the and if there is a reasonably satisfactory vocalist stout girls, thin girls, dark girls, fair girls, attrac- singer. This power is worth far more than the THE ETUDE 161 160 THE ETUDE put Herz’s finger exercises before him, and told him Feb. 18. Famous organist. Wrote the London Glee Club formed. Yet that he was sensible of the difficulty of attain¬ to play one every day for a week, and then come “Practical Organ School.” Ignatius Fiorillo d. near Kassel, in June. ing proper interpretation of exalted music can be in¬ and try the concerto again. This he did, and in due Giuseppe Tartini d. Padua, Feb. 16. 1788— Frederick Kalkbrenner b. Berlin. Famous ferred from a letter narrating a visit to Dorothea von time came back enchanted and delighted, and called 1771—John Baptist Cramer b. Mannheim, Feb. 24. pianist and composer. Ertmann (in earlier life a friend of Beethoven) when me his good genius, because my advice had helped Pianist and composer of “Method for Piano¬ Carl Philipp Emanuel Bach d. Hamburg, Dec. 14. Piano Lessons by Great Masters he played to her Beethoven’s B flat trio. Op. 97. “As him so much.” forte” and a number of excellent studies. Mozart wrote his “Jupiter” symphony. By EDWARD BURLINGAME HILL I reached the end of the adagio. * * * she ex¬ This shows how early Schumann felt the impor¬ Pierre Baillot b. Passy, near Paris, Oct. 1. Giulio Marco Bordogni b. Bergamo, Italy. claimed, ‘it is too expressive to be played,’ and that tance of a good tone production, and of proper gym¬ Author of a celebrated instruction book for Famous operatic tenor. II. is really true of the passage.” His unreceptive atti¬ nastic cultivation. As a critic, on the other hand, he violinists. 1789— Volume three of Burney’s “History of Music” tude towards the rapid development of the romantic Mendelssohn and Schumann exercised a remarkable influence in his paper, the Ferdinand Paer b. Parma, June 1. Opera com¬ published. (This volume completes the his¬ composers may be judged by the following: “A Neue Zeitscrift fiir Musik, which is still active to-day. poser and conductor. tory.) book of Mazurkas by Chopin and a few new pieces At the time of its foundation criticism was in a bad 1773— Charles S. Catel b. L’Aigle, Orne, France, Friedrich Ernst Fesca b. Magdeburg, Feb. 15. of his are so mannered that they are hard to stand.” way; there were no standards worth mentioning, and June 10. Great theorist and teacher. Composer. It is well-nigh impossible to confine development rivetting, and it was impossible to separate the exe¬ A year or more later he wrote: “I find that at my little courage to express anything positive. It was Firm of John Broad wood Sons, piano makers, 1790— Mozart’s “Cosi fan Tutti” produced in Vienna, in musical art entirely to commanding geniuses. cution, the music and the executant.” age my fingers require to practice most carefully the a long step forward to say, as Schumann did in the founded, London. Niccolo Vaccai b. Tolentino. Celebrated vocal Consequently before considering the first composers The late Dr. Joachim said: “His playing was ex¬ exercises of former years in order to keep pace preliminary notice in the first number: “The day of 1774— Gasparo L. P. Spontini b. Majolati, Ancona, teacher. of the Romantic epoch it will be necessary to pause traordinarily full of fire which could hardly be con¬ with the times. I can manage to preserve them pli reciprocal compliments is gradually dying out, and Italy, Nov. 14. Famous opera composer. Carl J. Lipinski b. Poland, Nov. 4. Violinist. a moment to characterize the work of three pianist trolled, and yet was controlled, and combined with able and elastic, but I cannot make them any longer we must confess that we shall do nothing toward Wenzel Tomaschek b. Skutsch, Bohemia, 1791— Mozart’s “Magic Flute” and “Requiem” pro¬ composers of less than first rank, who, nevertheless, the greatest delicacy.” A pupil of his says: “Though than they are; and that is just the road that modern reviving it. The critic who dares not attack what is April 17. Well known composer. duced. have made important contributions in the further¬ lightness of touch, and a delicious liquid pearliness pianists like Chopin, Thalberg, etc., have taken *iti bad is but a half-hearted supporter of what is good.” J. Pierre Rode b. Bordeaux. Great violinist. Wolfgang Amadeus Mozart d. Vienna, Dec. 5. ance of piano technique, especially from the tech¬ of tone were prominent characteristics, yet his power order to develop their technique.” This refers un¬ One has only to look over Schumann’s criticisms of Gluck’s “Iphigenie en Aulide” produced in London visited by Haydn. nical standpoint. These are Muzio Clementi (1752- in fortes was immense.” Another pupil, Mr. Otto doubtedly to the wide stretches and complicated Chopin’s piano music, of Liszt as a pianist, of Men¬ Paris. Giacomo Meyerbeer b. Berlin, Sept. 5. French 1832), John Babtist Cramer (1771-1858), and.Ignaz Goldschmidt, describes his technique more in detail. arpeggios which the romantic composers introduced delssohn, of Hector Berlioz’s Fantastic Symphony, of Niccolo Jommelli d. Naples, Aug. 28. operatic history ends with him. Moscheles (1794-1870). Clementi, at one time the “His mechanism was extremely subtle, and devel¬ so frequently into their works. Schubert’s C major symphony, and countless other 1775— Guiseppe Baini b. Rome. Famous historian, Ferdinand Herold b. Paris, Jan. 28. Opera rival of Mozart, lived until five years after the death oped with the lightest of wrists (never from the To sum up, Mendelssohn was the cultivated musi¬ pages to have instantly revealed the critic’s lofty and composer and singer. composer. of Beethoven, although Mozart despised him for his arm); he, therefore, never strained the instrument or cian of steadily classic instincts, in spite of the im¬ unimpeachable standards, his cordial appreciation of Francois Adrian Boieldieu b. Rouen, France, Carl Czerny b. Vienna, Feb. 21. Prolific mechanical style and absence of expressive feeling. hammered. His chord-playing was beautiful, and petus he gave to the development of romantic music. inspiration and poetic ideals, his warm welcoming Dec. 16. Noted composer of opera. writer of piano studies. Pupil of Beethoven. Clementi has left a monumental educational work based on a special theory of his own. His use of As a pianist, he stood for scrupulous adherence to to artistic honesty. He was always ready to turn Johann Anton Andre b. Offenbach, France, 1792— Dr. Lowell Mason b. Boston, Jan. 24. Com¬ in his “Gradus ad Parnassum,” in two volumes, a the pedal was very sparing, clearly defined, and, the composer’s intentions, strict tempo, finished to music which was written with sincere earnestness, Oct. 6. Composer and theorist. poser, writer and teacher. He introduced series of 100 studies and pieces covering every style therefore, effective; his phrasing beautifully clear.” phrasing, beauty of tone, careful use of the pedals, but he was scathing in his condemnation of those 1776— The first volume of Burney’s “History of singing into the public schools of America. of piano playing. From the technical standpoint Sir George Grove says that “his adherence to his and above all, to present the fullness of the senti¬ who frittered away their talent, or who deliberately Music” published. Gioachino Rossini b. Pesaro, Italy, Feb. 29. this practical treatise is much in advance of Mozart; author’s meaning, and to the indications given in ment and spirit of the music rather than to seek dis¬ chose a superficial course. Schumann was not the 1777— Gluck’s “Armide” produced in Paris. Celebrated opera composer. it still possesses much educational value, although the music was absolute. Strict time was one of his play of technical attainments. His dominant re¬ classicist that Mendelssohn was, but he had a larger The first French piano made by Erard. Rouget de Lisle composes the “Marseillaise” the musical interest is very unequal. Nevertheless hobbies. * * * In playing, however, he never gard for true interpretation must stand for especial and warmer heart; he was broad in his views, yet Ludwig Berger b. Berlin, April 18. Noted on April 24. it extended the range of piano playing very definitely himself interpolated a ritardando or suffered it in consideration to-day, when development of technique unflinching in his standards. There is ample lesson pianist. Moritz Hauptmann b. Dresden. Great theorist and must always be taken into account in the prog¬ anyone else.” threatens to overpower the real essence of the music to-day to be learned from the artistic probity of both, 1778— Johann Nepomuk Hummel b. Pressburg, and composer. ress of the technical side. While Cramer aspired to From the foregoing accounts of Mendelssohn’s itself. Herein consists the chief example of his pure but the generous, impulsive, imaginative Schumann Nov. 14. Great pianist and friend of Beethoven. Johann Andreas Stein d. Augsburg, Feb. 29. be a composer of serious works, he remains, like his playing it is easy to construct his personality as a and noble attitude towards music, and the greatest must make an especial appeal. It were well for this Dr. Thomas A. Arne d. London, March 5. 1793— Pietro Nardini d. Florence, Italy, May 7. teacher Clementi, the author of eighty-four studies performer, and to imagine the traits which he would lesson to be learned from his constant efforts in age if it scorned mere exhibition of technique as 1779— Angelica Catalani b. Sinigaglia, Italy, October. 1794— Theobald Boehm b. Bavaria. Flutist and in¬ which have had an educational vogue second only to have exhibited as a teacher. There are few instances this direction. he did; if it were as alive to sentiment and poetry Noted soprano. ventor of a system of fingering wood-wind the “Gradus.” If many of these are almost value¬ in which he has given specific opinions or advice in Schumann. as he was. That he was intensely human, as the fol¬ 1780 (?)—The Damper Pedal of the piano invented. instruments (flute, oboe, clarinet, bassoon, relation to performance. An assiduous and inde¬ lowing extract written to one in discouragement will etc.). less musically, at least fifty are worthy to enter into If possible, Schumann has even less specific advice Franz Clement b. Vienna. Noted violinist. fatigable letter-writer, he has touched upon all sub¬ show: “Cast your sorrows behind you, and sublime, Luigi Lablache b. Naples. Famous bass the permanent repertory of educational works. In of a technical nature to give than Mendelssohn, and 1781— Mozart’s “Idomeneo” produced at Munich. jects in them connected with his musical experience. peaceful figures will grow out of them and smile at singer. a like manner Ignaz Moscheles, a remarkable classic yet the influence of his example and taste is very Anton Diabelli b. Mattsee, near Salzburg, He has recounted the personages whom he met, his you. Thus did Deucalion and Pyrrha throw stones Ignaz Moscheles b. Prague. Wrote fine pianist, has composed a long list of works in all palpable. As a young boy, he very nearly became a Sept. 6. Composer and music publisher. trials as a conductor, his opinions on various musi¬ behind them, and splendid Greeks rose up from studies for the piano, and was famous for his forms—symphonies, overtures, concertos, sonatas, pupil of Carl Maria von Weber; when he was nine Francois A. Habeneck b. Meziers, France, cal works, but little of an analytic or pedagogic na¬ them. I often tell myself that.” wonderful abilities as improviser. etc.—but with the possible exception of his G minor he heard Ignaz Moscheles play. This remarkable June 1. Violinist and conductor. He intro¬ ture. He has given admirable sketches of the cities 1795— Beethoven published his Opus I. concerto and a few other pieces, his studies, Op. 70 pianist affected him greatly, and Schumann’s first duced Beethoven’s symphonies into France. and countries he visited, he described scenes with IMPORTANT EVENTS IN MUSICAL The Paris Conservatoire established Aug. 3. and 95, are the most significant of his productions, published work showed that he had assimilated Gewandhaus Concert Hall, Leipsic, opened. vivid details; his letters sparkle with wit and jollity; HISTORY. Giovanni Battista Rubini b. Italy. Celebrated and those which survive on account of their educa¬ Moscheles’ style to a certain extent. Though osten¬ Vincent Novello b. London, Sept. 6. Com¬ but one searches almost in vain for direct hints operatic tenor. tional significance. Becoming fully conversant as a sibly a law student, Schumann was passionately de¬ BY DANIEL BLOOMFIELD. poser, organist. Founded house of Novello, which might be of use to the teacher. A few brief Heinrich Marschner b. Saxony, Aug. 16. young man with the works of Beethoven, he mani¬ voted to the piano, practicing while at the Univer¬ Ewer & Co. quotations will suffice to show the drift of his re¬ Opera composer. fested no little sympathy with the romantic school, sity of Heidelberg as much as seven hours a day. (Previous instalments of this valuable chronology 1782— “Die Entfiihrung aus dem Serail,” by Mozart, marks on piano playing. “But why should I be George Benda d. (?) and thus formed a connecting link of unique interest. He played with more than ordinary success at a con¬ will be found in the December, January and Febru¬ produced. forced to listen for the thirtieth time to all sorts of 1796— Anton Schindler b. Germany. Biographer of If the sonatas, concertos and concert piece of Carl cert, there was even a project for his becoming a ary issues of The Etude. They will eventually be Carlo Farinelli d. Bologna, July 15. variations by Here?* They cause me less pleasure Beethoven. Maria von Weber (1786-1826) are, to a certain ex¬ traveling virtuoso, but an accident, unfortunate and published in book form). John Field b. Dublin, July 16. Pianist and than rope-dancers or acrobats. In their case we have Auguste Mathieu Panseron b. Paris. Com¬ tent, an indubitable stepping-stone between Bee¬ seemingly irremediable, was actualiy the most bene¬ A. D. inventor of the “nocturne” form. at least the barbarous excitement of fearing that poser of many voice works. thoven and the composers treated in this article, his ficial event in his career. In his efforts to acquire 1760— Maria Luigi S. Cherubini b. Florence, Italy, Niccolo Paganini b. Genoa. The greatest vio¬ they may break their necks, and of seeing that, nev¬ Johann Carl G. Loewe b. Germany. Orig¬ more important service to opera, especially in its technique he strained a finger so badly as virtually Sept. 14. The man who in Beethoven’s estima¬ linist the world has known. ertheless, they escape doing so. But those who per¬ inator of the “Ballad” form in music. influence on Wagner, has somewhat overshadowed to cripple it and also the whole hand. Thus Schu¬ tion was the greatest musician in the world. Conradin Kreutzer b. Baden, Nov. 22. Opera form feats of agility on the piano do not even en¬ 1797— Heinrich Wohlfahrt b. Kossnitz. Piano teacher the worth of his piano music. Nevertheless his work mann turned to composing and also to criticism. He He was a teacher, composer and theorist. composer. danger their lives, but only our ears. In such I take and composer. will receive further mention in a succeeding paper. often said that as a composer he was most influenced Piccini’s “La Buona Figliuola” produced. Daniel Francois Auber b. Caen, Normandy, no interest. 1 wish I could escape the annoyance Johann C. Lobe b. Weimar. Writer on music Mendelssohn. by Sebastian Bach and the novelist, Jean Paul; for 1761— Johann Ludwig Dussek b. Caslav, Bohemia, Jan. 29. Famous opera writer. of being obliged to hear that the public demands this and a composer. If Mendelssohn was, first of all, a composer, he one revealed to him the depth of sentiment which Feb. 9. Celebrated pianist and composer. P. A. D. B. Metastasio d. Vienna, April 12. style; I also form one of the public, and I demand v. Francesco S. Mercadante b. Altamura. has played a by no means negligible part in the fur¬ music can reveal, while Jean Paul stimulated his Haydn enters the service of Prince Esterhazy. 1783— Johann Adolphe Hasse d. Venice, Dec. 16. the exact reverse.” This illustrates Mendelssohn’s Italian opera composer. therance of piano playing; Precocious in his talent, imagination, and even directly provoked musical The Catch Club of England organized. Gaetano Caffarelli d. Naples. entire absorption in musical sentiment to the exclu¬ Franz Peter Schubert b. Vienna. The great¬ he received early and thorough training, such as few ideas. In writing of his theoretical studies, he says: Pierre Gaveaux b. Zeziers. Composer. 1784— Ludwig Spohr b. Brunswick, April 25. Fa¬ sion of mere virtuosity, a trait which is borne out by est melody writer of all times. composers have had. He was not a virtuoso in the “Otherwise Sebastian Bach’s well-tempered clavi¬ 1762— Gluck’s “Orfeo” first produced in Vienna. mous composer and violinist. all who heard him play. Gaetano Donizetti b. Bergamo, Nov. 29. ordinary sense, yet the testimony of many as to his chord is my grammar, and is certainly the best. I 1763— Etienne Henri Mehul b. Givet, Ardennes, Francois Joseph Fetis b. Mons, Belgium, Hiller and Chopin journeyed from Paris to a music Operatic writer. qualities as a performer are virtually unanimous. have taken the fugues one by one, and dissected France, June 22. Famous opera composer. March 25. One of the greatest musical his¬ festival where a trio by Mendelssohn was performed. Adelbert Gyrowetz b. Budweis, Bohemia, Mehul’s “Medee” produced. “My recollections of Mendelssohn’s playing,” said them to their minutest parts. The advantage of this torians and writers. After describing their meeting, he goes on: “And, Feb. 19. Talented symphonist, and for twenty- 1798— Henri Bertini b. London. Writer of piano Madame Schumann, are among the most delightful is great, and seems to have a strengthening moral Wilhelm Friedemann Bach d. Berlin, July 1. of course, next morning we betook ourselves to the studies. things in my artistic life. It was to me a shining effect upon one’s whole system, for Bach was a thor¬ seven years musical director of the Court The Double-bassoon first used in the orches¬ piano, where I had the greai’st enjoyment. They Theatre, Vienna. The first number of the “Allegemeine Musikal- ideal, full of genius and life, united with technical ough man all over, and his works seem written fo' tra, in England, at the Handel Centenary (Hiller and. Chopin) have both improved much in Domenico Dragonetti b. Venice, April 7. The ische Zeitung” appeared. perfection. * * * It never occurred to me to eternity.” If his career as a pianist was rudely in Festival. execution, and as a pianist Chopin.now one of greatest double-bass player the world has Jonas Chickering b. United States. Piano compare him with virtuosi. Of mere effects of per¬ terrupted, he had gone far enough to reflect upon Giovanni Battista Martini d. Bologna, Aug. 3. the very first of all. He produces new effects like known. maker. formance he knew nothing—he was always the great the essential qualities of piano-playing, as the follow¬ Ferdinand Ries b. Bonn, Nov. 29. Pianist and Paganini on his violin, and accomplishes wonderful 1764— Pietro Locatelli d. Amsterdam. 1799— Francois E. Halevy b. Paris, May 27. Opera musician, and in hearing him one forgot the player, ing extract from a letter will show: “Without over¬ composer. Pupil of Beethoven. passages, such as no one could have formerly thought Jean Phillipe Rameau d. Paris, Sept. 12. composer. and only revelled in the full enjoyment of the music. estimating my own abilities, I feel modestly con¬ 1786— Henri Lemoine b. Paris, Oct. 21. Theorist practicable. * * * Both, however, rather toil in 1765— Daniel Steibelt b. Berlin. Composer and Adolf Bernard Marx b. Halle. Eminent theor¬ * * * In early days he had acquired perfection scious of my superiority over all the other Heidel- and composer. the Parisian spasmodic and impassioned style, too pianist of note. ist and writer. of technique; but latterly, as he often told me, he berg pianists. You have no idea how carelessly and Mozart’s “Marriage of Figaro” produced. often losing sight of time and sobriety, and of true 1766— Rudolphe Kreutzer b. Versailles, Nov. 16. 1800— Haydn’s “Creation” produced in London on hardly ever practiced, and yet he surpassed every roughly they play, and of the noisiness, slapdash Carl Maria von Weber b. Eutin, Oldenburg, music; I, again, do so perhaps too little.” Here we Great violinist and the friend of Beethoven. March 28. one.” and terrible feebleness of their style. They have no Dec. 18. Founder of the Romantic School. find the classic instinct revolting against the inevi¬ 1767— Gluck’s “Alceste” produced in Vienna. Carl F. C. Tasch d. Berlin, Aug. 3. “Mendelssohn’s playing,” says Hiller, “was to him notion of cultivating ‘touch’ and of bringing a fine Frederick Kuhlau b. Hanover, Sept. n. Opera table approach of the Romantic school. It is difficult Nicolo Porpora d. Naples, in February. composer; wrote also for violin and piano. Beethoven wrote his first symphony and “The wha* flying is to a bird. * * * He played the tone out of the instrument; and as to regular prac¬ Mount of Olives.” to find any specific advice on technical matters in Thomas Attwood b. London. Composer and Sir Henry R. Bishop b. London, Nov. 18. piani, because it was his nature. He possessed great tice, finger exercises and scales, they don’t seem even Mendelssohn’s letters. Almost the sole recommen¬ organist. Composer of “Home, Sweet Home,” and many Pierre Gavinies d. Paris. skill, certamty, power and rapidity of execution, a to have heard of anything of the kind. The other dation to be met with is where he wrote to a pros¬ 1768— J. J. Rousseau’s “Dictionary of Music” pub¬ operas. Ludwig R. von Kochel b. Stein. Celebrated lovely full tone—all, in fact, that a virtuoso could day one of them played me the A minor concerto pective pupil “not to fail in studying Cramer’s exer¬ lished. Antonio M. G. Sacchini d. Paris, Oct. 8. for his catalogue of Mozart’s works. desire, but these qualities were forgotten while he (probably Hummel’s). He performed it very cor¬ cises assiduously and thoroughly.” Perhaps the best 1770—Ludwig van Beethoven b. Bonn, Dec. 16. The 1787— Christopher Willibald von Gluck d. Vienna, was playing, and one almost overlooked even those rectly and without mistakes, keeping a sort of rhyth¬ explanation of this noticeable omission lies in the greatest musician of all ages. Nov. 15. Refuse to allow the world to form your opin- more spiritual gifts which we call fire, invention, mical march-time, and I could conscientiously praise fact that he himself acquired a remarkable technical “The New England Psalm Singer, or Ameri¬ Mozart’s “Don Giovanni” produced. ions for you. Fight for freedom of judgment soul, apprehension, etc. When he sat down to the him. But when I played it to him he had to admit facility so early in life that he was inclined to over¬ can Chorister” published by William Billings Leopold Mozart d. Salzburg, May 28. Express what you honestly feel. Dare to lead, instrument music streamed from him with all the that, though his rendering was quite as correct as look the means by which it was obtained. of Boston. Tobias Haslinger b. Zell, March 1. Composer and others will not dare not to follow—4rt/mr fullness of his inborn genius—he was a centaur, and mme. yet, somehow, I made the whole thing sound Johann C. H. Rinck b. Elgersburg, Thuringia, and music dealer. Fanuell. his horse was the piano. What he played, how he different; and then, how in the world did I get such played \t, «nd that he was the player, all were equally a vxolm-hke tone, etc.? I looked at him with a smile, 162 THE ETUDE THE ETUDE 163 ANECDOTES OF GREAT MUSICIANS. oratorio as the “Messiah” should inspire within every to celebrate. While Beethoven was engaged upon this score, he one day woke up to the fact that some listener? To give an instance, there is that sublime REFLECTIONS BY THE WAY. symbols), and whose men before him, are again MUSICAL TID-BITS. Rossini’s memory was anything but retentive, contralto melody “He was despised.” What can be of his pages were missing. “Where on earth could they be?” he asked himself and the servant too; but “reflecting” his conception. especially in respect to the names of persons intro¬ more inappropriate than a burst of applause after the BY GEORGE HAHN. The Conductor. To be at his best a conductor, man or woman, of duced to him. This forgetfulness was frequently rendering of those words! the problem remained unsolved. Beethoven, beside himself, spent hours and hours in searching, and so choir or chorus or orchestra, should be free from the the cause of much merriment whenever Rossini was Audiences should be more discriminative, or some score. The conception, if there be one, is inevitably A musical friend is a friend indeed. did the servant, but it was all in vain. At last they BY FANNIE EDGAR THOMAS. among company. One day he met Bishop, the day we shall have Beethoven’s symphonies or com¬ hampered (as is all musical performance) by ignor¬ Hope and work make life worth living and lead to English composer. Rossini knew the face well plete operas repeated. There was once an encore of gave up the task as a useless one, and Beethoven, mad with despair, and pouring the very opposite to ance, or even half knowledge of the print as its enough and at once greeted him, “Ah! my dear a whole opera, but let us hope that, bad as our pres¬ Who has not seen a robust man, mounted upon a symbol. Freedom to express the intangible picture, We need more music and less noise. Mr.-■” for the life of him he could get no further, ent system is, it will never drift into this sort of blessings upon the head of her whom he believed small platform, stick in hand, clawing the air with A mistake does not sound so bad when no one ia was the author of the mischief, sat down with the however distinct to the musician, is restricted by but to convince him that he had not forgotten him, thing. The incident referred to occurred to Cima- all his force, bending and beating, jumping, straining having the mind and its consequent nose, glued to listening. consolation that he must rewrite the missing part. Rossini began whistling Bishop’s glee, “When the rosa’s “II Matrimonio Segreto,” when it was first per¬ and kicking, as though trying to throw arms and the binding of a book. The orchestra is perfection in music. Let us en¬ He had no sooner commenced a new Kyrie—for this wind blows,” a compliment which “the English formed before the Emperor Joseph of Austria. The legs out of sockets? He does not seem satisfied No man or woman can convey the self-uncon¬ courage it. was the movement that was not to be found— Mozart”—as Bishop has been called—recognized monarch was delighted with the opera, and for their unless pocket-linings and watch-fob are being made scious and impressive force of conviction while keep¬ If a criticism is well-meant we should be thankful than some loose sheets of score paper were dis¬ quite as readily as he would have done had his less excellent performance rewarded the singers with a visible to the public behind, as evidence that they ing the nose glued to the binding of a book. This for it. covered in the kitchen! Upon examination they musical surname been mentioned. magnificent banquet. When it was over, the Em¬ are getting the worth of their money. Now that is as impossible as it would be for a lover to con¬ There is a broad and narrow road in music; on peror’s admiration was as enthusiastic as ever. The proved to be the identical pages that Beethoven so chorus and choir direction is assuming such large vince his lady-love of his affection while reading which road are you? Are you following the crowds or liberal wines, too, had pleased the singers, and event¬ much desired, and which the woman, in her anxiety place* in music work, it may be well for the more the impassioned wording from a gilt-edged “reader.” setting an example? The widow of Mozart has given to the world ually one and all went back with the Emperor to the to be “tidy” and to “keep things straight,” had appro¬ modest and sane leaders of ensemble bodies, to ex¬ The person who craves originality does not always many interesting details respecting her illustrious theatre and performed the entire opera again. Fa¬ priated at some time or other for wrapping up, not amine this frantic strenuousness, and see what in it appreciate it when he meets it. husband. Years after Mozart had died, and when only old boots and clothes, but also some super¬ tiguing no doubt, but really far more rational than is best to follow, what to eschew. It is interesting THE BUSINESS MAN AND MUSIC. The amateur who plays for his friends is building the celebrated Constance Weber had been widowed to call for a repetition of pieces in the middle of an annuated pots and pans that were greasy and black! to see that in the normal schools springing up all better than we think. for the second time, she was visited by an English But there is a little history of another of Bee¬ opera; thus spoiling the stage illusion, fatiguing the over the country, for teaching of music in the public BY E. A. SMITH. “Art is long and time is fleeting”—and we get a lady and her husband—an eminent musician—both of singer, lengthening the performance, or breaking the thoven’s servants that is worth knowing. As a rule, schools, there is regular department for “conduct¬ small proportion of both. whom were anxious to converse with the widow of thread of the composer’s ideas. musicians are very slightly troubled with the ing” study. Here most of the “conductors” are A piano in the home signifies nothing. It is how the great master. Notwithstanding the years that There has been much written and said regarding business of stables, horses and grooms; and there¬ women, many of them very young women. The the lack of interest that the average business man often it is played, and what is played that counts. had passed, Madame Nyssen’s enthusiasm for her fore when Fortune does throw a horse in their way, earnest interest amongst them, seeking to reach an The faculty of being sunny without technique is It is a popular fallacy that talent is all that is has in good music, but the writing has principally first husband was far from extinguished. She was any eccentricities in respect to it are more or less efficient place in such work, is most commendable. frequently more in evidence than a finished technique needed to reach to eminence as a musician. Indom¬ been from the standpoint of the musician. Let us much affected at the regard which the visitors excusable. Now, Beethoven once had a horse, a That much of the custo nary strenuousness of "Great and a sunny disposition. itable perseverance must be there, however, or the carry the analysis still further. The average busi¬ showed for his memory, and willingly entered into very beautiful animal, presented to him by an ad¬ Conductors” is eccentric without being valuable, and We cannot imitate the music of the woods, but we genius will soon die out. Was not Handel possessed ness man has but little interest in the best that conversation about him. mirer. For the first few days after its arrival its that other is valuable without being eccentric, was can get the spirit of it in our hearts. of genius, yet in his case was genius made an ex¬ is represented in art; he has but little interest in “Mozart," she said, “loved all the arts and pos¬ the result of heated discussion upon this point re¬ That mighty word “if.” But all people do not use cuse for idleness? and did he not wear the keys of new owner did what most mortals would. He the best in literature, but he has a general interest sessed a taste for most of them. He could draw, and mounted it and took an airing round the suburbs. it to the same extent. In the vocabulary of many his Rucker harpsichord like the bowl of a spoon with cently. in each of them. was an excellent dancer. He was generally cheerful it is entirely unknown, and they are the ones who his incessant practicing? Again, coolness and self- Then his strange nature showed itself in respect to Frequently it may be seen, that with all this What would the symphony orchestras of New and in good humor; rarely melancholy, though some¬ are forging ahead. possession, and unfailing readiness of resource are the steed. Having ridden it a few times, he com¬ “effort” no change in force, speed or volume may be York, "Boston, Chicago and other cities do were times pensive. Indeed,” continued she, “he was an That propensity for work, that stick-to-it-tiveness very necessary qualities, which one’s recollections pletely forgot its existence, making his journeys on remarked amongst the body of players or singers. it not for the business men who usually finance angel, and is one in heaven now." He played the so auspicious in the character of a few, is the key but too painfully declare to be exceptional, rather foot, or by coach, as if a horse was completely be¬ There is an impression of tremendous useless labor, these great enterprises by guaranteeing a certain organ delightfully as well as the pianoforte, but he to success. Talent with it, and we have a candidate than general. How many singers, organists, conduct¬ yond his means. The animal soon found an owner. as when a child flogs an elephant with his toy sum, all or part of which they are frequently called seldom touched this last instrument in company for greatness. ors, etc., have lost all chance of success from pecu¬ Beethoven at this period had a sharp-witted man¬ whip, the brave animal unconscious of his existence. upon to pay. unless there were present those who could appreciate The teacher who teaches only for the money will liarities of nervousness, and want of self-control, servant, who had been with him for some time Worse yet, often all this energy is in direct opposi¬ First, the American people are known and rec¬ him. He would, however, often extemporize upon it never get anything more than this. when emergencies have arisen? The breaking of a (rather a matter for surprise, as Beethoven was a tion to the ideal or sentiment to be expressed. The ognized as an inventive, manufacturing and com¬ when alone with her. “Mozart’s voice,” she said, An artist does not always get as much salary as string, the loss of a piece of music, the absence of a marked man among the menials and lodging-keepers one with the stick comes down upon the air with mercial nation. In a new country in which the "was a light tenor; his speaking tone gentle, unless the applause would denote. There is often a great first hand, the incompetence of a singer, are among of Vienna, who would not put up with his temper violence sufficient to break a rock, over a tender trade is developing in every direction, in which when directing music; that then he became loud difference between the two. the every-day causes of such emergencies; but what and peculiarities). This servant, finding that his passage, and makes straight, tight venomous blows, risks are problematic, in which competition is and energetic—would even stamp with his feet and Somehow great men never listen to the counsel and can-be done against such a plague of accidents and master neither inquired for nor used the horse, took when gentle curves, pleading idea, or the suave lines fierce, the business idea predominates, and the might be heard at a considerable distance. His advice of their critics. It is well so, for if they did, mishaps, by a truly thorough artist, was shown on it into his own possession; paid the livery bills, in¬ of sentiment, underly the notes. There is no con¬ business man really has but little time for the arts. hands were very small and delicate. His favorite it would surely put an end to their greatness, in a one occasion by Mendelssohn. His reserve power stead of allowing them to go to Beethoven, for fear text between the thought and the exertion, and there Perhaps this is his misfortune. It is often a ques¬ amusements were bowls and billiards.” The widow majority of cases. was marvelous, and on some occasions underwent they should jog his memory about the horse, and as is no response to the leadership by those supposed tion of whether he will have more art and less lady also hinted to the visitors that it was