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

12-1-1909 Volume 27, Number 12 (December 1909) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 27, Number 12 (December 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/28

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]. 4 Nmm- New Studies for | THE ETUDE 795 Special Purposes | [yj^Ptiblications THE SEAL OF TScSfFOPm«E Latest Song Cycles THE HERD GIRL’S DREAM I C BBRSARD WOLFF CRITICAL APPROVAL By AUG. LABITZKY L^r^r^s:^8S-Grades HAS BEEN AWARDED THESE Revised and Fingered by JACOB MOERSCHEL FOR VIOLIN AND ! I Jg£? ^sPUloa/l Jn°arik ,,wO By H. R- PALMER Price, 50 Cents II "Der kle„ln^}fCa"1:he name would I It makes a most excellent Teaching Piece for Pupils in the 3d and 4th tirades Practical Educational Price. 50 Cents each as selected by Collection of Songs Works CYCLES OTHER INSTRUCTIVE PIECES FOR PIANO AMONG THE LILIES Parti. By Annie D. Scott - - - *1.00 N« AZIZA Three Oriental Songs Med. Voice By Amy Woodtorde-Finden *1.00 N< BAD CHILD’S SONGS ABOUT BEASTS . R. PALMER Med. Voire By Graham Peel - - - $1.00 N< FOUR OLD ENGLISH LOVE LYRICS By A. T. Lie Ashton - - 75c. Net FOUR OLD ENGLISH SONGS By Eric Coates - 2 keys $1.00 Net FOUR IMPRESSIONS^ ^

KERRY COURTING, (A) Irish Song Cycle for Four Solo Voice- By Percy French & Houston Collisson LOVE STORY, (A) _ ir Songj By T. Haigh - In Pre by JOSEPH FLANNER LOVE SCENE From the Pagoda of Flowers By Amy Woodforde-Fmden - < SIX POEMS By Joan Trevalsa - < SONG OF LIFE SevcnSongs ByC.A.Lidgey - - - TEN SONGS FROM A GARDEN By Agnes A. Lambert -

COLLECTIONS OF SONGS ’ id for practical church playing. School and Horae Marches Organ Repertoire The Imperial Edition of A ROOK OF PIPE ORGAN MUSIC FOR THE PIANO A BF°OR CHURCH OR CONCERT A. CroUem. Op. IOO Song Books March Album Grade ii-111. I'resser Collectlol A NEW SERIES containing Songs of the Price. 50 Cents Compiled by FOR FOUR HANDS I No. '.IS. vepy Krnrff highest class. Popular, Standard and Cla ' ' <„ on entirely new collection of PRESTON WARE OREM !S containing m.ml,ers adapted for | Price, 50 Cents 1 rn5°!Er3sd iuS0np1en8tlyl,J ‘i# different purposes to ”»“-n a ma Price SI .50 ! ?,?r both hands. These atudlJW SOPRANO Songs (42 Songs) o^krfo°i A Guide to is" may 'actually 1>< MEZZO SOPRANO Songs (46 Songs) ityles, srI'arSiS 'military i studies; once matlo uhc of 1 CONTRALTO Songs (49 Songs) *0r 4Cry 'marches nnfh™} used HKuin many lime es. all bright. orlKlnnl^and character- ntvehfs “»?, Ell.mH!7!hms\te0cicmp7h nd *iu other Intended to develop BARITONE Songs (46 Songs) led!' In el udl n 2^-4. 6-8 and 4-4 times., Va- ! expression ns well us TENOR Songs (43 Songs) of’V^ev^t Many have names ana a irworCC! Every n modern I short and pleasing pieces. BASS Songs (43 Songs) | fu^duet EIGHTr MKIiODlOlMKi.omui s> STtDIE^1,1 h and Italian Composers have V— moiif.rn technk fords in addition to the Engli Gna Horvath, Op. 8. Church and Home | I No. 6793. Grade IV-V Price. *1.* Four-Hand Miscellany ^-- i Implied ...... » by Fred J. I intended' - *oio exemplify< c-erti Collection of Sacred Songs Pianoforte Duets for the Con- A prjmer of FaCtS AbOUt MUSiC .. dern teclmlcal wi $1.0# each. Net. Cloth. $1.50 each, ass passagespassagi- In broken octaves, ar¬ Jet. Leather, $2.00 each. Net. Two Volumes cert and Home | wM. ,riG. pPVAN.Q.EVANS peggios and Irregular running pas¬ List of Contents on Application Price, 81.00 sages In cither hand, chromatic runs, For High Voice F°r L°w Vo,ce Price. 50 cents repeated chords and special work GERMAN FOLK SONGS for the left hand. They are of such by Paul England (St Christopher Price 75 cts. each Implied by the practical and comprehensive a nature that their study will orimer ever issued ; thoroughly up-to-date SEE“THEETDDE” LIST ON THIRD COVER PAGE in all respects. In this unique volume more of a pleasure than n to Limp Gilt and Morocco in Press umes should appeal^to i,_- ...... != -onveyed through the the pupil, and their mastery ■ -rtions and un¬ result in decided technical adv ISH COUNTRY SONGS e \nd hand- ity a con- " Hughes - - - - S1.50 Ne suuitt Sva^sKaLtiaily gotten up. J.ne knowledge. pieces range stwiniti) inv fin i i i m: addition to » nrar FOR ADVANCEI» STUDY t ‘SWEET DREAMS OF HOME’ work takes up the theoretical, his ' 'comprehensive coffee and aesthetic aspects of the art. thus SIX SONGS OF IRELAND --- i- - valuable book’ for readv reier- By Hamilton Harty - - han,oP'e%eof dC t pS 1 ’ m And in no an abundance of material suiti ell as a primer or catechism for SONGS OF THE HEBRIDES JByoi.A. eraser - - - INet I This volume contains t WELSH MELODIES Part 1 | the difficult studies nr Edited bvj. L. Williams & Arthur Somer¬ IN PRESS pieces out of all t‘ * * vell .75c. Net SEND FOR BULLETIN positions used foi FOR SALE AT LOW ADVANCE PRICES WELSH MELODIES Part 2 the scope of this hook we mention 1 Edited byj. L. Williams & Arthur Somer¬ few of the twelve number* onjjfc^ vell ------75c. Net You cannot afford to miss this oppor¬ ST™-| LoOF I (Vocal | _n , ^ tnlned In 11: "•’aprlee." I,e*ohetlr.l^lf tunity! ■'Toccata.’' Saint -Sal'll,: "Vox P(i | YE OLDE NURSERY RHYMES ; MORNING STAR, i nil." Sgamhat I: "Ktude on Fnf 1 By H. Drury Baker - - $2.00 Net jj SONGS. MELODIOUS VELOCITY STUDIES. Notes." Kill.1 • I cert," (-hoy.- ; ■■■■ /nelUKJi'fataSrcfn: advertising. G. C. SENT ON INSPECTION r ■ Send for our Complete Catalogue jf %_jf i 5kl,J J] d large discount to t««cki 1 | of Teaching Pieces, Vocal -FI i and Instrumental iSSill THE0. PRESSER, I 1 ( ITHEO. PRESSER, Philadelphia, Pa. PHILADELPHIA PEIfA. | B00SEY 4 CO. 9 East 17th Street Built especially for people oj W1 NEW YORK CITY THE JOHN CHURCH COMPANY artistic discrimination who app:eci»te || PIANOS the difference between good and beS[

STRICH k ZEIDIERention THE ETUDE when addr THE ETUDE 797

HENRY T. FINCK’S BOOKS by GEORGE P. UPTON “The Baedeker of Music ” NEW BOOK JUST PUBLISHED The Standard Concert Repertory “The Standard Concert Repertory” completes the series of musical reference books from Mr. Success in Music Upton’S pen. Overtures and suites constitute the larger t art of concert programmes, and the study of them is both instructive and entertaining. Illustrated wt.h numerous portraits. Indexed, tamo. $i 75- - HOW IT IS WON UNIFORM WITH THE ABOVE Net, $2.00 Postpaid, $2.20 The Standard Concert Guide __ - , ios, Cantatas, Symphonic Poe Concert Goer. P.ofusely illustrated. i2mo. fi.75. The greatest singers, violinists, The Standard Operas: Their Plots, Their Music, Their Com- pianists and teacheis tell the secret _New revised (l'entv-fift ) edition, from new plates. With over 75 illustrations posers, of icadim; characters. 121110. ji.75 of th-ir success, and many of them, These three volumes combrtse b complete presentation of the subject of music, from the including Sembrich, F.irrar, Eames, Renaud, Kreisler and Jean tie Reszke, tell their story in their own words. ••One of Most Valuable Contributions to American Musical Histo y ever written. ” Paderewski has written a chapter on Musical Memories: My Recollections of Famous Celebrities, ti mpo rubato of the deepest intire.-t to 1850-1900. With many portraits. Crown 8vo, gilt top. Net, $2.75-_._ musicians. Mr. Finck, who is the musical critic of the N. Y. Evening A. C. McCLURG & CO., Chicago, New York, and San Francisco Post, also discusses fully and practically all the questions involved in taking up and pursuing a musical career. The book is invaluable to all musicians and c By EDUARD HOLST |>C students. 15 1

CHARLES SCRIBNER’S SONS “BROCKEN REVELS’’ Grand Galop de Concert—Grade 3 B 153 FIFTH AVENUE . . NEW YORK The composer of "Dance 01 the Demons, ” etc., never surpassed this brilliant com¬ position. It is filled with delightful passages and melodious surprises, carefully fingered, phrased and pedaled. We want you to become acquainted with “Brocken CHRISTMAS MUSIC Revels,” for wt know you will sing its praises to your triends. TAKE o a for FILLMORE'S 1 CATAI ■f for a limited period—Regular price 75c ises for Childrer ■*-*-* ^^ in DUET FORM, 30c—REGULAR PRICE $1.25 NO MORE THAN ONE COPY AT THIS PRICE TO A PERSON remal™QuarteisDf”fr Christmas—aiVabu'nda f good things. It costs you only a postal ci Write for our Handy Pocket Ledger for keeping correct accounts with pupils. It’s FREE 1 isk for our Christmas Catalogue. Do it nov hat you will have it whm you need it. FILLMORE MUSIC HOUSE JUST FROM THE PRESS: A new eighty-page catalog containing thematic quo¬ tations from valuable piano material for teaching purposes, written by the ablest modern composers. All grades are represented. It is yours FREE for the asking. Write for it to-day. SEE “THE ETUDE” M. W1TMARK & SONS PREMIUM LIST DEP’T T 48 WITMARK BUILDING, NEW YORK ON THIRD COVER. PAGE

DEFENDERS OF THE FLAG SPECIAL! SPECIAL! “The House That Helps the Teacher” FOR THE NEXT THIRTY DAYS To introduce this great March to the music public Songs by iders of the Flair” and W. H. WILLIS & CO. osipaid, or six for fifty CINCINNATI, OHIO. CHICAGO, ILL. iD4 CHARLES WAKEFIELD CADMAN Soulful Eyes—Novelette Peters’ Modern Pianoforte Method, VJ;™- Sweetheart, In Thy Dreaming = I and My True Love Waltzes while not designed as a “Self Instructor” comes 50c Nearest and Dearest Waltzes yet oublished. Most carefully fingered ami con¬ Medium Voice (E-F). Low Voice (C-D). My Lady Loye Waltzes sistently graded. Heavy paper binding in cloth m the Greatest Masters. In One Volume, back. Introductory price, 60c. MODERN DRAWING ROOM PIECES FOR THE PIaNO Harris’ Barn Dance Brilliant Piano Music for Social and Recital Use. At Twilight Time = = = = = My Guardian Angel—Reverie 5°c Virginia Rag The Beginner, TRANQUIL HOURS J pupil from the first rudiments of notation, up High Voice (D-A). Low Voice (B-F). Piano Music of a Quiet Character. Paquita—Mexican Serenade through the various scales in all the Major and VOCAL Minor Keys. The latter part of the book contains MODERN SONATINAS ; of Henry Weber’s arrangements of the A Pleasing Introduction to the Classics. The Sea Hath a Hundred Moods 50c More Love to Thee—Sacred old fa...... __„. CONCERT ALBUMS (Popular and Classical) High Voice (F-G). Medium Voice (E-F). Low Voice (B-C). Nearest and Dearest VolumeI., Classic. Volume II., Popular. binding. Introductory price, 38c. ' THE TWO PIANISTS Oh, You Roggin Kid ! A Miscellaneous Collection for Four Hands ■ Suited to all tastes and demands As In a Rose Jar = = = = = Exercises in Scales and Arpeggios-!^^ THE SYDNEY P. HARRIS CO. STANDARD GRADED PIECES FOR THE PIANO (Mathews) High Voice (D-F). Medium Voice (C-E). Low Voice (A-C). and Harmonic, Vol. I., first and second grade pieces; Vol. II., second and third grade pieces; ken Chords of Vol. III., fourth and fifth grade pieces. Fine Collections for Teaching Purpose, Dandelions = = inversions. Do. it Seve nth ^Arpeggios wit! FOUR HAND MISCELLANY PIANO DUETS FOR CONCERT AND 50cJ inversions. Ch< me Diminished Seventh HOME High Voice (D-G). Low Voice (B-E)...... exn.usove treatise on Thirds. Durablj THE MODERN STUDENT bound in heavy paper. Introductory price, 67c. Collections of Melodious Study Pieces for the Piano, to promote Technical De A SONG CYCLE Selected Studies METRONOMES best pedagogic materials, carefully graded. Thes< SELECTIONS FR M PIANO WORKS (Beethoven) FOUR AMERICAN INDIAN SONGS A collection of the shorter and best known of his compositions for the piano¬ QUR METRONOMES are of the forte, arranged in progressive order. Compiled and compared from the By CHARLES WAKEFIELD CADMAN highest authorities. finest quality made, and are guar¬ Studies for the Acquirement of Sight Singing High Voice PRICE, $1.00 Medium Voice by A. J. Gantvoort, Director of the Cincinnat THE LIGHTER COMPOSITIONS OF CHOPIN anteed for one year against any defect College of Music. Ex-president M. T. N. A. A classical collection of great value and of moderate difficulty, suitable for Sung by NORDICA, BISPHAM, JOMELLI, Etc. Book 1 Diatonic Studies. Introductory, 57c the average player. in manufacture. Book 2 Interval Studies. “ 75c ALBUM OK MISCELLANEOUS PIANO COMPOSITIONS, by Grieg Extract from letter of Book 3 Harmonic and Free Studies “ 94c With portrait and biography. NET PRICES ALBUM OF PIANO COMPOSITIONS BY FRANZ LISZT DAVID BISPHAM A complete Liszt Repertoire in One Volume. * * * .It was Madame Nordica who brought them to my notice, and within easy range of all voices. Many exercise: SONGS WITHOUT WORDS (MENDFLSSOHN) Complete her judgment is amply verified; they are indeed beautiful. CHOPIN ALBUM. SELECTED WORKS (I. Philipp) Sincerely yours, With Bell - - $3.15 Without Bell - $2.15 MACDOWELL, E. A. SIX POEMS (After Heine) Op. 31 TrebleWClefsfrt 18 pnntedm botil ___David Bispham. French (J.T.L.) 4.25 French (J.T.L.) 3.00 Any of our publications sent on inspection to responsible persons The Child’s Song Garden SEND FOR OUR NEW VOCAL CATALOG A metronome and an Etude subscription for $3 50, THEO.PRESSER, 1712 Chestnut St., Philadelphia, Pa. n plaj tiful v of Stev FOR DECEMBER ONLY: Holiday Price, 50 cents each, or WHITE-SMITH MUSIC PUBLISHINC COMPANY Beautifully bound in Fm “buckram, with fittir 1 * your choice added to an Etude illustrations by Dixie Selden. Price, $1.00 subscription for $1 85, or given as a premium for sending two subscriptions OUR CATALOGUE CONTAINS MANY HELPS 1 Theo. Presser, 1712 Chestnut St., Philadelphia. Pa. THE TEACHcT AND STUDENT. Please mention THE ETUDE when ad )n THE ETUDE w; ^COMPLETE CATALOGUES ON APPLICATIO

k THE ETUDE 799

CHRISTMAS MUSIC NEW Our supply of Christmas music is large and varied; the partial list below will serve to ctttetbw who ate looking for practical and effective works forthe occasion. Let us send you a collection for e. IMPORTANT ISSUES BREITKOPF’S POPULAR EDITION

5B^S^WeBrh$,,o .75

FIELITZ, A. vou, Op. 90. Van- ^

[ARWENKA, X.. N pxSi

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Piano, Four Hands

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SEE “THE ETUDE” PREMIUM LIST ON THIRD COVER PAGE Violin Solo CARSE TECHNIC FORPIANOFORIE C|S.FS5.^t ^

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“Revel of the Witches” ’Cello and Piano

DEMON OF THE WOOD GrandMGalop^de Concert

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, SEGUIDILL/ ON TO THE BATTLE ,,o

° Stwo$giIL-PouXdr$d2:0$01-00 Two P^osH-EfgSH^a5nV S Breitkopf & Bartel 24 West 20th Street -NEW YORK- 800 THE ETUDE

“If is a STEIN WAY fhaf says everything”

