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

3-1-1910 Volume 28, Number 03 (March 1910) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 28, Number 03 (March 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/556

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. i ABr btfyzfh \ WfA*j\ 145 MODERN PIANO THE ETUDE TECHNICS New Publications Works Needed By Every Student COMPLETE SCHOOL OF TECHNIC For the Pianoforte Nature Studies Musical Thoughts for Melodic Studies ISIDOR PHILIPP RELIABLE PREMIUMS A Song' Cycle for the Ten For Equalization of the Hands Price, SI.SO EASILY OBTAINED School Months Little Tots In this new and latest work Mr. for the Pianoforte Philipp has given the teacher and Words and Music School Songs forVoice or Piano By A. SARTORIO student the benefit of his vast experi¬ A MONTHLY JOURNAL FOR THE MUSICIAN, THB ence, both as a teacher and player, and MUSIC STUDENT, AND ALL MUSIC LOVERS. By FRANK L. BRISTOW By L. A BUGBEE it is far in advance of anything Op. 853 Price, 81-00 attempted 01 . Edited by JAMES FRANCIS COOKE Price, 50 Cents Price, 50 Cents : m It is^a Subscription, *1.50 per year. Single Copies, 15 Cents. Hardy Rose Plants Those ton songs are Intended for the e, _ _„ - Canadian rosinge.ar.cents. Foreign Postage, 72 cents. __particular technical point, A set of twenty-five charmir Liberal premiums and c; :e allowed for ob- . kindergart* all musically attractive. These studies may tog^witih^n This collection of six Rose plants has tue early third grade. Arnoldo S The songs arc one of the most popular educ ■'' ' .Us? J ■ulttnnces should be made by post-offlee or express been carefully selected from the stock of asing. suited of the present day. All his w A special feature of this work is the money orders, bnnk check or draft, or registered aDd tuneful, studies as v -ell as pieces. rhythmic treatment of all the various United States postnf -— one of the largest growers in the United Pupils will gain pleasure as exercises. It is thoroughly fingered, received for c Money sent Ii liked by students. The piano from "Melodic Studies.” and every department of technic is gerous, and \ ... —- —sponsi States. accompanimentssSiWtr. are well written and de¬ adapted for hands of limited given individual and special attention, Arrival. cidedly rhythmic, affording good support to j ii of the pieces is thus render.. _ nothing being omitted. DISCONTINUANCE.— wish the The plants are all strong and healthy, ■ as an instrument number. This is one All the exercises are carried through he best original collections of children’s all the keys, and in both hands, thus and will live, grow and bloom if properly ?s that has come under our notice. insuring systematic and equal training. Hand Culture The rhythmic treatment and employ¬ treated. Musical Kindergarten A System of Double-Note ment of all the possible keys is a very important feature of the work, and is Gruss an Teplitz (a Dark Rich Crimson Rose). Finger Training valuable for daily practice. Method The Very First Pieces We have given this hook our best tlon is paid up, which serves ns a receipt for White Hermosa (Pale Lemon Yellow passing to Creamy White). ANNA BUSCH FLINT efforts, and it is not surpassed by any your subscription. For the Nursery and the Class Room FOR THE PIANOFORTE publication in the musical field to-dav MANUSCRIPTS.—All manuscripts Intended for publica¬ Duchess de Brabant (a clear Pink). Price, 81.00 By DANIEL BATCHELLOR for its workmanship, quality and ap- tion should he addressed to THE ETUDE, 1112 Price, 50 Cents This is a unique Chestnut Street, and should be written on one side Lucullus (Rich Crimson). . and CHAS. W. LAN DON rhich are intended t__ of the sheet only. Contributions on topics con¬ Madame C. P. Strasheim (fine Sulphur Yellow changing to Orange and Buff). and fifth fingers by increasing nected with music-teaching and music-study are Price, $150 H"''“lopim>m at the roots of these fingers. TOUCH AND TECHNIC solicited. Those that are not available will be re- -exercises are in accordance with the By DR. WM. MASON Entire six plants given for sending us 2 yearly subscriptions advancement. The fl principles of the well-known pedagogue and advertising RATES will be sent on application. "rely in the tre writer on the pianoforte technic, Theodore Forms close on 10th of each month for the suc¬ to ETUDE or free with one yearly subscription at $1.75. ever published, it is n tt?nSetean<> clef for both hands, being in the fl Wiehmayer. They are based on the assump¬ ceeding month’s issue. Unger position in ei tion that the development of the fourth mn«ie,eTX^°nn^?^„0ft thJ? art cf l>Wtlng of these pieces is a 1 THEODORE PRESSER, and fingers should not only equal, but 1712 Chestnut St., Philadelphia, Pa. ofDf r this}hith pleamethodhI!f young eh.Idien iVv**meansmny be -- ...seed, that of the second and k..d‘l“™vu‘i-«Ul*ViIine.R ‘ ° *” ° OC,“Ve FRESH FLOWER SEEDS FOR YOUR GARDEN fingers. In accomplishing this purpose Price of Each, SI.00 . Entered at-Phllmieinhln P. O. ns Second-class Matter. started in music at a period far earlier —- -hird and fourthfourth^ fingers are cl'chiefly!"“" — Copyright. 1010. hv Theodore Presser Co. THE ETUDE has again completed arrangements whereby it is possible to make nurse, adapted for s ercised together. These exercises _ __ This is one of the most remarkable topi”shaarer1tdrodue'deIinthnnCaSet f'{ used in connection with any system of tech- works in the entire range of pianoforte the following exceptional offers of Flower Seeds and Bulbs in connection with a sub¬ V and if practiced industriously and in pedagogy. It comprises a complete sys¬ tem, based on modern and original scription to THE ETUDE. The seeds and bulbs are all guaranteed to be fiesh and of lines, for the development of an assured and finished technic, oovering all phases CONTENTS the best quality. from the beginning to virtuosity. COLLECTION I. FLOWER SEEDS. Album of Favorite Com¬ The author of this work was nrobably -1 distinguished of all American “THE ETUDE”—March, 1910. One packet of each of the following: pianists and teachei„. „„ „„„ Semple's Choice Mixed Branching Asters, Mixed Peony Flowered Poppies, Grandiflora Sweet The Beginners’ Pipe pupil of Liszt, and. as such, was held Editorial . J positions Thought and Action in Musical Europe,^ ^ Scented Mignonette, Choice Mixed Nasturtiums, Mixed Giant Flowering Cosmos, Fine Mixed Phlox, Flagler’s Anthem Book in highest esteem. "Touch and Technic’’ and a large packet of Mixed Large Flowering Sweet Peas. Price, 50 Cents each By HANS ENGELMANN embodies the best results of his long Organ Book and active career as student, plaver Piano Playing.Sergei Rachmaninoff 1 This Collection of Flower Seeds Given for Sending One Yearly Subscription fo THE ETUDE other 84-50 per doz., not postpaid Price, 50 Cents GEO. E. WHITING and teacher. The tremendous popular¬ Preparing for the Musical.Louise Carr I than Your Own, or will be Given Free with a Year’s Subscription at S1.60 This is a compilation of anthems for gen- ity of this work is a sufficient testi¬ A Lesson with von Biilow. 1 ;rnl use. composed, arranged and selected Price, S>.00 mony of its worth. Its use bv teachers The Origin of the Suite.. Leroy B. Campbell 3 COLLECTION II. A GLADIOLI BED. ij the noted American organist and dirt and students Is constantly on the in¬ Twelve Superb New Hybrid Glaidoli Bulbs, Assorted Colors. .01. I \ . ITagicr It is the product of the josers. iris worus are This is the most elementary as well : crease. Gallery of Musical Celebrities. 3 nsively played. We hi the most complete and practical pipe orgs The gem of this The Friends of Beethoven.K. B. Wilson 1 The blooms are very large and have a wonderful range of color. ""'"me some of his ’ fnstl-lietrtr OTror nnhttohnS T . . .0. finger exercise, ti'^„... ill of tint moder-ue^dfflculTve.8?t'd^’t* th"e 1 pieces, includii ted rhythmically. Why Woman Loves Chopin.W. J. Henderson 1 The bulbs are large, fresh and of the finest quality. □ leces, luuuuiug This rhythmic treatment venues me Three Against Two Contest. 3 •Melody of Love, Thes forti entire work. All the exercises conduce This Collection of Bulbs Given for Sending One Yearly Subscription to moderate difficult^ well It embodies the r Much Misunderstood Facts.L. C. Elson 1 within the ened teaching < - ... TSpSL.,-m THE ETUDE, Not Your Own, or Given Free with One Yearly Sub¬ vvuum toe range orof the avtaver comS(St'V-M'withfln --expressiver----“,0-r and f.nclllt' Lowell Mason..7. Cu.hbirt Hadden 1 scription at $1.75 Every number is a gem, availat e alike for player and pedagogue. The exercises pro¬ _ The Some Famous Salon Music Composers, the home, the recital, or the ___ gress by easy stages through the keys, tend¬ treated. J. Francis Coolce 1 COLLECTION III. SUMMER FLOWERING BULBS. There are eighteen pieces in all, each piece ing from the very beginning to develop the given In full. The book Is handsomely true organ style. Pedaling is treated in a Music as a Profession.Thomas Topoer 1 Three Tuberous Rooted Begonias, Assorted Colors, Orange, Pink onvenlent for ready use. ilVP, and substantially bound, with clear and exhaustive manner. The entire The Mother's Influence.F. E. Thomas i and White; J Dwarf French Gannas, Assorted Colors; 4 Mammoth ait of the composer. This is one of work is most interesting. There are no dry THE COMPREHENSIVE SCALE Educational Notes on Etude Music. inest of our 50-cent volumes. exercises or studies such -as are to be found P. IF. Orem 1 Pearl Tuberoses; 2 Summer Flowering Oxalis. in many elementary organ works. Genuine AND ARPEGGIO'MANUAL UP This Collection of Bulbs Given for Sending One Yearly Subscription to Book of Interludes niusicianship is developed and a foundation Teachers’ Round Table.N. J. Corey ] laid for practical church playing WALTER MacFARREN Some Puzzling Aspects of Plano Technic, THE ETUDE, Not Your Own, or Given Free With One Yearly Sub¬ By H. R. PALMER Price, SI.SO J. S. van Cleeve l scription at $1.80. All three Collections Given for Sending Two Writing “Copy” for Advertisements, 39 Yearly Subscriptions to THE ETUDE. Price, Si-00 Students’ Popular Album This work is the most complete and O. C. Bender ] LMpfUlbook for organists, consisting 0 exhaustive ever published of all the 1 Two Yearly Subscriptions to THE ETUDE at One Time and Receive as a Premium all the Flower FOR VIOLIN AND PIANO School and Home Marches scales and arpeggios. Musings from a Study.A. IF. Borst 1 Seeds Offered Here and Both Collections of Bulbs. _„.™s Sdition is finely engraved and The Cost of Grand Opera.Chas. Doran j FOR THE PIANO printed from very large plate, contain- MacDowell at the Lesson. : Price, 50 Cents ing no abbreviations, completely fingered Too Good.Clara A. Korn liven major key to every other maior Price. 50 Cents practice8 a brIef set of rules for Department for Singers....!). A. Clippinger LATEST STYLE LADIES’ WATCH n^e1-8 it°ma-S b“ot lntended simply for pieces suitable ... pupils Hof (Kthe ,early every possible re- Department for Organists. 1 rack and used in ^conjunction ’with*1 "the lediate grades, lying chieflj .... Department for Violinists... .Robert Braine 1 Ill"’ going beyond the Department for Children.C. A. Browne Ladies’ Chatelaine Watch. Plain polished, gold Publishers’ Notes . ! filled. Carefully regulated. World of Music. I . What Others Sav. : Choice of white enamel dial or artistically gold Answers to Questions. I Recital Programs. I finished dial in Sun Ray design. Be sure to state New Publications . Making Music Lovers.Lucille Pratt : whether white or gold dial is desired. Mirth and Music. The Stimulus of Success.. Kathleen Jackson This stylish and really good watch given for a club of 12 yearly ETUDE subscriptions. MUSIC. Send 10 cents extra for registry charge to insure Adoration.F. P. Atherton At Night.B. Lindner safe arrival. Parting.E. Breslaur Anvil Chorus, from “II Trovatore” (four hands) . Verdi-Engelmann Marche Romalne (four hands)..Ch. Gounod Love and Roses.Walter Rolfe PREMIUM UMBRELLAS The Flying Witch.II. L. Cramm LET US MAKE YOU A PRESENT OF A GOOD UMBRELLA Impromptu Op. 18, No. 1.L. Schytte 85*®g. they aim to increased . __ Send us 4 yearly subscriptions to THE ETUDE and receive as a reward either a Lady’s or flexibility of the fingers and hands f Welcome Message.A. Garland Gentleman s Black Silk Umbrella, either 26- or 28-inch frame. the purpose of facilitating the execu- Good as Gold.77. AJecke Send us 6 yearly subscriptions and we will send your choice of a Pure Taffeta Silk Umbrella for Gloomy Dav.E. Sochting ex°tenslonPaSSaSeS requIring aSiHt.v and Lady, either Gret-n, _,_■ Brown. 2h-inch frame. The very latest style of umbrella made, Congratulations.Georg Eggeling For 7 yearly subscriptions w Napollta.L. P. Braun will send a Gentleman's Black Silk Umbrella. Mission style THEO. PRESSER. Philadelphia. Pa. Slumber Song.77. Engel handle. 2!- or 28-inch frame. Sent by express. Ase's Death (Violin and Piano)...!,'. Gtdeg Theodore Presser Co., 1 Alla Marcia in D (Pine Organ). .H. Hackett all of the^e off°r« for each Canadian subscription. Hail Glorious Morn (Vocal).A. Geibel One Day I Gathered Roses (Vocal). SEND ALL REMITTANCES TO Built especially for people of high G. D. Martin THEODORE PRESSER CO., 1712Chestnut St., Philadelphia, Pa. artistic discrimination who appreciate STB1GH & ZEIDLERlUg the difference between good and best Your correspondence solicited T

146 THE ETUDE THE ETUDE 147

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THE E T UD E 149 SUMMER SCHOOL Harmony and Composition advertising in IAchi^YooT^ LATEST! w. T. giffe *1.00 THE ETUDE I „,jr: ,A* EASTER MUSIC The claim made for (his work on harmony is its aim MAGAZINE »/- ^rider it one of the simplest and most Liza Lehmann’s ad works on harmony ol which we know Am ncan for American students, not a a German work. It is a book that can he BARGAINS ho are gome to start a harmony and theory LATEST well to investigate lh.s work. We look for- ccessful career for this work of Mr. Cide' McCALL’S MAGAZINE )$2.00 THEO. PREiSER SONS CYCLES OR LADIES’ WORLD ( ru" WITH THE ETUDE )$1.65 WOMAN'S Ico on Send for our Catalog of New Music HOME COMPANION esp daily suitable for “BRETON FOR I the etude $2.20 CLOSING EXERCISES E. WITZMANN & CO. ZBMMM - COSMOPOLITAN t$30() MEMPHIS.TENN. FOLK SONGS” AMERICAN MAGAZINE; FOR THE WORDS BY‘ and i WE PAY BIG MONEY THE ETUDE /$! .85 FRANCES M. GOSTLING \a. t0 yottng people who play • HARPER’S BAZAR *he piano, to represent us In * rery city and town In Amer- V I. Quartet, “Sir Fanch and the good housekeeping/ $3.00 , :a. Write at once to Fairy.” The JrtlnirBtllinger Music Co. PICTORIAL REVIEW ( 2 Contralto Solo, “I Dreamt My OR SUCCESS $2.00 'Dept. 2, Battle Creek,Mich.. U.S.A Love was Singing.” WITH ETUDE / 3 Tenor Solo, “The Ruby Neck¬ I I All with ETUDE lor . . $4.3Q „ THE latest song hits- lace.” McCLURE’S fxn The Only Girl For Me.’’-A v song m a class by itself.” 4. Trio (Sop., Ten., and Bass) “The magazine J$3.0Q ‘Caught A-Spooning.”—‘7 OR WORLD TO-DAY ( FOR _16c e“<'hv sent pouruld,»Scfu Nightingale.” CHAELES W IM 1 WITH ETUDE /$ 2.30 5. Contralto Solo, “No Candle was There and No Fire.” Both with THE ETUDE $3.3Q *‘«SS :JS 6. Quartet, “The Spinning Wheel.” Trowbridge. Hallelujah, Christ >$4.00 7. Soprano Solo, “L’Ankou” (The > FOR Death Cart). .15 WatsonT1 GiveThanks ‘unto* the ^ themetude )$ 3.05 8. Bass Solo, “King Gralon’s .15 Worleil Sing/ Gladly Sing! i!ig Daughter.” AMERICAN BOY )$2.50 9. Quartet, “St. Peter’s Night.” WITH } FOR THE ETUDE )$2.00 Price, $1.50 Net, Complete THEODORE PRESSER | $3.00 BOTH OF THESE CYCLES MODERN PRISCILLA > for WILL BE USED ON THE with THE ETUDE )$2.00 PIANO PIECES LEHMANN TOUR DESIGNER )$225 AND \ FOR the etude ' ipS32Scs Four REVIEW OF reviews)$4.50 and \ the etude 4 Cautionary Tales (AND A MORAL) OTHER CLUBS OF VALUE 4NV "SSJSifSJcSS1100 THE WORDS BY THE ETUDE r.,1-Everyvery Music Wee. Price,as, “$1.50 BREHMiBassa** BROS* DRUMHELLER BROS. 107 N. Second St. Harrisburg, Pa. H. BELLOC

ANOTHER ENG ELMAN N TRIUMPH 1. REBECCA (who slammed doors ‘SWEET DREAMS OE HOME” for fun and perished miserably). 2. JIM (who ran away from his nurse A NEW MEDITATION. The com¬ poser of “Melody of Love,” etc., etc., and was eaten by a lion). has never, in the estimation of ’those 3. MATILDA (who told lies and competent to criticise, had a more beau¬ tiful inspiration. That you may judge was burned to death). for yourself, we will send ONE COPY 4- HENRY KING (who chewed ONLY to a person, for a limited time, little bits of string and was early cents'0 Cenm ing purposes, written by the aWest modern composers. All grades OF ALL MUSIC DEALERS OR Send all Remittances to are represented It is yours FREE the etude for the asking. Write for it to-day. 1 7I5-.Chestnut Street Philadelphia, Pa, iii . i M. WITMARK & SONS Chappell & Co. s Dent. 18 w'lmark Building 31 fesf 171k Street “T” NEW YORK 150 THE ETUDE

Modern Studies IMPORTANT IN STYLE, PHRASING SELECTED "CZERNY" [ AND INTERPRETATION These Studies Are Worthy the INSTRUCTIVE I Examination ol Every Teacher