Mozart’s As long as opinions differ we will have all kinds of tests which surprised even those most intimate a set-off against all this, used to let out the animal to be led. This condition is the source of fatigue dollars or more dollars and less art, and the highest ambition to have composed an oratorio in music; and that is always. with the master. During the Birmingham Festival to any one who cared to hire it. and tedium to the onlooker, and takes, of course, average business man feels that he would prefer to the style of the “Messiah” and “Israel in Egypt.” What was once original has become commonplace of 1846 there was a “miscellaneous selection,” and Were it not for our knowledge of Beethoven’s utter from the general impressiveness. What is the cause live on dollars than starve on art. In fact, he intended to have set to work upon an through use; and what was commonplace at the begin¬ after the concert had commenced it was dis¬ carelessness in the affairs of every-day life it would of this “inadequacy,” this “insufficiency?” The schools are paying more attention to music, oratorio immediately after the “Requiem;” but, alas! ning has long ago ceased to be in use. covered that the orchestral parts of a certain reci¬ be hard to realize the truth of such a story as this, In the first place the leader or “conductor” has no drawing and literature, so that the child is forming ere he could crown his fame with such a work, he Fantastic tricks on the keyboard astonish us; and tative were not to be found. The difficulty was for admitting the wonderful propensities which settled “conviction” as to the structural sentiment of a taste for these things, and learns more in the was taken from the scene of his labors and successes that is the end of it. serious. A search was made, but all to no purpose. articles (in both large and small establishments) the composition. He has a general idea, especially first few years of his school life than the average —such as these latter were, during his lifetime. The higher you climb the less you will see of your Suddenly Mendelssohn saw a way out of the maze. seem to have for disappearing, it is very difficult to of certain passages. He is guided by certain sym¬ business man of to-day ever new. It is safe to toiling brother below. But he is there, struggling He snatched up some music paper, ran off to an ad¬ imagine how a horse could disappear without being bols of loud and soft, slower and faster, upon the predict that the next generation will advance con¬ as, perhaps, you did. When you were as far removed Encores are a positive nuisance, and one which joining room, and there, whilst the band was fast missed, that not being the kind of mishap which page before him. He, too, has certain memories siderably in the art idea, and in the next century from the top as he a little help, a little encourage¬ concert conductors ought to put down, or at least getting through the earlier pieces of the programme, could exactly be accounted for by the usual refer¬ of how he, or she, has heard the composition given we shall, without doubt, have musicians and na¬ ment, a little appreciation, were mile stones in your lessen. Upon the strength of an advertised pro¬ Mendelssohn composed a new recitative, wrote out ence to the mischievous propensities of “the cat.” by some one else. And he has a desire either to tional schools that will compare favorably with any road toward success. Reciprocate! If you are near gramme, a seat at a concert is taken, but instead of play it very differently, or very nearly the same, as the band parts and the conductor’s score, just in time in the world. the top, think less of it and a little something of the programme being carried out, through this in¬ that memory. But he has no entire “building,” dis¬ The business man, therefore, should not be cen¬ for the piece to come in at the place set down on those below. If you are at the bottom, or nearly so, tolerable encore system a third of it is not unfre- the programme. tinct and clear, before the intuition; no sense of a sured or condemned because in his enjoyment of look up. If there is a human being ahead of you—I quently omitted. This is especially the case in The greatest attention should be given to slow beginning, a middle and an end, and the unbreakable music he prefers that principally which entertains, The band played it at sight, so well, that the say a human being—he will not always keep his back benefit concerts and the fashionable miscellaneous practice, as mistakes , bad method, etc., will surely union that must exist between those parts. There is and which musicians call “trivial,” as it takes him public knew nothing of the threatened contretemps. towards you. Give and take and remain cheerful concerts which begin at two o’clock in the afternoon creep in the moment the entire attention is relaxed, a chimney here, and a stoop there, walls and win¬ from his business cares with the least mental effort. through it all. and end at about six with the programme anything and when the speed is increased they are all the dows and doors more or less to be discovered. But Naturally, musicians wonder why business men The highest salaried singers and players are not but exhausted. From the singers’ point of view, too, Servants are very well in their way, but who has more difficult to eliminate. No matter how many the “building,” the poor building, where is it? This have not made a study of music so that they could those who receive the highest salary, but those who the habit is as unreasonable as it is cruel. No sing¬ not at times been driven well-nigh mad through— weeks or months have been continuously spent on “possession” of a “subject” as a whole, before the enjoy such composers as Bach and Beethoven. feel that they are devoting a part of their lives to the ers of established reputation desire to be told that let us call them the good intentions—of some house¬ one thing, the practice of the same on the last day mind’s eye, all at once, to be painted as a whole, But why should not the other professions expect interests of a great art. Let us join their ranks! they know how to, or that they do, sing; nor is it maid or maid-of-all-work, who, in her “clearing up” should commence at as slow a speed as at first. gives a direction to the musical mentality undreamed that the business man will be able to thoroughly Music is “used” for too many purposes. It too reasonable to suppose that when they are paid for and putting things straight,” as she is pleased to Every motion should be exaggerated as much as of by “conductors” whose “shreds and patches” are enjoy and comprehend the paintings of Corelli, often merely furnishes one of the satellites revolving singing certain songs, or for sustaining a part in an term her labors, either consigns some precious treas¬ possible; the fingers should be raised to their high- indicated by epileptic, convulsive, spasmodic exer¬ Murillo and others? A man cannot know every¬ around a sun, which may be anything from a wedding oratorio or opera, that they, any more than a “hewer ure to a place where it is beyond discovery, or else CSa capacity> every motion should also be quick as tions instead of INDICATIONS. This is one cause. thing, and while musicians are talking about the to a dance. At a wedding ceremony naturally every¬ of wood,” care to do the work twice over for the stores it in some “safe” place; where indeed it is so a flash. As previously explained, slow practice, like Secondly, the leader or conductor has no knowledge business men not enjoying the best in music, in body is interested in the happy pair, and we cannot same remuneration; a consideration quite apart from “safe” that it can hardly be found, either by her or a. microscope, magnifies the performance many of the laws of self-expression. This art is some¬ turn suppose the business men express their won¬ help agreeing that the wedding march is of secondary the one of wear and tear to the voice. To turn to by its owner? Such servants, alas! are far from few, times, and exaggerations are necessary to make the times born, and again must be acquired. Some der at the inability of musicians to comprehend importance. But at the opera, from the first an¬ another branch; why, we ask, should Herr Kreisler and such a state suggests the necessity of some sort proportions correct. High speed will reduce every¬ people (as the French for example) have but to and do business in a business-like way. It is safe nouncement until the performance, too many people be compelled to submit to a repetition of say a Cha¬ of house or institution in which servants shall be thing automatically to its proper value. But the imagine, to express through the body, the result of to say that the musician has weakened his cause look over the names in the cast and go to see the conne of Bach’s or Tartini’s “Trillo del Diavolo” after made thoroughly au fait with their duties, for they slower the speed the greater attention necessary, as that imagination. Others imagine that they are ex¬ in the eyes of the business man, more because he “favorites.” At a concert the singers and players he has once performed either composition faultlessly, were apparently never much better in this respect bad method, etc., is doubly insidious under these cir¬ pressing something, when in truth they are repre¬ has been unbusiness-like in the management of his often interest us more than the program. Down the and as no other living being can play it? Does he than they now are: at any rate we know that the un¬ cumstances, and anything bad at one speed will get senting the very opposite, or something quite ridicu¬ affairs than anything else. For this the musician scale we find music “used” at social functions and need no more consideration than an express loco¬ fortunate Beethoven was troubled with a slattern worse as the speed increases, and the only remedy lous. There is movement, that is all, but not THE should be censured. He has no right to carry dances. Music accompanies a great many things be¬ motive that can go on so long as the steam is up? who certainly did not belie the general reputation wi be to commence all over again at a speed slower movement belonging. his art idea to such an extent that he neglects side a song. Its presence, however, is always wel¬ We hope that the public will soon grow more con¬ attached to servants of modern times. This “little than ever, and eliminate the difficulty. Much work paying his bills, especially if his income is a good One ignorant of the laws of photography sins in come. Thank God that it is “used” so much! siderate and more artistic; that it will learn to accept lady” formed a part of Beethoven’s household during is often wasted by increasing the speed before the the same way in having his picture taken.^ He a simple bow as a sufficient acknowledgment for the time that the master was working at the Mass in practice, as mistakes, bad method, etc., will surely throws himself into a chair “any way” to be “natu¬ There are two sides to every question. The performance is right.-^. R. Spencer. whatever applause it has to bestow; that it will learn D, that stupendous work which Beethoven com¬ ral,” and expects that such pose must be in con¬ business man has just as much a right to review No teacher is obliged to give instruction to every to restrain its applause till the right moment, and menced in 1819 for the celebration of the appoint¬ sonance with his imagination. Far from it. Wit¬ the weakness of the musician from his standpoint, applicant. Nor is he obliged to continue teaching a not come crashing in upon some touching refrain ment of his friend, the Archduke Rudolph, as Arch¬ as the musician has to review the business man’s pupil who, through laziness, fails to make reasonable The profession of the teacher is rising into higher ness the difference between the "natural” pose of of a song, or at those cherished points which a vio¬ bishop of Olmutz, and which should have been com¬ defect from his standpoint. Neither should con¬ progress. One can stand a lack of talent if there is a request every day, and has scope in it for the grand¬ the trained actor, and that of the farmer’s boy. Wit¬ linist loves to finish—the cadences. Then again, why pleted by the following year. Beethoven, however, demn or excuse, but each should strive to strength¬ fair degree of application, but only the worst financial est endowments of human faculties and of all use- ness the difference between the meaningless “antics” should boisterous outbreaks, such, alas! as one too became so engrossed with his work and increased its en those points in which they are especially weak, straits will condone the wasting of time on a lazy ful and fruitful employments may be defined as the and “gyrations” of X or Y or Z when conducting, often meets with, be allowed to mar the grand and proportions so much that it was not finished until that the grand summary of their character and en¬ pupil. One of the best advertisements a teacher can nsefullest, fruitfullest, and also indispensablest in these and the logically rhythmic correlativeness of the religious impression which a performance of such an some two years after the event which it was intended days of ours.—Carlyle. movements of a conductor who literally “reflects” joyment may be a rounded and complete whole, have is the refusal to continue the farce of instructing the subject matter of the score (not its notes and symmetrical at all points. such a person. 164 THE ETUDE THE ETUDE 165 THE PIANIST’S HAND. ceases to control it. It is analagous to advising a vigorous young man, for instance, may do three You are wise not to expect to accomplish much narrow-chested and consumptive individual to stand times more daily work than a nervous young woman. technically at the age of forty-six. At that age the BY ALLAN SPENCES. up and walk like an athlete. He may stand up As the work proceeds and muscle begins to grow muscles and ligaments have become fixed and not straight and throw out his chest while you are the tone must always be kept under control for the The Teachers9 Round Table amenable to much new development. It is easy to If any one of the multitude of young men and talking to him, but as soon as he forgets the muscles greatest liability to stiffness usually comes when the retain the flexibility that may have been already women who are to day studying the piano seriously droop, and he is again stoop-shouldered and languid. pupil begins to feel strength, and is tempted to play attained, but not to add much to it. You have most were questioned as to the thing he most desired to It follows, then, that for piano study a position of with just a little more tone than the hand is yet CONDUCTED BY N. J. COREY likely lost some of this suppleness during the years obtain, it is almost certa n that the answer would be hand should be the result of carefully graded exer¬ able to maintain. If this care is exercised through¬ you have neglected your music, but with patient ap¬ ‘ technic.” And if the student were further ques¬ cise, and time is wasted trying to compel the hand out all the grades of study a stiff wrist, that bane of The Teachers' Round Table is “The Etude’s ” Department of Advice for Teachers. If you plication you may renew much of it. I would sug¬ tioned as to the means by which he hopes to obtain to stay in a position that it is not yet strong enough all pianists, may be wholly avoided. There is so have any vexing problem in your daily work write to the Teachers’ Round Table, gest that you first review your technical work, using this most desired possession, he would be almost to hold. It is only by the exercise of these weaker much on the musical side that pupils will never find and if we feel that your question demands an answer that will be of interest Plaidy or Loeschhorn Technics for example, as a equally certa;n to answer “by practicing etudes.” joints in constant reiteration of one joint at a time time to learn that it is the duty of every earnest to our readers we will be glad to print your questions and the answer book of reference; practicing without a teacher you until fatigue results, that muscle will gradually ap¬ teacher to see that not one single moment, not one This is not strange when we take into account the will do better to systematize your work by means of pear. To present too great monotony it is a good single finger movement is wasted in the time devoted mass of pedagogic material to which the piano such a book. I would review by taking one or two plan to decide upon a certain number of rhythmic to mechanical study. student of to-day has fallen heir. And when we exercises from three or four of the sections. Take repetitions of each finger, say eight or sixteen on 1. “Will you please explain the metronome marks on realize that contributions of similar nature are now QUESTIONS ON VARIOUS TOPICS. up quite a little of the five-finger work, to which you one key, then repeat them on the next higher key music, and how to set the metronome? coming from the press at the rate of about one each may add scales, arpeggios and octaves. Let the and so on until the finger is tired. Thus the point The Round Table has received a number of letters 2. “When a hand is too small to reach the notes of week, it is not unnatural that the student should lose a chord that extends over more than an octave, should practice of scales and arpeggios be constant, but the sight of the thing he is trying to do in the maze of of fatigue may easily be estimated and the gain “THE ETUDE” ANNUAL “PRIZE ESSAY” this month. The department belongs to its readers, the chord be broken or some of the notes omitted? Especially when some of these chords foUow in rapid other sections may be taken consecutively. For this material that is intended to help him do it. noticed from week to week. CONTEST. and is open to both those who seek for information, and those who have ideas or experience that they set aside one-half hour. During the next half hour The “Prize Contests” conducted for many years The object of this article is not to decry etudes; Until the thumb action is well established and the think may be helpful to their fellow teachers. I would for a time systematically review etudes. Go on the contrary, they are, in their place, almost an by The Etude have proved most stimulating. Aside fifth and fourth fingers are strongly built up there Teachers who have had a wide and varied experience over your Cramer, and then Clementi, after which indespensable aid to the acquirement of pianistic is little use in spending time upon scales and arpeg¬ from the well-known writers who have participated are invited to give those who are just beginning the you might take up some new ones that you have finish. But it is safe to assert (all strong assertions, gios, as they are more liable than not, by mixing up in these contests have been many younger and inex¬ benefit of some of their conclusions regarding teach¬ never done. The third half hour may be devoted to however, may be interesting points for debate) that the movements, to retard rather than hasten the perienced writers who have developed into contribu¬ ing methods. Young teachers need the advice of -, .a order to work up velocity and smooth- something selected from the classical composers, they are liable to direct the student from the study growth of the hand. When this ideal condition of tors of great value in our regular work. We have those who have been over the ground ahead of them. _ But after a pupil has taken all this work, and taking first from the fourth grade, then from the of his hand as a subject for athletic training. still their scale work is not as smooth as It should be, the hand is reached it is but a matter of compara- found that the plan of offering a first, second and The question involved in the first one of the follow¬ would you advise their going over and over the scales, fifth. There are many delightful things in the third Doubtless, a period of such study, third prize discouraged many well- or depending more on etudes, etc.? Are there other grade. Do not hesitate to work on these, for often¬ ing letters is one regarding which younger teachers forms of scale practice that I could give?” based upon the general plan that a wise known writers who did not care to see are always glad to hear from those who are more times things that are easy for the hands enable them director of athletics would take in train¬ their work rated as inferior to that of experienced: to acquire more suppleness than things that are ing the whole body, would be of great other more successful writers. We 1. The figure indicates the number at which the more difficult. The last half hour may be devoted “I am a newcomer In these columns, but I get so benefit to the student, and aid him in thus found it advisable to offer much help from this department, that I thought per¬ indicator on the pendulum must be placed. The to modern composers, and some of the high grade later acquiring a mastery of the many haps some of the readers could help me a little more, note indicates the unit of beat for the pendulum. salon music of which there are many beautiful ex¬ by advising me what to do to solve the problem of forms of passage work that go to make One Hundred and Twenty-five Dollars pupils missing their lessons. I am so discouraged with For example: Jj = 72, indicates that the indicator amples. I think if you will follow out the foregoing up key-board control. Divided Into Five Prizes of Twenty- some of my pupils, and I would like to know what I be set at 72 on the pendulum. Setting the metro¬ scheme for a few months you will be able to renew can do to make them take more of an Interest in their It must always be taken into con¬ five Dollars Each. lessons. I have some very bright girls, who learn nome in motion, every beat will represent a quarter your musical capability of former years to a very sideration, however, that the production quickly, and are really playing very well; In fact, have note. It beats in exactly the same manner as you appreciable extent. arrived at the point where they are a credit to me, of a beautiful tone is the object of all Conditions. and yet some of them skip one, two, and sometimes would count. If there was a half note in place of our work, hence poise must grow with three weeks, simply because they are too lazy to prac¬ the quarter, it would be the unit of beat, and the ‘‘Will you please x. Any one, whether subscriber or tice, or they would rather go skating, or some other same if it were an eighth note. The metronome first and second yec. _ .. ___ _ I muscle, and as the tone producing not, may compete. excuse of the same order. between seven and nine years of age? I should not power can only come from hearing “I am very much interested In my teaching, and have has two uses. Most important is that by which only like to know what in the way of exercises, etudes, 2. The articles should be from J.500 spent many hours worrying over these pupils, but what a composer can indicate the exact tempo at which Eleces, etc., hot where I can get same. Also, do you tone, it follows that the physical growth can I do? I have formed a club for my younger ones, now a book on the lives of great musicians arranged must be acquired at the piano key¬ to 2,100 words in length. and while they seem to be very much interested In the he desires his composition played. There is then in a form Interesting to children? I have a class of 3. Any writer may send as many work we do in the club, yet when it comes lesson time, no excuse for any player failing to understand the nine children, and. as I never studied music as a child, board. It is not merely the strength of it is the same old storv. and some of the most prom¬ any Information on the subjects mentioned will be the hand, it is the thing that a strongly essays as he may care to submit. ising of my girls, two In particular, will not join the correct tempo. Also students can use it as an aid greatly appreciated.” club, and one of them has stopped practicing altogether. developed hand will do when it comes 4. Write only on one side of the I try to make their lessons interesting, and while giving in working etudes up to the correct tempo. By a certain amount of technical work, also include plenty setting the metronome at a slow tempo, and ad¬ in contact with a piano key, yielding sheet of paper. For an instruction book you can use the first two of lively, pretty pieces. One girl, who has been doing vancing it notch by notch, they can gradually ap.- approximately three-eighths of an inch beautiful work in the Plschna studies and the Heller volumes of the Mathews Standard Graded Course. 5. Do not roll the manuscript. Owing etudes, has dropped out entirely, and her mother says proximate the desired velocity without jumping from after the finger touches it. You will find all the etude work in these that will to the natural elasticity of paper, rolled she cannot get her to touch the piano. a slow to a rapid tempo before the fingers are manuscripts are difficult to read and file. “Now, It almost seems as If it might be some fault be necessary for the first two years. Get for your¬ The Child’s Hand. of my own, but what is it? Or is It the fault of the ready. 6. Whenever possible have your parents in not making the children do the work that self, at the same time, a copy of Plaidy’s Technical their teacher gi ves them? If some one will tell me manuscript type-written. If you are 2. It is customary to arpeggio the chords in Exercises. The pupil will not need to own a oopy what I can do. I shall be only too glad to adopt any the cases you mention. There are certain instances, A well substantiated fact is that in unable to have this done, be sure to suggestions that may help me over this difficulty.” of this, but you can write out, in figures only, such the hand of a child at birth, the fingers write legibly. however, in which it is imperative that a firm chord five-finger exercises as you think are necessary, thus: are found to be of equal strength. An Your troubles are very common ones, although be struck. In such cases it may be necessary for 1-3-2-4-3-5-4-2. In this way you can gradually use infant is more liable, in fact, to grasp 7. Place your name and address with some seem to deal with them more successfully small hands to leave out one of the notes. Care them all. The running exercises you can give by its rattle with the supposedly weak the words “Prize Essay” upon the first than others. Parents are often very much to blame must always be taken that it is not the third of dictation as soon as the pupil is advanced enough to fingers, the fourth and fifth, than with sheet. This will help us in filing and for derelictions of this kind. They send their chil¬ the chord that is omitted. undertake them. Scales and arpeggios should also will avoid the possible loss of parts of dren to school where they only attend to their work be taught by dictation. From these you can choose the other three. It is only as the child 3. Scale practice should never be abandoned. your manuscript. under constant supervision. But they expect them such as you think your pupils will think pretty. The grows older and begins to use the Scales and arpeggios should always be included 8. Enclose sufficient postage for re¬ to practice their music diligently, without super¬ following three books will exactly suit your needs thumb with the second and third fingers in the scheme of daily practice. Your manner of turn of manuscript. vision of any sort, forgetting that any routine work for musical talks to your young pupils: First Studies in feeding and dressing itself, that the treating scales as you suggest is excellent, except is irksome to a child, as it is also to grown people, in Music Biography, Pictures from the Lives of the two outer fingers fall into gradual dis¬ 9. Essays for the Prize Competition that in dropping the scale that has been in practice and that this practice must be done after children Great Composers, Music Talks with Children. They use. Whatever use the four fingers get must reach us before the first of April, several weeks, another scale should be taken up in ordinary work and play, during 1908. are tired out with their school duties. Children are by Thomas Tapper. On page 82 of the February should have constant supervision in their practice. instead of some other exercise. A certain amount childhood, is of the same muscular action required tively small practice to adapt the trained muscles to number of The Etude you will find a carefully Something may be accomplished by talking the mat¬ of the practice time should be set aside for by piano playing. The thumb alone is never used in any kind of work, and scales, arpeggios, octaves and Suggestions. selected list of pieces suitable for the first grade, and ter over with the parents from a purely business technique, and a proportional amount of it used for any way approaching that demanded of it upon the chords follow easily. In preparing these articles the writer should have directions how they may be obtained “on sale.' standpoint. Can you not make them see that if scales and arpeggios, and a certain amount devoted piano. Hence this largest of the fingers is found by a definite aim and that aim should be to hit the Other lists will follow from time to time. an hour of time is purchased on a certain day for to other exercises. While the Prentner book you the piano teacher in a condition requiring the greatest mark at which all Etude articles should be aimed, Etudes vs. Pieces. a lesson, and the lesson is not taken until another mention is most valuable, one that should be in care that it may be built up in muscular and nervous iat is, practical, helpful assistance to sincere and 1. "Thanking yon for yonr valuable help in answer¬ day, that in reality two hours of time have been every piano teacher’s library, yet it does not con¬ ing a few questions In a former Issue, I would like to energy to cope with its already strong if not agile earnest music lovers, students and teachers. We Etudes carefully selected and thoroughly learned consumed and only one paid for. That time once tain enough technical material to carry a student to ask a few more. If a pupil Insists on taking such companions. cannot consider vague, wordy dissertations upon pieces as variations and transcriptions, what would you are a great aid to the student at this stage of prog¬ assigned cannot be otherwise disposed of by the the highest grade of advancement. Such was not advise me to do? I have not considered them good It follows then that the first duty of the piano general subjects. The Etude is not a paper of ress, although with care in selection similar results teacher to any financial profit. Also that the hours the purpose of the book. For a systematic presenta¬ pieces to use. Am I right?” teacher is to train the extremes of the hand. The criticism, nor is it a journal for the exposition of may be obtained with serious music of sufficiently assigned for lessons constitute the teacher’s source tion of technique I strongly recommend that you thumb, first of all, must be made to move as it never difficult grade to form part of a future repertoire. ±S,trUSei^ICaI’ Philos°PhicaI and aesthetic prin¬ of income, and unless the lessons are regularly procure a set of Mason’s “Touch and Technic.” The artistic value of variations and transcriptions ciples. We do not desire articles of a biographical has done, from the wrist joint, and its usually weak With a beginner this kind of muscular training taken the teacher will have nothing to depend upon You will find the scales treated exhaustively in the depends upon who made them, and the nature of and flabby second joint rounded out and strength¬ or historical nature. These have the appearance of can be done very easily and if the teacher is at all and will have to give up the business. In addition second book, and the arpeggios in the third, and the melody treated. Some of the greatest music ened. The fifth finger, on the contrary, needs but tactful the pupil’s interest is held more intently to ,ng encyclopedic articles rewritten and are of little to this is the fact that no pupil can make rapid octaves in the fourth. As your pupils become very ever conceived by a composei is in the variation to be brought to a consciousness of its natural and value to our readers. the work in hand than would be possible if printed progress who does not attend to his work regu¬ advanced and need other technical work, you can form. For example, the variations in Beethoven’s inborn strength, to be greatly benefited, although it exercises were used. If the pupil has been previously What we do want is original essays of a practical, larly and systematically. When pupils seem to find it for them in other sources. sonatas and quartettes, Schumann’s variations, sym- will need many long and weary months of training, taught wrongly, it is much harder to make him feel SSfi 'nvigorating nature, that will enable some be so exceedingly difficult to interest, it is often phoniques, and many others. As to transcriptions, usually, before its kunckle joint will stand firmly, that real technic can be obtained by as simple means. ' t *1. overco.rne some trying difficulty, assist well to reduce their technical work as much as "As an Interested reader of your department in Thb think of the beautiful transcriptions of Schubert’s while the finger moves hinge-like upon it. Once this Etude, I would like to ask you for some advice. Ten songs, and from the Wagner scores, by Liszt. If Most of his pupils have no clearly defined idea of mTl t 1° ?VC 3 better lesson- or enable some possible. It is the drudgery that they dislike so firmness is attained, however, the problem of the years ago I —-**--*■ «—* -- where facility ends and where technic begins. nr* • . ver to better appreciate some every-day much, and sometimes their interest can be revived riementi's you refer to the many cheap transcriptions of songs Beethoven s._ fourth finger is solved at the same time as the firm A mere playing through of etudes for a period of principle underlying the study of music. by letting them have a vacation for a time in the of the day, you are doubtless right. The same fifth finger joint greatly relaxes the troublesome been unable t„___._„ ... time will give facility needed for playing salon work that is most of a drudge to them. I think account of other duties’. Now I. . ... applies to your question on Meditations and Reveries. tendon that binds the two fingers together. but have such love for the art that I think I__ Many of them are of the highest artistic value, and music, but the absolute technic necessary for Bee¬ ?,0fr shou|d be credited the profound you will always find that there will be a certain age two hours’ a day for piano work. When yonnger It is not sufficient to form the hand in this posi¬ thoven, Chopin and Liszt, as all pianists know, is proportion of students who will not care to join a I was told, by teachers who are musicians of good many have no claim to artistic consideration, and another matter. Warner Vt* ^ w°rk made UP°" the mind of standing, that I was capable of accomplishing almost yet may have a certain value in teaching an unformed tion and keep it so shaped during technical practice. club. I would let them use their own discretion anything I might desire with the piano. But I know Unless the joints are built up so as to sustain them¬ A teacher should take careful account of the in this matter. If there are any readers of the now, of course, that I am too old to do anything except musical intelligence. Such minds have to be led selves the hand will fall back into its former de¬ for the pleasure I may derive from It. May I ask If along cautiously, and not given too many things that pupil’s general physical condition before allowing Round Table who can give us the result of their you will advise me as to what will be the best man¬ pressed and inefficient shape as soon as the mind him free rein in this sort of practice. A healthy, experience in this matter, we shall be glad to hear ner in which to use my two hours? I mean what are beyond their powers of appreciation. scales, technical exercises and other music to use and from them. how?” fContinued on page tlO.) 166 THE ETUDE TH E ETUDE 167