The Steinway Piano is Very few people ever stop the history of literature.” -A course consisting of An art worker in Milan has to think that most of the piano study alone is considered incomplete and narrow. attempted to found a new CHRISTMAS SHALL WE represented in 250 prin¬ things we commonly associate With our modern American text-books, which fill so school of literature embody¬ AND with Christmas have little to many peculiarly American needs and which may be CEASE TO ing some very radical, almost CHRISTMAS do with the religious side of adapted to fit all conditions, the equipment of a con¬ REVERE THE anarchistic, principles. It is cipal cities of the world the festival of the birth of servatory is not required to pursue these questions to be called “Futurism;” and, PRESENTS CLASSICAL ? that has gained fc Christ. The Yule log, the holly properly. The private teacher, by a judicious arrange¬ although we are by no means and the mistletoe, and indeed ment of time, may conduct classes in ear training, in accord with the creator’s the very presents themselves, harmony and musical history, and not only add to the most drastic ideas, there is, £f)e JBalbtottt Btanc are really more of pagan ori¬ income, but also increase the interest in music study nevertheless, much that is ex¬ gin than of Christian. It very greatly. The great need in American musical tremely stimulating in his STEINWAY & SONS. seems as though all of the nations of the world which educational work is not more “method,” but more good declaration. For instance, the following is interesting: have adopted Christianity have sought to associate the management. By a judicious arrangement of time and “We declare that the splendor of the world has been New York Showrooms, Steinway Hall, brightest and most wholesome customs with the chief the proper concentration of effort, classes in the “obli¬ enriched with a new form of beauty—the beauty of If YOU have not already heard the Baldwin Piano 107 and 109 E. 14th St. festival. Christmas customs are no longer the sole gatory” auxiliary studies may be conducted in such a speed. A race-automobile adorned with great pipes will bi ng the catalogue and full details. property of those who subscribe to the Christian be¬ manner that the teacher’s whole educational work may like serpents with explosive breath, a race-automobile liefs, for in hundreds of homes of people of other theo¬ be raised perceptibly. The great danger in teaching which seems to rush over exploding powder, is more «.*o £be Bafowln logical tendencies, including some of the Hebrews in is monotony. By a wide-awake class in musical history afe tV abash Ave. 142 W. Fourth S.reet _ “>3 Olive Street beautiful than the Victory of Samothrace.” our large cities, Christmas trees sparkle and the voices the teacher may add a vast amount of variety -and This must appeal to pianists who realize that there 8 East 34th Street CINCINNATI Mmte? St reel Station at the Door. of the little folks grow merrier and merrier throughout interest to the work. The intelligent study of harmony is a fascination in the immense pianistic speed of the IndlanajHilis Louisville Boston Denver the whole holiday season, and on all sides the spirit of leads the pupil to see his work in an entirely new light 18 N. Penn'a Street 425 S. Fourth Ave. 40 Huntington Ave. 1626 California St. virtuoso, which seems a thing apart from the music giving and generosity is cultivated. and awakens a musical consciousness in an astonishing What a pretty custom it is that prompts us to think itself—the speed that stimulates, exhilarates and in¬ of our friends and send them emblems of our feelings vigorates our minds and bodies by making us think at a vastly greater rate. at Christmas-tide! The Christmas gift is best when it Our readers have no doubt carries with it the emblem of the good cheer and Such a principle is significant, but when our Italian THE noticed that very little is said “whole-souledness” that the Christmas holidays typify. in our musical magazines of reformer or revolutionist announces that “We will Important to All Pianists and Students The gift that is weighted down with the thought, “Oh IMPORTANCE today about the musician’s destroy all museums, libraries and academies (those Philipp—Gradus dear, I wish that this horrid Christmas festival, which OF GOOD personal appearance. The graveyards of vain efforts, those Mount Calvaries of empties my pockets and obliges me to give presents to crucified dreams, those registers of broken-down APPEARANCE time when the music worker FOR THE PIANO people I don’t like, would never come around!” is not was expected to go about springs),” we can only think of an evening when the NEW a Christmas gift in any sense of the word, but a form with a rusty coat represent¬ Chianti flowed too freely. A graded and selected compilation of studies by of hypocrisy which can not be too severely condemned. ing many valiant battles with The purpose of this propaganda is evident. This ii various composers. However, the Christmas season does afford us an macaroni, Camembert, lin- Latin thinker is trying to tell us that in art, music, opportunity to give our friends tokens of our feeling for sensuppe and sauerkraut is literature, architecture and the drama we are bound them, and the musician and music teacher can find hun¬ GRADUS AD PARNASSUM” passed. The oily-haired genius of yesterday, who down by traditions and do not even seek to create the Edited by ISIDOR PHILIPP dreds and hundreds of articles from which to select thought more of his art than of personal cleanliness new and beautiful, as have the master minds of the suitable presents. and neatness, is not excused as charitably as in days past. They are trying to tell us that we are shackled By ISIDOR PHILIPP The Christmas gift should never be used to buy favor of yore. <1 The most valuable work in recent years. to classicism. They cannot wait for evolution, but must or to advertise the teacher, but the gift of a suitable That the dress and the personal habits of the teacher revolt. In this unique work each separate department of technic is considered by Superior to any other Graded Course. book, an attractive calendar, a piece or a collection of really do count in the race for success no sensible itself, t il the studies bearing upon any particular technical point being classified CJ Compiled by the leading professor in piano¬ pieces, some pretty musical picture nicely framed, a teacher will attempt to deny. Dress and appearance The greatest results in music and art have come to together and arranged in logical and progressive order. Proceeding in this forte at the Paris Conservatory. music roll, or a metronome given as a reward at the are matters to which we can not give too much us through evolution. Even Beethoven, Wagner and manner each subject is treated exhaustively in a separate part. The main Christmas season is doubly prized by the pupil, for it thoughtful attention. To hundreds of our fellow- Strauss, when closely examined, are found to be evolu¬ points thus covered are : 9 Graded from the easiest etudes to the most carries with it the idea that the pupil has earned it. men dress is the sole criterion for judging others. tionists, not revolutionists. The public loves the won¬ difficult. We cannot alter them, nor do we desire to do so. derful beauties of the past and longs to see them Left Hand Technic Arpeggios Broken Octaves and Chords A musical education does We propose to let Lord Chesterfield, he of the spark¬ represented in new forms of art. The most successful Right Hand Technic Double Notes The Trill ^ Selections from the works of the standard not consist of a knowledge of study writers. BROADEN¬ ling letters, end this editorial for us, since he dis¬ American firm of architects followed established Hands Together Octaves Various Difficulties how to play a few pieces ac¬ cussed the subject over one hundred and fifty years classical forms so closely that an American traveler, ING YOUR ’ ceptably any more than a gen¬ n THE ETUDE when ac THE ETUDE 803 802 the etude found in the earlier Scotch tune (in minor) to “Auld The idea of working for an Robin Gray.” The tune of “John Anderson. My J0,» object, a goal or a prize which with the flat seventh at the end, is based on the Hypo- is the basis of all competition dorian mode, “relaxed” to a fourth below the keynote. INCENTIVE has been so frequently tried by Greece included among her instruments many forms OF THE teachers in the past, and has of harp and lyre, a large number of so-called flutes, proved so excellent, that those also trumpets and percussion instruments of various PRIZE. who have once adopted the kinds. The term flute was applied not only to real Mendelssohn and Schumann method have almost invari¬ flutes, but to instruments like the clarinet and bassoon. ably continued it. It is true Thus’we read that the “Nome of Kradias,” a march that some educational theorists to execution with “flutes,” was sombre and forbidding have opposed the employment in character. This could not be the case with flute Personal Recollections of them as Teachers of any other incentive than that which should come In the Musical Times is a description of the work music, so one of the bassoon-like pipes must have been from the work itself. This is a very pretty theory, of Mr. and Mrs. Raymond Duncan, who are trying to used. ’ The flute was sometimes held straight out from By CARL REINECKE but is at variance with the facts of the case and with popularize the music of modern Greece. According to the face. Once, in a musical contest, a flute-player, in Mendelssohn's successor as Director of the Leipzig Conservatory and of the human nature, to say nothing of child nature. We Mr. Duncan, “The music still sung in Hellas, both the middle of his selection, found the mouthpiece sud¬ world-famous “Gewandhaus” Orchestra. can work for ideals, but we cannot enforce ideals, and ecclesiastical and popular, is, with slight exceptions, denly stopped up. Instantly he turned the flute side- the teacher is obliged to resort to those means which naturally descended in a direct line from the music of wise, and finished by blowing through one of the holes. [Editor’s Note.—That there are comparatively few people living who the ancients, both in theory and practice. Notwith¬ knew either Mendelssohn or Schumann personally is made evident by the bring about immediate results. His presence of mind won him the prize. fact that Mendelssohn died in 1847 and Schumann in 1850. or before One of our many friends and readers in India, Mrs. standing the many vicissitudes and the great lapse of Famous trumpeters existed, whose strength of blow¬ most of the present readers of The Etude were born. Still we have here nn article by one of the world’s most eminent musical educators who U. B. White, recently sent us a description of the time, the Hellenic people have retained their music in ing was tremendous. One of them could blow two an extraordinarily near and pure relation to those applied to Mendelssohn and to Schumann for instruction, but who is still excellent method she employed in awarding prizes at trumpets at once, but before he did so the audience living and takes an active interest in musical affairs. Carl Reinecke was an annual prize distribution. Prizes were not given natural law upon which classical music was founded.” born in June. 1S24. three years before the death of Beethoven. His long was requested to move back, so that none of them and industrious life has been identified with the greatest musical forces for the most effective playing, but rather to those who This, he considers, applies not' only to the six million would be stunned by the noise. of his time. He was one of the representative virtuosos of his day, and’ had shown the greatest interest and who had worked existing Greeks, but to the Albanians, Turks, Armenians many of the most famous musicians of the past century and of the Many say that Greek music consisted wholly of present were his pupils, including Max Bruch, Hugo Riemann, Rafael the hardest to accomplish results. The pupils who had and other races that came, in contact with them. The unison effects, but this was not the case. In the third Joseffy. Karl Muck, Johann Svendsen, Felix Weingartner, J. E. Perabo. missed no lessons as well as those whose practice had music, he claims will “surely win its way, and modify Sir Arthur Sullivan, Edward Grieg and Geo. W. Chadwick.] century B. C., harp-players were taught to give chords been most regular were awarded prizes. Pupils who the music of Europe in the very near future.” on their instruments. Large festival orchestras were Mr. Duncan has spent-seven years in Greece. He had shown the greatest advance in memorizing, “count¬ It was in Leipzig on a bright October day that 1 There is no lack everywhere of admirers and flatter¬ Though this was the only lesson I enjoyed from ing aloud,” theory and other subjects were awarded founded a school, near Mount Hymettus, to revive the often brought together, and the tone-pictures given by them would have delighted Richard Strauss himself. went in a rather anxious frame of mind, a roll of ers, but there are never enough of earnest artists, Mendelssohn it was a memory that went with me classic arts and industries. As part of this work he music under my arm, to Mendelssohn’s house. He and you have it in you to become one—you have A prize competition is a race, and all children enjoy studied the songs of the natives. He revives the old What their harmony was we do not know, but in the throughout my whole life; it was an incentive for all then lived on the Promenade, in the “Burgenstein only to choose. However, no young artist like you a race. In great commercial houses, insurance com¬ philosophical idea that music—or at least Greek music— simpler kinds of music a plain drone-bass, like that of future study, such as I wish from the bottom of my Garden” and near the Bach monument, which he should ever commit the error of publishing a whole panies and large industrial undertakings the race idea has an exact physical and spiritual effect, and is based a Scotch bagpipe, would give a good effect. The few heart that all aspiring youths who devote themselves himself had erected to the great Cantor of St. book of songs, every one of which is in triple mea- is encouraged. The staff of employees is divided into on the laws of Nature. He calls it “a human attempt bits of Greek music that have been discovered are to art might enjoy. So far as I know, Mendelssohn Thomas’ Church. In April of the same year I had sides, and the spirit of competition is developed. It to express appreciation, of cosmic laws, design and har¬ merely unison themes, but they can be set to good never gave regular instruction save in the Leipzig been in Copenhagen and had there made friends with is this method of stimulating individual incentive that monies, and those human sentiments, aspirations and harmonies. Conservatory, where he held classes in composition Niels Gade, who stood in high favor with Mendels¬ has put the American workman to the front and brought states of mind which words are unable to express.” and in ensemble playing, and these I never attended MUSICAL NOVELTIES. sohn and had commended me so warmly to the lat¬ large contracts to American firms, because it is a world- He speaks of diatonic, chromatic and enharmonic scales, since I was not a pupil in the Conservatory, My known fact that the average workman, working under which existed in ancient Greece. But he adds an ter that he invited me to play for him and to show In Germany, Count Hochberg’s symphony is to be him some of my compositions. I had already done old fried Wasielewski, the well known musical writer the American competitive system, will do more work account of the four master-modes and their plagals, given by Strauss in Berlin. Other novelties for Berlin and the biographer of Schumann, has told me so in a shorter time than the workmen of some European the first a few days earlier by playing for him his which would resemble Ambrosian and Gregorian chant are “Das Veilchenfest,” by Brandt-Buys; “Das Tal des much about these lessons that I am able to give countries. At the base of it all lies the idea of win¬ rather than ancient Greek scales. prelude and fugue in F minor from his Op. 35, with Lebens,” by Oskar Strauss, and Berenyi’s “Lord Pic¬ many authentic particulars about them. From his rich ning something, and this may be applied to great ad¬ Mrs. Duncan, who is a native Greek, is naturally the gratifying result of winning his approval of my colo.” Hans Huber’s “Heroic Symphony” will be heard engagement by the direction of the Gewandhaus for experience and deep insight into the true nature of vantage by the teacher of music, until the pupil’s enthusiastic about the folk-songs of her land. There in Cologne. Munich will listen to Carl Bleyle’s “Gno- realization of the advantages which arise from the work one of their concerts, and now I was to hear his art, every word spoken by the master had the worth are songs of mountaineers and of shepherds, songs for menzug,” Rudolf Siegel’s “Heroische Tondichtung” and itself is naturally developed. opinion of my compositions. of gold. He possessed the rare gift of being able to festivals or funerals, for dancing and for daily occupa¬ some variations on a French children’s song by Walter The prizes need not be elaborate ones, but may be It did not come to pass, however, on this occasion, pass judgment upon the various points that came tions. The last three kinds are mostly rhythmic in Braunfels. Bleyle’s violin concerto will be brought out inexpensive and at the same time attractive. It is for as he opened my music roll, which contained a up during the lesson hour in a clear, concise fashion, effect. The festival and shepherd songs are mostly in Stuttgart. Reznicek is at work on an operetta. The not the prize itself which is sought, but rather the melodic in character, while those of the mountaineers string quartet recently finished and two works al¬ without circumlocution; and since he united the pur¬ symbol of victory over difficulties. “Elga” of Lvovsky was brought out at Diisseldorf, ready printed (a romance for the violin, Op. 3, dedi¬ are harmonic. Ballads, or songs that tell a story, are while “Die Pussta-Nachtigall,” by Albert Mattausch, is est taste with a never failing accuracy of opinion, always rhythmic, and usually in small compass. cated to Ernst and a set of songs. Op. 4), he said his instruction was as convincing as it was practical, for Brunswick. with a smile, “Ah, my dear Herr Reinecke, just now Harmony, as applied to Greek music, deals not only Advocate Roesch answers Siloti again in the royalty DON’T LEAVE PIECES UNFINISHED. with the relations of notes, but with their sequence, I shall not be able to read through all that—but argument. Roesch cannot see why the private amateur MENDELSSOHN IN THE CLASS ROOM. speed, rhythm and expression. There are eight modes, come again some afternoon in a couple of days from BY S. REID SPENCER. and the public professional should pay the same royalty In the composition classes Mendelssohn looked two chromatic scales and five enharmonic scales, the now, and then we will talk over it.” on a piece of music. Why not give the composer an through the exercises given him, correcting them last containing quarter tones. The rustic flutes are extra royalty from performances? A good teacher should not pass work as finished, handled with remarkable skill, and it is even claimed MENDELSSOHN’S KINDLINESS. and at the same time explaining the faults they con¬ even though it has been played perfectly, unless Airships are now influencing music. Arnold Men¬ that the ability of the performers exceeds that of the tained. To one student in whose work he detected there is good reason to believe that subsequent per¬ delssohn wrote “Deutschlands gliickhaft Schiff,” and When I appeared the second time, fully prepared hidden fifths he said, “You have, to be sure, wound average flute-player in a good orchestra. to hear a crushing verdict on my work, he received formances will be the same. Some pupils come to Mrs. Duncan gives pleasing pictures of Grecian pas- • Reger followed with the male chorus “An Zeppelin.” flower garlands around your fifths, but that does not a lesson and do well when all circumstances are me so warmly that I felt at once more at ease. He toral life. “On a holiday,” she says, “there is hardly It would seem as if air and variations were the proper help them at all, for they still sound badly to a fine exceptionally favorable, and yet they might not astonished me greatly by playing from memory a hilltop near Athens that has not its circle of young form for both these compositions. ear.” Another asked him how he should set to work ever be able to do so well again, without further In the Guide Musical, Dr. Divelshouvers adds his several passages from the quartet which had partic¬ in writing a quartet. He replied “Take a quartet by men and maidens, hand in hand, dancing to their united ularly pleased him, as well as others with which he study on the same piece or exercise. No matter song. In all Hellas there is not a mountain that does suggestions to the reform movement in notation. His Haydn or Mozart and imitate its form—that is what what has been acquired, it is like perishable goods; found fault. When I returned to my room I imme¬ not echo to the sound of flute and song, both by night chief innovation is a broken upper staff-line for octave my teacher Zelter had me do.” due care must be taken for its preservation. diately wrote down all that the great master had said and by day, while the rush of waters of every clear transpositions. His name sounds as though it should Another phase of his teaching powers was di$-’ A fault is never corrected unless there is assur¬ to me in a letter to my father, in order to lose none stream is the accompaniment to the song of young girls carry conviction, perhaps with the maximum sentence. closed to those who were allowed to be present at ance that it will stay corrected and never return. of his golden words, either of praise or censure, from as they fill their earthen vases with water.” A picture Nevv operas for Paris are “Chiquito,” by Nougues; the rehearsals for the Gewandhaus concerts. He Some pupils imagine that their teachers require my memory. Many years afterward I found the let¬ exactly similar is found in the eighteenth book of Garnier’s “Myrtil,” De Severac’s “Le Cceur du Moulin,” never for an instant'lost control over his forces; his unnecessary work from them, whereas the teacher ter among my father’s papers, so that I am now in Homer’s “Iliad,” as one of the scenes graven on Samuel Rousseau’s “Leone,” and “On ne badine pas fiery eye overlooked and governed the entire orches¬ has even more to gain from their rapid progress, Achilles’ shield. avec l’amour,” by Pierne. Fevrier is writing an opera the fortunate position of being able to quote Men¬ LATEST PORTRAIT OF CARL REINECKE. tra, while on the other hand the eyes of every indi¬ and more to lose from their slow development, on De Musset’s poem, “Carmosine,” which seems to delssohn’s comments exactly. He received me with than the pupils themselves. these words: vidual player fairly hqng upon the end of his baton. MUSIC IN GREECE. sound like a dyestuff and will doubtless be highly He possessed the finest rhythmical feeling; the A teacher stands or falls in the eyes of the public “Your compositions have given me much plea¬ colored. Ostend heard the “Impressions” and “Page When in answer to this last remark I told him slightest wavering in time was always greeted by as such on the rapidity of development of his pupils. sure; you have strong and decided talent. This is Collins, in his "Ode to the Passions,” tells us t Nostalgique” of Stienon du Pre and Pucik’s “Mira- that I had never noticed this peculiarity in my him in the rehearsals with the cry: “Tempo, tempo, Any teacher would be cutting his own throat,- “revive the just designs of Greece” in music. But w no empty form of words on my part, for I never nefla” overture, also “Nuremberg en Fete” and “Les songs, he said, “But you ought to notice anything meine Herren!" When in the concerts, however, he musically speaking, to hold back a pupil unneces¬ do not know any too exactly what these designs were use them in such cases as this. I am particularly like that! You must now write a great deal—every Cloches a Coblence,” by J. H. Foulds. wished to introduce unexpected variations in tempo, sarily. To acquire proficiency is very good as far We know the Greeks had seven modes. If defined b pleased with the quartet, but every single one of day. If you are only industrious and severe, very such as quasi-improvised accelerandi and ritardandi, as it goes, but a future performance might be re¬ scales on the white keys of the piano, it is thought b In England Paul Graner’s-“Valleys and Heights” your works show talent. You must still employ great severe, with yourself we shall have some fine works he was able to bring them about in so finished L quired under less favorable conditions, and pro¬ some that the Lydian mode had intervals like our ( won success at Queen’s Hall. Beecham is to give an diligence and continue to work hard, for there is a from you before long.” vision should be made for such a contingency. scale, the Phrygian like a scale starting on D whil opera season, with Forsyth’s “Cinderella,” Holbrook’s great fault in all of them. You begin well, but after manner that one could not but believe them to have Accomplishment is worthless unless the accomplish¬ upwards in order came the Dorian, Hypolydian, Hypo Dylan’ and “A Village Romeo and Juliet,” by Delius, the first development (Durchfiihrung) they lose in in¬ EARLY INDUSTRY. been prepared in the rehearsals. ment can be maintained, and no matter how well a Phrygian, Hypodorian and Mixolydian. At times othe gar is writing a new symphony and Boughton an terest. You must give more, you must be exacting As a matter of course I was highly delighted at piece is played at the lesson, if it is preceded by names were used (JEolian, Iastian, etc.), but thes Arthurian drama. with yourself; you must write no measure that is not this prediction, for I knew that I could work and one or more ineffectual attempts, it is obviously not were the commonest. Melodies were usually kept in th interesting in itself—but do not become so critical In Italy a search for old violin manuscripts has could give evidence that I had already done so. But finished. But one trial is allowed to a player by octave of the keynote, with only one tone below it • bu that at the end you cannot accomplish anything at ...... uuscivdiury, ever brought to light two sonatas by Stradella, two con¬ that was the very reason I said nothing when he an audience; if he loses that, no matter how well sometimes a “relaxed” scale was used, extending all! Your playing is faulty in that you play too teach; he soon gave up his professorship to remove certos for violin and harp by Nardini, various pieces cried, “Be industrious, young man!” I did not dare he might do on a second or subsequent attempt, it fourth downward. This would resemble a plagal mod much en gros (on a large scale); you need to entei to Dresden. Since he was very reticent by nature y Locatelli and a sonata by Geminiani. Among more tell him that from early youth I had been obliged to would count for nothing. in Gregorian chant, but would still extend up an octav more closely into the finer details of the work—but he had but little to say in the piano lessons which modem works Giordano’s “Marcella” and “Mese teach a great deal; that beside studying the piano instead of a fifth. then en gros again. Be industrious, young man! You were assigned to him. It once happened that a pupil Mariana are to be heard in Naples. Rossini’s “Bru- and the violin I had also had lessons on the guitar It is certain that much beautiful music must hav have youth, strength, health, and talent as well. To played Mendelssohn’s Capriccio in B minor for him To be a skillful artist one must be naturally en¬ schmi is to be revived. This is the work in which and the horn. Then, too, I had composed more than existed in Greece. The Lydian mode, for instance wa be sure, even now you will find plenty of admiration without his making a single interruption. When she dowed with strong reason—fully trained and devel¬ he satisfied a grudge against a manager by altering the a hundred works, large and small; among them four like our diatonic scale. An example of what th youth, strength, health, and talent as well. To be ended he remarked genially, “You must hear that oped for the work at hand; but for such a develop¬ score When the performance began, the violinists overtures for orchestra, a long cantata for chorus, Phrygian mode might be like (D to D) is found in th sur_e> even now you will find plenty of admiration from Clara (his wife) some time,” and with that the ment the study of music alone would prove inade¬ a o tap the rhythm on their lamp-shades, the happy soli, and orchestra, two small cantatas, two piano Japanese national hymn, which is full of dignitv an and flattery at all the tea parties in Hamburg, and lesson was over But as soon as he had a. pen in his quate.—N. A. Emery. concertos, a string quartet, two piano quartets, etc., earnestness. A Dorian effect of striking power j scenes were set to funereal music and the vocal parts also in Leipzig—but that sort of thing helps no one. hand there flowed from its point the most thoughtful were made to repeat meaningless syllables. maxims and apothegms.

k 805 THE ETUDE the etude The pupil’s, hand, mind, body and soul may be in 804 Discipline demands unswerving obedience to law reality different from those of every other pupil the SELF-CONTROL IN MUSIC. Tt requires patience, willingness and concentration teacher has taught. The individual peculiarities of the Who does not know his admirable “Advice to R„t let not anyone think of these as trials or hardships hand should be carefully considered. If the hand has Young Musicians (Musikalische Haus-und Lebensre- Persistent efforts in one direction bring rewards th» long, tapering fingers, with the fingers widely separated, geln), which in addition to their educational value have it will need quite different treatment from that of the the advantage of being suffus_ed by a vein of true are a joy to the soul. pupil with a short, compact, muscular hand. If the poesy? I allow myself to quote from some of Schu¬ How often we hear the expressions, What would t OBEDIENCE TJ LAW. pupil’s mind indicates mental lethargy or a lack of the mann’s letters to me, since the written counsel con¬ I give if I could play as you do? or, H°w I wish I tained therein forms a pendant to that given me had such a beautiful handwriting as yours! Butwnen All great achievements, all perfect things, are brought proper early educational training, this must be carefully orally by Mendelssohn. Under the date of January you tell what you gave to attain to such perfection Ot into existence through discipline; and the first thing considered by the teacher. If the pupil’s body is frail 22, 1846, he writes: execution, years of work and toil, these aspi to be learned is obedience to law. At West Point, at and the health uncertain, surely the teacher will not ability and fame frankly admit that they could not Annapolis and on a training-ship, where the discipline think of precribing the same work she would pre¬ Dear Herr Reinecke:—I have read yojpr composi¬ have given that much; and when you suggest that any¬ is very rigid, the first thing the novice has to learn is scribe for a robust, energetic pupil who appears never tions* with great interest and am much pleased with one may have a beautiful chirography if he will only implicit unquestioning obedience. A youth from Con¬ to have had a sick day. One pupil might be able to a great deal that I found in them—on the one hand take pains, they turn impatiently away, frowning, as necticut went as a novice on a training-ship, and on the practice comfortably for four and five hours a day, with the remarkable skill they show and on the though they thought that you had been dowered at second day an officer said.to him: “Smith, go to the while another would find her energy and interest ex¬ other, above all, with their elevated tendency. That birth by a beneficent fairy, while they had been cheated stern and get a marlinspike you will find there and hausted in two hours. In fact, I would consider the you have not yet entirely found yourself, that remin¬ of their rights. brjn

Song.

from the work named above, \ - - -,‘hapters, each one designed to j of musical history from the earliest times to t! 1 few other chapters 1 appear in The Etude. Thi me Wide uemand for a practical, le teachers and club leaders who o give either individual r class lessons successfully.]

We have learned that during the first one thousand great emperor Charlemagne (sharl-mayne), who at years after the birth of Christ, the leading musical one time ruled almost all of Eastern Europe. formal rules and grades of membership from the work of the world was done under the shadow of The melodies of the troubadours differed from the beginner or “scholar” class up to the full member the Church. Now, let us study the music of the next Gregorian melodies of the Church and it is thought or “mastersinger.” Great contests were held in five hundred years and we shall which many societies took part, learn of one of the most interest¬ just as is done in our modern ing and romantic times in the “Sangcrfests” (Sen'-ger-fests) or history of the art, for instead of song festivals held by Germans being used solely for religion, in Germany and in America. music came to be used for love The first club or guild of songs, and to help in telling the meistersingers -is said to have tales of bravery and valor of the Knights of old. been formed in May'-ence (Ger¬ In the 12th century, when chiv¬ many), in 1300, and the last one remained until 1836 in the Ger¬ alry was at its height and people lived a kind of story-book life, man city of Ulm. One of the noble knights, men of wealth famous meistersingers was Hans and even kings wrote poems and Sachs (Sahks), a shoemaker of composed melodies, which were Nuremberg (Neerm-bairg). whom usually in praise of- some lady . Richard Wagner has made the fair. They then wandered from leading character in his opera place to place singing them in “Die Meistersinger.” The meis¬ the courts of castles or like ser- tersingers, minnesingers, trouba¬ en-ades under some fair maiden’s dours and trouveres were a kifid balcony window. They were of bridge from the Church music called “trou'-ba-dours” or “trou- of the past to the music that was Jean Sibelius Franz Josef Haydn veres” (troo-vairs). These names to follow, which we shall study simply meant discoverers of new in the following chapters. melodies or poems. The poet singers of Southern France, then TEN TEST QUESTIONS. known as Provence, were called 1. What do the words “trou¬ troubadours, while those ot badour” and “trouvere” mean? Northern France (Brit'-tan-y and 2. How did the “troubadours” Nor'-man-dy) were called trou¬ PROCESSION OF TROUBADOURS IN THE MIDDLE AGES. differ from the “trouveres?” veres. The songs of the trouba¬ 3- Are the French folk-songs dours were almost solely love songs, while those of of the day believed to have come the trouveres were often upon old legends or myths by many that some of them formed the basis' for the m part from the songs of the "troubadours?” or upon the deeds of some famous hero such as the folk-songs or people’s songs of the French people of 4- What instrument did the “troubadours” play? to-day. To accompany their singing these poet 5. What were the “joglars” or “jongleurs?” singers used instruments that could be carried with them, such as the harp, the lute and viol. Sometimes called? ^ WCre thC “troubadours” of Germany when a troubadour was unable to compose or play 7- What great contest of singers was supposed to he employed a “joglar” (zhog-lor) or “jong-leur” have been held in the 13th century? (zhong-ler) who would serve him for pay. These 8- What were the meistersingers? joglars” were often singers, acrobats, dancers or formed? 6n W3S t*1C ^rSt gudd °f meistersingers magicians and our modern word “juggler” comes trom tms.scource. 10. What was the name of the famous shoemaker meistersinger of Nuremberg, whom Richard Wagner THE MINNESINGERS. has made the central character in his opera called Die Meistersinger”? The troubadours of Germany were called “min- ne-sing-ers.” The word “minne” means love so the word minnesinger means love singer. Their songs music is the last great legacy which Rome gave more attention to the beauty of nature and to rih? . e t tc\the worId- It is also remarkable as a religion than those of the troubadours. At first the endpdCEPr°dUCit °f modern civilization. Christianity melodies resembled the Gregorian style, but later analvcic ^ |ProduclnS that peculiar passion for self- they took on a more modern form. The minne¬ thatyrp^»p 3t ra?C f°r tbe anatomy of emotion, and singers did not employ joglars but sang and played almost ,enC,e for the individual soul that was their own songs. There is a tradition that in i207 a SZet y Unknown to the ancient world.- great contest of min-ne-sing-ers was held in the glorious old castle of the Wartburg, (vart-boorg) in a part of Germany known as Thuringia (Tier- produced Sa'd 3 grcat genius is not -f1^; T,he great composer Richard Wagner echo of all tL * % P,ece> that he is the result, the (Reekh -art Vahg'-ner), of whom we shall learn later preceding o-^ 6 e*Torts a°d the aspirations of many made this song contest the scene for the second act be raced ferat,°TnS- Rembrandt can undoubted- of his opera Tannhauser (Tann'-hoys-er) and the ner owes hU fr°-m- Lastman and Pinas, while Wag- Tannhauser march played so frequently is the music !hev7ot vast, gln t0 GIuck and Weber. But have Hans Sachs. used in the opera gathering of the singers in the ’ and predecesspr^f eThed Z m°deS °f their masterS (This cut of the famous bootmaker-meistersinger of NUrm- great castle hall of the Wartburg, before the con! the timid lines of HaVe e"gl:aved uPon steeI Henri Wieniawski berg Is printed by courtesy of Musical America.) strong and maiest.V P3St and mterpreted in a Ernestine Schumann-Heink Ferdinand Hiller of the muse —ImbertangUage the first stammerings 9

etude THE ETUDE 809 808 THEi n l. •- ■ ~ ~__ __

HOW TO PRESERVE THESE PORTRAjT-BIOG^PHromp^c. --lES ui u»c wu bulletin board iiCLwi pii'< * ut ~' • The collection commenced with the February Cut out pictures, followingfollowing outline on the reverse of this page. Paste them on margin in * nensive ££<*books of referenceS*g» and rSI'Sseparate ^harwenka, Clara Schumann, Sinding,i Grieg, Mozart, for class, club or school work. A similar collection could only be obtainedby Henselt> Rossini, Remecke, Blauvelt, Rive-King. Geraldine Farrar, ETUDE of this year and has already included : Meyerbeer Fscha^owski, Moszkowski, Unndei ’Saint-Saens, Kubelik, Melba, Sc y , ’ j Beriot, Rachmaninoff, Calve, Bizet, Berlioz, Sarasate, Buck, Carreno, Mascagni, Raff. Liszt, Schiitt, Gu.lmant, Patti, Joachim, de: Pachmann Handel Dain MasQn> Gottschalk,,OottscnaiN. Puccini,* u'- Schubert, a_ Lillian Nordica^Rosenthal.Nordica, Rosenthal, Beethoven, Eigar,E.gar.^h^ ochradieck, /\lb ETUDE containing portraits |re obtainable. Gluck, Bauer, Debussy, Hall, Klindworth. Only a limited m

JEAN SIBELIUS. FRANZ JOSEF HAYDN. Another very useful example: (Si-bay'-lius.) (Hy'-dn.) STEPHANE RAOUL PUGNO. Franz Josef Haydn was born at Sibelius was born at Tavastehus, (Pu'-nyo.) Rohrau, Lower Austria, March 31,1732. Finland. December 8, 1865. He origi¬ Pugno was born in Paris, June 23, and died at Vienna, May 3b 1809. He nally intended to study law, but his 1852. He studied at the Conservatoire, was the second son of a wheelwright musical proclivities proved too strong where he won the first piano prize in who was also the organist and sexton for him. He became a student at the 1866, first harmony prize and first medal of the village church. He commenced Musical Institute at Helsingfors in 1885, for solfeggio in 1867, and first organ to learn music of his cousin, Johann where he remained until 1888. The fol¬ prize in 1869. He was organist of Mathias Frankh, at the age of five. lowing year he went to Berlin and be¬ The trill is an ornament very frequently met with, Saint Eugene, 1872-92, and chorus mas¬ Three years later he went to Vienna as came a pupil for counterpoint of Albert and it consists of one note played in regular alter¬ a chorister of St. Stephen’s Church, Becker. In 1891 he proceeded to ter at the Theatre Ventadour in 1874. nation with another at an interval of, a second above, under George Reutter, who sorely neg¬ Vienna, and there studied under the mapor or minor. The note which bears the trill (indi¬ In 1892 he became a professor of har¬ lected him. In 1748 he was dismissed, veteran composer, Carl Goldmark. In cated by the sign Tr, followed by a wavy linc~«~«~) mony at the Paris Conservatoire, until owing to his voice having broken. For 1893 Sibelius was appointed instructor is the lowest note of the ornament. The pulsations 1896, when he was appointed professor the next few years he lived in obscur¬ of theory at the Musical Institute and of the trill should be regular, of equal length, clear of the pianoforte at the same institu¬ ity. He kept himself by giving music Orchestra School, Helsingfors, where tion, which -position he relinquished in lessons, and-studied when and where and rapid. It is necessary from the first to obtain a he has been eminently successful. He For the left hand use the following chord as ac¬ 1901. He has composed a large number he could. The poet Metastasio helped perfect equality of pressure with the fingers which has done a great deal on behalf of companiment: * of light operas, which have been very him a little, and so did Porpora. In Finnish music, especially as regards perform the trill. The arms should be absolutely successful, as well as much music of a 1758 Count Ferdinand Morzin appointed Finnish folk-song. Though he is justly supple and free. The practice of the trill, which more serious character. Elis pianoforte him music director at Lukavec. _ In famed as a teacher, having now become demands extreme care and attention to detail, ought compositions have been very successful, 1760 he entered the service of Prince principal of the institute at which he to be commenced very slowly. It is necessary, I Paul Esterhazy as second capellmeis¬ repeat, to work above all with the greatest possible the most familiar to our readers, per¬ formerly studied, it is as a composer Practice these exercises in all keys with great ter, from which he was later promoted that Sibelius is best known to the relaxation, and to secure fullness of tone—that is to haps, being “Farandole.’ It is, how¬ thoroughness and perfect equality, and it will soon to first capellmeister. Prince Paul was world. His opera Tornissa olija impi say to bring out the finest tone qualities of the in¬ ever, as a pianist that Pugno has succeeded by his brother, Prince Nicho¬ prove to be work well done. (“The Maid in the Tower”), which was strument. It is not necessary to play heavily or earned the highest reputation, and his las, in 1762, and from then on Haydn’s produced in Helsingfors, 1896, is usually Here is another good exercise, for both hands interpretation of Mozart’s music has career was one of great industry, in¬ to attack the keys violently. The carefully planned Another exercise: regarded as the first Finnish opera, this time: earned him especial commendation; terrupted only by the occasional “tea¬ study of the trill along the lines followed by the though there is one by Pacius which His first appearance in London, whxh pot” storms of his royal master and the older school of Italian and French singing masters precedes this work. He has written took place in 1894 at a recital of his less endurable and more frequent out¬ is excellent for the piano. It is a good plan not to Examples 2a, 2b: two symphonies and several works for own, was a great success, and he has bursts of his shrewish wife. During confine oneself to the interval of a second. Use the that time Haydn’s fame gradually in¬ orchestra, including Tuonela (“Hades”) songs as a pattern; the study of the trill will be con¬ established himself as a great favorite and Kuolcmq (“Death”). He has also in England. His subsequent visits to creased, and his compositions became ducted more rapidly if one practices the intervals of famous. He is described as “The composed many piano pieces and songs, a third, fourth, fifth, and sixth as well. Proceeding the United States have added to his Father Of the Symphony,” and com¬ which are beginning to become popular. to the question of tempo, the notes comprising the reputation and given pleasure to many His music is unmistakably “Northern” posed 125 works in that form, besides trill should be divided successively into groups of thousands of American concert-goers. in character, and strikes a distinctly numerous other orchestral and choral two, three, four, six, and eight, accelerating the speed, works—including “The Creation.” but not at the expense of clearness and evenness. It is necessary to .be able to perform a-trill with any of the fingers; also to be able to .sustain it for some time, as very often composers, both modern FERDINAND HILLER. ERNESTINE SCHUMANN-HEINK. HENRI WIENIAWSKI. and ancient, use the ornament—at times in a most Hiller was born at Frankfort, Octo¬ complicated manner. (See the works of Liszt, Saint- (Heink, ei as “eye.”) (Vee-nee-ahvs’-ki.) ber 24, 1811, and died at Cologne, May Saens, Tschaikowsky and others.) 25, 1885. He was of Jewish descent. This celebrated violinist was born at Mme Schumann-H-eink was born in It will appear that the study of the trill is one of He performed a Mozart concerto at Lieben, near Prague, June 15, 1861. Lublin, Poland, July 10, 1835, and died the best means available for securing perfect equality the age of ten in public. In 1825 he, She was the daughter of an Austrian at Odessa, April 2, 1880. In early of the fingers. Here is a useful exercise for the became a pupil of Hummel at Weimar. army officer in very poor circumstances. youth he went with his mother to fourth and fifth fingers: Hummel, perceiving his bent as a com¬ At the age of ten she went to an Ursu- Paris, where lie studied at the Con¬ poser, put him through a very severe line convent, where she sang, entirely servatoire under Clavel and Massart. course of instruction. In 1827 he ac¬ Example, ia: by ear, in the choir. Materna, who In 1846 he obtained the first prize of companied Hdmmel on a professional heard her sing, was impressed with tour to Vienna where he had the the violin class. He then returned to her voice, and was instrumental in se¬ Russia, and during 1849-50 studied har¬ unique privilege of being present at the curing her an engagement at the Dres¬ mony. His reputation as violinist grew reconciliation which took place between den opera, 1878. Her contract also rapidly, and in i860 he was appointed Hummel -and Beethoven—then on his obliged her to sing in church, where death-bed. In 1828 he went to Paris, her imperfect musical knowledge hin¬ imperial chamber virtuoso at St. then the Mecca of Europe, and here he- dered her greatly. She accordingly Petersburg, where he remained till soon established himself as a teacher, took lessons of Franz Wullner. In 1872. He resigned to undertake a tour composer and fine performer of Beetho¬ Dresden she married a retired army to America with Anton Rubinstein, Example 3a, b, c, d: ven. In Paris Hiller enjoyed the officer named Heink, and in conse¬ which extended on his own account acquaintance of many distinquished quence lost her operatic engagement. till 1874. About this time Vieuxtemps. people, including Mendelssohn, Chopin, A year later she made her appearance who was at Brussels, became ill, and, Cherubini, Rossini, Liszt, Meyerbeer in Hamburg. For the next five years Wieniawski was telegraphed for. He and Fetis. In 1836 he went back t 1 she was very unhappy, and often in arrived in the Belgian dapital in 1875 Frankfort, passing on to Milan in 1837, dire straits. A brilliant success at a where he again met Liszt and Rossini. and worked with great success until Trills in double thirds, fourths, and sixths (see Berlin benefit concert, however, earned Vieuxtemps was able to resume his Rubinstein’s 5th Concerto) are also- necessary. One Here he began his most famous com¬ her an engagement in that city for teaching. Wieniawski again became a should practice exercises for all combinations of position, the oratorio “Die Zerstorung the following summer. Her success victim of the “wander-lust" and con¬ fingers. Here are some exercises: Jerusalems ” which interested Mendels¬ reached the ears of the Hamburg Example, ib. tinued touring through many countries sohn so much that Hiller was invited director, who gave her a more impor¬ to produce the work at the Gewand- tant part to p’ay. She scored a great and cities till he died in a Russian hos¬ haus, Leipsic, 1840. In 1850 he became success. About this time she separated pital in a state of destitution. His u>> r J.JJ. J capellmeister at Cologne, where he from her husband and married Carl violin compositions are famil ar to all organized the Cologne Conservatory. Schumann, the actor. A London suc¬ violinists, especially his two mazurkas He also conducted the lower Rhine cess followed, and in 1898 she came to Kuyawiak” and “Obcrtass,” both of festivals. In 1884 he retired. His most America. She scored a great triumph which are frequently heard. His con¬ familiar works are the concerto for here, has become an American citizen certos, two in number, are also remem¬ piano in F sharp minor, his cantata, and has never lost the public affection bered. His music shows his fiery tem- “The Song of Victory, ’ and a short which she secured in this country. r erament, and demands considerable piano piece, "At the Guitar.’’ virtuosity for good rendering.