STUDIES STYLE AND TECHNIC piano! 1 15 Melodious Studies for the Second " Copious Annotations, by and Third Grades By GUSTAV LAZARUS WORKSI IN THREE BOOKS PRICE 90 CENTS EACH Op. 129. Price, S1.00 Modern studies by a prominent teacher ■ and composer. These studies mav h» VALUABLE and noteworthy addition to the technical lit- I taken up by second grade pupils, some- I advanced, and carried on lito the erature of the pianoforte. This work represents a I third grade. They suffice to bridge the diligent sifting and careful selection of material from I SfP b'irvo,'n thase grades. So musically the entire works of Czerny,_ including all the popular | attractive are these studies that a num* I BnrgmiiIler=ScIiarwenka r of them may be played as Dieees opus numbers, together with many less known, but I them will certainly be liked equally meritorious studies. Mr. Liebling’s editorial I Tbey will serve to lighten the drudgery work has been of the most exact and painstaking I of practice, and at the same time m character from both the technical and interpretative I promote style, mechanism and genera? sides; the annotations are of real practical value and amcUtS?eSht'ft.eEsauCchhSkUsdy full,, ,mus.Ical ir>terest. The three volumes, which are care¬ “Folk Song.” “Festa? Marehy”U,°Elfln fully and closely graded, the studies being arranged in progres- I Dance,” “Catch Me!” etc The fitted I C“^Mare Wrongly contrasted, enth^rade range ln dlfficulty from the early second tothe sev- I lng a wide range in technical features In nine cases out of ten he should be obliged to pay in all cases. Pupils who One of our very best the teacher will reply “I are not prepared to keep a contract of this kind friends complains that in a I Hompesch mastery of technical detail and his mastery of WHY AMERICA teach in order to get a liv¬ should not have the impertinence to go to a teacher recent issue we printed an Guide through the Classics. musical expression are truly remarkable: he was a most voluminous writer. ’ u l DO YOU ing,” and in this phrase often .for instruction. The teachers of America should FOR article urging American A collection of pieces in do everything possible to put a stop to such an im¬ AMERICAN students to go abroad for his wo^°faSUrSe’ impossible to study but a small portion of TEACH ? lies the reason for many progressive order. 6 and even “ the more generally used opus num- 1 Svesslve teachers will welcoSgThls notorious failures. The great position as the above. The greater number of bet¬ MUSICIANS study. We endeavor to print Vols. Each,.60 | ent dav Rm?™7 St?dl?,s which ar? “"necessary in the pres- teachers have never taught ter class teachers do not tolerate it. They inform the views of as many illus¬ •B"t ln practically every volume there is to be found MEL0DI°Us AND CHARACTER. for the purpose of getting a the pupil at once in as diplomatic a manner as pos¬ trious musicians as possible, some piamstic gem which should not be neglected. ISTIC CONCERT STUDIES living. They accept a reward sible that the pupil must either make up the lesson and we try to print them | Ramann best studSnf o?/ thlsT>re?ent compilation is to present his very By C. H. DOERING for their services because or pay for it. In fact it is an excellent plan for the just as they would have us general use &rades m attractive and convenient form foi First Elementary Grade of Op. 252. Price, $1.25 they must live, but those teacher to have the following notice printed con¬ print them. Sometimes we Pianoforte Playing, . . who have helped the world most have been men spicuously upon all receipts or bills: disagree with these artists, but we have the feeling | Bravoura.?o,mid (Wri A Study in and women who, if they considered their own selfish “It is the invariable custom of all music teach¬ that our readers want to know all sides of a ques¬ 2. “TwinklingMine Stars " T interests, could easily have made a much larger I Scharwenka, X. gtos and Evasive Rhythms. ers to receive payment in advance. Lessons tion, not our own particular side. We may not be financial income at some other kind of work. The lost through any other cause than protracted properly informed, we may not be right in our de¬ Preparation to the Master Mo^infraXons ttyT' famous American writer, Henry David Thoreau, illness will be charged to the pupil or made up ductions, and again we may be biased. The dimen¬ School of Piano Playing. PUBLISHER says in Walden: THEODORE PRESSER, ia |risfan»rnp at the convenience of teacher.” sions of The Etude have become too great to A collection of the most PHILADELPHIA, PA. “As I did not teach for the good of my permit us to ignore this fact. Another writer bewails The Etude will be glad to do anything to assist useful exercises, with ex¬ vag°trn enrt aplrlts of the earX'tatone iellowmen, but simply for a livelihood, this the fact that we are continually running down Euro¬ vaS'“J soft melodies. 11110116 in this movement to put an end to this costly and planations, etc., in pro¬ work was a failure.” pean schools, particularly those of England. It is aggravating injustice. well for our readers to understand that The Etude gressive order, . . . ] Thoreau was a very keen “elemental” thinker. is now the great musical forum of the world. We Unlike Emerson, he had a way of getting down to That “sticking to it” really endeavor to print articles from contributors resid¬ I Scharwenka, X. MISSES* the very tap roots of his subject, and could reveal does pay is no hews to those ing in all of the great continents. In this way, and the truth he sought in the simplest and plainest THE Master School of Piano who have had experience in in this way only, can our readers be provided with words. He did not teach because he knew that his DIVIDENDS the ways of the world, but a proper means of seeking the truth. Playing. A collection motives were wrong. Let us be conscientious. The Songs Sung by Great Singers OF to those students who are Personally, we are Americans to the core. Our teacher is always the greatest of philanthropists. If of the most useful exer¬ willing to profit by. the ex¬ forefathers have been men who have waged in the you have not made up your mind to give, in return PERSIST¬ cises from the works of periences of those who have social, political, intellectual, commercial, agricultural, I ful studies which w» w 'lve a.nd us< for the great joys which the teacher with the true great Etude writers. 2 | they are modern ^styll*’ espec,allK 8 ENCE gone before them there can military wars that have made this country what it teaching spirit receives for his services, abandon * * * SONGS SENT ON APPROVAL * * * be no better motto than. “The now is. We love the Stars and Stripes and when Vols. Each, ... |. teaching, because you will be a failure. No profes¬ twelve instructive PIFCFS in way to compel success is to the eagle screams from the mountain tops we are sion offers so much as teaching, even though the stick to your work until suc¬ TWO SONGS OF CHILDHOOD^1^01 Bergh convinced that it is beautiful music, and you can’t I Scharwenka MELODY PLATING AND EXPRESSION financial returns may be less in some cases than cess comes.” Of course, if talent does not exist in By ARNOLD SATORIO those the teacher might earn in some other work. overcome this little pet prejudice. But, because we Contributions to Finger some undeveloped form it is cruel to encourage the are Americans, we try to be fair, and let the opinions ..... CradeEm°d « CaRL H0F™AN student to continue, but wherever the deep and real of others appear beside our own. Just now permit Cultivation. 3 Books. Grade III. Op. 368. Price. $,.00 Time and time again dur¬ Sung by Miss Kittle Cheatham . love for an art is found we may generally discover us to call your attention to the following excellent Each.1.50 ing the past twenty-eight form o6f p°llai?nT,: schmoll able. Of all the annoying things which the teacher A»»ASME„RCharles Wakefield Cadman In three books. - . “‘In all work,’ says Edison, ‘the chief factor of ers who have struggled here for many a Key F, Range d-F. Key E*. Ran^R ^ . has to confront, the most irritating is that of the I Pr,o.1.I.ooE^d-",#n success is the power of sticking to things.’ It is year without gaining that high recognition pupil who thinks nothing of forming the altogether because this power is so rare that there is always, Sung by Christine Miller presumptous habit of sending the teacher at the which they deserve. And now? Now they in every science, art and occupation, ‘room at the are in the various capitals of Europe, receiv¬ very last moment, the following, absurd excuse: top.’ ‘For all the $3,000 and $4,000 positions,’ Edison teo& ing the highest fees that were ever paid for “I have been so busy that it has been impossible added, ‘there are many capable candidates, but when instruction, and they receive these high fees valdn„dbe.|CriPutp1J,eem%6- ‘1TbeaUtstraaCr‘iV; for me to practice. Consequently I shall not be able it comes to the $10,000, $15,000 and $20,000 positions FOUR* Charles Wi,kefield Cadman structlon Book SLiPm116 child’s In to come for my lesson.” it is very hard to find the right man. Accordingly, from American students that throng their hi* ™.UR AMERICAN INDIAN SONGS Can you imagine any merchant who would be at the present time many important high-salaried studios. That the indifference of their com¬ breitkopf Sune b M Prlco> complete, $1 NJO willing to give back to a purchaser, full cash value positions are vacant for want of capable scientists.’ patriots drove these men practically out of technlcalX?iemmads 00°6rln^PtheS*°varlous for an article brought back in a ruined condition? fully constructed8 i**SPfc al,v and sklll- Is not the same painfully true of music? Are not their country proved to be of advantage to furnlsh all the ?tec^nl™S|b0frtaPIeces’ that Still this is just what the pupil who sends such a the operatic managers of America and Europe in them; but how ought those to be regarded AND HARTEL average puniimiiilc6,1 st«dies (hat the letter as the above expects the teacher to do. that thev will h. , "eed, and so musical despair because of the scarcity of the $20,000 and who failed to keep them here? The wrong 24 West 20th Street That the pupil should be responsible in all such the $100,000 singers? Why are these singers so is irreparable, in so far as these men do not cases is self evident. The pupil, contracts to study scarce? Because so few students use their minds. think of returning to America except as (=== NEW YORK- for a definite period and a part of that contract, WK£r-Smhh Music Pub The ‘power of sticking to a thing’ is mental; it is visitors. The duty of American students 62 & M Stanhope Strr - NEW *YORK ORK Co. which is invariably implied, is that the pupil shall called will power, and few students have it. Thou¬ CHICAGO and lovers of good music is to see to it that East 17th Street study regularly, and faithfully. If the pupil breaks sands of them start in with the determination to do 259 Wabash Av< this contract and causes the teacher a loss of time such capable teachers as are still here should their best, but very, very few stick to it.” remain here.” Th eo^o^~Pr^sser^o7^pi.^^g”5 153 152 THE ETUDE THE ETUDE metronome is started. The pupil is required, for The Etude is eager to be The invention of true melodrama, or spokea instance, to play the E flat major scale with the the price first in the race to condemn words with musical accompaniment, is credited to metronome at 120, eight notes to the beat. If he anything that might in any George Benda, whose “Ariadne auf Naxos” W8S OF FAME is successful in doing this, he is marked accordingly, possible way reflect upon produced at Gotha, in 1774- Many German com¬ AND and other tests are given. American music and Ameri¬ posers have introduced short passages of melo¬ Personally, I believe this matter of insisting upon FORTUNE can musicians. It may seem drama into their operas. Examples of this are the a thorough technical knowledge is a very vital one. hardly fair to bring the in¬ grave-digging scene in “Fidelio” and the incantation TEN IMPORTANT ATTRIBUTES OF BEAUTIFUL The mere ability to play a few pieces does not con¬ fluence of the most widely in “Der Freischiitz.” But these are brief at the stitute musical proficiency. It is like those, music circulated musical paper in PIANOFORTE PLAYING boxes which possess only a few tunc". The stu¬ the world to bear upon one best, and can almost be considered as recitatives dent’s technical grasp should be all-embracing. poor, miserable swindler. It In the Monthly Musical Record Prof. Niecks writes with a mark of fiarlato. Mendelssohn’s “Midsummer Especially secured for The Etude from an interview with S. V. RACHMANINOFF, Later the student is given advanced technical seems not unlike a regiment of soldiers fighting to on modern tendencies under the heading “New Night’s Dream” music is more truly melodramatic, Supervisor General of the Imperial Conservatories of Russia exercises, like those of Tausig. Czerny is also very exterminate a single rat. But we are fighting for Phenomena.” Strauss and Debussy constitute the but Schumann, after all, brought the form to its principles, and for this reason we publish the fol¬ full development. deservedly popular. Less is heard of the studies of text, upon which is based a discussion of modern Henselt, however, notwithstanding his long service lowing extract from a circular that has just come In the present generation Strauss has set the pace to our attention. radicalism. in Russia. -Henselt’s studies are so beautiful that with his “Enoch Arden.” This admirable musical Such a subject, however, is no new one. As long they should rather be classed with pieces like the We cannot believe that many Americans could picture of loneliness and sorrow is a model that ago as the year 1325 the French composer Jean de studies of Chopin. be taken in by such a shallow and foul piece of our composers woal 1 do well to imitate. Few fraud. Surely the thousands of reputable Ameri¬ Muris, in his “Speculum Musicae,” protested against Americans have given the form any notice—none in can musicians who have worked hard to earn the tricks and artifices of his contemporaries, and PROPER PHRASING. fact, except Rosseter G. Cole and one or two others [Editor's Note—.1 short biography of 1If. Rachmaninoff appeared in the “Gallery of Celebrated Musicians” in the their positions in the world of music could not be sighed for the good old days of the preceding cen¬ October issue of Tub Etude- M. Rachmaninoff has recently completed a very successful tour in this country, appearing An artistic interpretation is not possible if the induced to do anything but froth at the mouth upon tury. Four hundred years later we find Rameau of the younger men. Yet it has great possibilities as a conductor and a pianist. His ca-trcmely popular “Prelude in C.Sharp Minor” has been ^ favorite u““~ M. Rachmaninoff just been selected to supervise student does not know the laws underlying the very the receipt of such a circular as this. This cheerful asserting that the tonal art had reached its limit, and should meet with favor in an epoch when every-’ programs for several years. In addition to Ms fame or ~ one seeks new effects. the Government conservatories of Russia, and will thus i what is doubtless _ important musical educational important subject of phrasing. Unfortunately many crook offers to assist you in publishing the lie that and all possible combinations had been exhausted— i the empire of the Czar. Many ei. the foremost Russian composer since Tschaikowsky. The correct pronunciation at the name a n by the composer is Molik-i ---noff.] editions of good music are found wanting in proper you have completed a course at Leipsic or the Royal in short, that “music is dead.” But she proved to MUSICAL NOVELTIES. phrase markings. Some of the phrase signs are Academy of Music, or even Oxford or Cambridge, be a pretty lively corpse. Still later, Benjamin erroneously applied. Consequently the only safe FORMING THE PROPER CONCEPTION OF A PIECE. obliged to go through the same course, special attention or any institution, for the nominal sum of two Franklin regretted the involved style of his time, Among the musical novelties in Germany Siee way is for the student to make a special study of is given to individual cases. Technic, however, is at dollars. We are very much surprised that he did and longed for the simpler music of his youth. fried Wagner’s new opera, “Banadietrich,” has been It is a seemingly impossible task to define the this important branch of musical art. In the olden first made a matter of paramount importance. All not engage in the more promising business of sell¬ But it must be admitted that we have a sharper brought out at Karlsruhe, but has won little more number of attributes of really excellent pianoforte days phrase signs were little used. Bach used them ing admission tickets to Paradise. Surely the students must become technically proficient. None contrast to-day than has ever existed before. On success than his four earlier efforts in this form. playing. By selecting ten important characteristics, very sparingly. It was not necessary to mark them demand would be greater. are excused, It may be interesting for the readers one hand we find the clean-cut symphonies and Guntram,” the first opera of Strauss, is to be re however, and considering them carefully one at a in those times, for every musician who counted In another part of the same advertisement, which of The Etude to know something of the general overtures of a Beethoven, a Mendelssohn or a vived at Frankfort, and will form an interesting himself a musician could determine the phrases as we have not printed, the writer refers to Chicago time, the student may learn much that will give him Brahms; on the other the arbitrary “Domestic comparison with the tonal shocks of “Electra* musicians he claims to have helped in this way food for thought. After all, one can never tell in he played. But a knowledge of the means of Symphony ’ of a Strauss, or the chaotic “Paris” of Another successful revival was that of PfitzneFs His mention of Chicago is hardly a libel, since print what can be communicated by the living defining phrases in a composition is by no means a Delius. These wide extremes of style have led Der arme Heinrich,” at Leipsic. “Mandanika ” by the utterances of such a swindler are not to be teacher. In undertaking the study of a new com¬ all-sufficient. Skill in executing the phrases is quite Hrof. Reicks to put the following questions: seriously considered. Mr. William Sherwood, in a G«?.tav Lazarus, well received in various citiei position it is highly important to gain a conception as important. The real musical feeling must exist recent letter, calls our attention to the fact that Is ugliness to be regarded as the most important of the work as a whole. One must comprehend the in the mind of the composer or all the knowledge factor in music? tnere are probably more celebrated teachers of main design of the composer. Naturally, there are of correct phrasing he may possess will be worthless. piano in Chicago than there are in many great Is form entirely needless and old-fashioned? technical difficulties which must be worked out, »nAt" w Zri. REGULATING THE TEMPO. European ct.es. Chicago is a great music center, Is dissonance in music to be left Unresolved? measure by measure, but unless the student can great m more ways than we could tell you if we In regard to the first point, Beethoven said that T.„?r. "e> a “Mythisches Mysterienspiel,” by form some idea of the work in its larger propor¬ If a fine musical feeling, or sensitiveness, must took this entire issue to do it. music even when depicting something ugly should tions his finished performance may resemble a kind control the execution of the phrases, the regulation Here is the offer that will ofTen the gates of fame always remain beautiful itself. Strauss Appears to ^ s= of musical patchwork. Behind every composition is of the tempo demands a kind of musical ability no for the mere sum of two dollars. We print it mis¬ ignore this principle, not even taking PpamS to the architectural plan of the composer. The student less exacting. Although in most cases the tempo takes and all, just as it came to us. Woe be to sent°Sh- a Hthem- °fuany noticeable beauty to repre- should endeavor, first of all, to discover this plan, of a given composition is now indicated by means sent his hero in the “Heldenleben.” In the same iMietsche, is another choral success, while “Das those who try to enter by this method, because it and then he should build in the manner in which of the metronomic markings, the judgment of the can only lead to a veritable Hades of failure, lies etzte Abendmahl, an oratorio by Father Hoch player must also be brought frequently into requisi¬ CHAGRIN RUIN. ' k«» ,he r'1*"'* P'V i" three'different brunn, proved less effective y tner Hoch* the composer would have had him build. thtnt lfn l’, la"* 111 excuse- “A battle is a terrible tion. He cannot follow the tempo marks blindly, tning, and must be pictured so ” You ask me, “How can the student form the symph°onngvTnChrtra' W°rks' Fried"'<* Schuchardt’s proper conception of the work as a whole? Doubt¬ although it is usually unsafe for him to stray very at^eaSTn'rh"18 V* ^ ^ m°dern tendency, less the best way is to hear it performed by some far from these all-important musical sign-posts. at least in the orchestral works of Strauss R,u The metronome itself must not be used “with closed pianist whose authority as an interpreter cannot be Let me pnnt you a beautiful DIPLOMA on eyes,” as we should say it in Russia. The player Tstilf nTS tHe "if'UCk °f tHe there questioned. However, many students are so situated special quality ofheavy satin finished paper must use discretion. I do not approve of continual "at"" ln° trheearus ehyofbWUiynet0:^- P^ aT^a^ SS with" some success that this course is impossible. It is also often quite showing that you have studied at any Conser- 7 practice with the metronome. The metronome is impossible for the teacher, who is busy teaching Wal'des a"h be3utymay hand in hand^ as in the designed to set the time, and if not abused is a very Jeiec?or Under any teacher which y°u may 80 from morning to night, to give a rendering of the faithful servant. However, it should only be used Va kyr 7s B„|hetho,re and teacher who can, by his genius, give the pupil an selves slaves to this little musical clock, which was inasmuch as it produces convincing proof that is not enough for a composer to be master of th idea of the artistic demands of the piece. never intended to stand like a ruler over every you have had thorough musical training which BalqTe"? b\7 Achille <£?,,5Str?1 works> “A« Pays If the student has the advantage of hearing minute of the student’s practice time. Is the vital que-tion of the present hour. This based on two basoue mm'' 'S 30 effectlve number, neither the virtuoso nor the teacher he need not ts a strictly confidential business proposition other meJcho^ A^vT’ S"6 -Spiri,ed and ^ despair, if he has talent. Talent! Ah, that is the CHARACTER IN PLAYING. by Perilhou, the organist Y Festl.val”. symphony, great thing in all musical work. If he has talent again116 ^ “ay never knock at your door effects. Less sLrlf r , sbows Phasing carnival he will see with the eyes of talent—that wonderful Too few students realize that there is continual S. V. Rachmaninoff. and marvelous opportunity for contrast in playing. The price for this document is $2.00 and the generation0™'musicians musl'hT''1 tf''"'' music to “La Foi ” the” EIS f.aint‘Sa*ns’ incidental force which penetrates all artistic mysteries and re¬ Straus, may cETte ™"* «■> ™ Every piece is a piece unto itself. It should, there¬ best investment you ever made in your life Paul Ladmirault’s symohm''la" dr3ma by Bricux- veals the truths as nothing else possibly can. Then program in mind when he writes but tL i -S°m.e au Matin,” shows ^ poern- Broceliande plan followed in the Imperial music schools of fore, have its own peculiar interpretation. There If 'ou are in doubts as to what to have he grasps, as if by intuition, the composer’s inten¬ not borne out by the farts P?,' “ tbl5, cla>m is tions in writing the work, and, like the true inter¬ Russia. The course is nine years in duration. Dur¬ are performers whose playing seems all alike. It printed on this paper just send me the name major Symphony of Dukaf Cateabeafy- The C be thrust aside, and if w‘e have nl* R Td n0t at Queen’s Hall in I n37|SCOred a fresh success preter, communicates' these thoughts to his audience ing the first five years the student gets most of his is like the meals served in some hotels. Every¬ of any conservatory or teacher in this country known by his ev’nt.v London. Lucien Lambert, in their proper form. technical instruction from a book of studies by thing brought to the table has the same taste. Of or Europe, the name of the city and the num¬ fhrn,ncvv"ofd„no^ FlameneaJ’ hL nro1°LeraS’ “Le Spahi” and “La Hanon, which is used very extensively in the con¬ course, a successful performer must have a strong mistortun” * *” *° "“?“** b"> <• rather o„' ber of years of study you wish to mention organ and orchestra d * romantic fantasie for TECHNICAL PROFICIENCY. servatories. In fact, this is practically the only individuality, and all of his interpretations must and your own full name and I will do the rest book of strictly technical studies employed. All of bear the mark of this individuality, but at the same Tt goes without saying, that technical proficiency to your full satisfaction because I know HOW. the studies are in the key of “C.” They include time he should seek variety constantly. A Chopin *T^°CceuI-eadun8:Ma<^li7g’’the-tHeW French operas ,s should be one of the first acquisitions of the student Ballade must have quite a different interpretation ^agre and music by Deodlt de by _Afaurice scales, arpeggios, and other forms of exercises in “er who would become a fine pianist. It is impossible special technical designs. from a Scarlatti Capriccio. There is really very lit¬ >s the story of a vo,™ ,de Severac- The plot to conceive of fine playing that is not marked by to make good resolutions. 7 ° Pr°per time At the end of the fifth year an examination takes tle in common between a Beethoven Sonata and a fortune in the city and rW.°rkm*n wha sought his clean, fluent, distinct, elastic technic. The technical Of Mozart, more truly perhaps than of almost place. This examination is twofold. The pupil is Liszt Rhapsody. Consequently, the student must •age to find his fomer fi et“rned to his native vil- ability of the performer should be of such a nature any other musician, may it be affirm^ u examined first for proficiency in technic, and later seek to give each piece a different character. Each MUSIC SET TO FAMOUS POEMS. another. Her hard lot ’S unbappiIy matetl with that it can be applied immediately to all the artistic for proficiency in artistic playing—pieces, studies, piece must stand apart as possessing an individual Two melodramas, by August Reuss nn M • - with him, and his love fo^?. 3 her W,"inff to flee demands of the composition to be interpreted. Of etc. However, if the pupil fails to pass the technical conception, and if the player fails to convey this Seegespenst” and “Berg-Idylle” ’ ^eine s but he refrains from betra bCr /"oves blm strongly, course, there may be individual passages which re¬ examination he is not permitted to go ahead. He impression to his audience, he is little better than received in Munich Theirs . recently well sP're to confirm hTm inrar-ng heri AH things con' quire some special technical study, but, generally knows the exercises in the book of studies by some mechanical instrument. Josef Hofmann has latent p«bil,“P ,b' mother and the old mhlle's. resoIive-n°t only his speaking, technic is worthless unless the hands and Hanon so well that he knows each study by num¬ the ability of investing each composition with an of the old mill itself Lnd ’tHUt tbe peaccfuI spell the mind of the player are so trained that they can ber, and the examiner may ask him, for instance individual and characteristic charm that has always te ;kh“ srs rustic surroundings Tk"d th® qt"“t charm of its encompass the principal difficulties found in modern to play study 17, or 28, or 32, etc. The student at been very delightful to me. many successes in it. 7 they should not achieve atmosphere of the wordJ the poetie compositions. fesaSrSiscaL? once sits at the keyboard and plays. Although the , New Italian works inelT. h ®xqu,Mte skill. In the music schools of Russia great stress is laid original studies are all in the key of “C,” he may be THE SIGNIFICANCE OF THE PEDAL." Prometheus Bound” h t' the symPhonic poem upon technic. Possibly this may be one of the rea¬ requested to play them in any other key. He has damia,” by the Bohemian h form' but “Hippo- sons why some of the Russian pianists have been The pedal has been called the soul of the piano. studied them so thoroughly that he should be able exceeds if in size beW Z,denke ^Ich, opm so favorably received in recent years. The work in I never realized what this meant until I heard Anton an ambitious symphony bv t/v 3t. Nap,es> and to play them in any key desired. A metronomic test has written many other mrlnri7 3 tn ogy- Fibich the leading Russian conservatories is almost entirely Rubinstein, whose playing seemed so marvelous to Among operas recentlv nrL h JVe"etlan Malipieri. is also applied. The student knows that he will be “Der Wassermann” and ‘iHilrramrS’i»m°ng which under supervision of the Imperial Musical Society. The me that it beggars description. His mastery of the orchestra. d Hakon Jarl” demand an Vergoni.” by Pratella- ^ “RoseIIina dei expected to play the studies at certain rates of system is elastic in that, although all students are pedal was nothing short of phenomenal. In the last Gorky, by Romani and °n a text from speed. The examiner states the speed and the with s«ne llid ',dt tt Corto- movement-of the B flat minor sonata of Chopin he 155 154 THE ETUDE THE ETUDE PREPARING FOR THE MUSICAL. THE VITAL SPARK. produced pedal effects that can never be described, chords of the sonata, which give him so much trou¬ In all good pianoforte playing there is a vital but for any one who remembers them they will ble on account of the extension they require, he spark that seems to make each interpretation of a BY LOUISE CARR. always be treasured as one of the greatest of mu¬ said, “You have an unbelievable hand.” He then masterpiece—a living thing. It exists only for the sical joys. The pedal is the study of a lifetime. It had me read a difficult piece by Rheinberger, and. moment, and cannot be explained. For instance, In preparing for a musicale which is intended to is the most difficult branch of higher pianoforte two pianists of equal technical ability may play the remarked, “This is the only thing in which you entertain the friends and relations of the pupils—thai study. Of course, one may make rules for its use, same composition. With one the playing is dull, are not on a level with your other great technical and the student should carefully study all these lifeless and sapless, with the other there is some¬ is to say, a recital on a larger scale than the customary gifts. You must do more reading at sight.” rules, but, at the same time, these rules may often monthly performance among the pupils themselves—h thing that is indescribably wonderful. His playing Friday, July 17. is of the utmost importance that both teacher and be skilfully broken in order to produce some very seems fairly to quiver with life. It commands in¬ Von Bulow said: “By the way, today I heard charming effects. The rules represent a few known terest and inspires the audience. What is this vital pupils should make the best showing possible. Such LESSONS WITH VON BULOW you playing Liszt’s Au bord d’une source (By the spark that brings life to mere notes? In one way 'principles that are within the grasp of our musical recitals as this do much to make or mar a teacher’s Spring), and should like td hear it again; I play a, ''intelligence. They may be compared witli the it may be called the intense artistic interest of the reputation, and a successful public appearance does Selected from the Correspondence of Mme. Laura. Rappoldi it slower.” While I was playing he made various planet upon which we live, and about which we player. It is that astonishing thing known as in¬ much to establish a very necessary feeling of con¬ remarks about the different colors of the water. For know so much. Beyond the rules, however, is the spiration. When the composition was originally fidence on the part of the pupil. It is important also, great universe—the celestial system which only the written the composer was unquestionably inspired; Especially Translated and Arranged (or THE ETUDE by FREDERICK S. LAW instance, at the modulation into E major he said: telescopic artistic sight of the great musician can when the performer finds the same joy that the that parents should see that their children can be at “Here the water takes a tinge of blue, while in penetrate. This, Rubinstein, and some others, have composer found at the moment the composition ease on the platform. [Editor’s Note.—Although the following article contains v Ire little used by the following passage in E flat it sparkles with a A wise teacher, therefore, will have her public re¬ some readers of T-- ”- — •*■“»- ’■—” * done, bringing to our mundane vision undreamt-of came into existence, then something new and differ¬ ; foremost pianists and silvery sheen. The water is illuminated by the beauties which they alone could perceive. ent enters his playing. It seems to be stimulated citals in mind months before they occur. She will light and the sun, the different keys give it the vary¬ and invigorated in a manner altogether marvelous. not, of course, interfere with her regular system of ing hues and shifting tints of -the rainbow, of THE DANGER OF CONVENTION. The audience realizes this instantly, and will even development, but she will watch each pupil in order The publication of the closing volume of von it over for me, all the time making the most interest¬ course through chromatic ch&nges.” Then he to discover :;hat pieces are best suited to his or her While we must respect the traditions of the past, sometimes forgive technical imperfections if the per¬ Billow’s letters, has drawn attention to the career of ing and instructive remarks on my playing and on the played it himself with a clearness and a transparency formance is inspired. Rubinstein was technically gifts. If a pupil plays a piece because he is fond of this remarkable man and musician, who died fourteen work itself. When I had finished he said, “You have that made me think of pearls of crystal which the which for the most part are very intangible to us it he will do it better and enter into the spirit of it because they are only to be found in books, we marvelous, and yet he admitted making mistakes. years ago, after an almost life-long struggle against done wonders in so short a time. I can hardly be¬ slightest touch would dissolve into water. with more enthusiasm than if obliged to play a piece must, nevertheless, not be bound down by conven¬ Nevertheless, for every possible mistake he may ill health, and a natural delicacy of constitution, but lieve that it is scarcely two days since you have known of his teacher’s selection for which he does not par¬ tion. Iconoclasm is the law of artistic progress. have made, he gave, in return, ideas and musical who always sustained the conflict with courage and this great work.” SCHUMANN’S “KREISLERIANA.” ticularly care. A clever teacher knows this well, and All great composers and performers have built upon tone pictures that would have made up for a million constancy. Ranking with the first as a pianist and as I ventured to say that it was very difficult to play sees that the piece is called for occasionally at smaller the ruins of conventions that they themselves have mistakes. When Rubinstein was over-exact his play¬ a conductor, he stood almost alone among his fellows on such short notice, especially since I had never played He wished to hear the Kreisleriana again, and musicales, and that it is so fixed in the pupil’s memory destroyed. It is infinitely better to create than to ing lost something of its wonderful charm. I re¬ in being as great a teacher as he was an artist. As it or even heard it before. He interrupted me: “Very at the end played it through for me. While play¬ that there can be no possible risk of a breakdown. Bui imitate. Before we can create, however, it is well member that upon one occasion he was playing Bala- an instructor he owed his success to intellectual en¬ difficult! very difficult 1 Let ethers say that; it sounds ing he made fearful faces; sang and illustrated the will she tell the pupil it is intended for public per¬ to make ourselves familiar with the best that has kireff’s Islamei at a concert. Something distracted dowments far beyond the ordinary, united with a peculiar coming from your lips. I tell you honestly, meaning of the different numbers as follows: “The his attention and he apparently forgot the composi¬ formance? By no means. She will convey the in¬ power of analysis seldom found in the artistic tempera¬ preceded us. This applies not only to composition, that you are accomplishing more than all your feminine Kreisleriana represents characters that exist only in tion entirely; but he kept on improvising in the style formation in a more or less casual manner some time ment, which is generally governed by subjective and but to pianoforte playing as well. The master colleagues (Colleginnen) ! It is your mission to play the imagination of one who is on the verge of in¬ of the piece, and after about four minutes the re¬ before the musicale is to take place, suggesting that instinctive processes of thought, rather than by critical pianists, Rubinstein and Liszt, were both marvel¬ the hardest of all things; for example, the last sonatas sanity. Johannes Kreisler is a personage in the ously broad in the scope of their knowledge. They mainder of the composition came back to him and he she would like this played, if the pupil can get it up consideration of the works and composers interpreted. Fantasiestiicke of E. T. A. Hoffman, who also used played it to the end correctly. This annoyed him sufficiently well for concert purposes again. It is re¬ His art naturally reflected these personal character¬ of Beethoven. Let Krebs (Marie Krebs, a favorite con- knew the literature of the pianoforte in all its pos¬ the name in his musical criticisms.” greatly and he played the next number upon the pro- viewed, and the pupil discovers that it is well in mind istics ; if it fell behind in the fire and passion that dis¬ sible branches. They made themselves familiar with I. In the very beginning appear forms that every possible phase of musical advancement. This gram with the greatest exactness, but, strange to This gives a happy frame of mind and confidence at tinguished the playing of his great contemporaries, change in size with every movement. Giants grow is the reason for their gigantic musical prominence. say, it lost the wonderful charm of the interpretation the start. Liszt and Rubinstein, this was made up by a clearness Their greatness was not the hollow shell of acquired of the piece in which his memory had failed him. Failure to observe forethought of this kind is largely and a cogency, a freedom from extravagance, and a small and crumple up, others grow large by fits technic. THEY KNEW. Oh, for more students in Rubinstein was really incomparable, even more so responsible for many unsuccessful recitals. If a teacher veneration for the composer’s intentions that made him and starts. In the middle movement shadows slip these days with the genuine thirst for real musical perhaps because he was full of human impulse and .crams her pupil for the occasion, selecting a piece a safer model for the student. in and whirl round in a circle. At the end they knowledge, and not merely with the desire to make his playing very far removed from mechanical per¬ which is better suited to showing off her own private Among the reminiscences called forth by the com¬ drag each other away. a superficial exhibition at the keyboard 1 fection. taste m music rather than that of the pupil, she must pletion of these volumes of correspondence, those by II. A peaceful song is heard, expressing a long¬ While, of course, the student must play the notes, not be surprised if her charges break down in their Laura Kahrer Rappoldi are the latest, and are par¬ ing after unattainable ideals—a dialogue ensues, REAL MUSICAL UNDERSTANDING. and all of the notes, in the manner and in the time efforts, or have colds that prevent them front coming ticularly interesting in throwing light upon his methods a spectre drives away the thoughts, a dispute fol¬ in which the composer intended that they should be of teaching. As a young girl, her great talent had I am told that some teachers lay a great deal of on the important day, or are called out of town the lows, at the end a scuffle. Finally quiet is re¬ played, his efforts should by no means stop with awakened the enthusiastic admiration of Liszt, who had •tress upon the necessity for the pupil learning the night before. It is very unwise to give a pupil a new stored and the first theme is taken up again. notes. Every individual note in a composition is heard her play at a charity concert in Vienna, when she •ource of the composer’s inspiration. This is inter¬ piece! of veryJ difficultviniicuii character,cnaracter, above the pupilpupil’s s Intermezzo in G minor: Long-armed giants reach each important, but there is something quite as impor¬ was but eighteen, and for two summers she studied esting, of course, and may help to stimulate a dull ability, and expect that by extra lessons and extra other abnormally large music books containing tant as the notes, and that is the soul. After all, with him at Weimar. She also had lessons from imagination. However, I am convinced that it practice the pupil will be able to play it with real the vital spark is the soul. The soul is the source Henselt, in St. Petersburg, but though by that time an compositions by Johannes Kreisler. A gloomy would be far better for the student to depend more confidence. This the pupil certainly will not he able of that higher expression in music which cannot be artist with a high and well deserved reputation she thought (invention fails) leads back to the first upon his real musical understanding. It is a mis¬ °? the contrary, she will probably grow to wished to continue her studies with still another mas¬ theme (in another key), and this, only a little more take to suppose that the knowledge of the fact that represented in dynamic marks. The soul feels the about h! piece. She will be awake at night thinking ter—von Billow. He was then, 1874, taking the cure spun out, ends the piece as in the beginning. Schubert was inspired by a certain poem, or that need for the crescendos and diminuendos intuitively about the troublesome passages, and assuring herself, at Salzungen, an almost complete nervous wreck from III. Everywhere angular skipping figures sing¬ Chopin was inspired by a certain legend, could ever The mere matter of the duration of a pause upon formal ■ reasm’ th*t she never wi» be able to per- the strain of an exacting concert season, but through make up for a lack of the real essentials leading to a note depends upon its significance, and the soul ing broken, unsteady melodies. Finally they re¬ thU fcw P,eCr 3eacHerS who show bad judgment of Lizst’s influence he consented to receive her as a pupil. good pianoforte playing. The student must see, of the artist dictates to him just how long such a treat in pairs with great noise, the tempo always occasion tn 6 mag.mfy the importance of the The notes Mme. Rappoldi made of her lessons with first of all, the main points of musical relationship pause should be held. If the student resorts to occasion to the pupils until they learn to dread the growing faster. von Billow twenty-five years ago have just been pub¬ in a composition. He must understand what it is mechanical rules and depends upon them absolutely, IV. Begins with fantastic speculations; at the his Dlavirtcrplaying will be soulless.cnnllaec a.®* W1*h. a horror ‘bat can hardly be described lished, and the extracts from them which follow have that gives the work unity, cohesion, force, or grace Any one subject to stage fright knows how terrifying end the thread is lost, but is caught up again and been chosen as being of particular interest to musical and must know how to bring out these elements! Fine playing requires much deep thought away followed by a melody, after which the first part concert nlatw/v?"3 appear when v»ewed from a Ihere is a tendency with some teachers to magnify from the keyboard. The student should not feel concert platform. Yet mastery over oneself md rnm readers. She found him in an extremely nervous state; is repeated. he says in a letter written about this time: “Never have the importance of auxiliary studies and minimize that when the notes have been played his task is Posure in public may be taught as weil as any.WngX done. . It is, in fact, only begun. He must make I spent so fatal a summer as this, so utterly thrown V. Shapes leaping one after the other. They cast the importance of essentials. This course s wrong, Hans von Bulow. lots to divine the destinies of the future; they form and must lead to erroneous results. the piece a part of himself. Every note must pedafnfreS’noUmed eyesigIlt’ a ‘^’H'lous foot on the away. Salzungen as a cure is an absolute failure.” kind of musical consciousness of conclusions—the ideas hasten into infinity, but his real artistic mission. LLnn^r^irSr^^^ finally disappear through constant diminution in PLAYING TO EDUCATE THE PUBLIC. THE FIRST LESSON. cert pianist at that time, who afterward made a tour in Sieyknow ‘thcvc^'l ^ them Perfor"i music He received her courteously and asked whether she this country), play such boarding-school pieces as the The virtuoso must have some far greater motive teThemsles and P F' Ca,mness a"d self-assurance VI. A fairy tale of wonderful beauty is related; had studied Beethoven’s sonata. Op. 106 (known as the Scarlatti sonata, the Chopin waltz in D flat, and so on. than that of playing for gain. He has a mission, ONE PRICE TO ALL. Sece they Ire ^ Ce.rtainty with regard to the it must be played as if told by word of mouth. Hammer-Klavier Sonata), and Liszt’s transcriptions of You must play the greatest things, like Beethoven’s and that mission is to educate the public. It is VII. Evil spirits appear; everything that is good Bach organ fugues, and on her replying in the negative Op. 106. I am already looking forward with pleasure quite as necessary for the sincere student in the y ELSIE LYNNES. and beautiful is distorted. In the fugato others home to carry on this educational work. For this said, “You must begin with what is most difficult. I to it. Besides, here is a new Carnival Scene by Ehlert; follow and annihilate everything in the most rapid reason it is to his advantage to direct his efforts There is will not bother myself about little pieces and easy here are some Russian pieces by Tschaikowsky, one of prevailing tendency in cities for each number tempo. Chords illustrating the meaning lead to toward pieces which he feels will be of musical edit- teachers of ~~ distinction to charge variable things. I am too old for that, and you have no need the most eminent composers of the day. Rubinstein of me for such work. Always the greatest! Who the end. cational advantage to his friends. In this he must prices. As a physician once said ‘The money- plays one and I am studying the other. I would play should be borne^n mTnd wTf 'dea, °f tkc program should play it if not you?” In answer to her objec¬ VIII. There are chickens in the farmyard. A use judgment and not overstep their intelligence too bags can pay me what I’m worth. I don’t charge Pi«e, be it for you—but my nerves!” far. With the virtuoso it is somewhat different professional people as much.” Now there is no tion, that since Op. 106 was the most difficult, it might Wednesday, July 15. cock struts pompously through the flock (broken be better to begin with another of the last four sonatas, He expects, and even demands, from his audience reason why the “money-bags” should ’pay more for -any latent talem Yesterday my lesson lasted more than two hours, octaves in B flat major in the left hand) while a certain grade of musical taste, a certain degree of he rejoined: “If one means to take a bath it is better the same instruction than I pay. It is a commodity ii the dfl ^ Cfn °Ut- SI,ebhe should steer her pupils and was particularly interesting and instructive, the hens cackle. A loud scream is heard as a dark musical education. Otherwise he would work in to go into it all at once; by entering the water little form strides through the yard (play with all pos¬ It has its face value. What would we think of a von Bulow treats me not as a pupil, but as a vam. Jt the public would enjoy the greatest in tactfulness!mthe^thlrllalm'her0 h° ^ i"ferenc'? and by little one only takes cold.” He then told her to sible force), but at the end they grow quiet again; forFrt^h? S3ld! ‘ Schumann’s Kreisleriana—play what you like from it.” tion; it inspires one to think out every composition Sunday, July 19. ?"lheJ*0uId not°e criticised by audiences that a g]ned ™ril extra time, we should be very for them to get i^ some ^ a"a”gements made have not the mental capacity to appreciate his work carefuI about discriminating between pupils In the next entry in her diary she writes: Salzungen, and to endeavor to ascertain its real meaning. In Yesterday I played the scherzo from Op. 106, the selectionsgnot neg,eCtin; ^PraC,iCf rcviewi"8 Sunday, July 12th.—As I was practicing yesterday several pieces he has given me directions for fin¬ the toccata by Sterndale Bennett, and the Kreisleriana. 1 he virtuosos look to the students of the world to _ well to have some special Tr work for if- Tt »s do their share in the education of the great music-,! «a - ~ morning, I heard Biilow’s voice on the street outside: gering and related episodes that have moved me “Do not allow yourself to be discouraged,” said the performance. Never onYh" j °n the clay before "uNlicpublic. Do not .waste.. your time with ' music that hoId'ofRfhJ arfly sil0"ld.not mere,y *zzle and lav “Good tempo!” he cried, but I did not look out since deeply, so that now I play nothing without paint¬ von Biilow. “This sonata will do you honor in If the pupil makes a few trifW ^ ,°f the recital. is trite.- or ignoble. Life is too short to spend it far ,= • ertl0,1S 0f his hearers’ he should try as I was still in negligee. My heart beat fast as my ing a background for it in my mind. He played your concerts, since no one plays it. No woman, wandering in the barren Saharas of musical trash notice should be taken of them Tjtakes’ very Kttk friend and I knocked on his door at five o’clock, and Ztli:: hlm ll6S’ ‘° b£ 3 m°del also ."-William Foster the first two movements of Op. 106 in a wonderful not even Clara Schumann, has ever played it.” He when they g0 home to have a™ ^d™t ,yoUr pupiIs he called out “Herein!” I played the Kreisleriana. and way, and a toccata by Rheinberger. When he found then played the fugue for me with the greatest mas- after each number he sat down to the piano and played that I have no difficulty in playing the opening 156 THE ETUDE but yet no definite meter, that is to say, 3 poetj. J ._ All thrmiorhthrough the earlyf»arlv rchurch a We all took dinner together, and von Biilow practice too much,” he said, cal symmetry. took occasion to speak of my engagement. He me Better rest and spare your nerves, middle ages, they wrote long strings of words «. ideal fingers; everything is easier for you ™an tor said: “In marriage there are only the hammer pressing religious sentiment, and set them to ma¬ other people. We have solved the most difficult and the anvil; one must be the first, the other the gic; just strung along anyway until the story had problem with Beethoven; all the rest is play in second—either the woman must rule, or the man.” been told without any regard to symmetrical group, comparison. On Monday you shall play Op. i I replied that it was dreadful even to think of such ings of syllables or stanza formation. a thing, to which he answered: “It is only a ques¬ and nr; then we shall talk over what remains 1 Eventually in the latter half of the Seventeenth tion of strength as .to which one it shall be—I be done. . . „ Century, Corelli began to write little pieces that mean the intellectual strength, too,” he added. Although von Biilow listens critically to my had not only accent and rhythm but four verst “Then we women are to be pitied,” I rejoined. playing and does not spare me in the expression ot stanza form to them. This was a decisive step in “But I mean not alone the physical strength,” he his opinions, he never fails in due recognition. advance and Corelli may well be called an epoch repeated with emphasis, “but the intellectual There is no end to what I have learned from him maker. These little pieces of his were the first strength as well.” during the last few weeks. 'Today he said, Tech- pieces of any account as separate instrumental nically you have nothing more to learn, but take August 4-12. compositions, and they were helped into existence care not to join the ranks of the so-called licorice- Yesterday I played for von Biilow for the first by the dance. nibblers,’ (Sussholzraspler) or of those who are time to my entire satisfaction. He was full of Every nation has had its folk dances. In known as Schumann and Chopin interpreters, whose praise and said: “You must never give up play¬ America we have our Indian dances, Cake walks, numbers are like the sand of the sea. One s playing ing in public, not only for your own sake, but for etc. In olden times people sang tunes while they must be healthful and virile. Nowdays there ^arc- the sake of others. You have really astonished me danced, but as musical instruments began to de¬ far too many pianists and too few musicians.” today.” I was perfectly happy! velop those who could do so used to play the tunes August 28. Today I played for two hours without Today (August 5) I played the E flat minor for the dancers. Music intended to accompany a pause: Op. no and in and the Allegro de concert scherzo by Brahms, the Gondellied by Mendelssohn, dances had to be built in balanced meter and phrases and the novellette in F by Schumann. Von Biilow hy Chopin. He played Beethoven’s concerto in G. The next day he was very ill and nervous. After of equal length. The dances were symmetrical in was very nervous and corrected Mrs. Beesley in movement for that is the one thing which gives Liszt’s concerto in E flat, to the opening measures I had played Op. 106 he brought out the Chopin pleasure in dancing or in watching dancing, so of which he wrote the following text: Ihr versteht Allegro and played it with an effort that made him necessarily the music had to be symmetrically con¬ das alls iiicht, ha, ha! (You understand nothing of . clench his teeth, and at the end he sank back com¬ structed also. this, ha, ha!)* pletely exhausted. He took the music and flung it against the wall with' such force that it fell in pieces, These old dances were usually performed upon one melodic instrument such as the violin or the VON BULOW’S PLAYING. crying, “I cannot play it—it is too hard !” Today (August 30) I had my last lesson from von oboe, accompanied by chords on a lute or guitar; (August 11) I played the andante in F by Bee¬ Billow. I played Beethoven’s concerto in G, then often a drum was added to strengthen the accents. thoven and the F sharp capriccio by Mendelssohn. asked him to give me a few lines for the concert We find in these primitive times that the people He said: “If you do not grow too pale go on bureaus. “You have no need of such remedies,” had many dances, that is various steps, so it took with your practicing. Each time you surprise me he said. “Recommendations are only for those who various kinds of time and music to fit the particu¬ more.” He pressed my hand and said he would can accomplish nothing.” Nevertheless a few days lar dance in question. For instance, a French danc¬ be glad to go over many other sonatas with me. later he brought me four long letters of recom¬ ing teacher named Gavot invented a step and his He played the sonata, Op. 101, as I had never heard mendation; one general in nature, the others ad¬ friends wrote music to it. He became well known, it before. This brought him on the subject of the dressed to several distinguished musicians and direc- and even introduced his new step before the Court, pause (rT\) in music: so it was no wonder the dance grew popular. In “A pause must last at least from three to four Von Biilow remained in Liebenstein until the fact it took its name from the founder and even to¬ measures,” he said; “for the initiated hearer must middle of September. His indomitable will again day we have the Gavotte, the spelling a trifle have time to reflect upon what he has just heard won the victory over his frail body; in October he altered, as one of our most used forms in instru¬ and upon that which he is to hear. He must, so began a tour in England, and the next year he made mental music. to speak, think of the past and of the future. The his first visit to America. So also came the Rigadon from a Southern pause serves to Increase the excitement of the French dancing teacher named Rigand. This dance uninitiated listener, much as the interest of the required a still different meter and step which reader of serial stories is stimulated by the an¬ created another instrumental form. So you can nouncement, ‘To be continued in our next.’ Liszt THE ORIGIN AND DEVELOPMENT OF easily see how in similar ways were evolved the once said to me: ‘The pause in music is like a THE SUITE. Bouree, Gigue, Sarabande. Courante, Prelude, Gav¬ lighthouse from which one can see everything; and for that reason it must be long, so that there may otte, Rigadon, Passapied, Minuet, Loure and Polo¬ be time enough for this.’ ” He then added laugh¬ BY LEROY B. CAMPBELL. naise. Although these are by no means all named after individuals. ingly: “In the meantime something often happens; for instance, in a Hungarian rhapsody—a scene As we listen to a piece of music, be it sonata, solo People in the days of these dance forms were of jealousy, a murder, or something of the kind!” number, or suite, we ask ourselves, how comes it that not unlike they are today; they strove soon for In the next lesson, the last in Salzungen, von such combinations of sounds, give us such pleasure? long and more drawn out works. The short dance Biilow played the adagio from Op. 106, in his opin¬ Was it always thus? How and when did it start? tunes were repeated when played for dancers, but ion the most beautiful thing in all- music. Von Has the last word yet been said? they were not long enough to use for public or Lenz in his book on Beethoven relates that the When we reflect for a moment on this strange tonal panour entertainment, so the next step was the composer himself held it so highly that after he chemistry, and at the same time think of other arts uniting of several of these dances, taking those in had finished it he added two tones, to the begin¬ and activities, poetry, electricity, machinery, etc., we the same key, or such as offered good key rela¬ ning, as if for steps on- which to mount to the altar. ’"mediately perceive the process of evolution in all tions, and making them into one long composition, During, his playing von Biilow seldom looks at Even in our own lives we can see great buch a composition became known as a “Suite." the keys; occasionally he looks at his hearers, but the_ development. Of nearly every phase of ihis style of writing became very popular and . most of the time he plays 'as though entirely ab¬ human ingenuity. sueh men as Corelli, Scarlatti, Couperin. Rameau, sorbed in himself. On the 12th of August he re- When we speak of "The Suite,” we are face to face urcell, Handel and Bach enriched piano and violin 1 moved to Liebenstein, where he took the villa with a musical form which has also taken its place in 1 erature with many a Suite of great grace and occupied by Rubinstein when I first played for him. the chain of musical evolution. beauty. It might be noted that the Suite came into Illness prevented lessons for a few days. If we investigate primitive music, we have only to exis ence by way of the violin, however, the step Liebenstein, August 18. notice savages and children. In them we have the from violin to harpsichord or clavichord in the very When I went to him again he was feeling very primeval made immediately contemporary; the remote °fJh.? seventeenth century, was a short one. ill and unhappy. “I am the most wretched man vation°Ught ^ preSent c°hveniently for obser- ’e Ate „ached its highest degree of develep- in the world!” he cried. He kept on playing, but Handel and Bach. The English and broke out every moment: “How does it happen The war dances and revels of savages are often miitpc f tj eSj°f Eacb and the twelve harpsichord that everybody comes precisely to this place for accompanied by drum and tom-tom. Children march masternLHandre de®erve to rank among the great the baths? I cannot get rid of Fanny L. (a well- about in their moments of enthusiasm, shouting and masterpieces of musical art known writer); an American artist comes from stamping in time. These crude noises are, however New York to torture me! Then the court pianist ; they are as yet simply formless expressions’ ularitv e„rTSee°? the Eighteenth Century the pop- newe^foL 6 waned and gave place to the R., and others. It is killing me—I can stand it of various feelings These sounds cannot be called no longer!” music any more than “__| baby’s cooing can be called suiTes H th-C sonata' Yet a few modem still P^fh n- m,ent,on^, showing the suite form The next day he came to say that he was too speech. Such expressions have definite time or unwell to think of music; his physician had forbid¬ pitch. “Peer Gvn; iff “E’Arlesienne.” Grieg’s den him to have anything to do with it. “Do not Men began to give utterance to poems or something Tsc^aiko " W’U “C Dv°rak’s Suite for Orchestra,” resembling poems: then they grew somewhat dramatic and Brahmc,5<»former_ -te | r It. “Either order to T0thll)S'” yieiueu, ami become allied to melody, that was the ne t step in 1 that Liszt first gained admission into these musical progress. srsis ;tle> direct]y tau*ht m1& Thus far we have a tune or melody i can any written 0r°HfiU"'<;able °r inimitable- Neither to douo any Seatgreat thmg.”—John? observabIe Ruskin. >aws enable us 159 158 THE ETUDE THE ETUDE many fascinating young ladies, but nearly always the object of his affection occupied a social position higher than his own. This may be the explanation of his many HOW TO PRESERVE THESE P°RTR^ITf „ , «* disappointments. Cut out the pictures, following outline on the reverse of this page. Paste them on margin in a scrap-book, or ony ferenCe and separate portraits. This is the second set of picture-biographies board for das., dub. or school work. A similar collection could only be obtained by purchasing several expensive books or r ,iza Lehmann, and Vieuxtemps. The series published last BEETHOVEN AND HAYDN. in the new series, which commenced last month, and included portraits and life-stories of Hofmann. Anton Rubinstein, von Eieli , In his twenty-second year, through the efforts of his year is now obtainable in book-form. friends, he was able to return to Vienna, and study with Haydn. The Breunings, Neefe, Count Waldstein and all of his old friends wished him. godspeed, and CESAR AUGUSTE FRANCK. THE FRIENDS OF BEETHOVEN in November, he arrived in the city of his dreams. His (Frahnk.) KATHARINE BEMIS WILSON first lodging was a garret, but he soon moved into a SIEGFRIED WAGNER. WILLIAM RICHARD WAGNER. CSsar Franck was born at Liege, room on the ground floor of a printer s. house. He became acquainted with many families in exclusive Siegfried Wagner, the son of Rich- (Vahg'-ner.) Belgium, December 10, 1822, and died as he was closely associated with this man of ex¬ The average student and lover of music, gener¬ society, and enjoyed their patronage. But this was ard and Cosima Wagner, and grandson Wagner was born at Leipsic, May at Paris, November 8, 1890. He studied cellent disposition and admirable musicial quali¬ ally, receives from the start, an unfortunate im¬ very di.-tasteful to his proud spirit, and he was often of Liszt, was born at Triebschen, June 22, 1813, and died at Venice, February first in the tojwn of his birth, but in his pression of the character of Beethoven. He has ties. When Neefe was transferred to the Elector’s rude when asked to play. 6, 1869. It was originally intended 13, 1883. His first important work was fifteenth year he went to Paris and been represented as an extremely rough, overbear¬ Palace at Munster, he appointed young Beethoven, 8 When he had been in Vienna about a month, news that he should be an architect, and Riensi, which was followed by The entered the Conservatoire, then under ing, uncultured man. Many stories are told of then about eleven and a half years old, to succeed Flying Dutchman, Tannhduser and Lo¬ the direction ->f Cherubini. In 1838 he him as chapel organist, which was a position of came of the death of liis father. He then became the until his twenty-first year his education S’ his eccentricities and even his studio has been guardian of his two younger brothers, and arranged hengrin. While Wagner’s domineer¬ gained an accessit in counterpoint and honor. Neefe, also assisted him in the study of was directed to that end, but no man s pictured as an uninviting place. The floor and ing disposition and revolutionary ideas fugue, and subsequently the first prize thorough-bass, and Beethoven began to compose. to asist them. with such ancestors as Siegfried Wag- .a piano in this room are strewn with manuscripts, The instruction of Haydn was not entirely satis¬ made him many enemies, his wonderful for piano playing. He then entered the In the year 1787, Beethoven went to Vienna, and ner possesses could be expected to be t: and we are told that Beethoven threw them there factory to Beethoven and he received the additional genius earned him the powerful friend¬ composition class of Berton, and in when in one of his angry moods. was introduced to Mozart, with whose name the satisfied with the coldly intellectual .8 assistance of Schenk, in the study of composition. ship of Liszt, Schumann and others. 1840 won the first prize for counter¬ Undoubtedly, Beethoven had a great deal of the whole musical world was then ringing. Mozart •0 When Haydn and Schenk left Vienna, Beethoven pleasures of architecture, and it was Wagner made his living by his pen as point and fugue. In October, 1840, Franck “musical temperament” that we hear so much was much impressed by the boy’s playing, and inevitable that he should become a ° began studying with Albrechtsberger. He was well as his music, and owing to his entered the organ class of Benoist and maligned in these days, but when we discover that gave him a few lessons. given a good course in all forms musician. His education in music was •§ political opinions was obliged to leave in 1841 obtained the second prize. He he also had a host of friends, we of composition, and devoted him¬ placed in the able hands of Kniese and Germany in 1849, and, with the assist¬ jj then returned to Belgium, but two are driven to the conclusion that self industriously to his studies. ance of Liszt, he fled to Paris and later Humperdinck, and be made his debut ■3 years later found him again in Paris, he must have had a more lovable as a conductor August 5, 1893. He is £ to Zurich. He also visited London. where he established himself with his side. IN A NOBLEMAN’S HOME. In 1861 he was permitted to return to Beethoven’s home life in Bonn an exceedingly able musician, and has g family in 1844. From that time he Prince Lichnowsky and his beau¬ Germany, and the same year he sepa¬ was unpleasant. His father was a composed a symphonic poem entitled •3 worked hard, frequently giving ten one- tiful wife offered Beethoven a rated from his first wife, Wilhelmine, hour lessons a day in piano, accompani¬ drunkard, and, consequently, the j Sehnsecht, and the operas, Der Baren- home in their palace in 1794, and whom he had married in 1836. Tristan, ment and harmony, besides composing family suffered much from the lack hautcr, 1899; Hersog Wildfang, 1901, and a he lived there for some years as after fifty-seven rehearsals at Vienna, steadily. In 1858 he became organist of proper food and clothing. The Der Kobold, 1904, etc. His works have a one of the family. He now had »—« was given up as impossible. More at St. Clothilde, a position he fulfilled mother was a patient, good woman, been performed with success in Germany, ample time for composition, and failures followed, but in 1864 Ludwig until he died. In 1872 he became pro¬ of whom Beethoven was very fond, England, and in this country. Siegfried II of Bavaria invited him to Munich, moved in the best musical and fessor of the organ at the Conserva¬ and it grieved him because her Wagner has conducted the Bayreuth fes¬ 1 and, aided by royal support, together social circles. An idea of his toire, but, in spite of his arduous duties, surroundings were so disagreeable. tivals with success. It is a little difficult with that of the numerous “Wagner friendships can be obtained by 8 continued to compose great works. The first friend that Beethoven £ Societies” which now began to spread mentioning a few of the dedica¬ for a man to be the son of a genius, and Franck is a singular instance of a man, knew was his grandfather, Ludvig throughout Germany, Wagner was en¬ tions attached to his works. The it cannot be said that Siegfried Wagner confident in his own ability, a master Beethoven, for whom he was abled to build his “ideal theatre” at dedication of the first quartets, Op. bears the mantle of his illustrious i of every musical resource, who was named. This man assisted the Bayreuth. Here were produced the 18, was received by Prince Lobko- father, but nevertheless, he is a musi¬ family in every possible way until marvelous music dramas which have alike indifferent to the criticisms and witz; Count Fries, the violin so¬ cian whose abilities have won him the u praises of all outside his own imme¬ his death, in 1774, when Beethoven completely revolutionized the whole of was four years of age. From that natas, Op. 23 and 24, and the string respect of all those whose musical modern music. Wagner married Cosima, diate circle. People are still arguing quintet, Op. 29. The Russian Count opinion is of value, and there is yet as to whether his music is good or bad, time on matters became worse in the daughter of Franz Liszt, by whom he the Beethoven household, and a Browne and his wife; Prince time for his musical powers to develop had one son, Siegfried. but there can be no doubt that it has struggle for the common necessi¬ Schwarzenberg; the Countess von more fully. (The Etude Gallery.) (The Etude Gallery.) come to stay. His most famous com¬ Keglevics, and the Countess von position is his oratorio Les Beatitudes. ties of life began. (The Etude Gallery.) Johann Beethoven, the father, Thun; Princess Esterhazy, and discovering signs of musical genius others. in his son, determined to develop In 1797 a serious illness overtook Beethoven and left his hearing im¬ JOHANN STRAUSS. JOHANNA GADSKI. this talent to serve his own ends. (Strouss.) He conceived the idea of making paired. He never recovered from Mme. Gadski was born at Stettin, CHARLES DANCLA Strauss was born at Vienna, March a musical prodigy of him, and this affliction, and it steadily grew June 15, 1871, and commenced to study (Dahnk'-lah.) 14, 1804, and died there September 25, thereby obtaining the finances with worse. At the time of his death singing in her tenth year "with Mme. Dancla was born at Bagneres de 1849. His parents would not allow which to live in ease the remainder he was totally deaf. him to study music, so he ran away Schroeder-Chalupka, one of the most Bigorres, December 19, 1818, and of his life. So from Ludvig’s fourth In 1800 Beethoven left the hos¬ from home. However, a friend took famous singers and teachers of the studied the violin under Baillot at the year he not only attended the pitality of the Lichnowsky palace day. Mme. Gadski made her operatic him back and persuaded them to allow Paris Conservatoire, where he ulti¬ public school, but was compelled for lodgings in a house where he debut at Kroll’s Theatre, Berlin, where him to study the violin. He showed mately became a professor of violin to practice upon the violin and the could pursue his career with greater she appeared as Undine in Lortzing’s great aptitude and received many en¬ | Paying in 1857. He was successful as clavier. He knew no childhood days such as other Soon thereafter Beethoven’s mother died, and he freedom. From this time on he frequently changed gagements to play at private houses. opera of that name. Her success was boys enjoyed, and grew to thoroughly dislike his was called home to Bonn, griefstricken, and very his abode. He was very particular, and would find so great that she was immediately en¬ a soloist, and his Quartet Soirees, in At fifteen he entered Pamer’s orchestra art. However, as his years advanced, and he grew melancholy. He began teaching music, and exerted fault with some slight inconvenience and imme¬ gaged for the next season, and re¬ which he appeared, together with his at the “Sperl,” a favorite place of away from the unkind management of his father, all his powers to keep his father’s household to¬ diately make other plans. mained at the theatre until 1893. In brothers, Leopold, the violinist, and amusement in the Leopoldstadt, Vi¬ his love for his music returned. But Ludvig did gether. In order to do this, he was obliged to enna. He soon afterwards became the following year she toured through Arnaud, the violoncellist, were very owe much to his father for his opportunities for the principal cities of Germany and postpone his higher ambitions, and to spend many GOETHE AND BEETHOVEN. associated with Lanner’s orchestra. In popular in Paris. He was very suc¬ advancement. hours away from his beloved composition. But the Carnival of 1826 Strauss and his Holland, and made her first appearance cessful as a composer, and gained Goethe became one of Beethoven’s friends, and at the Royal Opera House, in Berlin. his self-sacrifice was rewarded, as he made one of orchestra played at the “Swan,” in the many prizes. While his more ambi¬ BEETHOVEN’S FIRST TEACHER. was much impressed with his musical genius, but It was there that Walter Damrosch the most helpful friendships of his life at this time. severely criticized his rudeness and utter disregard Rossau suburb,- and achieved great suc¬ tious pieces are not of a character Johann soon realized his own deficiencies as a heard her and made her an offer to He became acquainted with a family in Bonn, of social customs. In 1812 Beethoven tried the cess. It was at this time that he wrote which will make them long remem¬ teacher and engaged a tenor singer, named Pfeiffer, come to the United States. She made named Van Breuning. They occupied a high social baths of Bohemia, which were advised by his physi¬ the first of the waltzes with which his to instruct his son. Pfeiffer was kind to the child name is indissolubly associated. Bigger her debut at the Metropolitan Opera bered, Dancla has written a number of position, and were cultured, educated people. The cian, Dr. Malfatti. Later in the year he returned House, New York, March 1, 1893, as short pieces for the violin which are in many ways, but was as ready as the father to family consisted of Madame Von Breuning, who was engagements followed at the “Sperl” sacrifice the child’s health and pleasure to a to Vienna. In the course of time he quarreled Elsa in Lohengrin, and was for two exceedingly popular with violinists. a widow, and her three sons and one daughter. A again, and Strauss became Capell- musical career. Beethoven held kindly feelings with Dr. Malfatti, as he did with all of his friends. meister of the First Burger Regiment, more seasons with the Damrosch-Ellis . e had great skill in writing for his wonderful affection sprung up between Madame Breun¬ Company. In 1898 Mme. Gadski be¬ throughout his life for Pfeiffer, however, and in ing and Beethoven. She was like a mother to the and was entrusted with the music at instrument pieces especially adapted later years, sent him money to relieve his poverty. BEETHOVEN’S MOST NOTED FRIEND. the court fetes and balls. He then came a member of the Grau Opera youth, and he spent many happy hours in her home. for various grades of students. Grove He is quoted as saying that he learned more from went on tour throughout Europe with Company, at New York, and upon the In November, 1789, Johann Beethoven became so In 1814 Anton Schindler and Beethoven became Pfeiffer than from anyone else, so to Pfeiffer, he unprecedented success. Paris went retirement of Maurice Grau, in 1903, m that “hls Etudes are of con¬ irresponsible, that part of,his salary was paid over fast friends. Five years later Schindler came to siderable value to teachers, especially must have owed an excellent foundation for his wild over him. London and the Eng¬ she went to the Metropolitan Opera to Ludvig, to enable him to care properly for the live with Beethoven and acted as his secretary. musical ideas. lish provinces scarcely allowed him House. She has appeared at Covent those bearing the title Accentuation et family. Thus a very young man, Ludvig assumed Beethoven also severed this friendship by a quar¬ Meanwhile, the child was taught Latin, French, time to sleep, and in Holland, Ger¬ Garden, London, with great success Ponctuahon de Tarchet.” Probably the responsibilities far beyond his years. rel, and they remained estranged until a short time and Italian, by Zambona, and received organ les¬ many, and, in fact, wherever he went and in 1899 sang the part of Eva in before Beethoven’s death, when Schindler took his si°S^,y°P^lar- °f his works are ‘he sons from the court organist, Van den Eeden, an the same kind of thing occurred. In sub¬ Die Meistersinger at Bayreuth. Since old position, and remained with his master until Variees, and the twelve opera old friend of his grandfather. All these advantages BEETHOVEN’S FIRST PATRON. sequent tours similar successes awaited 1904 she has been chiefly engaged in he passed away. him. He married in 1824 and had concert work and has had notable suc¬ S.T °' Whlch *" Mrily were procured through the efforts of Johann, the Soon after this, he met Count Waldstein, who gave Beethoven’s later life was a social triumph. Jblfu'.y """" for the violin. Ho five children. Of Lis many beautiful cess along this line. She has come to father, who through the assistance of family and him pecuniary assistance, presented him with a piano, Kings, princes, and ambassadors, when in Vienna professional connections, was able to secure much waltzes, The Beautiful Blue Danube is be regarded as one of the foremost the last and ls usually regarded as and was his devoted friend. Fifteen years later, Bee¬ did him honor. He was showered with money perhaps most famous. singers of Wagner opera, and has thor¬ French ,n?nSrepresentative of the old help. thoven dedicated to him, sonata. Op. 53, in acknowl¬ and presents, and for a time his financial position oughly earned her high reputation. In 1781, Van den Eeden retired, and Christian edgment of his gratitude. Published C^h>°1 °f Vi°Hn Playi1^ He greatly improved. He became an investor in published about 130 works in all. Gottolf Neefe became court organist and Ludvig’s Beethoven never married, but his love affairs were shares of the Bank of Austria. His brother Carl instructor. This was a great benefit to the boy, _ (The Etude Gallery.) very numerous.1 At the Van Breuning home, he met was allowed too free a control over the money. 161 the etude THE ETUDE 160 It was to Chopin more than to any other master WHY WOMAN LOVES CHOPIN. that the world owed the triumphant demonstration He and Casper, the other brother, spent a great of the fundamental relationship of the piano to its /_z deal of it, and were unkind to Beethoven in many [Editor's Note.—The Allowing is Written by precursor the gypsy cembalon. Chopm s piano has which appeared to the New YorR aj Henderson. As ways. In 1815 Casper died, and Beethoven took too frequently been described as a regulated ^Eolian Casper's son, young Carl, into his charge. He that PaPejVrHmdCTSon’s wotrTevery paragraph is inter¬ esting and suggestive of further thought Some gufl, harp but rather was it a dulcimer dressed for society turned out to be a scamp, and gave his uncle great in satin finished rosewood. But these of a certainty anxiety. are not matters which trouble the minds of women. On March 26, 1827, Beethoven died. He was acter of Chopin more lljwinj vines.” and What the woman feels in the music of Chopin is reduced to poverty, and, strange to say, very few “average” woman. INotjniwm Playing Three Notes Against Two it is not always 1 the underlying weakness of the personal fiber which of his former aristocratic friends came to see him sex in particular.] constructed it. The Chopin of the D flat valse is a during his illness. After his death the whole city humorist of the progeny of Italian “concetti.” The Successful Essay in the Prize Contest of Vienna seemed to awaken, and the people real¬ A CENTURY ago Frederic Chopin was born It is rm by no means the least significant of facts in musical Chopin of the saccharine funeral march a master ized their loss, for he was deeply mourned. The Etude has recently been conducting a contest The following is another method which may also laboring in the refuse of his worst banalities. Only J z 4 s In spite of his peculiar disposition and abrupt record that to this day his c°mp°f |°"S7°educHve with a view to securing the opinions of teachers be employed in the problem of playing two notes in the first and last movements of this composition manner Beethoven had many redeeming qualities. a certain portion of them—have a m upon the best manner of teaching the rhythmical against three: T&3. charm than those of other masters for the majority does he rise to his own surface, but these are the He was generous to a fault, and was reduced to problem of playing three notes with one hand against With these in front of you, tap on a table or other of the votaries of music. It is conceded that t movements for which the palpitating among women poverty because of ill-placed faith in his unworthy two notes with the other hand. So many interesting hard substance where you can hear the taps, the num¬ army of music lovers is recruited mostly from care nothing. The other movements touch deeply relatives. He was honorable, every inch a man, and helpful solutions were received that it was ex¬ bers, using the right hand for the “two” cards and the women. Possibly the same thing might be said ot the lighter souls among the world’s better half, for and possessed a wonderfully active brain. His ceedingly difficult for the judges to select the winner. left for the “three” cards. Count the numbers audibly the army of admirers of poetry, painting, and even they combine gentle sentimentality with mediocrity life, from the beginning to the end, was made In order that our readers may have a wider view of and tap the number which comes first on the card only, sculpture. Architecture appeals to few women. Its of invention. The weakness of the personality of difficult by his family’s attitude towards him. Is the subject than can be presented by any one writer thus (Fig. 4) : elements of stern reality jar upon their aesthetic senti¬ the artist is here disclosed brilliantly in polished and it to be wondered that his friends often found him we have arranged to print other solutions. Wc ment. It is a shock to feminine sensibility to realize ingratiating art. Woman yields to the appeal of its sullen and morose and his temper unreliable? His should have taken great pleasure in enlarging this wonderful, unsullied character, combined with his that the flying buttress is fundamentally a device to elegant littleness. She receives into her heart the list, but the limitations of our space make this im¬ musical genius, ought to overbalance his irritable resist thrusts or that the groining of a ceiling was fluttering spirit. possible. disposition, brought on by trouble and the afflic¬ originally a mere incident in the crossing of barrel Mr. Huneker, one of the most serious students of Most of the writers solved the question in a tion of deafness. vaults. . Chopin, wonders how we can reconcile the want of Play the passage in the following manner at mod¬ similar manner, and it would seem that the process Decorative art, which might be supposed to be moral and intellectual manliness in the composer erately rapid speed: Right hand, 8 times; left hand, most frequently employed by teachers were the woman’s aesthetic stronghold, reeks with abuses de¬ with the passion, power and virility of the polonaises. 8 times; right hand, 6 times; left hand, 6 times; following: TWO WAYS OF HEARING MUSIC. signed to pander to her distorted sentiment. Measures But, after all, an inquiry of this character must finally right hand, 4 times; left hand, 4 times; right hand, 1. See that the pupil has an absolutely correct con¬ almost stern have had to be taken to convince her rest on thg definition of manliness. The creative 2 times; left hand, 2 times; right hand, once; left ception of the relative position and time value of BY ARTHUR SCHUCKAI. that wall papers should be made to look like jigsaw faculty, physical or intellectual, is not always asso¬ hand, once; play together 8 times. This method the notes. puzzles, and that hatracks in the shape of peacocks ciated with other qualities distinguished by mascu¬ may not bring immediate results, but, if persisted 2. Play the passage selected for illustration very Music is not sound. It is not sound as it originates were products of a mind diseased. linity. Otherwise, how shall we account for Keats in, it will surely benefit the player. slowly, indeed, until this time value is properly com¬ in the mind of its creator. It is not sound as it is Woman adores the nocturnes, fantasias, etudes and or explain the tearful sentimentalism of Goethe’s It must be confessed that there is a little knack prehended and executed, and then increase the tempo carried away in the hearts and minds of an audience. some of the other works of Chopin. She waits “Werther?” Woman herself has often risen to ex¬ in getting smoothness and evenness in execution, patiently for them at every piano recital. She bears as desired. Sounds are audible forms or component parts of music. traordinary heights of masculine force. Man has but the knack, like all other knacks, is easily ac¬ Music itself is essentially of the spirit. There are up bravely against the Bach, Beethoven, Brahms or 3. Play with one hand until the rhythm of three equally often writhed in the infantile torments of quired after persistent practice. The main thing is many ways of conveying thought and feeling; with the Schumann with which the pianist persists in begin¬ notes to a beat is firmly fixed. Play with the other feminine squeamishness. not to stop until you have really accomplished it. pencil, with the chisel, with the brush. Many students ning his program, for she knows that she will meet hand until the rhythm of two notes to a beat is This should be practiced over and over until the But when all is said and done the striking fact Sometimes it comes with great suddenness. Any¬ hear the sounds, read the words, see the canvas, but her sure reward. After the medicine is courageously likewise firmly fixed. Then practice with both hands ear has become acquainted with the fact that the remains that Chopin created a melodic style which one who has watched a boy trying to learn how to miss the thought. swallowed the sugar plum tastes so much sweeter. until the passage can be played with the required right hand performs its second tap very quickly has never been successfully copied and which con¬ pitch a curve with a ball will understand just what Vernon Lee, in her book of essays, “Hortus Vitae,” The weakness of man is the strength of woman. smoothness. after the second tap of the left hand, the second tinues to exercise a strange and irresistible charm, is meant. The boy will sometimes work for days has a chapter on “Hearing Music,” which students She is and has been in all time his protectress. She Camille Saint-Saens, in the opening measures of tap of the left hand occurring on three and the all the more potent indeed because even the mascu¬ should not fail to read. The text is a quotation- from is the incarnate parent and guardian. When the his Etude de Rythme, Opus 52, Number 4, written without avail, and then in the twinkling of an eye second tap of the right hand on four. Here is line mind, recognizing its inherent weakness, cannot Keats: “Heard melodies are sweet, but those unheard strong man stands before her she rejoices in his expressly to elucidate this subject, shows very clearly he accomplishes his purpose, and ever thereafter another diagram (Fig. 5) : escape its witchery, while woman in her secret soul are sweeter,” and interprets it in this fashion. Melodies strength and is ready to twine herself about him as the exact relationship of the notes in an extremely the matter of pitching a curve is a trifle to him. heard with the physical ear are undoubtedly pleasant, the vine about the oak. But she is equally happy to adores, cherishes and fondles this psychological infant, bathed in endless tears. ingenious and musical manner. If the pupil will play but those heard by the inner ear—the ear of the soul, be the support of the weak, and it is m acting as the the following example from Saint-Saens’ work a are sweeter and more precious by far. The inner ear prop and the defense of some such nature as that number of times during the week, counting very PLAYING THREE NOTES AGAINST TWO. is not disturbed by the sound—the outer form; it hears which sang the major melody of the famous funeral strictly, he will have no difficulty whatever in com¬ BY FANNIE E. HUGHEY. only the music itself and grasps its true meaning and march that she rises to heights of extraordinary BEGIN RIGHT. prehending the technical and theoretical sides of the significance. splendor. This is the woman who in hours of ease problem. (Prize Winning Solution.) A lady once said to me, “I just love to watch the is uncertain and coy, but in the hour of agony is a BY CHARLES WATT. drummer. I think he is the most interesting man in From the many sides of music study presented ministering angel. Etude de Rhythme to the student this article has to do with the mathe¬ the orchestra. I always sit where I can see him.” She Here then we may perhaps find the true explana¬ not only listened with the physical ear, but with the “Why do you use only one finger in typewriting?” C. Saint-Saens, Op. 52. No. 4. matical side only; but, as mechanical straight lines tion of woman’s love of Chopin’s music. It is be¬ asked the inquisitive person of the busy one. “Be¬ may be so represented as merging into the esthetic physical eye also. Some people spend their time sym¬ yond question that his greater works soar in regions pathizing with the bass viol players, because they can¬ cause I am self-taught in the art,” was the reply, “and curve of beauty, thus (Fig. 1) : to which her reason and her imagination, save in a m my first efforts did not take the trouble to study not sit and play. Others visit their attention upon the few scattered instances, are strangers. Yet in these methods, and to find out what in the long run would be Next take this same exercise to the piano and tap conductor, and the music becomes an extra sensation. very works exist characteristic qualities which are Real music that has a meaning and a message, will more frankly exposed in the composer’s more popu¬ with the right hand on this note: In this answer there is all the philosophy of the never come home to the student who lets the sights and lar creations. Ex. c. sounds of the concert room distract him. The spirit of art ot playing the piano properly, as well as the sure We have been told often that Chopin is the Poe music rises and greets only those who can detach them¬ reason for expertness, or the lack of expertness, in of the piano, but if he truly were the musical com¬ selves from their physical surroundings, and listen and manipulating that greatest of modern aids to the busy panion of that singular mind women would be less man, the typewriter. William Mason said: “That hear with the soul. likely to love him. How many women relish the lingering of any given passage is correct which, in the canonic method of “The Murders in the Rue long run proves easiest for the hand.” Not that finger- Morgue,” the grim imagination of the “Fall of the So this arithmetical problem of two notes against TSCHAIKOWSKY AND MELODY, ing which the beginner falls into on a first impulse, House of Usher,” or the uproarious humor of “The three is one of the most common means chosen by tone Devil in the Belfry?” Or shall we find Chopin in but that which the annotator or the teacher provides poets for the expression of musical ideas. This should BY HERBERT ANTCLIFFE. the well ordered and delicately polished poesy of a!i resu.It °f much thoughtfulness and experience./ therefore be carefully studied and practiced in the very This exercise will be’ like this “Annabel Lee” and in the perfectly cadenced melan¬ „ ,n s? ls m ad phases of music study. Breadth first lesson where it appears, so that the pupil may ap¬ One characteristic of the compositions of Russian choly of “The Raven?” It were easier to find re¬ and musical quality in tone; control over rhythms and proach it fearlessly wherever and whenever it shall composers is the large amount of fairly obvious semblance in the form of the poems to the equally ynamics; the quality of speed, and the power to pro- appear in his future work. It is a simple problem melody, accompanied only by light chords, which finished form of Chopin, for the musician who wrote ?at!sfarctory, interpretations—all these grow out of mentally, and, if so considered, need not trouble the their works contain. Tschaikowsky had this in the ballades and the nocturnes was as sensitive to the fact of right beginning and depend positively on pupil physically. common with his fellow-countrymen. He wrote the moulding of his ideas as any other writer who the max,m of “what is best in the long Yun.” The least common multiple of two and three is tap, tap, _r. ■ quite a number of short pieces somewhat in the ever conceived a method of expression. But there Children s methods should be direct and comprehen- six. Here is our key: Practice this exercise with curved fingers, lifting style of Mendelssohn’s “Songs Without Words,” is a marked difference between the conceptions of rom’ ?nVer ^,ffl!se and roundabout. Power should Take two strips of cardboard of equal length. but with melodies of a less highly polished charac¬ the two men. m«IK'iv°Ugh /^nt'fic application of all the muscular Cut one into three equal parts and the other into them up and down, as in playing. Continue this prac¬ ter. Some of this he called by the same names as The most potent attraction of Chopin for woman possfinht.e8 of the hand, wrist and arm, as well as two, thus (Fig. 2): tice on any two tones that sound well together until it Mendelssohn had used, but to.others he gave fancy lies in the singularly appealing character of his through the everlasting finger drill. Rhythm and speed is perfectly easy to keep the work even, after which the names, such as the twelve pieces descriptive of music. It is the appeal, already noted, of the man „,,Vei0ped simultaneously by the use of the graded pupil should practice without counting until the fingers scale. Correct interpretation is dependent on a the- the months. The same simple melodies will be whose incapacity seeks its complement in the su¬ pronounce the rhythm correctly to the ear. When oretica! and musical analysis very exact and far-reach- this is accomplished reverse the cards and let the found in his operas, and it is to this in no small perior steadiness and purity of the eternal feminine measure that “Eugen Onegin” owes it popular¬ It is no pertinent comment on this view that George right hand have the three cards and the left hand Whkh goes to P^e that if in the beginning ’the two. Practice until it is as easy to tap the ity. This characteristic of easy and easily under¬ Sand was morally neither steady nor pure. To the 1, ' ? ls taught according to a concept which in- three with one hand as the other, and to change stood melody is common to all good music, and we creative artist morality is not a purveyor of ideas from one to the other without delaying the count find it in various styles in that of Handel, Haydn, It is unfortunately not even an influence in the and ' img a,SO’ there wil1 be Ioss of the halting formation of taste. It is a historic fact that the will “faC‘0ry w?rk so prevalent, and its place to make the change. When this is accomplished Bishop, Arne and others of a century or more ago. poet, the painter, the musician, reproduces humanity cause seie+^fi by j Plan°-musicianship, satisfying, be¬ take each of the following exercises in the same That it can be retained in music of a high degree cause scientific and1 beautiful. for the most part as he finds it and that of them all way, first counting six aloud, slowly and evenly, of development is shown by the works of all the the farthest removed from the domain of moral and afterward playing slowly without counting, but modern Russian composers, and particularly by teaching must of necessity be the musician, whose listening intently to see if the work of each hand those of Tschaikowsky. art is totally devoid of ethical significance. is perfectly even. When this can be continued for the d“M five minutes without break or variation begin grad¬ Count three to each of the two upper cards and two ually, very gradually, to increase the tempo; and to each of the three lower cards, thus (Fig. 3) : accelerate until you can play rapidly. 163 THE ETUDE the etude COMPASS IN MUSIC. have the pupils practice them frequently.”-^. /. 162 There are some errors connected with this sub¬ hand is playing the part evenly and neatly?-W. L. ject. Some imagine that a six-octave piano would is very difficult to teach this principle to pupils Whenever a new composition is studied and this be almost unusable. As a matter of fact, most who have not a good natural sense of rhythm. -Ruth rhythm occurs, if the ear is at all puzzled or the "“Counting the examples orchestral works are written between the lowest fingers are in the least unruly, stop and practice the confusion and leaves nothing to chance. and highest E of the piano. One of the greatest part carefully in this same way until it is mastered. "“S'skip and jump’ and playing three notes against musical collections in existence—Bach’s “Well- You will not waste time by so doing. It will be two are very much alike. The two hand hops in just 5'“Af7er counting the least common muWpk ol: W tempered Clavichord”—has a much narrower com¬ time well spent. After a few compositions have after the second note of ‘three’ hand -G. E. Brumfield. pass than this. Orchestral and organ compass will been mastered in this way the student ought to with two beats for each “Jo group, do not fail be further discussed in a following chapter. have little or no trouble in playing this rhythm at fo^Th: W L the entire ITT sight. ^“Carrsliould always be taken to give the third note DEFINITE EMOTIONS OF KEYS. slowly that he can solve of the three-note group its full time value. — Elisa Berlioz was the chief originator of the idea that ADDITIONAL SUGGESTIONS UPON THE the difficulty with ease.” M. F. Silvernail. each key had its definite emotion, which, while it “As a rule students take alarm at once, and te chers PROBLEM. "“After practicing with three notes in the right hand has a modicum of truth to sustain it, has been should convince them that this difficulty may readily be d two in the left, always reverse the exercise so that pushed far into the domain of imagination. Berlioz ■ Although it was necessary to award the prize to one overcome, if attacked in the right way. —S. T. Hen the principle will be mastered in both hands.'-Nellie contributor, this should not in any way be considered gave the character of the keys upon the violin, but his followers have carried this idea into the gen¬ 8, reflection upon the solutions sent in by many earnest dr“Uhave found that my younger pupils, who are never eral field of composition, unwarrantably. Even music workers. As we have said, decision was exceed¬ told that it is difficult to do, find that it is more easily ingly difficult and we have only to thank our friends for s C. EtsoN, whose lifetime of experience anim'als and music. Berlioz’s table is rather imaginative. It runs as accomplished than do my older pupils, who have made “I use a set of blocks to illustrate this idea. One their cordial interest in this contest. Following we 1 them l The of J One may read over and over again that a horse, follows: a bugbear of it.”—Cora A. Beels. block is four inches long. The others were of similar Major. have printed a few lines from different contributions, “It is an excellent plan to have the pupil write out music lovers, nas recently been endured In collecting and a mouse, a spider, an elephant are attracted by which the editor believes will interest our readers. Each length but I had one cut into three parts and the collating data pertaining to many of the most commonly the example with the least common multiple of six. — other into two parts. These blocks 1 placed in juxta¬ committed mistakes and the errors that persist In remaining music. This is an absurd half-truth. Music is not C—grave, but dull and vague. paragraph has been selected from one contribution. current in musical knowledge. Mis nuroose Is the very a natural science, as this and many other statements C sharp—less vague and more elegant. “Slow practice and the continual use of the metro¬ L. Stern. . . ,, position and thus illustrated to eye the comparative useful one of giving pupils and t< “When the difficulty has been overcome, it is wen in non-scientific works would imply. Nature does D flat—majestic. nome is of great value in solving this problem."— length of the notes.”—Miss M. S. Whitman. themselves right” upon e-- to practice with varied form of touch, so that there may value of such a work In not give us a scale or a single harmonic progression. D sharp—gay, noisy and rather commonplace. IV. M. Binder. “Be sure first of all that you know how, for there America, where many eri\,i0 -=- —- be no future stumbling.”—E. M. Druley. are many things in music which we can never get right limitless and often too open avenues of the dally press, need The foundations of music that are derived from D sharp—dull. i; “If you find either hand becoming uncertain, prac¬ not be commented upon.-1—Editor's Note.] E flat—majestic, tolerably sonorous, soft, grave. “All depends upon getting in the mind the rhythmical by blindly trying to play them.”— William R. Thomas. natural laws are regular vibration (tone), rhythm tice separately for a short time.”—B. E. Brayley. E—brilliant, pompous, noble. “I have found that by counting one, two and three, effect of the time values.”—C. W. London. “After you have gotten the right idea, practice with There is no science in existence in which so (we all pulsate rhythmically and respond readily to “It has been stated that only a person with a well- F—energetic, vigorous. and letting the second note of the triplet fall upon the the eyes shut so that the attention may not be abstracted many matters have been left at loose ends as in rhythmic effects), and separate chords (see “Pure ordered mind can accomplish this technical object with¬ F sharp—brilliant, dashing. and, this difficulty may be readily overcome.”—Martha by watching the fingers.”—A. M. Moffatt. music. A variety of causes has led to this. Many Tone). With these materials mankind has worked out long practice.”—Blanche F: Whitaker. I G flat—less brilliant, more tender. Hopkins. In addition to the above many excellent ideas were of the terms connected with music are Latin or in many diverse directions, so that it is not incor¬ “The painter, the architect and the sculptor must each G—rather gay, and slightly commonplace. . “It is well to write ,the numerical value over the embodied in the manuscripts of the following readers. rect to say that music is an artificial product made have a clear image of the work in his mind before he Italian, and the teachers of Germany have some¬ G sharp—dull, but noble. notes, giving three pulsations for each of the two notes, Owing to the limitations of space it is impossible for out of natural elements. The horse and spider, and proceeds to give it expression in outward form. In times misinterpreted them in their otherwise au¬ A flat—soft, veiled, very noble. and two for each of the three notes, so that the pupil us to print more than a few ideas: other animals, would be less attracted by Beethoven’s like manner the piano student must gain a mental grasp thoritative works. Again, some leaders in music A—brilliant, elegant, joyous. can see the proportionate value at a glance.”—Mary E. G. R. Clark. G. Ashburn, M. E. Campbell, G. “Sonata Appassionata” than by a strong two-step, of this task and then give it outward expression.”— have been ignorant of the laws of acoustics, B flat—noble, but without pomp. Farley. Diedrich, E. E. Basch, M. A. Chisholm, E. M. Balcom, Leroy B. Campbell. governing tone-production, and have given their since the latter would be more forcibly rhythmic; B—noble, sonorous, radiant. )revindicate by means of dotted lines just exactly which G. A. Case, G. A. Burdick, M. Roody, S. G. Bedell, sanction to false theories or definitions. Also some and in this they would be joined by many tribes notes are to be played together and which do not come “1 find that playing the scales three notes against C flat—noble, but not very sonorous. K. R. See, M. Nall, E. M. Smith, J. Davis, M. E. teachers, thorough in the routine of their work, have of savages. Experiments have been made in this together."—Charles B. Mouse. two much can be gained.”—Helen H. Frost. Martin, J. Podjevin, W. A. Unger, Sr. St. Pierre, A. yet indulged in fanciful vagaries as to the correla¬ direction amply proving the above statements and “It is a wise plan to play such technical difficulties “By explaining that each of the two notes is equal to Wilson, H. M. Buchell, A. L. Hastings, E. B. John¬ tion of sound to other physical forces, or as to the C—gloomy, not very sonorous. over in the mind before trying them out on the key¬ one and one-half of the time value of one of the three- also showing that swine and donkeys are the least son, P. Lecieux, M. A. Forbes, G. McCornick, J. Gal¬ origin or application of some of the powers of C sharp—tragic, sonorous, elegant. board."—G. M. Fund. note group, I find that p.upils comprehend the mathe¬ susceptible to rhythm among the mammals. braith, L. T. Seyb, J. D. Singer, E._F. Bolton, L. L. An¬ D flat—serious, not very sonorous. • . “After you have mastered the exercise in one key, matical proportions clearly.”,—Grace Ranch. Music. derson, L. S. Ashton, C. Sherman, K. Weaver, C. D. In this work it is not our purpose always to de¬ COLOR AND TONE. D—lugubrious, not very sonorous, commonplace. practice it in different keys and with different notes, “The student should endeavor to hear and feel inde¬ Ayres, E. E. Edwards, H. Ruoff, M. Fischer, I. D. cide mooted questions. We may attempt that in until you are perfectly familiar with it.”—Carlena Arnd. pendently the musical flow of both groups, for without Here we approach one of the most widely spread D sharp—dull. Hardy, M. L. Lockwood, I. A. Clute, H. Stewart, W. J. many cases, but in some instances, where authorities “Before bringing the two rhythms together let the this he cannot succeed in bringing out the musical fancies in music. There are many most celebrated E flat—very vague and very mournful. Cowdrey, A. McCall, L. R. Copp, M. Hughes, P. R. are divided, it may be as well merely to present the E—screamy and slightly commonplace. pupil become thoroughly acquainted with each, either meaning safely and effectively.”—Bj Dubbert. composers and teachers who firmly maintain that “Like all other problems, it is very easy when once Melin, B. Gross, N. L. Witter, A. M. Clark, E. M. different views and allow the teacher or the student F—not very sonorous, gloomy, violent. by clapping the hands or by tapping with a pencil upon tone and color are closely connected. There are you know how.”—C. F. Smith. Druley, P. L. Stutzer, A. M. Switzer, Charlotte S. to form his own conclusions. It may be of value, F sharp—tragic, sonorous, dashing. the table.”—Elisabeth Shotwell. many who believe that every key produces the “After fhe rhythms have been mastered in the form Tichenor, E. M. Kay, M. L. Dutton, E. Wolf. M. E. however, to give to the teacher, in a compact form, G—melancholy, tolerably sonorous, soft. “The pupil should think hard, sometimes watching the effect of a color. Mrs. H. H. A. Beach, the eminent right hand, then the left, trying to decide whether each of exercises, it is well to find examples in pieces and Keating, E. Beebe, E. S. Slocum, Elsie E. Salmon. the points in music on which authorities differ, as G sharp—not very sonorous, mournful, elegant. No. 10. well as those points on which there are undoubted composer, has from childhood associated keys and A flat—very dull and mournful, but noble. popular errors. No compendium of this sort has colors as follows: A—tolerably sonorous, soft, mournful, rather EXERCISES FOR PRACTICE OF THREE NOTES yet been attempted, yet its practical value in teach¬ Key of C—White. ing must be at once apparent. We have grouped F sharp minor—Black. B flat—gloomy, dull, hoarse, but noble. AGAINST TWO these errors, mistakes and points of dispute under G sharp minor—Black. B—very sonorous, wild, rough, ominous, violent. various heads. E major—Yellow. On this foundation rests the “character of key” G major—Red. ACOUSTICS. statement. Many composers of fame have fallen A major—Green. under its spell in so far that they have “favorite The doubts in this field begin' with the word A-flat major—Blue. keys.” Beethoven himself in certain letters showed itself, which some pronounce “A-cow-sticks” and D-flat major—Violet. that he thought of B minor as a “black key,” D flat others “A-coo-sticks.” Either manner of pro¬ E-flat major—Pink. major as “majestic,” and A flat major and F minor nunciation is permitted • by the large modern Other composers give different color-schemes. as rather “barbarous.” This could only have been dictionaries. The tones suggest colors to them, but not the same a passing mood which his own compositions do colors to different composers. It is undoubted that SOUND. not bear out. It would be easy to contradict every color and tone are both regular vibration, although such arbitrary summary of the character of keys, While it is understood that sound is a species of different kinds. The gap between color and tone by famous compositions in them. The modicum of of vibration, generally of the air, the catch-question in rate of vibration is so enormous that one can truth in the classification, however, is this: the is often propounded, “Would there be sound if no scarcely imagine it even when the figures are tessitura, or general lay of the tones, would differ one heard it?” This merely mixes up the perception presented. considerably between a work in C major and in of sound with the physical force of sound. There The deepest tone that can be heard by the brain G major. When a composer chooses a key for a was sound of the surges of a boiling ocean upon the has sixteen vibrations a second—Sub-contra C, an composition, it is presumable that he has used the earth, for example, long before there was any ear octave below the deepest C of the piano. At 38,000 best possible pitch of tones for his subject, and it to hear it. vibrations per second sound vanishes from the is always a defect to transpose a good work from' its original key: Schumann’s “Two Grenadiers” EFFECT OF ATMOSPHERE ON MUSIC. human brain. That would give a tone about three octaves above the highest E flat of the piano. or Hugo Wolf’s “Gesang Weylas” would lose some¬ The speed of sound through the air is about a what by transposition. One may also remember Therefore an active and sensitive brain can per¬ mile in five seconds. Slower in cold, dry air, and that orchestral works depend greatly for their effect ceive eleven octaves and a minor third of different quicker in warm, damp air. People imagine that, upon the key chosen, for horns, clarinets, oboes., pitches, from 16 to 38,000 vibrations per second. because sound is clearer in cold, dry air, it therefore etc., are not, like the piano, equally effective in all travels quicker, but, as the particles are further The lowest vibrations of color that are visible keys, but sound excellent in certain keys and poor apart in dry air and nearer together in warm, damp to the eye are red rays, which vibrate about 460 in certain others, as will be seen in a following weather, the opposite is the case. (See article on trillions of vibrations per second. The highest are chapter. “Pure Tone.”) The following facts about speed violet, vibrating about 730 trillions. The colors The fallacy of key-character has been pushed so of sound ought to be better understood: All kinds range from the lowest to the highest as follows: far that we have seen it stated that “the key of of tone have the same velocity. If the heavy tone Red, orange, yellow, green, blue, indigo, violet—not F is the key of nature,” also that Beethoven chose of a bass tuba were to travel quicker than the an octave altogether. the key of F major for his sixth symphony be¬ delicate tone of a violin, orchestral music would at If tones actually gave color-impressions, 'they cause that was the true pastoral key, forgetting once become impossible. But it must be remem¬ would need to follow the above order, and all com¬ the important fact that the key of F in his time bered that deep tones travel further than high ones. posers would need to agree in their color scheme. was the same as the key of E in our own days This can be tested on leaving church on any Sunday. As neither of these things take place we are forced of higher pitch. The many statements about definite The pedal tones of the organ will be heard, as one to state our conviction that the correlation of tone key-character are dangerous half-truths, and even goes further and further away from the instrument, and color is merely fanciful on the part of mu¬ Berlioz’s table is far too fanciful to be followed in when the higher tones have entirely vanished. sicians. practical music. 165 the etude