To. Miss Ilka Kitlisch von Horn HUNGARY RAPSODIE MIGNONNE CARL KOELLING,Op.410 Andante moderato m.m.J=7R WHEN St. Paul wrote his first Epistle to the Corinthians he must have ONE of the most serious of the practical problems confronting the teacher had some contemporary instance similar to the recent and greatly and the student of music is the greatly increased cost of living. We will leave the discussion of the economic conditions underlying the situation deplored death of Edward A. MacDowell in mind, when he conceived to the general periodicals, our national congressional body, and those final the wonderful lines: “O, Death where is thy sting? O, Grave where is thy vic¬ authoritative circles that surround the glowing stoves in country stores all over tory?” In the death of the American composer, who stood preeminent, there is our land. What concerns us is the vital significance of the constantly growing none of the sting of death—none of the grim victory of the grave. Death, to increase in the price of necessities in its relation to the work of the musician. MacDowell, was but the final sleep that ended an existence more tragic by far A writer in The American Magazine for September showed how difficult than the mere cessation of life. “How wonderful is death,” says Shelley, “Death it was for a professional man in New York city to live upon an income of $1,800 and his brother sleep.” That Schumann, Wolf and MacDowell should have a year. A few years ago $1,200 in New York might have been considered a fair been obliged to spend their last days in mental darkness seems doubly pathetic income, but now $1,800 is inadequate. In other parts of the country the cost when we remember that the offspring of their brains will remain through the of living may be less than in New York, but the increase in cost of living has centuries a continual joy to mankind. been proportionally great. Just why one city should be more expensive than MacDowell has left us just as we are beginning to realize that we had a another is difficult to determine, but even on other continents this condition pre¬ great master. Appreciation comes all too slowly to the great. That his works vails. It is much cheaper to live in Munich than in Frankfort-am-Main, and the cost of living in Leipzig is considerably less than in the other Saxon city of have not been received with wild public acclaim is not remarkable. One worth¬ Dresden, only a comparatively few miles distant. less song has earned more for its perpetrator than have the entire compositions The percentage of increased cost of living has been estimated as varying of MacDowell. Ttu is deplorable, but nevertheless, a fact. Dr. Johnson says: from 20 per cent, to 65 per cent., depending upon the locality. What increase “There is not a more painful occurrence than the death of one we have injured can the teacher be expected to make in his fees to meet this additional cost? without reparation.” The American people will never be able to repair the He must keep up appearances, and the only method of doing so is to make a injury that their lack of appreciation has caused to MacDowell. His legacy to higher rate. “But,” argues the teacher, “if I make a higher rate many of my us is one of our great national possessions. His labors for us have done more patrons, who are themselves feeling the increased cost of living, will be obliged to raise the standard of civilization of our country in the eyes of other nations to discontinue.” This, of course, depends upon the attitude of the teacher’s than have the combined victories of our armies and our navies.” patrons toward music. If they have been permitted to have the erroneous idea MacDowell may not have founded a great American school of musical com¬ that music is nothing more than a superfluous pastime, an idle luxury, they are very position, nor was it altogether desirable that he should have attempted to do liable to make their first efforts toward economy by curtailing the music lessons. so. Whistler tells us that national art is as impossible as a national school of If, however, they have been convinced that music has a real and important educa¬ mathematics. Art is universal, and it is just that characteristic of MacDowell’s tional value, their enforced economy will be focused in another direction. The works that made his compositions great. MacDowell was, first of all, a poet. Etude has lost no opportunity in presenting the pedagogical advantages of music Richard Wagner said of Beethoven, “The essence of his great works is that in the most clear and convincing manner possible. Articles by undisputable they are only in the last place music, but in the first place contain a poetical authorities have been frequently inserted for this express purpose. The teacher subject.” MacDowell might have realized his first ambition to become a great who has formed the habit of sending marked copies of The Etude containing poet. Consider the beauty of his own verses in his well-known song, which such articles to parents will have little difficulty in adjusting the matters of fees to suit the times. “The robin sings in the apple tree, The blackbird swings on the thorn; r % The day grows old, and silence falls, THE matter of fees for instruction must of necessity depend upon local and per- Leaving my heart forlorn. personal conditions. It may be safely said that here is nothing with such Night brings rest to many a soul, an unstable and variable market value as musical talent. We have known 0 1#* -12 3 -2^5 i iii-^ Yet mine is. dark with woe; of teachers in little country villages who have had little difficulty in filling their . Can I forget the days gone by time at the rate of $2.00 per half hour, and we have known teachers in our great -LLU TjJ When my love I whispered low? cities who have had great difficulty in persuading their pupils to pay twenty-five 1l"" Oh, robin and thou blackbird brave. cents per lesson. Musical ability seems to play a somewhat unimportant part, for My songs of love have died; very worthy teachers ‘are often obliged to receive almost insignificant fees, and How could you sing as in by-gone days. veritable charlatans have had the audacity to demand exorbitant fees. Where •- J | -J-’] n—r——Vul When she was at my side?” the combination of business ability, musical and pedagogical proficiency and L good advertising exists, the matter of fees is one of secondary importance. We *< 7 *- The rest-burdened night has come to Edward MacDowell—the songs of 1? «y» j y- know of one of the most efficient teachers in New York who possessed these 1 • ;n love have died, but his real greatness is destined to live for ever in the hearts desirable characteristics and yet was obliged to accept twenty-five cents for a y of all who love music. lesson during his early years in the city. He now receives $10.00 per hour. In the February issue of The Etude Mr. H. T. Finck, for many years an A good music teacher should receive for one-half hour’s instruction a rate intimate friend of MacDowell, told us that our great national musical need is similar to that received for calls by reputable physicians in his community. The “more listeners who are trained to appreciate good music.” MacDowell's genius was peculiar and rare. There is an individuality and poetry about his work that tiaimng of the competent musician is frequently more costly than that of the places many of his best compositions beyond the pale of popular appreciation. doctor He works none the less hard to reach efficiency. His importance as an As time passes these works will receive the attention they deserve. Only educator should give him a social rank equal to that of any professional man in under the fingers of the composer—and MacDowell was one of the most dis¬ , ;lf„h;e reS1fiC.S ? dls‘nct where doctors receive $2.00 for a call, and if tinguished performers upon the pianoforte of our day—could these quivering, “w" ♦ pr,°fClent’ heLshouId have no hesitancy in asking for such a rate. sensitive, tone-dreams be brought into that transient existence which marks the ! determinethe therapeutical importance of music in the home? moment of inspired interpretation. Any one who has ever heard MacDowell dans used to nr^r h^VaMrhan ?he thousands of discarded drugs that physi- play his own works is not likely to forget the rare charm of the performance. fact that “Tabasco” w« it? m °ne °f hi? satirical brings forth the The romance is closed, and as the curtain is drawn over some tragic drama, Ihe dav who ij ? looked upon as a universal panacea by physicians of we leave the scenes with sadness, sympathy and deep regret. aoDethrer oT he lT'f, ^ fT* eTgh to rank music ™th the piquant little dirion of f ■ A"d Y* thls comParison illustrates the unsettled con- MoHere’s Z/nLT*?™ ^ ^ Permanent value of music, for even in WE had read of the statue of Camille Saint-Saens that was to have been s supposed to be of value in treating nervous diseases. erected in the foyer of the Opera House at Dieppe, that charming little coast city, which is the gateway to France for so many American vis¬ itors. Now our admirable contemporary, Musica, of Paris, one of the most at¬ (H°g™n bv^ubLS rclating f° the campaign against dishonest testimonials tractive musical journals published in any language, prints a reproduction of a ^ nefarious nraeWV*"*48 ,to the Pianoforte firms who engage in the photograph covering two whole pages, giving us convincing proof that the statue still continue to come in° At^h351118 endorsements from unscrupulous artists has really been erected. It is a picture of the dedication services. Saint-Saens the dailv naners Wh id AJ the same time s°me of these firms are flooding himself sits in the midst of a large group, in amiable contemplation of his own advertising can make a i” lsfme“|’s Phishing testimonials. No amount of statue. Fortunately, Saint-Saens has lived long enough for his fellow-citizens manufacturers realize that Tuct'a® p^ctkTba badT^' N°r ‘l-Tv to come to a realization of his musical activities. Had he died, let us say at the be brought to understand tW h P \ a. bad business policy can they age of forty, when many of his most notable compositions had already been valuable exposure of the patent med^bl1sme?s.,s the best policy. The produced, such a flattering ceremony could never have taken place. His fate intoxicants resulted in a conditioncontammg dangerous drugs and would have been that of Schubert, Mozart or Wolf. Plastic recognition is have found it impossible to c Z ^ Y patent medicine manufacturers usually tardy. We have seen streets named after Bizet and other composers in musicians of this Country to negTri^ it. advertlsi"ff- The best way for the Paris, and we have even wended our way along “Eroica” place on pilgrimages world is to plainly state the facts to t,™ ode.°?s state of affairs in the musical to the haunts of the immortal Beethoven. A suburb of a large American city it is known that many so-called “artists”aSSUre them that’ since boasts of a DeKoven, a Foster and a MacDowell place, each one named for an money, the value of other testimonials L ru •d their artlstlc consciences for American composer. These popular expressions of musical interest, whatever the initial article, “A Dis^ceTmusic ” ‘TV,As WC Stated in their real worth may be, are significant. Perhaps the musician is at last taking of some unbiased teacher in a little count ♦Pecember Etude, the opinion his rightful position among men of affairs. It is, to say the least, encouraging. Purchaser of a piano than the tfStfSS £££? * r 168 THE ETUDE THE ETUDE 169