i THE ETUDE 811 810 THE ETUDE playing what the public wants. Mendelssohn with a masterly finesse, which proves Tf a list were made of the pieces played by pi*,^ WHY SOME ARTISTS FAIL TO WIN PUBLIC him to be peculiarly at home in that realm of fasci¬ . mihlie it would probably not exceed one hundred FAVOR. nating unrealities. being either sonatas which th< publfc ought to be educated up to or show p,tctl THE BRIDAL MARCH FROM “LOHENGRIN," BY calculated to display their own digital dexterity WAGNER. With the exception of a few dozen pieces by Chopin and a1 frequent contributor to In recent years this march has, to some small extent, __e New Y01 and Schumann it is seldom that the players put 0„ The Etude, gii ' ' following article^wlUch >scor*pf£lng encroached upon the universal supremacy in public _In part why”from concerts sometimes fail to pay. young their programs what might be called the heart mUsic favor, formerly maintained by the Mendelssohn march. of the composer, such as the "homesick” melons, It is the only other famous wedding march, and is Mfy « as or the unrestrained peasant dances, among Grieg's preferred by those who seek novelties and change in “Lyric Pieces,” or MacDowell’s “Sea Pieces” 0r all the experiences of life, rather than the conservative, make a boast that he played only "established classics We have continually insisted that audiences listen wltn “Woodland Sketches." Such things, well playtd time-honored observances, and who specially affect the their ears and not with their eyes. Mr. Finck is one or in would appeal to the feelings of the hea- modem school in music. But there is a good and most impartial and far-seeing of our critics, and his article contains some excellent ideas for the aspiring young at 1 utterly and stupidly indifferent the professional sufficient reason, inherent in the music, why this march pianists are to the wishes of the people was shown will never supplant the one by Mendelssohn in general A great pianist’s advice to another keyboard artist at the time when funds were being collected for usage, a reason of which the public is not definitely con¬ who complained that he was in need of. money, poor Edward MacDowel! on his sickbed. Every¬ scious, but which is instinctively felt; namely, that it “Give fewer concerts,” sounds jocose, but it epito¬ body was eager to hear specimens of his music; yet is not as broadly and fully adapted to any and e\ery mizes the plain truth that too many concerts are what happened? Of the foreign pianists, Harold Here are some fingerings applicable to a chain of wedding occasion, is not as characteristically a wedding given, at least in our large cities. A few artists, Bauer was the only one who gave heed to this The march is probably the oldest and certainly the tions incident to these various occasions may be ex¬ trills: march in tone and mood. like Paderewski, Wiillner, Sembrich, Nordica, Schu- natural curiosity; he played the “Eroica” sonata; most universally employed of all the forms of secu¬ pressed in the music of the march. The music is of a high grade of excellence, markedly mann-Heink, Gadski, can give recitals in New York besides him there was only Augusta Cottlow. As lar music. The name march is derived from the As a definite, well-established musical form, recog¬ rhythmic, simply melodious and easily understood, also' Example 9: and make money; but most of the others are still soon as it became known that she made a specialty French word marcher, to step. nized and adopted by all modern nations, the march it is bright and joyous and, so far, well fitted for its dependent on the support of piano manufacturers of MacDowell’s music she received requests for The distinctive rhythm of the march had its origin reached its full development about the middle of the purpose; but, like all of Wagner’s music, it is exactly (») and women’s clubs guaranteeing their expenses and recitals from all over the country, and owes her in the steady authoritative beat of drums, cym¬ 17th century, since which time it has undergone and exclusively adapted to the particular occasion and a fair profit. In the metropolis recitals are given fame to-day largely to her having thus played what few alterations, and fine specimens of every type of mood it was written to reflect. It is distinctively local lm° !-==-!=—=1 bals, or tomtoms accompanying and regulating the chiefly for the sake of press notices, which, after the people—the best people—wanted to hear. tread of moving bodies of foot soldiers—formerly march are to be found in the writings of nearly all in its coloring and, while perfectly in keeping with the being judiciously pruned, are reprinted in circulars. spearmen and archers—later our modern infantry. the leading composers from Handel to Wagner. It scene for which it was intended, is not so generally in These are necessary for success outside; so, at least, SONG RECITALS. In process of time, to these instruments of per¬ is always in two-four, or four-four time and is con¬ harmony with all occasions of the kind. It is desig¬ the singers and players are informed by their man¬ structed on the following general plan: As for the givers of song recitals, they are even cussion were added the trumpet, the fife, and in nated as brant zug (bridal train or march), and has agers. Thus concerts are multiplied, and the supply First, an introduction of from four to sixteen worse than the pianists. None of them apparently some instances the bagpipe, as in Scotland, supple¬ special reference to the bride. far exceeds the demand. The vast majority prefer measures, consisting mainly of a fanfare of trumpets, gave their hearers the much-coveted chance to enjoy menting the element of rhythm with that of melody It accompanies Elsa and her bridesmaids in their Left and right hands—1-2 | 1-3 | 1-4 [ 1-5 [ 2-3 | 2-4 the opera; and the greater the number of operatic often, though not always, accompanied by drum the beautiful melodies of MacDowefl; and as for of a stirring, inspiring character. progress from the palace to the chapel, where her 2-5 1 3-4 I 3-5 I 4-5 performances the more the concert halls are de¬ effects. This introduction, however, may be omitted their programs in general, they bear out in nineteen Then little by little, as the desire for harmony wedding with Lohengriin is to take place, and portrays Right hand—1 3 2 3 I 1 424I1434I1525I25 pleted. During the season just closed no fewer than as is the case with most funeral marches. The first cases out of twenty Maurice Renaud’s assertion that developed, other instruments of deeper, more sonor¬ the personality of the innocent, white-souled, happy- 3 5 I 1 4 2 3 11 5 2 3 259 representations were given at our opera houses; subject, or principle theme, is from sixteen to thirty- “musicians do not love master-works.” One won¬ ous tone, were introduced like the horn and trom¬ hearted, but rather visionary, heroine; a type of deli¬ Left hand—2 1 3 1 14 2 3 2 | 4 1 3 2| 5 1 3 2 is it a wonder that the concert virtuosi from abroad two measures in length, divided into distinct periods ders, in looking at the average program, what could bone, till the modern military band, composed of five cately feminine, but rather helpless, maiden, of which For trills in double thirds. are beginning to look on New York as no longer varieties of brass instruments and four of wood¬ of four or eight measures, with no cadenzas or have induced its maker to bring together such a Wagner was particularly fond in his early works.' belonging to the “dollar land?” wind, came into being, in which,, however, the drums episodes of any kind to break the uniformity or hodge-podge of mediocrity and inanity. But the Rather the modern German idea of maidenhood than still play an important part. interrupt the steady tramping of the rhythm. Then the stronger and more heroic model on which his later Example 10: explanation is very simple. Vocalists seldom con¬ CONCERT GIVERS AT FAULT. The practical use and importance of martial music, follows the second theme, most frequently in the Brunhilde was moulded. sider the intrinsic merit of a song ill making selec¬ especially the inarch, in all military manoeuvres and dominant, and usually in a lighter, brighter vein, The music is light, tripping, daintily playful, but far Neglect by the public is largely a result of the tions for a concert; what they seek is a group of on the field of battle, have been fully recognized by after which the first subject is repeated. Then from profound or serious. The mood it embodies is attitude of the concert givers toward the public. songs which are easy to sing and bring out the most At the opera houses the managers offer what people all army experts in all ages. Its purpose is two-fold: comes a trio, more lyric in character, more quiet and that of the fanciful girl, hardly more than a child, telling qualities of their OV |r one idea want to hear. The same is not done in concert First, to stimulate courage, ardor, and enthusiasm somewhat more slowly played, forming a marked pleased and impressed by the pomp and glitter of the is to impress the public with their own wonderful halls. There the audiences—if there are any—have in the troops. and effective contrast with the opening movement ceremony, the flowers and favors and bright costumes, accomplishments; it never occurs to them that the Right hand—3 4I34I 4 5|3 Sl4 5- to submit to what the singers and players them¬ Second, to secure and facilitate concerted action, which is again repeated at the close of the work, and fascinated by the mystery of the future, but by kind of people who are likely to attend a song I 2|2 I | 2 X | I 2|, 2. selves like, or what they think the public ought to a regular, orderly simultaneous movement of large with, often, a brief but brilliant coda or finale added. no means realizing the intensely serious nature of the recital would be infinitely more impressed by the Left hand—3 1 12 112 1 | x 2. like. Now, what the public does like more than bodies of men, by keeping them in step with a uni¬ Technically speaking, this form is based upon that step she is taking. There is no touch of strong or genius of Goethe and Schubert, or Heine and Franz, 5 4 I 4 3 I 5 3 I 5 4- anything else in music is melody, and this is usually form commanding rhythm, which spurs the laggard, of the fully developed rondo, which, in its turn, had deep emotion, or of vital reality, in these half-grace- ■ as united in a song, than by their ' withheld altogether, or served in homoeopathic doses, checks the impatient, controls the rate of advance, its origin in the Folk-song. ful, half-playful strains, and the usual tender trio is unless a composer happens to be in special favor They have now had an opportunity to realize that and insures precision and mathematical certainty It may be well to cite here a few of the best and entirely lacking. While it is ideally beautiful and ap¬ with the conductors, like Beethoven or Tschaikowsky. this is true, as shown by Dr. Wtiliner. He. thank in the execution of army manoeuvres. For this most widely known marches in the different styles propriate in its proper place, this march taken sepa¬ There is Dvorak, for instance, a composer who bub¬ heaven, had no voice to show off. He simply sat¬ reason, a good band is as essential a part of a well- already referred to. rately is obviously only a fragment and loses much of bles over with lovely melody and piquant rhythms, urated himself with the great poems and the im¬ equipped regiment as its arms or ammunition- its charm ana pertinence when parted from its proper and whose orchestral coloring is far more beautiful mortal music set to them, and he aroused a frenzy wagon. THE MENDELSSOHN WEDDING MARCH. setting and connection like a section cut from some than that of Richard Strauss; yet of His many truly of enthusiasm. He came to give a score of concerts TYPES OF MARCHES. No work of its kind is so familiar to the general great picture. popular works we never hear any except the “New and gave four score. His concerts paid. There are three distinct types of the march in gen¬ public, throughout the civilized world, as the Wed¬ World” symphony. Rubinstein’s music is always THE DEAD MARCH FROM “SAUL,” BY HANDEL. eral use, among practically all nations, employed for ding March by Mendelssohn. Since its creation, loudly applauded when the conductors, as they different purposes and occasions, each having its own about eighty years ago, it has been the one composi¬ This short, but characteristic, funeral march, the first, rarely do, condescend to produce any of it. Grieg OBSERVATIONS OF THE MOMENT. tion, par excellence used at all weddings where music notable work of its kind, formerly universally known For trills in double fourths: special characteristics and tempo. never fails to arouse enthusiasm, but to judge by had any part in the ceremony and at how many and much played, is rarely heard in our own day, though Right hand—4 5 14 5. First and most common, the ordinary parade our programs one would think he had never written BV FOREST HILL. thousands of weddings it has been heard, it would be still familiar by name. It is an extract from Handel’s 2 1 | 1 2. march, leisurely, dignified, yet stirring, adapted to anything but his first “Peer Gynt” suite. These a rate of march of seventy-five steps a minute. impossible even to guess. first great successful oratorio, which was first presented men are melodists par excellence, hence they are Success music is the result of method, not Second, the forced march or quickstep, more in¬ In stately city churches and simple village chapels, in London at King’s Theatre, January 16, 1739. methods. tabooed; tabooed, also, are the melodious rhapsodies spiring and exciting, with a tempo allowing for one in hall and private parlor, in palace and cottage The plot and text of the oratorio were based upon, of Liszt. the well-known Bible narrative of Saul and David, mi^t! y°Ur musical w°rk advertise you, at least as hundred and eight steps to the minute. from the eastern confines of Russia to far California, MUSICAL FOG. much as you advertise your work. Lastly, the storming march, the French “pas de its jubilant, yet ideally lofty strains have voiced the and deal with the vicissitudes of Saul’s reign, his wars and intrigues; his relations with David, now friendly, In place of such music, what do the orchestral taL °n. bC su.rpr*sed if you make a few silly mis- charge,” with a hundred and twenty steps to the mood of the happy occasion for countless human now the reverse; and with the more than brotherly conductors produce? The polyphonic puzzles and minute. thin vs I1 ,mus,cal Practice. Some of the simplest love of David and Jonathan. Its climax is reached megatherian “tone poems” of Richard Strauss, Max All these are distinctively military marches, actu¬ This march is a fragment, and the most familiar For trills in double sixths, in all keys:—4 5. with the death of Saul and Jonathan in the battle with Reger and their imitators, and the mis'ty produc¬ ally, or hypothetically, used in connection with the one, from Mendelssohn’s music to “The Mid-Sum¬ mer Night’s Dream,” an early but supremely able the Philistines and David’s lament for their loss, espe¬ tions of Debussy, with their elusive tone “wraiths” various movements of troops. Example 13: ILfetvon\0therJeachcr *et ah'ad °f xou-if he can. work, replete with delicate mysticism and dainty cially for the latter, for whom David suffered a keen from which melody is deliberately excluded. It is In addition to them, there are the funeral march, fairyland fancies, which accounts for the suggestions and profound personal grief. great fun to conduct and play such things—they your playing^ If*^^ Sympa,hy’ put il int° slow, impressive and mournful, and the wedding you’ll has, gn u yOU p ay the music of the masters of that style apparent in it—notably in the trio. It “The Dead March,” as it is called, symbolizes the show how skilled the performers are—hence they march, brilliant, joyous and hopeful, with occasional Give yourci1,/^ °P.portuni‘y ^u want. was written to accompany the march of the noble fall of the king and prince, as well as the crushing are conducted and played all the time. The public touches of tender sentiment. wedding party in the play, a brilliant and joyous defeat of the Jews, the grief of the nation, and however, clamors for its melody, and, not getting musicalHfe Thl wo”!?* k'nd °f * chancc in y°Ur This wide diversity of mood and movement, pos¬ do one thim, 1? W, r d wants you badly if you can company, hence the atmosphere-of pride and splen¬ David’s deep personal sorrow for his lost friend. it, stays at home; but what care the concert givers sible within the legitimate limitations of the march, thing well S_WC ' Yet do n°t forget that to do one dor as well as gayety which envelops it. Those who The emotional motives of the march are to be so long as they can get wealthy patrons to pay the makes of it one of the broadest, most elastic forms things is n„/'neral knowledge of a good many of musical expression. The rhythmic tramp of would appreciate it fully should familiarize them¬ traced to two familiar quotations from David’s deficit? Weingartner the other day wrote a satirical lamentation. It is very difficult, yet very necessary to be able marching feet must always serve as its basic idea, selves with the scene in Shakespeare’s drama. poem in which he makes a critic advise a composer special knowledSgeymeAI1 knowledgc is powcr- bl,t “How are the mighty fallen in the midst of to perform the trill in octaves. Practice should be its physical germ, so to speak, out of which all other The introduction gives us the gladsome bugle calls “Vor allem meiden Sie die Melodie” (Above all you erly applied. * eans success as well, if proo- the battle!” commenced very slowly, so that the stretching of If - ideas suggested in it, must be logically evolved, and trumpet signals which appear so often at the must avoid melody). Ferdinand Scherber, writing in you are “I am distressed for thee, my brother Jonathan. the fingers won’t prove too great an obstacle. Any teacher, forget that you and to which they must all bear a definite relation. opening of march movements, as already stated; but the Note Musikzeitung, speaks as if there were Very pleasant hast thou been unto me; thy love to stiffening of the arm and hand should be avoided. But these secondary ideas and resultant moods in this case with no suggestion of the drums. The regular conspiracy between contemporary com me was wonderful, passing the love of women. Trills alternating octaves and sixths, or triads, do may cover and include a vast range of thought and first movement, or subject, is proud, triumphant, - posers and critics to banish from the concert stage How are the mighty fallen!” not call for special attention, as they do not demand emotion. exultant; telling of love the conqueror, of obstacles everything that is easily understood and melodious Their expression in the music, when- regarded from great independence and flexibility of the fingers. For instance, men may march exultantly to vic¬ overcome, of happiness assured and imminent; while Modern music, he declares, has become a “sport” Hold to your Vr atCVer y°U are doin*- tory, or sullenly to certain defeat—to the storming our modern standpoint, and compared with similar The notes should succeed one another rapidly, with for professionals, sical destination „ ?*|rse\ You will get your mu- the trio with its delicate trills and subtle wood-wind for nrnfAecirtflaic ~ thing to interest only a small of a fortress, or in the feverish panic of a rout, to efforts by a Chopin, or a Wagner, is decidedly prim¬ brilliance and evenness. minority. effects, hints of a background of shadowy woodland hand than if voqU'Cker ‘f y0U plan the road before' the coronation of an emperor, or the execution of itive and inadequate—not to' say common place arrive at “any old bI,underinS about hoping to mystery; of fairy intrigue and influence which color a comrade, to a wedding or a funeral. All the emo¬ The very tonality selected is wholly inappropri¬ the whole texture of the story and are treated by ate according to every law of aesthetics, the work 813 THE ETUDE THE ETUDE This was especially the 812 acting as accompanist. Many of Schubert’s songs one of .^e ..xhe® Magic Flute,” which achieved an MOZAKT-THE TRUE TYPE OF 0ENI"®'ild case with me on itg first productlon. Tht were sung, and in this way one of the greatest being in C major, the only funeral march in exist¬ composers was brought to public notice. Mozart’s extraordinary musical genius as a instantaneous c who produced it in Vienna, ence, so far as known to the writer, entirely in a In 1818 Schubert was engaged by Count Ester- is one of the most marvelous things m the* manager, Schikane {f0nl the proceeds, but major key. hazy to teach music in his family. This took Schu¬ of music. He is probably the only c 1 =factorily became a ma responsible for its popu- But it must be remembered that the piano score Mozart whose gemus^ ju>t after its firs( bert to the Count’s country home in Hungary for gives a very imperfect idea of the orchestral effect; who ever succeeded in playing a the summer, and the winter was passed in Vienna. also that it was at a time when music, as^a medium without previous lessons. His ex Victor lar ducttn Not having sufficient money to pay of emotional expression, was still in its infancy; its ness to music is entirely without parallel, in vice production. the dead composer was buried in He was, of course, very intimately associated with material, like that of the English language in the Wilder’s biography, we are toldHhat e age funeral e*p _ ’ grave has not since been this family, and it must have been a pleasure for a pauper s grave. time of Chaucer, still in process of formation, its found dislike for the trumpet, and up f him to five with such cultured people. resources scarcely even guessed at by the best of ten he was unable to conquer hi* repugnance t There is the hint of a love affair between Schubert it.” It was sufficient to show him a trumpe ‘ ^Had7 Mozart been properly cared for, he would musicians. hahlv have recovered and written other works as and Caroline Esterhazy, but as he was the son of The march is one of the earliest steps in the de¬ him run away. It caused him to feel as if aplunder probably h Magi(. plute.” It would appear a peasant and she the daughter of a count, a mar¬ buss was pointed at his chest. His father, hoping velopment of tonal art and as such, deserves our that Schikaneder was an exceedingly bad business riage could not be arranged. Schubert was a shy it would be easy to dispel this childis ’ respect. Moreover, though antiquated in style, and manager, besides being a blackguard. young man and, undoubtedly, did not declare his meager in the means employed, it possesses a certain tempted the boy to approach, but at the , love. simple dignity and directness, not without impres¬ of the strident notes he turned pale and faint, ana SCHUBERT AND BEETHOVEN. helping the DULL PUPIL. siveness. It furnishes a good example of the effect¬ fell to the ground. The effect very nearly brought 'Schubert and Beethoven lived in the same city ive massing of the solid, if common, harmonies, im¬ on a convulsive fit. . , - When his father took little Wolfgang and his by CHARLES F. EASTER. for thirty years without meeting more than once posing in their grave simplicty, characteristic of all disadvantage to the boy later in life, as he was sister. “Nannerl,” on tour, they stopped at the A genius is so wonderful a personality in the eyes until the end of Beethoven’s fife. If it had not been Handel’s larger works. of all the world that very little is known of the obliged to learn in maturity what he should have (Part II of this article will appear in a later issue, hosts. The abbey was famous for its huge size ana Pupils may be divided into three general classes for the reticence of Schubert, these two would have friends who have unconsciously assisted him in ac¬ been taught in youth. and will describe the Chopin Funeral March, the for the generosity of its members. Wilder tells as follows- 1. Students who correctly understand been close friends. But Schubert worshipped the In the year 1813 Schubert left the “Convict,” and Schubert Marche Militaire and the Rakoczy March that “when the Mozart family were in the chapel and have the ability to execute correctly. 2. Students complishing what he was born into the world to do. older man from afar until his “Variations on a studied in the Normal School of St. Anna, in order of Franz Liszt.) at their dfevotions, the good Franciscan fathers were who understand correctly but Multitudinous incidents, ostensibly trivial at the French Air” were published by Diabelli, and dedi¬ execute incorrectly. 3. Stu¬ time of happening, have counted .for much in form¬ to prepare himself to take a position as school¬ cated to Beethoven. Then Diabelli and Schubert dents who do not under¬ ing the characters of great men and womep. teacher. went together to Beethoven’s house to present the THE WONDERFUL stand correctly. Schubert was born in Vienna, January 31, 1797- In 1814 Schubert became very friendly with the offering in person. It is said that when Beethoven VIRTUOSOS OF THE It is not difficult to de¬ In 1812 his mother died and he was brought up by poet, Johann Mayrhofer, who was ten years his turned to ask Schubert about a certain part of the composition, instead of writing an answer, as was THIRTIES AND termine in which class a his stepmother, Anna Klayenbok Schubert, who was senior. This friendship lasted a lifetime. Here is necessary on account of Bee¬ FORTIES. pupil belongs. The pupil in exceedingly kind to him. One of Schubert’s first friends thoven’s deafness, Schubert fled It it hard for one to con¬ the first class generally pos¬ from the house in embarrass- ceive of the marvelous musi¬ sesses good health, patience, was a joiner’s apprentice, who often took him to a piano shop, cal activity in Europe in the carefulness and all the other where he was permitted During Beethoven’s last illness, forepart of the last century. good qualities that make the amine splendid new intruments. in 1827, a friend brought him a Mendelssohn, Verdi, Wag¬ ideal student. With him it Who knows what desire few of Schubert’s songs. He ner, Schumann and other is simply a matter of getting awakened within the infant’s tiny full of admiration for them, great creative workers had the right kind of informa- given the world new musical soul when his fingers gently and prophesied a great future for pushed down the keys? At the the young composer. ideas to think about, and Pupils in the second class in addition to this many age of seven Schubert began the Finally, Schubert visited him are somewhat harder to ad¬ study of the piano with his On the first visit they be¬ virtuosos of musical genius vance, They understand the seemed to spring up in all brother Ignaz, and received violin came fast friends, but on the teacher’s explanations well parts of Europe. The Etude instruction from his father. He second Beethoven was dying, and enough, but somewhere be¬ presents this month a repro¬ was next sent to the parish choir¬ only able to make signs. tween the point of under¬ duction of a rare old litho¬ master, Michael Holzer, for It cannot be said, however, that graph, 'giving the portraits standing and the point of struction in violin, piano, organ, Schubert imitated Beethoven’s of some of the most famous execution the pedagogical singing and thorough-bass. This style, even though he admired pianists of the early part of plow strikes a stump which good man was astounded by the and loved him g.eatly. All of the 19th century. must be removed before the precocity of the child, and de¬ Schubert’s compositions have the We are familiar with the student can go ahead. This clared that he could teach him stamp of his own individuality lives of Liszt, Henselt, Thal- obstruction cannot be re¬ nothing new. upon them, at; < do not resemble berg and Chopin, but of moved in one lesson. A stu¬ Regarding the exact influence the works of any other com¬ Rosenhain, Dohler and Wolff dent in this class might be of Holzer upon the boy’s life we poser. • little is known to-day. Rosen¬ compared with the marks¬ do not know much. It is certain In the year -828 Schubert suf¬ hain, who was born in Frank¬ man who understands the that he did not receive the rigor¬ fered much from headache, and furt, was well known as a principles of shooting but ous instruction that Holzer would moved from his lodgings with )' composer in his day. He who fails to keep his eye on have given a less talented boy. Schober to a house occupied by was also an excellent pianist. the target. Later in life Schubert was obliged his brother Ferdinand, near the Although he lived until nearly Pupils in the third class to go back to the very beginning open country. But the house fifteen years ago, he did not are still harder to teach. The of musical composition and learn proved to be damp, and very , succeed in establishing a iberg teacher cannot detect one much that he had skipped. So that, although Holzer an instance when we may note the influence of detrimental to his health, for typhus fever set in fame entitling him to be Wolf! Henselt Franz Liszt general fault, but finds, in¬ may have fired him with ambition, he encouraged- Schubert’s music upon the fife work of another. after and he died on November 19, 1828, aged ■ ranked among the greatest. stead, a great number. Among careless habits which were detrimental to the child 31 years. The pianist, Wolff, whose picture is shown in the enjoying their dinner in the refectory. But when Under Schubert’s influence some of Mayrhofer’s these faults are the state of health, the natural mind. best poems were written. Many of these were set accompanying illustration, is Edward Wolff, who was the sound of the organ reached their ears, and they musical ability of the pupil and the amount of AS A SCHOOL BOY. to music by Schubert, and many pleasant hours born in Warsaw in 1816, and died in 1880. He was a learned that it was being played by a child of five, inclination. The sight may be defective, the hearing WHEN IS MUSIC “CLASSICAL?” In Schubert’s twelfth year he became a pupil in were spent together by these close friends. pupil of Chopin, and settled in Paris in 183s as a com¬ they, one and all, left the table and hurried to the poor or the nervous system deranged by serious poser and teacher. He wrote several compositions, church. Wolfgang, flattered by their attendance, the Imperial school, known as the “Convict.” This After three years of school-room drudgery, Schu¬ One of the vaguest terms in music, which, by the sickness. The pupil might be interested in the study, name implied that the members were messmates. way, is already overcrowded with words whose real among them “The Art of Singing for the Piano,” surpassed himself. The friars, fascinated by his but the interest might not amount to a real desire to bert attempted to obtain a position as director of and “The Art of Expression.” Theodore Dohler is playing, forgot all about their dinner, and remained In this school he suffered from hunger and cold. a new public school of mtisic to be opened at Lay- meaning is disregarded, is this word “classical.” master the subject. Such a pupil is usually called These students, with ravenoys boyish appetites, According to the dictionaries, classical means “what perhaps a little better known than Wolff or Rosen¬ listening, amazed and wonderstruck.” The incident dull, and in some cases ignored by the thoughtless bach. He failed in this, but was brought to the hain. He was born in Naples in 1814, and died in redounds as much to the good taste of the Fran¬ were allowed but two poor meals each day, and is chaste and pure in art—which conforms to the teacher. It should be remembered, however, that notice of Schober, a young student in comfortable 1856. He was a pupil of Benedict and Czerny, and ciscan fathers as it does to the genius of the child. during the winter were obliged to practice in cold highest models.” But in music this cannot be said many dull boys and girls turn out to be very bright circumstances, who was greatly in sympathy with toured Europe with great success. His work as a The brilliant success which Mozart achieved as rooms. The effect upon the health of Schubert was to apply. men and women. The teacher’s work with the dull Schubert’s musical ability. He persuaded Schubert composer was superficial, and for this reason his a child, however, was not to be continued. In these very injurious. When Wagner first produced his operas, he not student is by no means lost. Sir Isaac Newton, the to five with him, While there Schubert began to compositions have fallen into comparative oblivion, days it is impossible to think that a man could ex¬ While in this school he met and became a very infrequently disregarded all known standards. He discoverer of the laws of gravitation, was a "dull close friend of an older boy, named Joseph Von give music lessons. along with those of Herz and Thalberg. hibit the genius for music which Mozart maintained Schober and Schubert had much in common, and went along a path of his own. Mendelssohn was' boy at school, but became a learned thinker and Spaun, who was afterwards Baron and Member of the classic model of his day, yet as a model all his life, and yet be half the time unable to scientist. enjoyed the friendships of many splendid young secure anything more than a bare living. Yet the Imperial Council. modern composers are far more inclined to look to A safe course to follow with the so-called dull From the first Brahms set himself the highest such was the case with Mozart, and it is nothing Schubert’s head was so full of ideas for composi¬ Wagner than to Mendelssohn. But Wagner’s pupil is to reduce the amount of material to be given A FAMOUS SINGER. possible standard, and cautiously tested his powers less than astounding that a civilized world could tions that he could not secure enough writing ma¬ music is anything but “chaste” or “pure” in form at the lesson until it is within the pupil’s power of for each task he attempted. His works are not all have been so signally blind to his extraordinary terials in the school to use for the work he loved Through Schober, Schubert became acquainted at times. He follows every mood in human nature, assimilation and comprehension, and then increase of equal merit; it must always be so in human ef¬ talent. Possibly Mozart was himself, in some meas¬ best. His friend Spaun, having made this discov¬ with an older man, Johann Michael Vogl. He was and his form is as resilient as it can be. ure, to blame. It is more than a little strange that 1 m barely perceptible quantities until the pupil ery, supplied him with all the music paper that he a splendidly educated man, well read in philosophy For a large number of people there seems to be fort; but nothing that he published is insignificant. becomes more capable. He evidently had a very high respect for certain a man who had the power to devise such beautiful needed. In reality, this was his start as a com¬ and theology. He had had in his youth some only two kinds of music—the music they enjoy, and poser. kinds of work. He did not try his hand on a Sym¬ music and to develop it along ;such logical lines, monastic training, had studied law, and practiced at classical music. It is impossible to say definitely phony till long after he had reached the summit of should yet be unable to devise a fixed means of Many of his compositions at this time contained the bar. As he possessed a rich baritone voice, he what is or is not “classical,” for while anyone can However gifted a composer may be, he will only abrupt changes of key, and were of an undeveloped his power; the pianoforte Sonata he never touched earning a living. The composition of an orchestral gave up his practice to become a member of the recognize that there is a great deal of difference be¬ character; but notwithstanding all this, they had again after his first youthful attempts. Very nu- score requires something besides genius and imagi¬ fi;™d?wlnd,?erent music if the poet does not kindle in German Opera Company. It was at this period that tween the musical conception of a Beethoven sym¬ nation. It demands common sense—just plain, ordi¬ ,fat enthusiasm without which every work of art the imprint of genius. So, by his friend Spaun, he 1 tjierous, on the contrary, are the pieces of chamber Schubert met him. phony, or a Wagner opera, and a Broadway musical nary common sense—in the working out of many duH and lifeless.”—Christopher Willibald ran Gluck- was taken from the danger of losing his inspiration music in' which the piano is combined with other in¬ Vogl was much impressed by the compositions of show, there are a great many “half-way” pieces in of its details, and Mozart exhibits plenty in his com¬ he trequent allusions which every’ man who treats because of lack of material. Schubert, and made his rooms his frequent stopping -which the earnestness of the composer is greater struments. He scarcely altered his style of writing positions. We find publishers and singers making fny alt ls obliged to make to others, in order to illus- Ruzicka, instructor in thorough-bass at the “Con¬ place. Finally, his admiration of Schubert’s songs than his ability. Such music is often very “uncom¬ after his first compositions for that instrument.— «_ii i~-J~ -r --lt of hjs operas> w]1j]e poo“ ate and confirm his principles, sufficiently shows their vict,” permitted Schubert to write unguided because led him to give up opera for concert work. He fortable,” as Barrie would say. Non-musical people S pitta. he, too, thought him a genius. This was a great infrequently as penniless as Reynold™ *1 ^ inseparable relation.”-5ir Joshua and Schubert began traveling together, Schubert can scarcely be blamed if they turn away from it. THE ETUDE 815 the ETUDE 814 , r .with engage the performer and write a part Ternary—A three-part form in which Parts I and i forthw _t hjs next church cantata. I III are practically identical. for ‘^ “T ^rThlodore Thomas when he w Motive—Literally that which moves; a group was withi t e of Bach.s “Ein’ Festc Burg” cantata thematically developed. ranging the . of j88o Mr Thomas found Theme—A subject. forthe CincinnaH Fest. ^ Half-Cadence—A resting point ,on the Dominant without modulation to the Dominant key. * Ttcme Of course, he had lo guess how they Authentic Cadence—A resting point on the tonic. founded and'give the parts to the flute, oboe or clar¬ BACH, THE MASTER OF MASTERS inet, as the case might be. THE SACREDNESS OF BEETHOVEN’S IN¬ By GEORGE E. WHITING BACH IN CHURCH. SPIRATION. at the organ during the performance of his (See Special Supplement to this Issue.) following article by the well-known ot nlst, Mr. George E. Whit- Bach sat . _i v»*c cmoii [Editor's Note. w of tlie life of the great master wh< most advanced musicians There are many thinkers in this day who believe •r composer.] that the works, of all the great masters have in them part for the organ, writing out only the various the spark of divinity that makes them sacred. This parts for the vocalists and instrumentalists^ (Handel is the argument put forth by thosfc who favor giving had the same practice.) This, of course, has made a concerts of high-class music in churches, halls and great deal of trouble and extra work for the modern parks on the Sabbath. They contend that all that editors of Bach’s works. Speaking of conducting, many is noble in man is embodied in his highest inspira¬ THE ANALYSIS OF TEACHING PIECES. THE TRIO. of the readers of The Etude are poss.bly not aware registers that made up the “principal”—in Gt. and Ch. Let us now examine the Trio. There are 16 tions, and that this nobility comes from the enkind¬ In my room hangs a large picture by a French ar¬ of the fact that the first eminent musician who ‘beat were of a fine quality of tone. measures to the first double bar. Measures 9 to 16 ling spark of some divine force which people know BY THOMAS TAPPER. tist, presented to me by my pupils, in which is depicted the time” for an orchestra was Spohr! At his first are identical with 1-8 played an octave higher; by the name of God. the master at the organ. The great man is in middle HOW BACH CONDUCTED THE SERVICE. concerts in London he took a roll of music paper and, hence this part is 8 measures long, repeated. Write In Europe there is evident a higher regard for the life- dressed in wig and pigtail, short breeches, shoes According to the best authorities, Bach had the fol¬ standing, indicated the time with this improvised The question which constantly arises before the a Roman I in measure one of the Trio. Following man of inspiration. His efforts are respected and with buckles, etc. He is playing on what is known by lowing forces in his ordinary Sunday and holiday serv¬ “baton ” Spohr alsb brought about another innovation. earnest teacher is this: In what manner can I make the double-bar, the tune of these six measures is understood. The very peasants seem to know the organists as a reversed keyboard or console; that is, ices: the chorus consisted of eighteen voices, divided Previous to his time the musicians were relegated to good music interesting to all classes of students? unlike that of the first eight measures of the Trio; fugitive character of the inspired thought. They with his .back to the organ ; this latter not showing between the various parts, and also an orchestra ot the servants’ quarters for their meals. (Musical per¬ This question is a vastly important one and any but note the identity of motive, a half note followed know that it is but a fleeting flame which may be in the picture, being represented by clouds. about the same number of performers; but, as to the formers, singers, etc., were for many years considered reply, worthy of its importance, must not fail to by two eighths. Write a Roman III (I) in the first extinguished, never to be ignited again. Conse¬ I will wager that the artist who designed this pict¬ latter, we must remember that the “orchestra of that j measure of the last line of .the music. These last only as servants.) But Spohr insisted that they should recognize that many conditions are involved. This quently they are careful not to disturb the men of ure never saw a real console! In the first place, there is affair from what z . be treated as guests of the house, and since that time is true because even simple music of the best kind eight measures are exactly like the first eight, with not a single stop-handle visible 1 No music rack! And genius while engaged in creative work. they have been so considered. is capable of analysis from many points of view. It a change of octave. the pedals, they are such as never were seen on any is in these many possible forms of analysis that we The floor-plan of the Trio is then: Our Supplement for this month represents an in¬ earthly organ. They are made in the shape of a bow BACH AS COMPOSER AND MUSICIAN. find the structural as well as the inherent beauty of Part I. Eight measures in E flat major. cident in the life of Beethoven, which illustrates the (like an enraged cat’s back), so that it would be almost What is it that has made so many of the greatest music. Hence, if the student can gradually be Part II. Six measures ending in B flat major. sacredness of inspiration. The great master was impossible to play on them. But this did not trouble musicians in the world place Bach on the highest pin¬ brought into intimate knowledge with these factors, Part III (I). Like Part I. engaged in composition on one of those famous our artist—not a bit—he was for making “a pretty nacle of the musical temple? It is safe to say that he is that much more likely to find his joy in the And the Trio is of. the same form as the Alle¬ visits to the woods surrounding the city of Vienna. best, instead of finding his pastime in the poorest gretto. Hence— ■ picture.” during the last seventy-five years there has been So absorbed in his work was he that he failed to Now comes the most astonishing part of this “work kind of music. 1. The entire composition is Ternary. notice the approach of a funeral cortege. However, scarcely a musician of eminence who has not revered 2. The Allegretto is Ternary. of art.” Bach is surrounded by some half-dozen fe¬ One essential element in the art of music com¬ when the priest discovered that the procession was the great master- Perhaps Mendelssohn did more than 3. Jlie Trio is Ternary. male figures “of great beauty” in full evening dress position is Structure. It has to do with shape, bal¬ coming upon the famous musician engaged in his any other musician to bring the musical world to a ance, contrast, climax and the continuity of the Once the player has this ground plan of the whole (and this in church); one, standing in front of the ’ knowledge of the transcendent merits of Bach's music. labors, he halted the procession and bade the fol¬ master, is singing; the others, including several chil¬ idea. To know the laws of music structure and how and of the two parts fixed well in mind, memorizing To mention only a few: Wagner, Liszt, Brahms, Saint- becomes clear and simple. lowers proceed in silence until the master was past. dren made to look exactly like the “grown-ups” and to apply them results in these gains: Saens, Theodore Thomas, Hans Richter, Joachim, Sgam- In Mr. K. E. Krehbiel’s translation of the engaged in that task of looking over a music score, 1. Music is at once more -interesting. Some detailed analysis is now necessary, and for batti and many others considered Bach the brightest this we will confine ourselves to the Trio. Sing thoughts of Beethoven, we find the following indi¬ impossible for a child. 1 have bothered by brains 2. The composer’s meaning is clearer. the melody of the Trio and note that it breaks at cation of the methods employed by the master in many times trying to figure out whether these female star in the musical firmament. 3. Memorizing becomes easy. the fourth measure, on the accented beat, and on his work: figures of great beauty are intended by our “artist ’ Most students of music think of Bach only as the 4. The mental picture is distinct. the chord of B flat. The cessation is a Cadence, to represent heavenly apparitions summoned to earth author of the two and three-part inventions, or of the 5. The structural art of the composer is, of itself, “I carry my thoughts about me for a long time— forty-eight preludes and fugues, or (if they are organ a thing of beauty. and being on the Dominant chord, it is technically often a very long time—before I write them down. by Bach’s playing, or “just the choir!” In the distance a Half-Cadence. Sing the melody of measures from students) his preludes and fugues for the organ. But In the music pages of this issue of the Etude Meanwhile my memory is so faithful that I am sure —apparently about two miles away—is seen an altar and S to 8. The tune is very much the same, but is a few kneeling figures. these, superb as they are, are only a very small part the reader will find a Scherzo, in B-flat major, by never to forget, not even in years, a theme that Franz Schubert. Phrasing, fingering, pedalling and turned so as to end in the tonic. This again is a All this is sufficiently absurd. J. S. Bach was a very of Bach’s works. We must add his two stupendous has once occurred to me. I change many things, the interpretation of the embellishments are so Cadence, and falling on the tonic, preceded by the great man, one of the greatest, and revered by all “Passions” (St. Matthew and St. John) great oratorios, discard and try again until I am satisfied. Then, admirably supplied by the editor that the performer Dominant, is known as the Authentic Cadence- musicians, but he would be the last man to figure in his Christmas oratorio, his immense Masses (in ora¬ Now these eight measures are in.two groups.of however, there begins in my head the development torio form), his suites for orchestra, his chamber music, will find the counsel of a good teacher forever be¬ such a masquerade as this picture seeks to depict. fore him. But the student has yet to learn the four measures, and each group terminated by a in every direction, and inasmuch as I know exactly and last, but by no means least, his church cantatas. Now, what are the facts about Bach’s public and constructive plan of this charming piece of music, Cadence. The eight measures form a Period. The what I want, the fundamental idea never deserts private life? I have taken great pains to unearth, from These “cantatas” are really short oratorios, and, takir■■ and that task is the basis of this lesson. Period consists of two Phrases. The Phrase is ter¬ me; it arises before me, gfows; I see and hear the various musical dictionaries, encyclopedias, etc., the fol¬ the immense number of them (Bach wrote one for every minated by a Cadence. picture in all its extent, and dimensions stand before lowing facts, which I desire to present to the readers Sunday and Holyday in the year, and for many oc¬ THE TERNARY FORM. Sing the melody of Part II of the Trio. There my mind like a cast, and there remains for me noth¬ are six measures. The Cadence falls on the first ing but the labor of writing it down, which is of The Etude as “strictly original sources of informa- casional services; they are important works, lasting Played in its entirety, this composition consists beat of the sixth measure. As the Cadence always, ter¬ quickly accomplished when I have the time, for I from thirty to fifty minutes in performance), one won¬ of the Allegretto, the Trio, and the Allegretto re¬ minates the Phrase, this Phrase is six measures long. sometimes take up other work, but never to the BACH THE MAN. ders where Bach ever found the time to write and peated. Hence the form is threefold (usually called The rest of the sixth measure (the group of eight confusion of one with the other. You will ask me perform them. There is a tradition in Leipsic that an Ternary, or Tripartite); thus According to the above veracious authorities, Bach notes) merely serves as a conjunction to tie the six- where I get my ideas. That I cannot tell you with old sexton of the St. Thomas Church, in Bach’s time, Part I. Allegretto, so measures. was of heavy build, weighing from 175 to 200 pounds. measure Phrase to the beginning of Part III. Hence certainty; they come unsummoned—directly, indi¬ was asked as to the effect these cantatas had on the Part II. Trio, 30 measures. He was a great family man, was twice married, and (of the Trio): rectly. ’ I could seize them with my hands out in congregation, and his reply was: “Mr. Bach’s music the father of from 12 to 20 children. (I believe he Part III (the repeat of I). Allegretto, 50 meas- Part I is an eight-nieasure Period, consisting of the open air, in the woods while walking, in the all sounded pretty much alike!” A truly characteristic never could tell the exact number, but it was about two four-measure Phrases). silence of the night, early in the morning; incited the above figures.) As for their various names, that remark for a sexton ! So much for the structure of the whole which is, JOHANN SEBASTIAN BACH AT THE ORGAN. Part II is a six-measure Phrase. by moods which are translated by the poet into the was a hopeless puzzle to the old gentleman; but he, And finally, what is the lesson of Bach’s life and so to say, the architectural design of the ground Part III is, like I, an eight-measure Period. words; by me into tones that sound, that roar and nevertheless, kept them in pretty good discipline, man¬ (Although Bach held many excellent positions as organ¬ achievements to the young musician ? I should say, first plan of the building. Let us now discover what After the student has studied this form analysis storm about me until I have them set down in euvering them in batallions, companies, etc. ist his most Important post was that of Cantor at the and foremost, his perfect consistency in striving for the smaller structure within this larger is to be found. famous “St. Thomas" Church of Leipsic. The above pict¬ and familiarized himself with the details here given, notes.” Several of them became fine musicians in their own ure is said to have been a representation of Bach during highest ideals in his beautiful art. He accepted “the The fifty measures of the Allegretto must not, of he should (away from the music) right, especially Philip Emanuel, but during Bach’s life the Leipsic period.) course, be fifty new measures. Some inter-relation simple life,” as most professional musicians of high (a) Make a mental picture of the plan. GOUNOD’S OPINION OF MOZART. they were, of course, overshadowed by the great name aims must do. As a boy he would walk miles to hear through repetition must exist. With a blue pencil (b) Learn to sing the' melody from memory Who, like Mozart, has traversed the immense of their father, and (after they left the parental roof) stand as an orchestra. Bach’s band consisted of the some celebrated organist. (The organ in Bach’s time mark a Roman I in the first measure, a Roman II throughout. (Note how few new measures one has to in measure 17, and this, III (I), in measure 36. scale of human passions? Who has touched their were known by the town they happened to live in: as quartet of strings, as now, but when we come to the was the principal instrument for musical expression learn to do this.) Bach of Eisenach, etc., this being the only way the ‘woodwind” and “brass,” these were represented mostly Now compare measures 1 to 16 with measures 36 far-distant limits with such unswerving accuracy, ■ after the orchestra.) “His activity was extraordinary M Then, with the necessary piano practice, the Germans could tell “t’other from which.” by “Hautboys” (oboes) and very small trumpets made to 50. Aside from key-change they are the same; equally proof against the inaptitudes of false gods music is indelibly stamped on the memory, and one Now let us try and get an approximate idea of Bach’s and unceasing. Besides his official duties and his while measures 17 to 35 are, to express it in com¬ and the brutalities of lying violence? Who else of thin metal and with exceedingly small bore. These classic gem is actually possessed by the player. musical life, his methods of composition, his church trumpets could play several notes above the two-lined actual labor as a composer, which in themselves are mon parlance, quite another tune. These measures could thrill with anguish and horror the purest and astomshing, he made copies of the works of Other con- the most eternal forms?.Oh, divine Mozart work, etc. The old organ in the St. Thomas Church, C of the treble clef (see the trumpet part in Handel’s Ci 7-35) in the triplet motive (followed by the two VOCABULARY. in Leipsic, upon which Bach played for many years, Messiah, “The Trumpet Shall Sound,” which is almost posers; he sometimes engraved music on copper, an! short eights) are akin to what precedes and follows. didst thou lie indeed on the bosom of infinite was removed only a few years ago, to make room for impossible on a modern cornet). Clarinets, horns even invented several new instruments. In composi The consistent adherence to the motive is the bond Scherzo—Literally a jest; merry, good-humored Beauty, even as the beloved* disciple lay on the music. a new instrument. It was an organ with three rows and trombones had not been introduced into the orches¬ t ™e ody> h,s harmony and his periods all seem of union or their common factor. Saviour’s breast, and didst thou draw up thence the Allegretto—A cheerful, merry mood. of keys, but not at all the three-manual organ found tra in Bach’s time. to 1! fof.the°nf Perfect mould, and animated from first The Allegretto itself, is then a Ternary, which incomparable grace which denotes the true elect! in this country or in England or France; the prin¬ Bach had a queer way of bringing unheard-of in¬ S ^ .e. lc*ea °* ^le musical composition, so that may be thus expressed. Trio—Originally a piece for three instruments. Bounteous nature had given thee every gift; grace Here the middle movement of a Compound Ternary. cipal difference being in the upper manual; this was struments into his scores. He was always on the look¬ these materials, though in themselves void of expres- Part I, 16 measures, ending in the dominant. and strength,, fullness and sobriety, bright spontane¬ what we should call now an “echo” organ, containing out for new qualities of tone. Many of the names of ome. tmbued with an inexhaustible depth ot Phrase—A melody (passage) terminated by a Part II. 19 measures, a modulatory group, im¬ Cadence. ity and burning tenderness, all in that perfect bal¬ only a few insignificant registers, and running down instruments in his church cantatas are at the present rrt,and.pr°duce infinite varieties of form. This pressing D flat major particularly. ance which makes up the irresistible power of thy Period—A group, usually of two, Phrases with only to “tenor G” Nevertheless, these old German day obsolete. It seems as though Bach would be wan¬ the Dt ” °f ldea and formal construction gives charm, and which makes of thee the musician of ™ Part III (I), 16 measures, thematically identical like melody and contrasting Cadences. organs possessed many good points. The “pedal” was dering around the Leipsic streets, and if he heard some¬ with I, and ending in the tonic. musicians, greater than the greatest, the only one ions 16 trUC WOrk of art to Bacll's compose Cadence—A point of rest; literally a falling. excellent, and the various diapasons—or rather the one playing an instrument that was new to him he exert on dtuCXP a'VS the niaSical attraction which tiny of all—Mozart. ose who make them their earnest study." the etude 816 POLKETTINA—A. RENAUD. GREAT-GRANDMOTHER’S BRIDAL WALTZ v G dainty little teaching piece by a con- OLE OLSEN. Th'S ' f French) Albert Renaud (born 1855). It temporary (Fre“^f' <