THE ETUDE 4 is never a current of air rush- fT.i 164 “omTTmy tatter-. Sugh-any o,S«PiP« >• » «>'" ~ «* famous,” wrote William Mason in 1900. KWJ PURE TONE. mistakes of fhe *5”?* Walls of Jericho may have been said that his missionary hymn f*0™ ,an_ It is not sufficiently understood that what is called bJ„heb«Tra tcnp'nral version of another phase oi land’s icy mountains/ has been -ung the a pure or a good tone is not a single tone at all, LOWELL MASON, AMERICAN EDUCATOR guages than any other sacred tune. Among t but a mingling of one tone (the fundamental) with synchronism. many popular tunes which he composed are a number of fainter, higher tones, which blend with ARCHITECTURAL ACOUSTICS. ‘Bovlston,’ ‘Hebron,’ ‘Olivet’ and ‘Bethany, and I AND MUSICAL PIONEER know that one of his collections of sacTed n?.elodl. it and alter its quality. A tone heard quite alone 4 m„sic hall should in itself be a musical would be dull, “muddy” and lifeless. The faint Sought him over a hundred thousand dollars in ■ A e°™t “ said Berlioz, and this remark was By J. CUTHBERT HADDEN overtones which form above it and blend with it instrument, ... than his schedule of the emo- royalties.” are what form the quality of each musical tone. ”"boT"ey» ^«n ab“e. » ta * popnfr err.,, famous hymns. The following simple experiment may be made or C, G’, C", E", but never thus, C4, G4, C2, E», because tions of key ® . h college professors, that we un- The story of the composition of “Heber” (as the by the teacher at the piano: Press down small g the scientists, the acousticians, have, a numeral ta sometimes e o y oints of synchronism and re- illiterate maker of church tunes, who ls said to- havebeen J“®n“*ctlo4 ”ith eal.ly church choir woik ln Ameilca. u tune for the missionary hymn is now generally without striking it. Now strike great C and then attributed the first use of the cello and the pitch pipe “ he ls best known tor his ooUections of hy—„ „„ So“ o .onn'i a,P,pplied .0 hall. The wish 1, Lowell Mason represented a great ftep In “djance and aiu financial *'e1tjlr41s:.T'Lgj“teiUT called) is rather interesting, It belongs to the lift the finger from it. The small g will be clearly e ""wonderfully high father to the thought, in tin. case, for there are which were enormously popular In theirday and; whion orougitt )n musfcal culture, which 1~* period when Mason was clerking in the Savannah heard, showing that it formed part of the funda¬ nrennre the musical taste of th* countryfor the ne« ^ ^ ^ . Sr poor bans than goo one. e.en^.n the= 1 communities In America a bank. It seems that a lady residing in Savannah mental note C. Press down f, e, d, c sharp, one higher as C2, as this will lead to endless confusion standard found li with the scientific nomenclature. Thus the tuning- for a year gratuitously. The experiment proved a became possessed of a copy of Heber s verses, sent by one, and no tone will be heard when the lower rmdeT,Ppfa?i some the revet.., o, archheehna, The name of Lowell Mason is familiar, chiefly as forks which sound A will be marked by the scientists complete success. Music was gradually introd"^d to America from England. This was in 1823. She C is struck, but when small c is pressed down and that of a composer who gave us such favorite tunes the C an octave lower struck, there will again be A3 anH those sounding C into all the public schools and Mason was made was arrested by the beauty of the poetry and by aCSaltICLake Tabernacle is a miracle of excellent as “Heber” (“From Greenland’s Icy Mountains ) heard the clear, sympathetic tone, showing that it superintendent, of the department. The seeds he its possibilities as a hymn. But the metre was reflection and synchronism. Sayles Memorial Ha 1 and as “Olivet” (which was written for Dr. Ray almost new at that time; there was no tune ttiat formed part of the lower C. in Providence, is the opposite. The Brattle Street sowed are still bearing fruit. Palmer’s “My faith looks up to Thee” a day or two His energies burst out into other directions: thus- would fit the measure. Well, the Savannah lady If the overtones are clearly present, the lower Society’s new church, in Boston, was sold at a after the words of that much prized hymn had he originated the idea of assembling music teachers had been told of a young clerk in a bank, Lowell ones full and the upper ones faint but clear, a nominal sum because the rumbling echoes made come into existence). It was Mason who adapted in classes. In 1838, when the experiment was only Mason by name, just a few doors down the street. rich mellow tone is the result. If the upper ones religious services in it impossible. It has since been the tune “Felix” from Mendelssohn’s “Festgesang three years old, a hundred and thirty-four teachers It was said that he had the gift for making tunes. are too strong the tone is acid and thin. On the partially rebuilt and is now in use the echoes hav¬ clearness of the upper overtones depends the deli¬ will be marked C4. This error is taking root in America, and it was Mason who carved “Evan” out of the —representing ten States—gathered at the Boston So the lady sent her son to the genius in music, ing disappeared with the remodeling. The old Rev. W. H. Havergal’s setting of Buhl’s prayer, Academy of Music, which he had founded in 1832. cacy of the tone. The violin or the voice sounds and will lead to great confusion unless corrected. Music Hall in Boston would sound a clear C sharp and in half an hour’s time he returned with the tune dead in a damp atmosphere because the air is too “O Thou dread Power.” But what do we really From these assemblages grew the musical conven- in response to the sounding of great A—one of the as we know it. Such is the story as Lowell Mason s dense to vibrate the faint, high overtones, and these SYMPATHY OF VIBRATIONS. SYNCHRONISM. know nowadays about Mason himself and about overtones. Whispering galleries, where sound is family used to tell it. . are therefore smothered out. The same result is his professional life work? Very little, 1 f.earj anMassachusetts, in January, 1792, this prince himself, “to voice the deep feelings of his own soul, a teacher has had practical experience of synchro¬ in special distress at the time through ill health. reproducing the stronger ones only. nism by having had a vase or a globe begin to rattle of early American psalmody reformers showed such Many inventions connected with this matter are a fondness and an aptitude for music that he was It was brought forth from its hiding a year later when one particular note is sounded on the piano, MAKING YOUR PRACTICE COUNT. now on the eve of (perfection. One may mix up or possibly a violin string will give forth its note appointed leader of a church choir in hi? native on the special request of Lowell Mason for a con¬ a pure tone (adding the best proportion of over¬ under the same circumstances. The author once town when only sixteen years old. In 1812, before tribution to the new “Spiritual Songs for Social tones) much as an apothecary would mix a pre¬ had a peculiar experience of synchronism. He was BY JAMES HUMPHRtS. he was twenty, he heard of an opening in a bank Worship” which he and his friend, Dr. Thomas scription. It is within the scope of possibility that singing a duet in a moderate-sized room (the second at Savannah, Georgia; and, having secured the po¬ Hastings, were preparing. There being no tune for science will yet go so far as to be able to tabulate voice being also a male one) in which a high F was sition, he went there. it, Mason set himself to write one, “Olivet” being the proportion of overtones in any tone and thus A desirable technic in piano playing, we all taken fortissimo. As the note rang out a globe on Out of business hours he did nothing but study the result. give a written description of the voice of Caruso, the gas-chandelier above the singers burst into know, depends not only upon practice, but upon the music. Of course, he attempted composition, his There are other tunes of Mason about each ot for example, that could be understood and actually splinters, which flew all over the room. It was a kind of practice. No one has secured enough technic first efforts being hymn tunes and anthems. He which some little story might be told, if one’s space Ireproduccd centuries hence. had got hold of tile “Sacred Melodies” of our Wil¬ clear case of synchronism, but the vibrations were until he can sit down at the piano and devote his were not already filled. The American churches so forcible that the globe could not sustain them. mind to presenting the musical idea of a piece, irre¬ liam Gardiner, that musical stocking manufacturer );■ PITCH. of Leicester who sent to Haydn a present of half can naturally appreciate better than we can the Something similar took place at the St. Louis spective of any technical difficulties involved. To do work which he did as a composer. The style which fire It is a popular error to suppose that “absolute World’s Exposition a few years ago. In order to a dozen pairs of cotton stockings, into which were this the hands must be in such condition that they he inaugurated was practically quite new to Amer¬ pitch,” an ability to recognize and name any note show the popular errors in this matter we will fall into the right place unconsciously. woven the notes of “God preserve the Emperor, on its being sounded, is a certain evidence of great “My mother bids me bind my hair” and other ica: it indicates the transition from the fugue tune first quote a telegram that was sent to the largest Before such a result can be achieved there must ability in music. It certainly implies a musical ear, papers of the East and published by them: thematic material, including the Andante from the to the modern form and connects all previous peri¬ but it is rather a special use of memory than of be a great deal of conscious effort, and this con¬ “Surprise” Symphony. Mason conceived the idea ods in one production. But it was not a uniform scious effort is directly dependent in its value upon ■musical attainment. The blind almost always have “(St. Louis Special to the New York Times.) of an American edition of this work and he pre- style, as any one may see by a close study of the it because they need to cultivate it. There are the amount of consciousness put into it. In other pared it accordingly, adding at the same time some Dr. Lowell Mason, tunes which have his name attached. Evidently he “Musicians and architects agreed that the shatter¬ words, progress depends entirely upon the amount !several eminent composers alive at present who ing of the glass skylight of Festival Hall at the of his own compositions. In vain he tried the music (The most famous of early American musical had not formulated any positive principle. He al¬ of concentrated effort brought to bear upon the have not “absolute pitch,” and there are some World’s Fair was. caused by the vibratory force publishers of Boston and Philadelphia; they .would composers.) ternates between one form and another and there "i -itiediocre musicians who have it. It can be culti¬ actions of the hand necessary to produce a certain from harsh notes played on the big organ by some have nothing to do with Mason and his melodies. is no steady process. His influence, therefore, de¬ vated by sounding a tuning-fork many times a day unskilled piusician, though they are not inclined to result. Every action of the hand records an impres¬ Presently a Boston organ builder, Mr. W. W. pends upon the general direction in which he is and humming the note (A or C) until it remains tions which Mason held throughout New England place the responsibility for the accident upon the sion upon the mind, and this applies equally as much Goodrich, came to Savannah to set up one of his moving rather than upon any goal which he has in the memory. Other notes will soon follow in and in some of the other States. Choir singers and shoulders of Professor W. C. Gale, of New York, when the hand performs the act incorrectly as when instruments. He made Lowell Mason’s acquaint¬ its train. An odd point in connection with abso¬ other musically inclined people from the towns reached. Nevertheless, his influence was most pro¬ who was playing the organ when the glass fell. it performs correctly. It must be obvious, therefore, ance and induced him to proceed to Boston in per¬ lute pitch is that it sometimes temporarily deserts lying within the surrounding districts would meet found. Direction is much, though not everything; “Professor L. M. French, of Chicago, expressed that it is better to play a passage over a few times, son There the collection just mentioned was sub¬ |lip person who has it. Also, in employing it, the at a central point and he would hold a musical con¬ being once established, the goal is sure to be the sentiments of the other inquirers into the cause making a special mental effort to do it right each mitted to Dr. G. J. Jackson, the organist of the : -Violinist will recognize it more quickly upon the vention lasting for seve’ral days. He drilled the reached. Lowell Mason broke away from current of the accident when he said that he believed the Handel and Haydn Society, whose warm approval violin than upon any other instrument, the oboist time, than it would be to play the passage over a singers in church music and also, where he found forms, supplied the corrective of many abuses and harsh notes had been struck by a predecessor of it received. Jackson determined to see it published; upon the oboe, etc. great number of times indifferently. sufficient advancement, in music of a higher order. started upon a path in which others, following his Professor Gale, so loosening the glass that it fell and published it was, in 1822, with the title of “The If piano students would realize the negative Boston Handel and Haydn Society’s Collection of Lowell Mason was an ardent advocate of congre¬ leadership, soon achieved the best results. CONCERT PITCH. with little provocation.” effect of careless practice, as well as the positive gational singing, about which we hear so many and (Reprinted in The Boston Transcript and many Music.” The book proved an instant success, find¬ Many a young teacher falls into the error of effect of accurate practice, progress would be very ing its way into singing schools and church choirs such divergent views in these days; and the stimu¬ other newspapers.) lus which he gave to the movement in its favor imagining that “concert pitch” must be the proper Could anything be more ignorant than the above! much more rapid. There is ample evidence of this throughout the whole of New England. bore very rich fruit. He put forth many volumes In the latter half of the nineteenth century several standard of pitch for concert music. The reverse Even an infant or a blacksmith cannot play “harsh m many simple things of every-day life. For in- in the interest of better sacred music, not only for Hungarian composers made praiseworthy efforts to is true. Concert pitch is the name applied to any notes” upon a well-tuned organ. When the stops stance, considering the tremendous sharpness of an HIS WORK IN NEW ENGLAND. the congregation but for the choir, the Sunday- found a national school of opera which should em¬ high pitch which any musical instrument manu¬ are set the tone resulting is always the same, no ordinary razor, it is astonishing how few serious It was the success of this first venture that led school and for church societies. In this work, in ploy these characteristics in their works for the facturer may choose as best fitted to his instru¬ matter who presses down the key, or how it is accidents occur with this implement. The reason Lowell Mason to leave Savannah and to settle in deed, he continued until within a few years of his lyric stage. The most successful of these was Franz ments, and as the public generally like the pungent pressed down. is because a man knows that if he handles his razor Boston. At that time the Handel and Haydn So¬ Erkel in his operas, Bank-bin and Hunyadi Laszlo. tone of a high-pitched instrument best, concert “Harsh notes,” had they been produced, would not carelessly he stands in danger of doing himself a ciety was largely recruited from church choirs and death in 1872. ^pitch is always above the normal pitch. Every mu¬ Rp.rmnc Following in his footsteps, Count Geza Zichy has have disturbed the skylight. It was pure, good and its concerts were devoted almost entirely to church IN LONDON. sician should work to establish the “International just produced his historic opera, “Franz Rakoczy resonant tones, full and regular vibrations, that The apparent indifference to risk exhibited by music. For five years Mason was president of the Pitch” of 43S vibrations for one-lined A, or 517 3-10 caused the glass to vibrate in sympathy (syn¬ society and served as musical director, the engage¬ Mason paid a visit to London about the time II,” in Budapest. This is the second of a Rakoczy vibrations for two-lined C. tv, °re,r,\a‘ WOrk. 0,1 the t0P series of some of when the late John Hullah’s classes were causing trilogy in which the composer has attempted to chronism) and brought it down upon the heads of e a buildings in our large cities can only be the ment of an official conductor not having been the audience. much excitement; and he gave some lectures in the TABLATURE. result °f careful and accurate practice, since to authorized until 1847. Meanwhile, Mason was con¬ introduce national peculiarities of rhythm, harmony Newspaper excursions into the domain of stantly aiming at the ■ introduction of popular edu¬ Weigh-house Chapel. “The charm of his manner and melody while adhering to the principles and Tn'tl, 6 Wrong steP would very often mean death. Tablature means the designating of definite notes acoustics are always to be distrusted. The author cation in music. It was through his efforts—and and the wonderful facility for teaching which he forms of modern dramatic music. If not entirely without writing them in notation. The tablature Ww, 4 Siame W3y the e,ectrician has learned to per- once saw, in a large and influential Western paper, strenuous efforts they were—that music was intro¬ possessed,” says Mr. Spencer Curwen in his “Stud¬ attaining his end, he has at least taken a step in used by musicians ealls. the lowest octave (three torm delicate operations with his hands within half ies of Worship Music” (1880), “are remembered by an account of an organ pipe that would not speak duced into the Boston schools. To bring this the right direction—one in which it may be hoped notes only) of the piano the “sub-contra,” and the until the organist turned all the blasts of air from ' !nc 0 a *lve w're bearing a high frequency cur- all who were privileged to hear and have inter¬ about. Mason first taught classes of children free his successors will follow him. There is a treasure lowest notes of this instrument “sub-contra A,” the wind-chest into that particular pipe, and then— course with him.” Dr. Mason’s notions of congre¬ moLSnt0,,g en0*gh t0 burn him to death in a of charge and gave concerts to illustrate the prac¬ of Hungarian melodies, some of them centuries old, “sub-contra B,” etc. The next octave (beginning bang!—a. mouse and her young ones, who had ticability of his plans. When, finally, musical edu¬ gational Psalmody were in harmony with those of which offer rich opportunities to composers not only with the deepest C) is the “Contra” octave, the made a nest in the pipe, were blown up to the ceil¬ srals'5.°^y W?S CVer killed by running up the piano cation was made a part of the Boston public school the Weigh-house leaders and he rendered valuable cale unevenly and clumsily? but a penalty is none for operas, but for vocal and instrumental works of next the “Great” octave, the next the “Small” octave. ing, and the silent pine spoke again! Organists system, the city council refused to make any finan¬ help in their new tune book, which was issued in Now beginning with middle C we start the will at once recognize the absurdity of all this. One achieved a°s P3ld' ,Rapid proSress can only be cial provision for it, and Mason served as instructor 1853 as “Congregational Church Music.” all styles. “one-lined” octave, then the “two-lined,” etc. Here cannot concentrate the full force of the bellows on recti/?, the result of concentrated effort di¬ rected upon one thing at a time. 167 THE ETUDE easily and almost unconsciously be frittered away, 166 THE ETUDE workers fight a losing game with themselves con- ■ „ nieces are widely used by teachers: "Cabahtta," MUSIC AS A PROFESSION. if not lost altogether. tinuously. What can not music be made to do by way ot "Caprice Eleg.n.," -***£ *•**; BY THOMAS TAPPER. III. home evening entertainment! There need be What does music offer? Everything that one nothing forced or professional about it. Let Paul Wachs (Vahks) This subject, of profound importance to many puts into it and nothing else. Again the beauty of interested member go informally to the piano and (bom in Paris, 1851). Was young people about to decide upon a life activity, truth seems infinitely cruel. But observation tells commence singing something that everyone knows also a pupil of the Paris may be discussed from many points of view. Of us that all goes ill, when student life is as a path and likes, following that with another, and another, Conservatory, where he these the following are, to say the least, practical strewn with excuses and interruptions; with ill done and yet another, till warmth is aroused. _ Songs studied with Masse, Mar- and of value: . ,, tasks and an overpowering indolence; and yet the with chorus, part-songs, and other combinations 1. What does the profession of music demand.' SOME COMPOSERS OF VALUABLE PIANO- montel, Cesar Franck and student who thus lives never fails to expect the full might grow from this. In case of weakness on the Duprato. In 1872 he won 2. What does it offer? one hundred per cent, of dividend. The original ex¬ part of one of the company, helpful effort might Failure to face these queries squarely and. to . FORTE PIECES IN SMALLER FORMS the first prize for organ pectation of success is never disturbed, never re¬ be directed by one fitted for the task, as a student realize without self-deception the exact conditions playing. His brilliant piano¬ laxed, never endangered and yet the worker works weak in arithmetic might be brought into line by a By JAMES FRANCIS COOKE for which they stand has contributed to the profes¬ forte pieces, including the grudgingly, and dishonestly, and half works. Is it little skillful aid. sion many a member whose activities have been (From “The Young Folks' Standard History of Music.) widely played “Shower of any wonder that after life is unhappy and full of The performer or “leader” would be found dur¬ Stars,” have won him wide disappointing to the individual himself and of little ing the day, searching for and preparing the best above, which is„ now ,,o „„urse of preparation, friction? in a simple and direct manner popularity. His “Etude or no practical service to society. „jo.,. a nhantcis We can now attempt to define success in the and most suitable work in advance, endeavoring so Mignonnes” (Little Stud¬ will appear in Tin: Ktude. This work is intended to supply the wide demand Jot a practical, profession of music and determine what reward may to master it as to be able to create enthusiasm in r” history of music for children and youny people and to enable teachers and club leaders a no ies) are excellent for stu¬ others. In case of absence, an understudy would rrtrnce In teaching musical history to give either individual or class lessons successfully.1 be won. Success is not a fixed quantity. It is the dents in the second grade, I shall assume in this writing that the intending weight of reward in the one scale balance that ex¬ arise, and so the good work go on. Those away at and his “Rosy Fingers” candidate desires to enter the profession of music business or at study would be haunted by melodic Let us turn our attention for a short time to com¬ •: Christian Sinding (Sind'- actly tips the weight of effort in the other. Hence and “Valse Etude” are juently seen on programs of to succeed, and that success is a word about which strains or words of the previous evening, and would posers who are best known for their efforts as ing) (born in Kongsberg, the old saying is (as most all sayings are) absolu¬ pupils’ recitals. makers of smaller musical art works. We cannot Norway, 1856). Pupil of he has no false and no uncertain visions. Primarily, tely true: “A man succeeds according to his unconsciously long for the next. Comments upon Reinecke at Leipsic Con¬ then, music as a profession demands: (i) ability worth.” Now, what makes unhappiness? Simply current events of the time, interest in composers, measure an art work by its size. A painting by Leo Delibes (Day-leeb’) servatory. Studied later in as a birth right; (2) it demands a thorough and long methods, or new music, would encourage the read¬ Michael Angelo covering a whole wall is not necessarily (born in St. Germain-du- the expectation to succeed beyond one’s worth. Berlin, Munich and Dres¬ continued preparation; (3) it demands ones entire ing of music magazines or books—work all the greater because of its size than a picture by the Val, France, 1836; died As a means for self-expression and social better¬ den. Although Sinding is loyalty in time, thought, self-sacrifice, and pursuit more effective because spontaneous and informal. artist Velasquez, which might only be a foot square. 1891). Has written some of ment nothing is a more powerful agency than best known by his poetical of the highest ideal of which the individual is Think of the skill that would result, the blending Thus the “Songs Without Words” of Mendelssohn the most melodious and music. From its activities rightly and loyally pur¬ and artistic piano pieces, capable. This is a brief reply to the query. More of natures as of tones, the refining of tempers, ideas and the shorter pieces of Chopin and Brahms are brilliant ballet music we sued emerge the finest types of manhood, and of such as the famous “Frvih- specifically we may demonstrate these elements and ideals, the example to the little ones, the un¬ in many cases greater artistically than some aspir¬ possess. The ballet is a womanhood. No art permits a people so much lingsrauschen” (Rustle of somewhat as follows: conscious and permanent drawing together of vary¬ ing symphonies by less able composers. The fol¬ form of stage dance usual¬ opportunity for self-expression. Every day, more Spring), he is a composer Adaptability for music as an inborn gift means ing dispositions. At present especially such is made lowing composers have in some cases written with ly employed in connection and more, communities are organizing music socie¬ of great ability in the infinitely more than a mere liking for music, easily possible by the quantity of beautiful home marked ability in the larger forms, but their smaller with an opera. Sometimes ties that give concerted performances. The social larger forms, and has writ¬ or the not uncommon self-vaunting attitude of de¬ music now printed, the collections of folk and home compositions have brought them their widest repu¬ ballets are given separately, value of this is beyond price. ten a symphony, a piano¬ siring to make music for self-glorification. It is songs of all countries, the arrangements of opera tation : and they often include pan¬ Music offers, then, an opportunity for scholarship, forte concerto and many distinctly a call to activity proceeding from within; and oratorio selections, and the mass of literature tomimes or plays accom¬ for self-reliance in manhood, for social betterment, One of the best-known writers of shorter com¬ works for orchestra that the voice of which is insistent and the meaning of now readily accessible to all. panied by music and danc¬ for joy carried into every home where music is positions for the piano is rank with the best of theii which is unmistakable. If the call be heard one How much better this than hours spent in empty ing but without singing. being pursued. It offers opportunity for labor, for Cecile Chaminade (Shahm'- should translate it into its absolute terms of intense or harmful chatter about weaknesses, ailments, Ludwig Schytte (Skyt' Delibes was a graduate of investigation, for the light of educational activity, in-ahde) (born in Paris, labor, slow but certain progress, and a contribution crime, casualty, vice, gossip or" forced conversation tay) (born in Aarhuus, the Paris Conservatory, for culture, and for continued development. 1861)., She is the fust mu¬ to society of the fruits of one’s self-cultivation. enjoyed by none; the small personal thoughts, the Denmark, 1850; died 1909). But will it pay? and later in life became Professor of Composition in This is all there is to it. Often the fruits are few barren pretense and stiffness that send the daughter sician of her sex to attain Was at first a druggist, but Well—add unto yourself years of happy labor, that institution. Pieces from his captivating ballets, and society at large receives them without much, one way, the son another, mother and father in dif¬ wide renown as a composer. at twenty decided upon a continuous self-development, capacity to contribute “Nalia,” "Coppelia” and “Sylvia," arc well-known if any, ado; often they are richly abundant and the ferent directions, the elder folks lost completely to Clara Schumann, Robert musical career. His teach¬ joy to others, to offer opportunity to aid those who, through much-played pianoforte arrangement* Of lib giver is rewarded beyond all expectation. But in sight, left to themselves without thought-occupation Schumann’s wife, was well ers included Neupert, Gade like yourself, are attuning the ears to a call from six operas the best known is the beautiful “l-akinc.” all cases the fruit is in true equation with the gift or pleasure! Think of the delight given to listeners, known as a virtuoso and and Liszt. In 1887 he went within; add, further, the gain that comes to you of seed, of the mental soil, of the care of planting the incentive towards brightening humdrum wrote several excellent to Vienna as a concert from developing the community in which you live; and of growth. The simplicity of this seems cruel; thought, the elimination of self, the suggestion of works, but they never met pianist, composer and picture to yourself the run of days that make your 1. Who wuman uj •main inicrna- but regarded closely this cruelty of truth is recog¬ better things. Then those who “drop in,” how anything like the general teacher, and has written a life serene because you did not in earlier days ex¬ tional renown as a composer? nized to be one’s distracted vision of its beauty. easily are they entertained, and what welcome rein¬ popular appreciation that great number of original cuse yourself and defame yourself with half-done has greeted the charming 2. What instrument did Godard play? forcement they may bring if they care to join in! and'charming pieces for the work; and if it does not seem to you that music piano pieces of Chaminade. 3- Which pupil of Liszt became famous f„r hi- What delight to find in them funds of real talent piano, of which the most II. pays, it may not be too late to pull down your flag, She was a pupil of Le short pieces and afterwards taught in the Knllak and ability where least expected! Who would care popular is his “Berceuse” renounce your allegiance; back out, in other words, Couppey, Savard, Marsick (Lullaby). Music School? Few realize, until too many years have flown, for superficial, conventional nothingness when a and Benj. Godard. Her that long-continued preparation must begin early and go into something that to the eyes of a serene tender song or a ringing chorus is in progress? t*le nan,c a» eminent Norwegian com¬ man seems insane but which, to yours, seems best-known work is the ballet-symphony “Callirhde,” poser ivho has became famous for his shorter piano and be loyally adhered to as a continuous activity. Better yet, such artistic entertainments would lead which was filled with such original and fascinating mu¬ Eduard Fchiitt (Scheet) pieces. It is not the intention to lay out here a course of alluring. to real growth, advancement and pleasure-giving, and sical ideas that it won her wide fame. As a composer (born in St. Petersburg, S- What is Schiitt’s most famous composition? study, but to point out that for every student who would also be free from the expense, excitement, dress of songs Chaminade stands with the best composers of 1856). Like Sinding, is is justified in taking up the profession of music a nuisance and other nerve strain into which people her native country. She has toured abroad and in known by his lighter works, noser \vhrv L na,1K‘ °f an rniincnt Danish com- long and severe labor is necessary; first, to develop rush in the fever of public exploitation. Seeds of P - wt? has WMttcn smaller form*. America with great success. but has written masterly him in the demands of his specialty; second, to train THE MOTHER’S INFLUENCE ON MUSIC IN culture would have time to grow and ripen, individ¬ o' ??c‘rc 'v.as Thcodorc Lack educated? works in larger forms, his him in the essential subjects contingent upon that THE HOME. uality to assert itself, timidity and self-conscious¬ Franz Bendel (Ben'-del) pianoforte concerto in G study? h Wh,ch grcat ,,r8a»L< ‘I'd Paul Wachs specialty; third, to educate him (that is, to lead him ness to become absorbed in the real enjoyment of (born in Schoenlinde, Bo¬ m‘n°( being among his best out) into the domains of human activity amid which BY FANNY EDGAR THOMAS. familiar beauties. A sincere interest and a wonder¬ hemia, 1833; died 1874). compositions. Schiitt was a 10 In r lha| S*fylc ”f ,nusic is Delibes fanwos? he must live on this earth; and only by recognition ful development of musical taste and talent, and of pupil of the St. Petersburg become ih!, ’ , amOUS conservatory did Delibes if which he can apply himself and read his environ¬ I have never seen a brighter, happier hour passed Was a pupil of Franz Liszt, become the teacher of composition? skill in performance, would commence to abound ; Conservatory and the Leip¬ ment. Hence, the ill-prepared musician is an unde¬ in the home than that following the evening repast, who was highly regarded as LEGITIMATELY. The de Reszkes passed their sic Conservatory, and in veloped possibility; he cannot apply himself in the when all present, instead of flying off in all direc¬ youth, discovered their genius, and planted the a pianist. In 1862 he be¬ tions, have remained together to spend the period later years became a deep virtue of the strength that could have been his; he shoots of future success in this way. So did the came one of the leading in reading interesting matter. All may partake in personal friend of Leschet- is incapable of reading the trend of human develop¬ Garcias, the Bachs, and hosts of foreign musical teachers in Kullak’s Acad¬ izky, in Vienna, where he ment (a process working itself out even in the the effort, either by making selections, by reading, emy, in Berlin, and wrote families to whom music is a personal possession, smallest community), and as a result he is a per¬ or by question, suggestion and comment. I have a joy and a means of art growth, instead of a many pieces which are Son” If**’5 “Carnival BY frank r. austth. petual misfit: feeling the friction* of his incapacity a conviction that this, made a habit, would be a species of auction sale. So much more may be ac¬ valuable to some students, attractive concert number, and his valse&“??re„.lely and his mal-adjustment to his. surroundings. means of the salvation of happiness in many a complished by growth from within—in fact, nothing since they are melodious, #mee,” is one of the most popular pikno com^i-' It is no secret that the unsatisfactory student family. It is the mother’s privilege to promote this worth while can be grafted on or pushed in from int^measureT*rhythm ***** always gives himself grudgingly to his preparatory effort for domestic art development. yet not difficult. measures into ob * ,hc Rrou«>mK together the outside. Let us have more music at home, and professional work. From day to day he responds If the reading of books could do so much, what Benjamin Godard (Goh'- it is the mother’s mission to foster the development Theodore Lack (Lahk) better expressed *?*,? a"d 8en*cnccs . » ma>' to the attraction of his environment and robs him¬ might not be accomplished by the performance of dard) (born in Paris, 1849; of the art in her domestic dominion. (born in Quimper, France, Poetry there .inlsi , "U’ “«*« J*» * self of opportunity for the pursuit of in-essentials music, followed in the same informal, sympathetic died 1895). Was a 1846). Studied at the Paris which, if he were trustful, would be added unto and united fashion? It is the habit of this country talented and successful composer of pieces in t Conservatory with Mar- ““»■*— .iA“, him. One of the most difficult of all truths to place to exploit every acquirement. As soon as one mem¬ montel and Bazin, and now smaller forms. Almost everything Godard had to s and sentencfU*ar».®ruUP'nK of measures into phra- before the student is just this of essential values; ber of the family can play or sing a couple of pieces resides in Paris as a teach¬ dents areCnsCa?d rhythm of n„J | The pupil’s progress depends more upon the in¬ m h.s music was interesting, and his compositions a the indispensability of being forever loyal to the a concert or recital is planned, involving the ex¬ er and a composer. He telligence of his work than upon the number of filled with lovely melodies and attractive rhythm They play natur«iiP°S“eS 3 good *ensc of rhythi undertaking; of avoiding that indolence which, traneous and more or less artificial features of out¬ became an officer of the hours passed at the piano. Reflection, which should forms. At first he was a violinist and played in pub] some people are '-A W,,h ... expression. So al though it seems a birth right, can be fought against; side company, strangers, dress, expense, nervous French Academie in 1881 be developed from the very beginning, and attention at the age of nine. Later he studied with the gre to rise and fen sai! *° read well, allowing the voi of standing firmly in his loyalty to the precious mo¬ and an officer of public in¬ distraction and excitement. Playing before people give far more certain results than long study carried violinist, Vieuxtemps. His first published work was A careful st?? ,h< nutria demand ments of his early years; of keeping undisputed his struction in 1887. His is advantageous in its time and place, but .that is on without discernment. The pupil should practice violin sonata, and he followed this with much attra time and rhvtliTi y thorough km allegiance to the first great ambition that thrust him known works are limited another matter. slowly, should change the rate of movement very tive chamber music. Godard wrote eight operas, 1 mg. You must e*scn,ial features of piano pla into his studies in the hope of establishing a bril¬ to very attractive salon This I feel to be one of the causes of the com¬ gradually, should vary the tone and should listen a which the best known is “Jocelyn.” He also wro every bar of „ , a ' c analyze mathematicai (parlor) pieces, of which liant future. He may have the brilliant future if he paratively small love of music for itself, and the great deal. The ear should be accustomed to rhyth¬ many pieces for the orchestra and some verv fascina each note and th"" ** th* r< S’vetivc values the most successful is per¬ will be honest with himself always. The only result slow growth of real musical taste in the country. mic time divisions, to correct accentuation. Weak ing pieces for piano, including the immensely popuk correct observe ^ ‘°tal of a" w hen Tl of being honest with one’s self part of the time is The really precious features become absorbed in Second Mazurka.” haps the “Idylle,” in A fingers should be strengthened by well7chosen tech¬ flat, although the follow- rhythmatic ,,1?"? °f f01'0'” aml «'"’<■ will prods utter confusion. It takes no deep philosophy to the material and superficial ones. Feeling must be nical exercises. The hand and the arm should be ends and another* ?"• *° know "here on< PhrJ discern that great workers are serene; while little fostered, not diverted. Even when existing, it may supple, and the fingers independent.—Isidore Philipp. Pr°Per ^‘erpretation.-r? fjnsl?'*' ma,eri>"y 168 THE ETUDE THE ETUDE 109