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L 177 176 THE ETU DE THE ETUDE r- t SHEPHERD BOY IS A KING A SONG OF SPRING THE Drowsily the young king mutters, Kids are his court entertainers, T’he shepherd boy, a king is he, “Reigning is a task, I ween All the birds,and cows as well; A verdant hill is his throne; Right willingly would I find me The piping flute and tinkling bells Above his head the radiant sun At home onee more with my queen.'’ Of his chamber music tell. Is a glorious golden crown. E.A.Mac DOWELL, Op-ill, No. 5 Allegretto placido m.m. J=96

« L . 178 THE ETUDE THE ETU DE 179

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4 THE ETUDE 181 180 THE ETUDE BY THE SEA

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To Miss Agnes Evans Fry singer DREAMS

m THE ETUDE 185 184 THE ETUDE # » SLEEP, BABY SLEEP GEO. L. SPAULDING DANCE AT THE FAIR KIRMESS

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SING ME A SONG OF A LAD THAT IS GONE

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#p «— # * ■ ■ /.. : **^r -= =^i , he- r ■1-- i » f 7 i =^T»r r = T i- 1 r 1 ♦* 190 the etude THE ETUDE 191 * * of sugar given to the child, to stop his stealing it. At least it has proved time and again a most power¬ ful corrective and tonic to the vocal appetite and perception. Give an inveterate “slider,” whom you ocal Department have tried with all the staccato attack devices, a course with this exercise. The conscious porta¬ mento repetitiously insisted upon will cure the un¬ OPINIONS OF NOTED SPECIALISTS conscious and slovenly one. And the same of the exclamatory accent. Used Editor for this Month, DR. J. C. GRIGGS continuously it is absolutely unvocal and subversive Editor for April, MME. L. D. DEVINE of all economy of breath or elasticity of tone. It is trite to say that it is forbidden and discarded until such time as it may be safely reintroduced with proper intuition of its occasional propriety. THE NEW VOCAL PUPIL. the training of a character in vocal, musical, mental, Similarly the falsetto, not only in high notes, but We all have, presumbaly, a' plan for beginning nervous and physical equipment to meet whatever de¬ in the middle and lower tones may occasionally em¬ teaching a new pupil, adaptable to the special de¬ mand the accomplishment or art may make upon it. bellish interpretation, but to use it constantly would mands of each individual. There are, however, pe¬ When the new pupil has come from another be utterly futile and tiresome. culiar problems which are sometimes missed. A teacher there are several things to be remembered. While we are unlikely, in this age and generation, judgment is always expected. “Is my voice worth There is so much difference of opinion and taste in to use the turn, trill and other coloratura embellish¬ cultivating? Can I make it pay? Am I a soprano respect of minor details of vocal technique that ments lavishly, there was a time in the history of or alto? What is your method?” To meet these unless we keep our individual jealousies and whims vocal art when these more conscious devices were ■questions honestly is sometimes a task. “Can I sternly in check, we shall fail to see the good al¬ also exaggerated, to the great detriment to purity of make it pay?” is by far the worst. The habit of ready accomplished in the voice. Aside from the style. mind which prompts this question is most disheart¬ occasional voice which has been absolutely wrongly Now, the vibrato stands in the same relation to ening. We must, of course, discuss ways and means, taught, and perhaps even then, we should always try style as the above items. Its unconscious use must but the person who, at the outset, has this bald nar¬ to find the best which has been done, and build on be forbidden at all times, and it is better in the row view of the vocal situation, and this alone, is that so far as is consistent. And this, in no dishon¬ earlier years of work to prohibit it absolutely. Only pretty hopeless. Unless he cares more for the vocal est spirit of professional courtesy, but in the inter¬ when breath control and attack have been fairly per¬ art than to look upon it only as a possible livelihood, est of economy and continuity. This need involve fected, and when musical taste has become so sen¬ it is to be hoped that it will not pay him, and it no sacrifice of principle. You can, of course, find sitized as to be a guarantee against its abuse, may it probably will not. So, with the beginner the merely plenty of points of destructive criticism to begin on be allowed at all. For the vibrato is most insidious financial argument should never be used. As well with such a pupil. If you are in a contentious mood in its temptations. It so easily increases resonance ask, “Will it pay me to preach?” you can prove conclusively to him that he must have in many voices. It so easily gives a roundness and But whether the voice be worth cultivating is a been taught badly because he does so many things feeling of maturity to the tone, that the young singer fair question, and one which may well cause the badly, but wait and find first whether he does not mistakes its uncontrolled appearance for a similarity teacher considerable anxiety. A fair answer in¬ do some things well, remembering that your own to the great voices of professional singers. And the I volves many other conditions. First, the general teaching would not be fairly judged by the work of worst of it is that many a mature singer of great health of the student, and equally important, his your poorest pupil. It has been the reproach of the prestige and success has allowed his vibrato to mas¬ musical apprehension and persistence. We ali be¬ music-teaching profession that it is so recriminat¬ ter his voice, and has suddenly been confronted in ware of the enthusiast who announces “I just love ing and contentious. But remember that the best the otherwise plenitude of his powers with the fixed music” as the final statement of his equipment and teachers, the men of larger mold, do not quarrel. vice of an uncontrolled vibrato, which has suddenly assured success. Until the teacher knows these con¬ Here was a recent case in point. A girl, returning terminated his or her career. There have been some ditions he must hesitate about giving a final answer from a year abroad, had been taught by a German striking examples within the past few seasons of as to its value, unless it be the really phenomenal teacher to shout uproariously. She had a poor ear, singers making their final and inexorable exit from voice. But the phenomenal voice question will settle sang consistently out of tune, and expected to, until the opera stage through the exit marked “wobble”— itself. It is the voice which is manifestly exception¬ she should acquire, as she thought, more “musical” and wobble is only plain English spelling for un¬ ally good without being a phenomenon which gives training. Her tone was unquestionably hard, non¬ controlled vibrato. That same exit is even now the teacher most anxiety, and about which he should resonant and forced in its every emission. But even yawning for others, who will soon pass out from a in self-interest refuse to prophesy until he knows of in this potently extreme case of bad previous teach¬ successful and admired career, years before their the talent, temperament, and diligence of its pos¬ ing, the wise course seemed to be to quietly recon¬ sessor. Many a heartburning and disappointment struct rather than to bitterly destroy. And the end We have thus gradually come over from a discus¬ might be avoided by greater honesty on the part of justified the means. After six months she herself sion of an impurity of style to the more fundamental a new teacher or by greater reserve in his estimate saw that her harsh “made in Germany” voice had fact of its being a fault of tone-production; that is, ■of a young and promising student. been all wrong, that she was at last singing in tune a fault of method. Of its technical aspect much My observation has been that teachers most often and with ease, and the new teacher had not been might be said. The vibrato is not the rapid quaver err in trying to answer immediately the question as obliged to use undignified and disheartening con¬ of the tight, hard throaty tone. That is quite an¬ between soprano and alto or mezzo. What would demnation. other matter, a grievous fault to be sure, but one seem most obvious is often deceptive, especially in Beyond this, there may be the bare possibility, in which cannot persist if the voice be loosened and women's voices, and the range of possible notes may spite of your unvarying success in so hitting it off brought under the first principles of good emission. not throw much light «upon the eventual working that you develop a real swan every time—the bare The vibrato, in its best estate, is the attribute of a range of the developed voice. Many teachers do not possibility that you yourself may learn something loose tone, and of a tone which, in several respects, feel that they have their bearings unless they very from the new pupil. We all need that charity which is bound to be a mighty good tone. This is the ap¬ soon determine this matter. In some cases, how¬ is consistent with fidelity to conviction. parent contradiction and the insidious temptation. ever, months of growth are necessary before the The Vibrato, in Relation to Style and Method. Because it does apparently help resonance, because voice will itself answer the question. it does not always imperil pitch in its earlier mani¬ “What is your method?” can hardly be answered The vibrato, as an element in style of rendition, festations, because its spoiling of good attack and in these more enlightened days without a quite con¬ must be regarded in exactly the same light as other control is not immediately perceived, because, in siderable dissertation on voice, a confession of faith, devices of interpretation, such as the portamento, the short, like many another vice, its first appearance is as it were. This, perhaps, can be attempted in a rare upward slide, the exclamatory accent, the fal¬ both innocent and charming, the young singer too brief interview, but beware singer—teacher or pupil setto pianissimo, or even the turn and the trill. often accepts it gladly and rushes on to its unre¬ —who has, or cries for, a method with an exclusive That is, it should be used only in carefully studied strained use. And here the wise guidance of the label on it. The charlatanry which too frequently application to the musical and interpretative phrase, teacher who knows the end from the beginning is appears in the vocal teaching profession usually and never allowed to unconsciously appear as a con¬ needed. Either unqualified prohibition involving re¬ cloaks itself with some proprietary “my method,” tinued trait or mannerism of the voice. newed study of attack and breath is needed, or this minimizing and decrying all sources of vocal wis¬ These other devices are recognized as legitimate, qualified prohibition: “Never allow yourself vibrato dom other than itself. if used with discretion, but any one of them used excepting where you can, under the same conditions Try in each case to gain an estimate as soon as too often or in unstudied manner not only nullifies of power and phrase, sing the same tone absolutely possible of the new personality—and at first hand. purity of style, but is a gross violation of vocal straight or waveless.” This is an extremely drastic Find for yourself the experience, the intelligence, the method. What can be more impure than frequent rule, and it may be freely granted cannot be rigor¬ musicianship and the nervous force of the new pupil portamento in its many variations? Our whole ously applied to every voice. It is, however, a with the same care that you try to find his voice, study of accurate pitch in attack makes it necessary splendid working ideal, and in most cases may, with and avoid taking descriptions of these matters from to forbid and eradicate all slides on portamento from patience, be fully realized. members of his family. Especially in the case of the beginner’s work. And usually we have to keep And now in conclusion—what of the teacher’s young ladies, do not give the slightest credence to on “killing snakes” for many months before the attitude toward this subject? First, he must be as what their mothers tell you of them. Try as soon slovenly attack or release is abolished, and the constantly awake to its presence or absence as he as possible to let the student see that this singing intuition of certainty and distinction is achieved. is to variations of pitch. Probably there is no one matter, if it is to be a success, must, first of all, But after this is accomplished to a certain degree of thing about tone which can exist in such large meas¬ become an element of culture in his own life, an ele¬ safety, there remains to be pointed out the noble ure without the singer himself noticing it, as can the ment not only of aesthetic culture, but of nervous and wholly dignified grace of the portamento, not a vibrato. Are you, as a teacher, constantly using it and sometimes even of physical culture. Singing is contradiction of previous prohibition nor a return to in daily lessons, and so forming an unsafe model for a more merciless expression and exposure of person¬ impurity, but in its judicious use and artistic reserve, your students? Does the little stumbler go home ality than is any other art, and a great value, often a fulfilment of the law of purity and elegance of resolved to copy that “lovely wave” in your teaching the greatest value of its training, is the acquirement style. Why did Salvatore Marches! make the sec¬ voice, and return with the “wobble” and all its ills? of nervous poise. Its ultimate end is not the oc¬ ond of his twenty “Vocalises” a study in absurdly Such cases have occurred with some very best casional skillful exhibit of an accomplishment, but is frequent upward portamento? Perhaps, like the dish teachers. If so, the subject should cause you to

41 192 THE ETUDE THE ETUDE 193 the mechanical trill of the violin flute or search your own heart-most thoroughly. result. But better look back on a dozen In details of accent, of rhythmical IX. Tone pictures with illustrations piano is the deft playing of two notes PUBLIC SCHOOL MUSir LEADS women should receive instruction in But there is another phase of the voices whose progress has been slower study, and in increase of repertoire from Grieg, MacDowell, Templeton, in rapid alternation the vocal trill is TO HIGHER CITUSFNSHIP. the elements of Harmony and Musical question. Time and again a voice than it might have been under greater there is a choice of time, the teacher Strong, Wagner-Brassin, etc. X. never acquired by the ordinary means Form. which has continued to be hard finally demand, than to look back at one doing well or ill, not so much in the Chaminade Day with illustrations from BY FRANK DAMRORCH They should learn to analyze a mu¬ Musical Club Activities begins to yield to our various devices strained voice or one distorted course substance of his instructions, as in the of singing two alternating tones. There the works of the famous French woman sical composition, to find its themes, for loosening the throat and focusing of training. moment chosen for its imparting. must be something else. We are con¬ composer for whom this club is named. understand their development, variation, By MRS. JOHN A. OLIVER the tone. Quality and the long ex¬ Also in public appearance, where so scious both in hearing or doing a trill The great mistake which has been XI. Early music in America with illus¬ the wonderful interweaving with each pected period of improvement and The most obvious application of this much depends upon nervous stimulus, of a certain stroke and rebound, impos¬ made in the past is, that we have looked trations from appropriate sources. other, and thus to enter into its deeper breadth appears, and at precisely this principle is to the mere size or breadth progress may be greatly helped or sible to describe in terms of any other upon music merely as a pastime, an XII. Music in America. The programs of tone. We say so much about ease meaning and to learn to see the greater juncture a slight wave in the tone is greatly retarded, according to the de¬ instrument than the voice. In short accomplishment. would be a credit to any metropolitan of singing and are so insistent that beauties which lie hidden to the ear of We are pleased to note the interest evident. This wave or incipient vibrato gree of readiness of the young singer’s the execution touch is emphasized. Were this all we could expect of center, and adequately performed these there shall be no physical effort of the the uninitiated. aroused by this department. Many of is, and should be, hailed by the wise nervous poise and mastery of technique If the “repeated note” of Handel is music it would have no place what¬ meetings should deserve the most un¬ our readers, however, are under a mis¬ teacher with delight as a most favor¬ grosser sort, that when we meet the to respond to the new demand. execution in its most absolute form, ever in popular education. But good All this requires no special gifts but apprehension regarding its purpose and stinted praise of musicians. able symptom of approaching plasticity necessity for broadening tone, it is diffi¬ The world moves too rapidly for us the trill is this same execution in its music can be and should be of the may be grasped by any one of cult to avoid seeming contradiction in send us in reports and communications of the throat—but only as a symptom— to keep a student upon one page of most intensified form, with the addition greatest spiritual influence upon human ordinary intelligence. This has been Having read with much interest inculcating the use of sufficient nervous that we are unable to use. The Etude and not as an element to be encouraged exercises for seven years, as Porpora is of a pitch change, upward with every character. amply demonstrated not only in many concerning the clubs last September, I effort, or sufficient physical breath It elevates, it ameliorates, it softens, is not a newspaper in any sense of the for itself. Here, indeed, is a contra¬ said to have done, and it is a mistaken stroke, and downward with every re¬ schools in which proper methods have decided to organize one here, and feel effort in some cases, or more rarely it inspires, it encourages, it comforts, word. We aim to have every page diction which, if fully understood, will notion of thoroughness which some¬ bound. Try the repeated note until been applied, but by my own experi¬ that all my efforts have been well still, sufficient direct throat control of teach something that will be of real and clear up the whole matter. It isn’t al¬ times obscures the fact that every ac¬ the repetitions are sharply marked, be¬ it speaks with the tongue of angels and ence with the People’s Singing Classes spent. My pupils were delighted with the vocal cords themselves. I know present value to our readers. We do ways necessary for the teacher to take quisition should become a new point of ing careful that there is no cessation tells of heavenly things. Good music of New York, in which my assistants the idea and have taken hold of the this last is generally well considered an not want mere reports of the activities the pupil into his confidence at this departure in progress. Vocal technique of tone before the stroke, and that is never degenerating, it never suggests and myself have taught thousands of work with enthusiasm. We call our¬ heretical phrase, but certainly the most of music clubs, but we do desire to print point. He may continue to insist on is something like Schopenhauer’s esti¬ there is no slightest variation of pitch low and vulgar thoughts, but it is con¬ working men and women, many of selves “The Beethoven Club” and our conservative teaching must sometimes reports that contain any new ideas that the gospel of a straight tone while in¬ mate of his own system of philosophy. in the alternating periods of stress and tinually lifting men away from the low them with but little education of any colors are white and green. Our motto include it. These matters often adjust other teachers could use in organizing wardly rejoicing, not that the voice For he said that no one could fully un¬ reaction. Then as a second exercise, and worldly to purer and nobler kind, to sing at sight four, six and eight was taken from an account of one of themselves, but the principle that the and conducting a club. If you can tell waves, but that it shows possibility of derstand any one page of his writings do the same, but add the next pitch thoughts and aims. part choruses, cantatas and oratorios, your clubs “B$, Bb, but never Bb.” We size of tone will be spontaneously de¬ us of some novel plan of study, some waving. Is the distinction too finely until he had thoroughly studied every higher, A if the start is on G, as you Music should have a place in every and to recognize and name their have studied during the three months veloped if we but insure proper control, new kind of a musicale, or some orig¬ drawn? Let us repeat our dictum: “The volume he had ever written. While make the stroke, allowing the pitch to school for rich and poor alike; not in principal harmonies without having re¬ the lives of three composers, Bee¬ proper focusing, placing and coloring, inal game that you have employed at vibrato in its best estate is the attribute there is a thoroughness which insists come back to G on the rebound. At the old-fashioned way, by teaching the quired any applicant for membership thoven, Haydn and Mozart, with piano wise as it is as a working formula in club gatherings we will be glad to print of a loose tone.” Passing now to the on mastery of each detail before pass¬ this point be extremely careful that the children to shout songs by rote, but to submit to any test whatsoever, illustrations. After the program we earlier teaching, is not of universal ap¬ your report. The report must be of voice where the vibrato never appears. ing to the next, there is the other prin¬ stroke is vigorous on the upper tone, by teaching them to sing from notes either as to voice, musical knowledge spend some time in playing musical plicability. With very many voices such a nature that some teacher or stu¬ We know that the voice which is al¬ ciple of larger scope which recognizes and that there is no stroke on the some¬ in order that in after life the treasuries or talent. games and working out musical puz¬ there comes a moment, and fortunate dent can learn something from it. ways perfectly “straight,” never show¬ the interrelation of many details as the what weak lower tone. Do this slowly, of music may be available to them, just zles. We meet once a month, and I is the teacher who times it rightly, Clever puzzles and forms of entertain¬ ing, under any circumstance, a wave eventual necessity in the singer’s edu¬ hardly faster than one stroke a second. as by learning to read books the always give them a small favor, a when all the natural and acquired abil¬ ment are always desirable in club re¬ even for a moment, is unquestionably cation. As a third exercise accelerate the same. treasuries of literature have been made Lilli Lehmann, for some time a prima small toy mandolin filled with candy, ity of the student must be summoned ports. a dull and tiresome voice. In its last The Trill. It is surprising how invariably the trill their own. donna at the Metropolitan Opera a small violin, guitar, etc,—always in for the definite pursuit of the larger analysis it is not a perfectly free voice. will follow this third exercise. The Let music take its place side by side House in New York, and singing the form of a musical instrument. tone. This principle is recognized in Execution in the narrow technical It is this inherent wave fact in human danger always is that the trill itself will with spelling, reading and arithmetic. teacher to Geraldine Farrar, has issued The regular annual meeting of the These they highly appreciate, and all Lilli Lehmann’s dictum that the trill sense is the specific activity of the vo¬ tone which suggested to the organ be tried too soon and too often. For The regular class teacher can do as a signed statement, in which she sjys: members of the Official Board of the look forward to their club after¬ must always be practiced “almost with cal mechanism itself in passing from National Federation of Musical Clubs builder that awful travesty the “vox the first two or three weeks these exer¬ good work with the rudiments of mu¬ “In Germany—and I dare say almost noons.” a scream,” which has been referred to one note to another. Thus a scale of will be. held in Chicago early in the humana,” which, as Professor Parker cises should be done not longer than sical instruction as she can with other everywhere—the art of singing has One game that I have used and have recently in these columns. Perhaps the moderate speed may have too much or has aptly remarked, should be named four or five minutes at once, with only subjects, if she is made familiar with sunk to an astonishingly low level, yet spring. No positive date has as yet not seen in The Etude is one I called choice of words is not fortunate, but too little execution—too much if there been decided upon for this meeting, but in many organs the “voice of the goat.” one occasional flight over to the trill. the simple pedagogical principles which there is little hope of reform. “Pot Pouri” which means Hodge the idea is right. One of the most suc¬ be too distinct a new touch on each arrangements are being made to call Now, it is not the “voice of the goat” If persisted in, the trill with accented underlie the best methods of sig*ht Podge. It is twisting and misplacing cessful teachers, in some respects, note, and too little if there be none of “The average singer knows nothing the body between March loth and May which we want, but it is the “voice of upper note, will surely appear. To dis¬ singing. all the letters of a word, and having whom I have ever known always that new touch on each note. Strictly of his or her singing voice. the goat” which we get when the The science of sight singing has the pupil make the right name from the missed this point. In a long career she speaking, it is almost impossible to card the preliminaries and pass over to “Worse still, a great many singers of vibrato is either continuous or violent. the trill with accented lower note at the made vast progress within the last letters given. I can give you an ex¬ never brought out one large voice. take the transition from note to note our day lack a correct ear for music. Nevertheless, we look for the occa¬ start, is another study, and should not fifteen years and we are indebted for The “Allegro Music Club” meets at ample which explains itself: Furthermore, she never trained a natu¬ without a vestige of this new touch. Musicians, too, labor under the same sional wave as the symptoms. There it not to the musician but to the my home on the first Thursday in each Ckugl, Gluck; Lessnomendh, Men¬ rally large voice but that it left her a The first fault is more frequent than be attempted too soon. Read Lilli Leh¬ defect. They cannot properly distin¬ may be rare cases where the throat has pedagogue, the teacher of reading and month. At each meeting I give a talk delssohn; Llegaor, Allegro; Peotm, smaller voice than it started. Her the second, though neither is often mann’s chapter on the trill, in her book guish between the sounds of sung become plastic and the symptom does "How to Sing.” arithmetic, in other words, the student on musical history, which I make as Tempo; Cacattso, Staccato, etc., etc. fundamental work was excellent, but troublesome, the natural voice being so notes. not yet appear. In those few cases the But of what value is the trill after of the child’s mind, for that is what a interesting as possible, using pictures The word must be that of a com¬ she lacked courage and grasp at the marvelously constituted, that the mere “The majority of singers have never teacher may, behind locked doors and all? Aside from its infrequent use in true teacher must be. and music as illustrations. Then we poser’s name or a musical term. critical moment. act of transition needs but little study learned to hear music or themselves with bated breath, say to the student, modern music, it is a splendid vocal As a musician, I offer my sincere have four or five piano numbers played This game has proved very helpful to be adequate to all demands. The homage to the educator for showing us correctly. “Let- your voice wave a little.” He This principle of the turning point is tonic. As an antidote to the vibrato it by the club members. I have them and much pleasure is given at the same difficulties which arise in rapid work the path by which music, which in its “Nowadays smartness passes for tal¬ may, however, regret it at the next les¬ applicable to other details than size of is helpful. As a part of the vocal equip¬ play by turns, and none are excused, time. As a prize for the one getting are of quite another nature than those higher forms has been the exclusive ent, but it takes more than smartness son. This is indeed as near as any one tone. In the matter of color it is often ment, it is an elegant accomplishment from the last beginner who plays an the greatest number of correct answers of the piano or ’cello student in his property of the talented or the rich, to make a success on the operatic stage should ever come to “teaching the best to use darker vowels and colors in which every singer should possess. easy duet with me to my most ad¬ to all the games and puzzles played in scale study. can be popularized and brought into and to maintain one’s reputation as a vibrato.” The phenomenon itself, we studying the covered tone and the higher vanced pupil. The meeting is closed one afternoon, I give one of the Perry Stockhausen explains in detail this the daily life of the people. singer. Such an achievement is the realize, while occurring in the throat, soprano tones. These dark colors may with a musical game or guessing con¬ Composer’s pictures. execution difference between the slow GARCIA ON VOICE PLACING. As a teacher, I rejoice and take pride is of course dependent on the breath, be but means to an end and the turn¬ prize of study. test. I find that the older members, as I hope later to report that The turn, such as that in Schumann’s “Wid- Garcia, wheq once asked for an ex¬ and courage in the fellowship of those a wave being possible only when the ing point comes when we find it pos¬ “My advice to singers is: Show the well as the children, are greatly inter¬ Etude is subscribed for by every fam¬ mung,” which should be done smoothly pression of opinion upon one after an¬ who are devoting their best efforts to balance is not quite perfect between sible to discard the means and yet door to your vanity, to the idea that ested in the club colors, badges, mottoes ily represented in the club, at least I and with the least possible execution, other of the many questions which are the development of a better and higher the breath pressure and the extremely attain the end. It is comparatively easy you are perfect. Never cease to im¬ and flower. am working towards this end. and the rapid half-turn in Schumann’s debated, not to say quarreled about, manhood and womanhood, thus con¬ delicate and sensitive reaction of the to teach the bass or baritone to cover prove yourself, to recognize and cor¬ Miss F. Guthrie. I cannot tell you how much good the “Es ist schon spat,” which must be done among voice teachers, gave all that tributing more to the lasting glory and throat mechanism. It is, therefore, the his upper tones, but more difficult to rect your faults. Do not think it be¬ “news of the clubs” do us all and we with the “execution stroke” if done at was asked. prosperity of their beloved country adjustment of this balance by proper teach him to retain the safe covered neath yourself to learn even when your feel grateful to you for assisting us so all. To do it in time without that When I brought up the general topic than can ever be achieved by the We have received, with pleasure, the regulation of the breath to which we position and yet brighten and make hair is gray. much. Mrs. Nelle DeMarque-Gibbs. stroke or touch is to leave it practically of voice “placing,” he replied: “The program of the Jacksonville, Ill., must look for prevention or control of normal all of the vowels. The custom greatest warrior or statesman. “To raise the art of singing from its inaudible. This execution stroke voice is made in the larynx and issues To introduce music properly into the “Chaminade Club,” which was or¬ the vibrato. of the Paris teachers of making voices present low level, let artists begin by stripped of all accessories, was the note from the mouth; that is all there is to public schools very little preparation is ganized in 1896. This is a ladies’ musi¬ The pupils of the “Allegro Music brighter produces quite different results knowing themselves.” ripetute or repeated notes of the old it.” Nor would he give sanction to necessary and comparatively little ad¬ cal club, which evidently conducts its Class,” of Logansport, Ind., have been with students of more or less previous THE TURNING POINT IN Handelian technique. In modern music the almost universal custom of locating ditional expense need be incurred. meetings with much forethought and organized for six years, and study in training. We are probably all familiar DEVELOPMENT. we repeat notes with new syllables, but sensations of tone in the cranium, fore¬ With one supervisor of music, who care, as the programs for the entire preparation for two recitals a year. with the varying results shown by the note ripetute succeeded each other Class colors, royal purple and white. A better phrase might perhaps be de¬ head, nose, etc., for he said: “All that is a competent teacher and musician, Imfroper methods of using the voice year have been prepared in advance, American girls after study with the without new syllables and without any They wear the Beethoven button. vised for this caption. Elaboration of is superfluous.” Regarding energizing to every ten large schools, to instruct lead to certain affections of the throat, and show thought, intelligence and typical French teacher. One, who has cessation of tone between them. They Motto: “C# Bb.” Aim of the class is to technique is apt in earlier stages of the diaphragm for voice control, he the regular class teachers, and, by the chief one of which is popularly skill. Some of the programs are the already been thoroughly trained in are absolutely different from staccato put in practice the principles taught. work to breed a self-conscious caution said: “Let me see you breathe once, weekly visits to each classroom, to known as “clergyman’s sore throat,” following: I. Etudes and preludes with ease, suppleness and resonance, whose notes or from the breath accent and are and describe to me the process.” 1 did Ages range from 8 to 28. We have which is at once the essence of thor¬ supervise their work, the best results though by no means confined to mem¬ illustrations from Rachmaninoff, Hen- voice is not only very safe but very the product of a specific throat activ¬ both boys and girls. Study and read¬ ough vocal study, but absolutely fatal so. He replied: “Is there anything may be obtained. bers of the clerical profession. It selt, MacDowell, Chopin, Rubinstein, dark, profits immediately and greatly ity. Victor Maurel used them most rigid about it?” I answered, “No.” ings of the great authors—Mozart, to spontaneous and mature singing. Such an arrangement insures uni¬ occurs in all classes of persons who etc. II. Dance music with illustrations by a few weeks in Paris. A new vocal charmingly in Don Giovanni. The He said: “You can’t improve on that.” Mendelssohn, Bach, Liszt and Beetho¬ With the vivacious and expressive per¬ formity of method—a very important strain the voice or misuse it. * * * from Brahms, Greig. Tschaikovsky, kingdom has been opened to her and repetition of the same pitch is not ac¬ I tried one thing after another of the ven, the favorites—have occupied some sonality caution may never be too requisite to success—and causes the In the same manner as physical con¬ etc. III. Nocturnes, ballades and im¬ she almost frets that the revelation had complished by -an aspiration or “ha,” devices voice teachers use, to get his of their time. Touch and technique highly developed perhaps, but in the least loss of time and effort. Ten sciousness of the possession of a promptus with illustrations from Schu¬ not been given her sooner, but the bril¬ for that would involve a cessation of opinion upon them, but he only shook taught in every lesson. Recitals twice majority of instances of good vocal stu¬ minutes a day, or in the higher grades stomach, or of a tooth, or of a toe, for mann, Lacomb, Wm. Mason and Liszt, liant success which she achieves is tone and a new breath activity resulting his head. I have not got to that my¬ a year, in which every pupil has a part. dents, there comes a time when mere fifty minutes a week, in any division example, is evidence that something is etc. IV. The Sonata with illustrations largely the result of the long delay be¬ in detached notes, but the repeated tone self yet, I still use the devices; but it Mrs. D. C. Hubbs, cautious receptivity must be supple¬ convenient to the teacher, will, in the wrong for the time with the stomach, from Mozart, Beethoven and Hugo fore attempting this more radical kind is laid upon the already existing tone. shows you how simple the subject be¬ mented by a certain amount of daring, usual school period, from the age of the tooth or the toe, so physical con¬ Wolf (songs), etc. V. The Symphony of vocal activity. Another voice of per¬ The touch or stroke of the throat gives comes in the mind of one who knows when question must give way to utter¬ six to fourteen, produce such results as sciousness of the possession of a throat with illustrations from Richard Strauss, Twenty pupils in piano study of Miss haps more attractiveness, but less a slight resemblance to the aspirated all there is to know about it.—The ance, and passivity to action. The to surprise even the most sanguine. during speaking, or shortly afterward, Beethoven, Haydn, etc. VI. The Sym¬ Julia Case organized a club, to be safely placed, is swept away into hard¬ “ha,” but is totally different in its pro¬ Church Choir. phonic Poem with illustrations from named “The Young Musicians’ Im¬ right timing of this turning point is an ness and insecurity by the very train¬ In high schools and colleges the is evidence that something is wrong duction. The trick is comparatively Cesar Franck, Liszt and Saint-Saens. provement Club.” We meet once a anxiety. To err on the conservative ing which so greatly benefited the first. study of music should by no means with the throat. The strain upon the easy, being the segregating of a com¬ The singer must accustom himself to VII. Overtures and ballet music with month and study lives and music of the side is to unnecessarily retard musical The greater demand of the French cease. The rudimentary steps having muscles and the sense of uneasiness mon activity from the other activities quietude in practicing and make his wiH illustrations from Rossini, Meyerbeer, masters, Beethoven, Mozart and Schu¬ and artistic development, perhaps even master was ill-timed, as this latter voice been accomplished and the drudgery following are cause and effect; both with which it is usually associated. In master the body, that later he may have a Mendelssohn and Wagner. VIII. Ora¬ mann having been studied. Much help to stunt it, and make technical means had not reached its turning point, in re¬ (or what would be drudgery, if began may be avoided by proper use of the segregating it we have come into the free command of all his movements and is gained from articles and music in seem of more importance than aesthetic spect of color. in later years, but is none to the young organs of voice and of speech.—Throat torio with illustrations from Costa, rudimentary activity of the trill. While means of expression.—LilU Lehmann. child) left behind, the young men and and Voice. Handel, Gaul and Dudley Buck, etc. The Etude. THE ETUDE 195 the etude 194 work for its own sake, and forget your¬ as sweet as the song-sparrow (which is ing as it does a voluntary, and often . . . not t0 tune simply in four-part harmony, with changes must be made in order nttc ta^ .f ^ filling up of chords. The self, whether in recital, as accompanist, the sweetest bird that sings) in its sim¬ the effect obtained is more lasting and Church Organs stray out of a legitimate o ga Y ^ method is to play the soprano or in the church service; and, if in the plicity, rising through all gradations, helpful. LATEST IMPROVEMENTS In short, a p.ano accompaniment played om ^ & mdody> either in its own latter, remember the vital principle that imitating almost everything that is There is no doubt as to the drawing music in church is not for itself nor for known of sounds on earth, it expresses BOSTON NEW YORK PHILADELPHIA on the organ must be t wriUen octaVe or with a 16-ft. stop added to it power of good music. Some churches CHICAGO LOUISVILLE DALLAS those who render it. It is an act of the thunder and the earthquake, and al¬ composer would probably 1»a _the which the men of the without its assistance would cut a sorry u . <. , HASTINGS, MASS, Organ and Choir it had he used the organ u^d o the wi„ sing it (unleSs they worship; and the less conspicuous the most the final trumph itself!”—Henry figure, although others with it often do Main Offices Works performers are the better. Ward Beecher. the same. But music that merely Hook /-» -a* -*“»- *• draws curiosity mongers or musical ASTINGS Co. Edited by R. HUNTINGTON WOODMAN show the careful student what to do or ^ ^ q{ the tune should fee EXTEMPORE PLAYING. critics can hardly be said to fulfill its Pair Prices. Established 1827. AU Sizes. The art of extemporizing on a given avoid. . in tbe temp0 in which it is to be sung. place in the devotional exercises of a (The Organ Department tor April Improvising. a H Tune. theme is one that has but few expo- - church. will be Edited by N. H. ALLEN) The organist who can improvise has nents, and demands the possession of There has been more than the usual The main object of a church choir is Three methods of starting a tune are a better chance than one who cannot. special faculties for its worthy develop- amount of discussion of late on the to make effective the musical part of QUALITY general use: First, to indicate to the ment. subject of congregational singing. The But the creative gift must be trained the church service. When this point is VERSUS COST A thorough knowledge of the laws feeling prevails that too little attention lost sight of there is sure to be trouble. WHEREIN YOUNG ORGANISTS p"!Uteniiy ,,on8'”ch governing musical composition, fertility is given to this part of the church When the efforts of organist, leader or FAIL. of invention, and a subtle power of service, and too much to the portion singers become distracting there are aim of the Austin Organ i. SSi..rivUUffk but k ... to bo analysis in order to gauge instantly the that belongs to the choir alone, Tonic (I) Sub-Dominant (IV) Super- sure to be complaints. Musicians who Company is lo build organs of BY R. HUNTINGTON WOODMAN. a composition as the harmony, and we altogether condemned.^ Second,^to^roU possibilities of a “subject,” besides per- Various reasons are given by organists give the impression that they are work¬ tonic (II) Tonic, second inversion (I8) feet self-command of resources and a for the failure along this line. Amongst ing for effect seldom make a success the highest possible standard. At the present time there are prob^ Dominant Seventh (Vt) Tonic (I) in ^£^0 has'some‘abiUty^o im- TOiTw^dTSery”’well, but unless the facile technique, are some of the quali- these are the character of some of the anywhere, much less in a church. Ap¬ They do not compete with other ably more students of the organ than,_ ~~all kelcevs"7' landtand here let me add that a _. T ^„0nllMuld suggesUr^Tthefirst, the manu- congregation or choir and organist are ties necessary to insure success. music, the mixed nature of the audi- propriateness should be the keynote of builders in price per stop. They do, ever bef°re- tho an thorough knowledge_ _ of harmony is m- Prov,se ( si ®°le eight measure in close musical sympathy, it is too in- Although it is the privilege of a very ence, and the words as well as the all efforts in the musical work of a however, compete in tonal effect, which the laudable ambition ° °t>tain the ap *o th* w^ll-emiiooed organ- tactu ^ a accurate to produce a really good at- limited number successfully to pass music of some of the popular hymns, church choir. Staginess is a fatal fault. some church, dispensable to the well-equipped organ------Take ag £ mei0dic motive is the only true competition. Thus pointment as organist tack. The third method is to make a such an ordeal in public, it is desirable There may be excuses for the failure —Exchange. To this end applications“7’fg are SmadeSSJS for ST»o”.tuL >*«-7*,ik!^± rest of one beat duration between the that the student should endeavor they give their patrons not the lowest existing vacancies. and if the candid t chQrd successions> a„d at first, if neces- 4. J J J | j j J J J | holding of the last chord or pedal note to improvise in private, as it is THE ORGAN IN RUSSIA. priced organ, but the greatest value in 43 ... —; . “ . . .. sary, maxe annotations to wuiboit of the giving out and the attack of the calculated to strengthen his indi¬ Though the Greek Church rec¬ proportion to the cost of the instrument. harmonizing in thetne simplest way pos- chord it is pertinent to inquire into the causes -n relation to the key. For first chord. The writer has used this viduality, impart freedom of style, ognizes no instrumental music, the [e; answer this phrase w.tn a simnar for years> and has found it en. ofJ,al ure' „„ ch1j,nt stance, the "tunetune “FederalFederal Street"Street would sible; answer this phrase with a similar mpfhod fo; 1 and develop his inventive faculties. organ gets some small attention The average organ student goes marked thus each annotation being :, making a half cadence at the end satisfactory, both in church and At first, the elaboration of a sim¬ in the land of the Czar. Not long AUSTIN ORGAN CO. of it; for the third phrase repeat the j™* ^ through a more or less prescribed under its proper chord ple phrase should occupy the at¬ ago the professor of the organ at first; for the fourth Ph^e make acom- ^ q{ tone utilized fof the Dept. E, Hartford, Conn. course of instruction under the guid- *1 K tention, strict regard being paid to one of the principle Russian con¬ ance of a master. He develops a tech- Keyo'’ , „ 11 v V i IIIVV VI 11 V I || plete cadence. Here s a harmonic and ^ of the singing must generally modulation and rhythm, as the servatories gave an organ recital. nique, and in a reasonable time the 6 67767 | rhythmic sketch of the whole period. £ somewhat more than tbat 0f the two primary features demanding He had, it seems, six attendants; student is able to play the easier fugues I 4 I I II S I I j---j giving out. The singers feel the addi- attention. Fugal and imitative an organ blower, a second ditto of Bach and some modern works, and KeyF. EMMONS HOWARD ■ tional amount of tone (and the support treatment may be afterwards at¬ as assistant in case of need, a gen¬ has some taste in the selection and I V V 11 11 V I V 11V ||I IV IVII11 V111|| Westfield, Mass. I it gives them), and this will, of course, tempted. tleman to turn the music, two gen¬ combination of the various tone-colors 6?| 6| 4 Isll | 14 I III j j 1 'll i j n mi j be more necessary in the first verse It also will be found desirable tlemen (one each side) to manip¬ Pipe Organs of Highest Grade found in a modern organ. He considers assumed that the student than in those that come afterwards. to extemporize mentally, as this ulate the stops, and lastly an at¬ ELECTRIC TUBULAR PNEUMATIC knows 'enough of harmony to under- |-b-1 After the first effort they will be more not only educates the faculties tendant to hold a lantern at his All the latest facilities lor Easy Control. his - solo playingjs concerned, — If he does not, the I inclined to go along without so much brought into play more thorough¬ feet to throw a light on the ped¬ perhaps he y sooner he begins the subject the bet¬ i j n j j 1 jttj j backing, and so the amount of tone of ly, but the plagiarism consequent als! It is clear that organ recital playing, in his accompaniments to an¬ the accompaniment can be reduced on force of habit, which uncon¬ playing is still in its infancy in the thems and solos—the latter usually hay¬ ter.) THE AMERICAN ORGAN With this formula it ought not be where the sense of the words will ad- sciously causes the fingers to ex¬ Czar’s dominions, if this perform¬ The new magazine of pipe organ music with ing piano accompaniments—and in his r very hard to play the tune in any key. 4 1 J—I j j | | | j 1 \ I mit it in accompanying fairly efficient ecute passages rendered familiarly ance is to be taken as illustrative pedal part on separate staff throughout improvisations and modulations he is E. L. ASHFORD, Editor In the case of modulations the relation ¥# 0 • • • I * * * * ® and evenly balanced choirs. by technical practice, is thereby of high class organ playing; for it probably deficient. The April number contains an Easter volun¬ But if the congregation are to be en¬ avoided, and the risk of similar is reported that the performance tary. 32 pages of organ voluntaries in each issue. mishaps when at the piano is con¬ in question was not thought by Music composed by leading American and Euro¬ 7=1?0"£ ' 1 couraged to sing, a good body of tone pean composers. Six issues a year printed beau- I must be kept up to support them, and siderably lessened.—Or ganist’s listeners a very brilliant one. Journal. However, it is satisfactory to learn Etude and secure a copy of the April number i; ,°S"S writer tad oISSTuggLt'I’oVteX™ S.to ” t j n j j ' the more this is lessened the less will on 5 days' approval. six or seven years, e observ;ng the writer’s pupils—keep common tones they_ jJ_1be found to sing for lack of that that Russian musicians are taking some interest in the organ.—The $1.50 a year in advance: 35c per Mingle copy ??CeSi,fi!Stn«.iVP J 1 l * * « Ls>—: organ or piano a similar movement. 0f tone fr0m the organ and choir to —growing as things grow which have didates are found wanting. of it is set and arranged so as to be 1. Abide with Me. Alleluia! Alleluia! “The Strife Is o’er’’ .Off. But enough of the disease—now for , , , . Hymn Tunes. cover them up and support them that great uses—growing little by little, it has come now to stand, I think, quite beyond the possibilities of the 2. Lead, Kindly Light. Christ is Risen • • ■ ■ .12 the remedy. 1 I?eto 'sharps "charnre clef^o'bass But> perhaps, the most overlooked a congregation feels buoyed on to immeasurably, transcendently, above average audience. It may be safely 3. O God, Our Help. I know that my Redeemer Lives - .12 The Remedy. ,lrf ^ ^f J ______the proper Part of an organist’s training is the greater efforts in the matter of singing, every other instrument, and not only said that for the purposes of congrega¬ 4. Holy, Holy, Holy. The Resurrection Morn Carol Anthem Lfave The result is shown below: playing of hymn tunes. It might be and when their exertions can tell to ad- First, score reading. This can be octave. The result is shown below: that, but above every combination of tional singing three-fourths of the Solos for Soprano and Bass .12 imagined that an organist capable of vantage. 5. The Church’s One Foundation. learned without a teacher as well as instruments. tunes are beyond the compass of the Very Early in the Morning with Tenor playing fugues and sonatas would be Between two organists, one of whom 6. Rock of Ages. with one, as it is more a matter of “The organ means majesty; it means average male voice, which accounts for or Soprano and Bass Duct .16 able to play a simple hymn tune; but can play Bach, Guilmant, Merkel, etc., practice than anything else. Select an grandeur. It means sweetness, to be the fact that the singing in church is 7. And Now, O Father. it is not always so. And, again, it but who cannot (or will not) play Send 40 cents for a set of anthem of any good composer, printed sure; but it is sweetness in power, like largely done by the women. 8. Hark, the Herald. these Celebrated Anthems sometimes happens that those who can hymn tunes, and the other, who can in vocal score, and cover the organ ac¬ the bubbling crests of waves on the Some organists who are thoughtful 9. Jesus, Lover of My Soul. companiment with Strips Of paper. play tunes properly regard*v.ea,u themmem »as un- makemane a greatgicai ucaideal uiof a hymnuj.u..-- tune, but and careful players when executing an THOMAS J. DONLAN ocean. Whatever it has of sweetness, 10. Come, Holy Ghost. Force yourself to read the vocal parts, The effective adaptation to the organ worthy of effort and treat them with is technically unable to compete witn of fineness, or of delicacy, it has an un¬ instrumental selection are not only 831 Colonial Bldg. - - - BOSTON 11. Sun of My Soul. nlaving the soprano and alto with the of an accompaniment written for the triviality, and, perhaps, contempt, and his colleague, the chances are that the der-power that is like the sea itself. wretched accompanists, but positively right hand and the tenor and bass with piano is an ever-present problem. No play them carelessly. This is unpar- second man will get the appointment, excruciating when playing a hymn 12. When I Survey. And I thank God a thousand times a Genuine Bargains in r)| a \T/"hC the left The pedals can be used or rules can be given that will always ap- donable, for let it be remembered that Here, then, are some of the explana- year, when, seeing how many things tune. Whether this be from careless¬ 13. All People That on Earth. not as may be found convenient. The ply, but it must be remembered that the the first duty of an organist is to assist tions of success or failure. To these ness or a lack of appreciation of the High-Grade Upright Y1 /YINUO taste and the social elements have 14. For all the Saints. division of the parts, two to each hand, damper pedal of the piano will sustain in the public service of worship and must be. added the “personal equation, stolen from religion, I turn around to music it is sometimes difficult to con¬ can, of course, be changed in spots notes that the fingers have ceased to praise; and the congregation have a He whose personality is such as to im- 15. - Jesus Christ is Risen. this one solitary exception, and know jecture. Slurring, wild transitions in where any awkwardness would result hold. Hence, this sustaining quality right to his best efforts in leading them press others with the feeling of his own that religion at any rate has left, as expression, are some of the indications 16. Onward, Christian Soldiers. if this method were rigidly adhered to. must be supplied on the organ by hold- in that portion of worship which be- “consciousness of ability” will succeed^ peculiarly its own, the organ, the grand¬ of the disregard that some of these 17. O Come, all ye Faithful. LYON & HEALY, 29 Adams St., Chicago Score reading must be made a part of ing harmonic notes with one hand and longs to them. This leads to the “giv- where one without this “magnetic est thing that ever was thought of or players have for the feelings of the 18. Eternal Father. the daily practice; it cannot be learned the pedals, while the other hand fur- ing out” of the tune—in whole or in quality will fail. This “consciousness audience and the requirements of the combined in human' ingenuity. Run¬ 19. On the Resurrection Morning. in a few days. Transposition comes nishes the best interpretation of the ac- part—as circumstances may indicate. of ability” must not be mistaken f°r ning, as it does, through all the grades service. It takes as much ability to ex¬ Please mention THE ETUDE when addressing 20. Glory to Thee, my God, This Night. easily to some; to others it seems an companiment that the nature of the or- Two methods can be used, both of self-conceit. Conceit is the imitation of and elements of sound, just as soft and ecute a hymn tune with taste and feel- our advertisers. almost unsurmountable difficulty—and gan wilt allow. Long arpeggio effects which are appropriate Ordinarily it the real thing, and is offensive even to yet some skill may be obtained by will have to be modified and frequent seems best, to the writer, to give out a one’s best friends. Be modest; do your