CAPRICE-NOCTURNE—T. LIEURANCE. GAVOTTE MODERNE—L. RUFFIN. ’ ” ', , say. a more religious man Handel. When he wrote the “Sanctus” he was This is a fanciful piece of much merit, the passage- This is a very pleasing drawing-room number, unusually well-harmonized for a piece of this type. away from earth, and stood in spirit among work much in the style of Chopin. This piece harpers harping with their harps beside the sc . should be played in a light, dreamy manner, paying It should be played in a graceful manner, not too fast, with careful attention to all the marks of ex¬ glass, and joined his voice to theirs. Handel's particular attention to the fingering of the various pression. An excellent study in chord-playing and are always upon solid earth. His imagination 0 passages in double notes. A judicious use of the a useful recital number. tempo rubato is advisable. a,!' P?rtals’ but he Passed none. When he v the Hallelujah” chorus he “did think he saw he THE KING’S MARCH—GAMBRELL. opened and the great God Himself,” but he was THE MEADOW BROOK—F. A. WILLIAMS. . f, caught up in spirit to the heaven h( This, is a rather easy but very effective march This is a delightful third grade teaching piece movement which may be used as an organ piece. win ^andel was aa artist rather than a While Bach was in the midst of his own imagin which will require nimble fingers and rhythmic It is of the “parade march” type and proves very- playing. While this piece has real educational and satisfactory as a parlor and school march or for Handel contemplated the beatific vision from technical value, it has also decided musical merit. use in lodges and .other fraternal bodies. he method of the one was subjective, of the - objective.—Streatfeild. THE ETUDE' 819 RUSTIC DANCE rustic dance DANSE RUSTIQUE

LUDVIG SCHYTTE Secondo Moderate con moto m.m.J = ioo THE ETUDE 821 THE ETUDE 820

<9.- ll II 2 a Vm > jf'EM r^fr T f

4# fggg^S '.m jjld |B^ I--ED-1 3 THE ETUDE THE ETUDE 828 822 THE ETUDE 825 the etude 824 ARAGONAISE

THEODORE LACK THE ETUDE

INTRO. March Marcia maestoso M.M.

g 1 1 - ^ f ■’ i ii i Va i " h~n i , ! ,f,—

Ppoco cresc. ) ^ • J* • • * pdolce Qiiieto ;=—=— I £ Wsgf £ £ ^ 3_ .. ______:-— — ,- j: ^ ' >> »

f

l'1' 'J3T!j •w>>> = m ilpi £T > -'Wi»* fWf v |cr«S(sT >>> £ * >

marcado ' Mi t -V *3 ^ V *

THE ETUDE 829 the etude 828 VENITIENNE

Edited and fingered by 4th Barcarolle BENJAMIN GODARD MAURITS LEFFSON Motto moderato e tranquillo M.M.J- --56

How o use the Peda 831 THE ETUDE the etude 830 833 THE ETUDE THE ETUDE BERCEUSE from “JOCELYN”* AUTHOR’S TRANSCRIPTION B. GODARD Edited by N. L. FREY Andantino M M J

P a tempo 1 dttn._____

Lento^. * . /Ov tranquillo motto t 3 | I III 'g&q THE MEADOW BROOK f cresc. J \^ 'U 1 r ^ ^ "l. Allegro con brio M. M. J -- «o FREDERICK A. WILLIAMS, Op. 70, No. 2

colla parte ppsernpre J jyptre cortte

T7* "»• 3* 3*

( p X iSB S ’■X—L— 1 »• jS _dim.