PARTING—E. BRESLAUR. A unique little lyric founded on a characteristic Adam Geibel’s “Hail! Glorious Morn,” a splendid ADORATION Educational Notes on Etude “farewell” motive and developed in a musicianly and Easter song, is a seasonable offering this month. entertaining manner. This piece will serve as a This would make an acceptable offertory solo for the service on Easter_ morning. In view of the Music fitting introduction to the study of such works growing custom of employing additional instruments as Schumann’s and Mendelssohn’s “Pieces for the in church on festival occasions the violin obligato By P. W. OREM Young” and similar modern works by Tschaikowsky and others. to this song will prove usefi^J to many. The text is exceedingly good and the musical setting is ex¬ pressive and devotional. The refrain, “Hail! Glori- THE FLYING WITCH—H. L. CRAMM. IMPROMPTU—L. SCHYTTE. uua— Mow,111-m the. true festal swing. It will be t , A strong and colorful number by the well-known As a writer of popular teaching pieces this Ameri¬ liked by congregations. can woman composer has been highly successful. Danish composer (1850-1909). This piece displays George Dudley Martin’s “One Day I Gathered |] striking Scandinavian characteristics both in melody “The Flying Witch” is a lively, characteristic piece, Roses” is a short song, suitable for. encore use or to and in harmonic treatment, reminding one of Grieg one of a new set just published. It will be liked sing as one of a group of songs at a recital. It is ■: in certain passages. As a study in chord playing by pupils, and from an educational standpoint it very pretty and cleverly constructed, a broad vocal H this piece should prove of value. The entire first serves as an excellent elementary example of the melody with an effective piano accompaniment, well- L portion must be delivered with breadth and sonority. employment of the chromatic scale. Play this piece harmonized, This song should be sung with taste , strongly marked in rhythm. The G major section with vigor and abandon. and fervor. should be played with much delicacy, employing GLOOMY DAY—E. SOCHTING. 1 the "soft pedal" throughout. Note the bell-like PERSONALITY IN MUSIC. ' effect of the tinkling grace notes in this section. This is a characteristic piece of much value by a The player should hold in reserve sufficient force well-known German teacher and writer. It is of BY LESTER C. SINGER. I. for the heavy climax after the return of the first the type of Chopin’s familiar “Rain Drop Prelude,” } theme, then diminish in power through the closing but cast in smaller mould and much easier to play. measures. This piece will afford practice in tone-color and the It has been said that music mystery lies in the emotional style. The repeated notes must be played personality of the artist. NAPOLITA—L. P. BRAUN. steadily and evenly, but not too heavily. The re¬ Much of music’s subtle influence is no doubt due A spirited and brilliant tarantella by a talented maining voices must be brought out smoothly and to the interpretative powers and temperament of composer, new to our Etude readers. This taran¬ connectedly. An excellent teaching piece. the individual, by which the artist stirs the emotions tella is somewhat similar in form to the celebrated of the hearer. The personal equation is most notice¬ one by Heller, but it is totally different in thematic GOOD AS GOLD—H. NECKE. able in those with a distinctive individuality, and material. As this piece lies well under tin- hands, An excellent teaching piece of easy grade by a marks the difference between the artist cast in the it should not prove difficult for the player to acquire popular writer and teacher. This piece employs a mold of some school and the genius of an independ¬ a high rate of speed. It must be played with a variety of rhythms and is in the tuneful vein always ent and original nature. : clear, crisp touch, almost non-legato, without am displayed by this genial composer. It is one of a A composition may be given manv interpreta¬ overlapping tones. Let the piece flow along in un¬ set of pieces recently composed. tion, each retaining the musical intent of the com¬ broken rhythm, with little deviation in time except poser; different artists, may infuse their personality j for purposes of emphasis. This piece should prove , a favorite at recitals. CRADLE SONG—HEINRICH ENGEL. "I0" composition, or the same artist may, accord- A pretty little “song without words” which will V hlSJ?lood, ?lve vario"s phases of his interpre¬ tations. The various angles of artistic view of any ADORATION—F. P. ATHERTON. be enjoyed by pupils of the second grade. It is dainty and melodious, a true “cradle song.” Play one work are^due to the difference in musical tem¬ This very musicianly number must be played perament or musical character”—a fact which is tastefully and in a finished manner. It will afford it gently, and give a swaying effect to the rhythm. ; study in melody playing, in the legato, in tone color aTt tU:iehrSa°°f * br0ad-"d" composer (1818-1893), best known by his opera ments of musical cx-nre • '7 van°us subtle ele- tion of counter-melody in the left hand. This is also the case with the second theme. The D major March” t* Romaine” is the “Grand Henderson terms «•£, ” W.hrch give- wl>at W. J. -March type, pompous and festal in character As section is very cleverly worked up, the theme be- interpretation of the ml, fT'0"* ™inisfry in the gmn.bg n the bass. Play this' gavot.e m !h, arranged for four hands, it is full and sonorous' riches of the musical ' A! 3r"M’ “t,lc spiritual This piece has been adapted and arranged in various Personality in th Im¬ forms, both vocal and instrumental. .SSSft of ,nd *- personality in the ™S,Cal 3rtist is .the same as human worker, and rinaU^’ ^ 'vnter’ or any AT NIGHT—B. LINDNER. ASE’S DEATH (VIOLIN AND PIANO)— question of intelligence -,1 y resolves itself into a E. GRIEG. This is all the mystery !f"g S-°me Particular line. stvVohfT“elg afld.J"leIodious P»rfor piece in the SOng words.” At each succes¬ This piece, originally composed for string or- music. The artist’s handler6/8 t0 Persona,ity in sive reappearance the principal theme is strength¬ chestra makes a lovely violin solo. The violin hon of intelligent manipulation t SUbjCCt is a ques- ened and enlarged. It must be well brought out should be muted throughout, and the piano accom¬ Thus the mystery of mul;/1 • t0 procure results, paniment must be well subordinated. This is one the mystery of hUelhSce ,nterpretatl°" becomes !r" ot the most moving dirges ever written. In Ibsen’s p ay. Peer Gym, after many strange adventures ages “intelligmi'ce/* I°wIH?£ f qUCStion of the LOVE AND ROSES-W. ROLFE. „ He,mholtz touches the 7* 3 su»Restion: tofindT8 deL reiUrnS t0 his mother, Ase, only A dreamy waltz Movement by a promising Ameri¬ to hnd her on her death-bed. She dies in his arms music partakes of the chari t "”hcn he says that can. This is one of Mr. Rolfe’s most recent com The music illustrates the scene. Intelligence is not *h 'riT 7 tI,e illimitable.” positions. This waltz may be used as a drawing- bpt is infinite in character UCj 7 3 human brain, room piece or it will be found excellent for danc- ALLA MARCIA (PIPE ORGAN)— gives the fullest expression r lu- i:ulivi.dual who mg, just the right swing and movement. Play it H. HACKETT. T)gIve t,le most masterful int * '"S ,n?nite power The executive art of til "ltc'Pretation in art hurried y W‘ 1 f”" t0ne- 11 mi,st not" ’><■ and poetic imagination nuis,c,an squires a virile tation to glow with the r^i!’56 tbe wh°le interpre- WELCOME, MESSAGE-A. GARLAND. sonality generates the m lg U °f insPiration. per- This is a fine teaching piece for pupils well ad¬ gf" Is "0 more mysSCirVnterpret3^n.bm vanced in second grade work, a “rondo” in form It will afford excellent practice in light, brisk finger Why tW° Persons°UarePn«vera?he same work: also in style and phrasing. The themes are well contrasted. Hes^lnd0^^ my\“rySto7 its unseen Quali- interesting canonic treatment In the trio ,ec«on manner in which the artf t personality lies in the his interpretation. * st uses these elements1^ THE ETUDE 131 THE ETUDE