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1% THE ETUDE TH E ETUDE 197 quiring great nicety of touch and deli¬ ual motion” class, and smile when a m t CONSISTENCY IN TEACHING. true end of it, than a perpetual and in¬ dinary feat. Surely “there are giants cacy of mechanism in the use of the new “discovery” is announced. It is impossible for teachers of the consequent use of the word “don’t.” in these days” of modern violin play¬ hand. The air is thick with “don’ts” in some THE PROGRESSIVE VIOLINIST Thousands of bright minds the world violin to overestimate the importance ing. over are working on this violin problem. I have seen pupils who possessed real houses and in some classrooms; yet, Melodious and Instructive of consistency in dealing with their lit¬ Pieces in Various Styles for There are few discoveries that would genius for music with the ability to those parents and teachers who so con¬ tle pupils. “Sordines (or mutes) are little wooden give greater pleasure to the human race tinually utter it, frequently neglect to VIOLIN mid PIANO Violin Department compose, with the talent of absolute implements which are placed on the to-day than a way to produce these The violin is an instrument of sug¬ ensure any practical result. Then they By P. P. ATHERTON pitch and with musical hearing abso¬ bridge of stringed instruments in order matchless violins, that they could be gestion rather than of realization. In wonder why their children and pupils 6775 Cradle Sons Grade II.30 lutely correct who were utterly in¬ to deaden their sonorousness, and sold at a reasonable price. The possi¬ the hands of the inexperienced it pro¬ are more unruly and disobedient than 6776 Valae Idylle Grade II.30 capable of producing a good tone on which give them at the same time a 6777 Barcarolle Grade 11^.30 bilities of the invention from a finan¬ duces no musical sound but an intoler¬ those of other people:—“It is not for Edited by ROBERT BRAINE the violin. The Emperor Napoleon mournful, mysterious, and softened tone 6778 Petite Tarantella Grade III . . .30 cial standpoint are very great. At a want of telling," they say, that the 6779 Andalouae-Espagnole Grade III .30 able noise. This peculiarity is not which is frequently to be felicitously rough calculation from $50,000,000 to found the utmost difficulty in learning child went wrong.” An excellent teaching i shared with keyed or fretted instru¬ applied in all styles of music. Sordines and a .singly $100,000,000 worth of violins could be to shave himself, and his signature Just so. You reproved him so con¬ ments, which, by reason of a more are most generally used in slow pieces, ..telodio us;put together in musicianly manner. sold throughout the world, based " was a scrawl which could hardly be tinually that the words lost all value The solo instrument is treated in a thoiougliiy mechanical construction, occasionally but they serve scarcely less well when and influence. You prohibited many HAS THE SECRET OF CREMONA many Stradivari violins, and has found price of from $100 to $200, provided it read. Horace Greeley, the great editor the subject of the piece admits it for ig, affording good support. All produce tolerably pleasing effects un¬ things, but you enforced abstinence ,_„_re good, the titles as given above VIOLIN MAKERS BEEN that in each one the top and back were was proved that they were the equal of of the New York Tribune, wrote so light and rapid designs, or for accom¬ der the fingers of happy chance. But from none. Yet, you wonder that the ivey a good idea of their general style and DISCOVERED? attuned to each other in exactly the the old Cremona instruments. This cal- miserably that very few of the printers paniments of hurried rythm. Gluck has the whole art of playing the violin is child is disobedient. To responsible teachers we will send on same manner in which he has had his culation is based on the sale of one vio- could read his copy. A long list could effectively proved this in his sublime examination the above numbers or any of our There is nothing which is of such the outcome of intellectual and emo¬ Reduce your “don’ts” to as small a new violins constructed. lin to each thousand of population in be given of men of the greatest emi¬ Italian monologue of Alceste ‘Chimi publications at special prices. perpetual interest to the entire fiddle tional understanding. The one faculty family as possible, but, once uttered, —Cataloguea tent FREE on application— Testimonials as a rule are of little all countries where violins are in use. nence who were utterly unable to do Parla.’ ”—Berlioz. world as discoveries in the making of value in the musical world as respects An enormous improvement has taken will not produce a true artist without secure compliance with your command. THEO. PRESSER, any mechanical work which required If you have been just and equable in violins, tending to make them the equal the merits of violins, pianos, wind in- P^ce in the making of ™lms w.thm due proportion of the other. If the 1712 Chestnut St.. PHILADELPHIA, PA. of those of Cremona. The true secret skill of the hand or arm. A long list your dealings, there will be no difficulty Fabulous prices are sometimes paid struments, etc., but Grossman has col- the last few years. Even m our own of musicians could be given who were teacher has sufficiently realized this in has been discovered 995 times, and there lected a series of autograph letters from country we have vtoto nwk«s about the compliance; it is, in reality, for old violins, and many an enthusi¬ unable to play the violin well, if at all. the course of his or her own training, astic musician would part with his last Thousands of leading artists, even the concert is fully as much interest and excitement men of such great note, as violinists produce extremelyartishcmstruments a truer test of you than of the child. master of the Metropolitan Opera House t Many good pianists are unable to it should have very practical influence dollar to possess one of the master¬ attending the 996th discovery as there and musicians, that the list is little both as regards ‘one and workman- The Strad. New York, are using play a string instrument, largely be¬ on the manner in which he or she, in pieces of Stradivarius or Guarnerius or BAUER’S TONE-IMPROVING, was on the occasion of the first. The ,hor, of imposing. He h,. letter, from trouble is that the secret will not “stay many working on the problem, it should cause they lack the peculiar mechanioal turn, imparts instruction. Practical in¬ another of the famous makers of a the following violinists—men who The death of H. O. Havemeyer, the CHEMICAL discovered.” As a rule the discoverer t be discovered eventually. makeup necessary to handle the bow fluence, in the resolute enforcement of century or two ago. kings in the violin world: Eugene New York millionaire and president of is the only person who thinks that the well. The violin teacher who finds a certain necessary details of technique, The questioned superiority of these Ysaye, Cesar Thomson, Jacques Thi- the Sugar Trust, which occurred last Violin Bridge new violins are the equal of the Cremo¬ pupil lacking in ability to hum a scale and in the patience and care with which old and often battered instruments has baud, Henri Marteau, Emil Sauret, or sing a melody, or who after a few month, will be of interest to violinists been variously ascribed to the peculiar na instruments, and the excitement dies TESTING THE APPLICANT’S the necessity for obedience is made Arthur Hartman, Ovide Musin, Alexan¬ months’ lessons seems to lack the skill everywhere, as he was the owner of quality of the varnish used in their con¬ down only to blaze forth when the next HEARING. clear along with the demand. As an der Sebald, Josef Frischen, and Jan necessary to learn bowing, had better the famous “King Joseph,” the famous struction, to the elasticity of the wood discovery is announced. a Oordt. There are also letters from Violin teachers are often puzzled to instance—firm and decisive stopping is Guarnerius, once the property of Henri The cause of this great interest is due advise him to try another instrument, employed and to the ripening and im¬ Arthur Nickisch the eminent orchestral know whether an applicant for lessons absolutely requisite to the production Wieniawski. This is said to be the fin¬ to the fact that every violinist who does such as the piano or organ or some proving effects of age and long use. conductor, Anton Hekking, the great possesses sufficient talent to make it of true and resonant intonation. Ex¬ est specimen of Guarnerius in existence not already possess one looks forward wind instrument. Of late years, however, much cre¬ violoncellist and Dr. Otto Neitzel the worth his while to take lessons. It plain this law in as few and simple and is known to collectors all over the to the possession of a Strad., a Guar- Every teacher of the violin will testify dence has been given the suggestion of great German pianist and critic. must be remembered that the musical words as possible—then insist upon the world. There are different accounts as nerius, an Amati or a Bergonzi as the that he has numerous applicants to an eminent authority that the real These men in letters over their own hearing required to play the violin even observance of it. regards the price paid by Mr. Have¬ dearest wish of his life. He believes learn violin playing who seem hope¬ cause of the superiority of the old in¬ signatures, following exhaustive tests, passably well must be far more acute Some children are of a singularly meyer for this masterpiece, some giving that with such an instrument he could lessly destitute of the slightest musical struments is due to a peculiar warping say that there is no doubt whatever that than would be required to play the piano apathetic intellect; others, again, are the purchase price as $12,000 and others of the wood to a higher arch, a buck¬ soon play his way into fame and for- talent. Many of them cannot sing or Thtfl bridge (not c Grossman has solved the secret of the or even many wind instruments equally hum the simplest melody or find a note quick enough to grasp your meaning, at $15,000. Whichever it was, it was a ling caused by the position of the “F” Cremona violins, and pronounce his well. The reason is that in the case of but do not remember what you have princely sum, and the violin world will holes and sound post. \ a different tone, so Take the case of a vocalist; imagine with the voice when it is struck on violins the full equal of the great Ital- instruments of the violin class the in- told them, and in some cases fail to watch eagerly to see what disposition It might at first thought be supposed TWO VIOLINS IN ONE if by the payment of so much money he another instrument. It is far better for Price of the two bridges, postpaid, 60 ian instruments. Eugene Ysaye says: tonation depends entirely on the per- transmit the idea into experience. will be made of the violin, now that Mr. or she could have transferred to their the teacher to discourage such a pupil that the same effect could be produced, “They have all the qualities of the Ital- former. He has no frets, keys or Having once expressed your will on Havemeyer is dead. by giving an equal arching to a new-in¬ throat the voice of a Caruso or a Mel¬ from trying to learn, as it will only re¬ any matter, and made sure that it is In his address on the occasion of the strument, but the effect, if attained, is ba! Imagine the price to which these ian violins;” Thibaud, “They are fully valves to help; he is adrift on a smooth sult in a disappointed patron, and will understood, draw, if necessary, upon funeral of the dead sugar magnate, the not permanent, because with age the transferrable voices would attain! This the equals of those of Stradivarius and ebony fingerboard, with naught but his not do the teacher’s reputation any your entire store of patient determina¬ Rev. Dr. R. Heber Newton told of his arching increases until too great a de¬ is exactly the case of the violinist, how¬ Guarnerius;” Anton Hekking, “I con- ear to guide him. good. The extraordinary part of the tion in bringing about the desired re¬ love for music, and the efforts he had gree of rigidity is the result. - The Art of Practising the Violin ever, for if he have money enough he gratulate the discoverers on the solu- It is not a bad idea to put the appli- matter is that such pupils try to learn, tion of the problem on which the violin cant for violin lesson through a brief sult. Don’t let the child weary you out. made towards advancing the cause of can purchase a Strad. or Guarnerius— when they lack the slightest musical the classics in violin music. It is stated on Prof. SEVCIK’S Method makers of the entire world have worked examination to test his musical hearing, Some children have amazing powers of M. F. writes The Etude, stating that A Concise and Authentic Exposition of the Fundamental the finest violins in the world. talent. that Mr. Havemeyer practiced from one since the time of the old Cremonese;” something like the following: Strike passive resistance, and if they are per¬ she has seen in a paper that the violin, Principles of the SKVC1K METHOD. For Prospectus address Just at the present time the secret of to two hours a day on the King Joseph, Marteau, “The luthier’s art will bios- notes at random on the piano or violin mitted to get the upper hand, through bow should be washed often, and asking! Cremona violins has been discovered notwithstanding the enormous pressure som into new life; young artists can and let the prospective pupil try to A discovery has just been made in weakness or laziness on your part, you if this is the case. Violinists who again, and is being discussed by violin¬ of business cares. In playing the violin now obtain good instruments without find the note with his voice. Next play Genoa which will delight all music lov¬ may as well give up the idea of teach¬ understand the care of the bow do not. ists all over the world. Dr. Max Gross- he found a great relaxation from the in THE ETUDE when addressing paying a fortune for them;” Sauret, the scale, with the pupil following the ers. It is a well-known fact that very ing them the violin. Remember also— wash their bows, because they do not man, of Berlin, is the discoverer and stress of business duties. Otto Seifert, a practical violin maker, is “For the first time in my life it was notes played, with his voice. Then re¬ little remains of the musical composi¬ for your comfort, if you are of a philo¬ allow them to become dirty. If the hair; It is astonishing what a great number Answers to Correspondents. the name of the man who worked out impossible for me to tell the difference quire him to sing or hum the scale with- tions of Niccolo Paganini, the sensa¬ sophical turn—that you are not only in¬ is old and worn out they get the bow between my Guarnerius del Gesu and out the aid of the instrument. If he can fluencing your pupils on present and of men of affairs there are who seek re¬ M. F.—The firm you mention is thor¬ Grossman’s ideas. Grossman is a scien¬ tional violin player, for the reason that rehaired. If the bow has become dirty; the new instrument. It is really unbe- sing the major scale with the correct special occasions, but building up in laxation in violin playing. They love oughly reliable as far as we know. tist, and spent nine years of his life en¬ through improper use, it can be washed W. J. T.—The reason why the tones lievable;” Arthur Hartmann, “They intervals, let him try the minor scale, what his contemporaries deemed his them a standard of values as to reason¬ the violin and its music, and with some deavoring to learn the secret of the re¬ by screwing up the bow and washing; a fourth above the open strings on the rival the old Italian masterpieces;” which he will find much harder. An- most original and charming creations able and unreasonable exhibitions of the passion for the violin art almost at¬ markable tone of the violins of Cremo¬ the surface of the hair with a good violin sound richer and more brilliant is Musin, “It means a new era for the other good test is to play the notes of a were often the inspiration of time and determination; awakening them to the tains the dignity of a creed. na. Dr. Grossman declares that the gen¬ lather of soap applied with a. tooth-; because they are reinforced by the sym¬ virtuosi, who can no longer pay the ex- diminished seventh chord, say C sharp, place, and often, too, their transcrip¬ force of active consistency as opposed eral belief that age improves the tone brush or other small brush which i^ pathetic vibrations of the open string cessive prices that are required to-day E, B, B flat, having the pupil follow tion was impossible. Moreover, much to passive and unjustifiable resistance. of violins is all moonshine. His idea is The fame of Alexander Sebald, one of perfectly clean. The soap is then wiped an octave below. For instance, the note for old Italian instruments, which are these notes with his voice as they are For you are not only teaching them the that the violins of Stradivarius were of the music that to-day bears his name the best known of the younger violin off the hair, with the brush, which has G (the third finger on the D string in replaced by these;” Sebald, “One would played. If he does this successfully violin during the hour or half-hour that every bit as good when they were new has been radically changed. virtuosi of Berlin, is constantly expand¬ been rinsed in perfectly clean water. the first position) is assisted by the vi¬ think the new instruments were by strike all the notes of the chord to- they are in your company; you are add¬ as they are to-day. The excellence of And now in Genoa fourteen of his ing. Sebald is the violinist who suc¬ After the hair is dry it must be treated brations of the open G, which vibrates Stradivarius, Guarnerius and Amati. In gether, and ask him to sing the re¬ ing your mite to the great constructive cessfully accomplished th' tremendous the Italian instruments, he claims, is compositions have come to light, all with powdered rosin before being used out of sympathy, so that when you violin making a ‘new Italy’ has be- spective notes of the chord together and formative influences of their lives. feat of playing the entire Twenty-four on the regular rosin cake. due to attuning the top and back of the written in the maestro’s own hand. play the note G on the D string, two violin to each other, so as to establish gun;” Josef Frischen, “The problem from memory without their being This is a very necessary view to keep Caprices of Paganini from memory, one The fingers should never come into Among them is the famous “B minor notes are in reality sounding at the same sympathetic vibrations. As is well has been solved after 150 years of struck on the piano. Other chords can before one during the long day’s work after another, in a single evening. His contact with the hair of a bow under time. If you will play the G on the D concerto” which astonished the musi¬ known, every object—a piece of wood, vain endeavor;” Jan van Oordt. “The he used in the same manner and also —which is often peculiarly discourag¬ announcement that he would do this any circumstance, and the bow should string you can see the open G vibrating a lamp-post, a block of stone or a lamp tone was actually bigger, fuller and both the melodic and harmonic minor cians of his time, and, whether exe¬ ing, and fatiguing to mind and body. caused unbounded interest in violinist never be left lying around where it can in sympathy, the width of the sympa¬ chimney—gives out a certain tone when more brilliant than that of my own scales. As a final test let the applicant cuted by Paganini himself or by his Mere musical knowledge and ability circles in Berlin, and on the evening of become soiled. If used much the hair thetic vibration on the string being at struck. The top of a violin, before the Cremona.” sing several melodies, or, if he cannot successor Sivori, never failed to arouse cannot, of itself, generate that gift or the concert the hall was crowded with of the bow soon wears smooth and will least one-sixteenth of an inch, when sing, it will do equal well to hum or instrument is put together, gives out a fervent applause. combination of forces which gives to violin players, including many of the not “bite” the string, when it should be much force is used in bowing. The ef¬ Not an Impossible Achievement. whistle them. The pupil who can do the world a great interpretative artist. most prominent violinists in Germany. re-haired. I should say that a player certain tone, as does the back. Gross- Paganini published during his life¬ fect of playing the note D on the A These brief extracts from long letters all these things successfully certainly Moral as well as intellectual qualities There were at least a dozen in the audi¬ who practices one hour oer day should man works his tops and backs to cer¬ time only five works—“Ventiguattro string and the note A on the E string is tain notes in such a manner that when are certainly strong statements coming has sufficient talent to play the violin must combine to such an end. ence whose names are a household have his bow re-haired tot less than similar. The note G played in any po^ Capricci per Violino solo dedicati agli the violin is put together remarkable from men of such eminence in the as far as musical hearing goes, and may Do you think that your work has no word in Europe and America. twice every year, and these who play sition on the violin except on the G results are obtained through the sym¬ world of music and violin playing, and be encouraged to begin his studies on artisti,” “Sei sonati per Violino e Chi- affinity with such great aims? Are you Sebald accomplished his task with the more correspondingly often^r. The late string itself will sound more brilliant pathetic vibrations which are estab¬ make us hope against hope that it is the violin. tarra,” and in two volumes “Tre gran consciously limiting your efforts by greatest success. There was no accom¬ Edouard Remenyi, the eminent violin¬ because it has the open G vibrating lished. just possible that there may be some- It must not be inferred that a cor- Quartetti a Violino, Viola, Chitarra, e poor and narrow ideals, contenting paniment of any kind, as the Caprices ist, who played with tremendous impet¬ with it, the note D except when As far as making the tops and backs thing in the discovery. When we look rect ear and a gift of following melo- Violoncello,” making in all thirty-nine yourself with common and apparent are for violin solo, and the single violin uosity, was very hard on bows. He played on the D string will be of different pitch, the idea is as old as back on the discovery of the X-Ray, dies mentally are all that is necessary pieces. standards of achievement? had the stage for the entire evening. It made several tours in this country and helped by the sympathetic vibration the wireless telegraph, the marvels of to become a good violinist, even witn frequently sent his bows, of which he the hills, and many violin makers have As the newly discovered manuscripts Aim at a star, and you will attain to took nearly two hours to play the entire of the open D, and the note A played radium, and other epoch-making dis- the greatest application. A great the house-top. Suggest, aid and direct twenty-four and the artist was warmly had a number, to Paris, to be re-haired, experimented along these lines with come under the law which prohibits the on any other string except the A will be more or less success. Grossman, how¬ coveries in the recent past, it seems less amount of mechanical ability of a cer- with every faculty at your command, congratulated by his colleagues. Vio¬ getting them back in about a month by helped by the vibrations of the open A. export of art objects without the con¬ ever, claims that he possesses a secret strange that the secret of the Cremona tain kind is necessary as well, just as and you will have done better work linists will appreciate the magnitude of express. He always said that fresh The pressing down of the right hand sent of the Italian Government nego¬ process of attuning the tops and backs, masters may some day be discovered, it is required in handwriting, in the use than you may ever see the limit of. this task. The Caprices are many of new hair, properly put in the bow, was pedal (the damper pedal) on the piano but has not yet made public the rela¬ So many of these discoveries, however, of tools of various kinds, the ability to tiations for their pufehase for the State There is nothing more subversive of them of transcendent difficulty, and the one of the greatest requisites for good has the same result, through sympa¬ tions of "the tones he uses for these have proved abortive that most musi- draw or use the brush in drawing and have already been begun by the Min¬ discipline, more inconsistent with the mere memorizing is of itself an extraor¬ tone production. thetic vibration. parts respectively. He has examined cians put the problem in the “perpet- painting, and many other pursuits re¬ istry of Fine Arts. * 1 IL fi 198 THE ETUDE 199 THE MINNESINGERS. THE ETUDE O. How many kinds of accent signs * There is a stern, old mediaeval, cas¬ are there? Which kind indicates the MUSICAL TERMS IN RHYME. 2. Charming Grace — Christopher tle near Eisenach, in Thuringia, which COMPOSERS OF NATIONAL NEW MUSICAL GAMES. Gluck. The Etude has a has been a cradle for history, mystery The following musical terms, defined HYMNS. Some interesting games to play at in rhyme, contain much information in Other countries have national hymns Children’s Musical parties or at ses¬ 3. Famous Song-writer — Franz THE „-question department, - ouvand --music. This----- old castle is -gray. -- a very concise manner: “all their own” if we have not, and it sions of Children’s Musical Clubs. Schubert. QUESTION but we reserve tms „joomy narrow-windowed, frowning- 4. Renowned Wonder-w o r k e r — Accelerando—In speed, increasing meas- is interesting to know their origin. Parts of a Piano. DEPARTMENT. department for ques- browed> and its name is Wartburg Hill Richard Wagner. tions that we tninK ^ , The “Watch on the Rhine” of Ger¬ Assemble the children around the Castle. Ad Libitum—Sing at discretion’s pleasure. many was composed by Carl Wilhelm 5. Nervous Player—Nicolo Pagi- are of general interest to all of < piano and give them slips of paper ten Adagio—Expressive, soft, and slow. in 1854, who received an annual pen¬ readers. If there is a question that i: Here the great Martin Luther lay for inches long and two inches wide down Affectuoso—Let tenderness and pathos sion of $7.50 for composing it. 6. Ever Captivating—Emma Calve. likely to be of little interest to all our some tjme in hiding, and a stain on the the margin of which you have pre¬ flow. Joseph Haydn wrote the music of 7. Just Lovely—Jenny Lind. readers, or a question upon some sub- way one 0f ;ts many gloomy cham- viously written the numbers from 1 to Allegro—Now fingers fly and words run Austria’s national hymn and the poet 8. A Wonderful Musician—A. W. ject we think our readers ought to know j stil, pointed out 10. At the top of the slip write: “What marking the fast. Haschka was commissioned to write Mozart. all about, we answer it privately part of a piano? Ask the children who sends sPot struck by the reformer’s ink bottle, the words. The song was first sung in A little inventiveness will lead to the through the mail, if the one who sends Allegretto—Not quite so rapid as the the following questions and have them Have you ever ■ ' when thrown by him at a troublesome formation of many additional names. AUNT EUNICE’S LETTER FOR in the question encloses a stamped ad- last. 1797. write the answers after the correspond¬ thought why such The Spanish national hymn is a work FEBRUARY. ... , aresseadressed envelope iuifor icpij.reply. Sometimes- visitor—the devil. Andante—Soft and slow the movement ing numbers. of recent years and is not so much MUSICAL DECAPITATIONS. odd signs are used teachers themselves are honestly puz- Here the beautiful St. Elizabeth of goes. 1. Write what part of a lock? My Dear Little Friends:— sung as some American airs which THE CLEFS. for clefs? Get your 2jed about questions that come up at jjungary was shedding sunshine and A Tempo—Mark the music as it flows. (Answer: A key.) I I have a little friend whom they call have been heard during the campaign teacher to tell you the lesson. Tell your teacher to send . brought up «to taste” by her Brillante—With great spirit and with 2. Write what part of the bicycle. a. The whole word represents a of Cuba, according to correspondents. “the little question-mark”- . , , and for all about them. The treble or G clef, the question into The Etude and we . . , j t about the time that might. (Answer: Pedals.) kind of musical composition. The “Marseillaise” of France was tie girl, she certainly asks more ques- for instance is nothing more than a wiH attend to it as promptly as pos- - - - Con Espressione—In excessive move¬ 3. What part of a watch? b. Remove my first letter and find a Richard Coeur-de-Lion was getting ir written at Strasburg in 1792 by Joseph tions in a shorter time than any one {orm of the letter q In fact it looks sible. ment right. (Answer: Case.) synonym of “now”. going troubles of his own, on his way home Rouget de Lisle two years after the fall I have ever known. Once I heard her Mke the capital G you use in hand- Now I at 4. What carpenter’s tool? c. Remove my first two letters and Crescendo—From soft to loud the music of the Bastile. He was a skillful vio¬ mother say to her: “For goodness wrjting turned backwards with its hook A PERSONAL to ask you a ques- from the third crusade. With St. Eliza- (Answer: The hammer.) find the Italian word for “no.” swells. linist and singer and the song is one I would like beth we are deep in mystery, at c 5. What part of a clock? d. Remove my first three letters and sakes don’t bother me with so many missing. It is twined around the sec- QUESTION. tion. Da Capo—“Return,” this sign the player of the best specimens of the purely (Answer: The springs.) questions.” This mother had never ond line of the staff to show that notes to know what for was not her lap full of bread turned tells. revolutionary. find the synonym of “upon.” been a teacher, for if she had she would on that line are G. The F or Bass clef readers would like to ^ see upon the ;nto red( red roses when her frugal hus- 6. What part of a tea pot? Decrescendo—From loud to soft the mu¬ The English “God Save the Queen” II (Answer: lid.) have known that the pupil who asks looks enough like a capital F to hardly children’s P^es- Won’tyoutake band criticized her generosity? And sic falls. was written by an Englishman, Henry a. The whole word is a synonym of This game is educational in that it we not see, still firmly fastened in Forte—To action loud the signal calls. Carey, and first sung by the author in questions is almost Si^fyoV^Vfked^est in. the last £ makes the pupils familiar with the vari¬ an exertion. hat very iron peg on 1704. The air became marvelously the pupil who goes ahead the quickest. ^ be used year and if there is anythl„g in which h h h doak hung> that Fortissimo—Louder, louder, raise the ous parts of the piano. A prize should b. Remove the first letter of the which her cloak hung, that wonderful popular and has been adopted as the How can you find out what you want to 6 song. be offered for the one giving the great¬ word and you will have left a synonym cloak which she often gave to the poor, national air also of Bavaria, Switzer¬ know if you don’t ask questions? The F. F. F.—Louder yet and very strong. est number of correct answers. of “exercise.” but which always appeared again when land, Denmark, Norway, Saxony, Han¬ teacher who does not answer your Legato—Glide soft and close when this c. Remove my first two letters and needed? Franz Lizst has set the beau¬ over and Weimar, while here we have you see. questions cheerfully is not the right tiful legend of “St. Elizabeth” to music Composers’ Names. you will find a synonym of the word Maggiore—Signifies the major key. it wedded to “My Country ’Tis of teacher for you to have. in the form of an-oratorio, or, rather, Thee.” “shower.” Mezzo Forte—A little louder, but not too Write upon a piece of paper ten by It is a very good dramatic cantata of that name. The Russian national—one of the d. Remove my first three letters and strong. two inches in size a series of names of THE plan to form the In those old days the Great Hall of grandest ever written—was composed great composers and musicians, giving you will find the Scotch dialect term Mezzo Piano.—A little soft; too soft is Wartburg, and its court yard, too, were by Alexis Theodore Lyoff, who was only the first names and the first in¬ for “own.” QUESTION question habit. Take wrong. the scenes of very exciting contests that born May 25, 1796, and died December itial of the last name similar to the list e. The whole word is also a synonym HABIT up your last piece of Mezzo Voce—Subdued and in a quiet tone. music and look it gave an uplift to both music and poe¬ 28, 1870. This Russian hymn made here given, then require the little guests for “tune.” try. Frederic Barbarossa and Henry Moderato—Little quickness here is shown. Lyoff one of the famous men of his over. How many things are there to complete the names. III the Lion, fought no more eagerly for Piano—Soft and low, -with gentleness. country. The hymn was written at the upon the page that you do not under¬ 1. Ludwig van B. a. The whole word represents the Pianissimo—Softer, with sweet tender¬ suggestion of Emperor Nicholas of stand? Look for every little dot and the honors of war than did the German 2. Richard W. name given to the music used by a ness. Prussia and Austria, who had grown singers of their time, the “Minnesing¬ 3. George Frederic H. conductor while conducting. dash. If there is a single one that you Prestissimo—Quick and quicker fly your tired of hearing the Air Anglais on all ers,” as they were called, contend for 4. Ludwig S. b. Remove the first letter and find do not know all about write it down on * public occasions. Lyoff wrote the song the Wartburg prize in the days of Her¬ fingers. 5. Fielchen D. the “heart of an apple.” a sheet of paper and take it to the next mann, the noted old Margrave of Thur¬ Staccato—Sharp and pointed, nothing lin¬ in a few moments and on the following 6. Richard S. lesson and insist upon knowing all day sung it to the emperor. The sov¬ c. Remove the first two letters and ingia and the owner of Wartburg gers. 7. Robert S. find the word used for minerals con¬ about it. It is your teacher’s business Castle. Unison—Sing together in one voice, and ereign caused the hymn to be repeated 8. Anton S. to tell you, but if she has omitted to do many times and finally exclaimed taining metal. in music all rejoice. 9. Josef H. d. Remove my first three letters and so don’t hesitate to ask her. In most The “Minnesingers” were frequently in French, “Mais, c’est superbe!” 10. Felix M. find the Italian syllable used to desig¬ cases she will be delighted to tell you. nobles and members of royal houses (“That is splendid!”) He then direct¬ 11. Adalina P. nate the second step or degree of a I have just opened the first volume of who gladly gave their talents and lives ed that his minister of war be informed to their work. We owe to one of them, PHRASING AND LEGATO WORK. 12. Raphael J. major scale. “Standard Compositions” which are in¬ that the hymn would be adopted by 13. Guiseppi V. Gottfried of Strasburg (twelfth cen¬ tended to go with Mathew’s Graded the army. The hymn was first heard 14. Anton D. tury), the beautiful poem of Tristram The following have sent correct an¬ Course and Dr. Mason’s Touch and BY PAUL SHEETS. in public in Moscow in 1833. 15. Johann Sebastian B. and Yseult; to another Wolfram (1227), swers in to all the puzzles appearing Technic. In this attractive collection Some of these are difficult, some very of pretty little pieces for children I find Parsifal; to another, Hartmann von der easy. The difficult ones will encourage in the February issue: Miss H. R. the following things among others: Ane, the Poor Henry which Longfellow Too little thought is given, by the HEADACHES AND NERVOUS¬ Spicer, Miss I. M. MacGillen, Lillian average musician, to phrasing and the ambitious, the easy ones will en¬ “Tempo di Marcia;” “Andante Con Mo- used as the subject of his Golden NESS. Hadley, Miss J. Harley. legato passages. A piece of music is courage the backward students. The to;” “Op.;” “grazioso;” “marc;” “con Legend. If you have a headache or feel ner¬ list must be adapted to suit the ages express;” “meno mosso;” “Vivo;" “Ma¬ played by many so-called good pianists For many years the Wartburg con¬ and musicians with very little attention vous while playing you should speak and experience of the guests at the ANSWERS TO PUZZLES. zurka;” “D. C.” If you don’t know tests were the most popular in Ger¬ of it at once to your teacher or to your paid to legato passages and with little musical party. The Etude will print answers to what they mean write them down and many, the poem being partly recited parents. The headache may be due or no attention to an equally important puzzles in this issue in the next issue. take them to your next lesson and find to various causes that have nothing and partly sung with the viol as the part of interpretation—the phrasing. Musical Characteristics. The first ten readers who send in cor¬ out. If you are not sufficiently ad¬ whatever to do with practice but in accompanying instrument. The prize In many cases the legato passages are rect answers will have their names vanced for these terms to have a mean¬ some cases it is due to eye trouble. This is an extremely interesting and winner in one of the most celebrated of so badly played that a listener could published in this column next month. ing to you your teacher will remember Notes are hard to read and if your fascinating game. Slips of paper are the Wartburg contests was Walter yon hardly distinguish between legato and Answers to puzzles in the February them and tell you at the proper time. piano is not in the right position in given the guests. Upon each slip is Pupils who are you are particularly interested that you die Vogel-weide, or Walter of the.Bird- issue. Hidden Composers. staccato. the room, you will find that your eyes written several words which give the There are anxious to find out feel would make this department more meadow. We rejoice, involuntarily, m The writer having had occasion re¬ 1, Gluck; 2, Raff; 3, Plaidy; 4. Lange; soon become tired and that there is first initials of celebrated musicians INTERESTING n?*ny interest>ng QUESTIONS. things by asking interesting? We are running it for the victory of this bird-singer and cently to listen to a graduate of a con¬ 5, Gade; 6, Dorn; 7, Clementi; 8, Hum¬ very liable to be a sensation of dizzi¬ and at the same time their leading OTIESTIONS thmgS y°u.can find questions will find your interests and we want to make it thl?k °f b's Poe™ as be,nS s.°™e servatory, one supposed to be a thor¬ mel; 9. Haydn; 10, Rossinni; II, Han¬ QUESTIONS. out by asking ques- thJs a fine ,ist; ness. You should have your eyes ex¬ characteristics, thus: ough musician, failed to hear any pro¬ 1. Alluring Primadonna — Adelina del; 12, Flotow; 13, Wagner; 14, Lizst; tions. Why, for in- T yvby do some pianos have three as helpful and valuable as possible. y?t gemfe withat Lnd warm”whh love amined regularly, if this is not done by nounced phrasing. The legato pas¬ Patti. 15, Balfe; 16, Sousa. stance, are Italian terms used in music pedals; others only two? What is the In the next issue we will resume the and deep feeling. His victory, too, sages, which were presto, were, very the physician in your schooL childhood of the great masters which must bave been won not by the great, instead of English and German, French tb;rd pedai for? badly executed. If the fault lies in the Nervousness is sometimes due to im¬ or Russian terms? Simply because it 2 How many kinds of staccato are we have had in preparation for some deep chimney-place, with winter winds pianist’s desire to play in correct metro¬ patience. You should not try to hurry A MUSICAL REBUS. months. Last month we considered outside, but on a daisy or cowslip or is desirable to have the comparatively tbere? nome time and at the expense of your practice hour through. If you Beethoven. Next month we will take primrose meadow, where the German few terms needed expressed in one lan- Why do they put dots after a noic . ... , _ . „ pwuuK «««».., ...-- smooth legato work and pronounced have not yet cultivated a real love for guage that all may learn, rather than ;nstead of wrjting the notes out with tbe mterestmg early life of Robert sky|ark and thrush and robin and soft phrasing, why not play a piece marked music itself, just remember that im¬ in several languages that would be t}es? Schumann. _ snrinespring. air cotlldcould helnhelp tbethe viol and sweswellll presto in Allegro time, or even Alle¬ Affectionately, patience or hurry will not make the comparatively impossible f n the music . ., the chorus. The singer’s contest, or gretto? students of different countries to com- 4' y . , ' . . Aunt Eunice. Sanger Krieg as it is called in German, It is better to play slower and cor¬ hands of the clock move any faster. prehend. The little child in Germany, 5- Why is e sharp or b sharp used that took place in the old castle, is now rectly than to play through in metro¬ The more you hurry the more impa¬ or France, or Spain, knows that the ?these notes cou,d be wrltten as tient you are likely to become. If you A FAMOUS MEETING. represented in the second act of Wag- nomic time, omitting notes, and without Italian term “Presto” means very quick f °r 5- regard to legato passages and phrasing. feel nervous while practicing just ask just as you know it, or perhaps should 6. When should the soft pedal be The picture on this page represents ner s °Pera Tannhauser. ...^_v__ the Italian sign that the meeting of a famous king and a The spirit of music long lingered lov- The teacher should be a model for the yourself whether you have been hurry¬ know it. In the early days of music as used? What pupil, for as a teacher plays, so does an art the manuscripts were written by means soft pedal? great master. Can you identify them? ingly about Wartburg. In 1685 she ing. Hurry is always bad and is in¬ the pupil. Let us then be more careful monks of the Catholic church. The 7- What is the best way to keep the Next month we will print the names of stood as fairy god-mother to a little variably a useless and preventable hab¬ with these factors—phrasing and legato seat of the church was in Rome, the fingers from “breaking in” at the the first ten readers of the Children’s boy born in Eisenach, and he became it. Many young people have been able work—as they are everything in inter¬ to turn the practice hour into one of capital of Italy and it was only natural knuckle joints? Page who send in correct answers. We one of the greatest composers of church * preting a piece of music. Lastly, let that the language of that country 8. What does a little straight hori- will also print the story that goes with music. His name was Johann Sebastian your motto be never to play a piece the pleasantest hours of the day by should be used. zontal line over a note mean? this well-known picture. Bach.—The Golden Age. faster than your technic will allow. avoiding hurry- THE ETUDE 201 200 THE ETUDE I THE “MERE" ACCOMPANIST. A FEW SIDE THOUGHTS. Follow; Sometimes Lead. much faster and brilliant introduction than the music EUROPEAN MUSICAL TOPICS. strings at once. (The latter was done also by Ole In the first place, in addition to the keyboard pro¬ following; but in all such cases the demand is very BY GEORGE HAHN. Bull, at a later date.) He could retune quickly and BY E. E. WENTWORTH LAYTON. ficiency referred to in the foregoing, tact to fol¬ plainly marked. On the other hand, it is very much BY ARTHUR ELSON. imperceptibly and would often put the strings up a low—and sometimes lead—the voice properly is rarer to find a sudden spurt called for in an inter¬ The safe, reliable, consistent and artistic ac¬ semi-tone for works in flat keys. This explains Teach Pedal Early.—Do not be old-fashioned, but absolutely essential; and to do this faultlessly and lude, and then generally only to attain a special The periodical attempts to invent a new companist is by no means as common as luc ex some apparently impossible passages in his own teach the use of the pedal as soon as the young pupil without seeming effort, at the same time bearing in effect. igetreies of vocal art would uemand. Who has not A New notation seem hitherto to have met with compositions. can reach it. A discriminative use of the pedal adds mind the general plan of attack, is the quintessence Discreet Ornamentation. heard the mechanically perfect player, he with bril¬ Often it may be wise, especially in pieces of Notation, failure. Our present system, with all With all these advantages, the quality of tone to the effect of pieces in the early grades, and to the of the accompanist’s art. liant technic and wonderful proficiency fairly ooz¬ Various styles of music admit of different modes a commonplace character, such as are written for its faults, seems to endure, though we produced was no less remarkable than the technical interest of the student. The tabooing of the pedaHor ing from him, who could never give entire satisfac¬ of treatment; the plaintive air and simple accom¬ the masses rather than for the cultivated mind, may not all approve of it wholly. A new one, how¬ skill he exhibited. In broad adagio passages, the the first year’s course might have passed in the “old tion as the “mere accompanist,” but who could over¬ paniment of Schubert’s “Lob Der Trane” is radi¬ to add ornamental notes here and there. Here ever, devised by M. Hautstout, seems to possess ad¬ days,” but the practice is not in conformity with notes were sighed forth with a depth of feeling like whelmingly overawe an audience when at the piano is a field that is really illimitable. To add grace¬ modern, up-to-date teaching. The young student cally different from the dramatic intensity of “The vantages worth investigating—at least according to the cry of some lost soul; yet their pathos was never alone? What such accompanists, or rather players, ful, well-sounding and appropriate ornamental now-a-days must be a Paderewski en miniature. Earl King.” Apart from the introduction, the Louis Laloy, who writes of it in the Mercure Musi- actually overdone, and they never passed the limits lack in sympathy, in appreciative understanding, in former would require little previous study, while, notes requires nothing so much as ingenuity. Magnanimity.—Be magnanimous—at least just. cole. The present division into naturals, sharps and insight, in finesse, they make up in bravura, pyro- on the other hand, no amount of preparation would The great majority of ordinary songs written call of true artistic beauty. Hold no animus against one who, perchance, has flats is to be abolished, and all notes of the chromatic technical display, machine-like execution—we might be too much to expend on the latter, or on any other for very little pianistic effort. There is nothing offended—but is contrite. He can “stand” your dis¬ scale are to be declared free and equal. Each one The life of a musical critic abroad is say brawn. And ths»e qualities, incomplete though selection from the romantic school. to hinder such a one from giving music of this kind pleasure, doubtless, but you cannot afford to suffer of the twelve is to have a sign, thus doing, away The Critic not all beer and skittles, but has its they raaj in themselves be, never fail to attract ad¬ A curious error of judgment is prevalent among the benefit of his cleverness. It is only safe, how¬ the reflex action on heart and mind of a narrow, un¬ miration, and earn many favorable encomiums from many players; this is to the effect that when there ever, to apply such treatment to the works of the with the necessity for clefs. The sign is to be in¬ Abroad. share also of scare and battles. We are forgiving spirit. Be just, at least, and cultivate variable, the different octaves being indicated by the apt to imagine such an individual as an press and public. is a singer and player involved in the interpretation lesser lights, as it would be little less than sacrilege breadth of heart and soul. Piano playing may be cold and still possess start¬ of music it is easier to attain success. This concep¬ to pretend to add to the lustre of works written by disposition of lines around it. Eight octaves are irresponsible autocrat, a sort of omnipotent Jove Touch and Tone.—Do not force the touch. Do ling dash and splendor; it may lack vigor and still tion, however, is refuted by the fact that players men who knew when to add every essential note and covered, beginning with the lowest C on the piano¬ who interrupts his banquets occasionally to issue not sacrifice quality to quantity. Let your touch appear inspiring to some minds; it may be “clangy” invariably find that they cannot depend very much when to be less elaborate. Indeed, it would be in as forte. The writer claims that in this system the irrevocable judgments on the affairs of the world. expand naturally along correct physiological and and still not suffer in comparison with the efforts of on the singer, but must be the prop themselves, and bad taste to add unprinted notes to real music as it reading of a full orchestral score will be easier than As evidence witness the well-known anecdote of the psychological lines, ever keeping in mind the open “near-good” players; but this style of perform¬ at the same time act the guiding spirit for two would be to leave ,any of them out. It is the scant, that of an ordinary piano piece in the two present much-abused Bruckner, at court, begging the Em¬ sesame of quality, and your tone will gradually grow ances will never suffice to accompany the human minds. Immature players, suddenly finding them¬ trifling and empty concoctions that contain splendid clefs. peror to ask Mr. Hanslick to stop writing about his broad and full, and will at the same time be a thing voice when at its best. On such occassions the selves confronted with this added responsibility, opportunities for a good accompanist to exercise of beauty to conjure with. This system has but one fault, according to M. works: piano must rise above mere sound. It must link it¬ often play “below par,” as a musical financier ex¬ ability, and thus make them sound a little more Chicago and Cincinnati.—It seems not so very Laloy—that of having an author. By this he means But all this is changing now. The critic of “L’Ex- self with the higher conceptions of art, must lose pressed it, and prove a disappointment to them¬ exalted. long since that the storm-center musical of the mid¬ to imply that the successful innovations have al¬ the dead and mechanical; it must fall little short of selves as well as to some others, more probably the Slip of Paper Habit. press,” of Lyons, was assaulted by three men who dle west swept from Cincinnati to Chicago. How ways come about gradually, rather than by the nature’s musical marvel—the human voice, uni¬ latter. One of those little popular foibles that seem accompanied M. Grenier, tenor of an opera com¬ time flies! Cincinnati certainly had a large fund of efforts of one man. Yet this is hardly true, in the versally recognized as a far superior instrument to Poetical Instinct. to meet with the approval of quite a large cir¬ pany appearing in that city. Henceforth, we pre¬ musical development before Chicago had a respect¬ light of musical history. Admitting the slow de¬ any fashioned by human hands. It must clearly There is such a thing as a musical poet. cle of singers is the habit of appearing before velopment of the neumes, or “fly-track” notation, to sume, critics will have to wear chain mail under able start. In those days Cincinnati had such mu¬ and resonantly portray every emotion that is trans¬ Many pianists can succeed without anything of an audience holding a slip of paper in lieu of a aid the memory in the chanting of the dark ages, their coats, and dodge into alleyways when opera sicians as Jacobssohn, Shraideck and Baetens. Cin¬ mitted to the hearer by the text and the voice. the poetical about their playing; but a good ac¬ copy of the music. Many singers deem this noth¬ cinnati was, perhaps, at her musical zenith when the we must yet credit to a single unknown genius the stars are seen in the middle distance. To accompany correctly and perfectly requires companist does not exist without this divine attri¬ ing to deserve censure. However, from the stand¬ Chicago Musical College, under Dr. Ziegfeld, with idea of drawing a line through them to represent In Germany, however, matters are arranged more more than technic, more than learning, more than bute. To distinguish the inner meaning and highest point of appearances, as well as other considerations, the note F. Granting the gradual growth from this peaceably, if not more amicably. A certain Leipzig Louis Falk prominent on the faculty, began to as¬ playing notes, if they be ever so unerringly struck. value of every phrase, and then to be able to trans¬ this is an expedient that should be frowned down sert itself, while Emil Liebling was then, as now, of the four- and five-lined staff, we must credit to critic, by name Maurice Wirth, stated that Nikisch Often one reads of a gifted accompanist; but more mit such a conception to the singer, as well as to upon, in spite of the fact that it evidently frequently a free lance in the musical arena. But what a rapid the hearers, is the highest office of a competent es¬ Guido of Arezzo the naming of the syllables of the was a man of coarse orchestral effects, and unfit to often of a gifted singer. In the case of the latter, avoids the purchase of a second copy of music. development in the city by the lake! Fred. Grant cort at the piano. The system complained of is that, when there is scale. Two men, Franco of Cologne and Walter conduct the delicate “Passion Music" of Bach. the reader may rest assured that no singer was Gleason, Clarence Eddy, A. J. Goodrich, Fred. ever thought gifted or was even half appreciated Many accompanists, without any particular di¬ only one copy of a vocal piece at hand, to write Odington, are said to have invented measured notes; Contrary to the French precedent, Herr Nikisch did and the bar-line, even though of unknown origin, was Asher, Reginald De Koven—all had a part also in without the accompanist being gifted also, though rections from the composer, know exactly what the words on a slip of paper. Then the singer, not attempt to get a strangle hold on Herr Wirth, probably due to a single individual. Let the writer its musical upbuilding, to say nothing of Theodore the “glory” hovering around a gifted singer is gen¬ notes should be played prominently and which generally finding no trouble in memorizing the mel¬ not despair; if the new system is as good as he or disarrange his solar plexus; but he did have the Thomas, who was a stupendous factor. erally always construed to be of his or her own should be subdued. Such secure beautiful effects, ody, simply reads the words from the paper, holding claims, who knows but what it may find favor? obnoxious critic haled before the court, and pun¬ William H. Sherwood and W. S. B. Mathews were making. Many a superior vocal artist has just where many another player will bring forth only a this before the gaze of the audience. Presumably, ished with a sentence of 300 marks’ fine or 30 early on the field, and ’twould be difficult to estimate missed eminence through a background of poor commonplace result. Such proficiency comes more great singers aye never so ungallant to their hearers; In the same magazine Alberto Bach- days in jail. the great impetus they and Emil Liebling have given playing, while many a fairly good vocalist has shone as a result of study than of anything else. Instinct but a large number of the near-great are less par¬ A New Life mann begins a life of Paganini—al- Again the list of musical novelties may be headed the cause of music in the “Windy City.” They have in splendor by dint of insisting on superior company and natural aptitude also assist. Beautiful bits of ticular. of Paganini, ways an interesting subject, because by works from the old masters. A new violin con¬ been long and ably seconded by such artists as at the piano. counter melody, conspicuously brought forth, a It may with propriety be asked, if it is not deemed of that artist’s strange personality and certo by Mozart, found in the Berlin Royal Library, Hyllested, Seeboeck, Harrison Wild, Middleschulte To preach as from a pulpit regarding the why sparkling effervescence of delicate tone imagery, any great hardship to memorize a melody, why not the many anecdotes concerning him, no less than be¬ and now published for the first time, proves fully and Fannie Bloomfield Zeisler, all working for a and wherefore, the right and wrong, of the proper well-balanced rhythm and proper accent—all these expend a little additional energy and memorize the cause of his consummate skill. The latter quality, worthy of that master, and forms an interesting greater musical Chicago. accompaniment to the voice is an arduous task, and are in the hands of the accompanist. As a modus words? For a singer to sing without reference to so often ascribed by the superstitious Italians to addition to the repertoire. Fidelity to Text.—Have proper respect for the in¬ one requiring a plentiful supply of that quality operandi to attain such an end, orchestral music is any printed page is always the best plan; or when the devil’s aid, was not the result of any mysterious Four newly published overtures of Wagner should alienable and God-given rights of the composer, and sometimes found lacking in singers and players, a safe guide. Everyone has observed the striking this is thought impossible, a second copy of the secret, other than the well-known one of hard work. also arouse curiosity. The first, “King Enzio,” was do not take the slightest liberty with the text of his and which is commonly called nerve. However,. to emphasis given to certain notes by an orchestra, and song should be secured; or, as a last resort, the In early childhood his father kept him busy at his given at Leipzig in 1832, with Raupach’s drama of music or the spirit thereof. enumerate a few observations called from watching how some phrases are rendered conspicuously, while inevitable slip of paper should be hidden behind a task with a severity worthy of that other domestic that name. The second, an introduction to Appel’s Of course, as every tyro should know, it is cus¬ a large number of ambitious accompanists may be others are left in the background. A consummate folio of sheet music. tyrant, Beethoven's father. In youth, he practised "Columbus,” appeared at Magdeburg in 1835. The tomary to play single movements from the sonata or of interest to many situated in a position to utilize player can always increase his conception of the Transposition. from ten to twelve hours a day. In later life, while third, “Polonia.” is a symphonic fantasie in honor of symphony, but these movements are practically com¬ them. beautiful by careful study of orchestral music, and The experienced accompanist should know how he stayed at a certain hotel, a stranger once watched that oppressed country. The last, based on “Rule plete compositions of and by themselves. True, Grasp the Details. by the thoughtful consideration of scores. What to transpose music, though this is a branch of the the great artist through a door-crack, and saw no Britannia,” was performed at Riga in 1838, and the when the complete work is played as a whole these In furtherance of this idea it may with pro¬ notes to handle exceedingly graceful and well is gen¬ art rarely absolutely necessary, as most of the vocal trace of his Satanic Majesty, but merely a tall, thin score rediscovered recently in London. movements act as a foil to each other, and the cu¬ priety be stated that the first duty of a good ac¬ erally left entirely to the resources of the accom¬ numbers that demand an extended range of voice man fingering incessantly at his instrument, without France, after celebrating the centennial anniver¬ mulative effect is intensified and clarified by the companist is to carefully “dig into” the spirit of a panist, and in no branch of his art does he find a are issued for high, low or medium voice. To trans¬ using the bow. sary of Spontini’s “Vestale,” turns again to applaud contrasts of mood and tempo. But, for all practical composition. He should analyze it. He should more fertile field for the exercise of a keen mind. pose a minor or major third higher or lower requires Another ridiculous story of Paganini explained his the success of Massenet’s “Arrane.” A suit from intents and purposes, the different movements of the seek out passages demanding special treatment; and It may be true that some composers mark and label considerable practice and not a little knowledge of wonderful facility on the G-string by stating that he Bruneau’s “Fate de l’Abe Mouret” has received sonata or symphony (as in the case of their old- by that is meant all those giving opportunity for every beautiful spot; but the majority do not, so theory; in fact, hundreds of good accompanists are had passed eight years in prison for killing his high praise also. In Russia, Rimsky-Korsakoff con¬ time prototype, the suite or partita) may be con¬ the display of subtle, beautiful effects, which de¬ that it is no wonder that a dormant and sluggish never called upon to transpose in this fashion. To sweetheart; that he had been allowed to keep his tinues active, in spite of his age. His newly finished sidered as separate and complete art-forms and ren¬ mand understanding on the part of the player, but mind finds little beauty in much music that is pal¬ shift a half tone higher or lower is the usual limit, opera, “Zolotoi Pietanchok,” will be given this year violin; but as the dampness of his cell broke the dered as such. Do not, however, commit the sacri¬ which can be readily understood by the appreciative pably great to the initiated. on rare occasions a whole tone either way is in St. Petersburg, under his own direction. upper strings, he was forced to depend wholly on lege of tampering in least degree with the harmony listener. This is the first step toward variety of Fast Interludes a Fault. attempted. In Germany, Eugene D’Albert has produced the the lower one for consolation. As he was already or the spirit of these classics. Nothing could be treatment. Many an otherwise excellent accompanist will per¬ new comic opera “Tragaldabas,” having for its before the public when eleven years old, he must more presumptuous or reprehensible. The same ad¬ Lightness of touch, grace of execution, fancy, in sist in playing introductions and interludes too fast. THE INJUSTICE OF MISSED LESSONS. hero a sort of plebeian Falstaff. The work is not have committed this terrible crime at the mature monition holds true in regard to the rendition of any conception, absolute requisites in piano playing Some seem to think that the proper way to play an wholly successful, but the warm reception of the It is the custom of music teachers in good stand¬ age of three, if at all! As a matter of fact, he was other composition of merit, even of the popular type. worthy the name, are as essential when the instru¬ introduction is two or three times faster than the composer’s “Tiefland” should make amends to him. singer will sing the rest of the piece, and every in¬ ing to receive payment for services in advance. In very particular about the quality of his strings, and So seemingly small a matter as the substitution of ment is subservient to the voice as at any other most districts teachers receive payment for a term In England, critics are united in giving high praise strumental interlude will be played in a similar tem¬ used different G-strings, according to the key of the single notes for octaves, and vice-versa, violates the time. Passages requiring a more robust and vigor¬ of twenty lessons in advance. In some districts terms to Ernest Austin, whose “Music-Poem,” Op. 31, for po. In fact it is often evident that many an accom¬ niece to be played. spirit of the composition and alters the artistic and ous handling must also receive generous considera¬ of five or ten lessons are made. Lessons that are piano, shows rare feeling. In Italy, Wolf-Ferrari, panist will sacrifice an occasional awkward note Paganini’s technique remains a marvel in the psychologic effect of the same. Be just to the de¬ tion. Proper support of the voice insists upon con¬ lost by the pupil through any other cause than sick¬ has turned aside from his incomplete comedy, “Honi rather than perform an interlude at a rational tempo, musical world. The painter Pasini, unable to realize fenseless composer and offer no violence to the text trast, variety and balance, and these can only be ness of so serious and protracted a nature that it Soit Qui Mai Y Pense,” to compose a lyric drama, thus gaining an otherwise faultless performance. To its extent, offered him a Stradivarius violin if he of his work. obtained by a thorough knowledge of the proportions would have been impossible for the pupil to have entitled “La Parure de la Vierge.” If either of these the intellectually well-poised mind such proceedings could play at sight an extremely difficult manuscript Mme. American.—How long! Oh! how long, be¬ of the various elements required by the music. Such attended a lesson, are accountable to the pupil. It is equals his “Donne Curiose,” he will have done well. appear amusing, though they are tinged with anoy¬ concerto. “Say good-bye to your violin,” answered fore our fair American song-queens will abjure the comprehension is never acquired save by careful, a great injustice for the pupil to expect the teacher ance. Some players get into this habit from no other Paganini, who then played the work without a flaw. French prefix? Surely, when our charming artists assiduous, preliminary segregation; the root of all to make up lessons for any other cause. The teacher reason than to show off how much faster they can In later life, Paganini was secretive about anything An hour of thought is worth more than ten hours of of the softer sex are capturing such a goodly num¬ poor accompanying is the lack of it which practically makes a contract with the pupil to reserve a certain play than the vocalist can sing. “What does it mat¬ concerning his method of playing. His friend Guhr, mechanical practice. Paderewski, before interpreting ber of important European positions in grand opera amounts to playing in the dark. number of periods. These periods once reserved can ter ” they reason, “if the artistic level is slightly low¬ unable to draw him out, set to work watching the a new program, usually lies awake at night, mentally they need no English prefix to their names! They So far the battle is only planned; but it must be rarely be filled by the teacher without loss. The ered; the great majority in the audience may not great virtuoso, and came to these conclusions, among rehearsing every piece, with every detail of technic sing in Europe as bona fide Americans, and indeed won- It requires more than planning to spell suc¬ pupil should be responsible for all lost lessons which notice this shortcoming, while all of them may ad¬ others: and expression. Then he feels sure of himself and the American soprano is quite the vogue over there. cess. The most intelligent musical strategy. will the teacher has not previousy agreed to make up. Paganini used thin strings, and was thus enabled knows that his memory will not fail him, even if he mean only disaster unless the ability to follow it up mire my celerity.” . Even Frau Schumann-Heink is compelled to have If it is advisable to play an introduction or inter¬ to obtain high harmonies with comparative ease. should be tired. A better way still would be to go is not lacking. It is useless to design without a rea¬ that ubiquitious “Mme.” placed before the front sec¬ ludes faster than the rest of the piece, they should “No theory has ever been invented that can create He empoyed different G-strings, as already men¬ over the program mentally on the morning of the sonable expectation of achievement, and to. attain tion of her name! I said “Frau”—’tis now “Mrs. be performed only very slightly faster, unless marked art, but art in its development, in its evolutions, its new tioned, and even used special instruments for certain concert, or the day before; for it is in the morning this desideratum all the elements of solo playing are Schumann-Heink, for that splendid artist has adopt¬ otherwise. Of course, some vocal pieces, especially creations, produces the new theories* that you, step by keys. He used a bridge that was lower and less con¬ that the memory is particularly fresh and reliable, tn a great many instances absolutely essential—and ed America and been “bom again.” All capable those from the pens of modern writers, demand a step, exhume and scratch off.”—Mascagni. vex than usual, which allowed him more freedom in and that impressions are most firmly fixed in it.— critics, both at home and abroad, pronounce our sometimes just a little more so. the high positions and enabled him to touch three H. T. Finck. soprano voices the finest in the world! 9 r