. A THE ETUDE 835 834 THE ETUDE POLKETTINA Christmas Postlude

ALBERT RENAUD

Moderato M. M. J = 108 3J 2 1 3 , \ ' 83S THE ETUDE

A i A A__ J . A /?\ A „,7t| J'flp rtf A “

,Vw V V Jf V A TP'fU ■ 1 H ■ 1 11 . 1 H . 1 I1' . rTTTH ,7T iPj f iij ui 111 MlIxj1 ^ii SCHERZO

FRANZ SCHUBERT Allegretto m.m.J=144

J? 1 tr-h jh 3 .E K t*»4 ? x S -~^3 lU "H • ”trT ff ^ iPTB b. f * kk JL legato ^ ^ e^sc

W ? 7- 1 ^ THE ETUDE THE ETUDE 838 To Lewis Kreidler, Philadelphia Pa. THE FLOWER O’ DUMBLANE SCOTCH SONG ROBT. TANNAHILL GEORGE B. NEVIN

Not too slowly With much expression

The sun has gone down o’er the loft-y Ben Lo-mond, And How lostweremy days till I metwi’my Jes-sie, The

left the red clouds to pre - side o’er the scene.While lane - ly I stray in the calm sum,-mer gloam - in’ To sports of__ the ci - ty seem’d fool-ish and vain; I ne’er saw a nymph I would ca’ my dear las - sie, Till

muse, on sweet Jes - sie, The Flow’r 0’ Dum-blane. How sweet_ is the brier wi’ its saft_ faul-din’ charm’d wij^sweet Jes - sie, The Flow’r 0’ Dum-blane. Though mine_were the sta - tion of lof - - tiest

bios - som, And sweet— is the birk,_ wi’ its man - tie o’ green,_ Yet sweet-er. and fair - er, And gran - deur, A - midst— its pro - fu - sion I’d lan - guish in pain,_ And ne - con as nae-thing The

dear to this bo - som, Is love - ly young Jes-sie,The Flow’r O’Dum-blane. A11 ,. height o’ its splen-dor, If want -ingsweet Jes-sie,The Flow’r 0’Dum-blane. -A~UegrettO COll gTEZia 1

THE ETUDE 841 THE ETUDE 840 IN OLD JUDEA CHRISTMAS SONG ADAM GEIBEL ■;uGlo - ry . to God,— all glo - ry to God! Voi - ces ex-ult - ing - ly ring-, 9 * S 3 3 RICHARD HENRY BUCK dolce

fmaestoso tempo

^Peace? and goodwill^ in ‘^he heart| of 3 men^ ? Hail ^ to theneW-born Kwig! poco a poco *

f\Tt\s'-■v. 3 poco ru. ' i 1

Hail_.to the new-born King! ” » King!” \ n\ 0 I i 1 3 ii 3 * r9-^—-— -—1-m 0 f .:=i if , m j r Ri.j Hi"' 3 cresc. JJ ■++.-*■ 3 poco rit. 9a tempo f9Q, tempo p- 3 i i*- tr

U3 9 ERE THE MOON BEGINS TO RISE CRADLE SONG

. mj- dolce e tranquillamente - -

1. :Ere the moon be- gins to rise Or a star to shine__ All the blue-befts 2. Biirdsaresleep-ing in their nest, On the swaying bough_ Thus,a-gainst the Allegretto

j i ^ J. pq 1 ~ j~Jr i h-jprrA {j>; JT PPPP “3»- j J»: Tip* -JrA mP^^ rv~r^^ — w r =TPH b ■ j ft f jF \y 8 J p=l=Pd Lp 1 p L-P r pi Hg~Pj "P ben legato 1 P y* p~j ^

P rail, e dim.

close their eyes So close thine. , So close thine, thine, dear, thine. moth - er breast, So sleep thou, So sleep thou, Sleep,sleep, sleep.

£ Words used by permission of Houghton Mifflin & Co.,publishers of Mr. Aldrich’s works. 843 THE ETUDE THE ETUDE 84a roles. In the meantime he spent some eight seasons in New York at the Metropolitan, singing under the management of Maurice Grau. In this way he became personally connected with the best in operatic art of CHRISTMAS HEARTS mp our time. The highly lucrative field of recital singing was now opening and the increased culture of our WITH RAPTURE BOUNDING country created the demand to hear great singers in famous art songs. Mr. Bispham accepted many engage¬ HOMER TOURJEE ments for recitals and oratorios and at present devotes his time exclusively to the field. From such a varied and extensive experience it is evident that the following interview must contain much to inspire, instruct and entertain teachers, students and music , lovers and that, after all, is the one great object of The Etude.]

THE MAIN ELEMENTS OF INTERPRETATION. So very many things enter into the great problem of interpretation in singing that it is somewhat dif- ficult to state definitely just what the young singer liam Shakespeare. His vocal studies with these teachers should ’ consider the most important. Generally continued for several seasons. His excellent previous speaking, the following factors are of prime sig¬ experience in concert and oratorio in Philadelphia had nificance: Y DAVID ISISPHA: put him in possession of a large repertoire and conse¬ 1. General education and culture. quently, when he made his re-appearance in London, 2. Life experience. he was in a position to fill many professional demands 3. Idealism. that the average singer fresh from continental training 4. Personal magnetism. [Editor’s Note: Mr. Bispham’s career 5. Good health. in itself is one that should be of keen 6. Freedom of mind. interest to all vocal students, and espe 7. A rational artistic and accurate vocal cially to those who have not had the ad¬ training, vantage of professional musical training 8. A good musical training. 9. A familiarity with musical and vocal in early youth. The famous artist was traditions, pertaining to interpretation. born in the city of Philadelphia and his ancestry was almost exclusively Quaker. You will notice that first consideration Here in itself was no inconsiderable is given to those broad general qualities obstacle for one whose ambition it was without which all the technical and to engage in an operatic career. Although musical training of the world is practi¬ his father, a prominent attorney of the cally worthless. The success of the art City of Brotherly Love, played the flute, worker in all lines depends first upon the music was generally looked upon by the nature of the man or the woman. Tech¬ Friends either with suspicion or horror. nical training of the highest and best kind Organs, and in most cases music of any is essential, but that which moves great kind, were prohibited by the churches, audiences is not alone the mechanics of and Mr. Bispham’s strong attachment to an art, but rather the broad education, his family and to his fellow Friends made experience, ideals, culture and human it necessary for him to proceed with much sympathy Of the artist. caution. Even when he attended Haverford Col¬ THE VALUE OF EDUCATION AND lege as a young man, music was pro¬ CULTURE. hibited and he was obliged to take his I cannot emphasize too emphatically favorite instrument, the guitar, to the the value of a good general education and Pennsylvania Railroad Station to indulge wide culture for the singer. The day has his natural longing for music. Notwith¬ passed when a pretty face or a well- standing such repressing conditions he rounded ankle could be mistaken for art developed a strong love for music and on the operatic stage. The public now the drama. In college he was a leading demands something more than the heroic^ factor in the Glee Club which was formed looking young fellow who comes down to by the young men despite religious opin- the footlights with the assurance of youth and offers a fresh but crudely trained and Upon leaving college, Mr. Bispham en¬ bungling interpretation for real vocal art. gaged in the wholesale wool business in Good education has been responsible Philadelphia, entering the employ of his for the phenomenal success of so many uncle. A little later he went abroad for American singers in European opera many months and the pent-up fire of houses. In most all of the great operatic musical ambition burst into flame under centers of Europe one finds one or more the enkindling forces of days spent in the singers who rank with the greatest artists opera houses and music centers of the old in Europe. This is a most propitious country. He came back to America with condition, for it means that we have so tremendous enthusiasm, and he resolved thoroughly conquered in the European to let nothing stand in his way which operatic field that American audiences will would lead to ultimate success as a singer. be compelled to give the long-delayed Although he was continuously engaged in recognition to our own singers and meth¬ his uncle’s business, and at the same time ods of general and vocal education. was acquiring valuable experience in the Mr. David Bispham. In most cases the young people of world of barter and trade, he spent all America who aspire to operatic triumphs of his spare time in music study. His come from a somewhat better class than teachers were Edward Giles and Michael Cross. The is usually unable to cope with. His home life, his in Europe. They have had, in most cases, better latter was the conductor of many musical societies and collegiate training and his extensive continental ex¬ educational, cultural and home advantages than Mr. Bispham’s progress was so rapid that he found perience had made him a man of culture and wide the average European student. Their minds are continual opportunities for public appearance in con¬ vision. It was his good fortune to take part in some trained to study intelligently; they are acquainted cert, oratorio, church and in connection with an admir¬ excellent amateur operatic performances and it is not with the history of the great nations of the able amateur comic opera company which was con¬ astonishing that one of the London operatic managers world; their tastes are cultivated, and they are ducted in Philadelphia at that time. A few years of sought to engage him for the opera that was to succeed filled with that American energy which is one success convinced him that the time had come for him Sullivan’s "Ivanhoe” at the Royal English Opera of the marvels of the centuries. More than this, to turn his back upon the wool business'and engage (Messager’s “Basoche”). It was not, however, until they have had a kind of moral uplift in their homes professionally in the art of music. Consequently he he had written to his mother and gained her consent which is of immense value to them. They have went abroad, as at that time the musical advantages in that he entered this new field. This consent came in higher ideals in life, they are more businesslike, this country were by no means what they are to-day. the form of an exceedingly quaint letter filled with and they keep their purposes very clearly in view In the meantime he had promised his mother that he “thees” and “thous” and bowing to fate as gracefully all of the time. This has created jealousy in some would not go upon the stage except with her express and lovingly as possible. European centers, but it is simply a case of the permission. The growing liberality of his family was It was only a short step from the ill-fated Royal survival of the fittest, and Europe was compelled to shown by the fact that his grandfather sent him $50.00 English Opera to Covent Garden, the great London bow in recognition of this. Vocal art in our own to form the nucleus of a musical library. Opera House. Here Mr. Bispham became a great pop¬ land is no longer to be ignored, for our standards In Florence, Mr. Bispham studied with. Vanucinni ular favorite and during the twelve years he was en¬ are as high as the highest in the world, and we and Albert Hall and in London he studied with Wil¬ gaged, he sang practically all of the important baritone are educating a race of singers of which Italy, Ger- 845 THE ETUDE THE ETUDE GOOD HEALTH. 844 SICK VOICES RESTORED martellato, etc., all sung piano; later, a LAMPERTITALDAKfS the substitution of artificial methods enter your r< heaIth is one of the great factors in success THROUGH HEALTHFUL crescendo in ascending and a diminu¬ many. England or any other country might be Good heal* ds a sounder mind than the artist? GRAND OPERA : ORATORIO : CONCERT vision. Holding to your ideal will mean costly SINGING. endo in descending, thus affording a For Nervous Women Admirable home surroundings for pupils; oarefol chaperon- proud. Let me say to the young singer, by no preparation for the important embellish¬ —- European debuts arranged. Good heaim fofget that the instrument he plays Easiness Manager, SIGNOR GIOVANNI PEREflINI, means neglect your general school and academic 7oSSTtlfSXS fd£f The ideal is only BY HEINRICH HAAKE. ment of the messa di voce, i. e., the swell. Horsford’s Acid Phosphate quiets the training, for without it you will be tremendously singer must n .. b dy and that that instrument "ji’.iiidan”6 another term for heaven to me: ** jT^kind of This “vocal massage” should be con¬ nerves, relieves nausea and headache, handicapped. Tn U "fori s musicJrexcellence and general con- (Translated for The Etude by F. S. L.) attain to the ideal, we would all be in depends for lth A $2o,ooo Stradivarius would tinued until the voice becomes smooth, and induces refreshing* sleep. LIFE EXPERIENCE. earthly paradise. It has always seemed to me tnar diticn «P°n goof health- A* ^ ^ & tub of water> In the opinion of a recent German elastic and ringing, and until the when our Lord said “The Kingdom of Heaveri is at Culture does not come from the schoolroom writer vocal defects arise not, as is so muscles of the larynx are entirely in¬ AN EXCELLENT GENERAL TONIC. TENORS or .BARITONES can sing to “f < hand,” he meant that it is at hand for us to possess and Wa lainx that earns for its owner from $500 to alone. The refining processes of life are long and generally believed, from physical ail¬ dependent of those which govern the now; that is the ideal in life. “1? a niKht is equally valueless when saturated ments, such as colds, catarrh, etc., but articulatory organs. varied. As the violin gains in richness of tone and •Vwhp noisons that come from intemperate or unwise r Towe^aiulM intrinsic value with age, so the singer s life experi¬ from faulty activity of the muscles em¬ Then the vowel scale, u, o, a, e, i ly Acquire Tin PERSONAL MAGNETISM. Pv Sg Many of the singer’s throat troubles arise from ence has an effect upon the character of his sing¬ ployed in tone production. This is (00, oh, ah, ai, ee), may be practiced an unhealthy condition of the stomach caused by ex- ing. He must have seen life in its broadest sense Going gradually to the more technical aspects of shown by the fact that they disappear in a similar manner; at first with the p= in eating and drinking, but aside from this a BROWN’S to place himself in touch with human sympathy. To vocal interpretation we come to the subjec. o P cesses in any other part of the body affects when the diseased conditions are re¬ prefix of m, e. g., mu, mo, ma, me, mi, do this and still retain the freshness and sweetness sonal magnetism,” ridiculed by . some, of cour , lieved, but persist when an incorrect then blended, mu-o-a-e-i. For the sake Bronchial Troches of his voice, should be his great airn. The singer rarely laughed at by the artist who has experienced the thfthroat sympathetically and makes it difficult for the muscular action is employed, until in of variety the other consonants pre¬ who lives a narrow and bigoted existence rarely astonishing phenomena in the opera house or th singer to get good results. Rectal work, with its long the end the vocal powers are seriously viously given may take the place of m, meets with wide popular approval. The public cert room Like electricity it is intangible, mdefinable, ioumeys on railroads that are not always comfortable weakened. In this case some of the thus: lu, lo, la, le, li, and lu-o-a-e-i. The wants to hear in the voice of the singer that won¬ indescribable, but makes its existence known by thou¬ together with the other inconveniences of travel and muscles directly concerned with tone student may now begin to sol-fa his j£| responsibility and strain that come from knowing derful something that tells them that he has had sands of manifestations that are almost uncanny, formation have too much to do and exercises; that is, sing them with the that one person alone is to hold from 1,000 to 5,000 opportunities to know and to understand the hu¬ personal magnetism does not exist, how then can others not enough; .or extrinsic muscles syllables of the scale after the Italian people interested for nearly two hours, demands a very man rtde of the songs he is interpreting; that he is account for the fact that one pianist can si ., which should be quiescent interfere and system of solfnization, in which the not giving parrot-like versions of some teacher s the instrument and play a certain piece and that another strong physical condition. prevent normal functions. Whichever syllables apply to fixed pitches, C being way of singing the same songs, but that the under¬ pianist could play the same piece with the same teen freedom of mind. of these two causes may be at fault, always do, D always re, E always mi, etc. standing comes from the very center of his mind, heart nical effect but losing entirely the charm and attractive the result is apt to be relaxation or Then short phrases, such as “Away, and soul. This is particularly true in the field of the ness with which the first pianist imbued the composi Under ideal conditions the mind should be free for even paralysis of the vocal chords, away, for breaks the day;” “Ave Maria” song recital. Practically all of the renowned recital music study and for public performance. This is not which prevents them from vibrating may be sung in the same way. All singers of the last half century, including Schumann- always possible, and some artists under great mental these exercises should be taken at first Heink, Sembrich, Wiillner, the Henschcls and with the precision necessary to produce pressure have done their best work solely because they a full and free tone. in slow tempo, and as the voice gains others, have been considerably past their youth felt that the only way to bury sorrow and trouble was when they have made their greatest successes. The By suitable remedies, such as mas¬ in flexibility a quicker movement may to thrust themselves into their artistic life and thus sage, electricity, etc., the throat special¬ be adopted. painting fresh '-om the artist’s brush is raw, hard forget the pangs of misfortune. The student, however, ist can generally rehabilitate the weak¬ After full control has been acquired' and uninteresting. Time, with its cold, damp dust, should do everything possible to have his mind free so night and day: heat and cold, gives the enriching ened laryngeal muscles, but the nobler throughout the octave and a half origi¬ that he can give his best to his work. The student who task of restoring the voice to its nally fixed as, the limit of the initial age which adds wonderfully to the softness and is wondering where the next penny is coming from is original ease and purity of tone in range, which may take months or even beauty of the picture. We are all living canvasses. in a poor condition to practice Concone or Panofka. WHISTLING speaking and singing is reserved for years in obstinate cases, this may be Time, and time only, can give us those shades and Nevertheless, if the real ability is there it is bound to LEARN TO WHISTLE IMITATE THE BIRDS the singing teacher. On his part there extended upward a half-step at a time, tints which reveal living experience. come out triumphant over all obstacles. VOICE CULTURE C.B. HAWLEY must be a thorough knowledge of the but by gentle degrees and with great Special rates to quartets or those wishing to study opera or HOW TO GAIN EXPERIENCE. anatomy and the physiology of the care in order to avoid any undue strain concert work. Pupils from 6 to 70 years accepted. A RATIONAL AND ARTISTIC VOCAL TRAINING. Open daily, 9 A. M. to 10 P. M. Sunday, 10 to 4 Vocal Teacher, Composer and a relapse into former bad habits. One should hear a great many singers (artists), vocal organs; on the part of the pupil and Conductor I have used the word rational and it seems a neces¬ there must be no lack of prudence and This method of study assures a actors and speakers. One should read a great many sary term at a time when so much vocal teaching is Organist Madison Ave. M. E. Church, New York books. One should see a great many beautiful pict¬ perseverance, of patience and diligence. sound and healthful condition of the apparently in the hands of “faddists. There is only Singing should be preceded by a study larynx and leads to the acquirement of STUDIO ures and wonderful buildings. But most of all, one one way to sing and that is the right way, the way that should know and study a great many people and of the technic of breathing, which the mezza voice, the most valuable ac¬ PERFECT SINGING VOICE 35 West 42nd Street, New York is founded upon natural conditions. So much has been enables the singer to free the tone- complishment the singer who wishes to Telephone 5442 Bryant learn of their joys and their sorrows, their suc¬ said in print about breathing, and placing the voice, Artistic Tone Production is the singer’s most cesses and their failures, their strength and their producing organ from all restraint, and preserve his voice can have, as well as to vital need. The first course of instruction on the and resonance, that anything new might seem redun¬ s^bjeetbased on scientific: anatomy is now offered weaknesses, their loves and their hates. In all art to support it on the breath contained the portamento and to the messa di voce dant at the time. The whole thing in a nutshell is human life is reflected, and this is particularly true ■ in the lungs; this acts as the motive (the swell). Such vocal gymnastics simply to make an effort to get the breath under such in the case of vocal art. For years, in my youth, power and is in turn controlled by the form the only cure for the “sick voice.” excellent control that it will obey the will so easily and I never failed to attend all of the musical events diaphragm and abdomen. Vocal gym¬ BE HONEST~WITH PEOPLE. of consequence in my native city. This was of fluently that the singer is almost unconscious of any nastics, which have as their aim the immense value to me, since it gave me the means means he may employ to this end. This can only come strengthening and the. invigoration of BY C. H. FISHER. of cultivating my own judgment of what was good through long practice and careful observation. When the muscles of the larynx, are then Everybody, or almost' '.everybody, is or bad in singing. Do not fear that you will be¬ the breath is once under proper control the supply must based upon the support thus gained and haunted at some time or other. in the come blast. If you have . the right spirit every be so adjusted that neither too much nor too little prove the best medicine for the “sick course of his life with the idea that he The Seminary Choir will be applied to the larynx at one time. How to do ought to sing. Hence the great number musical event you attend will spur you on. voice.” Among the most helpful of 30 SHORT ANTHEMS FOR WOMEN’S VOICES You may say that it is expensive to hear great this can only be discovered by much practice and self- these is the singing of the partly vocal of singing teachers. singers, and that you can only attend recitals and criticism. When the tone has been created it must be consonants, those that admit of being Now, when a candidate presents him¬ Edited by ARTHUR H. RYDER Price, $1.25, subject to discount the opera occasionally. If this is really the case reinforced and colored vocally by passing through the sustained at a definite pitch, such as self, with the fever upon him but with The compiler of both The University Choir and The Seminary Choir you still have a means of hearing singers which nasal, pharyngeal and mouth cavities. This leads to m, 1, n, r, v, ng; at first in the compass absolutely no voice and no aptitude, don’t became impressed, during a period in which he was director of chapel music at you should not neglect. I refer to the sound, high- what is called a good tone on at least twenty-six steps of the speaking voice only. This may mislead him and prolong the agony. Don’t Brown University, with the extreme scarcity of anthems suited to the uses of class reproducing machines which have grown to and half steps of the scale and with twenty or more be taken as about an octave, including encourage the self-deception and torture American choirs composed distinctly of men’s voices or women’s voices. All but be of such importance in vocal education. The vowed sounds—no easy task by any means. All this the lower half of the middle tones and yourself with an utterly hopeless case. a small fraction of the publications to be had with English words were unavailable modern records are nothing short of marvelous, takes time, but there is no reason why it should take an the upper half of the low tones of the Remember 1 The day may come when on account of their length, their over-massiveness for a small chorus, or their and my earnestness in this cause is shown by the interminable amount of time. If good results are not singing voice, which would naturally he will insist on appearing in public; then difficulty for singers having little time for rehearsal. The compiler has therefore fact that I have long advocated the employment chosen the cream cf both European and American publications and has adapted forthcoming in from nine months to a year something vary according to the character of the it is that you will have to face the music. of the sound-reproducing machine in the public to them English texts suitable for choirs of men or women. is wrong with either the pupil or the teacher. voice. Little by little tones below and There may be others who, with com¬ schools, and have placed the matter before the The matter of securing vocal flexibility should not MR. BISPHAM t above this range should be added, until paratively little voice, will probably learn educational authorities of New York. I earnestly be postponed too long, but may in many instances be BOSTON, MASS. THE BOSTON MUSIC CO. 26-28 WEST ST. believe that one-half an hour a day should be given all the lower register and the entire how to sing passably; who may succeed G. SCH1RMER (Inc.) taken up in conjunction with the studies in tone pro¬ middle voice is under control, say an in having their taste improved and be to the proper interpretation of musical master¬ tion? Personal magnetism does not depend upon pe duction after the first principles have been learned. octave and a half, e. g., for a soprano able to acquire a good deal of valuable pieces through the medium of the sound-reproduc¬ sonal beauty, nor erudition nor even upon perfect healt 1. Thereafter one enters upon the endless and inde- from C below the staff to F on the last knowledge about how to listen to music. ing machine in the class room, and that this half Henry Irving was certainly not beautiful but he he d scribably interesting field of securing a repertoire. Only Well and good 1 But don’t deceive them; hour would be quite as valuable to the little ones the world of the theatre in the palm of bis hand. Mai line. The exercises consist of single The University Choir y a teacher with wide experience and a knowledge of, or sustained tones, of legato scales and explain to them just how far they may as that devoted to finding out how many ounces of pianists have been extremely learned but notwit rather intimacy with, the best in the vocal literature sugar there are in ten and a half barrels. Nothing arpeggios, of the portamento, .staccato. be able to go. 35 SHORT ANTHEMS FOR MEN’S VOICES standing their learning they have failed to hold ai d of the world can correctly grade and select pieces suit- systematic has yet been arranged for the use of the move their audiences. Some artists have really be n able to the ever-changing needs of the pupil. Edited by ARTHUR H. RYDER Price, $1.25, subject to discount sound-reproducing machine in the class room, but in the last stages of severe illness but have, nevertl I earnestly urge the music teachers of this country, No matter how wonderful the flexibility of the voice, Though this book is offered under the title, The University Choir, the needs less, possessed the divine electric spark to inspire hu 1- no matter how powerful the tones, no matter how ex¬ of college and church choirs and of Masonic and other male quartets are largely who are working for the real musical development dreds as did the hectic Chopin when he made his 1; BAS-RELIEFS of our children, to take this matter up in all seri¬ it tensive the repertoire, the singer will find all this worth¬ parallel as regards musical merit, brevity, and texts having force and reality for famous visit to England and Scotland. young men. Few, if any, of the 35 anthems comprised could previously be had ousness. I can assure them that their efforts will less unless he possesses a voice that is susceptible to the Liszt, Handel, Schubert Personal magnetism is not a kind of hypnotic inf 1- expression of every shade of mental and emotional in editions usable in this country. A number of them have been specially arranged bring them rich dividends in increased interest in ence to be found solely in the concert hall or t I - for this book. More than 25 of the pieces are usable in non-Trinitarian as well as musical work of their pupils. ie meaning which bis intelligence, experience and general theatre. We all possess it to a certain degree.. Soi ie culture have rewaled to him in the work he is inter- Holiday Cash Price, 50 Cents Each, Postpaid Trinitarian services. believe that the artist or singer can develop it by intei ie preting. At all times his voice must be under control. BOSTON, MASS. THE BOSTON MUSIC CO. 26-28 WEST ST. HOLD FAST TO YOUR IDEALS. concentration and the burning consciousness of th ir Considered from the mechanical standpoint, the voice We are prepared to furnish for this holiday trade the _G. SCHIRMER (Inc.)__ mission to communicate an artistic message to i above three subjects; we have a number of others in Ideals are the flowers of youth. Only too often ie resembles the violin, the breath corresponding to the they are not tenderly cared for, and the result is audience. Without this subtle and mysterious for preparation. e, bow as it passes over the vocal chords and the reson- that many who have been on the right track are success with the public never comes. Most fame These placques are made of hard plaster, size 4)4 x 6)4 THE CHOIR MASTER’S GUIDE ts ance chambers corresponding to the resonance chambers turned in the direction of failure by materialism. actors possess it. I was more impressed with Chat inches, with a ring attached for hanging requirements. A classified list of music for the Protestant Church. 48 pages. They form an artistic and appropriate decoration for is so—jo essential for the young singer to have the Fechter’s reading of Hamlet in plain clothes thar es in the violin.. Though this simile is at variance with the homes and studios of music lovers. ever was by any other version of the play staged w I scientific opinion, it is a helpful one which many voice THE CHORUS CONDUCTOR’S GUIDE highest ideals. Direct your efforts to the best in tn teachers employ. whatever branch of vocal art you determine to un¬ all the resources of the finest theatres. Why ? Fech A classified list of secular music for women’s voices, men’s voices and mixed THEO. PRESSER voices. 124 pages. dertake. Do not for a moment let mediocrity or possessed that marvelous gift, “personal magnetis er [This excellent article will be concluded in fk '■ January issue of The Etude.] 1712 Chestnut Street Philadelphia, Pa. Each of Ihe above books sent to any address free of charge ; ETUDE when addressing < 847 THE ETUDE THE ETUDE _ Questions in this month’s Round answers to otne 4 wiU think them over GAME OF MISSING LETTERS upwards, arc of gnat value “ Table will furnish ligh^, y^ ^ your ^ ,T s these pictures or postcards and project (Type .) , • ing them upon a screen. This adds im- carefully after that jn order to acquire right Give the missing letters of the lot- mengely to tbe interest in club meet- realize, if Poss , ’ ingj freedom, suppleness and lowing names of famous musicians, and where it cam be employed. Little THE TEACHERS’ ROUND PjRj conditions m P tQ ’eradicate the constraint that name one composition by each“* master: musical pictures framed in simple man¬ ■■ y case, and in °r essi(jn o{ her muscles, she 1. Johann Sebastian B-. ner and hung around the meeting room ) TABLE a must have t ; studies and exercises that Should practice music stu ^ ^ 2. George Frederic H--. of the club add greatly to its attract- Conducted by N. J. COREY SlIj^SgL IS 3. Johannes B-. seem very s«»PIe entire attention should be 4. Charles G-. While doing how the hands and fingers make ’ 5. Jean Baptiste L-. TACT IN MANAGING THE CLUB. concentrated P they {eel whjle doing so The advanced study. other that the music is played. To correct a s ® 6. Peter L T-, The necessity for tact in club man¬ note does not help matters. The correct tran the morons, d^h ^ stiffness or constraint is felt it agement has already been discussed. through the melodic progression must be aimed ior. moment any f g letely {or a moment, until she I exceptionally bright girl of thirteen, wno is in t e GAME OF PICTURES. The club leader should be quick to ninth book of Mathews and ia a very conscientious Therefore if you strike a false note, never mind’ is bett6rit Were collect her senses again. After this After the musical club has been or¬ 3d Month—The Polonaise. (Type 2.) note any feeling of dissatisfaction and worker?" you are practicing sight reading. Go ahead, ganized the leader will find that the 4th Month—The Waltz. The club leader here arranges from ferret out the cause It willb® leave the correction to be made the next time °v > It is hard to say just where such a student should successful club requires continual but 5th Month—The Mazurka and the twenty to thirty pictures of famous found to result from selfishness or and practice until you acquire the ability to piay S3- - —£ take up her work in studies, without knowing how very enjoyable work. The necessity Bolero, composers^ around_ j a,the- room. -re-The pict¬ sulkiness, and these are best overcome through correctly, and conceive as you play, a piec by both sympathy and good-hearted, proficient she has become, or how thoroughly her for a good, steady plan is apparent to 6th Month—The* Tarantelle. ures are numbered, but have no names groundwork has been laid. By the time she is m that is technically simple to you. Procure some o 7th Month—The Nocturne and the ridicule. Anything resembling a clique SCHEME OF PRACTICE. all those experienced in club work. The on them. Each member is then fur¬ the ninth book of the Standard Course, she should the Collections of Standard Compositions in tne Ballade. should be quickly broken up, " iji simpler grades, and play the pieces through many most feasible plans fall along the fol¬ nished with slips of paper, haying have been through Cramer, and Clementi s Gra- 8th' Month The Opera. many numbers as there pictures, life of the club depends upon the c times until you acquire facility. Do not repeat eac "I am lowing lines: dus,” or selected studies from it. She should have that I re?eiJ® at present teaching school and get Here again subdivisions will provide ^ ^ t---t. of practice f TUP.^ 1j naveghouId ueru Ilke luiu to keepiubi Sfc. Sir' *» “**“• mW b' * MUSICAL SPELLING MATCH,* GAME ^ play them with freedom and spirit. Having hmshed peat the process on the next day. scheme of practice r and l should like to keep (c) National. divided thus . TV FAR TRAINING found that the way to the child’s loyalty these, as well as a course in octave work, she could Excellent books for this purpose are the piano my technic is, excelplaying etudes by. cho))inChopin., Henselt IN EAR TRAINING. ^ ^ appetite. Many dub Do you think I can do this with only (d) Musical forms. 1st Month—Monteverdi and Handel. take up the first book of Moscheles, Op. 7°. Then arrangements of the standard operas, and you there¬ and hour* and a half for practice?" The historical plan is given first 2d Month—Rameau, Lully and Pur- (lype 3.) leaders feel that it is a mistake to give the easier numbers of Bach’s “Well Tempered by acquire a familiarity with world-famous music at portance, s e it is almost impossible cell. The leader provides each member refreshments at all the meetings, but Clavichord” may be studied, followed by a course the same time. First of all, however, you must break To acquire an accurate and reliable technic requires appreciate thoroughly different oll3d ---Month—Gluck ...... and Weber... with a slip of paper and then explains at some of tbe principal meetings re- in Chopin’s Etudes; after which the more difficult years of hard work and much daily practice. To keep yourself of the habit of stumbling, the main fault phases of the art of music without a 4th Month—Rossini, Bellini and that she will first play the scale of C freshments should always be served. figures of Bach, and Ilenselt’s Op. 2. After this ' r- of many who try to read at sight, and fail. Remem¬ this technic after it is once acquired requires compara¬ good fundamental knowledge of mu¬ Donizetti. major upon the keyboard, and that im- An atternpt should be made to get away Chopin’s Etudes should be taken up again, and an ber that a mistake once made never can be cor¬ tively little practice. One should play constantly, of 5th Month—Gounod, Bizet, Verdi. mediately thereafter she will play some from tbe conventional “lemonade and endeavor made to approximate the correct tempos. sical history. In the case of a senior rected. To stop the music and strike the key again course or one will lose rapidly; at the same time, with 6th Month—Wagner. notes of this scale, the alphabetical cake» or “iCe crqam and cake.” Chil- To play these etudes as the virtuosi play them will class it would be an excellent plan to simply obliterates the effect that was aimed for. Go a small amount of daily practice, a technic may be 7th Month—Puccini, Mascagni and names of which spell some word. The dren appreciate novelties, and their pa- require that they be reviewed many times. To play follow the “History Year” with one ahead, never stop. Practice diligently until the end easily retained, although to add to it severe work will pupils or members who are located so rents will 0ften judge the teacher’s advanced piano works with the ease that makes devoted to the study of musical theory ^Month-Strauss and Debussy, of the season, and then look back and see if you can again have to be undertaken. An hour and a half in¬ that they cannot se'e the keyboard are breeding by a little detail of this kind, them seem simple to both listener and player re¬ that is, the foundation laws of the then asked to listen intently and try to M;any delicious non-alcoholic fruit quires that one work at them constantly for years. perceive any progress. telligently applied ought, though, even to add to your science of music, harmony, elementary technic. I would suggest that you practice one-half MUSICAL PROGRAMS. determine which notes were sounded, punches may be made with the com- Did you ever notice how the great virtuosi play the acoustics,:uusuts, cll. , se desirable to have a and tnen write down rne word upon me biriation of the juices of berries and SUPPLEMENTARY WORK. hour on your exercises; ten minutes on scales, using and then write down the word upon the bjdation of the juices of berries and same programs year after year, throughout their en¬ It ,s difficult to study acoustics with- J ^ program connected with every slip of paper. This makes an excellent grapes and the citrus fruits with sliced tire careers, and how much better they play them as "o. Should supplementary studies he tak single-note scales one week and double thirds, sixths outif special physicalnnvsical apparatus,aDOa.r3.tUS. butDUt 3 ^ & . .. •« I *rnr1and incfnipfivAinstructive cram**game for brightnriorit vniltie*young fruitr_•. of_r otber_ descriptions. DomfuDainty the years pass by? When one reaches the stage of Kohler’s Op. 190? Also, what studies she club meeting, but it is not possible ii and tenths the next, etc.; ten minutes on arpeggios, few simple experiments may be con¬ folks. Here are some words to try: sandwiches made in odd shapes progress represented by the Chopin Etudes, it varying in the same manner; ten minutes on other all cases to secure illustrationsiuusiraus*iH>-alu for thesemese . „ , . , , sauuvuvuvo *** ~^ — l0“6.tKindl.v recommend» -j a bookA~n,,, rof whitinpedal ducted by the teacher with home-made programs.ms While,vvmlc, for instance, illustra- Ace,• fed, deaf, gad, bead, cabbage, dead, catch the ch;ld>s eye and filled with means the establishment of a repertoire which exercises, which should be divided between running they" ai apparatus and the assistance of illus- tions of- interest fromr Monteverdi,xit . . a __1: bad,hnrl mcage.crp . _____ovFAAiv. A,*, w and tastyr fillJn/rfilling are rptnpm.remem- should be constantly kept in practice, returning to passage work, chords, octaves, etc.; fifteen minutes each piece and etude from time to time, and meas¬ Be sparing in the variety of studies that you use. trated books on the subject. The third Lully and Purcell, etc., are obtainable, Other similar words can be made up, bered by young folks more than the on etudes, fifteen on new pieces, fifteen on review and they are sometimes difficult to secure, but m every case the teacher should iengthy talk on “the origin of the uring one’s growth by the improvement that can As a general rule do not use but one book of studies year might be devoted to the more the same on memorizing. Or, if you do not care to Operatic arrangements from Weber, P>ay the scale slowly, preferably nam- f » be noted in interpretation. at a time. The supplementary work to studies should vanced study of musical history, cl... operatic arrangements mm. ; - , . - ... ■ memorize, twenty minutes each on the foregoing three bined with an attempt to study the Rossini, Bellini, Donizetti, Gounod,_j mgmo- each nntonote before .soellinerspelling the words The best advice that can be given to the “girl of be pieces. Too many etudes make a player dull. He divisions. This will doubtless afford you an equal music of the composers from the Verdi and Wagner are common, but in on the keyboard, GETTING NEW MEMBERS. thirteen” is not to try to advance too rapidly, nor needs to be interested if he is in turn to make his / to attempt things too difficult before an adequate division of labor on the various necessary branches of national standpoint. A course of this securing these from your music dealer Another tomform of thiit is same game playing interesting. He will accept a reasonable •mg inese iruui yuui uiusii- ucaili , . , . , ., The matter of getting new members foundation has been laid. Let her take every pos¬ your playing, and will keep you a good player. you should make it very plain what musical arithmetic in which the teacher amount of etude work for the sake of the benefit he kind might be arranged thus: is a very important one for the life of sible opportunity to hear great players, in order 1st Month—Folk-Sv.ngs of older na- grade of difficulty you require. Wag- K-ves the notes of the scale numencai the club. I Unlessum£SS new1 melIll that she may form an ideal of what good playing believes will accrue to his technic—for the sake of SCALES. ner’s music, for instance, may be pro- names instead of letters. She tells he admiUed thefe wiu be no to make should aim to be. Above all, let her learn that great general progress. A good supplementary work to cured in all grades, from a children’s members to put down the u? fof the ineyitable loss of some of 2d Month—Italian composers. playing arises from a few things played a great deal Kohler’s Op. 190 is the first book of the Standard "a. How early do you advise beginning to teach arrangement of the Tannhauser March numbers of the scale she plays on a tJj old. members_ One way to make scale work? 3d Month—German composers. rather than many things played a little. The latter Course. There are many etudes in this latter, how¬ “6. Do you think It advisable to teach one scale to tnethe grcdLgreat dimand cAiccumg^exceedingly vi.difficult 111 v. 141 l u nAA ^ * memoersnipmembership ciesiraDiedesirable is to) strictrestrict the1 ever, and when these predominate the practice of the after another, regardless of speed, until all the 4th Month—French composers is far too often the ideal of young players, and majors are thoroughly learned, as to fingering anil Liszt arrangement of the Tannhauser S>ven she requests them to add up the ofl'members so that there ib * hence they attempt to advance so rapidly that in Kohler would better be dropped for the time being. keyboard location : or would you teach one at u 5th Month—Russian composers. overture, or the “Liebestod” from lines awarding . the prizes to. the first j . list o{ those who may desire time and work It up to a moderate tempo? I ask 6th Month—Scandinavian composers. reality they advance very slowly. They should en¬ The first book of the Czerny-Liebling Selected Stud¬ this because It takes so much of the lesson hour “Tristan and Isolde.” member to get the correct total. tQ be(;gme members of the club. Those 7th Month—English composers. deavor to make themselves familar with as many ies can be taken up after the Kohler you mention. to play scales." on the waiting list should be invited i- of the great compositions of the great composers as b. I would not recommend that any book of pedal 8th Month—American composers. a. Depends much upon the aptness of a pupil, but HOW THE SOUND REPRODUCING talks. to au 0f tbe open meetings and to possible, orchestral and vocal, as well as piano, read¬ studies be used with a young pupil. Teach the prin¬ Although a whole season could be MACHINE HELPS. Although the music club is for the events of importance, but be made to ing or listening to them frequently; but should en¬ preparation for scale work should be begun very early ciples of pedaling to them little by little as you find devoted to the study of the composers The club leader should always recog- purpose of studying music, it is well understand that it is impossible for deavor to technically master but comparatively few. in a student’s work. I should say that with a reason¬ favorably opportunity in the pieces that they are study¬ -- -e nation,. and, in fact, many nizg the danger of attempting music for the teacher or leader to widen the them to have the benefits of the club In this manner your bright pupil may acquire musi- ably bright pupil single octave scales, at least, with ing. You can profit by the study of Hans Schmitt’s sical clubs of adults do this, the teacher ^ toQ djfljcuit for tbe members and scope of the club work occasionally by until they become full members. In || cianship of a high order. each hand separately, should be begun during the first book “The Pedals” and can find principles definitely of young folks will find that variety defeating the purposes of the club by introducing talks on interesting topics, this way many will be found who, be- term. With some, however, only the preparatory stated in it which you can teach to your pupils as they the spice of music as well as of life. such impractical means. It i^, for in- A good story for young people, on the lieving that it is difficult to secure ad- SIGHT READING. are ready to receive them. Mark their music care¬ work can be done during this time. The months should be made stance, almost impossible to secure il- order of “Mrs. Wiggs of the Cabbage mission, will try harder to become "I cannot read simple church music at sight and fully, however, and be sure they understand just why b. Each scale should be first learned and practiced prehensive as possible. If four meet- lustrations from the operatic works of Patch,” “Tom Sawyer,” “Little Men, members. This : of the secrets vet I am studying in the sixth grade. Could you ... . . 1 , 1. _ r*_-r. • • n. « t-x „ T 71 „ „ TJ_U ” . . . suggest some remedy? My teacher says that I they are using the pedal in a given place. Also dis¬ until it can be played comfortably in one octave, essay¬ held each month the German Leoncavallo, Puccini, Strauss and De- Under the Lilac Bush, The Christ- gome of the most successful frater- play my advanced lesson music well.' courage the term “loud pedal.” Even in this discrimi¬ ing each in succession without reference' to speed at month might, for instance, be divided . bussy that be adequately given Carol,” “Little Lord Fauntleroy” nal orders of the country. They make this early stage of instruction. The main thing should Sight reading with some seems to be an art by it- nating age thousands are heard speaking of the loud thus: without the paraphernalia of the opera or “The Wizard of Oz,” is always wel- it a policy never to urge anyone to i| self, with others a gift, and with all it should be an pedal, a term, that is entirely misleading. The func¬ be to learn their nature and how constructed at first. 1st Meeting—Bach and Handel. the teacher’s only alterna- corned with bright eyes and renewed good sound repro- interest. if ambition. In most cases it requires close and inteili- tion of the pedal is not primarily to make the music Students should be taught how to build each new scale 2d Meeting—Beethoven, Mozart and Children do not like to be coaxed 'j gent application in order to become expert. This is louder. This the student should thoroughly under¬ succession for himself, and not read it from out a Haydn. ducing machine. With the help of first- into doing anything, but they are very book. It is r class instruments and the best records E CHILD’S LOVE FOR PICTURES. if possible, however, if one will exercise the requisite stand. —--t necessary“'-'-voacllj’ toIU spend UIUmuch of the lesson 3d Meeting—Gluck, Weber, Wagner anxious to join in any work in which the teacher has at her service the mu¬ amount of patience and application. Begin with TOO RAPID ADVANCEMENT. hour playing scales. The student’s progress can be and Strauss. (Four great opera per¬ The child’s love for musical pictures they are convinced they have a special sical advantages of an opera house '! very simple pieces. Look one through carefully at determined very quickly in two or three scales, and formers.) should also be taken into consideration. interest. A public meeting at the end “I have a pupil who has advanced far too rapidly .• A. , 1 costing thousands. of dollars to In first, and try to form a conception in your mind of before coming to me. having been considered nearly then the lesson can he given to other things. 4th Meeting Mendelssohn, Schubert, * . real, . ,v Every club leader should keep a scrap of the year_ exhibiting the work of the ' how it ought to sound. Learn to read the music ready for the seventh hook of the Standard Course, Schumann and Brahms. way in book and take advantage of the remark- „ ___ page with your eye and mind, away from the key¬ but it is entirely too hard for her. She has little which an adequate idea of the rreal mu- tl1lmhpr nf •'? , :,Wnlf,nn« club thr0USh a muslcal Pro^am < talent, but is anxious to learn. What is best to ADULT PUPILS, This, of course, inclu board. You cannot read quickly at sight unless you do for her?" that continually appear in the general , , „ . , : , greatest masters, but the club member jn towns and cjties where there are 1 . ft can quickly conceive the music page. You must, and musical magazines. It is only of tbe y°unS fo1^. >s also anfher de- Give her a good heart-to-heart talk. Try and make learn tt*0! e«? when playing at sight, make your music sound right marches, etc. ? lias taken lessons before but U has already learned of most of the opera houses with first-class singers, within the last twenty-five years, or *irable meaf increasing the mem- , as you go along. It is too late to conceive it after her realize what is essential for attainment in art, much troubled by fingering.” ' lesser ones through the medium of since the introduction of the half-tone bership of the club. you have played it or blundered at it. A congregation which, of course, includes piano playing; how intelli¬ “The Young Folks’ Standard History ENTERTAINMENTS, She will have to study preliminaries in exactly the process, that such illustrations have - would not catch on to a hymn very quickly that gent study must be applied to everything that is done of Music. same manner as any other pupil if she desires to In conducting the musical club for been available for the use of the was played in this manner. if it is to come to anything of value; that application gain control over her fingers. No matter whether JLAL...6young peopleHV.V1AAL, games„ .IlGOl beu C UWOtUdevised teacher.lUGLUU ThinkJ. 11X11IL LLF1for