PARTING ABSCHIED THE ETUDE THE ETUDE 173 ANVIL CHORUS ANVIL CHORUS from“II Trovatore” from“Il Trovatore” Arr. by H. ENGELMANN VERDI Arr. by H. ENGELMANN Moderate) m.m. J =

^V. , A m fftjr , ■ 118 > * -ii

? f ! ——T- i ftt fg^Hr - i 7 I ■ — J V 174 THE ETUDE

MARCHE ROMAINE THE ETUDE 17fi LOVE AND ROSES WALTZ WALTER ROLFE

THE FLYING WITCH

Copyright 1910 by Theo. Presser Co. British Copyright secured THE ETUDE 119 the etude 178 THE ETUDE 181 THE ETUDE 180 GOOD AS GOLD THE ETUDE 183 THE ETUDE CONGRATULATIONS GAVOTTE BRILL ANTE

Copyright-1909 by Theo. Presser Co.

International Copyright Secured 1*4 THE ETUDE

To my friend, L.J. Oscar Fontaine NAPOLITA TARANTELLA LEON P. BRAUN, Op.7, No.4

British Copyright secured THE ETUDE 187 ASE’S DEATH ASE’S TOD

BERCEUSE THE ETUDE

-»-atrztq • dit ■ *b*l

open swell 7~ a tempo -zrc-1*-&— Hj,lf -gl jjJ -•- • *

L//v h—■—

closed THE etude THE ETUDE HAIL I GLORIOUS MORN ADAM GEIBEl LIZZIE DE ARMOND Andante con espresss. ^

In a tomb in a qui - et Andante con espress. ^ O’er a tomb in a qui - et

gar-den — The bless - ed Sa - viour lay,. Ev -’ry shad-ow of earth-ty euff - ’ring_ From gar-den— The an - gels, bend - ing low, Sang their chor-al^f plain-tive sweet-ness_ To

Him hadpass’d a - way. soothe the Sa-viour’s woe;. He had tast hUShd in stlll'ness— While the guard their vig - il _ __CUP_sor - row, _ Qn His brow the thorn crown iffmT-Lrf if ft LffJtrr if frf f-p .gV- £pt= rit. ^

V res - ur - rec-tion day;__ Christ the Lord is ris-en, is ria-en, is ris-en to reign for aye J d>- u j"n JUt-- g »£ e~l~g j*n gfl J-ih ~T ^ i > * aPffc tempo f m fi M J[ frrl d L] II —4=* k6pt- °’er the Sa -viour, the world’s Re - deem ^ A -A.' ^ p ■—^ ^ 2 Tdll ^ i wore Alltb. bur-d« of sin, with peace-ful - ly He slept_ pfeu. rci^rcTi" OifVe-^— ■r- . r P |f ife Q' ___ A\ rail. y /?N tJ rV ' —__ __ ' •' ris-en to reign for aye. —a . ^ i „ h jj j m nn g „, o

ALSO PUBLISHED FOR LOW VOICF Copyright 1003 by Geibel and Lehman. 1CE' ^ ^ f/m. || 1 ratt- HE ETUDE THE ETUDE 193 T 19* Each hand separately, of course, to begin with. Small children cannot understand fractions, and, gathered roses therefore, you will only need to teach them that I there are three counts in a measure. The counting ONE DAY GEORGE DUDLEY MARTIN you may teach them in a purely arbitrary manner, SONG telling them a half note has two counts, a quarter,, one count, etc., leaving the theory of it to be learned later. These little pieces should also be committed to memory and played in many keys. VARIOUS POSITIONS OF HANDS. the fingers touching the keys. The softer and more All that is necessary for this is to place the fingers, 1. "A new teacher has located here and Insists rapid the passage, the less the depth of finger action after the piece is learned in the C major position, upon pupils using a very low wrist. Will you to produce the effect. on the first five keys of G, D, A, F, B flat, etc., please tell me what 'Method' this Is, and what ad¬ vantage It has? Also should the top of the hand The conclusion of the whole matter is simply this: pointing out the correct black keys to be used. be level? That the highly trained hand, fully under control, They will thus gradually and unconsciously become 2. "Does the Leschetizky system teach this? :i. "Is any method better than the Mason? must be able to make use of any and all of these familiar with the various positions or keys, and 4. “Would It he possible to explain through the various positions. The complexity of modern piano later the labor of a complete learning and under¬ Round Table the various ‘Methods,’ giving their •playing will not permit of any one position that will standing of them will be much lightened. Some merits, etc.? I have wished for a long time thut this might he done In some department of Tub apply to every kind of passage. A multitude of systems boast of the ability of their infants to effects require a multitude of positions. The begin¬ transpose their pieces into various keys. In some ner, however, cannot encompass this. He must first cases it is nothing more than an application of the I. About twenty years ago there was a great deal learn and master a normal position. It is the foregoing. I have seen some children taught by of discussion caused in the piano-teaching world opinion of the writer that, with the average pupil some of these methods, who could play their little by the theories of a man named Deppe. These who neither thinks deeply nor observes closely, the pieces which they had memorized on any key- were discussed with a great deal of acrimony on level position of the hand and arm is most easily position named, but when asked to do the same one side and fierce partisanship on the other. After understood and acquired. The majority of them do with an equally simple piece from the notes, which a time the whole discussion gradually faded from not carry their study far enough to get beyond this. they had not memorized, they were as lost as a view, although a few of his American disciples were If talented, studious, observant of effects and' de¬ fish in the desert of Sahara. Nevertheless, this is scattered here and there, the chief of these being termined they may be later taught the more com¬ a most excellent practice for young pupils, and is of Miss Amy Fay, of New York. The Deppe system plicated positions and actions. great value in giving them their first familiarity included a very low wrist. There are other teachers 2. The second question is sufficiently answered in with the-keys. that recommend a low wrist, but Deppe was the the foregoing. Simple exercises from your Plaidy or Philipp may most extreme in this regard. It is maintained that 3. If you thoroughly understand the Mason also be taught in the same manner. For example, a better grasp of the keys may be obtained when system, and are able to inculcate it in all its details, take a series of groups of three notes, ascending the arm is low, and that, although it is more difficult you will certainly be unable to find a better. His from C, thus: at first, and causes much fatigue in the forearm, compendium of instruction, as embodied in the four C, D, E—D, E, F—E, F, G—F, G, A—G, A, B— A, B, C—B, C, D—C, D, E. yet this is overcome as the muscles that hold the books of “Touch and Technic,” is a great treatise, Descending thus: forearm in place are developed. and will provide you with the means of accomplish¬ E, D, C—D, C, B—C, B, A—B, A, G—etc. Others maintain that this is not a natural position, ing most excellent results. By all means stick to Write out the fingering as follows: that if a person sits high enough at the keyboard, it, and proclaim it the best of methods. It certainly Ascending, 123, 123, 123, etc.; descending, 321, with the arm nearly on a level, that it naturally and is the best of methods for you, if you have thor¬ 3 2 1, 3 2 1, etc. Let the pupil learn the formula, and comfortably assumes the position that the low-arm oughly digested it and made it your own. The best method is the one you know best and can make then tell him that at each repetition of the group¬ system compels muscles to be developed in order the best use of. ing, 123, the thumb must take the next higher key, to maintain; that the low arm causes much unneces¬ 4- I think you will agree with me, if you give the the hand thus moving up the keyboard, and vice sary motion, and especially wriggling of the matter a little thought, that it would be hardly pos¬ versa for the descending form. There are also two shoulders in heavy chord work, which does not sible to answer your fourth question in the Round other sets of fingers to be trained in this formula, conduce to a good appearance at the piano. Table. I have had a number of letters of similar 2 3 4, 2 3 4, etc., and 3 4 5, 3 4 S, etc. There are many Again, some systems have taught that the hand tenor, and this may be considered an answer to simple exercises that can be thus taught by dicta¬ should be held low, with the knuckles so depressed them all, To marshal the various systems here, tion. I have treated this question more fully than that the fingers present the appearance of all being stand them in line and fire at them would be, per¬ it seemed to demand, because I have had a number raised, although the hand in this position looks haps,. equivalent to undermining faith in systems of letters of a very similar character, asking in decidedly ugly. It is maintained, however, that the which many Round Table teachers are using with regard to methods of procedure in elementary in¬ fingers are thus constantly ready for action, and brilliant success. There would be no good for you struction. This will be readily recognized as that when the keys are depressed the back of the in criticizing various systems which you are by no answering them all. hand is naturally in the level position. Others say means likely to make use of, if you have already that such a position is ruinous to finger strength, conquered one whicli is perfectly satisfactory to DIFFERING HANDS. and, indeed, one hears but little about it to-day. you. With the exception of out and out fraud, the “Please give me some Idea of tile difference in The Leschetizky system advocates that the forearm Round Table endeavors to make all criticism an treatment for the pupil with long, slender fingers. be held very slightly lower than the key level, with expression of opinion, and not a condemnation. and that of-« the pupil" v “h short, compact mus- the hand arched at the knuckles, the reverse of the preceding. This is. on the principle that when the aver¬ ELEMENTARY TEACHING. The “long, slender” ' fingered hand often give; age hand is placed with the top across to the second Will you kindly tell me whether supplementary finger joint, exactly on a level, the knuckle joints technical exercises should be used with young be¬ much trouble, sometimes more than the closely kni are sof,tightly knit that it is impossible to raise the ginners, between seven and twelve years, for ex- one. However, the remedy generally lies in th< fingers 'above that level, and, therefore, difficult to sufficient? 'g^E material in the instruction book brain, and depends on the pupil’s ability to conceit get any purchase for a strong finger stroke; but trate and work. Trouble in either case, withou that with the hand arched at the knuckle joints This depends upon the instruction book you use. concentrated study on the part of the pupil, wil there is ample opportunity for free play of the Some of them are simply compendiums of pieces scarcely be eradicated. Slender fingers often lacl fingers, and strength of action can be developed to and etudes arranged in progressive order, leaving vitality, and have a placidity of movement that ii , its utmost. It is a little difficult to determine the the technical work to the intelligence of the teacher. little short of exasperating. It is exceedingly diffi exact teaching of Leschetizky on this point, how¬ Of course, a good deal of experience is necessary, cult for them to acquire velocity, as they seem tc ever, for I have talked with a number of his disciples and this you can acquire only very gradually. If move about like flails. There are brilliant excep and their testimony on various points of doctrine you use a book like Presser’s “First Steps” you tions, nevertheless. Such fingers should not b< has not agreed as to detail. will find nearly all the technical work you need raised too high, but, except so far as practice foi Other teachers, who insist on a level position of provided for. The first five-finger pieces that a individuality and strength is concerned, should be the hand, overcome the foregoing difficulty by train¬ child studies are practically exercises, and should be trained to hug the keys pretty closely, or else the} ing the hand to be held in a position slightly treated as such. will acquire a peculiar flopping motion that is nol elevated above the keyboard, so that there is a dis¬ The first few weeks’ work with a beginner should conducive to accuracy. The popular notion thal tance of about half an inch between the tips of the be entirely spent at the table, shaping the hands long fingers make good piano hands is erroneous fingers and the keys. This position is especially and fingers, and training the fingers to make correct for slender fingers are apt to be deficient in muscu- insisted upon for all velocity work, the position motions. During this time the child can be learning ar control. So-called “stock” exercises are gooc maintained by the great virtuosi. A little thought to read the names of the notes on the staff, both by for developing strength and independence in such and experiment will convince anyone that with the naming audibly and by writing. Use blank music hands that is, exercises in which certain keys art hand so placed on five white keys that the tips of paper, and write letters underneath, over which the held down while the others are worked with slow the fingers rest on the keys, no brilliant prestissimo pupil is to write the correct notes. Then the exer¬ strong motions. passage work will permit of an up and down motion cises learned on the table may be applied at the With compact, closely knit hands, such exercise* of each finger after the preceding one has struck keyboard. must be used with the utmost caution, or the There is only time for a single down stroke, and It is a good plan to write out the first exercises natural stiffness of the hand will be increased thus the fingers must be so held that each is ready m note playing in the finger numbers until thor¬ instead of lessened. Stock exercises should not be for action when its turn comes, in other words, oughly learned, and then let them play the same attempted with such a hand until a great deal oi u hat would ordinarily be the preparatory up-stroke from the notes, disregarding the fingering signs. individual control has been gained. Then much for a blow, must be constantly maintained in ad¬ Write out the first five-finger pieces in the same good can be accomplished if the pupil has enough vance by all the fingers. Rapid pianissimo passage manner, for example: intelligence to practice in such a manner that all work, however, may be effectively executed with stiffness of muscles is absolutely avoided in everv motion. It is very difficult, however, to induce the THE ETUDE 195 THE ETUDE , . instant the beautiful thought which Tust for that the composer is blotched and but few others than the advertiser himself, is un¬ questions will be found of value: Does it catch the eye? Does it arouse interest? Does it create SOME PUZZLINOcASPECTS was in the rnin^iat are y0U to do about it? Well, questionably a very expensive and sometimes profit¬ hidden. Now w ^ get some well rounded skill, less form of advertising. The great advantage of desire? Does it turn desire into resolve? Does it ily average intelligence to concentrate first go to wo skiu to some music which is not the professional card is in connection with a direc¬ induce the reader to act? Does it tell the truth? and practice slowly enough to avow and then apply Dq nQt try to fit the garments of tory in which many names appear in such a manner Does it convince? Is the copy clear, concise, com¬ jnstiaint. It is difficult for the ordinary I, -JvaN cleve. scula by J. S. VAN ^ plete, logical, grammatical, properly illustrated, prop¬ alize what is meant by slow practice, too big f°r 1 ’ own man, much less tear them to that the subscriber to the journal may refer to this the entire realm a boy nP°n , vainly to put them upon a giant, directory when in need of the address of the adver- erly spelled, properly punctuated, and properly para¬ realization of it may be imparted to them shreds m striving graphed? taking them count four oil each up and on each Apparently there is "°^ingkes so much discus- „ mAfinn r»f the fineer. Expansion exc of musical thought which P relation between the necessity for skill. John Smith’s idea of advertising goes no further “ion or so much confusion as in arousc the BY GEORGE C. BENDER. KEEPING AT IT. needed by closely knit hands, although constant than to place his card in the local newspaper. ,he manual and other bodily • ultant web of skill. Is that a maximum of dread? Acquire some Rut neVer forget that the under- Prof. Humbug does the same thing. Both cards An advertising campaign should be well mapped (From Dollars in Music, a Business Manual for whichcwetir- YYes, ^ I suppose • JX*thing s must be solid and simply state the teacher’s name, his vocation and out in advance. The experienced advertising agent’s The ascendency. That great results may be Musicians.) his address. Surrounded by the advertisements of first consideration is his appropriation. He deter¬ nmsic The peculiar product= of Gertnans say lying fra“c le^s you have disciplined and so don, mines just how much money he will have to spend. tnced by closely knit hands is instanced in the genuity. the keyboard-Klavter as |t^derii contn sturdy, and ^dUyy organ5 as to get an automatic No general would think of going forth into battle the baker, the grocer and the candlestick maker ,s a= v- — automatic It is then his duty to squeeze just as much in the nf E A MacDowell. W. H. Sherwood also Els a very beautiful thing, and t d hich nated y°ur - ' . without having previously studied and planned his they are rarely seen by the reader of the paper, never do anything worth way of returns from this appropriation as he pos¬ all hind Liszt on the other hand, had Lee Instruments for the ^ Agreeable and ease of work you means of attack. Every shot must count, and a gun with the exception of the advertiser himself. The a smau i t • ' ’ capacity for expan- __ agreeaow. - u attempt-recite a fine poem or sibly can. Therefore he is particularly careful about is useless if the gunner cannot hit his mark. Mis¬ cards tell but little and the uninformed public has ■shall».. agitate theA iuair‘% so has'e ht°^Puman aearlL have existed whilewhile. asAs *t& language unknown or imper- the distribution of his appropriation. The money * ':ng"S .Ru. . tense with nervous and exciting vibrations to the hun with each dramatic scene directed advertising is also frequently wasted adver¬ no means whatever of determining, by this adver¬ o deliver music with untrained must go only where it will bring results, and it must dawn of history, a logists, fectly known a tising. Proper preparation is the first step, and tising, which advertiser will prove the most profit¬ since tne vuy dawn • arcn£eoiL>&‘^~’ tecuy ~ s said that. that master. o be directed in such a manner that results will come persistence is the second. able for him to patronize. The reader needs to be ancient city, found , the half Sebastian Bach, used to reply . regularly. After the teacher has determined just UNSHAPELY EXERCISES The old idea in advertising was to “get your name informed, instructed and interested. If the adver¬ some musical nS*f ?«Lhter Qf the harp, and the masters Johan l hen people exclaimed with how many inches of space he can purchase in the up,” and there can be no question that every titne tiser- follows the advice we have already given he The piano is the daughter hummi bow- incredible dJ^dexterity; “you hu , t medium he has determined upon with the means he Uanddaughter of t « t &nd cultivate thts m- amazement at h d g» and could play as well one’s name gets into print, in such a manner that will be able to do this effectively. has at hand he must also consider the matter of it will surely meet the eye of some reader, your After all has been said, the so-called middle class having his auxiliary advertising in the form of book¬ Sen^claim with merely 3- aS ^ would work as hard/’ And again he said publicity is being extended. However, this method probably furnishes the best customers for the music lets, folders, cards, circulars, programs, recitals, gerated truth, that our Pia"uoso performers than ,f naIvely, “there is nothing wonderful m play- can be improved upon in such a way that the adver¬ teacher. In making the copy for the advertisement lectures, concerts, social events, etc., ready so that forded the world exception org^ or harpsicord. -t ,s only necessary tising space you purchase may be made to yield you the ambitions, concerns, resources, tastes, needs, he can make the most of the returns from his news¬ any other instrument, with the P ^ ^ ig also mg * the right fingers at the right t me. larger dividends. You really need something more etc., of this class must be weighed. The local news¬ paper advertising without loss. The campaign, from of its lovely fi^tcousm, thej , ascending the to put d Ufic sources of unhappy ta.h n than your name and address, unless you have pre¬ paper is undoubtedly the quickest and most econom¬ the Alpenstock of the compost There{ore> We ihe !£ f our students arc the vagueness ot their ical way of directly reaching this class. Regarding beginning to end, must be outlined upon paper. >f any exercise, viously established a reputation. For instance, the Personally. 1 do not approv heights of his loftiest msp t anlount of time ^"o J their impatience. Thus, learn hr,t the the character of the copy, it would be well for the Faint-hearted, indecisive efforts—now a circular, sitates the hand name of Godowsky, accompanied by his address, specially for beginne: published in a Berlin paper, would be sufficient for first two or three months to give the teacher’s name then a recital, then nothing—never brought success dish position. It is hard ^ht ^S in tiitS of this instrument ^Vosftlons and actions of the finger. 1 * , oeing placed in an ou Godowsky, because he has made such a reputation considerable prominence. When the teacher feels to any one. Spasmodic efforts have convinced more maintain correct position St Uyir^to^i|late its nimble levers. When These can soon be a. enough to teach them in the past that the musical public knows that that his name has been in print enough times he than one vaccilating musician that “there is nothing the risk of forming awk- without letting them Godowsky's services as a teacher are highly desir¬ may then change the nature of his advertisement so in advertising.” The musician must build with his „ ard habits aft hard to undo. Exactly as able. that it will include more matter of a personal nature. advertisements, as the mason builds with bricks. If he derived by practicing the beneficial result; However, the name and address of, let us say. In all cases, the headline should be of such a nature he stops with the wall half way up his work is next ith the hand in correct posi- to worthless. Plan rightly, then follow the plan. foregoing exerc Leopold Lavitschsky in the same paper might be of that it will appeal to the reader. He is not partic¬ tain gymnastic exercisi little value, because Lavitschsky has not established ularly interested in your name, but he is mightily tion. There arc «»«« as.—. ness and stiffness of various kinds m each, but just 1 ome teachers which distort the hands m -> interested in his own needs. It is to these needs making the motions as perfectly as you can. his reputation, and it will be necessary for him to -ter or less degree, hut they mostly consist of t or my " X„_d two serious barriers go Qn making tne that you must appeal if you will win and hold his . - —nsical life, writhe or communicate something of his purposes and accom¬ BEETHOVEN AS OTHERS SAW HIM. muscular drill that is done away from the keyboard. the Janko keyboard, I foun the lifelong Donn notnot. as you valuev.nuv you. ; . , plishments to the public through the medium of his attention. Your name may appear at the end of the struggle with your fingers. The chief secret in _ nol have occurred to you. but all gymnastic advertisements. Let us suppose that Lavitschsky advertisement in type of, let us say, 12 or 14 point. The following, which appeared in a Stuttgart and°deeplySingrained Su.ofof thinking the chords ing a good tone and in arriving at expert accuracy drill, with the exception of such as pulls too heavily nsrs^ssU u»«*»* had been a pupil of Leschetizsky or Moszkowski, It is not wise to have the name appear at both the newspaper in 1823, is a pen portrait of Beethoven and scales and melodic formulae in the shapes of the ■ s not fn making a painfully violent effort with the on the finger muscles is excellent for piano playing. present keyboard produced constant confusion^ and or that he had met with success in other ways such top and the bottom of the advertisement. Once is as depicted by a contemporary. digits but in making their motions with tmcroscopic Modern piano playing is much facilitated by a well- Lain even when in the Music, Hall, Cincinnati, an advertisement as the following might be of value quite enough. These two pictures give a very fair idea of how the In reaching the viewpoint of the customer of the developed physical system. listened to a recital upon the Janko piano by a repre¬ PrToSmake this matter plain 1 think this experiment great master of Bonn appeared to his contemporaries. sentative expert, I found a singular dullness and mo¬ middle class it is well to have some guide to assist In those days the ubiquitous reporter was not so much will serve. Lay your fingers upon five keys ol W LEAN TOWARD THUMB. notony of dynamic effect quite depressing to the the teacher in systematically considering the desires scale not C, though that will do, but preferably Eto in evidence as he is nowadays, when anybody who dis¬ listener. Granted, then, that in our time that special LEOPOLD LAVITSCHSKY and needs of the prospective customer in reference >Australia? passive one, the Jistener, except that which is done hones and joint- When a pianist does a pc in the program of some church concert and fills it Do you know that Beethoven was the first great with the words “Compliments of J. Jones & Co., stroy chances of a musical future. pointed, and he is particularly fond of game, which by the executant with such ease that it is to him a piece of playing, lie feels as if hi- arms and composer to classify his works by numbers, such pleasurable outflow of spontaneous delight. 322 Woods St.,” may find this profitable, because his he considers most wholesome food. He takes wine which between them have six section* of101 as Opus i. Opus 3, Opus 98, etc. (Work i. Work store is known to every one in town and this adver¬ TONE. (ATTRIBUTES OF TONE.), with moderation, drinking generally only the red Every time that you approach that “puzzling were one loose pliant muscle of the gre»W»*J 3, Work 98)? place which you are afraid of. that “awkward tisement simply serves to show that he is interested Beautiful, singing, buoyant, soft, loud, noisy, Austrian, as the Hungarian does not agree with >ty- Try for thi> absolute elasticity *■* ( Do you know that Franz von Suppe (real name shift of“ hand-position”nauu-pusuion, thattnat “perilousperilous seriseries , in the support of the concert, but the advertiser in a appealing, captivating, clear, sweet, flute-like. him. In the winter when he is in Vienna he likes means that no muscles arc using up Mrcn®! _0,b Suppe-Demelli, b. 1820, d. 1895). the author of _ chords,rds, that exhausting ascent of cumulativecumuh,...... exer- musical paper, who simply inserts a card, could to look through the newspapers over a small cup meaning resistances, but avoid as yon “Poet and Peasant," w-rote over 60 comic operas, uuu which causes your muscles to ache uncomfort- make his advertising expenditure very much more INTERPRETATION. of coffee in a coffee-house, to smoke a pipe or and one of these was upon the life of Franz Schu- cardinal sin. flacidity of touch, i. f ■ 1*CA ^ ' r j to converse with his friends before taking his after- profitable by increasing the size of the space, and Artistic, inartistic, responsive, musical, effective. as weS6 VnuT ^ 1?earers feel discomfort and immobility at the tips of the dinner walk. As he works far into the night, and as . .You haf| observed m a window’ pane a lit add to the drawing power by improving his copy. By such means you can bring to ready considera¬ bCDo you know that Handel was not above writ¬ some instruction from a gentleman nirnT( rises, very early, it often happens that he takes an tie bubble or flaw which caused every object seen His name and address are all right in a way, but tion the “selling points” by means of which you must ing music for popular open-air concerts at Vaux- Steinbrecher who had been a pupil of <- hours nap after his walk. He finds it injurious through it to appear ludicrously or hideot’ slv nii’ this should be supplemented by larger advertise¬ appeal to your future patrons. hall Gardens in London, and that Beethoven once he expressed this idea thus- “you must pm ments printed regularly or occasionally. Fifty dol¬ to live in a house with a northerly aspect, or ex¬ shapen; the momentarily obscure spot in your nor After an advertisement has been prepared it wrote a “Symphony” for a mechanical organ? nairve, it ces as if zee finger* v»re y*** 2n lars a year for a card in a musical paper, seen by posed to strong winds, for he is very subject to formance a like ,h, .peck i„ ,h, Vuio " should be severely criticised. The following test rheumatism, to which he attributes his deafness ” 197 TH E ETUDE THE ETUDE also be remembered that it is the the vocal organs must be controlled by lected to resume lessons, and a mutual singers, not the scientists, who estab¬ musical thought, not mechanical 196 Mend confided to him that the young lish the standard of good tone. thought. man was reluctant to continue the les¬ The spirit of scientific investigation sons because his teacher was “too The'correct vocal action is the one MUSINGS FROM A STUDIO. r losses, their sorrow of the voice, which in the beginning 11 the sweetness good,” using the identical words that that produces a beautiful tone. Beauti¬ a take BY CHAS. DORAN. doubtless was prompted by the desire had been pronounced by the publishing ful tone is impossible without right t of their lives. much. vocal action. Were the Italians physi¬ to be useful, is a will o’ the wisp which ■It does not matter so very t American after being house. has led many vocal teachers astray. er all, whether you make a fortune.. A WEALTHY Paris Opera “Too good!” exclaimed the composer, ologically and anatomically sound in Microbes, invisit It has developed the attempt to bring not- but it does matter very much shown through the gr director that amused, “that isn’t possible. Most their methods of teaching? Yes, be¬ can do incalculab House must have cost le aren’t good enough Someone cause they produced beautiful tone, the voice under fixed mechanical laws, then, of ignoring the magnificent bunam^ American>s re- set them an example, so why but they knew little or nothing of to reduce the whole subject to mathe¬ things in music. its weight in gold. the truth, t vocal anatomy as it is known to-day. matical formulae. It has developed the belief in mechanical control of the tvere total failure 5 as..m0“®y mark wa?>^ oleri House has cost, .,jfs re?.lly true, though,” said the The men who have studied the voice Too much prac notable sue for the Paris Op begun, more friend "Robert says your kindness from the mechanical standpoint have voice. That is, to control the voice by when the body is 'in 'nobility and balance of char- s;nce the da^l B;e in Europe and embarrasses him.” been mostly physicists or medical men conscious muscular effort. The num¬ body and mind i cleanliness of life, mental poise, money than any palace much as the four greatest «But what have I done?” THE SINGER’S PROBLEM. the golden age of Italian bcl canto. with a scientific turn of mind. Few, ber of voices ruined in this way is order to receive tl of purpose, and sweetness of five times a ■ On the contrary, it is now much more if any of them, could produce a good beyond computation. It has made a good musical c but can never be compre- Humanity is and always has been in organs, like those of digestion, are dred and fifty people. When we then In a letter to her husband she ex¬ observation that the vocal chords were radically wrong. The absurdity of this in the bttsine orld and he is soon bended save by those who heard him. a state of dissatisfaction with the working best when we are least con¬ consider that it requires upwards of plained her sentiments as follows: not vibrating in such a manner as to is apparent. To hold that a beautiful made aware le many annoyances And {n teaching he was relentless present, gravely apprehensive of the scious of them, $1,200,000 annually to meet the ex- produce a beautiful tone, could he tone may be produced with a wrong that the bus when a fast tempo was concerned. “You see, darling, the trouble is that future and enthusiastic of the past. , ,. penses of this grandest of operas and ,0 give the singer instructions that would obliged to dot good—1 cam The past becomes more luminous as action of the vocal mechanism is to SCIENTIFIC INVESTIGATION. enable him to change their action, and how bitter yc it recedes, hence the popular estimate overthrow the law of cause and effect. I «memberTL"TargeTog8whic°h had ^dcr'"hat^he" I^rishms poim‘ with ^.tiuW2“ J would he know when the change was If the effect is right the cause must be been; no mati • how disloyal you may been taught to die when the name of ide to thcir magnificent “Opera” ami you is “a continual' '"’,,nual trcl of men and things depends upon how I have no word to say against scien¬ find pupils foi vliom you have earnest- makes me unhappy. Out here with long they have been dead. To one made and whether or not it was cor¬ right and vice versa. If this law does so often tell you “Rome honored tific investigation. It is a most inter¬ ly worked am sacrificed and who have Jennie, 1 can live a normal existence. anxious to enjoy the emoluments of rect? Certainly not. To change.the not obtain we have a presumption that taught me the early F sharp minor painting, Greece paid homage to sculp- esting line of work and fascinates me loudly procla led their eternal devo- Am having the time of my life, going fame while sojourning in the flesh this action of the vocal chords beneficially, with right vocal action a wrong tone sonata with much, enthusiasm. xure. JrarisParis hasnas uunedone bothDom anaand more;ni•. greatly. I shall not attempt to dis¬ tion to you; n matter how many times always too generous with ghe hag bowed her h.li;,lM llu. : to all sorts of shows and partie-. and is no doubt discouraging, but he may credit such work. I shall discuss it, independent of tone, is an impossibility, may result. It is equivalent to saying / have been obliged to a day you his energy. Every Sunday there were although we are very giddy and friv¬ extract consolation from the reflection however, in its relation to singing. and such a claim is too absurd to be that with all of the operations of a nice with patience and : imperti lessons to those talented pupils who - olous, we do nothing wrong. We that he is, doubtless, one of those Scientific knowledge is always interest¬ considered. The invention of the mathematical proposition correctly car¬ diplomacy; no matter how many tin were unable to pay for them. One day merely live as a healthy human being upon whom humanity will bestow great ing, but what effect does it have on the laryngoscope, and the array of com¬ ried out the result may still be in error. you have been forced to make ridi “TOO GOOD.” when I spoke of his excessive labors should. You are not a human being honor a hundred years too late to be thing itself? When the scientists dis¬ plex mechanical contrivances which Such vocal theories must inevitably loiisly simple truths clear to stupid he made a characteristic reply: ‘I ; dear, you are an angel. I wish with >H of any possible use to him. The past, covered that the sun does not revolve have followed in its wake, doubtless lead to disaster. If the ear of the pupils; no matter how frequently you comp|jsj, t],e greatest things when my heart that I could be like you. But by reason of its halo of mist and un¬ are of value to the pathologist. To teacher does not inform him when the 1_have been disappointedsUaa.xt-srtintfsfl hvby tVl<»the failure . . T r r , 1 T 1 1J around the earth, but that the earth busiest. If I relaxed I should it is impossible. Forgive me. My one certainty, offers unlimited opportunity rotating on its axis produces the effect the teacher of singing, however, by tone is rightly produced, he is totally of pupils to keep their appointments: be doing nothing and living in a log Reading the manifold dissertations for rhetorical guii play and verbal reason of attracting his attention to unfit for the responsible position of a no matter how often your creditors on the necessity for seriousness and comfort is that in the long run yon 1 hitherto ascribed to the sun, it was a cabin.’ ”—Musical America. swashbuckling, and for this reason the mechanics of the voice, they are teacher of singing. have failed to meet their obligations, earnest striving, and upon the baneful- will not miss me. You have your most interesting bit of information, many of the beautiful creations of the immediately productive of an im¬ always remember that your success in ness of frivolity and superficiality, it is music, which is sufficient for your hip- but the earth had been rotating a long LOVE OF MUSIC. imagination concerning the glorious measurable amount of discord, dissat¬ MECHANICAL DIRECTIONS. the future will be all of your own mak¬ rather startling to come in contact with P,nes>. time when the scientists discovered it, past should be taken for what they isfaction and damage. ing and that a sour, discontented dis¬ The mind of man is like the sea, and it has been rotating ever since. an individual who is a martyr to his And with th'® ®sse,lip"- 111 really are, namely, “fiction.” It is gen¬ During the years a considerable position is one of the surest ways to which is neither agreeable to the be¬ There is no evidence that the scientific own virtue. But this actually happened the nail <>n ,hc hcad For surc.cn.nU^ erally agreed that the singer’s prob¬ SINGING IS A FORM OF MUSICAL stock of mechanical directions has ac¬ annihilate a music teacher's success. holder nor the voyager, in a calm or in the case of a person with whom 1 though the man in question is losing discovery had any effect whatever on ACTIVITY. cumulated, and is used more or less Orrison Sweet Marden, the editor in a storm; but is so to both, when a am acquainted. many of the so-catlcd good things ot lem was solved by the Italians a hun¬ its movements. The discovery of the dred and fifty years ago. How much indiscriminately. One of these is, of Success, whom thousands of little agitated by gentle gales; and law of gravitation was a brilliant in¬ It is well understood that the science Twenty years ago a young man called tb's bc *• perfectly contented, not- of the success of Italian singing was “Direct the column of breath against young n n and women a e deeply in- the mind, when moved by soft and easy upon a prominent. mfil. -l m —ithstanding. tellectual achievement, but gravitation and the art are very different forms of due to methods of teaching and how the front part of the roof of the debted for inspiration, encouragement passions and affections. I know very inquire as to the verdict render 1 I ■ conspires and cooperates with the activity. Science deals almost entirely much to the natural musical impulse mouth.” No teacher expects his pupil and sound advice, says in a recent well that many who pretend to be wise that-house relativ e ; small boy in securing the coveted with material phenomena. Art deals to do this. Why? Because it is a number of his admirable journal: by the forms of being grave, are.apt tions which he had mhmiit \ ’I of the singer will ever be an open apple now just as it always has. question. with states of mind which result in physical impossibility. The column of “No matter what else you may ac- to despise both poetry and music, as firm several week-, ,,r v! ANSWERS TO MISS SOPRANO’S Scientists felt proud of the achieve- ‘ the expression of the various forms of The Many people are still unwilling to breath in passing through the vocal complish in life, or however rich you toys and trifles too light for the use or manuscript was rcturned^^H TRIUMPH. ment when they discovered the action beauty. The scientist is wont to look him re- admit that racial characteristics, nat¬ chords has its force completely de¬ may become, if you do not keep sweet, entertainment of serious men: but who- jected. of the vocal chords during phonation. upon the artist as a creature of fancy, In our February issue we presented J ural temperament, environment, lan¬ stroyed and cannot be directed any¬ if you allow yourself to sour, to be- ever find themselves wholly insensible “What’s the trou' 1 but the vocal chords had been produc¬ with no basis of reasoning, a bundle ?” he asked of the game-story adapted for use in the P"' guage and climate have much, if any, where. If one will vocalize in a tem¬ , your life will be to these charms would, I think, do manager. ing beautiful tones for centuries before of whims, in other words, more or less part in the development of the singer. perature low enough to condense his unproductive, and you will be a com- well to keep their own counsel, for “Mr -_ sn piPs musical club work. In this stotl their action was discovered, just as freakish, but the fact is that the artis¬ spaces were left for the substitution ot If this be true, the Siwash Indian and breath, he will see that it comes from fear of reproaching their own temper, answered the m-m- " they have been ever since, and as they tic faculty is of at least as high an “Resolve that whatever, comes, or and bringing the goodness of their pieces” musical terms implied by the Conte*1 the Eskimo need only the old Italian will continue to do. I do not believe the mouth with no force whatever, and method in order to become great order as that which seeks the hidden curls lazily upward immediately in does not come to you, whether you natures, if not of their understandings The com of the story. In these spaces any one will argue that they produce laws of matter. succeed in your particular undertaking into question: it may be thought ai this inZ °w. ™Sht of artists. The fallacy in such reasoning front.of the face. That any one should found numbers instead of words. Tje better tones since the invention of the Singing is a form of artistic activity. or fail, whether you make money or least an ill sign, if not an ill constitu- learned following number ought to be apparent. But if the old laryngoscope than they did before. believe that the breath may be per¬ Italian masters had the secre* of pro¬ It is a branch of musical art, and lose it. you will keep sweet, cheerful, tion; since some of the fathers went so “too ,r m-'1"!'"1 y 1 : words omitted in t : t. Note The scientific investigator has not im¬ fectly vocalized, and at the same time ducing great singers, why should not everything connected with the teach¬ directed against the hard palate with an hopeful, helpful optimistic. far as to esteem the love of music a sign throughout all V. Wiwd him Natural; .t. Grace; 4. Tone*: 5. u®« ” proved their action. It must not be Everywhere we see pessimistic, dole- of predestination, as a thing divine, and sional ,Sd Profc the present generation have it? The ing of singing should be as nearly as Minor; 7. Scale- 8 March; 9 Score;11 forgotten that the singer was here impact sufficient to effect the tone fill people going through the world— reserved for the felicities of heaven it possible a form of musical activity. world is no less musical now than in long before the scientist, and it must quality, is incomprehensible. Certain people who have ruined their capacity self.—Sir William Temple. Staff; it. Sharp: 12. Rest: U ^ In order to produce musical results, t4, Hold: is. Turn; 16. Signature: h- physical sensations usually, though not Bar; 18, Tic’: tq. Flat. 20, Metsnre. . 199 THE ETUDE