THE ETUDE 203 202 THE ETUDE STANDARD C O M P O S I T IONS |^EW CATALOGUE. We have just I am very much pleased with my ‘Dr. flat by the famous English organist and In addi- THE ARTISTIC PLATINOTYPE Riemann's Dictionary of Music.” Just what PASTER MUSIC. Those who have RLANK MUSIC PAPER. - —^TTARD has achieved wonderful FOURTH GRADE. The enor¬ issued a new edition of our sheet every student of music should have.—Mamie composer, E. H. Lemare. It is very ^ not already made preparations for D lion to our regular blank books POSTCARD has achieved xvonde^ mous success of the previous three vol¬ music catalogue, containing everything R. Young. effective, when properly registrated. musical services on Easter Day will with music staff ruling, made in three success m presenting Wke repro¬ I have received the work “Chopin A.!bum” umes of this series by W. S. B. Math- published up to within a few weeks, and must say am very much pleased with Pianists may play from this copy by find it to their advantage to write us for sizes, we have found there is quite a duct.ons of famous musicians, fhey s-ws will in some way indicate what and in which the number of each piece it. An excellent collection and splendid in following the directions given in the a selection of services, anthems, or demand for loose sheets of ruled music are inexpensive, but wonderfiil aids to style and technic.—Lydia C. Mays. •nav be expected from this fourth vol¬ is given. Every regular patron ought I have received the work "Chopin Album” footnotes. An analysis of this piece by solos suitable for the occasion. We paper, and we have made up for this the study of history. The diffused at- ume. The work is intended to accom¬ to have a copy of this catalogue as an and I am delighted with it. I feel you have Dr. Mendelssohn will be found else¬ carry a very complete stock of the purpose packages containing one hun- tention is quickly changed to fively in- made me a Christmas present and I feel pany Mathews’ Graded Course and will assistance in making up orders. We most grateful to you.—H. U. Kclton. where in this issue. above and would be glad to make up a dred sheets 8*4 x7 inches in size with terest when a speaking likeness of the make one of those handy volumes that would be glad to mail a copy upon re¬ I have received the work “Chopin Album.” The four-hand piece is an arrange¬ special selection in conformity with the extra wide spacing and extra heavy rul- musician under study is presented in It is the best collection for the money ever ire so welcome to every piano student. quest. Aside from its value as assist¬ seen.—A. A. Brown. ment of von Blon’s “Gnomes’ Patrol” wishes of our patrons. A list of the ing. The price is 25 cents per roo a convenient form for individual study, The very best material we have in our ant in the above direction, it is also one I have received two of the works ordered (originally for orchestra). This is a publications suitable for Easter will be sheets. We havfe added to our senes of post- in advance at special price. “Schumann’s catalogue for this grade will appear in of the most completely representative Album for the Young. Op. 68." and the characteristic piece of much merit, full found in the advertising pages of this In this connection we would also cards the following selected lists, this volume. We consider this grade lists of standard teaching material to “Chopin Album.” I find them all that could of color. To play it effectively the journal draw attention to Mark’s writing book, Russian Composers Postcards—Cui be desired.—Mrs. C. M. Younglove. MUSIC TEACHERS’ SUPPLIES. one of the most important of the series. be found anywhere. The character of I have received the work “Op. 68 and Op. dynamic indications must be carefully J . , . . „„„ which contains pages ruled for music Glazounow, Rachmaninoff, Rimsky- 15 Schumann.” It is an excellent edition.— Notwithstanding the general depres- We It contains just the kind of music that our publications is well known to the observed. hisSOkinrdePissued or advert1Ld and memorandum interleaved; both of Korsakow, Safonoff and Tschaikowski. A. H. Obery. Both the songs are novelties by ■sion in business, it is with considerable thing of thishis kind issued or advertised. ^ items wi]] be found o{ great Northern Europe Postcards—Dvorak, the average, progressive player is look¬ musical profession, and a catalogue I am much pleased with “First Steps,” ing for, and can be used for about the such as ours should be within reach of by Presser.—Mrs. Olive N. Berry. American composers. Harry Hale - pleasure that we can say that the music by other publishers, and our well-estab- knce~tcTall teachers and to all Grieg (last photo), Sibelius, Sinding I have received the work “Youthful Di¬ business' mhas been- affected' to a very lished" ~ reputation“ ““ for"" promptness" s ana c._ , third or fourth year of study of the every teacher; it is not merely a work versions." and consider it the most wel¬ Pike’s “With the Breath of Roses,” is classes. Sjogren and Smetana. piano. The pieces have all been thor¬ of reference, it is also an inspiration. come edition my studio has had for some an expressive song with a delightful small extent, certainly our own per- accuracy may be depended upon in this time. This, with “Tunes and Rhymes” by French Composers Postcards—Bizet, oughly tested, having gone through waltz refrain. E. Mac Lean’s “Sing sonal experience is to that effect. Our branch of business, as well as in other Cj CHUMANN ALBUM. The Schu¬ the same author, is indispensable to any TDETURNED MUSIC. Perhaps the Charpentier, Franck, Massenet, Saint- many editions, and are particularly progressive teacher.—.Von Bowron. Me a Song of the Lad that is Gone,” is January receipts show considerable in- directions. < mann Album is now ready and the As a “feast of good things” the December one point in our business which Saens, and Thomas, adapted for just this grade. Those who a very sympathetic setting of one of special offer on this work is withdrawn. Etude certainly wins the pain to date.— causes more friction with our patrons, Italian Composers Postcards—Leon- have seen the other volumes of Mr. Mrs. M. J. Emerson. Robert Louis Stevenson’s perfect lyrics. "ir'h^”r«Jry ir/who.. marches foe foue hand?; and more dissatisfaction, more positive cavallo, Mascagni, Palestrina, Perosi, As this is a volume such as should be Regarding the “Mathews’ Course.” I am Mathews will know just about what to nsing it and find it most satisfactory.—Mrs. Both songs are suited for recital use. in account, is the disre- Puccini and Verdi, in the hands of every earnest student, expect in this case. J. B. Horten. th! lyS/mof'd.Xg lection*' m.'rches'fo'! (out h.nds. As gard of one simple rule: In returning >j>be prjce Qf eacb series 0f six cards it is worthy of a place in any musical I have received the work “The Young Duet This will be the last month that the Players." It follows nicely “Childhood Days," library. It contains 35 pieces in all, se¬ by the same composer, and fills a need in mv work will appear on special offer, which lected from the very best and most teaching. I consider them musical, and both is 20 cents, postpaid. parts being of the same grade, it fits in with irFlLf «n!“iFE.p"i - ■w popular works of the masters, all care¬ my work timely.—Haney Molt. AaLeatgus°send catalogues and full ex- four-hand playing are interested in Z^not done it is next to im- Violinists. We have in course of VELOCITY STUDIES BY G. fully revised and edited. Although the our cvstem of dealing, good marches arranged in duet form. n t s , preparation two new series of Platmo- V HORVATH. We will publish in work is no longer on special offer, we Perhaos the most carefully planned sys- Four-hand marches have all the rhyth- possible for us o -t type Postcards of Violinists. These a short time a new set of studies ar¬ shall be pleased to send it for examina¬ J"1Zadvantageof the patrons aa mic swing and entirety of orchestral ar- package comes. The post office at ^ ^ q{ same sty,e and finish as EXPLANATORY NOTES ON OUR ranged and selected by Geza Horvath. tion to all who may be interested. MUSIC PAGES. is used by any firm in any business, rangements. This work will contain prt^ent does: not alway P Great violinists and are well suited for The author is the head of a musical in¬ Th^discounts the terms, the On Sale some of the best marches in our cata- third-class matter, express bvindles do framing The series Celebrated Violin- stitution in Vienna and is one of the A fine collection of musical numbers Professional Want Notices are inserted at a TESTIMONIALS. cost of five cents per word, cask with order. plan, are all on the most liberal basis logue together with others which have ™ *1 taken intoconsideration that bts wil1 consist of Ole Bull, Elman, most successful pedagogues in Europe. will be found in this issue, covering a Business Notices, ten cents per word. cash, nossible and these are only a few of been especially arranged and composed When it is taken into consiaeration t Petschinkoff, Thomson and He has selected these studies from all wide range of interest and usefulness. with order. Do not have replies directed to- this office. the Targe adJanUges'hatare to be ob- for the collection. All styles of Vieuxtemps. The series Renowned Vio- imaginable sources and they are sup¬ I have received tbe work “Young Duet As it is fitting that E. A. MacDowell marches known from the modern of returned mail matter every day, not ^ CQm rise De Beriot) Bur- • Players," and think it is a very bright, at¬ should be represented in this number, posed to be the first velocity stud:es to tractive little work for beginners. The A GRADUATE VIOLINIST of the Brus¬ The entire business is simply the re- march or two-step to the grand march ^ ™entXgeSU“%n7crn rea^ze tester, Mossel, Wieniawski Wilhelmj, be given a pupil. The selections are melodies are so tuneful and beautiful that we have selected one of his “Six Poems sels Conservatory, director of band and they appeal at once to the ear. While all the after Heine,” Op. 31, “The Shepherd choral, and his wife, an accomplished pianist, suit of an effort on the part of the w,U‘be found in this volume. he difficulty of identification. Even if and Veczey. The price of each senes from all sources, such as Beyer, Czer¬ numbers have that sparkle and rhythm so would like to establish a permanent position founder to lighten the work of the The special introductory price of this j ig Sgnt at the same time notify- o{ slx cards ls twenty-five cents, post- ny, Muller, Bertini, Haberbier, etc. attractive to a child, they are not wanting in Boy Is a King.” This piece contains In the Southwest. Would like to communi¬ that musicianly workmanship which —*- some touches of the noted American cate with a town desiring a teacher. Ad¬ tcacher in any and every way possible, work will be 20 cents, postpaid, if cash the safest meth“od is to place the Paid- We predict for this work a very useful the child's taste for al‘ “ ,t *-Is best‘ in music. dress P. V., care of The Etude. composer’s most characteristic manner The founding of this paper, The Etude, accompanies the order. name and- address- • upon the• outside■ • • of TIn - addition we have cards of the future. It is practical, pleasing and —Nellie R. Cameron. I have examined the work “First Sonatinas,” of treatment. It is a pastoral move¬ was the origin; the business came as a the package. Joachim Quartette and Mossel Quar¬ modern. and I have for years been looking for Just ment of poetic and dreamy character natural consequence, and it has ever 1 'WO NEW BOOKS OF CATH- tette, which may be added to either Our price will be only 20 cents and such a work, an album like this of "Sonatlnus" and must be rendered with taste and been the desire and constant aim of 1 OLIC MUSIC. Catholic Choir TVTEW EDITIONS. It is seldom that series for a further cost of but ten the volume will be of considerable size. the whole organization to keep that one and Sodality, in two volumes, by A. H. Let us have your order at once as the _ __;isfied with this collection.—Julia J. warmth of expression. Liszt’s tran¬ ■L' we have to mention the reprint- cents, t ^ D. Sultan. scription of Schubert’s “By the Sea,” is original idea constantly in mind. As Rosewig. Retail price, $1.50, each vol- ing of one of our works as quickly as entire manuscript is in our hands and I have received the work “First Sonatinas,” Regular price, $1.00 each. Special 50 cents a splendid example of pianistic tone¬ volume. F. A. Lajoie, Meriden, Conn. the business grows the effort to live up Ume; our price, 50 cents, each volume; we now mention that of the Compre- QRDER BY NUMBER. As most of will be passed through the press at and find it an excellent second grade work, with phrasing such as is seldom found in the coloring. It is one of the happiest of original high standard grows postage extra. hensive Scale and Arpeggio Manual by rour'nr regular patrons are amaware, the first grades. Horvath’s “Eight Melodic EXPERIENCED TEACHER OF PIANO de- more and more difficult. We have, nev- We would call your attention to these Walter MacFarren. ‘ ' sheet music publications of this house Studies in Modern Technic” is one most Liszt’s shorter transcriptions, the sires position for coming year. Diplomas, MEW SONGS WITHOUT WORDS, worthy of mention. The technic, phrasing medals and references. Ethyl Cannon, Els- strong dramatic quality of the original berry Mo. ertheless, received during the past tWQ voiumes which we desire to make 0ur Qwn edft;on 0f this English are keP4 on tfle shelves in numerical by Richard Ferber, will be con¬ and melodv are excellent, and it is also a month the following unsolicited tesh- known to an Catholic institutions. wQrk has on] been on the market a order, each individual piece having its classical work.—M. M. Pulver. being greatly enhanced. Koelling’s tinued on special offer for one month The “First Steps for Beginners” came duly “Hungary” is a genuine “Hungarian PROMINENT NEW YORK TEACHER monials among hundreds of others. We These books have just been issued and f months and has met with instant own number. This arrangement greatly to hand, and It is just fine, just what I want. offers opportunity to a few enterprising vocal longer, although the book, is very Rhapsody,” cast in rather smaller mold, students to earn tuition and salary. Ad¬ seem to have rttfed somei .nd we contain a great deal of all kinds of ^or"g not only The pTstusersof the filling of orders, and it Thank you very much.—Ada C. Merrell. nearly ready. This volume is of rare This Is mv first experience with “On Sale well within the power of intermediate dress “Benefit,” care of Etude. certainly desire to satisfy every one of mus;c for Catholic choirs and also a , En_lisb editi0n but has made manv has been our constant aim to impress music and I have truly found it most con¬ educational importance, consisting of a grade students. It will serve as an ex¬ our patrons in every item of their deal- number of most excellent solos and friends among American teachers The uP°n patrons the advisability of writ¬ venient and satisfactory.—Miss Vanchey E. beautiful set of modern lyrics for the cellent preparatory piece for the larger ings and we guarantee to do it. duetS- Each voiume contains about 59 work contains all the scales written out inS their orders for our own sheet pianoforte, which, in addition to being works of the same character. Henry ••I wish to express my great satisfaction pieces, so that our price is less than one jn fu,j in all tbe varj0U3 forms with music by number only, thus ^ avoiding unusually interesting and attractive in Weyts’ “Valse Caprice,” is a brilliant 1 my dealings with you, and appreciation cent apiece for this music. m. the necessity of writing out the names I have been much pleased with the new TnE METROPOLITAN SCHOOLS OF themselves, may be used as a prepara¬ music. Mendelssohn's “Kinderstucke” and parlor number which must be taken MUSICAL ART, Carnegie Hall. New York, eom^up70^9 buetcehasd'exef?ded,hmy “erpecta- There are in this volume 13 O Salu- plete^ork of” the ”wndhthaT Ji"as "ever of the composers and titles of the tion for the “Songs Without Words” of also the "Croisez Studies” and Wach’s “Etudes at a rather rapid pace in order to at¬ and Newark, N. J. Normal students (teach¬ _ Nocturnes pieces. This means either the saving Mignonncs” and “Horvath’s Studies.” It is a ers or others) contemplating a summer course deserves^particul^r pAise^Vrior,1 superior, ™that, tan, five of, which. , , are, for . solo... voice._ been published, and our_ price is « eav,nflr Mendelssohn and for other classical pleasure to teach them.—Katharine D. Bond. tain the best results. The melody of of studv are requested to correspond with the --it is Invaluable.” The same thing holds good with Tan- sjderably less than the English edition or losing of a great amount of time, in works of similar grade and scope. I am verv much pleased with the copy ot the middle section should be brought Normal Institute, M. S. of M. A., with refer¬ Miss Ada I. Hebdman. ... — making up orders, especially when the "Anthem Worship" which I received a few ence to the Russell methods of music study. turn Ergos, Ave Marias, etc. Besides and subject to a very liberal profes- These pieces are all of the earlier days ago. Every number in it is good and out with singing tone. Engelmann’s They reach through a deep subject; a thor¬ “I wish to take this opportunity to thank these there are a large collection of s;0nal discount, order is written from the catalogue grades, easier than those of Mendels¬ it will prove very useful, I know, for mixed "Arcadia,” although chiefly in waltz ough course of study, eliminating the unneces¬ you for your unfailing courtesy for so many miscellaneous compositions both for itself. choirs.—Edna Famhar sary, leading the student to a mental grasp of Another work to be reprinted sohn. They are all melodious, expres¬ time, must be treated with considerable the art: practically, theoretically and as to vears: your promptness in filling orders and , , , , . r __, - ' School of its spirit. The Summer Normal, 5 weeks. ■for many acts of kindness. We have taken solo and for choir. These two vol- Third Volume of the Selected Czerny We have constantly tried to impress sive and harmonious, well contrasted in it I wanteu. _ --— I freedom, using the tempo rubato The Etude for^umes contain the best collection of could not be better pleased.—Alma Jones. t in rders ‘for music contain tne Dest collection 01 Studks CLiebling). Numerous editions our Patrons with this idea, and many rhythm and musical content. All I am well pleased with the game of "Triads throughout. This is a very tuneful 0 be more than music for the Catholic Church of which q{ thg other tWQ volumes of this set of them follow it very closely; all such, teachers should extend a hearty wel¬ and Chords.’’ Many thanks for so promptly number of the modern intermezzo type. ; always appre- we know< if $1.00 is sent we will send filling mv orders.—Miss Elizabeth Lovell. have been printed. It is seldom that a whether they know it or not. are pretty come to this new work. Frysinger’s “Dreams” introduces an THE EARNEST STUDENT will be inter¬ I received your “First Sonatina Album.' ested in the “Tausig,” Hand Expander and Mbs. C. H. Anheibs. these two volumes postpaid, but if work of this kind has attained such f.ur.e to. fet their orders filled, just 1 The special price in advance of pub¬ I congratulate you upon the choice of the American composer not previously rep¬ - — • i i • .:ii worK 01 inis Kinu nas aitamea sucn ^ j — pieces ; they are very nicely written and good Finger Board for Shaping and Enlarging the information with re- ®le voIum*s are ordered. our pnce will popu,arity SQ quickIy) but these studies bttle quicker than those who order only lication during the current month will resented in our music pages. This is a Span of Piano-playing Hands. Price, $1.00- Let us send full ii and very pleasant for young pupils.—8. S. hobe m50 outs.cents, Withwith postageoostacre additional. j;epresenting a caref„lly graded, pro- by tltles- . Numbered orders receive be 30 cents, postpaid, if cash accom¬ Joseph da 8. graceful bit of writing somewhat in the by mail, with instructions. Address, Essex gard to our business, or in fact upon Publishing Co., 853 Carnegie Hall, New York. W«Sh„< only . v„y Wgd nTb,r SM'aS.^TbiUTbo^Th,'. a panies the order. I was so pleased with those you sent me in style of a fanciful ballet movement. any subject that is in any way an aid to the “On Sale” music that I shall use them GOOD PI ANI ST.—Experienced teacher, that we will depose of at this n°m«ual consisting of the careful selections from numbered have to wait until the extensively this year.—Miss H. O’Conner. Scheel’s “Dance at the Fair,” is a very the music teacher or music student. fPABLES SET TO MUSIC, by Geo. foreign trained, desires to learn of opening in. Please send one-half dozen of your nicest clever characteristic piece which must town imoderate size) for high-grade work. C‘ //ter, !l-y “A b P all the works of this voluminous writer. bers are Iooked UP and placed opposite r L. Spaulding, is now ready and and latest pieces about fourth grade. Your References exchanged. Address Box 615. chased for double this rate. presents an unparalleled and unequaled e.ach This takes more or less music is always satisfactory.—Sister M. Louis. be played in a boisterous manner with the special offer is herewith withdrawn. I thank you for your prompt attention to Lebanon, Tenn. o a PRnr.PlfSSTVF STUDIES FOR set studies in attractive and conven- ^n16 which, to a certain extent, is at The great success of Mr. Spaulding s my orders.—Jf. Marie Zwicker. firm accentuation. It represents a T. amnm nlnocnflpieased withurltb VAUPyour “Or“On Sale” music. “Kirmess” scene with peasants dancing. THE ORGAN bv Geo E Whit- *ent f°rm. Not the least important the customer s expense, since it tends two previous works, “Tunes and —Virginia Ogilrie. pianoforte compositions oy tms tai- {’orythe primer, but point with regard to this work is the to delay the filling of the order, Rhymes for the Play Room” and I am In receipt of my advance copy ot There are three good teaching pieces ented composer, whose obituary notice are aDout reaay ior rne primer, uui ; ; editing and fingering and the “Youthful Diversions,” is sufficient "Scales and Arpeggios.” by Walter MacFarren. lying in the earlier grades. Spaulding’s FOR SALE. Library of appears in another part of this issue, the special offer will be continued dur- ^us’annota!ions bv fhe w^^11 known KAYSER’S STUDIES FOR THE It is fine, and Just what I have been looking “Sleep, Baby, Sleep,” is a real little about 1.400 copies, consisting of the standard guarantee of the excellence of this new for. I shall send an order for several.—Miss vocal studies and etudes, songs classic and The work was written when his resi- ing the current month These studies copious annotations ^‘gj^-^own IV VIOLIN> Qp 2Q> BQ0K wi„ F. M. Williamson. , „ . cradle song, a real first grade piece work which we shall be pleased to send Just received "MacFarren’s Scale and Ar¬ modem for all voices, securely bound In dence was abroad. The poems are are the best of the kind we ave ev Th k • ... . be continued on special offer one month for examination to all who may be in¬ peggio” book. Like your new edition very which may be played or sung. Pieces muslin nnd covered with manilla paper, after Heine. Each one of the pieces seen, and they are bound to meet with The other work reprinting this month longer, after which it will be withdrawn, much indeed and will certainly use it for my of this type have become very popular. numbered and catalogued. Also, from sixty terested. to one hundred copies of the Oratorlas. contains some one poem of Heine and great success. In our opinion ey wi s ^ a™ S°" Tbe many teachers who use this set of pupils In the future.—May McAdam. Forman’s “First Dancing Lesson” is an Elijah. Messiah, Creation and Stabat Mater GONGS FOR CHILDREN is now I am recommending “MacFarren s Scales the music is illustrative of the poem, soon hold a place in the regular curr.c- cent collect.onofeasy f™r-hand pieces. studies and students who are about to to teachers as a long-needed want supplied at easy waltz movement, but little past the (Rossini), and select choruses. Prolonged' ^ ready, and the special offer on this illness the cause of desire for sale. Address, One of the compositions appears in uU of teaching works for the organ, this album comp.led by Dr. Harthan, take them up. should not fail to avail last. The minor scales have never been first grade in point of difficulty, that “L,” 857 Washington avenue, Findlay. ’Ohio. work is withdrawn. This is a splendid printed in 3d or 6th or 10th before, the com¬ this issue. The rest of the volume is Mr- Whiting's ability as a composer J p • ..w themselves of this opportunity of pro¬ posers of various scale books have always will be liked by young pupils. Wil¬ collection, the best of its kind ever KNABE AND CHICKERING. NEW UP¬ of a similar nature. and player and his_ long, teachnig Teacher^and^Teacher and Pup.l^Pupil collect,o„.__collection. The curing a copy of thePPork a/so ,ow a said “minor scales in all the keys, etc., and liams’ “Song of Spring,” is an excellent RIGHT PIANOS, sacrifice prices. Rebuilt at a similar nature. ~ ~ ““ —°. . . , „ curing a copy ot tne work at so low a offered, containing a wealth of original the teacher had to do the rest of the work — inis will ue me last moiiin lor me *-- .- * » i j j • . teaching piece of the early third grade, Steinway, cheap. Other bargains $125 up¬ This will be the last month for the perience fiSrf and Our new editioTTas' been very material, suited to all purposes to which wards. Wm. Scherzer, Philadelphia. special offer, and all who desire to take f°r ‘he preparation of a work of this graded and varying as to style and SiThus/far