CHARLES HEINROTH. Ten pupils do not make a very large class. gravity battery, or if, as is frequently the But supposing they each practice one (Concert Organist.) case, the battery is of a type known as hour a day. Can one blame the church ‘'combined generating and storing,” the members if, with the organ going from Organ stu¬ generating power frequently is too small CHURCH ORGANS 8 A. M. to 6 P. M.. it seems to them that dents labor for the organ, and at Christmas and When in the market for an organ do not fail to consult us, as we the "church has been made into a con¬ under a pecu¬ Easter time, when more than the usual can give you the best possible value for the money. servatory of music? And, aside from liar disadvan¬ amount of rehearsing is necessary for the We invite careful investigation of the many advantages afforded this, where is the student to practice from, tage, one to special music, the battery is liable to give say,’ November to April? Certainly not which neither out at the crucial moment. With such by our Universal Air Chest System in the manner of accessibility room ir factory and in ’a cold church, unless he value his an organ daily practice would prevent the and superb tonal qualities. Write for descriptive book “A” fully explaining our system and prohibit its musical progress above his health. No, other instru¬ accumulation of sufficient current for the mental stu¬ use except the true solution to this problem is the Sunday services. Even in such instances giving a list of organs built by r" during one small practice-organ, available—in a dents are sub¬ it would be a benefit in disguise, for it moderate sized, easily heated, room—the ject, namely, day a week? would expose the inadequate batteries. AUSTIN ORGAN CO. Hartford, Conn. of not being /The organ is year around. Would we had more of 2. Church committees ought to see that a mechanism them! able to prac¬ the church is an educator in its own be¬ SHALL THE CHURCH ORGAN students how can they properly prepare not altogether 3. Surely organ recitals should be en¬ tice when they half when it permits young organists to REMAIN IDLE SIX DAYS themselves for their vocation? GRAND HIGHEST AWARD of dissimilar, and couraged. There is much organ music, like as long practice on the organ. Where would the A WEEK? I believe a fund should be established IN CHAPELS especially transcriptions of orchestral as they like. church secure its organists if every organ the Alaska-Yukcn-Pacific in every church which will furnish, to a works, that is effective and entirely suit¬ were closed to the student? and small churches the problem of Suggested by Francis L. York. reasonable extent, free practice upon the able for organ recitals, but quite out of thorities are loath to give permission 3. The weekly organ recital (when the musical equipment is solved by the Exposition has been given organ, and that the official organist of reason that, if closed for six days and place in a church service. Whether the to anyone but the regularly appointed programs are commendable) educates the the church should always be made a only played on Sundays, it will in time to the A symposium in which many of the recitals are given on weekdays or on 'organist to use the organ. In this public in good music. It draws peopU member of the music committee. foremost American organists and organ deteriorate in value. Sunday afternoons, or immediately follow¬ they cannot altogether be blamed, in¬ into the church on weekdays, and uplifts 3. Organ recitals should most assuredly I maintain, after long experience, that manufacturers have participated. ing a Vesper service, seems to me a ques¬ asmuch as they look upon the organ as their thoughts. It attracts attention to be encouraged, but I am not *in favor of it is much better to have an organ used, tion of minor importance. A high musical a costly and delicate bit of mechanism. the beautiful, to the grandeur, and to the KINETIC [It Is Impossible to estimate the vast absolutely free recitals, unless they form for judicious practice will not harm or in amount of money Invested In pipe organs In standard should, of course, be maintained. They might alter the dictum did they un¬ manifold possibilities of organ tone which America. The multiplicity of our creeds has an integral part of religious services. jure it in the least. Young men and derstand, as organists do, that the student cannot be done in a Sunday service. As The general public cannot be educated women of talent are eager _ to study. But organists should endeavor, I think, Organs ORGAN can do no harm as long as he remains in such, it surely ought to be encouraged, to appreciate the highest class of organ Their only opportunity is by gaining ac¬ to arouse the interest of their audiences, rather than to try to educate them. The front of the keys. At the Church of the and is encouraged in many localities. which afford in a small space, and at a been estimated that In one of our larger cities music unless special recitals are frequently cess to an organ, otherwise they must small price, many advantages over the- BLOWER class-room atmosphere of many recitals Ascension, in New York, for the eleven over *200,000 has been Invested in pipe or¬ given, either upon week days or Sundays. choose another profession. The matter large pipe organ. gans. It is safe to sav that the total in¬ can never make a wide appeal. In music, years that I was organist the organ was HOPE-JONES ORGAN COMPANY. vestment for the country would rim well up Churches having superior, or even ade¬ should come to the attention of church Their perfect voicing, depth and for its ability to en- as in every art and every science, an in constant daily use from nine until five (Pipe Organs.) Into the millions. In hundreds and hundreds quate instruments, and competent, if not committees, and if presented in the right balance of orchestral effect, sonority of hance the tonality of any of our churches, the organ remains Idle dur¬ o’clock, and could be depended upon at In my opinion no injury can result to tone, mechanical perfection and artistic ing six days of the week. Tills is often be¬ superior organists, should provide every¬ light I feel certain they will in many in¬ aroused interest is the first requisite any first-class and properly made organ, appearance, are a few of the points of ' organ. cause church committees fail to realize the thing in their power towards cultivating stances grant the privilege. toward any real education. all times—except in summer, when it was necessity of pr * ".. * and stimulating a taste for the best in silent most of the week—then something either from daily use or from its being superiority by which they are peculiarly It is readily applied to old — th Without practice it is impossible to be¬ adapted to the requirements of the small dble for the young organists to secure organ literature, but I cannot understand come anything but a mediocre organist. usually stuck on Sunday. While an organ left unused for months at a time. organa, thereby increasing their erlence necessary to cnrrv on the work E. R. KROEGER. Rost. Hope-Jones. congregation. predecessors. Mas why an organist, or other musician who At the Old First Presbyterian Church, is in daily use you will find few moths J volume and brilliancy. e Church, has devoted his life to perfecting himself (Concert Organist.) and mice—the greatest terror to the Catalogue with complete description Mild s of t New York, where I officiate, we have two ESTEY ORGAN COMPANY. organist in his chosen profession, should be ex¬ organs. Both instruments have been used organ caretaker. Church committees are - Write for (Pipe Organs.) use _of°the organ, a' iienfed iiuditi-- pected to donate his services to the cause for years. We consider they are the right in demanding good organists, but MASON & HAMLIN CO. Descriptive Catalog motor power to permit him to continue his themselves are unwittingly the greatest Our opinion is that the daily use of an education. Thousands of dollars are spent of music. better for it, and at the same time the BOSTON, MASS. vearlv to support theological schools, and the church receives a good income from the enemies to good organ music, inasmuch as organ will be a benefit rather than an Church would be unable to continue without injury to the instrument, provided it is them. Why not give the organ student the RAYMOND HUNTINGTON WOODMAN. rental. they withhold most discouragingly at the KINETIC ENGINEERING opportunity he deserves?] The weekly organ recital should be en¬ outset from the budding talent the only used-and not abused. We believe that if (Concert Organist.) day of the means by which he may become proficient. the organ is used the churches would be COMPANY SYMPOSIUM. couraged and made a part of the educa¬ week. In Eng¬ tional work of the church. Organ musiq. The great violinist, for instance, cannot kept at* a more uniform temperature, and Estey Church Organs 1. Does the daily use of the organ land all the Baltimore Ave. 8 57th St., Phila., Pa. if properly interpreted, is uplifting, and master his instrument by absent treat¬ annoyance and damage from dampness injure the instrument or benefit it? cathedrals and its influence is far-reaching. Frequent ment; why should the organist be ex¬ would be avoided. ESTEY STANDARD MAINTAINED 2. Do you not believe that the Church many of the pected to do so? Estey Organ Company, should make provision to assist young recitals are an incentive for study, and MAXIMUM FACILITIES _ yy YV,_ BUILDERS OF churches have The week-day organ recital should By J. G. Estey. organists by permitting the free use of the work at the regular church services HIGHEST GRADE OF PRODUCT daily services. most certainly be encouraged—provided the organ during the week including the will be strengthened and the better for it. PIONEERS AND LEADERS ALWAYS KIMBALL Pipe Organs Besides these, the recital-giver be really a recitalist. Al¬ (The unusual interest taken in this cost of motor operation? Give the student of to-day a chance, and COMPANY For Churches, Audi- rehearsals are ready too much harm and prejudice have' symposium makes it necessary to con¬ 3. Do you not consider the organ re¬ of the mechan- our musical growth will exceed that of CHICAGO . ILL. toriums and Residences held, the or¬ to be eradicated on account of the work tinue it in a future issue, when con¬ cital, given upon weekdays an integral any other country. Hundreds of Kimball Pipe Organs have been ganists prac¬ of the poor and mediocre organist. tributions by the other foremost organ¬ built in prommentjjehurches throughout part of the educational work of the finitely small tice and give ists and organ manufacturers will ap¬ that it need JAMES H. ROGERS. Estey Organ Co., Brattleboro, Yt. lessons, and occasional recitals are EVERETT E. TRUETTE. pear. Among those who will take part PLANS, ESTIMATES, ETC., FURNISHED not be consid¬ (Concert Organist.) given. In some of these sacred edifices are the following famous organists: ON APPLICATION CLARENCE EDDY. ered, while the there are organs which for beauty of (Concert Organist.) Harrison M. Wild, H. C. MacDougall, Prices from $1,500 to $100,000 ventilation of tone are unsurpassed. Yet some of Gerritt Smith, Frederick Maxon, Herve (Concert Organist.) valves and them have been in use for centuries. D. Wilkins, Charles E. Watt and Sum¬ gan, whether wind-channels To be sure, repairs, additions and ner Salter.) large or small, Church Organs by the com¬ improvements have been made which pressed air and the prevention of dust tracker, tub¬ F*IF*E ORGANS LATEST IMPROVEMENTS have materially altered the organs from in the pipes have the tendency to keep ular or elec¬ BOSTON NEW YORK PHILADELPHIA their original design, but the fact that LYON & HEALY’S gard to using the organ in proper tonal and mechan¬ tric action, is CHICAGO LOUISVILLE DALLAS these instruments maintain their superior the organ out¬ ical condition. benefited by quality amply proves that constant use is GOOD CHURCH side of church 2. It is certainly a helpful thing for Main Office & Works not detrimental to them. churches to assist young organists by Pipe Organs of Highest Grade Only me say: providing a place for practice. It wouid 2. The objection on the part of many Hastings Co. 1. An intelli¬ music committees in the churches to ORGANS Our Instruments comprise ail features which not be improper, however, to charge a At Reasonable Prices are of real value. Many years of praclical Fair Prices. Established 1827. All Sizes. gent daily use their organists giving lessons during the reasonable fee for the use of the motor, experience. Write for specifications. of the organ is which is practically the only piece of ma¬ week is incomprehensible. Besides the detri¬ chinery connected with the organ on fact that daily use will not injure the in¬ EMMONS HOWARD Westfield, Mass. December American Organ mental to the which wear and tear is appreciable, and strument, the proper education of young instrument; on in some localities power is expensive. organists, who may eventually develop Fine Folding: Organs Fine Parlor Contains a Christmas Voluntary the contrary, into masterly players, is a matter for Organs^ $45.00; Good Second-Hand Organs nt for Pipe Organs 3. The organ recital is undoubtedly have no effect whatever upon the au¬ HOPE-JONES ORGANS it should prove Pedal Part on Separate Staff educational—if properly given. Unfortu¬ dition of an organ, either as to tone or serious consideration. There being com¬ LYON & HEALY, 35 Adams Si., Chicago paratively few pipe organs in private quicker, and will be more liable to The American Organ is a magazine con- a benefit by nately, many are ill-prepared and poorly- mechanism. On the other hand, the always keeping the organ in good work¬ annoying derangements, than the instru¬ HOPE-JONES ORGAN CO., played, and are, therefore, robbed of their organ, and especially the modern or¬ dwellings, the young student generally ing order. It stands to reason, however, ments which are used daily. BATES & CULLEY E.CL. AsUBFORi),nEditorra Th^Decemblr number value. A,,- gan, being of extraordinarily intricate has his sole opportunity for practice upon that the organ should not be constantly Daily practnce on an organ tends to |j Elmira, N.Y., and 41 Union Sq„ New York City, N.Y. \ It takes time to prepare an organ re¬ and often delicate construction, a pren¬ the church organ. Therefore music com¬ Church Organ Builders for general use Price, 35 cents per copy. Sent run at top speed, with the throttle wide prevent the action sticking in damp cital properly, and if churches wish their tice hand (or foot) may we’ll work mittees, or other responsible church au¬ open and all the steam on, any more than weather, blows the dust off the speaking 706-18 Mercy St. Philadelphia, Pa- organists to give them as a part of the havoc with it by undue violence. thorities, should encourage their organ¬ Established Fifteen Years ADAM GEIBEL a motor car, or other engine, nor should part of the pipes, keeps small insects out educational work of the church, sufficient 2. This question is a poser. Assuredly ists teaching capable young students. Modern, Up-to-Date Construction in all kinds of^ it ever be used for “joy rides.” of the pipes, insures good working order funds should he raised, by subscription the com mg generation will need organ/ 3- Week-day organ recitals are a source mas Catalogue. Among the new things d, 2. Church committees ought not only in all the mechanism, and thus keeps the ANTHEMS FOR THE CHOIR or otherwise, to give the organist a fair ists, and how can anybody become an of great pleasure, as well as musical scribed are: to be glad to provide earnest students return for the time spent in preparation. profit, to a community. There is so much cost of repairs down to the minimum. 1 PUBLISHED Glees and part songs, ( SUNDAY-SCHOOL PROGRAMS organist without practicing upon the The only instances where daily prac¬ on. and mixed Quartettes, §”“ul.r HUMOROUS CANTATAS with facilities for practicing, but should Properly prepared and performed, an beautiful music written for the organ OCTAVO ANTHEMS organ? Assuredly, too, the churches tice is injurious are with electric organs make it their business to encourage or¬ organ recital is of great educational which really has no place in the ordinary A RECENT REVOLUTION CHOIR CANTATAS ought to be willing to help in this matter which have insufficient batteries. In such SHEET MUSIC—Solos and Duets ganists in acquiring a knowledge of and value, particularly in small cities and church service, and this can best be IN ORGAN BUILDING But just how far would reasonable co¬ organs, if the current is supplied from ORGAN MUSIC a skill upon the king of instruments, towns, where concerts are comparatively brought before the public in recitals. In All for Christmas. A copy of this Christmi operation on their part go? For there is storage batteries, which are charged di¬ quite as much as promoting educational few. It is needless to add that organists rendering a program of high-class organ Catalogue free to those mentioning “The Etude. another side to the question. Suppose rectly or indirectly by the street current, ADAM GEIBEL MUSIC C3. work for the pulpit. Unless the organs should never play a program without ade¬ music, as well as good transcriptions, the 1020 Arch Street, Philadelphia, Pi THE LORENZ PUBLISHING CO. an organist has ten pupils who wish to no trouble will ari=e. If, however, the 27 E 22d Street, N. Y. in our churches are thrown open to such quate preparation. organist plays an important part in the 150 Fifth Ave., New York Dayton, Ohio practice upon the organ in his charge. storage battery is charged by a primary, 214-216 State Street, Chicago, El. musical development of his city. THE ETUDE when addressing our ac 851 THE ETUDE THE ETUDE 5. The ’cello is a difficult instrument. In Fig. a we have lastic bow will disgust and dishearten have a good tone, for they have not. of the violinist when situng^a the the most talented pupil. Age will do nothing for a violin that You could not possibly learn to play well or orchestra work. The J^tand grace- “Don’t” buy a $500 piano for your girl had a poor tone at the beginning, without a teacher, although you might ROOT VIOLINS upper part of the body , j natural and and a $5 violin for your boy, and expect Then it is well to remember that many learn a little by yourself. “Kumler’s fui, and thewhoieamtude fi them to take equal interest. A piano to old violins, Cremonas as well as others, Method” is very good. pleasing Both feet are y twisted correspond with a $5 violin outfit would have met with injurious accidents, or R. B—In regard to your difficulty in on the floor, instead of bel"f be a rickety $25 square, thirty-five years have been scraped or altered by peo- putting A strings on, you can buy a pair into all sorts of positions, as is * old, and ready for the scrap heap. pie who tried to improve the tone. of tweezers at any drug store for ten the case even with public P j cents, with which you can reach back and This figure also illustrates s “Don’t” trust to your own judgment There are such violins in existence to- in selecting a violin, if you have a friend day, undoubtedly genuine, made by get hold of the string after it has been other valuable points. It gives threaded through the hole in the peg. rect position of the right handl andi arm Fig. 6. or violin teacher whom, you can trust Stradivarius himself, the tone of which when the bow has reached the po ^ HOW TO HOLD THE BOW. to make the purchase. He should be a is not good. Many violin players carry a small pair of tweezers in the vest pocket for that Note that the wrist has now assumed^a violinist and a good judge of violins. “Don’t” forget that a good, well- Fie 6 illustrates to advantage the cor- “Don’t” try to make a “find” in pawn- made violin will last for several life- purpose. We guarantee and stand back of shops and second-hand stores unless you times, without deteriorating, while a M. H. P.—The backs and tops of violins ROOT VIOLINS. You run no risk. OVIDE MUSIN ON CORRECT areS'srrXdTS; held close together on the stick. -.jusercBefi fs are iaid eaSily and <** naturally w -on are an expert judge of violins, as you will piano will commence to show signs of are not of the same thickness. The backs Ample time for trial allowed. Sold on easy payments if required. Partic¬ POSITION. the stick, close, but not squeezed tightly likely pay a high price for a worthless wear, as far as the tone is concerned, are made thicker, although there is no in¬ instrument. If you are not an expert in a few years. Money paid for a good variable rule about how much thicker ulars and finely illustrated Catalogue together. The fingers are seen to be t on application. BY ROBERT BRA IKE. almost at right angle to the stick of the judge, and have no one competent to violin is money well spent. they should be made. Stradivarius, in his how, and not at an acute angle, caused by select a violin, go to a reputable music “Don’t” imagine that it is easy, even “middle period,” made his tops 2^2 milli¬ E. T. ROOT & SONS [Note.—The photographs Illustrating this the wrist being tilted to the left. The house, and leave the selection to the for an expert, to “pick up” a violin, sec¬ metres, and his backs 4 millimetres thick, 8 Patten Bldg., CHICAGO article were posed for by the eminent violin ond hand, worth $200, for $15 or $20. virtuoso, Ovide Musln, late Professor of position shown gives the utmost possible violin clerk. although during his other periods he Established over fifty years Violin playing at the Royal Conservatory freedom to the wrist. The stick of the “Don’t” buy a violin on the strength Unless you are an expert in judging varied somewhat from these dimensions. of I.lege. Belgium; an Institution which dut- |„st •, in tirr till 111 -,I Ho- world with bow is Shown to lie in the first joint of of the label inside it. Any wholesale mu¬ violins, you are more likely to get one Other makers have used different pro¬ fine violin some of its most famous violinists, including the first finger, and not in the second, as sic house can sell you violins in lots of worth $5, or possibly nothing at all, portions. Mehul. Charles dcBerlot. Leonard, Massail. Vleuxtemps, Marslck. Musln, Ysnye and it is often wrongly held. This illustra¬ a dozen at $2 each which bear labels for your $20, than one worth $200. The -CATALOG- Thomson. These pictures are copyrighted of Stradivarius, Amati, Guarnerius, etc. purchaser who knows nothing of vio¬ To anyone in the market for s violin, we will send In Musln's "School of Violin Playing, and tion is so clear that it explains itself. our beautiful catalogue. It quotes the lowest prices are herewith reprinted by special permission “Don’t” buy a “freak” violin. By this lins should patronize reputable firms on old and new violins of fine tone. Send for a of Mr. Musln.] Fig. 4- I mean one pure white or jet black, or who carry large stocks of violins, and copy and study the subject before buying. some unusual color, or one with pearl A series of pictures giving correct THIRD POSITION. who will exchange another one for the inlaying, or purfling, or with pictures on one purchased if it is not satisfactory. LYON & HEALY, 35 Adams St., Chicago positions used in playing the violin, while the back. At the present day only cheap, Many self-taught and badly-taught violin A FEW “DONT’S” ABOUT THE BOW. of interest to all students and teachers students allow the fingers to straggle inferior grades are made with this orna¬ of the violin, are of double interest to apart on the bow. The appearance of mentation. They are made to sell to the “Don’t” forget that a good bow is teachers who have had little experience, the hand should be rounded and graceful ignorant. of the utmost importance to the player and to students who have never had the as in the illustration. The bow is exactly “Don’t” buy a violin with a lion head and student. A fine bow is of immense advantage of personal study with a really parallel with the bridge because the or other colored‘figure in the place of a assistance in “drawing” a fine tone. first-rate teacher. There are numberless elbow of the bow arm has not been drawn scroll. Such things excite the ridicule “Don’t get a bow which is too violin students, especially in the smaller backwards, thus pulling the bow out of of violinists and musicians generally, ex¬ heavy, especially in the case of ladies towns and cities, who are either self- parallel. Even professional violinists are cept in the case of genuine old violins and students, who should have bows, taught, or who are not in reach of a at times careless about maintaining this made by the great masters, who, once in if full size, weighing not over two good teacher. I hope the admirable parallel position of the bow when play¬ a while, made a violin with a figured ounces. Children’s sizes weigh less. series of illustrations taken from Mr. ing at the point, and allow their arm to head in place of a scroll, probably to the “Don’t” try to select a bow yourself Musin’s able work will help such students order of some patron. if you have a friend or teacher, who is bow at the bow “around the corner” to some extent. to correct some of the most glaring correct sitting position. / The position of the left hand and a~ “Don’t” buy a violin for looks. The tone a good judge, who will do it for you. faults which self-taught players invari- point. when playing in the first position is a is everything, where the violin is purchased A bow should be highly elastic, and this figure.. The Fig. 7- for use, and not to put in a collection. yet not too limber. The stick should in using sucn illustrations tne student "“''“J ..left elbow is held far under the body ot be perfectly straight, viewed from ■ HOW TO HOLD THE BOW. “Don’t” buy a violin of too gaudy a will find a large mirror, long enough and of tbe body and frequent distortions o the viojin t]nls throwing the fingers color. One of a quiet tint or a fine imita¬ above, but with a deep curve from point wide enough to reflect the full form and ‘be face, the audience will be . alive. ■tn. above the fingerboard, to frog, when view from the side. Fig. 7 shows the holding of the bow tion of a violin by one of the old masters motions of the arm when bowing, a valu- tbese defects, which irni enhanced strike perpendicularly c looks more artistic than a newly finished “Don’t” buy a bow for $1 and ex¬ mirth and lessen the charm enhanced from the under side. The thumb is placed pect to get good results. Although it PROFESSIONAL DIRECTORY on page 858 able • assistance in seeking to adapt his opposite the middle finger in the illustra¬ one of a blood red or fiery orange color. by grace and repose of manner. The ^ ong oj “Don’t” buy a violin which has been may not be necessary to. bijy. a $200 or Inserted 12 Times, Before Half Million Musical own position to those given tion, forming a “ring,” as many teachers People for $12.00 body should be held erect, and the head the beginner. made by a carpenter or cabinetmaker who $300 genuine Tourte bow"'at the'start, tratipns. The thumb is slightly bent, and the well raised, to enable the entire audience p;g 3 „.ives the correct position of the knows a little about fiddle making, and yet even a beginner should have a bow to see the face of the performer. We hand when playing- in the first position, little finger is held on top of the stick and puts in his spare time in that fascinating balances the weight of the how. costing $5 or more. A $25.00 a* advise the pupil to practice before a The thumb is shown as slightly forward pursuit. Violin making is as much an art “Don’t” forget that for- producing In concluding this short article, in which glassy wide enough to reflect the form 0f the 'first finger. Many players hold as portrait painting, and takes as long to the various forms of staccato bowing, the correct position is shown and many learn. Buy a violin, if you buy a new completely. This is the only way in the thumb too far back on the neck, errors pointed out, it might be said that spring bowing, spiccato, saltato, trem¬ VIOLIN OUTFIT which to be sure that the violin is held this position the wrist must not touch one, made by a good, artistic violin maker. olo bowing, etc., a first-class Pernam¬ ‘s impossible to exaggerate the impor¬ “Don’t” buy a violin which is too heavy with it’s scroll about on a line with the the body of the violin, nor the palm of _ _ H _| (.. buco wood bow, with a perfect curve Fop $ 12.50 tance of these correct positions. . in weight, especially when buying for a INCLUDING player’s nose, and that the bow is drawn the hand touch the neck. There must be mechaidcaf side of' violin playing is and great elasticity, is all-important, 1 young student or for a lady. Violins are straight, from nut to tip and vice versa, a space between the neck and the fork difficult that the player may be compared and that such bowings are almost im¬ A FIRST-CLASS VIOLIN occasionally met with which are ex¬ The bow-arm should rest naturally of the hand, and the thumb must not he to a delicate and intricate piece of ma- possible with an inelastic, lifeless stick. GOOD BOW tremely heavy. It is fatiguing to hold BLACK WOODEN CASE against the body as far as the elbow, and held too high above the fingerboard. The chinery, in which each of the muscles used such a violin in a horizontal position for AN EXTRA SET OF STRINGS the wrist should be perfectly limp and fingers must be held high enough above ;n playing has its proper part to perform, long at a time. BOX OF ROSIN flexible, and when well bent at the frog the fi"gerboard to _allow ^hem to strike The position of body. “Don’t” buy an expensive old violin, A COMPLETE INSTRUCTOR __ will fall naturally into position.’’ the i strings in a perpendicular manner. : be correct or the muscles Answers to Violin FOR VIOLIN In Fig. i, besides giving the correct Fig. 4 gives the position of the hand costing several hundred or a thousand ot be able to perform their part, dollars, for your child, if you have not All sent securely packed by express for 812.50 position of the violinist when standing, when playing in the third position. The Queries cash with order good performance will be im- sufficient money to give him two lessons we have the proper position of the hand, thuthumb™b maintains its position relative tg A Splendid Christmas Gift ai LUC nuS the first finger, and the wrist rests against a week from- a first-class teacher. Good and wrist when bowing at the frog. lessons are, after all, the main thing; a for Student or Music Lover The position of the body is erect, noble ,r‘b 0^ thc violin. This figure also F. P. S.—1. As you state that you are poorly taught pupil cannot make good nineteen years of age, you would no doubt HOLIDAY VIOLINS. THEO. PRESSES! and free. The bow hand is gracefully S°rS Whe" music on a $10,000 Stradivarius. require a full-sized ’cello. arched, but without the sharp bend or " ** 1712 Chestnut St. - Phila., Pa. The holiday season is near at hand. “Don’t” buy an old violin, unless you 2. The ’cello is played in positions like “goose neck” at the wrist which mars Thousands of people all over the land have $50 or more to spend, unless you the violin. the position of so many inexperienced are preparing to buy violins, bows, cases have some way of getting it for less 3. Hector Berlioz says, in his work on students, when using the bow at the frog. and violin outfits for holiday gifts. This than its true value. As a rule you will “Instrumentation:” “The compass of the CORDE DE LUXE The little finger must be kept on the being the case, a few “Don’ts will no get better results from a new violin cost¬ ’cello may be, even in the orchestra, three stick to balance the weight of the how. doubt be appreciated by the prospective ing $50 or under than from an old one. octaves and a half. The great perform¬ purchaser. Really good old violins cannot be bought ers go still higher, but in general these ™ VIOLIN E “Don’t” buy a full-sized instrument for cheap, unless the seller does not know extreme high notes are seldom given in USED BY LEADING ARTISTS a small child. Violins and bows come their value. . natural sounds, but are mos.tly taken in 15c Each $1.50 per Dozen in different sizes, from one-eighth size “Don’t” buy a violin from an ac¬ harmonics, which are produced more Catalog of fine violins sent free to full size. Take the child to an experi¬ quaintance, unless you are a good judge. easily and are of better quality.” The MUSICIANS’ SUPPLY CO. Nearly every family has a, violin in the Ir, speaking of the proper position in enced teacher or violin dealer, and lie lowest note of the ’cello is the C, second 60 Lagrange Street - Boston, Mass. a general way, Mr. Musin says in his Fig- 5. will inform you as to the proper size. house they are anxious to get rid of. added line below the bass clef. The half school: “Too little importance is gener¬ FIFTH POSITION. “Don’t” buy a full-sized case for a some are good, some bad, some indiffer¬ and three-quarters instruments are tuned ent and some worthless. Almost all are ally paid to the position the violinist like the full size and consequently have In Fig. 5 the fifth position is shown. small violin, on the ground that it will out of repair, and have to be put in shape. Oim of the most sensational violin and violin tone improvements since the XVIIth century is the newly should assume when playing in public, The thumb must be drawn down under do for a full-sized violin later on. Get If you buy such a violin and are disap¬ the same compass. and in order that a correct pose may be¬ one to fit. the neck so that the hand can be advanced pointed in it, it is often embarrassing 4. If you should learn on a half-sized AUTOSTABILE VIOLIN TAILPIECE come habitual, strict attention should be “Don’t” buy the cheapest violin you can ’cello it would not be difficult to change which fastens itself automatically without endpin or tailpiece-gut. This tailpiece draws the strings upwards and thee fingers can strike' “ far enough up fw," a Y , eapest v,olln - , to ask a friend to return the money you instead of drawing them downwards Through this it reduces the pressure of the strings on the violin top to paid to it from the beginning. We must -fingerboard to command the notes S ■ d expect *he prospective pupil. paid him for it. to a full-sized instrument later on, a possible minimum, increases the vibration and consequently improves power and quality of the violin in a remember that while the artist may be of the fifth position. denotes take interest. A hideous, screeching, although the intervals in fingering would moBt marvellous way. Price $1.00. “Don’t” get the idea that all old vio¬ H. BAUER MUSIC CO.. 135 E. 34th St., New York City rasping violin and a stiff, crooked, ine- lins, even all genuine Cremona violins, be larger. Please mention THE ETUDE when ac 853 THE ETUDE An Ideal The immense expression THE ETUDE Twenty-first Annual On page 867 , on Christmas Eve, and tell Gift Book, of approval which has ing carols for alms at the doors oUhe q{ thg great event which the Holiday Offer. of this issue this offer of greeted “The Etude Gal-- lery of Musical Celebrities” has m^So^S hirbright face and The' s^erS musical gifts will be found occupy¬ prompted us to publish this collection midnight on Christ- ing a full page. For twenty-one years I Eve> ;n recognition of the anniver¬ we have been making this offer; each of fine half-tone -portraits, accom¬ year the list has been revised, taking panied by short biographies in hook Ursula Cotta, the wife of a kadi g thasary* r-“of ’the Saviour’s birth, formerly out the less popular works and adding form. There will be seventy-one por-. existed even in some parts of England. merchant. - the more important and newer books, All his life long he loved,music en¬ The Irish also believe that cattle traits in this book. They will he as well as the latest novelties and use¬ thusiastically. “I can see, ® , •’ talk on that particular midnight. A printed upon fine paper and are the ful musical articles suitable for use as Why David and all the Saints put their certain Scotchwoman stoutly declared best existing portraits of the musicians Christmas gifts. We quote these books divinest.. . thoughtsi ^cnnp. into song. tie that her grandmother had heard them, included. They hav.e been selected and musical articles at the very lowest played with much skill upon th < M Hessian peasants are convinced with the greatest care and have only possible price. We make that price andarwf.aUh also the flute,flute. In the South Ken- Many^ ^ ^ ^ Qther {n been procured after much difficulty, London , tfae staps at midnight on Christmas almost cost. some of the portraits being'extremely singtort 1 uuiiic. We desire to aid our subscribers at treasured A Merry Christmas At the end of a will be published in a separate volume, rare. The biographical material has CHRISTMAS MUSIC AND CHRISTMAS Eve, that the bees hum and swarm and work published on piano this season of the year in the selection that anyone standing beneath an apple for YOU. very busy year the There 1 been secured by consulting many this plan. The work is of their gifts and by the offering ^of CUSTOMS IN THE OLD WORLD SANTA CLAUS. tree, which is the Tree of Life, will see publisher of The technic sources of reference, and in many Etude desires to extend a hearty Christ- “School of Technic” based appropriate and suitable articles for (For Reading at Children’s Musical Clubs) cases this book contains information ; greeting to all of the readers and above plan. The studies are selected musical people. The prices are, in in the Protestant _ countnes St. th j^^many the frugal housewives ’ ’ ’ ' accom- that cannot even be found in the fore^ friends of the journal. The Etude has from all the great writers of piano every case postpaid; cash By C. A. BROWNE Nicholas is the omy saint who used to shake the crumbs from the to send most and largest biographical diction¬ prestige, _ v ;n ^ table-cloth around the roots of the been called by one friend “the greatest studies, Czerny, Clementi, Bertini, pany all orders, it will De all crosier and his. jewelled gloves. He the children, for he all orders at the earliest possible mo¬ aries. It is an ideal book for the music- In the Christmas customs of — ..