that is, the lines of beauty, sympathy, THE ETUDE best possible instrument is obvious. To sage that will awaken sympathy and tain things, nor is it that of gaining a 198 musical feeling and musicianship, we LAMPERTI-VALDAfNWrS inspire every one with a desire to certain facility or muscular action. It is GRAND OPERA : ORATORIO i CONCERT • . their mm** JSAjL ' are at the same time making the ex¬ , , „,e sente ei been,,.. - S3 know- more of what is beautiful and causing the physical mechanism to ex¬ Admirable home eorroumlmge for puptla; careful chaperon- pression of these things through his X preciahen ol .he he.n.ifni arc ™«»} “”Se thrSa. ahh co„„ol oi the »«««- Tin, can never good. The singer cannot give what he press mental concepts clearly, definitely duced tone, but the sensation in ^ - Hence, the development of ^a , practice alone to any a jt is frec from tens.on or nguliiv. dees not possess, hence the art of sing¬ and promptly. Technic is a means to voice a far easier matter than if we had begun by training the vocal mech¬ . and control of £**»“*: Persists in practicing, he Usually ^the ^only thinjrthing wron(Jwrong with normanormal, ing should develop those qualities of an end. The end is perfect expression, as a gu i d c. ni a y be t he re and yet the Rhythmic, melodic and har- undo the work as fast as 1 voice throats is interference. The slightest ten¬ mind which find expression in all that whether it be through the voice or the anism. The teaching of singing and the de¬ *?ne Tyh™ vs”caTTenSttol is monic material constituting music is ,1 nPc iti,. ForForth., tms rc^ou..,re. »,wWe 4 „ sion will show in the quality of the tone. is refined and elevating. These may all velopment of the voice to the limit of not*1 tin' Sling SatuTof good clearly a mental process. The lips, tongue, lower jaw and larynx be included in the general term. If we follow the singer’s problem to Frank J. Benedictl ££££, isthe forming, teacher atthe shortjn^ ^finterva^, every. day its last analysis, we shall find two its possibilities are not mysterious or must be absolutely free. This freedom Dramatic Tenor Br»hm. propositions. First, know what you difficult if we work from the right con¬ TONE CONCEPT. if possible. well. The comes through relaxation, and relaxation MUSICAL TASTE. want; second, have the conditions cept, but if we work from a wrong con¬ LECTURE SONG RECITALS | Debuwy This is of such manifest importance ing of time, but of expeir ^ only is a mental process. 1 give the aevo- The development of musical taste right. The first embraces tone con¬ cept we shall always be in a maze of Send for Sample Program tint everything else connected with tone development ot t • „f ib<„ trains,, cates of the “open throat” credit for constitutes a very large part of the cept, musicianship and musical feeling; doubt and uncertainty. BENEDICT VOCAL STUDIO, Carnegie Hall, New York the face,” "drop the larynx on high tones be properly termed sec- be done underuntil it is meaning better than they say. What they study of singing. As the taste of the in other words, the artistic sense. The and raise it on low tones” and many ottdary. For the last hundred years or ear of the the student safely probably mean is a free throat. It is student improves his tone improves. second, that of freeing the vocal or¬ others inay have sonic indeterminate sug- ■.-unit warfare has been waged we.I utidei w. onl(, n0ver practice the phraseology that is defective. If the His taste is the measure of his develop¬ gans from all rigidity and interference DO BETTER. gestivc value, but they would not assist on the subject otof voice production,prouuei.o... work alone. F t thoroughly urtder-under- throat is free from muscular tension it GUIDE FOR THE MALE VOICE ment, hence his expression will never and properly managing the breath. in forming tone concept, and they cer¬ II.voks by the car-load have been written a thingdung he does• ■ ,,ff ^ n appaapparentrem will follow the mind automatically and Many worthy young singers anl voice FREDERIC W. ROOT be in advance of his taste. His taste These two propostions contain all the tainly could not he called scientific. on how it is done,done. but.but, on the thing itself, stand, ritei Ik w«-wi 1 . . , be, explained always be in the right position to give teachers fail utterly, financially, because Op. 23. Price, $1.00 is the measure of his concept of beauty, law and the prophets. The first, how¬ m«i„ of them,„™ are„C strangely silent. T„,The ,o £ ti. com., ,com .be the tone color desired by the singer. If they insist upon residing in a large city, and his expression must of necessity be ever, is of paramount importance. The CONSCIOUS EFFORT. me cannot be put on paper, nor can u the larynx is free it will not remain stead¬ when they might go into a small city providing special exercises and songs for each. practice of an exercise after be c governed by his concept; therefore, the slow progress of many students is due, c described on paper with absolute cer- fastly in one position, as some would have or large town and succeed in every way, Such attempts at direct com it well. The usual way is to drop t. development of the concept should be not to a lack of voice or imperfect vocal ... “ n„«tKiikclvTolin.lu'''c rigidity 'rather than tainty: hence, the wrangle must neecs- soon as a reasonable facility is acquired. it, but will be constantly adjusting itself the chief concern of the singer. and do a great deal of good. n of all necessary k: most lflcely K . .. a svn, \K confined to how it IS done, a : The organs, but to a lack of tone concept edge. N( But to return to the beginner. to the tone concept. In the rightly pro¬ The method of procedure is simple. It is safe to state that in New York U,e , impossibility. The subject of infinite argumentative pOsst-^^^^H||H|PP|||||||^H>r teach him "the 'correct ^vocal and an undeveloped musical nature. City there are hundreds of exceptionally THEODORE PRESSER CO. duced voice the vocal organs are not If the singer would develop his artistic 1712 Chestnut S«„ Philadelphia, P The ability to hear music, to feel fine singers, and hundreds of excellent fixed or stationary, but are free and sense, he must confine his study en¬ music and to think music is in most flexible, and follow the thought of the teachers, who fail to earn even enough in the attempt to prove that it should be with-mt ■ itv Cnd tirely to that which is the product of cases the result of long and careful of his throat or his diaphragm. _____ conceui. -- . , , singer withoutWltnoux conscious uircctiuu.direction. Thisi ills to pay their daily expenses; and this is produced in a certain way. We shall concept. must of mec, ^ an artistic sense. He must listen to training. What can we expect from TENORS c the de- Perhaps the method outlined for th { js fl)n(iamental and should be great artists, both vocal and instru¬ equally true of accompanists. In the West far-fetched and attsura, . , one who has had no training along and in the South, also in Canada, are clearly understood. mental. He must study the great any of these lines? We sometimes for¬ of these S In developing tone concept, the aim many fine locations for capable voice ,1 .- M„t. ! . In-nclHual in reegni.- drarb. H.:.t how it should but 1 h., .. k»" to demon- masterpieces of literature, especially get these things and think the key to is to form the perfect tone picture in poetry. He must study the works of teachers and singers, and it seems the situation is in the student’s throat. lamentable that these worthy persons the mind of the student, and to this the great painters and he must study We go to work on that and expect to P. SCHILLING rjs m -— end I believe in imitation as well as the masterpieces of song literature should waste their time and talent for men" on all points in tone production is a musical tone, and nothmg but the ^ this beginner his first produce an artistic result by purely the sake of remaining in a large city. explanation. I may explain to the under the guidance of a skilled mu¬ mechanical means. Through direct student at length the constituents of a sician. By this means he will develop Yet they stay on and on, constantly com¬ muscular control we hope to produce plaining about poor business. It is no musical tone, but if I can supplement the principles of art, proportion, har¬ a musical tone when the student could fault of theirs that they do not succeed; this with a good example I see no mony and unity. He will also gain that not describe a musical tone to save the ii^rirr s;^ --- n r - it is simply that the supply is greater than reason why I should not do it. There refinement of mind which cannot pos¬ immortal part of him. together unmusical. It is harsh, wMte, know what to d. it folk^.wswtthout argu ( is so much in art that can be acquired sibly express itself in anything uncouth. If there be a science of voice produc¬ the demand. Many teachers meet with in no other way that the foes of imita¬ The artistic sense is marked by a cer¬ tion, why is it that those who profess success who are inferior to many who tion have a very narrow platform upon tain charm which manifests itself in the to know it from A to Z, to the last are unsuccessful. There is, of course, evidence of design in every word and tbit which to stand. jot and tittle, teach so differently—no some reason for this. It may be influ¬ The advocates of direct control scout phrase, and by a fidelity to the subject two of them in the same way? Many ence ; it may be a fad; it may be bombas¬ sssrasrASi tais ^d=rris,^ the idea of imitation as being un¬ and a perfection of detail which indi¬ of their theories are contradictory, and tic advertising, etc. One should not be : * Tint a perfect tone concept is He frankly admits it. as much as to say: of life, is necessarily comnionpl.u , scientific. Nevertheless, I have no cate a vivid imagination. Every phase yet each of them has the only simon- discouraged because he does not “get YOUR VOICE Of bfrn-iter value to the student than "It’s ‘up to you.’” And it is. Suppose, usually is a flat, white tone, without < of human experience, every feeling and hesitancy in affirming my belief that pure scientific method, name blown in on,” under the circumstances. If he is “K ,* S c JEt ion; 1 say to him, as a very celebrated teacher tion of feeling of any land. So much emotion can be portrayed through the the method of developing the singing the bottle. The great student body worthy, he will do finely, financially, and ?hit h^iTids is far mo“ importanJ once said to me, “Take a breath and for the character of ordinary convcrsa voice. Speaking kindly to a loved one, voice by means of direct muscular con¬ pays its money and takes its choice. socially, in a smaller place than New GEORGE E. SHEA, ’86 ("ST) than hnw it feels- tint physical sensa- concentrate your mind on the nine little tion. But this n not a smgi or extending sympathy to one in dis¬ trol or local effort, which some are I am in perfect accord with all those York and other large cities. 5, rue Gounod, Pari* lions are unreliable guides to good tone muscles in the throat which control the For purposes of singing it is cmy;-.; pleased to ^all the scientific method, tress, a kind, sympathethic quality auto¬ nrodnetion and that the attempt to con- tone;” or, as another celebrated teacher worthless, but it is the only one of which who claim to teach the art of tone pro¬ is fundamentally defective, inherently matically appears in the voice. Let one [ i t. ’ !| ortra,ls independent of tone once said to me, “Open your mouth, put my beginner is conscious. The tir-t -t.-p duction and the art of singing, just as wrong and diametrically opposed to be roused to a pitch of anger, and a I am with those who teach the art of production is not a form of musical ac- two fingers and a thumb between your then, is to bring the singing tone to hi- tone full of bitterness and hate is the livitv that a perfect tone concept is teeth, now sing ‘ah.’ ” He does so. The consciousness. This is a proce-- of in. ntol the truth. A more picturesque and piano playing, painting or musical com¬ ornate opinion will be furnished on ap¬ automatic result. The singer is con¬ position, but I believe the,one who the most valuable asset of the vocal tone is no better. I say to him, “Your awakening. It is not physical in am stantly called upon to express an al¬ larynx moves up at the beginning of each sense. I must make my - , i ■ plication. thinks he has discovered a physical most unlimited range of feeling. The science, and attempts to work out the Vn every act two things are involved, tone. You must keep it down. You will his mind. I must teach him the nature ability to do it adequately must come problem of voice production according a, second its expression. The never he able to produce good tones of a musical or singing tone. He nin-t through the development of the the result depends primarily with a high larynx.” He tries again, learn what is meant by emotional qua'.:! I am convinced that the primary to mechanical laws, is wasting his time. c of the idea; secondarily with the same result, and awaits further He must learn that the musical tone i- cause of rigidity of the vocal organs The cold, unattractive fact is that each :ection of its expression, instructions. I take another tack, and round, full, smooth, rich, resonant is a form of fear. . In some cases it is IMAGINATION. of the scientific teachers takes advan¬ i principle obtains equally, whether say to him, “Your_ tongue rises every above all, sympathetic, lie must bairn very mild, in others it amounts almost By this means we have the power of tage of the possibilities of the voice to act is that of tone production or time you sing.and impairs, the form of what things to listen for when he sings., to paralysis Fear always manifests it¬ conceiving and expressing the ideal. express an infinite variety of things inishment. the vocal cavity-. Keep it down. It He must learn to create his tone mentally, self in tension. Being “scared stiff “Art,” says Herbert Spencer, “is the from the best to the worst, and while should lie below the level of the lower To hear it, as it should he. before lie and singing with a stiff throat are only attempt to realize the ideal in the by direct mechanical control he im¬ teeth.” He makes several unsuccessful sings it. different in degree. present,” and idealism is an activity of agines he is working out the problem attempts, and his voice sounds worse The teaching along this line should be the imagination. By means of the scientifically, he is in reality doing The aint of every' teacher is to produce than before. I tell him so. He looks positive, not negative. There is no bene¬ EXPRESSION. imagination we select from all our con¬ nothing of the kind, but on the con¬ good singers. The aim of every student puzzled, and waits to see what I will do fit in telling the student what his tone ceptions and experiences and construct trary is trying by the worst possible presumably is to become a good singer, next. I say to him, “Open your mouth; should not contain. It has too many of But good tone production does not therefrom forms, images and condi¬ means to make the voice express his That is, to become able to express him- now yawn and sing while your throat is those things in it already. It is wiser constitute the whole of the singer’s tions more beautiful than visible nature. musical taste. There are as many mu¬ self to the limit of his capacity, through open and you ought o get a good tone.” to keep constantly calling attention to problem. Perfecting the tone is equiv- This is in accord with Hegel’s belief sical tastes as there are teachers. The the medium of his voice; to portray lent to putting a first-class instrument that art is not merely an imitation of origin of method can be traced to this every legitimate human feeling and sen- not improve. He is getting nervous and not want. It is evident ThnW'thrr.,'lC| . H n front of the pianist. While it isa Nature, but is superior to Nature, in point. timent definitely, adequately and effect- sees that I am dissatisfied with him. the formation of tone co'm-up ‘l nrT • <>»»* vi.v.tH >" ’. that through its idealism it conceives If there be a science of voice pro¬ ively. What prevents him from domg This sort of thing goes on, and at the my appeal to his mind, no, his „ moan- a n:a, • ■ Nature in a perfect state, not in the duction, then there are fixed laws gov¬ this? In every case the teacher finds end of the lesson 1 tell him to go home When T talk t,, i,;,„ , , . , . ■ u „ N . • . imperfect and transitory state in which erning it, and these laws must invari¬ the following confronting him in greater and practice carefully what I have given hears henro tV, ’ ^ 11S lvnn<^ t,lat ' 1 ’ ■inger- or less degree: Lack of musicianship, him. If he does as I tell him, he will " nM'nta'' ” K n " ' it presents itself to our vision. ably operate in the same way. Other¬ It is by means of the imagination lack of tone concept, an undeveloped come back worse than he went away, for produced 2, h • t0"C w,lcn h K : '’ ■ “ wise, there is no science. If these laws imagination, self-consciousness and fear, he will be confirming and strengthening mind which '■ l1,cnt;l1- 11 is 1^ that the singer reproduces the picture, are known, all teachers knowing them The solution of each of these problems evervevery one of his hadbad habitshabits, *** juugme■udgment and decides °f singing. On the other hand *fl 'tl" and the corresponding feeling which should teach in the same way. But they whether the tone is good rocess as certainly ir good or bad. hence r<-‘c;ill sonu rcalK constitute the song. The song is not do not. Such teaching is working from musical taste is a on paper, it is in the mind of the singer, that of any mathematical proposition. In ON PRACTICE. mental quality. There v,H'nl equipment i- ordiw the end of the problem instead of the is nothing physical and the more vivid the reproduction of the matter of musicianship no one will the development of least In singing, ih less th*BinP**® beginning. When we begin to work Before proceeding furthei the picture, and the more intense the deny that the feeling of rhythm is men¬ tietqreKproceedmg further, let me sav Tt,is a mental process"from- ' playing, it is not all in the issth®**1 from the standpoint of psychology tal, so is the process of acquiring that few words on practice. Every student g nnmg to end. On the contrary in both cases, the n®1 feeling, the more perfect will be the rather than physics, we shall have feeling. -Learning to think intervals is a feels that as. sooi i he begins taking behind the instrument is responsible expression. taken an important step in the solu¬ mental process. Developing the har- vocal lessons he ...... St. practice., Veryv for the quality of the music. , That which we call technic is the PHYSICAL control tion of the singer’s problem. We shall monic sense is a mental process. The few students go to it with any great de¬ Given a good voice, good singing result of repeating a process until it Must the physical be ignored in sing- never solve it correctly until we recog¬ ability to recognize musical forms is a gree of enthusiasm, but they put their lows naturallv. if one has anythin? !0 becomes automatic. The technic of mental process. The analysis of a mu- feelings out of the way and do it be- sing. To sing well requires something expression is gained in precisely the nize that the seemingly intangible sical composition through the ear is a cause they .are convinced they will be same way as vocal or piano technic. mental entity, the man behind the voice, mental process.. .. nerrentinn. nf, nro- wactiinr_.. :r ±1- * ™J more than vocal technic. The stop > process. The perception of pro- wasting their money if they do not. On mechanism, ’ , Portancc- Tlu- v,v,, no less than the preacher, should hi The aim in developing technic is not is the most important element in it. If portion, harmoftyharmony and unity, the develop- the contrary, however, most of them are the simm t K’ ,"stni,1K'nt upon whvh a message. It should he a message that of making certain muscles do cer- we develop the man along artistic lines. plays. The necessity for tbc beauty and truth. It should be a ffle5' TH E ETUDE 201

the etude ,k t and safeguard, open their organs to is our experience that the organ used fre¬ Stacies which are placed about the young really deserving pupils and provide a quently for practice requires decidedly distinguish between the t student who wishes to study this "King of Estey Church Organs comfortable atmosphere in which to less care and adjustment than one that Instruments.” work. This should be done under super¬ is idle a great part of the time. PIPE ORGANS per- Formerly, many congregations permit- vision of the officiating organist, of H. Hall & Co., estey standard maintained organ music, choosing for Pearnest and ted their organists to have pupils in the course, and the pupil should be ex¬ Geo. A. North, Manager. maximum facilities pected to pay a reasonable price, but J churches and to supply also a limited HIGHEST GRADE OF PRODUCT FOR CHURCHES, MUSIC RALLS amount of time for daily practice. This the present tendency to exclude the EMMONS HOWARD. PIONEERS AND LEADERS ALWAYS pupil altogether should certainly be Ullcl„la> _. privilege is however rapidly becoming a (Pipe Organ Builder.) AND PRIVATE RESIDENCES Department for Organists Examine Key Stop Action and Wonder¬ changed to a policy of helpfulness. and bring them back thing Qf the past, for so many churches ful Reedless Oboe and Saxaphone In answer to your question, “Does the the hearts of men daily use of the organ tend to injure the No. 181. By the mechanical improve, Contributions by the Most Eminent Organists of Our Day to heaven again.” are building more extensive organs and becoming more and more elegant in every AUSTIN ORGAN COMPANY. instrument?” The mechanism is the only ments and inventions constantly applied to way, that practice is no longer desired or Estey Organ Co., Brattleboro, Yt. (Pipe Organ Builders.) part which should be considered in this our organs, combined with the standardiza¬ FREDERICK MAXSON. matter, as it will be seen that the pipe tion of all parts, both interior and exterior, permitted. Established 1846 We do not consider that the daily use work can suffer no harm by use. In the which our Universal Wind Chest makes (Concert Organist.) Now, the specific study of organ of an organ injures the instrument aside correct working of the modern organ possible, we are enabled to build the should follow only upon a very extensive from the extra wear in the use of the i. As a rule, LYON & HEALY’S much depends upon the accurate adjust¬ most perfect organs, both tonally course of piano and theory, and no utter motor and blower, which would naturally no piece' of increase the power bills. An organ used ment of pneumatics, and daily use is an and mechanically, that can be pro- Shall the Organ Student be Denied Practice mechanism is beginner__ ^ should be encouraged to put in good church occasionally during the week is generally advantage, as it tends to keep all parts duced. Adding to the above qualities me on the organ bench. But, if he Opportunities? improved by his t in better condition than one that is in place. Emmons Howard. accessibility, durability and simplicity, what constant daily become an organist at all, the time closed entirely from Sunday to Sunday. more can be desired, except a conference by Mr. Francis L. York, in which many of the foremost American use. The will come when he simply must have ac¬ ORGANS Austin Organ Company, THE BENNETT ORGAN COMPANY. with us to arrange details for a church or At Reasonable Prices ists and organ manufacturers have participated. wear and tear cess to an organ and it is vastly prefer¬ B. G. Austin, Supt. (Church Organ Builders.) residence organ, with or without the best will eventu- able that this organ be in a church. The organ is not materially injured by solo self-player, after sending for our book¬ ally show, Usually, however, the conditions in the daily use. Possibly the working parts let “A." :::::: waist the organ GUSTAV F. DOHRING. and the organ church are distressingly inadequate, for it may be affected by the unusual wear; if „ Wtea”& Rodgt ., feeders and (Pipe Organ Builder.) is too cold for comfort in the winter, so, the rental will easily pay for their • Kramer Charles Heinroth Everett E. Truette, Francis York, U.H. C. MacDougall, bellows and I do not see why any church commit¬ Halter unit (irrrltt Smith. II non desire to assist in this movement, and make and of all hot and ill-ventilated places replacing. The mechanism will show other mech- tee should object to have their organist Austin Organ Company mis carnalan of real consequence, secure the December, February and March issues of commend me to a church in summer-time maximum wear in the tracker organ', less Th^^cde. and^satd"them^ to^^muJt^comc^UccandJhe^b^^^^^^^ your anism must practice on the organ during the week, tfutly, and which usually is closed from one Sunday in the electric and minimum in the tubu¬ HARTFORD, - = CONN. use of the organ b e repaired, as he certainly will improve the music lar pneumatic. sooner, if the to the next. by doing so. The organ would be a very HARRISON M. WILD. The Bennett Organ Co., organ is used This phase of discomfort was aptly incapable instrument if any use beyond epitomized by Charles Heinroth, the DID YOUR La Motte Wells, Manager. (Concert Organist.) sounucu, frequently. On the other hand, in in- the one day in the week should injure “Matchless, Unrivalled,”—Franz Liszt organist at Carnegie Hall in Pittsburgh, the same. It certainly would not hurt the Whether a valuable instrument and a struments with electric action, the mech W. W. KIMBALL COMPANY. “No other instrument so enraptures at the Organists’ Convention in Ocean PUMP BOY organ to be used every day. finely appointed church building should anism is kept in good condition 1 c Grove last summer. Said Mr. Heinroth: G. F. Dohring. (Pipe Organ Builders.) the player,”—X. Scharwenka be devoted to the use of mere amateurs organ is used daily. It is also better tor fail to “show up” last Sunday? My experience is that the intelligent or beginners on the organ may well be the pipes if the organ is frequently "I well remember when, as a hoy, I was Did your water motor break u?e of an organ does not injure it. If, questioned. played. consumed with desire to learn the organ, HOOK & HASTINGS COMPANY. and finally obtained permission to practice however, the question is intended to dis¬ The organ is not a household instru- 2. Assuming that the “young organist down and embarrass you? (Church Organ Builders.) in our church. I can see myself yet on cover whether the daily use of the organ like the piano, and consequently is the regular incumbent, it would be _ If you had a Kinetic Electric Within any reasonable limit that is cold winter days. My practice would by inexperienced students injures it, there there is no room nor vocation for the very short-sighted church committee that likely to exist, ordinary, legitimate use of are, of course, many things in an organ proceed something in this order—with Blower you wouldn’t be de¬ LISZT ORGANS organ amateur nor for those who may would needlessly limit his hours of prac an organ for practice and teaching pur¬ which might become disarranged and coat turned up around the neck, and very Furnish the most perfect substitute for desire to study the organ for a short tice, since the church will ultimately reap pendent on an erratic water poses is in no way harmful. In fact, it is damaged by misuse. time just to gratify a passing fancy. the benefit of increased ability on his part, likely with overcoat on also—I would a pipe organ of any instruments ob¬ motor or a tardy pump boy. within reason to believe it is likely to be W. W. Kimball Co., tainable, and are superior to small Those who desire to study the organ i presume, however, that you refer to practice until my fingers were absolutely more gain than harm. We always find, The Kinetic Organ Blower By Frank T Milner, pipe organs in many respects. They should be willing, first, to learn the piano the privilege of organ practice granted rigid with cold; then I would put my where a church has been closed during the Manager Church Organ Dept. differ materially from all other reed instrument keyboard and to master all scales, chords, by a church to those who may have no hands in my trousers pockets and run can be readily applied to any summer vacation months and the organ organs, having a richer quality and when needed double notes, trills and other passage, and connection with it musically. Such a about the church until I had wanned my- pipe or reed organ by any not used, that it is more likely to need greater body of tone. in service, also some of the principles of musical privilege would be exceedingly valuable -elf little bit; then would resume No other organ approaches the mechanic. attention. Hook-Hastings Co. To enjoy music we should be close to This is, of composition. Even the pedal should be and necessary to a student, who should practice until my hands were stiff again, it; for distance, if it does not deprive it Mason & Hamlin in the reputation it course, for the church to determine. 1 lad learned away from the organ on a pedal- be willing, "however, to reimburse the and so I would alternate, each ten min¬ It is simple, quiet, efficient, H. HALL & CO. enjoys among the world's most famous of its principal charm, at least weakens musicians. not a magnanimous committee granted piano or a practice organ. church for the actual expense of run utes—first. 1 would freeze my hands solid reliable and easily taken care (Church Organ Builders.) and impairs its effect. What pleasure me such practice, I doubt whether you A majority of the organists now before ning the motor. This is the only way •. Send for illustrated catalogue A on the chilly ivories, and then I would of. In reply to your question, “Does the would we find in conversing with an would to-day be asking me these qties- the public have passed through all these in which a church could discriminate. thaw them out in my trousers pockets.” daily use of the organ Injure the instru¬ intellectual man thirty paces apart ? Simi¬ Write for “Modem Organ stages of learning. Those who have since free practice privileges would This is not the least bit overdrawn, as ment?” we answer readily, no. On the larly, music, heard at too great a dis¬ X Yes, but it is uphill work, and ex- studied in Berlin or Paris have nearly swamp them with applicant . (\mc almost any organist can testify. Blowing.”_ contrary, frequent use is a benefit, espe¬ tance, is like a fire which, though we see for nmebody, usually the always been compelled to have recourse sions, if any, should be made in favor It might scent that a solution of the cially to the electric or tubular organ. It it, fails to warm us.—Berlioz. BOSTON to the pedal-piano since the use of church of pupils studying with the orgar.i t of difficulty could be found in organs at THE KINETIC ENGINEERING CO. organs for students’ practice is not per- the church. music schools and even in private organs HERVE D. WILKINS. tnitted in European cities. 3. Organ recitals on weekday- mav be Baltimore Ave. and 57th St., Phila., Pa. Established Sew York, 1851 St. Louis, 1818 built into the homes of teachers who HOPE-JONES ORGANS ■KfConcert Organist.) If a student who has had ardor and made a powerful educational influence m make a specialty of organ; but the per¬ GEO. KILGEN & SON persistence enough to acquire an organ the hands of an accomplished organist Church Organs centage of such opportunity for the aspir¬ H. HALL & COMPANY ■ latest improvements technic, and perhaps a fine repertoire upon who would thus be making hi- volunt iry ing pupil is appallingly small, and for the New Haven, Conn. HOPE-JONES ORGAN 00., ( Pipe Organ Builders a pedal-piano or a practice organ, should contribution to the uplifting of tK ST. LOUIS, MO. BOSTON NEW YORK PHILADELPHIA simple reason that almost no private One ofthe most eomplet^Pipe Organ Plante In the United 1 favor 1 need ;"> opportunity for the daily standard of appreciation of (be l,e-t Jj Elmira, N.Y., and 41 Union Sq„ New York City, N.Y. f CHICAGO LOUISVILLE DALLAS F*IF*E ORGANS ... the daily rehearsal of artistic organ music, it organ music, should^iis"other duthTper' evxm^Tun'"Wdoc! make dTeffort^ Main Offices Works use of the would clearly be to the interest of any nut him to prepare and give the recitals able to , .m,|| church organ, congregation to accord him the free use T would hardly consider it an intro-mi or , ".""fi \ J. WARREN ANDREWS Pipe Organs of Highest Grade Only Hastings Co. The organ, of their organ, under some fair stipulation part of the educational work of the ' ;,S c.on,.Pared to that ,n the average Special short Courses in ORGAN STUDY, in Form like a locomo- that in return for such a favor he will be church, which must perforce be badly JUST PUBLISHED »f Lectures and Illustrations. Specially prepared Our Instruments comprise all features which Fair Prices. Established 1827. All Sizes. torch, however, since the organ music placed as regards acoustics, and in most tnd adapted to the needs of those who can spend tive or any at their service to fill a vacancy'in case at the Sunday services mav b, e/v.,b w A RECENT REVOLUTION mt a short time in the city. Send for catalogue. are of real value. Many years of practical cases inadequately blown. experience. Write for specifications. other costly of an emergency. It may indeed be safely tmetly educational in ririV.K.,,,,- , , ' IN ORGAN BUILDING Address: The Church ofthe Divine Paternity, Central Park THE PILCHER PIPE ORGAN and intricate maintained that m every important parish is sometimes a di-no -in, „ 1 Neither can schools afford really good Bj Gorge Lata; Biller, F. B. «. 0.. London EMMONS HOWARD Westfield. Mass. machine, there should in this way be an understudy of an .i,' ‘f " 1 ,W. organs, and in the few cases in all an audience rather to under-value : needs to be or assistant to the regular organist, America where organs are really in value in voicing and construction^prol £ recital, however worthy. ducirtg maximum efficiency at minimum i n continual As to. the place of the organ recital in music schools, the cost (of necessity' cost. Correspondence solicited .... use in order the educational work of the church, that for practice is higher than the pupil CHARLES E. WATT. EIGHT NEW COMPOSITIONS FOR PIPE ORGAN HENRY PILCHER’S SONS, ■ LOUISVILLE, KY. to be main- would surely depend upon the character should be expected to assume. BY ONE OF THE FOREMOST AMERICAN COMPOSERS, E. R. KROECER tamed in per- of the programs offered, and upon the (Concert Pianist and Organist.) The only solution of the matter at all feet adjustment as to all the details of standard set up in their performance, feasible seems to be for ecclesiastical Ms.W.WOLSTEHHOLME, Mus.B»c. 0(D«. tuning, voicing and mechanism. Other- Organ recitals can be made of great value bodies to become awakened to the fad KIMBALL PIPE ORGANS wise during public worship the organ as promoters of truth and knowledge The Eminent English Organ- that training for organists for the WON which has been silent during the week provided the programs are made up of church service is just as necessary, in Recitalist and Composer will often show some defect of adjust- choice selections and are rendered in a k nowl e d g e its way, as is training for the pulpit! highest award ment or some obstruction in the pipes, finished manner. so difficult to and, even as theological schools are These would have been discovered and ■ There is always in every community an attain provided plentifully, so should oppor¬ Alaska-Yukon-Pacific Exposition, Seattle, 1909 remedied during the week if the organ extensive circle of organ lovers—people tunity to learn the organ be made easier had been operated every day. not necessarily educated in music—to Special mention was made of : Tubular hy the churches themselves. Organs Pneumatic System (U. S. Pat< There is very little wear of mechanism whom the organ by its tone and nature Kimball Pipe Organs, stating it involved in the use of the organ. There makes a strong appeal. This circle" rail should be placed in the theological to Mr. J. Frank Frysinger, a former are many organs which have been in use always be widened and its affection for schools, special schools for the training ow Director of Music at the Woman's N. Frederick, Md.), who haB kindly com Sent on receipt of price or on sale to our pair. twenty years or more which are still the organ strengthened bv the use of •n church music should be established answer all enquiries made to him. at our regular liberal sheet-music discounts. W. W. KIMBALL COMPANY THEODORE PRESSER CO. : playable, and the modern tubular sections right program material well arranged under church control, where adequate 1712 Chestnut St., Philadelphia Pipe Organ Builders CHICAGO are. from their very nature, still more and not overdone. The organist who organs should be installed, and if these i THE ETUDE' addressing i durable than these old actions. would succeed in this task must study to things arc as yet too altruistic for the times, too impracticable, the churches should yet, under proper restriction THE ETUDE 203