204 THE ETUDE T H E ETUDE 205

AN OFFER TO OUR SUBSCRIBERS STACCATO AND LEGATO. REVIEW OF NEW PUBLICA¬ one and all progressive teachers who TIONS. desire to keep well informed upon con¬ TO AID IN SECURING Humor, Wit and Anecdote. temporary vocal theories and then use “The Elements of Musical Expression," their own judgment in selecting ideas The Brookfield Summer School of Music Paolo Tosti, the composer, has an “What’s this?” growled the director. Miss Jessie L. Gaynor (Published by f°r use in their own work will do well New Subscriptions odd hobby—that of upholstering. The “Mr. Director,” said the pupil, “I Clayton F. Summy). Price $1.25. to secure this book. writer of “Good-bye” is teaching when wished to produce an effect that I Miss Gaynor has written a most ex- Cod and Music, by John Harrington The unprecedented success and growth of this school is the strongest argu¬ not composing, and when he is not thought could best be produced by cellent book for all who are in any Edwards (Published by the Baker & ment for its usefulness. For the low price in the second column teaching he is upholstering. Every way interested in the musical educa- Taylor Company, New York). Price we will send a year’s subscription to The Etude, and the work mentioned, and also chair in his wife’s drawing-room was Cherubini scowled. “You thought to tion of children. It is one that every $I-25- The 1908 Session will open Wednesday, July 1st, and close Tuesday, 9}ne to the person sending this subscrip¬ upholstered by Tosti himself. He is produce a good effect upon the audi¬ teacher of the young may read with This work is a series of co-related tion the regular premium as mentioned continually on the lookout for fine old ence if you suppressed two measures?” Aug. 25th. The closing concert occurring Monday Eve., Aug. 24th. r Premium- Li~-List, sent—-- c applica-- profit and pleasure. Although de- essays upon music and indicates the chair frames. All he finds he buys and “Yes, sir.” signed for use in kindergarten, it is writer’s erudition and comprehensive sample copies to aid in securing The daily Class Instruction is divided between Theory, Choral Instruction, subscriptions. upholsters, keeping the finished prod¬ “Very good,” added Cherubini. “Sup¬ of value to the teacher of individual reading. His style is most pleasing uct for himself or sending it as a gift press the rest; the effect will’ be better pupils as well. The opening phrase of and his deductions sound and convinc- Normal Sessions, Recitals, Musicals, Lectures and Concerts, which, with Room to some friend. still.” _ Cash must accompany all orders. her introduction “Music education ing, although it is not a book with any and Board for 8 weeks, are included in the session price of $100.00. rrKThe" articles-- can "-1be sent Kt any ad- Missed His Vocation. should begin with right hearing” in- direct educational purpose, nor is it Private lessons, optional as to frequency, are extra : ranging from $1.50 to dress. Musical Manager—“Now, candidly Everything will be delivered free. Reginald de Koven, the composer, dicates the course that Miss Gaynor one that a teacher may employ in $2.50 each. talking of the performance of Wagner¬ The order and the new subscription tells of a grocer and a druggist who at¬ has endeavored to pursue and if this direct educational work, it is, neverthe- Dr. George Coleman Gow will head the department of Theory and Musical must come together; under no cir¬ THE WORLD RENOWNED ian opera, what do you think of our cumstances can we fill an order at tended a Wagner concert. As the pro¬ book or any series of books of this less, a book with a beautiful message, History, Mr. Herbert Wilber Greene the department of Voice, Mr. J. Adam Hugo company’s execution?” these prices after the subscription gramme did not please them they be¬ kind will cultivate right hearing much and an ennobling purpose, which ad- has been sent in. Candid Critic—“It is not execution, the department of Piano, Mr. Cecil Wright the department of Organ. There will gan talking on music in general and will have been accomplished and one vanced students may reflect upon with Price Price my friend; it is assassination.”—Balti¬ be many department assistants, Lecturers, and Artists, combining to make a of with ‘on Wagner in particular. of the greatest evils of elementary fine opportunities for intellectual gain Book Etude SOHMER more American. teaching force of exceptional strength and efficiency. Anthem Repertoire ., “Another example of the fact that musical education in America will have and spiritual elevation. The chapter Bach, J. S., Inventions. every man wants to do something out been at least assailed. Unless we teach upon “Musical-Therapy” as well as For Prospectus, address Baltzell, W. J., History of Perfectly Truthful. Music . of his line,” said the druggist. our pupils to hear rightly we will never that upon “The Altruistic Art” is well Beethoven, Selections from “I really don’t believe that you “That’s all right,” assented the have great musicians in America. worth reading. Piano Works . * „„ particularly wanted to hear me sing,” Chopin, Nocturnes, Complete. 75 grocer. “Now, I’m a grocer, but I’ve "First Home Studies for Ten Fingers," A Desk-Book of Errors in English, H. W. GREENE Chopin, Waltzes, Complete.. 60 1 70 said a young lady coyly. “I did, in¬ always wanted to be a banker.” by Calvin B. Cady (Published by by Frank H. Vizetelly (Published by Chopin, F., Lighter Com¬ deed,” her admirer protested. “I had 864 Carnegie Hail - - NEW YORK CITY positions . 1 00 “You’d probably fail,” added the Clayton F. Summy). Price 75 cents. Funk & Wagnalls). Price 75 cents. Clarke, II. A., Harmony ... ' 2 00 never heard you before.”—Pick-me-up. druggist. “Look at me. I’m a success Clarke, H, A., Pronouncing This is the third volume in Mr. A valuable little book for all Dictionary . l 00 2 00 as a druggist, yet I’ve always wanted Cady’s unique series entitled “Music musicians who write and desire to use Clarke, H. A., Students’ A bishop, staying overnight in a to write a book. This man Wagner Pocket Dictionary . 25 1 60 country house, was awakened in the Education.” It consists of a number the English language with propriety. Classic and Modern Gems for tries his hand at music. Just listen to of simple melodies that the author in- - : : SHEPARD PIANO SYSTEM ; Reed Organ . 1 00 1 85 morning by hearing his hostess singing it. And yet we all know he builds good tends shall first be sung by the voice HOW TO STUDY BACH Concert Duets. 1 00 I 90 a well-known hymn. At breakfast he parlor cars.”—From Success. Cummings, W. H., Rudiments 50 1 65 remarked how sweetly the hymn had and then sung “by the fingers of the “Take Bach home with you and'eom- Summer Normal Coarse-—June l»t to October 1st. Czerny, School of Velocity, Correspondence Course at your convenience. Op. 60 175 sounded. “Oh,” she said, “I’m afraid Musical Limerick. pupil at the keyboard. To teach mune wJth him, study him with loving Czerny (Leibling), Selected you must not credit me with a special melody there is written an attractive diligence, taking first what happens Personal and Mail Courses combined without extra cost. Begin now to prepare (by mail it Studies, 3 books, each.... »u r »a A tutor, who tooted a flute. struedon) for the Summer Normal Course, Doubling the Results, and gaining a deeper insight ini Duvernoy, Op. 120, Complete. 50 1 70 love of that hymn, but it suits me to Tried to teach two young footers to contrapuntal design which the teacher most to strike your perSonal fancy—for Engelmann, 24 Pieces for is supposed to use as an accompani- even in Bach there are some thi the Principles of Modem Teaching. Small Hands. 50 170 time the boiling of eggs. I sing five tute; Send for valuable booklet on Piano Teaching. ment Like all of Mr. Cady s work, which almost one can like_and First Parlor Pieces. 50 170 verses for soft-boiled eggs and seven Said the two, to the tutor, First Recital Pieces. 75 180 Courses in Voice, Theory, Organ, Choir Training, etc. for hard-boiled ones!” “Is it harder to toot or this book is individual and different. thus habituate yourself to his style. I Fischer, J. C„ Piano Tuning. 1 75 2 15 His premises and maxims, such as Do ^know of no finer> deeper> nor hi her Harmony by Mail. Send for free specimen lesson. Four-hand Parlor Pieces_ 50 1 70 COLDS, COUGHS, BRONCHIAL TROUBLE To tutor two footers to toot?" Francis, Edw., Life and Works “You’d better be kind o’ careful how of Handel, Haydn, Weber, "“Metre# AhJPuiuM, producing Perfect Vc' 4 not go to the piano to correct mis- musical education. In a word, sweep- Carnegie Hall. N. Y., Beethoven, Mendelssohn, II 30 eenta. T. METCALF CO.. Bouton, : you talk to me,” said Tommy, doubling During a concert tour of the late takes or to clear up a passage, but ing as the statement may seem, I make SHEPARD SCHOOLS OF MUSIC, and Orange, N. J. Chopin, Liszt, Wagner, his small fists and glaring at the other work it out in thought, and . Let jt circumspectly, and with complete Mozart,... 35 170 Theo. Thomas and his celebrated or¬ Galloway, Memory Songs.... 1 boy. “I’ve got the artistic temper’- chestra, one of the musicians died, and Music Conception govern all action, conviction, that there is no more trust- Gates, W. F.. Anecdotes of ment, and I’ve got it bad!”—Chicago indicate the nature of the work. worthy gauge of a man’s musical nature Great Musicians. 1 the following telegram was imme¬ Six Weeks’Course Record-Herald. BROWN’S Great Composers, Musical diately dispatched to the parents of the "Lilts and Lyrics," by Alice C. D. and culture than his appreciation and SPRINGTIME Grieg, Ed., Album of Piano deceased: “John Blank died suddenly Riley and Jessie L. Gaynor (Published love for Bach. In him you find what BRONCHIAL for Teachers “As you advance farther in your Compositions . 1 $65 to-day. Advise by wire as to disposi¬ by Clayton F. Summy). Price $r.oo. is highest, noblest and best in music; TROCHES A SONG CYCLE FOR CHILDREN'S Gurlitt, Piano Album. Private Lessons in art,” said Gounod to a young poet, tion.” Under this attractive title is pub- and furthermore, it is through him that VOICES. WORDS AND MUSIC BY Handel, Album (Presser).... Give immediate relief in cases of Hoarse¬ Juvenile Duet Players. “you will come to think of the great In a few hours an answer was re¬ lished a collection of pretty verses and the other great composers are best to Kohler, Practical Piano ness, Coughs, Sore Throa t. Bronchitis and PIANO, VOICE OR VIOLIN poets of the past as I now appreciate ceived, reading as follows: tuneful melodies designed for be appreciated.”—W. F. Apthorp. MRS. E. L. ASHFORD Method, Vol. 1. the great musicians of former times. Asthma. Fifty years reputation as an Landon, C. W., Foundation Including Room and Board. “We are heart-broken; his disposi- kindergartens and lower primary article of superior merit, free from any¬ Materi When I was your age I used to say Price, f LOO Landon, C. W., Reed Organ Teachers Educated in Europe. tion was a roving one.” grades. Both the author and the com¬ thing harmful. Method . 1 50 2 00 Leschetizky Technic for Piano. ‘I;’ at twenty-five I said ‘I and Mozart;’ poser have shown a keen and sympa¬ There is a town in Germany— This cycle consists of five very pretty Italian and German Methods for Voice. Markneukirchen—nearly all the in- Sold everywhere or sent postpaid on receipt of and well contrasted songs, intended to be Maelzel Metronome, Bell.... 7 50 4 50 Belgian (Ysaye) School for Violin. at forty, ‘Mozart and I;’ now I say AN OLD NURSE thetic insight into the child’s mind. price—25c, 50c, and $1.00 per box. sung by children's voices In unison. As Maelzel Metronome, No Bell. 5 00 3 50 ‘Mozart.’ ” habitants of which are employed in the the songs are connected by interludes, the Mason, Wm., Touch and Persuaded Doctor to Drink Postum. "The Adult Male Alto, Technic (one of 4 vols.).. 1 00 1 80 Marks’ Conservatory of Music G°Uuier matlufacture of violins. Among them JOHN I. BROWN & SON, work may be used complete, or any of the Masterpieces for the Piano.. 100 190 Tin°r ^°iCe^ G- Edward Stubbs, are about IS>000 workmen, who are BOSTON,_- _MASS. songs may be used separately. Should it 2 West 121st Street, New York. Pupil—Chopin must turn in his grave An old faithful nurse and an experi¬ be deemed advisable to produce the cycle when he hears me play this Nocturne. M A Mus. Doc. (Published by the H. usually assisted by the members of m_ costume and with action, complete enced doctor, are a pretty strong com¬ W. Gray Co.). Price 75 cents. their famiiies. A violin consists of Teacher—Oh, don’t let that bother bination in favor of Postum, instead of Both words and*music are such^as^wYli A very necessary book for all or- seventy separate pieces of wood glued prove appealing and interesting to chil- you. He’s accustomed to it. He’s dren, besides being of genuine artistic ganists engaged where male choirs together. The old men, whose eyesight A TONIC GEORGE DUDLEY MARTIN been doing nothing else for fifty years. The doctor said:— merit. The titles of the songs are as fol¬ First and Second Grade are used. The writer has for many is more or less feeble, work chiefly on lows: •‘Voice of the South Wind," “Two Pieces for Piano. 1 Harmony and Practical “I began to drink Postum five years Kobins,” "Buttercups and Daisies." Mendelssohn, F.. Songs with¬ years been director of music at St. the ebony nuts and pegs. The scroll Norsford’s Acid Phosphate "The Bigotty Bumble Bee," “Away to out Words, Complete.1 Composition Taught by Mail The celebrated violinist, Paganini, ago on the advice of an old nurse. was economical in all his ways, even Agnes Chapel, one of the most im- and the bridge are made by the more the Woods.” Modern Dance Album. “During an unusually busy winter, Half a teaspoon in half a glass of The songs are all highly characteristic, Music Satchel, Handles. 1 to the disposal of his hair, of which ad¬ portant and wealthy Dranches of skilful ones. The young men with keen water, refreshes and invigorates the and the accompaniments, while admirably Music Satchel, Handles (full between coffee, tea and overwork, mirers would at times request a lock Trinity Church, New York, and has eyesight and strong hands undertake entire system. A wholesome tonic. supporting the voices, all are showy and sheet music size). 3 00 3 25 I became a victim of insomnia. In a Orem, P. W., The Organ as a memento. The demand was never what is undoubtedly one of the finest the difficult task of putting the pieces Genuine bears name Hoas ford’s on wraoner. Player . 150 2 00 month after beginning Postum in place declined, but the lock sent was of the male choirs in existence. The book together, while the women tend to the Parlor and School Marches 75 185 of coffee I could eat anything and sleep THEO. PRESSER Perry, E. B„ Descriptive most scant description, and never with¬ is very readable indeed and reflects the varnishing. The actual cost of making 1712 Chestnut St. - Philadelphia Analysis of Piano Works.. 1 50 2 00 as soundly as a baby. CLASS PINS out a strongly-worded request for a writer’s wide observation and exten- the cheapest violin is under one dollar, Popular Parlor Album. 50 170 Special designs for musical clubs and classes ‘In three months I had gained twen¬ Presser, Theo., First Steps handsome subscription toward some sive experience. while a genuine “Strad” may bring Write for illustrations to the manufacturers ty pounds in weight. I now use Pos¬ in Pianoforte Study. 100 190 rather indefinite charity in which the "The True Method of Tone Produc- $10,000. A single firm in America, Riemann. Dr. Hugo, Diction¬ BENT & BUSH tum altogether instead of coffee; even FRMJ. BENEDICT ary of Music. 4 50 3 50 15 School St., - Boston, Mass. musician was interested. With Paganini tion” by J. Van Broekhoven (Published which has its violins made abroad, sells Root. F. W.. Methodical Sight at bedtime with a soda cracker or some by the H. W. Gray Company, New more than 20,000 every year. Singing, Three Parts. Each. 50 1 75 charity often began at home, and ended other tasty biscuit. Schumann. Album, Selected.. 75 1 SO there, too. York). Price $1.50. - A Day in Flowerdom Schumann, Album for the “Having a little tendency to Dia¬ Young . 40 165 betes, I use a small quantity of sac¬ This “new and complete course of The cause of nine parts in ten of the I Send ioc for booklet An Operetta for the Young Folk Sefton. E. M.. Class Book for Are Yon a Progressive Teacher? The Value of Silence. voice training” devotes 78 pages to the lamentable failures which occur in “How beautiful Sing¬ Libretto and Lyrics by Jessica Moore Music Teachers. 50 1 80 charine instead of sugar, to sweeten Berlioz, when at the Paris Con¬ exposition of what the author believes men’s undertakings lies not in the ing Voices Are Made” Music by Geo. L. Spaulding Price, 50 cts. Spaulding, Tunes & Rhymes. 50 170 with. I may add that to-day tea or cof¬ !l Plain answers to typi¬ Standard Concert Etudes.... 1 00 1 90 servatory, was an unruly pupil, com¬ to be the correct theory of voice pro- want of talents, or the will to use them, ««2?ls.lIttle^rk is tended to furnish Tapper, Thos., First Studies yrt^The »ldeofm>K. fee are never present in our house and cal questions about Voice Culture entertainment for both young and old. in Music Biography. 1 50 2 00 Teaching. posing when he should have been very many patients, on my advice, have duction and 42 pages of exercises. The but in the vacillating and desultory way and the Art of Singing. Its production will be a source of pleas¬ Duet Hour . 1 00 1 85 studying counterpoint. Consequently work is an original one, but with the of using them; in flying from object to ure youthful participants and Wodell, F. W., Choir and adopted Postum as their regular bev¬ “Musical Possibilities of the Aver¬ their friends, and it will prove of equal Chorus Conducting . 1 50 2 00 The Mills School he was not in favor with his teachers, erage. multiplicity of methods all claiming to object; in starting away at each little age Voice”. 20c interest to the grown-ups. be the scientific explanation of the disgust; thus applying the force which It is in two scenes, consisting of ten and especially with the precise and “In conclusion I can assure anyone musical numbers, all bright, melodious classical Cherubini, under whose direc¬ great mystery of singing we prefer to might conquer any one difficulty to a and full of go. The short bits of dia¬ that, as a refreshing, nourishing and MUSICAL HANDBOOK FREE tion he came. have our readers determine for them- series of difficulties so large that no logue are clever and amusing. The CORRECTION OF MUSICAL M.S.S. nerve-strengthening beverage, there is scenery and costumes are Inexpensive "THE ETUDE” A SPECIALTY One day Cherubini was running over nothing equal to Postum.” “There’s a selves the correctness of the author’s human force can conquer them. Corn- SSi and easy of preparation, and the music !. a piece that Berlioz had submitted, theories. Mr. Van Broekhoven con- mend me, therefore, to the virtue of and the text are easily learnt. It may 1712 Chestnut St., PHILADELPHIA, PA. Reason.” Name given by Postum Co., when he came upon a complete rest of Battle Creek, Mich. Read, “The Road tends that vocal tone is not produced perseverance. Without it all the rest two measures. by the vibration of the vocal chords, are little better than fairy gold, which thirty-five minutes. to Wellville,” in pkgs. _, It AH °ne of the test works of the >n THE ETUDE w l addressing our advertisers. but by the vibration of air in the cup glitters in your purse, but when taken kind that has ever come under our notice. formed by the vocal pockets just above to the market proves to be slate or Theo. Presser the glottis. The work is an interesting cinders—Carlyle. Please mention THE ETUDE w n addressing our advertisers 206 T HE ETUDE THE ETUDE 207 The great work being accomplished by Woman Clubs throughout America does nqt receive sufficient credit or exploitation. The fines8 Tnd Mottoes‘to STuS’Ki?lines. "3ESThen WAGNER’S WONDERFUL “THIR- program of a piano recital given by Mr. vertical lines were drawn as a guideguile to the TEEN.” Charles E. Watt before the Woman’s Club of ~ keeping the singers PRACTICAL Lima Ohio, contains many numbers that are together—the” first "form fin SwhichSbarsr^vere Has anYbody ever noticed what an practically never heard by musicians In great used. In course of time the inconvenience ominous part the superstitious number TO PIANO TEACHERS TEACHING HELPS cities simply because the European virtuosos QUESTIONS will not deign to even examine the smaller -AND- dfvidedTntS groups™! fo^r “th ^dfiTne 13 Played in the life of Wagner? The works of American composers. Mr. Watt’s in1 between on which no notes were written, composer was born in 1813, and died WE ARE REPRINTING THE program showed the widest imaginable range Exercises in Time and Rhythm In the choice of numbers. making1 aSspac*abetwe- He completed the pupil. This is a work designed politan English Grand Opera Company,” with ment players of the Boston Symphony Orches¬ S. O. W.—Five-four time is not common as part is written in G, as each note sounds a Rienzi” in Paris in 1840 (added 17) The Very First Less«os at the Piano to aid the teacher, as it touches on several members from the Castle Square Opera tra, gives a series of concerts in that city Original edition, net.$o,75 every phase of teaching. Every dif¬ Company, including Joseph Sheehan, has been every winter. Its director is George Longy, !urs“s!!n b^1^s,8«ee^irdanb/a?s^ ‘STi. “Ta""hauser” was completed on Aprii ficulty which confronts the young THE RHYTHMIC CON¬ formed in Chicago. Lohengrin was the first The Very First Lessens at the Piano teacher is met. Price, 50 cents. opera produced. ^als?Vm^^lf,eursntraSCohf ffR I » IS New edition, revised and enlarged, net, $1.00 this time signature is the second movement E flat. The alto, oboe, commonly called the , 13 yearS’ SeP‘ember 13 was his Class and Account Book for CEPTION OF MUSIC On the 24th of January the Norwegian resi¬ of Tschaikowsky’s “Pathetic Symphony.” In English Horn, sounds a fifth lower than the last day at Bayreuth. Liszt saw him Music Teachers dents of Minneapolis gave a notable Grieg By MARGARET H. GLYN, author of Po«tivni a chorus of 150, the Minneapolis one movement of d Indy s sonata for piano written note. Thus for a piece In E flat, the for the last time in Venice ,, E. M. Sefton Symphony Orchestra and several noted soloists and violin he uses seven-four time, but these part must be written in B flat. The horns 00 6 , ,me ln Venlce> January 13, EASTER SONGS This book contains everything for “Translation of ‘Parsifal’ ” rhythms are the exception and not the rule, vary according to the Instrument employed. l8°3; and the year m which he died took part Boston, January 11th, and showed that he had --1 Arensky has written several piano. Most horn--‘------parts are written"foThorns ftt'F was”was thethe thirteenth oof thericVmon keeping the accounts of music lost little of his former power. Miss Virginia pieces in exceptional rhythms. which sound a fifth lower than written; some- , . .. Inlrteentn ot tile berman Con- teachers; daily schedule ef lessons Llstemann, soprano, appeared in the same federation. For Sop. o for each hour, and the hour and day CROWN 8VO., $1.20 NET recital. times for ease^in playing partsJn sharp keys for each pupil; cash account, bills, F. L.—If you have the symphony ln C, the }.lla hora is employed which sounds a PAGANINI’S PARSIMONY. Christ the Lord is Risen receipts, pupils’ sheet music account, unfinished and the tragic symphony by Schu- nutes “— __jsoons, trombones and strings A. M. Foersi Abroad. -transposing Instruments as their An interesting and amusing letter, Published in two keys account with music publisher, daily ..., ...„ students and teachers. An excel¬ bert, you own the best. Schubert finished six ?re, 1 earnings, summary, memorandum, LONGMANS, GREEN AND CO. A new choral work by Gabriel Pieme, for other symphonies, the first, written in 1813, Parts . -- they sound. written by Nicolo Paganini, has re- The Birth and the Resurrection etc. Price, 50 cents. 91 and 93 Fifth Avenue New York lent performance of the “Messiah” was given children’s voices, was produced for the first when he was but 16, but they do not com¬ and several very commendable recitals of time In Nancy, In December. pare with1 those you already possess. In the Inquirer.—Stephen Heller was born in oCn*ly b®en discovered and published in First Studies in Music Biography piano and vocal music. A new work by Vincent d’lndy, entitled “A prepared^fhv sir rwf!hpb!rt Sf co™P°sit*°”8 Pesth. Hungary. May 15th, 1815. He studied Baris. It throws a humorous light on To-Day.. IV. j Thomas Tapper i fitting manner of commemorating Poem for Orchestra,” was produced with much & In ffif dfctioirrl.^he1 fllfowing ^ violinist’s estimation of his own Published in t For foundation-study in musical on Schubert in acclaim at a recent colonne concert in Paris. sonatas for pia__ _ire mentioned:BHV... In 1815, tour through Germany, and from 1830 to importance. The honorarium of 200 Caster Song. Paul Rougnon. history this book is the best obtain¬ MR. and MRS. CROSBY ADAMS Schirmer was t Published in three keys able. Each biography is the result two sonatas in E, one in F, one In C, all_ 1833 he settled at Augsburg. From 1838 he francs ($40) per lesson demanded for Will conduct Two Sessions of published during Schubert’s lifetime; in 1816, of careful study: it is readable, opened In Weimar. It is on the site of the a sonata in F, also unpublished; in - given to the daughter of the never heavy. Events in American Special Summer Classes famous old opera house where the triumphs history are deftly woven In, giving in July and August C. M. Loeffler and part of the B maje. _ of Goethe, Schiller and Liszt hallow the very leader!"'’ He”came^to "England^n'lISo “and gentleman to whom the letter „u- an historical picture. A full and of piano who. f Op. 8, of Brahms. The artists taking part ground. The noted statue of Schiller and in C a complete sketch of every composer were the members of the Kneisel Quartet r' —which is one of the most Impressive of 143; ' ,/ln'l82.ronn°cr,in AUm.ior! op! 'v^tn ‘iSG^^lmfidayed MoVr^ conrerio dressed was’ for th°'^ days, consider¬ is given, covering as much as the and Arthur Whiting. Mr. Richard Aldrich In —_s kind___ in Germany,__ h_been retained and ed* “!f^’ vm .4in:i«9R18t2i?J for two pianos with Sir Charles Halle. His mg how far a franc went at that time, average student should know. The n D, Op. 53, in ____ CLAYTON F. SEMMY CO. who wish to study ways and means by a note on the program says of Mr. Schirmer: stands in front of the new opera house just as sonata~ *”in "G, Op.’"‘I. 78,__ called»»!...>>.»*#• “Fantasie” by the j&»-fcnuRtf»as.’sss- quired for playing at the house of the In this work' the author gives to learn better the art of selection, pres secretly aided musicians in whom he hoped the Royal Opera to 1911. contains the best of these. __ practical directions covering every entation and interpretation of that and believed. His own knowledge of the art ‘. be«n jmbllshed in the complete edition sohn’s’Ital'ian "Sv”mphony.‘“a“t _ The School of Music-Education point of difficulty connected with the which is memorable and beautiful in was more than that of an amateur. His in¬ Owing to the financial depression in of Schubert’- works,_,' prepared"■ 'by j BnH|—*Breitkopf entelles. Op. 53. 61. 85, 87, and a las the words of Paganini himself, _ organization of choirs and choral terests were by no means enclosed within the America, Mischn Elman, the boy violin and Hartel. Some—* of the most characteristic “Three 'Album "Leaves,” Op. “l57.“ His most ceedingly modest.” The letter reads as societies, their management, train¬ No work need be prepared by the limits of musical art. They were wide; they prodigy, who was to have toured America, has of Schubert's works for them, piano are the important works, however, were his preludes follows- SUMMER SCHOOL ing, music to be studied, and the teachers; they are to listen and absorb were those of a cultivated gentleman.” been requested by his American managers to Moments Musical, the Improi and etudes, especially the latter, which are ,“-’rfro“et^riGreeknWord neuma, remain popular as long as the piano Is of something which should not have School Music Teachers and Students, conducted Theory of Interpretation all the grades. principal choral works are: Bach, “St. Mat¬ vus,” by Friedrich Wagner, published in the by Calvin Brainerd Cady, A. J. Goodrich. Teachers return to their classes, from thew Passion ;’’ Grieg, “Olaf Trygvasson;” “Harmonie Kalander” of Berlin, we learn of of music, but perhaps more widely known been forgotten. Enclosed is my ac- This work contains many facts as these sessions, with new confidence In Havdn, “The Seasons;’’ Pieme, “The Chil¬ the new violins made after the theories of from his valuable text-books on instrumenta- PORTLAND, OREGON, themselves because of having lists of dren’s Crusade.” The soloists thus far en¬ Dr. Max Grossman. These violins are just Paul Marie Theodore Vincent d’Indt the counL for which I should be glad to re- to the meaning and structure of now creating somewhat of a sensation in date of tl,e use of the neumes June 22—July 31. music that every progressive stu¬ proven material, gathered from world¬ gaged are Mme. Johanna Gadski and Mrs. Cor- at 680 A. D. They did not show time value, renowned French composer and pianist was ceive the money at the earliest possible SPECIAL NOTICE.—Requests for a Normal at dent should know. One need not wide sources, logically pi ned from inne Rider-Kelsey, sopranos ; Mme. Sehumann- Europe. The discoverer claims that the won¬ nor any actual intervals, but were intended born m Paris. March 27, 18ol. His teachers y Chicago. 111., and Palo Alto or Berkeley, Califor. have studied harmony in order to the very first work at the piano, and Heink and Miss Janet Spencer, contraltos; derfully beautiful tone of the old violins was merely to show the direction taken by the were Diemer and Lavignac. He became cbor- moment. ma. The Normal will be given at one of the profit by it. It really analyzes the on through the succeeding grades. Daniel Beddoe and Edward Johnson, tenors, due to the resonance of the “resonanzen- melody, to refresh the memory of those who master under the orchestral director Co- To twelve music lessons above places, Aug. 4^Sept. 5% if a sufficient and Dalton Baker, of London, bass. The fes¬ platten,” or back and front of the violins, already had sung the music. In the ninth ' played kettle drum parts in the — spiritual in rausie by beginning with First Session, July 8th to the 21st which were made so as to have a specified given by me personally number of applications are received by May 1$. the smallest germ or motive, and Second Session, August 5th to the 18th tival forces consist of a chorus of 500 ; chil¬ century it became apparent that it was neces¬ chestra „____gain facility _lll^and training in ‘ showing the oonstruetion by divid¬ dren’s chorus from the public schools of Cin¬ pitch. The most significant endorsement, how¬ sary to fix the intervals employed and to details of instrumentation. He Is __er presi-. your daughter .. 2,400 Frc. BOSTON SUMMER COURSES. Given by (The work is the same at both sessions.) cinnati. numbering 700 ; the Theodore Thomas ever, is the fact that the famous Kaim Orches¬ Indicate rhythm. Accordingly various ex¬ dent of various musical societies in France. Linda Ekman, Helen Howard Whiting ing the composition *-♦“ tra, of Munich, is to be equipped with the new 'Indy’s style is decidedly in accord with the To playing in person June 1—July 31. -‘ parts, in • aesthetic rela- Write for further particulars to Orchestra of 100. Mr. Frank Van der Stncken periments were made with various alphabets Subjects: Music Education of the Child, Piano- tionship. Price, *2.00. Is the Festival Conductor, and the Associate instruments with a view to getting more uni¬ to represent the names of the notes. These ..Itra-modern spirit, yet it is coupled with a your house eight times on Conductor is Frederick Stock. formity in tonal qualities. efforts were unsatisfactory, however, as the complete knowledge of the lending classics in Ml jjf“ *“ ”-- °-“ (Especially CROSBY ADAMS, Oak Park, Ill. pitch was not properly recorded. This led to the history of music. His works consist of various occasions.24,000 Alexander Von Fielitz, the composer of another idea, that of placing points above or “Symphonic Poems” and large orchestral We have received some excellent programs ’ Elltand,” and many other notable works, works, as well as songs, piano pieces and Indicating the work as organ soloist of Mrs. below the words to he sung and at definite 26,400 Frc. MUSICAL GAMES Louis E. Fuller at the Jackson health resort. who had been a resident in Chicago for two distances. As everything depended upon the operatic compositions. He resides 1 University of Music and Dramatic Art New York. The managers of this resort or years, has returned to Germany. accuracy with which these distances were In¬ “In this statement are not included 15 Newbury St., Boston, Mui sanatarium have great faith in the effect of dicated the scribes began to scratch a straight all those verbal lessons which I allotted MUSICAL DOMINOES - C. W. Grimm Endowed music in assisting their patients in recovering Max Bruch, the noted composer and line across the page to Indicate the position teacher of theory at the Berlin High School, ; particular scale degree from which . What good vocal study (vocalise: to your daughter when I was invited to All ordinary games of dominoes health. The programs range from Bach and has recently celebrated his seventieth birthday. s difficulty) should follow Ferd. Sieber's are possible. An excellent aid to "Schubert “-- t' Guilmant and Du Bois. shown by the relative dis- Op 82 “’~r baritone) ? your house for dinner, a gratuitously AMERICAN proficiency in figuring note values. «■). »«= "-f If the above— '..JPlIlPifiPflHIilPII-- 1 fully mastered, i Price, 75 cents. Richard Wagner’s widow, Cosima Wagner, sufficiently accurate so the scratched offered favor intended to give her a A music school as a regular part of a was seventy years old last Christmas Day. colored red and a second M would seem better to use Aria'material from CONSERVATORY MUSICAL EUCHRE - C. W. Grimm church may seem odd to many, but at the d yellow, at a distance e the — “The Lord worketh won- true insight into the science of music, Brick Presbyterian Church in Rochester regu¬ It Is reported that the noted voung violinist first. Neumes were written on these the hope of its being of use to her Kimball Hall, Chlcaflo, III Played similarly to the ordinary lar instruction In pianoforte, harmony and difficult, “O ruddier than the cherry,” from Founded 1886 game of euchre. Price, 50 cents. Henri Marteau has accepted the post of direct¬ represent F and C, while the other sounds “Acis and Galatea”—certainly something and allowing her to profit thereby. singing are given under the direction of a or of the violin department of the Royal were shown by the relative position of the HE leading school of music in teacher hired especially for this work, which High School of Music of Berlin, succeeding with words, rather than to continue work T seems to us a most excellent extension of the other neumes, between, above or below them. H-- - Sieber. Ifn suchsuco are insistedms.steG .Further 'P™*5. °” the ™bject ?f be- thiscountry. Unsurpassed fac¬ Joachtm. Guido d'Arezzo is said to have completed the the Lutgen exercises for bass, which mg morally obliged to fulfill debts to ulty of seventy courses of study. usefulness of the institution. first staff by adding a line in between F Thorough, progressive and mod¬ _ Wolf Ferrari’s new opera with the odd and C, and another above for E. The position U^nTn^onnefti^wIthTh^book of^Tsongs tho8e who have bestowed services I em. Many free advantages. The Oratorio Society ..( Newark. N. ...J., title, “Honl Solt Qul Mai y Pense,” will be -lr natural v “8« ‘he yourself have assured me that I must of five week, from June 22 to July 25. 1908 of musical biography. Price. 35 cts. of-- Bizet’s “C-”- In*- concert-- form.*- —The .---—,Berta Morena, theMW noted prima donna, Church up to and including the present day. other words. pay Dr. Cr—io no francs for a felici¬ TEACHERS program concluded with Goring Thomas’ can- ®aoho mofc»omakes wher A.K..*dehut **-- Metropolitan When the melody overlapped an octave, it be- into the other . > cultivate one Lectures and Recitals. Terms mod- ELEMENT AIRE - M. S. Morri. tata, “The Swan and the Skylark.” Opera House in New York, tu.„ year, has ; ““ " “ ? ineumes of the Ideally the tenor or baritone should be able tous piece of advice which he gave me A pleasing and instruotive game, mental —for important positions in public cently made pronounced successes in Nurem¬ lower lines. Thence arose the signs which to proceed in cres.cendo from his lightest fal¬ one day by chance at your house dur¬ cldar' m£?ed'1?eeao! ^JtaitlorL teaching the^ rudiments of music. schools, colleges and universities in all parts of George Schumann’s trio for piano, violin berg and Augsburg. After her American ap¬ we cal! “clefs." The development of counter¬ setto to his fuller tone. In point of *»«■* JOHN J. HATTSTAEDT, the country. Let ns assist you to a better pearances she will sign at La Scala, in Milan. point with melodies of a different time—nota¬ """ —~ |g J-tke higher ing summer. I am sure that it is clear position. Send for complete information. and ’cello, and Paul Scheinpflug’s quartette for tion from the plain song melody, forced writ- though many can do so in tL_ THE GREAT COMPOSERS piano and strings in E major. Op. 4, were middle you what a difference exists between The SPECIALISTS’ EDUCATIONAL BUREAU recently given In the Cincinnati Conservatory Late in December Perosi produced his new ers to do away with neumes and to invent Many sopranos, however, do this same thing the so-called ‘Doctor’s visits’ and Similar to the well-known game of Music by Mr. Hans Richard, Mr. Bernhard oratorio in the Sala Pla at the Vatican in signs which would show time-deviation habitually, though the name falsetto is not 7 . calle.a Doctor s visits and my The Sternberg School of Mnsic of “Authors.” Price, 50 cents. Sturm, Mr. Walter G. Werner and Mr. Julius Rome. The work was very successfully re¬ From this arose the first forms of the “notes usually given to the soprano light register, actual offerings, and that you will find ceived. to which we are accustomed. Then at In- When, however, the falsetto is sharpfy set my charges in contrast to those of that CONSTANTIN VON STERNBfiRO, Principal It tervals changes began to be made in the off from the other voice, so there is not an y , K contrast to tnose ot tnat BOSTON SCHOOL OF European audiences have recently become “staff.” While plain song found that a staff easy transition from one to the other, as is gentleman very modest, Complete Musical Education in all branches PIANO TUNING The music composed by Edvard Grieg for very enthusiastic oyer the singing of Nonah of four lines was sufficient, the rise of mnsic usually true In men’s voices, it is not con- “Mv humble greetings to vou and T WRITE FOR CATALOG “Peer Gynt,” together with a reading of Nina Kamajoeh. who is described as a very with :i complicated system of tune-nota- sidered artistic to use the falsetto except in . U UJC 8* 10 y°u> a“a 1 Ail students receive factory experience Ibsen’s famous symbolistic drama, was recent¬ Fuller Building, 10 South 18th St., ..ru.i-i.-iws We successfully teach remarkable concert singer. One representa¬ : called “mensural music") made rarest instances. To do so habitually would remain, PHILADELPHIA pA. ly given In Baker City, Oregon, for the benefit tive Journal says, “She has to-day undoubtedly me use 01 u siau.staff withwiwi more linesuues a necessity, simpiysimply beoe to louowfollow methe practice 01of tnethe Eng- “Yours most respectfully THEO. PRESSER, Philadelphia, Pa. ill parts of the Globe. : : of the public school art fund, under the direc¬ one of the most beautiful soprano voices in Staves are found of from four to fifteen and lish Cathedral male altos, and would n tion of Mrs. Thomas Carrlck Burke. Isben is the world. The unusual thine about this n twenty-five lines, on which all the voice r singing at all. “Nicolo Paganini.” Please mention THE ETUDE when addressing 8S7 W A9 HINGT ON*STREET no longer the exclusive possession of the effete krtist is that she is Javanese, being a native Please mention THE ETUDE when addressing our advertisers. *