- Christmas Eve, in order printed musical educator.” The con- Cramer, etc. This is not a beginner’s "" * countries we find that music is almost frequently carries a birch rod under his burden of their prayers, the inspiration fruit trees more fruitful sciousness of the educational character work, but presupposes previous study ment, and it must be understood that lover’s table, and as a gift book for either invariably an important part. Suppose arm, and advises the parents to give of their songs and the staple of their *atJ*bJ iag^he trees were violently of our work has fired us to leave noth- of at least up to Czerny’s “Velocity.” these rates cannot be used after Janu- a teacher or a pupil it is unsurpassed, 1910, when our special arrange¬ we follow the good old Saint Nicholas the bad children scoldings instead of dreamSj whether he appears under his In Bohema 1 midnight ing undone to extend the advantages of One great hindrance to progress is ar>” since it is unique, attractive and valua¬ ments with publishers expire and hisu;, Christmasrtridm. nc VP. trip around the candies, and floggings instead of pleas- or that of Siinder Klaas shaken during t e ° The Etude and the facilities of this too great a variety of study; a miscel- ble. This book will be tastefully bound “ ”11 usual prices and rates are re-adopted, world, and enjoy some. of the pretty, ures. ?SantaClaus),(Santa Claus), or Krisstxriss rvmgieKingle (which ***-—mass. In Devonsh.r^EngtendjAj^- - cider were carried business to musicians and students every- laneous s< t of studies often contains all ReJmber> 0Illy the best works are in gift-book style. Each picture will ancient musical customs which still Formerly it was the practice, in small originally derived from Christ- cake and some , u0 where. the various difficulties in piano technic. be framed with an ornamental border, represented in this list, in the best linger with* *, — *. us, in spite- of~ such un- villages,villages, for the parents to send all the Kindleinf the Infant Christ). In the into 1the and Hiere offered up That we have friends and readers who Not one of these difficulties is over- A list of over sixty of the portraits, romaiitic• things■ ' as steam radiators’ ^-person, and presents who, in huge Tyrol he goes by the name of “Holy to the largest appk tree, as tne lxmg have kept loyally and earnestly working come by such a course of study. A bindings,indings; ththe p ce , •, will be found in the heading of the of the orchard, while those who took black holes in the floor called registers, boots a wbjte robe, a mask and Man,” and shares the honors of his in our behalf during the entire twenty- vigorous assault on one of these would bee given andan that we deliver, postpaid, Gallery, on page 808 of this issue. It this singular ceremony joined t your door. in place of the great chimneys where Menormous ^ flaxen wig,wigj went ffromrom househo office with St. Lucy, who distributes part- seven years of the existence of The have brought the pupil nearer “Parnas- will be seen by those who have not lustily in the chorus: the Christmas logs once flamed and to house, and after severely question- gifts among the girls, s he does among Etude is a cause for deep gratitude at sus.” A moment’s reflection will con- taken The Etude during the past year- roared, when boar’s heads smoked and ing the father and mother as to the the boys, “Bear good apples, and pears enoug'- this season of good cheer and “good vince anyone the advantage of sticking Thoughts for This volume should that this list includes many of the fun and frolic held high carnival. Barns full, bags full, sacks full ! conduct of the children, particularly as will to all n : equally ap¬ ■ thing until the difficulties arc Little Tots. have been with- greatest musicians of all time. Yoq In the stalwart days of “good Queen Hurrah ! hurrah ! hurrah ! to whether they had said their prayers preciative of the hearty enthusiasm of overcome.. The s’tudy By L. A. Bugbee. drawn with this may secure this book in two ways: Bess” the Christmas holidays lasted regularly, he bestowed the intended In another part of England—Norfolk all of our new friends and are anxious these volumes will make the pupil .issue, but it is so either by sending us one new subscrip-, over a month. to have them realize some of the’bene- stronger in that particular difficulty. appr0priate —a libation of spiced ale used to be a gift for a child that tion, not your own, or by sending us Advent includes the four Sundays be- gifts upon them, fits which have kept The Etude family will publish the work during the we bave continued the offer through sprinkled on the orchards. A gentle¬ 35 cents, postpaid, or three for a one- fore Christmas, and is the herald of together for over a quarter of . r and will be ready to deliver the tbe Holidays. There are twenty-five man who had witnessed such a custom dollar bill—a trifling price for so ex¬ that great dajh Both in Protestant as knecht RUPRECHT. tury. - - (25) songs written for children. The relates that the jolly stanza sung on cellent a work. well as in Catholic countries choir- childfen look forward to that occasion was: A v?ry Merry Christmas to you from We will send the first volume .for pjeces are either vocal or instrumental, singers and schoolboys go from house . ,< ^ the publisher and all those engaged in to house during these holy nights feasting their eyes upon the glories o only 20 cents, postpaid, to anyone They may be used as a piano piece just “Apples and pears, with right good com. the sincere and earnest effort to main¬ sending this amount before publica- as wed as vocal. The melodies are Bas Reliefs of the These plaques will singing special songs, or Christmas the Christmas tree, and if not obedient Come in plenty to everyone! tain the position of The Etude as the carols, with which” to usher in the with some degrees of fear to the visit Eat and drink good cake and hot ale. tion. unusually attractive and suitable for Great Masters. furnish, at a low Give Earth to drink, and she’ll not fail.’ world’s best and largest musical journal. Don’ this opportunity. Send tbe home, school or even kindergarten. gladdest festival of the whole long of St. Nicholas, or to the coming of price, a very artis¬ 20 cents, At once, for the first volume. Our introductory price is only 20 cents, year. In Bohemia, Styria and other the Christ-child (Christ-Kindlem) and IN NORWAY AND SWEDEN. tic ornament for the studio or living postpaid. This is less than one cent German provinces it is customary for Knave Ruprecht (Knecht Ruprecht), Calendars for 1910. We will offer post Card The demand for post card postpaid. This room of every musical person. The Christmas time is the gayest and for each number. The volumes will be the young folks to form themselves who, closely muffled, come knocking at the same calen- Portraits portraits of musical celeb- fr'r popularity of novelties of this kind i? merriest season of the year throughout eady for delivery early in December. into a dramatic company and per- each door. On entering they proceed dars this year as we did last year, and rities has shown a steady shown by the great demand for- hus(s the Scandanavian countries Up on top form Christmas plays during Advent, to question the parents in regard to the t will be possible for t increase and during the past season \ of the musicians, but busts are not so. of the globe—in Norway and Sweden The story of the Saviour’s birth, His children’s behaviour since their last fill all orders which we will receive. ^ be£n able to add several ...... Suite for Four This volum expensive to make as they ate heavy —the holidays last for thirteen days, persecution by Herod and the flight of vjs;t If the answers are satisfactory This was not the case a year ago-the M of ;nterest tQ music lovers and Hands. of original compost- in weight, and the result is that the and are given over to feasting, dancing, the Holy Family into Egypt forms the jjnaye Ruprech't scatters apples and By L. Schytte. for four hands transportation charges are greater than skating and merry making. The family si:” a1?; ,15 0, ^1,,™- plot. The ones who represent the holy nuts with a lavish hand from a bag type variety and have the finish and style . by one of the leading their value, with the result, we have personages sing instead of declaiming which he carries on ys shoulder. He go singing to and from the table, and a be found on page 858 of this issue. - - ,• -. -. writers of Europe of the present day. They consist of a gray mat-board of actual photographs; they are appropn- often regretted, of an unsatisfactory their_ parts,r_, _m l distinction to the other takes care tQ Ieaye a bundle 0f switches light is left burning the entire night. A very good idea may be formed of frame upon which the calendar pad is ate for gifts and are suitable for framing, transaction. These plaques of great actors; but they accompany their sing¬ But if it should accidentally go out the contents of the whole suite by one behind him in case they should be attached, and the picture is any of the We have imported and sold many thou- musicians will take the place of the ing with the same rhythmical move¬ there is a superstition that some one of the selections which is published in needed before tie calls again. And large list of platinotype or colored sands of these cards and have never busts in every way. An ady.ertisement ments as do their fellow players. SANTA CLAUS the music pages of tl is number, the while the children are scrambling for will die during the coming year. postcards, which will be found men- known of a dissatisfied purchaser. No with the picture of one of Ijliem will Everybody visits everybody else. In “Rustic Dance.” The whole of the suite ST. NICHOLAS. the nuts he and the Christ-child dis¬ tioned in another publisher’s note, and house in America carries as large an ^ J|ij depict the masquerade. The spe- be found on another page. The list appear. In Schumann’s famous chil- In certain parts of Austria they put the country districts the tables are also in an advertisement in this issue, assortment, the list of subjects being cial offer ;s withdrawn with this consists of Handel, Liszt, Schubert. As everybody knows, Saint Nicholas dren’s p;ecej “Knecht Ruprecht,” this candles in the windows, so that the spread and left standing, loaded with On the back of the frames there is at- entirely too long for publication here. Qur advance price was only 20 cents, They are 4^x654 inches in size, and is the patron of children—the most famous figure is characterized. ’ Christ-child will not stumble in passing an sorts Qf good cheer. ™ tached an easel, and they are made in For the partial guidance of those inter- we can send them, postpaid, for 5q popular saint in the. calendar. He is The German nation makes Christmas through the village. There is a rumor j suppOSe the wee ones of those cold, two shapes, 6 inches high by 8 inches ested we have this year made up cer- said to have been Bishop of Myra, in a refigjous season. For several days a pac^ wolves, which were once nQrth countries have their tittle tiffs wide, and 8 inches high by 6 wide. The tain addit;onai special sets of six cards Suite- Tn this number will Lycia, during the time of Constantine h h ; held twice a day and it ;s the wicked men, commit great havoc upon just like small Americans. But there price is 10 cents each, $1.00 per dozen, each as foIlows; “American Com- By Ole Olsen, be found a selection n_4. Lie nf ...... Christmas merit.night. And as a safeeuardsafeguard ...... the Great. Such was his goodness of 5 when the glorious choral works it is an old, old custom, and a good one, postpaid. Early orders receive the best poserS;» “Conductors,” “Master Violin- from a suite by Ole Music Satchels. Useful articles p# against these fierce animals it used heart that he is related to navehave supplied of Bach and Handel filI the saCred bf h cu tom ait,T hmh to forget quarrels at this glad season. attention, and you are more likely to jsts/, .SPAIN AND promise that during the coming year found in the “Holiday Offer” in the ad- in this country. "”'1| bringer of gifts of the season to the popular Norwegian composers of the It is possible to buy leather goods at something he had eagerly desired RUSSIA. the family will try to live together in vertising pages. children otof Flandersnlanders and Holland,fionana, who.wno, _ . nt ti.„ «ct Matthew day, and comes second to Grieg in pop¬ almost any price. We guarantee that peace and harmony. New Gradus We have in press a , , on Christmas eve, sing a loving little p . .. . B b r ork at Tn ItalY there are special services Ad Parnassum. very important Riemann s Encyclo- No present is more ularity. In fact, there are many points these values are better than you cap 1,:—, -u.i, rassion, by Bach, a very rare work at , m the churches. -,riH the invitation to him, which begins: , . , ... and singing in the churches, and the By Isidor Philipp, work . o f piano pedia of Music. acceptable to an get elsewhere. that time You may be sure that it was christmas dinner is one of the prindpal THE SONG OF THE YULE LOG. of resemblance between these two men. studies by Isidor earnest music stu- The most popular piece of Olsen’s is We can supply a music roll 15^4 "Welcome, friend St. Nicholas. a fond, indulgent grandmother who had features of the holiday. Those who are Scandanavia is especially the land of Philipp of Paris. The name indicates dent than an Encyclopedia of Music. inches long, in black or brown, post¬ Bring no rod for us to-night! had the copy made for her little four- so poor that they can afford meat but The Serenade, Op. 19. This suite is While our voices hid thee welcc the Yule log. Formerly the Yule log, Steps to Parnassus.iiassus Parnassusj_ rkwork is a musical library in itself very characteristic of northern coun¬ paid, for $1.20; a music satchel fold¬ Every heart with us is light.’ teen-year-old composer. once a year must have it for Christmas, ing the music once, for $1.40; made pf a huge section of birch, was cut from a mountain in Greece, the“sitTofTthe containing about 900 pages with full tries. It has the same peculiarities as Later in life he wrote “Six Christmas and the rich' feast royally. tree selected on Candlemas-day, the Temple of Apollo, hence has become a biographical sketches of all the musicians seal grain leather instead of smooth, Pieces,” as he said, “a Christmas In Spain Christmas is observed very the music of Grieg. The suite starts T. , . - second of the preceding February. On symbol of perfection in poetry art and of the past and present with a^t of their off ^ a dance. the $1.60; the same satchel in full sheet Thou wilt bring ns everything 1” present for his young friends,” but be- much as in ItalItaly—the dinner very the following Christmas Eve it was music. Clementi has given this name works, etc. _ In fact all the information wedding pro¬ music size, holding the music without fore they could be published, the much in evidence. to his celebrated set of studies. Our that one might desire about music will tolk. song> men there is a wedding pro folding, $2.50, and that same satchel dragged in and placed on the wide To some of the youngsters “Happy Musician” had finished his In Russia they have the Christmas work of Philipp is the NEW “Gradus.” be found in this volume. It is also the there is a great-grand- lined for $3.50. Remember these goods, hearth with great ceremony, the merry¬ rather a sorry time, for the Saint i busy life and had been laid at rest amid tree and service in the churches. But, It consists of selected piano studies, latest encyclopedia. The retail price of ““‘hers bridal waltz which is pub- are made of the best quality of leather, very outspoken, and if any of them universal mourning. while St. Nicholas is a special favorite, makers pulling with a will, and, in Eng¬ classified according to specific techni- this volume is $6.00. Our holiday offer hshed m this issue, and the suite winds and if cash accompanies the orders, we have been naughty during the past year There are Christmas hymns or carols Easter is their chief holiday, land, at least, singing a Christmas carol calities—left hand, right hand, both is $2-75 postpaid. This is considerably aP with a valse lento deliver them to you transportation commencing: he is quite sure to tell them so. He that are believed to be as old as the hands, arpeggios, double notes, octaves, less than half the price of the book. This The special offer for this suite will charges paid. often appears in full costume, with his 13th century. QUAINT CHRISTMAS SUPERSTITIONS, “Come, bring with a noise. trills, etc. Each of these classifications offer holds good only during the holidays, be 20 cents, postpaid. (Continued on page 854) embroidered robes glistening with When Martin Luther was a boy he In the German Alps it is believed gems and gold, with his mitre, his and three or four comrades were sing- that horses and cattle have the gift of THE ETUDE 855 THE ETUDE 854 with black cloth, and with handles Some Things About The vast itnpor- Batchellor and Landon This volume, added, makes a strong, durable and the New Young tance of interest Kindergarten Method. which has wood frame, it would make a Chriatmaa M'tart UkeS'Se”SPorafttoo- convenient folio for carrying music Nature Studies. We will continue present similar to one costing from appear to h in any previous Folks’ History. in education has been a long without folding. We have given con¬ The World’s Foremost Composers, Virtuosos, By F. L. Bristow, the special offer on «,00 to $5.00 in that art store. By sand more order important, have been greatly em¬ while coming out, has at last appeared, this children’s vol¬ siderable attention to the making of a phasized -in the last ten years. If the and all special offers for the work are taking a pane of window glass the the evident satisfaction of all folio of this kind, and we call it a ume for the month of December, as it exact size of the picture and binding done so to pupil’s work is not made interesting the withdrawn with this issue. The work Teachers and Writers will give opinions, is so suitable for a child’s present. The music folio with handles. The cash it with passepartout tape, to be had P trons> ° f ule doubt‘ that our success in teacher stands a very small chance of is now on the market to speak for 3 price, postpaid, is only 75 cents for the songs are suitable for school or private at a good stationers, an excellent and There is - t0 promptness succeeding. Interest comes from the itself. It is the only musical kinder¬ advice and instructive articles in use There is a song for each month of month of December. extremely cheap Christmas present can most tesp®cts d th greatest factor is teacher’s ability to vest a subject with garten work published that we know the school year. They are tuneful with be made at home. Try it. We supply and growing value _ . _This library of so many entertaining and stimulating of. All the other methods are patented, pleasing text. No writer has ever been The Petit Library. nine smal, \ol_ the same tape for mending music. The the perma teaching material, sup- facts that the pupil’s attention is greatly and sell only in manuscripts by the so successful with children as Mr. Bris¬ price is 15 cents for 10 yards. All of catalog of^eaching^ efflbracing umes of musical biographies will make increased. Heretofore the subject of teachers to their pupils. THE ETUDE FOR 1910 tow. He has spent his life among chil¬ for the price one of the most inexpen¬ musical history has been taught prin¬ dren and knows the nature of a child colors. whatever is worthy and merchantable m We first intended that there should sive of generally valuable gifts that cipally in colleges, conservatories and in all its phases. This volume is one ot Musical Pictures. Under this head on catai0gS of all publishers m America be two volumes of this Kindergarten could be found for a pupil or teacher. academies. This has been because there his latest works. The withdrawal of this the Annual Holiday , Europe. So for as concerns the. m- Method—one containing the exposition q In addition to the able corps of regular writers representing the offer will positively occur at the close of Offer, will be found a list of musical terests of those who teach music, it is a The holiday price for the nine volumes was no popular presentation of the sub¬ of the theory of kindergarten music, most celebrated men and women engaged in the art of music we have this year. The volume will be ready for pictures and photographs for studio ettable fact that tfie average music in a box, postpaid, is $1-75, or the set ject in a manner based upon true educa¬ and another giving the practical exam¬ arranged for special articles by Mme. Cecil Chaminade, Mme. Teresa will be given as a premium for sending tional principles and within the grasp of delivery early in December. The ad¬ decoration. They are mounted on a ho*se .g inadequately equipped to meet ples of songs; but we have combined Carreno, M. Moritz Moszkowski, Herr Xaver Scharwenka and many five subscriptions to The Etude. the young student’s powers of compre¬ these two volumes into one and, there¬ vance cash price is 20 cents. fine quality board, 15 x 20, and can wants of progressive teachers, io - of the most eminent artists living. be used either with or without fram- w tQ hoid a leading place as a general These biographies are carefully con¬ hension. The new ‘‘Young Folks’ Stand¬ fore, the Method is complete in one This is a volume densed sketches containing the most ard History of Music” by James Fran¬ volume. We will, however, publish Musical Essays i of over 300 pages ing;ng; tnethe latter, otof course, tais preferable. j househ for music teachers, schools alsQ durJng the can supply additional facts, anecdotes, of general literature nothing can excel orders to a house, such as ours, con¬ in a month or so. given. The educational value of THE Etude may be estimated by the over under the Holiday Offer, if you etc. in the classroom if desired, and in this one. It is handsomely bound for the stantly working to anticipate and to year, such a demand for a cheap pict¬ We trust that this work will prove are at all interested. We ship them to this way by charging a nominal lesson fact that each subscriber receives in the pages nearly 200 pieces dur- purpose of a gift. supply their wants. ure of the great masters that we have to be everything that we promised. you in a very large, heavy tube, insur¬ rate of, let us say, from ten cents to ing.the year. We will send this book, postpaid, to Our patrons are highly appreciative of taken the two color plates which have There has been more conscientious ing their receipt in perfect condition. twenty-five cents per lesson for each anyone sending us only 90 cents during **"■ what we are doing and do not hesitate been used by us during several years IJ The Departments will be in the hands of the ablest specialists and you can then have them framed express themselves in frequent un- member of the class, the teacher’s income work done on this volume than almost the holidays. The offer is good only past as supplements, and have printed obtainable. These experienced teachers represent the opinion of the at almost any price m your own or testimoniaig) both with reference may be increased weekly in proportion anything else we have ever published, during this month. them in extra fine style on the best whole country and give direct positive help to the Music Student. a nearby city. t0 our publications and our -way of doing to the number of her pupils. The les¬ and if it is not in every way satisfac¬ _ _ With this issue paper, to be sold at a very low price. sons are all very short, direct and ab¬ tory, it will certainly not be because of Our Photogravure our readers will Our Order Depart- business; so we are steadily encouraged The eight portraits are cabinet size, VJThe Gallery of Musical Celebrities will be continued during Music Supplies. sorbingly interesting. All the great es¬ a lack of earnest effort to make it so. Supplement. receive a photo¬ ment has been taxed and rewarded; and as this is an appro- and of Bach, Beethoven, Chopin, Liszt, 1910, and in addition to this we have prepared a similar novelty which sentials are given but a great mass of to the fullest capacity in handling the priate time to do so, we take this occa- Mendelssohn, Mozart, Schumann and we are sure will interest our readers quite as much. gravure supplement of a notable work archeological and biographical detail First Very After this issue we of art reproduced by the finest proc¬ business attracted to this house during s;on t0 express our manifold thanks and Wagner, all printed on one sheet. which only interests the savant has been Easiest Pieces. will withdraw this ess known to the photo-engravers. the past few months; since late in August appreciation of the abiding and increasing They are what are called duotones, and up to the present day the inflow of orders {avor wherewith our labors are received, left out. Work for an entire season is important volume of Our object in giving these supplements the price is ten cents per sheet. These “THE ETUDE’S” HALL OF FAME for music supplies has been of unprece- provided at the rate of one lesson per easy pieces. It is one of the most use¬ is to provide our readers with inspiring unmounted photographs can be used dented volume; a condition not quite un¬ We have always fur¬ week. The book is unsurpassed for ful and popular volumes that we have The future of THE ETUDE is guaranteed by the past. All the illustrious and attractive pictures of high charac¬ for a number of purposes. They can anticipated, but still much in excess of nished, at 50 cents, a musical clubs of children, young folks yet issued. It contains 29 pieces of the musicians of the past quarter of a century have contributed their best ideas and ter and interest, such as should be anaies. str jng f0li0 without be passepartouted or mounted in vari¬ happiest thoughts to THE ETUDE. our expectations. We always make spe¬ and adults studying musical history for very first grade. They are positively proud to use in decorating the music handles; simply a portfolio to lay on ous ways and made into various articles Saint-Saens Marchesi ] room of the home or the school. The cial preparation to handle the fall busi¬ the first time. It is adequately illus¬ the very easiest pieces published, and ness, but our efforts in that direction this the piano. This same portfolio made according to one’s taste. They make trated. Until this work is published we Gabrilowitsch Bloomfield-Zeisler picture we present to you this month it is the volume that should be given De Pachmann "eas’on were' barely sufficient to meet the with a strong reenforced back about 3 very appropriate and very inexpensive are offering it at the “cost of paper, is fully described on page 815, and first to a child. The pieces have all Sembrich requirements of the situation; yet, by inches deep, heavy board sides covered gifts of value to musical people. printing and binding, etc. rate” of forty framed suitably in some tasteful hard- passed through many editions, and are Gadski cents. It has gone to press, so if you the most popular of the easiest pieces in Schumann-Heink desire to get this rate send your order at once and save paying the regular rate our catalogue. We will continue this work through and one hundred others equally famous. The Etude has been the mirror of the PRIZE PUZZLE CONTEST which will be in force as soon as the best musical thought of the world for twenty-seven years. Its standard will be work is issued. the present month, although it will be maintained in the future as in the past. THE GREAT VIRTUOSO PIANISTS ready for delivery even before this Student’s Manual The special offer issue is out; but it is so suitable for “The Etude” will continue to present the best and brightest ideas of the lead¬ FINAL SERIES. of Sight Singing. on this useful a child’s present that we shall con¬ ing musical critics, the foremost teachers and the most able writers upon musical subjects. This list includes H. T. Finck, Arthur Elson, Perlee V. Jervis, H. A. By Geo. Whelpton. work will be tinue it during the Holidays. Our spe¬ Norris, Sumner Salter, E. Liebling, R. Braine, Amy Fay, E. R. Kroeger, E. E. continued during cial introductory price is only 20 cents, Truette Mrs. H. H. A. Beach, L. C. Elson, W. G. Smith, Edward Baxter Perry, ing the current month, after which it postpaid. W. H. Sherwood, E M. Bowman, Thomas Tapper, C. J. Eddy, Mme. A Pupin will be withdrawn, as the book will be Carl Reinecke, W. S. B. Mathews, J. H. Rogers, Dudley Buck, Jr„ and many ready. It is a practical manual for pri¬ “Dollars in Music.” Herbert Spencer, others. This remarkable staff of contributors forms a kind of “faculty” or vate or class instruction in sight singing. ‘board of advisers” for the greatest printed institution of musical education the great Eng¬ and advancement—“The Etude.” Its special features are the clear and con¬ lish educator and philospher, tells us that cise expositions of the rudiments of music the business instinct is evidently some¬ and complete presentation of the ele¬ thing distinct and separate in itself and mentary exercises, and the interest and something with which very few people JANUARY, 1910, ISSUE variety of the various selections, glees are endowed. This may be true; but we and part-songs. The book is compact and of a size convenient for handling. believe that the business instinct can be The Music of Italy Our advance price for this book is 20c, cultivated precisely as anything else is postpaid, if cash accompanies the order. cultivated, by studying it and giving par¬ The January issue of The ETUDE will be largely devoted to ticular attention to it. The forthcoming the subject of Italian Music and Italian Composers. Many of the best Melodic Studies for This is the title work entitled “Dollars in Music” by Mr. known writers and artists will contribute and it will be an issue you the Equalization for the new ve- Geo. C. Bender, is designed to be a kind should give a permanent place in your musical library. of the Hands. locity studies by of business manual for music teachers. By A. Sartorio. this popular It will tell primarily the main essentials Moritz Moszkowski on “The Paris Conservatoire” writer. While of advertising, but in addition to this it No living composer is better known than Moritz Moszkowski. His tending to develop velocity in a melodic will give the teacher hints upon how the works are played in the homes and studios of all musical nations and interesting manner, they are so con¬ business side of his business should be structed as to divide the work equally conducted. It will tell “How to get up You have played his “Spanish Dances,” his “Serenata,” his “Grand between the hands, thus proving valuable a business-winning circular,” it will tell Vaise in A flat. You will be interested in reading the opinions of for equalization. Each study is an in¬ how to keep accounts, and how to col¬ this celebrated master upon the methods employed at one of the teresting piece of music in.itself. Each lect long-standing accounts, by means of greatest institutions of musical education in the world. You will want number represents the working out of properly written letters. In fact, every¬ the January ETUDE if only for this article. some particular point in technic. The thing that the teacher should know about getting and keeping business will be ably studies are of moderate difficulty, suitable IF “THE ETUDE” HAS HELPED YOU, KINDLY TELL [•ode Prize Puzzle Contest. to be taken up by third-grade pupils. touched upon. The book is now rapidly In the Issue for November. “’mnshfroH ^ToTlJ’thlra •'*wardod * Maelzel Metronome, with Bell. To the second, nearing completion and until it is pub¬ Three pictures appear The special introductory price during YOUR MUSICAL FRIENDS ?ader must send in answe subscription'to The Etude Balt^"'s n>8tor.v of Music." To the fourth, a lished you may have it at the special ana tne same nine. as souu after receiving this issue as It Is possible to solve the The Etude immediatelv^after noiufco^? ' ,• °"r, readers will be pleased to know that the current month will be 25c, postpaid, puzzles The answers must be numbered to correspond with the Roman numerals It Is put on sale In the StniLP™I -c°n mailed to subscribers at a distance before advance rate of fifty, cents. THE ETUDE” IS THE BEST AND SAFEST OF ALL MUSICAL INVESTMENTS under the pictures, rending from left to right. Each picture suggests the name of a equal chance. All answers will “ho .T1? e^udr office. Thus all cur readers have an if cash accompanies the order. _ famous virtuoso pianist. To the first Etdde reader who sends In a complete list of into consideration. Wl11 be “umbered and the date and time of mailing taken (Continued on page 8$6) on THE ETUDE when addre: THE ETUDE THE E T U D E 856