the etude hundred in case of special operas. As justment of the sound-post and bass orchestra of sixty-five men require bar, a new bridge the proper heighth, SPECIAL ama tut IT TOO OLD- twenty violin players and eight violas, Some Violin and other necessary changes will often ROOT VIOLINS _in have your choice of the fine*£ AccordingAM to1 the eJ!jJ£ynuinber who The demand for symphony orchestra give a violin increased brilliance, and of violin teachers, tn^^ ^ violin collection of Old and New Stringed ence ot viou.. ’ d ing the ’ violinists is also increasing rapidly, as better quality of tone. It would be im¬ Instruments in America on Thirty Questions Answered * BEST made make a .success of t^ yaying reach( symphony orchestras are being organ- possible to say whether your violin Days> Trial. . . . ^ in a serious w y, y. still. an °oc - izeizeda »»*all "»»•*over the—— country.-7--—- Most of“* theme could be so improved without seeing it. in this country maturity, is vfryf success is noted, large American cities now have perma- If it is worth spending a reasonable today. In beauty sional example .01 marvelous. nent symphony orchestras, and mort M. C—Jean Baptiste Vuillaumewas amount on for repairs, you might send of construction which is little snor int is re- are constantly being formed, even in the greatest of a famous family of it to a skilled repairer. It will post you thoroughly on every Violi A remarkable case ^ q£ prof ^ smaller cities. quality—and Frence violin makers. He was born It would be much better to have the ported from Eurpp at the head ot Leopold Stokovski, a well-known Eu- lasting service in 1798 and died in 1875. He early re¬ two cornet players in your orchestra DON’Vpay1 euorim us profits to 1 —ROOT VIOLINS reach “violin perfec- Robert Psomeme f^vone he won, in four years chestral players been so strong. There ments, including the famous Stradi¬ viola. You would then have three appearing in concert ii most l"e' y , ’firgt prize at the Pans Con are s0 many new orgamzat ons being firsts, three seconds, and one viola. If — CATALOG — study, the p. gjx years he had formed in addition to those already ex varius violin known as “The Messiah,” your orchestra is composed of ama¬ & SON—(Est. I860)—Makers servatoire, leading professor of :Qt;ng—new opera orchestras in Nea which afterwards became the favorite teurs, a good deal would depend on the been ma e Qeneva Conservatory. yorlCj Philadelphia and Boston-thai violin of the great violinist Wilhelmj. “a vteHn0fteahchcr in the Hochschule abilities of the respective players as to 1, that he possessed all the violin a d ; remakable as to there js a very great demand for gooc He paid 80,000 francs for this collec¬ tion, a remarkably low price consider¬ how they should be grouped. All you „..a and ideas of his illustrious heCuniaue in the history of violin play- material. can do is to make the best of your ma- k After Joachim’s death it was P Almost without exception the „The character of the men I engaged ing the present prices of Cremona in¬ t his mantle fell upon ing , --i;n niavers of the world began . representative of every nationality struments. CORDE DE LUXE Vuillaume was made a member of A very good preparation for clean¬ •formance of great clas- flLdv at from four to eight years £ nu£ber of them are from Cincinnad ing violins without injuring the varnish P and had made their debuts in and those from elsewhere include Ger the Legion of Honor, and received , such as the Bee¬ is as follows: 0 ’ t ten to fourteen. Mischa French, Danish, Russian, Polish many medals at European expositions thoven concerto, and the classic string Raw linseed oil.8 parts Silk VIOLIN E of the most noted violin- ilaiian and American types. ‘p. for his work. Owing to his fondness Oil of turpentine.1 part USED BY LEADING ARTISTS those I wanted, I was frequently com for trying experiments in drying wood, i’ the world to-day, is now nine¬ Water .5 parts 15c Each $1.50 per Dozen Halir was a comparatively young pelled to follow a man from New Y01V etc., his instruments are somewhat un¬ teen years of age, and has been travel¬ As the oil and water will not mix, the Catalog of fine violins sent free man. only fifty years of age, at the ing on concert tours continuously to Boston, to St. Paul or Chicago." equal in quality. His price was 300 bottle containing the mixture must be MUSICIANS’ SUPPLY CO. time of his death. He had been ill for since the age of thirteen Tt is the- Besides the demand for violinists fw francs i'60) for a violin and 500 iSIl?!*?1*:! .XiykLNJHLPiEre 1, and his death, while ex- shaken vigorously before using. Pour 60 Lagrange Street - Boston, Mass. melt thing Imaginable to find a violin¬ symphony and opera orchestras, there it francs ($100) for a cello. His instru¬ gut. ^This tailpiece draivsthe strings upwards instead of draw- -theless came as a shock ments are worth much more at pres¬ a little on a cloth and rub the violin ist capable of playing the great con¬ a constantly increasing number of theatre with it; then wipe off with another th^vibrftion aud consequently *improv& potoei^ar^guaWty music of Germany, certos who began even as late as ni- orchestra violinists required, since net ent. A leading American violin dealer s born at I-Iohenlebe, in Bobe- catalogues various Vuillaume violins at cloth, and finally polish with a fine teen years of age. theatres arc going -r piece of cheese cloth. Where the rosin Albert SPALDING 1859. His first studies were from $175 to $800, according to preser¬ One thing is certain, however: The country, several hundred being built eact has eaten into the varnish, it is often The New Improved Chemical Violin Bridge -:tz, at the Prague Conscr- student beginning the study of the vio- ycar The demand for violin teachers is vation and quality, and these figures which he completed his give a fair idea of the range of prices impossible to remove it without remov¬ lin late can accomplish much ’Jtore, a|so on a ris;ng scale, so taken all in all ing the varnish with it. The mixture Joachim at the Berlin other things being equal, than if he thc 0lUi0Ot< for employment for the in America. In Europe they can be great talent for violin given above will not attack the varnish. chose the piano for an instrument. American violin student is derided!? bought somewhat cheaper. — -*'»Anrnlzed, and he Vuillaume’s daughter married Del- N. F.—If you are a beginner, you can Piano teachers are agreed that the stu- bright. tune the violin roughly by tuning the Carl Halir. dent who commences to study the - phin Alard, the famous violinist. Vuil¬ Europe as solo laume at his death left a collection of different strings to the notes of the piano late iii life attempts a hopeless piano. You should lose no time, how¬ concert master, of the large cities, and everywhere be¬ task if he expects to learn to play CHILD VIOLINISTS. 3,000 violins and other string instru¬ osition as concert master ments. He made a fortune making ever, in learning to tune in perfect ing hailed as a violinist of great attain¬ P^no music of an advanced character. musical season in L» h the Bilse Orchestr violins. Many violinists who are un¬ fifths by ear. Tune the A string with ments. He had i0ularly charmi g A vlohn student beginning— don L. W. writes in the Shed: the piano; then tune the E with the A and winning personality, and. mn dle age able to afford Cremona violins use THE OTZINACHSON VIOLIN of the violin, then the D with the A, Original in power to charm always appeared in hi^^_,‘. violins by Vuillaume and Lupot, the easy melodieliivi^uivS and easy violin solos and finally the G with the D. Draw DESIGN, BEAUTY OF CONSTRUCTION, playing. i remarkably modest manner which will afford much ,d. , ■ two makers who stand at the head of PERFECTION IN BALANCING POWER French violin makers of the nineteenth the bow slowly over two strings when tonequaljty of every violin wonderftilly. ?Can ea8ily*be fitted to 8t of the private “orchestra and free from conceit.- The~ writer r • a himself and friends, if he have i^;;;-..J;" /.V‘B‘ AND TONAL QUALITY century. tuning, as in no other way can a per¬ members being present during an 1 good ear, and ■■ 2. Benoit Fleury, who made violins fect tuning be made. z Liszt, the pianist, was a great terview which a young American violin sets about it right. As far a- 11 a-t. r HVi farcins of particular « f J. W.—The best known violin mak¬ • of the genius of Halir, and student sought with Halir, during his ;ng difficult compositions is concerned.^Bblimeslo the cert* In detriment of dim I at Paris in the latter half of the eighteenth century, ranks well among ers by the name of Hopf, were Johann Write me for full particulart .. the latter was American tour, for advice as to his however, the teacher cannot hold out g'f,„*rfm™nee«*l'c'merdr'in tptwsm' I the lesser French makers. His violins Hopf, who lived in the middle part of E. H. KOHR _jncert master of the Grand future studies. The young man took much encouragement to pupils of this amazement, n mipcrflclnl rarlosltj.imi.il I the nineteenth century, and stamped Jersey Shore, Pa. U. S. A. (Court Orchestra at Weimar, bis violin from the case, and the first class. nmt nature*, w kind of Iral'mu- [ range in price from $100 to $300, ac¬ cording to quality and preservation. his name on the back of his violins, and Students’ Popular Album Halir filled this thing Halir asked for was Christian Donac Hopf, who lived at Towine reD- eooln +Vi a n Via "him +n the sacrifice." H. E. C.—Your violin is evidently FOR VIOLIN AND PIANO position with a constantly growing rep- sca‘ie, then he asked him THE DEMAND FOR VIOLINISTS. Klingenthal, in Saxony. Both makers NEW CREMONA VIOLINS Utation for ten years. He left Weimar Kreutzer etude from memory, and Z7 ~ ~. Fortunately, here in the product of some obscure French maker of no special note. However, did some fair work, but their violins, AND CELLOS in 1894, to become concert master of finally a few bars of a violin solo. The ,be demand for violinists in the not the same craze ; r even if genuine, are not especially valu¬ (Stefert A Grossman the Royal Orchestra and teacher in the resuit being satisfactory, the student United States is constantly increasing, which vn-ms t>> o\M in ' 1 it may be an excellent instrument for able. There is an immense number of A revelation in the art of violin Hochschule in Berlin, a position he expressed a hope that he might one but !t is,f°r t!losc who have thoroughly England and on the Continent dozens all that. There are thousands of vio¬ lin makers entirely unknown to fame, Hopf violins, all duly stamped on the building. Send s death..> UAJTday become a pupilyuyu of Halir inm Berlin,uciim. lnsitru,mcn*•• :nul ,, :t those Otof II1CSC SStlv;>(, l.HCU,-lcr,l littlelime ;I' ' ,' back, which are not genuine; in fact He played second violin the some of whom have occasionally made “I hope you can come to Berlin,” said T"0 can play a httle. A few years ago tbfir dcbuts for the demand for grand on the concert and ment to play in the home circle, accom¬ r r value Because nothing like it exists as, above all else, every violinist. panied by the piano or organ, the clar¬ whether a violin is a genuine Cremona in any other form. It gives fine, full-page, 3 x 5-inch portraits of mirk constantly growing in this York City has 1 musicians as Liszt Handel, Haydn.ferleg3cfuc^ coun ry. These opera houses will give against it. as have mar inet has little to recommend it. Its or not. a legitimate violinist, and would have _ Gd mameTet'rLU5niGFrUtt‘ Bauer,’Kubelik Joach S cut off his right hand sooner than emp °ymCnt to a large number of fan dtiea proper place is in the orchestra or of musical In ’ Mdba’ttc" rePres«>ting all branched hand, or in ensemble work. descend to trickery or charlatanism in Joachim’s favorite painter was Leon- of the orffi6’ Wh<7e the average si/e prodigtee becomes 3 | “You must be what you seem, you The book is a fine volume for the teacher's studio or thf muciV N. McN.—Many violins of the lower lover’s reading table. It is just the kind of a work to have attend his playing. Through his long associa- ardo da Vinci; his favorite dramatic this r-o, . 1n”ry theatre orchestras in the fact that most c4 must feel all the emotions you depict. But to improve spare moments. uave at nana tion with Joachim he imbibed, characters Imogen **"“and Fidelio;ouen| hisnis ta-fa- tepn .. 1 grades have the disagreeable qualities you must control yourself, and so you n ry Is only from nine to six- naught in «he end pro ■ 'hid, tbfl I “g“k" manner inwhilw the h!^b' attracts markable extent, the ideas and tradi- vorite historic hero, Hannibal; his fa- lr " an wcln-tra f , less of fot you complain of—lack of brilliance, and will control your audience.”—Richard (ionslions of that master. Halir was a large voritee occupation, quartet playing.olav5n«r grand opera houses must _ " their bn* I a muted quality of tone. Proper ad¬ Mansfield. sixty opera houses must number from undergo stunt seventy-five and nervous syste mention THE ETUDE when addressi

J THE ETUDE 205

THE ETUDE moscheles and musical Kullak’s pet and pride. “And since education. his advent in the Conservatory,” ■ she stitutions Qf his beloved Vienna, where remarks with considerable satisfaction, ST torn and where he had done his Of the musical education of children that composer s ™ roaking a music- neduties* of teaching and composing. Moscheles wrote, “They must play be¬ “Kullak has shut up entirely on the fore company. One must teach them subject of American want of talent.” Of the continent, eap^ie^dship Moritz Moszkowski, well known to us “■sShS whu«rule hi,the rs.«musical f world"ST* as they not to think of themselves, but of the ^1 Germany, he re”e^® the regard of work of art they are to interpret. Be¬ through his pleasing piano pieces, also -1 with Haydn, and won the ^ stow particular attention upon the studied with Kullak for years. Beethoven. He wrot^ *-»^ as well heji-sys ? jeneration.s EvenixtfsGX if we find some fourth and fifth fingers, which are andpiecisrfoPrStringed instruments And a wee bit dry, everything has naturally the weakest.” On another LOUIS KOEHLER OR KOHLER. DEPARTMENT FOR CHILDREN ' —ears his studies for ^ occasion he says, “Ten stiff fingers are (Kayler.) _ . for many years ms ed than waiting in the next room for me to (b. Brunswick, 1820; d. Konigsberg, Subjects for Little Folks and Their Teachers pj-oof such works.^— ers Cramer’s etudes the cookies, and make them flexible.” Ideas on Musical 1886.) Bright Chopin’s etudes are the spice-cakes of In 1838 he- saw the coronation of You can spell his name either way CARL CZERNY. the young Queen Victoria, “a pretty Pronouncing Dictionary We will pub- Presser’s This is a copy book to spend their Sundays with the aged piano literature.” and be correct. He, was one of the SOME FAMOUS COMPOSERS OF (Tschair'-ny.) girt of eighteen.” In 1846, after sev¬ of Musical Terms. lish a neat First Music containing 32 pages of master and his family. He says, de¬ most distinguished of our later educa¬ STUDIES AND EXERCISES. ignaz moscheles. eral years of correspondence, Mendels¬ By H. N. Redman. little volume Writing Book, writing paper ruled menti is one of the most vigorous old (b. Vienna, I79H d- there 1857.) tional composers. Having studied at (Mos'-shel-lez.) sohn finally persuaded him to accept with the staff lines, but fellows of seventy I ever saw.He^s Vienna, he is considered the intellec¬ to think of rest. At /.His,s “L ‘ U-natured face, the position of first professor of the terms and a pronouncing dictionary of with extra wide spaces, and yet not too (b. Prague, 1794', d- Leipsic, 1870.) tual heir of Czerny, and in his Guide table he laughs and talks incessantly."incessantly. having a r und, g . zical sml- le, ; pianoforte in the Conservatory at proper names. This is a modern work, wide for every purpose. The book, it is It was this composer who said, “It Leipsic, where he was warmly wel¬ to Pianoforte Instruction recommends before writing which all the best au¬ true, is very inexpensive, but the paper (Especially prepared for reading Si. Walter Sco« g-djj d ,He *.>« essential that you train your rr:-J not only the etudes of that composer, admirer and in a letter to Moscheles tnougn nc ;n writing comed. He was remarkably kind and thorities have been consulted. We con¬ is of very fair quality for pen and ink Children’s Musical Clubs.) but also the nearly forgotten sonatas genial to his pupils, and his etudes con¬ sider this dictionary one of the most work, capable of being erased. The tain his best work. Almost his last and sonatinas. Some of Koehler’s own finished and valuable of any diction¬ book has a particularly substantial MUZIO CLEMENTI. studies, particularly opus 112 and 128, ?“.H5n,,'h,nTdt.n“risrsw- «.*»THEODOR KULLAK. there are six pages of rules in pro¬ music writing. The most unique feat¬ pressed ‘b^^^X^hild. Afterwards berger and Salieri, and quickly ripened containing 5,000 pipes. Koehler’s com¬ ready seen how the boy Clementi, at (Kool'-lak.) nunciation in the French, German and ure of the whole book is the price. nine years of age, was able to pass a JOHN BAPTIST CRAMER. positions include operas, instrumental Italian languages, which makes a very For one month more we will sell as (b. Krotoschin, 1818; d. Berlin, 1882.) works, pianoforte works and vocal difficult examination, and actually ob- (Krah’-mer.) valuable addition. This book was pub¬ many copies of this blank music writ¬ Born in a little town of Russian Po¬ pieces. But his excellent technical lished by a subscription book concern, ing book as any one wants to order at His most important land, this boy must have shown great studies take the first place. He was and only a small first edition was Sc. each, postpaid. Cash must accom¬ ttfXttXrtZ.-is-. *53 said that -Cramer AK». was the only 'STZS^s■SS55 BASS ad Parnassum” or “The Art of Playing PsUbHis fameeaVsea pTanoforte teacher John Cmmer'and the veteran dementi talent, for Prince Radziwill, one of the not only a pianist and notable teacher, printed, which is now exhausted and pany all orders. It would pay every the Piano, Taught by a Hundred Exam- piano-player— of-- his time of whom. • such thaThe was besieged by pupils, hailed him as an equal and friend. In Polish nobility, had him taught by the but also a dramatic composer and an school and teacher to lay in a stock of such that new f hig gelec_ lg24> while in Berlin, the parents of which had very little publicity. The pies,” has been of the greatest value to Beethoven had much of an opinion, strict 1824, while i pianist Agthe. At eleven he played at able critic. Let us render honor to book can be considered as being almost at least 100 of these books. This book musical boys and girls ever since it was “All the rest went for "othingff J f °“?d Fed only those with ex- the young Jewish Felix Mendelssohn a court concert. Later on he became whom honor is due, and let us show will fill every necessity of music writ¬ published. For he bestowed great care Baptist Cramer came of a ongHinto tion, swcaccept:ecl on > many of entirely new, as the copyright has only prevailed upon him to give the lad les¬ the pupil of Czerny, in Vienna. He just appreciation to the worthy men been taken out a few years ago. The ing books. It will take the place of sons, but Mendelssohn acted more as was made court pianist to the King who have passed their lives in seeking work contains 140 pages. every copy book of the kind, cheap or adviser than as a teacher. In 1825 he of Prussia, at Berlin, in 1846, where, to remove the brambles of technical We will make our usual advance otherwise, and at a price equal to the became Professor of Music at the in 1850, he helped to found the Berlin difficulty from the musical paths of offer on this work, and to those who cheapest. «^2L"2sl?'Z:s$si Academy in London. Although he had Conservatory. those who followed them. will send 30 cents in advance we will Easter Music. Although Easter Sun¬ studied the language long before com¬ 1 Among his pianoforte works the send the book postpaid when it is day is not far off, it is ing to the country, he tells in his octave etudes deserve special mention. 1 W3S p'uzHe m mt ITause my gg yelrs he lived in TitchfieM street, -play Czerny diligently.” Czerny was issued. It will be bound in the very not necessarily too late to supply any — -- -- , . sprightly letters many amusing anec- He has written three books of these teacihers^orgot to say^hat ^“Gradus ad Corner was with him /ery courteous and amiable SOME FAMOUS NATIONAL best manner. special musical want incidental to that pupils—no rough words ever passed his dotes of his mistakes in English con- octave studies, which are as famous in Parnassum” was the Latin for “a step every morning. So that he became, in jjjj'E—no rou^i words ever pa. SONGS. occasion. Our usual promptness in toward Parnassus.” Those of you who time, a distinguished pianist, and w lips. He never married, and had versation. He was a good son and their way as the Gradus ad Parnassum “Musical Games We are pleased Every country has one or two tunes and Puzzles,” to announce to handling orders may be relied upon. are studying ancient history will re- much sought_ after music teacher neither brothers, sisters nor any other provided for his -widowed mother, of Clementi. He was a great friend of which seem especially adapted for by Dan’l Bloomfield, our readers that member that Parnassus was a cele- the intervals of his musical tours, near relatives. But he had a delight- sisters and an invalid brother, besides Liszt, and learned many of the tech¬ New Gradus The work on this brated mountain in Greece, where the In the writer’s own family three differ- ful home with his parents; and at their giving many a concert in aid of the nical secrets of that great master’s “national” purposes, which voice the we have under¬ ad Parnassum. new collection of eod Apollo and the nine muses (Music ent editions of his celebrated exer- house, from 1816 to 1823, he had music- poor. His diary make- pleasant rpianos, side by in the past for the reason that you ain has two good ones in “God Save sively arranged and technically classi¬ was the Sonata in B, Op. 47. No. 2, as well. The price of the book was paid by his pupils (a ducat, or $2.25. paper he happened to have and then side, and he sits at one and I at the have been unable to devise the right fied. Succeeding the volume “Hands the King” and “Rule Britannia,” both that Clementi played at Vienna, in £1.1.0. (one pound and one shilling), a for a lesson), but placed them in a bag, work them out in the evenings, his other. He has the greatest patience kind of amusements you will find that Together” we will issue the volume possessing the “solid” qualities sup¬ 1781, on the occasion of his celebrated * little over five dollars of our money, where, at liis death, some thousands wife trying over particular passages and gentleness to help you on. Yet,” this book will help you wonderfully. devoted to “Left Hand Technic,” and contest in piano-playing with Mozart, which shows that music was a much Gf these gold pieces are said to have for him. as she says in another place, “he never posed to be characteristic of the “tight We have placed the book on “advance next the volume devoted to “Right before the Emperor of Austria, Joseph more expensive luxury in those days, been found. The Moscheles spent their Sundays overlooks an imperfection in technic; little island.” England also has her sale” for the sum of 15 cents per copy. II The fingering for the thumb was Hand Technic.” The entire series with the dementis at their place, and when you play to him it is very counterpart for “Yankee Doodle” in This offer will be withdrawn with the should be in the hands of every stu¬ CLEMENTI’S personality. marked +, like an addition sign. Czerny’s compositions. Elstree, near London, dementi pre¬ like looking at your skin through a “The Girl I Left Behind Me.” publication of, the hook. dent, teacher and player, and the forth¬ In his best years Clementi was a CRAMER’S HANDS ,Tllis most sought-after t.-acln-s sented them with a splendid piano of magnifying glass.” Germany has “The Watch on the coming volume will give a splendid Postcards. The “Bromide Post Cards” man of extremely lively disposition, ' Vienna was also much in dcm.m b his own make. He did not care for the Rhine” and “Nun Danket,” both very idea of the general excellence and com¬ announced in an earlier and very engaging manners. John It is a good thing for us that his publishers. So great was their call Christmas waits in London, and de¬ KULLAK AND AMERICAN PUPILS. beautiful and dignified. Prussian pa¬ prehensive character of the entire work. issue appear to be giving general satis¬ Field and Cramer were devoted to him, countryman, Moscheles, wrote such new works that he was often run scribes them in a very funny way. triots sing “Heil dir im Siegerkranz” to The advance price on the first volume She speaks of Kullak’s being cele¬ faction; they are real photographic por¬ as indeed all his pupils seem to have long, interesting letters. In one of pelled to write late into the night Later on he kept Christmas Eve in his the tune of “America.” Haydn’s “Hymn will be 20 cents, postpaid, if cash ac¬ brated himself for his octave playing, traits of over forty modern composers, been; although at times he had a sharp them he speaks of Cramer’s hands hav- a day filled with teaching \. , own German fashion, with a Christmas to the Emperor” is the national hymn companies the order. temper, and was economical to stingi- ing beautifully shaped nails, and of the to one of his publishers he « , ,,-1 and she goes on to tell us that for singers and players. Price, 5 cents tree for his own little ones. In 1827 of Austria, while France, as all the. ness. John Field accompanied his mas- long, slender, aristocratic fingers—so four different tables, liedid o some reason or other “he has a deep- each, or so cents the dozen, postpaid. Tone Pictures. We will publish a he mentions playing at the Duchess of world knows, sings the “Marsellaise.” ter on professional tours, and is said well suited to legato playing that they to dry a sheet he had written but w rooted prejudice against Americans, A catalogue of musical pictures, post¬ By Josef Low. very interesting, easy Kent’s, in Kensington Palace. (This to have been greatly stinted, both as glide along imperceptibly from one to another table and continued' and never loses an opportunity to Musicians familiar with Tschaikowski’s cards and placques on request. four hand volume by was the mother of the child who be¬ make a mean remark about them. “1812 Overture” will remember the Josef Low. This is his Op. 191, and to food and clothing. key to the other “Cramer ‘sings’ on other composition that he h oi ' be ---- came the great Queen Victoria.) Spohr, the violinist, relates that in the piano in such a manner that he perhaps several days 1. , , And, though he has some remarkably skillful way in which the composer 12 Tone Pieces. We will publish in the original was in three books. We calling at St. Petersburg one day almost changes a Mozart Andante into he had the routine ,,f Fm, Moscheles says, "The little Princess gifted ones among his pupils, he always makes the “Marsellaise” war with “God By Oscar Bolck. a very short time a will publish the three books in one upon Clementi he found both teacher a vocal piece.” his finger ends and he m Victoria was present, and the Duchess insists that Americans have no real the All-Terrible,” the Russian national little volume con¬ volume similar to Low’s Duets. It has and pupil with upturned sleeves at the One of Cramer’s little foibles was use of his time that hi • T ^ 1 good begged me to play at once, so that the talent. We have only one way of re¬ anthem. Spain has her “Royal March,” taining twelve characteristic pieces for been a surprise to us that this volume •wash-tub, busily engaged in washing his preferring to converse in French, amount almost tF „ s printed works rrince-. who wa- ,.bhgc venging ourselves,” she writes glee¬ and Belgium “La Brabangonne.” progressive pupils. These twelve little has not been more popular, as it is their stockings and linen. Instead of He had one old-fashioned habit that many of these -nnt"C t!,ousand ^ln