209 208 THE ETUDE THE ETUDE

Pupils of Gustav L. Becker. MUSIC THAT UPLIFTS. RECITAL PROGRAMS. Solfeggietto, Ph. Em. Bach; Intermezzo, E. not as enthusiastic, spiritual and inspir¬ MacDowell; Etudes Op. 740, Jos,, l^and 2 ing as it should be. Yet if there is a Pupils*pil8 of Mrs. M. E. Adkinson. fwith 2d piano), Czerny; Wedding Proces- BY ISAAC MOTES. EVERYTHING for the GARDEN Fanfare-Rondo Militaire (4 hds.), Bohmi, ^ion fromPOp. 10, Grieg; Deutscher Tanz, place in the world where music ought Learn Piano Tuning to be inspiring and earnest, with plenty TWO PIANOS is the title of Our New Catalogue for 1908—the most beautiful .he Swallows, Godard ; Titania, Wely • '*'**■ Fur’Elise, Beethoven; Two Etudes (with 2d “The Parlor Profession" Nocturne, Chopin; Air de Hallet. Cbaminade, Cramer; Nocturne Op. 9, No. 2, Close observation of many religious of rose color in it, it is in these meet¬ and instructive horticultural publication of the day—190 pages— Evening Star, Wagner-Liszt; Rondo Brlllante, {, ho in . Romance in F, Rubinstein ; Aria, IT RA.YS FOUR HANDS 700 engravings—12 superb colored and duotone plates (2 pianos), Mendelssohn; G®y Butterflies, CaaJpana ; Sonata, Op. 00, Beethoven; Rondo gatherings in many different States has ings where young people gather to wor¬ Gregh; Spinning Song, from the Flying Capriccioso, Op. 15, Mendelssohn; Drel revealed that young people, in their ship the Lord, to grow in grace, and of vegetables and flowers. Dutchman,” Wagner; Swan Song, from charakter stuecke. Op. 8, Bargiel; Serenade The following ensemble pieces in¬ To tire Ibis catalogue the largest possible distribution, we make the following liberal offer: ••Lohengrin,” Wagner-Krug; Rondo Caprlc- V^o planos), LOw. Christian Endeavor Societies, Epworth to learn how to serve Him more effi¬ clude all grades and styles, and are cioso, Mendelssohn; Duetto, Mendelssohn, ' Leagues and Westminster Leagues, do ciently. A great deal depends upon a useful for teaching purposes and re¬ When the Heart is Young, Uudley Buck; pupils 0f Miss Verna Critchfleld. citals. Most of them are by stand¬ not derive as much spiritual uplift from tactful, efficient, talented and spirit¬ ard foreign composers, in the origi¬ Every Empty Envelope sacred song as they should. Especially ually-minded chorister. nal editions, and some of the latest SESWfsSh.-Stt,ias.*sr“ as’-^a.wt novelties are among the number. Counts as Cash do I think the habit of most of these Any one who has read “Black Rock,” We shall continue to add works of To every one who will state where this advertisement was seen and who "S’&TAt'rv. societies of singing only one verse of by Ralph Connor, otherwise Dr. C. W. merit from time to time, until we Happy Peasant, Schumann; Slumber Sea, rreaven Reverie, Op. 48, Louis H. Drumhel- have all the desirable literature Chisholm; A Wee Story, U E. Orth ; SpaDisli Oliver Band, March Jay Lee Clark ; In a song during the closing minutes of Gordon, must surely have been im¬ available on our lists. For those Dance, Behr ; Brownies, Gaynor ; Robins Ke- > Blacksmith Shop, Edmund Purlon ; When the meeting and then stopping, is a pressed by the soulful singing of Mrs. unfamiliar with this form of music, turn (4 hds.), Dudley Ryder; Sunbeam {ft® Lights Are Low? Reverie, H. Engelmnnn; selections will be made on request. dermjirmMSMm son's Early Ruby Tomato and Hendersi ch, E. M. Read; On the Playground, Sar- V, Sclfool March, R. Streabbog; The Buzzing serious mistake. It takes much of the Mavor. No reason whatever exists The same liberal discount will be ; Soldiers’ March, Fischer; Little Curly Bumblebee, Geo L. Spaulding; Dorothy, Sey- enthusiasm out of the meeting. I know why there should not be a Mrs. Mavor allowed as on our own publications. HeadI (4, hds.), Holcombe; Buttertiv Waltz, smith; March,HL. Webber; March Des this may seem justified when moments (or Miss Mavor) in every Christian H. EnjSngelmann; Military March, McIntyre; Archers Bachmann; Rustic Dance, C. R. Rosy F._„"ingers,—- Paul Wachs ; Grand March de Howen. Gitana, Op. 156, Carl Heins ; How are precious, when people want to talk, church and in every Christian Endeavor . D., Homage A Concert, Wollenhaupt....-'.* Sweet the Moonlight Sleeps, E. J. Decevee. and the hour for preaching service is Society or League. We could have nl, Menuet . . .Werner Bellini, Norma, Grand Duo, Pupils of Waldemar O. Mertens. Pupils of Prof. M’Clellan. drawing near, but I believe it would be such singing if people were less con¬ Kosellen . La Polka de la Reine (8 hds.), J, Raff;. La La Golondrina (Transcription) ; Shepherd better to dispense with music during ventional, if they would trust them¬ Beethoven, Op. 13, Sonata Galant, Hummel; II Trovatore,xrovULurtr, S. oilSmith Bov Wilson; Doll’s March, Schroeder ; Alle- this part of the meeting than simpiy to Pathetlque .Henselt -nausi, ■ Saint-Saer~Bami-imeiis; *; ”Rondo ^—Capriccioso,4 * ] ero Moderate (2 violins), Pleylel; Heather selves to be simple, natural and unaf¬ Beethoven, Turkish March. delssohn; Belisario (4 hds.), Donizettl-Gona, Caprice, Lange; 20th Century False, sing one verse and stop at that. There fected, and follow unhampered the Them . Sonata Pathetlque. Beethoven ; Concerto in G . •. chymlng Bells, Trojelli; Morning Dew is so little enthusiasm, spirit and in¬ promptings of a pure heart and a sane Behr, Op. 443, Mitzi Kiitzchen, >C Farm Annual for 1908 minor. Mendelssohn; Rhapsodie Hongroise Koberti; Hermosillo (Intermezzo); II You Can Hear, You Can Learn to Tune. Bias No. lb, F. Liszt; Concerto in C, Beethoven. Triumphal March, Holst; Nearer, My God, to spiration in this one-verse singing. The mind guided by the Holy Spirit. Con- The Tune-a-Phone Guides You. » The Leading American Seed Catalog.’’ . Thee Vars Zeiior; Sobre las Olas, Rosas; first verse of every song is never sung Czerny Op.i. 740. Pupils of Mrs. Geo. Reid. Mocking Bird (Valse). ventionalites shrivel the soul and dry : II, Book Tin Soldier’s Parade, Kern ; Polka, Kohler; with as much inspiration and zest as up the springs of cur spiritual life more Mailed FREE to all who want the BEST®JEDS thatGrow^ Holiday March, Kimball; To the Dinner, En- pUpils of Prof. Riesling. L the second, and the last is always best, than anything else in the world. This Thirty-second Edition is a bright book of^; ££•£»JS&iSta gelmann ; Hungarian Dance, Engel; Valse Electric Light Schottische, Kiesling; Beyond Caprice, Rubinstein; Grandpas Schottische, (jteverie) Kiesling; Hindoo Polka, Kiesltng; because the people get more of the Let us have in our religious work the BeautifuTWowers'and Choicest Vegetables of unequalled merit. Streabbog; Young Fisherman, Oesten; School j para(jige (Romance), Kiesling; spirit of the song in their hearts as it simplicity and naturalness of children WRITE TO-DAY t—the very day yon read this advertisement. Mention this paper and address Parade, Ferris ; Swing Song, Streabbog; Music Love’s Ideal (Romance), Kiesling; Stabat Box, Poldinl; Margerite s Waltz, Reinhold , Mater Kuhe; Waltz de Concert, Mattel; Old proceeds. More people sing the last grown older, and we will put more Berllox, Marche Hongroise, w. ATLEE BURPEE & C0-. Seed Growers, PtllLADELPHIA.^A^ Sunset Nocturne. E. M. Read ; Mountain Belle Binek Joe (Grand Paraphrase). Gimbel ; verse than any other verse. A great color, beauty and spiritual fervor into Schottische, Klnkel; Little Fingers M altz, . flat chopin; Narcissus, Nevin; Berlioz. Vaise des Sylphes. Fearis; At School March Streabbog; Pearly homeward March, Kiesling; Olive Waltz, many people do not join in a song until the music, and make it what it should De Mianont . Dewdrop Mazurka, Birheck ; At the Race, En- Kiesllns: - Memories of Love (Romance), Kies- the second verse is reached, especially be, the most attractive feature of a re¬ Chopin, Op. 73, Rondo in C, gelmann ; Blue Bell, Smallwood ; Sweet Violet, jw; Midnight Solitude (Reverie), Kiesling; Kullak . the normal institute of music Smallwood ; The Garden Party Walt£, Engel- Back to Erln (Transcription), Kuhe; if it be somewhat new and they do not ligious meeting, and especially a young Donizetti, Belisario, Fantasy, Metropolitan Schools of Musical Art mann; The Children s Sleigh Ride (with M Breezes, Lange; Home, Sweet Home sing well by sight. They want to com¬ peoples’ meeting. Let us sing soulful Goria . LOUIS ARTHUR RUSSELL, Director Durand, Op. 83, Valse in FI flat, bells), Fearis. (Transcription), Kiesling; Mountain Stream, prehend the melody before they trust songs, and sing every verse, and make Roques . an Amer.o«„ g&SSF&EF* „ ^ _ Sidney Smith; Polka de Concert, Bartlett; Dvorak, Slavonic Dances, Nos. NORMAL r‘VKll‘l/rS I>UOV K TICE VALUE OF METHODS Pupils of Miss Patty Fraser. Polish Dance, Kiesling; Alice (Transcription), themselves to sing freely. the last verse best of all. Direr no nt» i a Unfinished Symphony (1st movement), F. Ascher ; Melody In F, Rubinstein ; Solfeggietto, An inspiring song which fills the Dvorak, Slavonic Dances, Nos. the RUSSELL METHODS on’AMNOT'r’“B beOVUROAD mi i' a FEW DAYS. Schubert; The Chase, Rhlneberger; Military Bach; Norma (Fantasie), Leybach; Caprice i, 4, 8, 1 , 12 . . .each, 1 SO I III v K! \< «* March (4 hds.), Rummel; Woodland Fairies, Etude, Knight. room to the fullest and pours a flood rok, Slavonic Dance, No. 8ERIOl S tin No. 5. Jean Faber ; Cherry Blossoms, Op. 735, of melody out through windows and PALESTRINA ON THE IN¬ i the student to know hImseH Engelmann; “Evening Star, R. Wagner; pupils of Mrs. Nelle de M. Gibbs. FLUENCE OF MUSIC. Hark the Lark, Schubert-Llszt; Valse Chro- B1(jom and Blossom (6 hds.), Holst: Valse, doors is a wonderful means of spiritual matique, Leschetizky; Light of Heart, (4 Diivernov ■ Soldiers Chorus from ‘‘Faust, elevation to every one who sings, and “Music exerts a great influence upon Singer ..... hds.), Ferrati; Welcome, Carl Gauschals; Gounod-krug; The Jolly Trumpeter (4 hds.), even more so, I think, to those who the minds of mankind and is intended Godard, Op. 56, Valse No. 2, iend for Lite rat ure‘A dd fJ^tl^SmSSSSjf CARNEGIE HALL, MEW YORK CITY Alpine Rose, Gerrit _ Smith; Caprice, Im- ^ Qn tghe Mead0Wi T.ichner; The Silver | not only to cheer these, but also to Roques . promptu, Paul Vachs. Anvil Chorus (6 hds.), Nvnfph Heins; Anitra’s Dance, Daybreak (4 listen, but one verse badly sung by a Goria. Op. 91, Marche Triom- Verdi; The Maidens Wish, Chopin-Liszt, . i Grieg- L’Alerte (4 hds.), Behr; Dance small number of the people present has guide and control them, a statement W*. H. POSTIUS, Director Department of Mu.io CHARLES M. HOLT, Director Deparuneuioi urauir^ - — June, Barcarolle, Tschalkowsky : Alpine Bells . : ? ’ Gnomes, Bohm ; Violet’s Story. Krog- w ' A which has not only been made by the Gllnkn, Kamarinskaja .Langer (6 hds.). Oesten; Love Song, Ernest JonasJonas; mann; PlayfulSS ’KKittens,,Za Lawson:Lawson : LesI-cs Sylphes a deadening, depressing effect upon the -Faust, Fantasy, Spring Song, Halfden K. Jerulf; Cascade de (4 hds.), Bachmann ; Sonata in C sharp minor, meeting. ancients but which is found equally true Minneapolis School of Music, Oratory Cnaudran, Franz Bendel. Haydn; Rustle of Spring. Sinding ; Fifth Noc¬ to-day. The sharper blame, therefore, Giiriitt, Op. 174. Moreeaux Me- turne, Op. 52, Leybach; Le Secret (6 hds.), This was impressed upon my mind a lodieux. Book I, Book H, do those deserve who misemploy so 42-44 EIGHTH ST. and Dramatic Art MINM1NN?L1S' Pupils of Miss M. R. Linneman. Gautier. few years ago while attending a great j'. U. SouwiKTEKT. GrlnneU, Iowa, Book III _ each Autumn Days (4 hds.), Lindsay; Rippling great and splendid gift of God in Henselt.... Op. No. 6, If I Completemw«sIn!nd Brooklet, Spindler ; La Dame Blanche Over¬ Sunday-school convention in the South, LET US MAKE YOU LIKEWISE PROSPEROUS. Were a Bird. able raoultr in an d e ture (4 hds.), Boildeau; March, Hollander: BRAIN POWER where the singing was especially fine. light or unworthy things, and thereby enselt. Op. 2. No. 9. Etude .. fUUy equipped sUgefor acting and Grace (8 hds.), Bohm ; Valse Arabesque. Lack excite men, who of themselves are in¬ __ Ortiepp; Valse Chroma- Increased by Proper Feeding. A song book just from the press was tlque, Leschetizky; Spring, Marks; Oberon used, and Prof. E. O. Excell was the clined to all evil, to sin and misdoing. Jensen, Op. 4 , Wedding Music, Overture (4 hds.), C. M. De Weber; Mazurka, As regards myself, I have from youth Ludwig director. Any one who has heard Prof. KcttererT Op. 7, Grand Caprice INSTITUTE OF MUSICAL ART AN ADVANCED Leschetizky ; Invitation to the Dance (4 hds.), A ladv writer who not only has done been affrighted at such misuse, and anx¬ Weber; F’antasie and Sonata, Mozart; Whis- . r„nrwi a tam¬ Excell sing knows he has a powerful Hongrols . pering Wind, Wollenhaupt; Valse (4 hds.), good literary work, but reared a lan iously have I avoided giving forth any¬ Kuhe, Op. 62, Grande Marche OF THE CITY OF NEW YORK SCHOOL OF MUSIC voice, and that his enunciation is per¬ Triomphale. Durand. ily, found in Grape-Nuts the ideal food thing which could lead anyone to be¬ ENltUtvl-.u ana with prescribed courses assuring a fect. Every word and every syllable he Lack, Op. 99,£ Napolitana . incorpora ted Pupils of Miss Louise George (Chicago Piano for brain work and to develop healthy come more wicked or unrighteous. All Liszt, Op. 12, Grand Galop Thorough Musical Education utters can be heard to the farthest cor¬ *nia ti , VMMMW.. Burmeister «r, SECRETAR Y,S3 Fifth Ave. College). children. She writes;— the” more should I, now that I have at¬ Catalogue on reqaest ner of the largest church. Many of the Liszt, Hungarian Rhapsody No. Snowdrops (4 hds.), Behr; The Old Man in «j am an enthusiastic proclaimer of tained to riper years, and am not far re¬ 2 .Kleinmichel Leather. Biederman; Katy-dids (4 hds.), Mrs. ,, , .r , r r„, songs were new to the congregation LOw. Op. 344, Hungarian Rhap- Beach; Petite Valse, Dennee ; The Cricket and Grape-Nuts as a regular diet, i lor- moved from old age, place my entire and delegates, but they were all fine the Bumblebee, Chadwick; Twelve o’clock (4 nlerlv had no appetite in the morning thoughts on lofty, earnest things, such * “ t. Op. 337, Reminiscence t< hds.), Loomis; Springtime, Merry Butterflies, • 0 ! , songs. YOUR MUSIC IS TORN!!! Ellsworth ; Jack and the Beanstalk, Maxim; and for 8 years while nursing my tour as are worthy of a Christian.” Flying Leaves, Rolling; The Marionettes (8 children, had insufficient nourishment One night after a strong missionary LOw, Op. 491, No. 2. Tarantelle. Dunning System hds.), Lynes; Sonatine No. 2 (1st and 2d , , ’ It will take one minute to repair it by using movements), (4 hds.), Clementl; Witches* for them. sermon by a great preacher Prof. Ex¬ Lysberg, Op. 51. Baladine .... THE VALUE OF CONCEN¬ LOw, Op. 491, No. 1, Brillante- of Improved Dance, Schytte; Cradle Song, Waltz Rhein- “Unable to eat breakfast I felt faint cell arose like a giant on the platform Walzer . multum-in-parvo binding tape hold; Improvisation, Scharwenka; Song of 1t and in his strong, masterful voice an¬ TRATION. Mlssa, Deux Pastorales. the Lark, Tschaikowsky; The Blacksmith, later, and would go to the pantry ana i, Valse Caprice . 5-yaed roll of white linen or 10-yard Music Study for Beginners Mokrejs ; Gladys at Play Mokrejs ; Polonaise, eat cold chops, sausage, cookies, dough- nounced the song “I’ll Go Where You He who wishes to accomplish any¬ Mohr, Rondo-Bril- Brillante 1 roll of paper, 25c each, postpaid. Fradel; Valdk, Mokrejs; Scherzlno, Moszkow- ^ Qr anyl'thing : happened to find. Want Me to Go.” I think the song had thing worth speaking of must concen¬ flat . trate his powers upon one instrument, Moselieles. Op. 92. Homage to If your music dealer does not carry it, send to Pupils of Miss Parry Bundy. Being a writer, at times my head felt just been published at this time. Any¬ Handel . the mouth speaketh” is the feeling way, it was new to most of the congre¬ or one branch of the art. Such high Mozart. Menuet in E flat. which prompted a class of teachers who Sailor Boy’s Dream, Le Hache; On the heavy and my brain asleep. Theo. Presser, Philadelphia, Pa., were highly equipped musically to Lake, Sartorio; Reaper's Dream, Heins ; Songs “When I read of Grape-Nuts I began gation, and a great many did not sing, attainments have been reached these Without Words, Mendelssohn ; La Caprlcieuse, ____•_tr\ days, that in order to touch upon the or Multum-in-Parvo Binder Co., Krogman; The Brooklet, Fuchs; Hop Goes eating it every morning, also gave it to but listened to the song as sung by the Greeting to Sister Teachers To those point of excellency, great perseverance 624 Arch SE, - Phil.., Pa. of us who have recently completed the course the Grasshopper, Orth; Valse Impromptu, the children, including my IO months leader and a few dozen people scat¬ Mozart. Turkish March, 1 of the Dunning System it has been a revelation Lack; Nocturne, Karganoff; Happy Memories < , „„„„ __ c„. a tered over the large audience, who and decided talent are required. Suc¬ of clever and beautiful ideas presented in the (4 hds.), Leroy; Scarf Dance, Pas des old baby, who soon grew as tat as a cess can only be attained at an immense Amphores, Chamlnade. .little pig,' good-' natured and contented. could sing by sight. This did not suit C. W. Wilcox, New York. “Great Bohemiens, 1 SO most logical and psychological manner, carry¬ outlay of time and energy. ing out the most advanced ideas of instruction. “Within a week I had plenty of Prof. Excell, so he had us sing the Oaks from little acorns grow.” Beginning Reinecke, Op.' 86b, No. 1, Gon- That this Svstem has no peer is evidenced by Pupils of Central College School of Music. whole song again. We did much better Above all things, we would warn the PRESERVE YOUR COPIES the fact that none of the other systems in exist¬ Pastorale, Scariotti; Solfeggietto. Bach; breast milk, and felt stronger within only a few short years ago to teach com¬ ence have been able^thus far to obtain ^such the second time. A great many more musical student against a one-sided position and arranging of music by OF THE ETUDE Caprice, Rudolph King; Song, “The Bird and two weeks. I wrote evenings and feel- St.-SaPns. Op. 35. Variations the Rose,” Ilarroeks; Berceuse, Papillons people sang, and with more spirit, as musical education. The musician should mail; to-day he has erected a college for on a Theme of Beethoven.. ‘ having studied with noted teachers, both in Roses,___ Thomf-;| _Mazurka,| Wachs_ _; Capriccio,__| ing the need of sustained brain power, the same, and has his offices in one of the this country and in Europe, most heartily Mendelssohn; Good-bye, Tosti;’ Shadows’, began eating a small saucer of Grape- the beauty of the song got into their be more than a mere player or singer. St.-SnFns, Op. 40. Danse Ma- recommend the Dunning System to our sisters Carrie Jacobs Bond; Valse Impromptu, Raff; .- , f „.„_i hearts. Still the director was not satis¬ He should be a man of literary as well handsomest buildings on Fifth avenue, in The Etude Binder in this important educational department. It Tamhourin. Raff; Arabesque, Schumann; Con- Nuts with milk instead of my usual m- Schubert, Op. 27, No. 1. Marche as art culture. Do not attempt too this city. Surely no greater proof of the Heroique .Gobbaerts is unique in many points-one especially, it is certo, Haydn. digestible hot pudding, pie, or cake for fied, but had us sing it a third time, success and efficacy of his method could as unlike any other S>-stem or plan of teaching which we did, better than ever. And much—do not shift and change from Schubert, Op. 27, No. 2. Marche as it is possible and teach^the same subject. Pupils of E. R. Kroeger. dessert at night. be desired,— The Dominant, Sept., /(toy. Heroique .HorvSth 1 yet again we sang it, and again—and one thing to another. Stick to one or Sehnhert. Op. 51, No. 1, Marche „ __wooden hack, which al¬ Scherzo, Op. 45, E. R. Kroeger; Serenade “Grape-Nuts did wonders for me and Militaire .Stoye ] ways keeps it in shape, and it does not better and higher standard of music teaching Florentine, B. Godard: Barcarolle, Schubert- T learned tn like it T did not mind yet again—more enthusiastically each at least a few things, and do these well. mutilate the contents. in America. (Signed) Liszt; Prelude and Fugue, Haberhier-Guil- 1 lef™ea to like it. I cna not mmu Thus you will accomplish much.—Or¬ "HUMBUG MEMORY SCHOOLS EXPOSED* The copies are instantly hut securely time, until we must have sung that song W ANQ address on development of the Send for Li.ts of Music for Teachers of the Denver Class. mant; La Pasquinade, L. M. Gottschalk; A my housework or mothers cares, for 1 ganists’ Journal. bound by the thin slats which run the at least six times before the leader was Two Ptanoi. Eight Hands length of the periodical, and yet can he The only system endorsed by the world-re¬ pf Tschalkowsky *Arion.0Op.’ 4f{! No.' U°E. Mi f!U stronS and ful1 of .‘S®-’ ] grCW satisfied with the effort. And the last removed at pleasure. nowned musicians such as Lescbetizky, Schar- Kroeger; Romance. Op. 26, (violin), J. Svend- plump, nerves strong, and when I wrote One Piano, Six Hands Each Binder holds twelve copies, or a wenka, Carreno, de Pachman and many others. time I think every man, woman and “You have a fine style. Give your¬ full year’s subscription, of The Etude. Booklets with letters from these representative sen; Polonaise, Op. 26. No. 2. F. Chopin; mv hrain was active and clear- indeed. Memory Caprice, “The Trout,” Schubert-Hcller; Polo- ™y ,ra n, wa? ac“ve ana clear’ aa„ ’ child in that great church were singing self up to the business of perfecting it. Price, postpaid. #1.00 musical educators sent upon application. naise In E minor, E. A. MacDoweil; Etude In the dull head pain never returned. To introduce a series of valuablelPBft C** D flat, F. Liszt; Fantasie Chromatique, J. S. “There’s a Reason” that song with all their might. Hear all men of talent, profit by every¬ educational works, the above H ILrJv THEODORE PRESSER I am sorry to say that the music in will be sent to all applicants m. IRlHV 1712 Chestnut St.. PHILA., PA. raise,’l^0n6,0FerLiszt;Limpromptm Op? Name given by Postum Co., Battle thing.”—Viotti to DeBeriot, when a youth THEO. PRESSER, Addre.. MRS. CARRIE L. DUNNING most of the young peoples’ societies is of nineteen. JAMES P. DOWNS, 14 Park Place. New York 1712 Chestnut St. - Philadelphia 225 Highland Ave. : BUFFALO, N. J. Got?si°haIkV

* 210 THE ETUDE THE ETUDE 211 TEACHERS’ ROUND TABLE. Heather Bells. (Continued jrom page 165.) MUSIC STUDENTS WHO GO TO MUSICAL STUDENTS. NORTHWESTERN UNIVERSITY ABROAD. Do not attempt more than you can 2. “Is it advisable to keep pupils, even those who are American young men and young carry out successfully. Many pupils - EVANSTON-CHICAGO ■ ■ - advanced, on scales? How soon ought the minor scales women are discovering that facilities fail to accomplish anything, though to be taught?” for Studying music on this side of the they fail to attain success, for the sim- water equal, and in many respects, pie reason that they lack perseverance SCHOOL £ MUSIC There is practically no time in a musician’s careet exceed, those on the other side, while to stick to one thing. Scarcely have when the practice of scales can be dispensed with. the comforts of living are incomparably they begun to study music when the A University Professional School, for the com¬ The minor scales may be taught as soon as the prehensive study of practical and theoretical more abundant. fancy strikes them to study painting pupil has become thoroughly familiar with the music, either as a profession or as an element of Some prospective musicians go to Many a one might have made a respect- culture. Located upon the shore of Lake Michigan, in formation of the major. Some teachers teach both Paris. Those who are not plentifully able pianist had he but persevered- but Chicago's most attractive suburb. from the beginning, and there is no reason why it supplied with pocket money fare worse scarcely had the foundation been laid I. Course to Applied Music, boiling to the cannot be done, although my own preference is to Decree or Graduate In Music. than they would in any large American when the desire made itself felt to take II. Course In Theory and History of Music. wait until the student has gained a conception of leading to the Degree of Bachelor of city. A girl student, for example, pays Up the violin or flute. We have known the major before introducing the minor. m. five francs a day for very poor board young ladies who possessed all the ele- Vi Courseto Public Scboofjluslo Methods. , cancel or and lodging in a so-called inexpensive ments requisite to make good singers, Courses I. II and V include literary studies in the quarter, or she may lodge herself in an alas, they become ambitious to be great College of Liberal Arts or Academy without extra expense. attic for thirty-five francs a month and players also, and thus, scattering their A thorough Preparatory Department is maintained. Theoretically the word cancel expresses the idea eat at students’ restaurants where the forces, accomplished but little. It is gEFORE deciding on your sum¬ The environment is perfect and social advantages better, but has not come into common use. The meat is always tough and the wine is the fault of many talented pupils, that superior. Catalogue upon request. mer course of instruction, word natural has by universal and long use come to always blue. Her bdth water has to be they scatter their powers instead of acquire a technical meaning which is understood by heated over a spirit lamp, and in the concentrating them upon one thing, why not write for information re¬ Complete copy is equal to above excerpt, in P. C. LUTKIN, Dean. Evanston, Ill. everyone, and therefore is correct. winter she goes to bed early to save There was a time when a man could garding the Fletcher Summer Music 4. 6/4 time is compound when it is divided inte the expense of fire, which in Pans is a master several instruments, for at that quality and grade, throughout. School held in the mountains of The most popular piece with Teachers, Schol¬ two beats, each divisible by three, sextuple when it luxury of the rich. If, a1 the midst of period the demands were but limited; ars and Pianists, on the market. is divided into three beats each divisible by two. the hardships, the girl falls ill, it is that time has passed, however, and he New Hampshire ? ” Address Special Introductory Price to Etude subecribere - 17c 5. The pronouncing dictionary by Dr. H. A difficult to get good medical attendance. who now aims t0 be t must con_ 6 copies ■ $1.00 Clarke is reliable. I am unfamiliar with the othei Similar conditions are discovered centrate his forces upon one instru- EVELYN FLETCHER-COPP, Send lor complete catalogs. VIRGIL books you mention. elsewhere. ment. This is a fault which all teachers 107 Thorndike St. Brookline, Mass. VANDERSLOOT MUSIC PUB. CO. 6. For information about expenses and instruc¬ Working six to eight hours a day, the of music meet with more or less. Williamsport•Penna. SCHOOL tion at Chautauqua, write directly to Chautauqua student takes about half time for meals. Pupils attempt too much. Not only do Institution, Hyde Park, Chicago, Ills. She rushes about to concerts and to the they torment themselves with trying A WORK FOR EVERY MUSIC LOVER opera every night, for this is a part of compositions far beyond their ability, MUSIC her education. More than half the time but they are in the habit of taking up Description Analyses of BACH AND HIS PUPILS. she gets through the evening on a piece new pieces long before the old ones of chocolate and the cold supper is are thoroughly mastered. They scatter BY C. M. WIDOR. Piano Works A. K. VIRGIL. Director taken after she goes home. The unac- their forces upon a large number of By EDWARD BAXTER PERRY customed food and irregular hours are pieces instead of concentrating them See Bach with his pupils. During the first yeas very serious and breakdown results upon onCi or at least upon a few. This Price $1.50, Cloth Gilt l of Pi«no Dept. Head oi vioun uept. he kept them to exercises; such as tierces, trills, For the Musician For the Student For the from these oftener than from overwork. EDWARD HATES, Head of Vocal Dept. scales, changes of fingering and all sorts of com a fault which retards the progress of Teacher For the Concert Goer Fall Term Began September 9th. Nervous breakdowns have come to be Invaluable to Clubs and for Program Making binations to obtain an even action of the hand. He many pupils. This work is a poetic, dramatic and his¬ Send for Prospectus giving full detail. very serious of recent years, and many torical analysis or description of some of the Address: Broadway Studio Building, supervised everything, and with the utmost attention a young girl has been sent home by her greatest and best known piano compositions. he judged the clearness and neatness of their touch. The emotional content of the piece is ana¬ Broadway and 80th Street. New York physician a nervous wrecks DR. RICHTER’S WIT. If one of them lost courage he, in the fullness of his lyzed,—what the piece is meant to convey, Countless are the stories told of the the circumstances surrounding the composer heart, would write a short composition on which he at the time of inspiration, the legend or epi¬ What men whose business is to enter¬ geniality of Dr. Hans Richter, who, to would disguise the very difficulties that had over¬ sode on whieh the composition is founded; * t tain the public are demanding is musi¬ the delight of music-lovers, has con¬ the scene depicted or the pict- e portrayed. awed the beginner. It contains seven of the leading piano com¬ cal proficiency, no matter where it is sented to conduct the forthcoming Beethoven Conservatory of Music This is the way in which Bach played the harpsi¬ positions of Beethoven, four by Weber, eigh¬ obtained. One of the I great pro- London Symphony concerts. A short TWENTY-FOURTH YEAR teen by Chopin, eleven by Liszt, and several St. Louis, Missouri. chord. His five fingers bent so that their extremi each by Schubert, Rubinstein. Grieg and moters of grand opera ... _New York_ timeU1U1B ago, while rehearsing a Mozart Saint-Saens. The oldest, largest and best music school in the State. ties fell perpendicularly upon the keyboard, above has been holding examinations for symphony in which the first violins The Work Is Alike Useful to the Player and the Listener All branches of music taught. Send for handsomely illus¬ which they formed a parallel line ever ready to obey trated catalogue to the candidates for his companies. He has had a number of delicate trills and The finger did not rise perpendicularly on leaving been offering special incentives to turns to perform, these were played Marks’ Writing Book BROTHERS EPSTEIN, Directors, N.W. Corner Taylor & Olive the touch, but rated, glided backwards toward the American singers, explaining that those too heavily for Richter, who said: Weigester COMBS palm of the hand; in the transition from one touch who have not acquired an international “please, gentlemen, pianissimo! Queen Broad St. Conservatory of Music to another this very gliding imparted to the next reputation must necessarily begin with Mab—not suffragettes.” Again, when Summer School finger the exact strength of pressure that had been of Vocal Music for Singers, GILBERT RAYNOLDS COMBS. Director of which was suggested by E. F. Marks, a mmpr parts, just as they would in any on one occasion Richter was not thor- Teachers and Students, near well-known teacher, of New York. It con¬ TRAINING OF BOYS’ VOICES put in force by the preceding finger. Hence, a great profession or business, but that every 0ughly satisfied with the orchestral ren- Elmira, N. Y., July 20 to 1329-31 S. Broad Street tains alternate pages ruled on one side for evenness and a touch that was neither thick nor August 29, 1908. PRIVATE sud CLASS ISSTITOITION in all branch*. rro,,, ,onn. music writing and on the opposite page for Special course of instruction for professional teachers possible opportunity will be given to dering Qf a scene from “Tristan and dstion u, poatgreiiuet.. IK,ri„n] „„rk Votovii. handwriting, so that the musical examples and choirmaster*. The field is enlarging and the supply of harsh. It is Phillip Emanuel who has given us this the American young man or young Isolde,” he stopped the rehearsal and may be written opposite to and in connec- trained choirmasters and vocal teachers too small for the demand. description. Bach had a small hand, and the motion _ ./ith the notes bearing thereon. The Send for booklet and list of professional pupils. woman who has been well trained to asked for more dignity in the playing, circular and information address book also contains directions as to the prop¬ of his fingers was barely perceptible, as the first put himself in line for operatic honors. adding that Isolde was the daughter o{ ROBERT C. WEIGESTER er manner of writing the characters and phalanges were the only ones that moved. His 807-808 Carnegie Hall a musical notation. DR. G. EDWARD STUBBS, 121W. SlitSt, New York City whTle one was ‘ha‘ a king, not of a cook. On another oc- New York, N. Y. hand preserved the rounded shape even in the exe wmie one might learn the elements of . ... , . ^ . .. Co cution oi the most difficult passages; the fingers the musical profession on this side of cas,on’ whlle ^hearsing Tschaikow- Tunes and Rhymes were barely raised above the keyboard, just a shade the water, it was necessary to go to skY’s “Romeo and Juliet” music, the FOR THE PLAYROOM FREDERICK MAXSON more than in playing a shake. As soon as a finger Europe long enough to take a few violoncellos have a very passionate had been used he brought it back to its proper posi¬ Sherwood Music School Vocal or Instrumental lessons from a famous master and to melody to play. Richter was by no tion. The remainder of his body took no part what make at least a single appearance on a means satisfied that the needful warmth 725 FINE ARTS BUILDING, CHICAGO * ,l' By (GEO. L. SPAULDING Teacher of Organ, Piano & Harmony ever in the work. It is only those whose hands are European stage. Yet even that neces- of expression had been obtained. “Gen- not sufficiently nimble that need to exert the whole Our Summer Course PRICE, 50 CENTS sity seems to have disappeared.—New tlemen, gentlemen," said he, “you all FACULTY OF EMINENT INSTRUCTORS frame while playing. Through an a-ra A set of little pieces for the voice or piano York Evening Post. play like married n n, not like lovers.” that have had an unprecedented success in Nowadays we do not play the harpsichord, and the idclt, Elaine De t sheet music form and we have had many re¬ Tit-Bits. island, Georgia quests for the complete set. They may be piano, which has replaced it with great advantage, re STUDY HARMONY. either sung or played, or both together, be¬ HUGH A. CLARKE, Mus. Doc. quires methods and means that were hitherto un Players generally feel little inclined ing especially adapted for use with very known. to learn the necessary rules of har¬ A MUSICAL CITY. young pupils or for kindergarten or other LESSONS BY MAIL class work. The words are clever and amus¬ mony; even a knowledge ofu, thei.ic .lire- WhoWH0 sfshall,a(I say that New York is not ing, the melodies bright, pleasing and — In Harmony, Counterpoint and Composition uctcristic. They genuine-'— first grade‘ “Music, the youngest of the arts, arose when painting- ran Jr i ^ a musical city? Auber is professor de no longer possessed the power to express the over cannot touch the keys without having cuisine in West Houston street, Bach to do with harmony. It is by no means l» Che.tn The Sherwood, - Philadelphia, Pa. refined, excessive sensibility and vague boundless aspira tion of the age.”—Taine. a good sign in a teacher if he does is a tonsorial artist in First avenue, understand how, by example and com¬ Gluck is a gardener in Thirty-second parison, to awaken in his pupils a de¬ street, Handel keeps a beer saloon MR. D. A. CLIPPINGER PRIVATE MUSIC SCHOOL SUBSTITUTES INCREASE DEALERS' PROFITS to learn harmony at the same time St. Nicholas avenue, Haydn is a laborer -if- that they learn to play the organ. Not in Fifty-eighth street. Hummel is a Will hold an Institute r Mr. and Mrs. A. J. Goodrich W INSIST ON HAVING THE GENUINE his studio In Chicai it Nicholas Are., NEW YORK CITY only is it a great advantage to the shoemaker in Elm street. Mendelssohn from July fii to July thirty-fir LESSONS BY MAIL scholar to understand the elements of is a dyer in Second avenue. Mozart is CUSHION a fifteen p: Special Courge for Teachers 1 BUTTON harmony as it regards his playing; but still a musician jn Chrystie street, Schu- lessons in singing.. Eight le in Musicianship, including ear t ^eater >nter.est ,n ?he bert is a tailor in Avenue A. Schumann training, harmony and analysis. H0SE works of the best masters, in opening . , A ^ A 0 , Lectures, recitals, etc. to his mind the object they had in view |s a butcher.,n Region street, Spohr A MUSIC SCHOOL Send for circular. Address ‘1 jupporter in the writing of these works. And, ,s a grocer in Fifty-second street, and DANA’S MUSICAL INSTITUTE furthermore, if the pupil has any taste Weber keeps an eating house in Jay Warren, Ohio. MR. D. A. CLIPPINGER A- + for composition himself, it enables him street. Beethoven alone is dead and North Aniterioim3uijofluj«i.'t in “ue^f KIMBALL HALL, CHICAGO Fine dormitories tor the pupil,. Send for st-pace to put his ideas on paper at least cor- has disappeared. Czerney is a shoe- catalogue to JUNTOS DANA, Sects. THE ETUDE when addressing oi rectly, if not methodically.—Schilling, maker in Eighth street. m THE ETUDE when addressing ot TAPPER’S GRADED COURSE PRACTICAL CORRESPONDENCE LESSONS FOR TEACHERS AND STUDENTS These Lessons are prepared and conducted under the supervision of the Author THOROUGHLY PRACTICAL IN PLAN AND PURPOSE Analysis of Material, Questions and Outlines for Home Study Written Work to Be Sent in for Correction And Courses in Harmony, Music Theory, Music History, etc. For particulars, address Mr. THOMAS TAPPER, Care of ARTHUR P. SCHMIDT 120 BOYLSTON STREET, BOSTON, or 136 FIFTH AVENUE, NEW YORK CITY

“Used by all Up-to-Date Teachers” THE KINDER Adjustable Foot Rest Pedal Extenders for the Piano

Foot Rest *3.00. Pedal Extenders *2.00 per set of two. Special discount to teachers andUade^ Sold by all firstdass music houses. Agents wanted. W. MARKS, 145 West Eighty-fourth Street, NEW YORK^

Harry C. Hammond Tenor

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INCORPORATED 1900 CLAUDE MAITLAND GRIFFETH THE PENNSYLVANIA Piano and Harmony VIRGIL METHOD COLLEGE of MUSIC DECREES OF MUSIC CONFERRED 1511 CIRARD AVE. K. H. CHANDLER, Prant. BURROWES COURSE OF MUSIC STURT. KINDERGARTEN AND PRIMARY-INSTRUCTION FOR TEACHERS BY HOME STUDY, ^re’.'tUtTfh*" •re,hu£ed t^dSe?w^brlii«de,^r KATHARINE BURROWES, aDddRrEessSs. p t°72 paArRson°^^