We cannot close this without speak- THE ETUDE There has not been the slightest fall¬ we have said before they can .\ ing of catalogues. We have a number ing off in the popularity of tlje orinted or duplicated by any B special catalogues outside of our “Mathews Standard Graded Course of PUBLISHER’S NOTES r Smany present-day copymg of P, musio list We have studies,” of which three volumes are Special Notices Continued from page 205 1 thematic catalogues, one of vocal, one WANTED—Director for Southern Con¬ $500 Prize Offer methods. being reprinted this month. We hesi¬ RATES—Professional Want Notices five cents servatory. Must be good pianist and teacher. Additional prac- “Dollars in Music,” The expansion of Do you remember of easy piano music, one of piano tate to exclude from this note the fact per word. All other notices eight cents per " kestant Christian, good “The Standard what great delight mUsic. We have a new addenda to our nonpareil word, cash with orders. Southern Conserv e Etude. e had by permitting the pupil by Geo. C. Bender, our orig P that still another edition of the “Com¬ Young Folks’ rn, took in listen- authors’ catalogue covering the publica- plete School of Technic,” by Isidor to play the bass part. We heartilyarmy for this book’ History of Music. t0 stories when tions of the last twelve months. We BAND MEN. ATTENTION! This will this volume to all those that the work will include chap‘^ Philipp, has become necessary. We interest you. We have eight splendid courses Musical Compositions __ _ . .,d-> children do not have a pipe organ catalogue, 50c. col- MADAME SCHUMANN-HEINK search of interesting, easy upon other phases of the buslnef_ isk the reader to turn to the adver¬ of professional studies for the military band f the teacher's work, has caused some you were a child ^ anxious to lection catalogue, catalogue of ensera- Is delighted with the Boat Song With- instruments and need you to sell them. Home tisement at the head of the fourth study—results guaranteed. If you wish to clav but this work' is_ now practically change. They ar J Are you ble__ music made up of peculiar com column on the second cover page and out Words by the Dutch Composer, better your condition investigate this at once. TO stimulate a greater interest in Stce . ,»« vo,„m« - ZS,:completed Sfflg and we may assure our hear stories to- y_^..1 liner side of binations, a new catalogue of pictures, Experience unnecessary. International Con¬ may Jassujre our near stones ^ “ctnrv-telling side of binations, read the description of that work. Martinus van Celder, and gladly ac¬ servatory of Music, Dept. B, Marina Bldg., musical composition and to de¬ be only 20 cents, postpaid. The ori; ce offer neglecting the y ^ need above etc. We velop the opportunities for gaining The Presser Collection, our own edi¬ cepted the dedication. St. Louis, Mo. ™mex - • ■ ,ells ft be con- your work? H so y k as „The combination. Our stock of imported the widest possible publicity ft r the tion of a cheap classical edition con¬ $1.50 each volume. There vStnrCFolksrHistory of music for six hands, two pianos, four This Boat Song is adapted to the tech¬ THE MUSIC TEACHERS’ CARD composer the publisher of this journal veritable bar- tinued lpuchnucil longer.luugu. it --- . taining the best numbers of the foreign tion about this being Young i Francis Cooke, hands and eight hands is unequaled in nical ability of the average player, and INDEX, published by E. A. Scavrum, Stein¬ herewith announces an to your advantage to avail yourself of Standard cheap editions, is, as far as it goes, the way Hall, Chicago. Ill., is a set cf one hun¬ this now, in order to secure this work Music, O JbTi;DK. This book* ' - this country. We send this On Sale the motiv (A-C), taken from the musical dred 4x6 blue index cards, printed one side the same liberal terms as tr ' ' most used of any popular American letters contained in Madame Schumann- with special form for keeping a comp ete Musical Gift Album. We will publishpuDllsn which is uesigncudesigned to show you how edl^or “story-lessons"“ctorv-lessons anuand ’■ == oil me reprint edition. The following num¬ record of one pupil’s lessons for a year. The Etude Prize Contest a"" small vtSSr.: volume your .income may_v. be :_...Aincreased byK« theflie_cpnes series ofot 4°40 story.Stoiy ^ fa teaching Qur own publication. We have a nu Heink’s place of residence, SINGk/C, other side is a special form f„r keeping ac¬ By Herman Necke. bers are reprinting for this month: of very easy observation of a few simple principles result of g d in finding out just ber of novelties in this list Let N. J., gives it an irresistible swing. This count of music as it is purchased through the Bertini, Op. 29; Berens, Op. 79; Album teacher by the pupil. An alphabetical index for Piano Compositions young people and„1” ""“ft^is^T text send"to every teacher our first cata- composition, written on the spur of the classifies the names. pieces by this popular E for Young, Schumann; Kohler, Op. 60; moment, is one of ten piano pieces con¬ This system is contained in a neat, sub¬ Five hundred dollars will be divided poser of easy educational pieces. This bohok in eVveryetense of the word and logues or any of the above which n, Heller, Op. 46: Heller, Op. 45; Lyric stantial cloth-board box 3x4x6 suitable particular volume is one of the most ' chanted tells the story of some be designated. tained in THE GELDER-CLASSICAL for placing on the piano or music desk where among the successful composers in Strings. We make a specialty of a C P Vlifitorv. Pieces, Greig; Chcpin Waltzes. COLLECTION. Contents: I, Boat Song it will he convenient for recording each les¬ the following manner: popular dance albums. The pieces, We have just printed a new and com¬ son ns it Is given. complete assortment of vari- Immediately upon Without Words; II, Serenade; III, Fare¬ Class One—For the best Concert while they are in the first grade, arc It maynbe read with equal profit by Advance plete catalogue of this edition, which The Card In-’ex provides a business-like, iiiey ous grauesgrades ofo. violinv.u..u strings. jji~ n may oc j„.;_ ; re _to obtain a goodgoou offersotters appeaianccappearance of01 ouruur rnew well; IV, Dedication (“Unrest); V, But¬ un-to-date method of bookkeeping. New card3 Piece for piano solo we offer a quite musicianly and melodic. They jives details, including special prices. can be had at nominal rates and the system form idea of musical history in the Withdrawn, works on the market the terfly; VI, Little Fairy (Mazurka) ; VII, thus kept up uniformly from year to year. prize of will also onlybe published in this It will pay to send for it. $100 and cannot be had in sheet form. facturers strings of French silk, Rus- working *dea.°£/‘V"1"''and jn the most “advance of publication” Happy Thoughts; VIII, At the Spring Sent express prepaid to any address on re- sian, Italian and German gut. For the shortest possible time a ce offer ceiDt of the price. Two Dollars, with the un¬ The usual offer for important new necessarily be withdrawn. (Perpetual Motion); IX, Sadness; X, derstanding that it may be returned at pub¬ Class Two—For the best piano works will be made on this volume. summer months we recommend a c°n&e"'a ts^er’ eopy will be withdrawn -phe__ pricer_ atq which we sell these pub- Self-Conquest. Price, $1.00. lisher's expense and money refunded if not piece in semi-classical (modern or French silk string of three lengths at of 40 cents per c py ^ ;gglled w,.,-,- the ARTISTIC AIMS IN PIANOFORTE satisfactory. The advance price will be 20 cents, issued. lications before they appear is about NOMINAL INTRODUCTION PRICE before pub¬ romantic; form we offer a prize of a price of but 20 cents. The German as soon ; the first copies e PLAYING. postpaid. the cost of paper and printing. We lication, 30 cents per copy, i-ash, postpaid. gut string is very serviceable, not sus- Send in your money FOR SALE—A small one manual pedal $100 have never disappointed a customer. Address aU mail orders to pipe organ, full pedal in good condition We take pleasure ceptible to climatic conditions and most least 5° per cent. guaranteed. Price, $150. Address, Organ, Mistakes and - '•'-e-— — -- - , , , ... The result is thattnat our readers havenave thetut THE PROGRESSIVE PUBLISHING CO. care 917 Bank St., Richmond, Va. Class Three—For the two best Disputed Points in presenting in popular with player» Music Supplies. In addition to pub- confidence in any one of thee 1524-1526 Chestnut St., Philadelphia, Pa. salon or parlor pieces for piano we in Music Teaching. this issue a chap- moist fingers. This and the Russian lishing music and offers, aand„d our publicationsoublications as well A COMPETENT TEACHER WANTED offer two prizes, as follows: from the new gut retail for 25 cents each. The In every piece of music there is NOTICE.-For countor-orders call exclusively By L. C. Elson. c books for every educational The following have appeared on in every city and town to introduce the First Prize, - $60.00 work by Mr. El- Italian and the finest quality^of Ger- house of Theodore iage. To be an artist one must find at Theodore Presser s Music Store, 1712 Bussell Methods of Music Study—Voice, market and the special offers vhat the message is, and endeavor to Chestnut Street. Pianoforte and Choral Class Work. These Second Prize, 40.00 son. Mr. Elson has had _ - -.. ATSSSSt^- £CdefS ^er^nds_preeminently the largest ^^ ^hdrawm ^TshM. £ £ works are bringing results everywhere. tended experience in teaching in all its G string is supplied in five grades, 25 make it so plain that it may be readily -—<—* Address .Head- and Class Four —For the best three forms and is thoroughly equipped to “cents, 35 cents, 50 cents, 75 cents and house of the world. First, because or d;scounts any or an Qf these works on comprehended. If we are successful, Carnegle Hail, New'YorkT^ piano pieces in dance form (waltz, deal with this practical and important ''one dollar each, we must seek to become masters of the march, tarantelle, mazurka, polka, all subject i the practical and positively va ua e inspect;on> the oniy responsibility be- subject. This new work will be intro- These prices at nature of our own publications Sec- the tage. This is the next bcs, piano, have artistic feeling, and know SEND_ __(FREE) “How„„„ tow Make etc.) we offer the following prizes: duced into the New England Conserva- liberal discount, bow to produce the coloring. One Technic Fascinating.” “The Secret of the ondly, because we furnish direct to the metho(J of examining new works to ou, Artist” and other new ideas for teachers. First Prize, - $50.00 tory of Music and is a work that every must study the composition, pick it to See Shepard System Advertisement Second Prize, 30.00 teacher will be interested in. It is a Easy Pieces, In"6 thifvolume only in In^htS^ent and painstaking advance of publication special offers, pieces, measure by measure, phrase b£ TRY BUDS AND BLOSSOMS for begin¬ Third Prize, - 20.00 work that may be used for class pur- By H. Engelmann. phrase, until the entire piece comes ners on piano. Sample copy (to teachers T. REIFF, 208 Fuller Bldg., will be continued manner, but at the lowest possible cost. Hands by‘Ludvig'Schytu^^ poses or private teaching. The chapter from the soul of the performer. only), No. 1, 2 or 3, 35 cents, or 90 cents Philadelphia. Correspondence lessons in Class Five—For the best four easy month longer, although the Our every effort, our every idea is to Townatld Counry Petite complete. Stamps accepted. W. P. Strong, Harmony and Counterpoint. Mailing address. which we present in this issue will be for Do not trust yourself to “moods” for teaching pieces in any style, for pi¬ fair sampl'e'of 'what may Wjected book is now nearly ready. The great m some way, help the teachers in the.r Town^ and ano, we offer the followii g prizes: your successful playing, but know the SIDNEY STEINHEIMER, COMPOSER, ^ 1 Wt I and esoe- the Piano, by Ole Olsen... A work so thoroughly that the mood will DON’T BUY NEW SHOES until you read ■ ■ announces “Special Harmony-Composing-Ar¬ through “Proper Care of the Feet.” Price, First Prize, - $40.00 Six Melodious Study Pieces, ranging Course.” Quick, practical. Begin¬ IH w anticipate a similar success cially arranged building be at hand. The performer who has to ners or advanced. Studio, 215 W. 34th St., postpaid, 25c. Doctor Steams, Unadilla, Second Prize, 30.00 for the same composer’s “Easy Pieces.” year attended more easily than ever Op. 306, by H. Doring. i.6t wait until he is in the mood to play is New York City. Third Prize, - 20.00 Mr. Grimm’s One volume will supplement the other, before to the greatest volume 01 Ihim- Style and Technic, Fifteen limited in his work. It is true that Fourth Prize, 10.00 Major-Minor Game: Melodious Studies for the there are times when anyone will play COMPOSERS—I can sell your composi¬ CHURCH ORGAN PEDAL attachmt Musical Casino. new game is al- “Easy Pieces” being for young players ness that this house has ever trail tions on commission. Submit trial manu- to upright Pianos without Roller Board. Second and Third Grades better than at others. One should have sript Charles Yeon, State Normal School, H. Knollin, Syracuse, N. Y. By C. W. Grimm. most ready, but of the first and second grades, and acted. Every order, no matter how Califori - CONDITIONS - the special offer “Album of Favorite Compositions” con- small or how large, we are equipped to for the Pianoforte, by Gus¬ the grip on these moods that keep us tav Lazaru* . it* so we can play at a moment’s notice. „ , THE TRINITY MUSIC STAND (3 in Competitors must comply with will be continued during the current tinuing from Grade 3. The best of Mr. attend to on the day of its receipt. We 60c SHEET MUSIC, *__-Merry , Widow,, —stand, case, folio. The best and only c< the following conditions: Musical Celebrities, 70 Por¬ One must have control of the muscles. Waltz, Toreador, Rosary, Palms, Anchored,J Plete one in the world. Illustrated fol month only. This game is instructive Engelmann’s easy pieces will appear in first want to supply the right thing, we Calvary, Lost Chord, Jerusalem and 4,500 shows you why. Hope Music Stand ( The contest is open to all com¬ as well as enjoyable. It is played very this new volume. then want to supply it quickly, and trait Biographies of Musi¬ Each muscle must be trained to do its others. 10 cents each. Catalogue ”— Mashapaug street. Providence, R. I. posers of every nationality. cians and Artists of all part perfectly. National Music Emporium, Etude much in the manner of the ordinary Our special price during the current then at a price never more and most Albany, N. Y. The contest will close October game of casino. The educational idea month will be 20 cents, postpaid, if always less than offered anywhere else, kinds .75 Some claim that four hours’ practice the tausig HAND EXPANDER, an 1st, 1910. is enough for anyone. The writer has MRS. BEARDSLEY-MUSIC SHOPPER, aid to pianists with small or stiff hands. One of the game is to familiarize the play- cash accompanies the order. We are equipped, ar.d we very much 7715 Emerald Avenue, Chicago, Ill. Good dollar- postpaid. Essex Publishing Co., 853 All entries must be addressed desire to supply every need. We are Editions Reprinted The value of ow heard some artist say, “It is absolutely to “The Etude Musical Prize Con¬ with the intervals and with the Lesson Stars. 10 cents a package ; 6 Portraits Carnegie Hall. New Yoi Easy and Progressive The special willing to accept any order, no ni:m< r During February. catalogue can b< necessary to practice more than four Old Musicians, 10 cents set. Ask Mrs. -:-i_ test, ”1712 Chestnut Street, Phila¬ formation of the chords. The game Beardsley what music to buy. Studies, Op. 44. offer on this how small. If one desires simply t.. c\- gauged by the hours day.” Not long ago an Ameri¬ VEON’S KINDERGARTEN PIANO delphia, Pa., U. S. A. will prove useful in kindergarten work Ey A. Biehl. popular book amine something- that we have, we arc number of editions printed of the van- can pianist said to me, “Four hours’ I WISH I HAD A SWEETHEART. METHOD. Fascinating material for any All manuscripts must have the in classes or club work, and it should A charming song. Special price until May system Introductory rate. 25 cents. Veon of studies will glad to accomodate them. works of which the catalogue con- practice a day is enough.” Generally Piano School, Beaver Falls, Pa. following line written at the top prove welcome in the home. 1st, 10 cents. Guilford Music Co., North of the first page: “For the Etude be continued during the current n mth, Perhaps the greatest convenience sists. During this month ' havt speaking, if four hours is employed Adams. Mass. The special advance price during the Musical Prize Contest.” rhich it will be withdrawn. This that we have ever offered to the music again a longer list than we can print, carefully, judiciously, four hours ought current month will be 20 cents, post¬ LEARN PIANO TUNING. Comnleteiy The real name of the composer is one of the most useful books to be schools and music teachers of this 1 but we desire to turn particular atten¬ to be enough. After that length of taught by The Practical Tuning Method. CORRECTION OF MUSICAL M.S.S. must not be mentioned upon the paid, if cash accompanies the order. used with pupils of the second grade country is the On Sale Plan as con¬ time one becomes tired, the mind wan¬ Price, $1.50. Address, II. Lincoln Coffey, 322 tion to the more valuable numbers. Broadway. Centralia, Ill. A SPECIALTY manuscript. Choose a fictitious fer acquiring mechanism, equal de- ducted by this house. We send a pack- ders and it is hard to gain much ad¬ A. W. BORST. 1505 Arch St.. Philadelphia, Pa to Melodic Studies, This new volume Of the 50-cent collections we men¬ name and write the same upon velopment of the hands and primary age according to one’s necessities at vancement. Practicing is hard on the SNARE DRUM FOR SALE. Two heads, Composer of Cantatas: John Gilpin, Mrs. Speaker, etc! your manuscript. Then write the Op. 872. by the popular tion “The Young Duct Players,” com¬ two sets of ebony sticks. Price, $5.00, less relocity. The studies are all musical, the beginning of the season; we stand piled by Hans Harthan, and “Juvenile nerves and body, and so we must know than half price. H. P., care Etude. real name and full address upon a By A. Sartorio. writer of the day, dry, and a H; interesting to practice, ready to add to that package at any how to use the time to the best advan¬ slip of paper and enclose it in an A. Sartorio, Duet Players;” the latter has the ad KINDERGARTEN MUSIC MATERIAL , , J1 Our special offer at this time is for time' during the” sea", 1n"7.i/o , r-‘"w' tage. IF YOU LIKE CHAMINADE’S LISON- envelope. Seal the envelope, vantage of being suitable for cabinet JERA, send 15 cents for PAS DE VOILES. write only the fictitious name on The important fnatter in fine per¬ Special price vocal-instrumental catalog. Send for new catalogue organ as well as piano. Of the dollar Washington Music Co., Washington, D. C. the outside of the envelope, which r-v", .. - ■ - W formance is how to attain certain ef- D. Batchellor & Sons must be sent with the manuscript. !ects_ in the quickest and easiest way SONG POEMS WANTED. We write ?«. STSfoS = order” are k XZT » Involved contrapuntal treatment possible. That is where the secret of real catchy and original music to all kinds 454 W. Bringhurst St. - Philadelphia, Pa. of themes and pedantic efforts considered by the active teacher as Program Forms. In answer to the de- spection, in'addhion to^lw- ah7' and “’''wh'S of song poems. Full particulars free. Guil¬ 1 good teacher lies. The instructor ford Music Co., North Adams, Mass. should be avoided. valuable and reliable. We never offer ttand for a blank lications other than our mvn ’l’ut'tV" ’ ’ 11 1 a"".1' . 1 lu"r :"1' "'h' "i-q who understands his profession thor¬ Piano compositions only will be anything in these columns unless they Program we have printed two kinds, are to be returned Vv”r t • . 1 CXl'l ,1, nt '" 11'1"V'"" oughly is the man who will make the ORCHESTRATION: The Beautiful Flower Mandolin considered in this competition. Do Song “Floralia.” Composed by Steffens, ar¬ road easiest. Too much care cannot ranged bv Robert Recker. Mailed for 20 not send songs, organ pieces, violin cents. Frank Harding, Music Printer, 14 pieces or orchestral works. sztsrr1.iSFS?-5 be taken in selecting teachers. Select Christopher Street. New York, N. Y. on® who knows things and does things. No restriction is placed upon the WALTERjlTOBS,ft^^imJ^t™B08TON length of the compositions. No pianist should attempt anything NEW MUSIC. Governor John A. Johnson Grand March, for piano or organ ; a melodious No composition which has been e does not thoroughly understand and and pleas'ng piece of music with an at¬ published shall be eligible for a does not thoroughly enjoy. One must tractive lithographic title page: composed to SCHOOL OF PIANO TUNING prize. the memory of our beloved Governor. Price. special offer will do well live the composer’s idea over again and 25 cents a copy, postpaid. Do not send REPAIRING AND REGULATING TTie composi-tions’winning prizes their orders this month. Play m such style that the listeners stamps. Coin can be sent, but at your own to become the property of “The risk. A monev order costs only 3 cents. A The advance price will be II *eem to hear the composer breathe. liberal discount will be allowed anyone wish¬ Etude ” and to be published in the , not do the printing of the programs, in with the re - 1 xp<-”'e- a" ' " put ing ny • - - - • . - . ' usual sheet form. postpaid. When such is the case one may be ing to handle the music. Send your order to ALEX. SCHEINERT We stmply supply the blank forms. As and returned at" he , V ^ women’s voices, at the low retail pri« truly called an artist A. Lagerstrom. composer and publisher. Can¬ •'t the end ot the season, of 3? cents. non Falls, Minn., Lock Box 183. 2840 N. 11th Street, Philadelphia, Pa, Please mention THE ETUDE wl en addressing our advertisers. the etude 209 208 the etude

PROFESSIONAL DIRECTORY The “EST” of THE WORLD OF MUSIC Piano Makers ARTISTS AND TEACHERS INSTRUCTION BY MAIL The advertising and the other an BECKER BUTLER"! gStSSis ' n BEALS'S^-: HUGHEY,:,./SSSS vp U' HET BERNETTA-- -SHEPARD" “v! and the desire to come near to perfection will produce. They are sold at a cullis".spencer DAY “"'.."...i..:-THEORY AND NORMAL COURSES_ ... IggjpSESaSfsS DENISON B|SBEC ■■ DEVINE,LENADORIAESk BURR £SrHHr5 ELLEr^^SwT OUNNI iisafss H3?sa«l npn obout HAIGHT1. KERutali RBSSSHfif g-sss. m iw IRELAND linknujlife^ KROEGER,;:::sr » STORER scored a jerreat success ^as Romeo in Gounod a It is a well-known fact that amateurs mmt £a*S5 SCHOOLS AND COLLEGES £S»3&*SS'J' ~ M0NZELv~^» AMERICAN S-5 ^u«rsfeS3Ls igi; EMERSON PIANO GO. Manufacti MOULTON -SfrgqEr BARTEL... I high grade Grand and Upright Pianos. Catalog on request. 560 HARRISON AVENUE. BOSTON - ssar fe i . ■ • POTTER^SSsjET^EE CARL .■£== CHANDLER PIANO TUNING a^o. CLASS PINS »S5 DETROIT BENT & BUSH CO., l£“£ DURHAM!_I, 15 HAHN'S SCHOOL .: :; ,,,,. in consequence of his cob Uo b~ envious of the man “higher New Piano Music CLASS PINS CUDVnPKiri-iF^= HAWTHORNE es 5S“~S ^srS^S-srs IssS SHS STERNSPORF- ' ““ LANDON' ... CLAYTON F. SUMMY CO. TRACY MARKS’ •‘TaSa-aaas^ srS,»S* i hhli f’lo to try to improve your ability and in- POSITIONS VEON NATIONAL aiiu. Sscove^your "limitations^a^^the^be Secures Supe, MSB NORTHWESTUADTUIIIFCTFOUERN aSa. ’*' lll:" thin7wenet Remembe? tha°t in Vthings

WILDER jaiggS VIRGIL The xs^safianasis.”'*’ winkler.virgil -r;r. . SMbMck. W. C. E. Op. ,8,. Ta. will be doing the best thing in the end for gasses

PIANO FRAUDS! •^JrAttatg-sai; ^ COLLEGE^ SCHOOL AND The Piano and Organ RVATORY

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ZABEL BROTHERS ~J“krvS’Tr

MUSIC PRINTERS 5pSS£= S’S.taTKS?''” Columbia Are., anti Randolph St. ANDANTI FNCRENGRAVERS AVFO « compHsiLtl^TheSS rinDE^.'.idnaWa,,^- Musicians’ Club. education start to iSSSe***3* THE ETUDE 211 210 T H E ETUDE

Answers to Questions m HARMONY What Others Say BY “We are advertised by our loving friends.” Shakespeare. CORRESPONDENCE A department of expert advice for all ETUDE readers. All letters not bearing full name and address . .a, n word In commendation, ■ of the sender will be destroyed T A Practical Course. Thoroughly tested by scores of Teachers and Students. Appli¬ cable to all music study. Lessons based on First Year Harmony by Thomas Tapper. tiSSSKPI q. What does the slur with dots under it Q. What is the difference between Rhythm THE SIMPLEST AND CLEAREST POSSIBLE PRESENTATION OF THE SUBJECT Full particulars on application ffIMiiliroau\tiSas0kinydUabrrtSeeSnyding the editions L. O. MAAS, Secretary, - 11 West 36th Street, - NEW YORK CITY ot other publishers as your own, rreyiSen«sSuanyWgyoodPrTPcan ^0^°pub¬ dSSgSS&S&l HARMONY and COMPOSITION lishers’ music from ofj£“, °i e££ye teeS LESSONS BY MAIL Sn^Tth jS^SoBTl 1™ bleu entirely satisfied.—J. Lawrence Erl). ^ Tything is presented in a clear, direct and interesting manner. Terms “Hand Culture,” by Flint, win All a lOTg- ALFRED WOOLER, Mus. Doc. S&ffSUS? for the^deyelmrment of digital Composer, Teacher and Director Independence I have seen.—J. &. Hmderer. 322 West Utica St., BUFFALO, N. Y. “Favorite Compositions,” by Engelmann, is the best book I have ever seen ; not a poor number in it.—Mrs. S. Irving Frink. I am verv much pleased with “Hand Cul¬ of mew L>ovft ture,” and would recommend it to anyone nstitute of Musical £lvt who needs equality of thei fingers improved, Jfranh ©amroscb, Director especially the fourth and fifth fingers.—Mrs. J. 0. Williams. IF “Peer Gynt Suite” has been received and, after examining it, I consider •* value; the print ii long and generous. --- FREDERICK MAXSON also very valuable.—Laura L. Berger. ii”«SrS:S Child Garden Music School I am delighted with the “Peer Gynt Suite.” CONCERT ORGANIST Normal Classes in Kindergarten Music at It should prove a popular work not only from Studio. Correspondence Courses. the artistic standpoint, but also because of the splendid way In which It has been pub¬ Send for Catalogue lished by vour' house, with abundant ex¬ MISS JOSEPHINE JONES planatory notes and perfect pedaling and ['ll 47th 8TRF.F.T PHILADELPHIA, PA. 50S Huntington Chambers, Boston, Mass. phrasing.—Marg Whitfield. The “Peer Gynt Suite” is the most pare- fullv and faithfully edited work I have seen. It is of immense value to the student who STUDIES BY MAIL has no Instructor.—Lloyd W. Ballard. Public School Music an Taught COMBS in the Schools of New York “Peer Gynt Suite,” by Grieg, received, and I consider it the best edition of this work I HARMONY COUNTERPOINT have ever seen. The descriptions and anal¬ COMPOSITION OTHER SUBJECTS yses give one the highest conception of an E. F. MARKS artistic rendition of the suite.—Maggie Q. Behenek. The “School and Home Marches” received. GET POWER It is going to fit exactly the needs of some of my younger scholars who demand some¬ The Supply Comes From Food. thing with go to it.—Florence Russell Kirk.

I 1 Girard Avenue Rol>mson- is only possible by use of skilfully se-

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hasTbeeSShre^yeaa^dKiySam b£erRa™m. ^ ^ GrapC'Nl'tS food’ and i( had sUCh a"1'1t.f" jhat 1 kept”up hs 'use* eyef since. Euntet\Te tUDeful and b‘easIng. Mrs. B. B. j digested*™' 11 proved to'bc just what

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SUMMER SCHOOL ADVERTISING IN Seeds that Grow! THE ETUDE mden■ eo■ A ten days’ trial will show anyone is Indispensable to If you want the Best it is possible to Grow, £gg||f°tSS a Successful Season USE the APRIL, MAY and JUNE ISSUES Flower,, yo/shonld try Burpee’s Seeds! Forms Close MARCH 10th

THE ETUDE W. ATLEE BURPEE & CO„ Philadelphia, Pa. THE ETUDE 213 THE ETUDE 212 illustrations are unique, and the gen¬ Meyer-Helmund; Cujus Animat Rossini; eral make-up of the book exceedingly Caprice Brillant, Mendelssohn, _M I. ink,,. attractive. The book can be thoroughly’ Nussbaum ; Arioso, Braga ; Au Matin, Go? SOME NEW MICHIGAN CONSERVATORY OF MUSIC recommended in every way. Mr. Streat- DUNNING SYSTEM OF MUSIC Wa.hinaton Ave. Schubert-Liszt; Staccato Cap- volume. The stories of the operas are SHE QUIT cates his experience in teaching the told in narrative form, and make very ** theoretical'niusic! either as’a* profession — eabbog'; subject. It would be an excellent book or as an element of culture. Located upon the . __„_Air de Balle.. -, But It Was a Hard Pull. interesting reading. Chaminade ; Heather Rose. Lanee ; Dorothy, for voice teachers to use in connection Can you and your pupils read music rapidly ? attractU*b<:C1,icas°’s most Smith; Lucia dl Lammermoor (for left hand with their efforts to bring the pupil to Columbia School I. Course in Applied Music, leading to alone!, LeschetDky; Etude On. 10. No. 5, Can you Memorize easily ? the degree of Graduate in Music. Chopin; RhaDsodle Hongrolse No. 6, Liszt. . It is hard to believe that coffee will a fuller appreciation of the proper man¬ II. Course in Theory and History of put a person in such a condition as it ner in which to deliver the texts of Do you know with your brain what your fingers play ? of Music, Chicago Music, leading to the Degree of Pupils of Hahn School of Music. Bachelor of Music. Rhnpsodie Hongrolse (Orchestra), Keler did an Ohio woman. She tells her own their songs. _ you ~ Clare Osborne Heed, Director III. Post Graduate Course. Bela; Violin Solos, Motor Perpetuo. Rles; Do know that Positive Pitch is simply a matter of IV. Literary-Musical Course. Sixth Air Yarie. DeBeriot: Concerto No. 9. Offers most complete education for least Do Be I, “I did not believe coffee caused my Music Cards for Teaching Harmony cultivation? expense in Piano, Voice, Violin, Theory, V. Course in Public School Music Scherzo- Tarantelle,__ Wleniawski; Methods. No. 22. ViottiIjjgfji ;. Plano golo Con_ trouble, and frequently said I liked it so and Sight Singing. By J. P. Herbert. Public School Methods; leading to grad¬ tt Courses L II and Vinclmle literary studies in *'-* op. 15 _ _in.,. uation and degree. Our graduates occupy Beethoven ; Sot.,,. Saphic Ode. Brahms : On well I would not, and could not, quit Price, $1.50. the Shoi Niedlinger ; drinking it, but I was a miserable suf¬ This new system of combining pleas¬ IT IS BECAUSE the foremost positions in the country as ; Viclin Solos, Concerto i,,j. ,, artists and teachers. Best location and Hungarian Dance, Brahms-Joa- ferer from heart trouble and nervous ure with music study comprehends the equipment in Chicago. Write A. Shaw lerfect a social ad- “ ” ~ (Orchestra), prostration for four years. entire system of tonic and dominant The Fletcher Music Method so insures the accomplishment of these Volkmi Faulkner, Manager, for illustrated cata¬ “I was scarcely able to be around, seventh chords in their various positions things both for the Teacher and her Pupil that it is sought by logue. Ohio, Building, 328 Wabash ■ndelssohn Violin Solo. Etude. Meerts’; i-iano solo. throughout the different keys, and offers Avenue, ■ CHICAGO, ILL,. Concerto No. 15, B flat maior (1st move- had no energy and did not care for any¬ Teachers who have already spent years of study abroad or are P. C. LUTKIN, Dean, Evanston, III. thing. Was emaciated and had a con¬ what seems to us a very simple and prac¬ graduates of the leading American Conservatories, tasieay6ouned CoS^F stant pain around my heart until 1 tical method for studying the first steps thought I could not endure it. Foi in harmony through the medium of a THB STANDARD ONE. VOLUME DICTIONARY OF MUSIC THE FLETCHER METHOD makes the “nervous musical WWielmjt';SCllWaltz^Sk(Or:ch for the purpose. The scrap-book could Mr. Simple—I see that this here -- the work as it notes—eight with the octave—quickly . The Price, 50 CEKlTS PER SET. be used for other things besides to day. Teachers have corn, piano playin’ Paderewski has got the AND ELEMENTARY SCHOOL PIANO, VOICE, VIOLIN, ELOCUTION, ETC. almost totally discouraged wi and evenly? Can he not go on to the CALVIN BRAINERD CADY Principal portraits; such as mottoes, musical bi¬ their work. They have gone a’ rheumatism in his hand so he can’t Teachers educated in Europe. Les- ographies, anecdotes about musicians, tic step and a new light in theii next battle serene in the confidence of play. Announcements sent on application 900 Beacon Street, BOSTON, MASS. chetizky Piano Technic. Two private pictures of musical instruments—any¬ and enthused by c ’ * his ability? Mrs. Simple—Then why don t he use lessons per week. Class lessons in Nor¬ thing and everything to increase the one of these mechanical pianos?— SUMMER NORMAL Portland, Oregon, June 23 to July 28 mal methods. Public School Music, there h_w TWENTY-SECOND SEASON Cleveland, Ohio, Aug. 2 to Sept. 2 Harmony, other subjects. child’s interest. The scrap-book will broadening of their w WHAT WE NEED MOST. Cleveland Plain Dealer. be about the first thing they will tell The Course will more tl PROFESSIONAL DIRECTORY on page 208 ing resources. Marks’ Conservatory of Music you about at their lessons. Let them First session, July 18th to the 30th. BY w. s. AUSTIN. “To be in the swim, I paid $4 admis- 2 West I2Ist Street. New York Inserted 12 Times Before Half Million Musical look through your musical magazines. Second ansion. August Sd^to^the 16th. - sion to hear the new pianist last night.’ People for $12.00 They will always like the pictures, and Write for further particulars to Recently the director of a certain “Well, do you begrudge it?” Yes, I do. American Conservatory perhaps they will even get interested ninsic school sent to the members of He turned out to be the fellow I com- KIMBALL HALL CHICAGO, ILLINOIS \The American Institute of Applied Music in the. articles, and in time become CROSBY ADAMS his faculty “slips” asking each member plained of to the police for thumping the subscribers to a musical paper them¬ Box 233 Oak Park, Illinois ‘o suggest the thing which was needed piano all day and all night in the next Twenty-fourth season. Unsurpassed Faculty of seventy. C\ (THE METROPOLITAN COLLEGE OP MUSIC) selves. Superior Teacher’s Training department. - - . Unrivaled 1 g| 212 WEST 59TH STREET, NEW YORK CITY most in the institution. flat.”—Judge. Do not aim to interest them in their SUMMER NORMAL SESSION JSIX WEEKS’ SPECIAL SUMMER COURSE FOB TEACHERS pieces only. Try to get them inter¬ JUNE 20»h TO JULY 30th of five weeks, from June 27th to July 30th, 1910. Lectures and Recitals by eminent artists and 25th Year Begins Monday, September 26th, 1910 ested in their technical work as well. educators. Terms moderate. Send for cotuloguea and circular*. KATE 6. CHITTENDEN, Dean of the Faculty Tell them of the formation of the Catalog and special booklet mailed free. JOHN J. HA TTSTARD T, President. scales, what the intervals are, and what scales used to be, and how they have grown. Tell them how arpeggio chords MUSICAL KINDERGARTEN METHOD CINCINNATI CONSERVATORY of MUSIC established i867. are made up. Tell them why scales Miss Clara Baur, Directress. VIRGIL and arpeggios are practiced by all For the Nursery and the Class Room Faculty of International Reputation great artists. It will please them to Especially Designed for the Use of Mothers and Music Teachers SPECIAL SUMMER SESSION SCHOOL OF MUSIC know that- they are doing the same SUMMER SCHOOL A. K. VIRGIL, Director By DANIEL BATCHELLOR and CHAS. W. LANDON Elocution-MUSIC - Languages work as the great masters are doing ADVERTISING IN Also Special Normal Course in SPRING TERM begins Wednesday, March 30th. Enrollment, Tuesday, March 29th. It will make them feel important. Price, $1.50 PUBLIC SCHOOL MUSIC Special Five Weeks’ Summer Course for Teachers and Players Teach them their scales one at a time THE ETUDE 7THIS is the first complete Musical Kindergarten Method •published. I study. Jufy’rst^'and^a^’ Entrance Examination and Enrollment, Friday and Saturday, and offer them the privilege of using a y* Clselse,e. practical manual a Inrrir'al ^vrwYciHnn nf the art of t lusic to the y For Catalogue and Sumr tr Addrer scale containing a black key as a re — « pleasr The demand for music teaching upon correct educational principles is growing. Teachers are is indispensable to This :thod uses various devices to awaken and to hold the interest of the litt MISS CLARA BAUR, Highland Avenue and Oak Street, CINCINNATI, OHIO child, but S^iruaivepimphL'ts.13 SeSSK>n * ‘° P'epare “rS ‘° « “• Sen^d for prospers 3 ,f„°™Plarg ‘5® C scale correctly a Successful Season ™SO,,°n, throughout the scales, an to iF* “"P'V illustrations, useful because they illustrate the subject to be taught. u_ Address, A. K. VIRGIL, 45 East 22d St., NEW YORK extra black key being the reward of USE the A SONG CYCLE FOR CHILDREN’S VOICES fn„J , atter Part of the volume a number of useful a ough and complete ■ diligence. In this way each key will APRIL, MAY and JUNE ISSUES as™t M° h|Usic for “arching,drills,etc. In fact, the bool SPRINGTIME PRICE, $1.00 Forms Close MARCH 10th , --—-.„ed to be sung by children’s is betterhetterln thantbm giving-h-ty °af itswhole own, V whichsign- Specially Low Rates are connected by interludes, the work may be used complete, or any SEE “THE ETUDE” PREMIUM LIST ON THIRD COVER PAGE ment of different ones, of whffih Die Theodore Presser, 1712 Chestnut St., Philadelphia itely. Should it be deemed advisable to produce the cycle in costume Please mention THE ETUDE when addressing our advertisers. children know nothing, at each lesson. THE ETUDE "R&S&X THEODORE PRESSER CO., 1 Please mention THE ETUDE when addressing our advertisers. 216 THE ETUDE

musical WORKS AT COST^^ggSj^

UjE^ETUDE, /7/2 Chestnut St., Philadelphia"’

) THE value of Cocoa as an article of f Ivers & Pond Pianos food depends upon the quality of the fruit used and the process of manufacture; the flavor and palata- Latest Case Designs. bility depend largely upon the blend¬ %UR new styles, especially designed for 1910, ing of the products gathered from the contain our latest patents and improvements, and are the nearest approach to perfection in quali¬ different parts of the tropical world. ties of tone, durability and tune-staying that has as yet been attained, We cater to the patronage of critical people who have THE high ideals as to piano quality. Our new cata¬ logue, picturing and fully describing our latest styles, will be mailed free to intending buyers. Walter Baker New Structural Features. Our. new Patented Iron Plate Action Support eliminates the effect of atmospheric changes, and Company gives absolute stability to the action. This im¬ Registered U. S. Pat. Office has had the pick of the markets in portant improvement, combined with the Duplex Treble, the Bentwood Sounding-Board Bridge and the Agraffe the selection of the fruit for over a century, and has had Construction, places Ivers & Pond Pianos far in advance of an unparalleled experience in the blending of the world’s others, and makes them the most satisfactory and the most products. Their preparations, both Cocoa and Chocolate, have an unequalled reputation for purity, quality and flavor How to Buy. —attested by the S ^ Ek 52 HIGHEST AWARDS direct from Boston. ^ We will then make^personal selection and ship the Im from International and Local Expositions in Europe andAmerica

HOME1MADEPCAbND[ESC°ntwh,ich Coco."',” IVERS & POND PIANO CO., . _ 141 Soylston St., Boston, Mass. t WALTER BAKER & CO. Li Established 1780 DORCHESTER, MAS&!

-THEQ. PRESSER CO., Publishers. PHILADELPHIA, PENN/! IMPORTANT NEW WORKS IN PRESS Educational Musical Works of General Interest are Being Issued Constantly

“THE STANDARD YOUNG FOLKS NEW THE MISTAKES AND DISPUTED HISTORY OF MUSIC” DOLLARS IN MUSIC | By JAMES FRANCIS COOKE “GRADUS AD PARNASSUM’ POINTS IN MUSIC AND MUSIC TEACHING By GEORGE C. BENDER By ISIDOR PHILIPP By LOUIS C. ELSON A Business Manual for Musician. . In this unique work each separate de- >st interesting book, a veritable ...usical information of the This very necessary book is designed ■tself, all the studies bearing upon any 1 character, including w the teacher how his income particular technical point, being classi¬ d suggestions rarely met fied together and arranged in logical and ooks and reference woi by good business manage- rofessional work. It tells .e teacher should know Igfjlr::

me interest of Old Pupil*

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