■ 'i’j.,. (Continued from page

£i'"fssts.*rj ss it && drawn^after this^issue. These studies a^- Btudent>s p0pUi£r ^wanted. '""“I'lute'- ““‘T

[j'lZ'iz'tu'tum'ii'Anur&Ym"* Zabee brothers Sill'll Sshs™ MUSIC PRINTERS 5..S” fipJS6?»«8&«t “ e,Co’'"1"’p,^,,;,;X"p'.:!°""l!"' AND ENGRAVERS in THE ETUDE when at THE ETUDE THE ETUDE 858 ECCENTRIC FINGERING. THE WORLD OF MUSIC. BY C. W. FULLW00D. IHFOKTAV Abroad. LESSON COURSES As a young teacher I was horrified ((Conttnueajrom Continued from page oo/ii when a pupil passed the third 'finger CALENDARS A PARISIANParisian paperpapci recentlyx " saidrata dryly: PROFESSIONAL DIRECTORY “Now:«r thatibat the autumn ««has arrivedred and all over the fourth, or the fourth over the Artistic — Durable—Practical our best singers ^ taTOjsone FOR THE PIANO fifth, but later I learned that Chopin opera “ *' -r"rrmr,rm used the same fingering. Indeed, INSTRUCTION BY MAIL ARTISTS AND TEACHERS Decorations in Green. American-English Chopin sounded the call to liberty from reported to be the slavery of arbitrary fingering. In It was tor ner thati nar. Mme.mme. Liza Wj, BUTLER 'Srrrgj Lehm “Daisy Chain” was written. the free execution of arpeggios in wide a number of lead¬ extensions, and for absolute facility in PT=.9 * he engaged*, mak- ing pianists and skips, etc., he broke away from the NiIes Bryant SchooI of Piano Tuning BECKER harmony::;;;:: teachers tor the THE OPEN DOOR TO INDEPENDENCE hard-and-fast rules then in vogue. The unprecedented growth of this 8chool has required ibe7^:y^^,IfiS^kris,aiS preparation of a • ■ — be engaged in preparing his opera Chopin’s music demanded technical BERNETTA. “Mam ” which is scheduled for presenta- course of lessons liberty and the overlapping of fingers y I F KSON VI. FOHKKSI'OM 'the Opera Comique in Pans. in piano playing. in order to secure facility in certain These courses shepard::::: Siegfeibd Wagneb’s newest opera, “Ban- passages. Some of his contemporaries will be the ex¬ 4 adetrich,’’ is to be produced at Karlsruhe expressed horror at his daring innova¬ davis . SPENCERS s&xissnzs pression of each individual teach¬ tions, but to-day we see the justice of Edward Pr.GAK is day r'7:.:;:::::: THEORY AND NORMAL COURSES er’s ideas of piano his “revolutionary” methods. He real¬ instruction. The ized the truth of what some one later scheme is not co operative. reduced to an epigram: “Any finger¬ denison : , \zho Each course will take up the work ing is good that makes good phrasing.” Nature's „ ...._.ra recently, and o: from the beginning and lead, step by No two hands are formed alike. So DEVINE,LENADORIA burrowes ;:3sr»- stage in Dieppe. step, through each lesson. It will mean technic must be made to conform to ' PERSON ALLKTTbRSare the actual giving of a course of lessons Xaviek Lebotix, the composer of the oi the individual hand. No two thumbs accorelin to hislfeed!11 we After a siege of illness Nature 1 gilbert: : DUNNING r^£S5L^. by these most experienced teachers. furnish tune-a-fhone, double work to build tip the worn-out tissues. This will provide a series of educational of different persons are similar in length or shape. I once had a pupil Tuition*reasonable.*'Books The process of repairing is often a slow and e composer of the music and instructive works that will be of . “»-S— *-a-- descrip- tedious one unless Nature is assisted in some gricks:^;; ^ : FLETCHER ' : . : - who had an abnormally short thumb. ments NOW. Write ___ is composing an opera great assistance and profit to teachers ?fvonm„aeu«. __iH way. That’s when your physician will pre- upon Alfred <3e Musset’s “Carmosine.” throughout the country. In fact she could not stretch an octave. “ WINNING INDEPENDENCE,” PURE- KERN scribe a —ask him about HAGERTY^j „ to do great honor The first to be handed in is a course I was obliged to alter the printed fin¬ The Niles Bryant School of Piano Tuning ...... a the eightieth cele¬ of Forty lessons by Mr. Allen Spencer, gering in her etudes and graded pieces. No 18 Music Hall, BattleCreek, Michigan.U.S.fl. bration of ms birthday. A two weeks’ of the AmericanConservatory of Music, But by judicious practice she was later festival is being planned during Chicago; an artist of national reputa¬ his operas will be heard, also all able to play octaves with facility. tral compositions. His success in .... tion and a teacher of wide experience. through persistent hard work in face of odds, Mr. Spencer has a singularly clear The untrained hand, or, I should say, and was not without adveDture, as he was manner of stating himself, and the ideas fingers, are not calculated to produce in It a ah, Hungary, at the time of great po¬ litical disturbances in 1348. and on tlie presented show him to be a keen and smoothness and equality in playing the capitulation cf the c“~ fjp * thoughtful observer of educational prin¬ piano. There must be a well-under¬ s actually led out to be shot. ciples and methods. stood method of technic to secure flex¬ mexts have been ma— — — The delay by the printers will run ibility and facility. Indeed, the ad¬ ingth e Cdif^;st i ye organs Sanatogeu supplies a body ■ Metropolitan Opera Company ti the date of publication to anout Dec. albumen—the nutritive part of pure milk made abso¬ Paris. Messrs. Gatti-Casazza and Dippel wlh 1st, *0 until that date we will book vanced student must study the confor¬ superintend matters in Paris next stung, mation of his hand in relation to the lutely pure, while the other is Sodium Glycero-Phos- and both the French authorities and the advance orders for 50c, postage paid, American executives are so confident of suc¬ cash with order. technical problems in his daily work. and1 nerve centres^These two properties are so pre¬ cess that it is expected that the visit will To paraphrase an old saying: “The pared and combined that they make Sanatogen the $1.00 per dozen, postpaid, if cash is he repeated in 1911. In order, however. *~ proper study of the piano student is the THEO. PRESSER liven things up a_ little... Hainmrr_ THE BIRTH OF CHRIST, a new will..Mary Garden. Renaud, Dufranne Christmas cantata, by Mrs. Crosby study of the hand.” With a ground¬ CHANDLER* 1712 Chestnut St., Philadelphia md Dalmores f ~ sing “““Salome” and other operas. In this Adams, 25c. work of the theory of technic you can PETERSILEA^ the two managements will.... be i Descriptive circulars of this and other individualize your fingering as funda¬ tinued, and the^ French p< Christmas entertainments furnished mentals; you must have the requisite r everyday Ilf POTTER™ “SWEETHEART VIOLET” with what is being done by America in upon request. looseness of wrist, the intelligent con¬ iie lays down f cause of opera. particular song for particular singers. Copy trol of the arm and hand move¬ SALMON Clayton F. Summy Co., Publishers ments; and the independence of the fingers, then you may individualize in CARRY A CHRISTMAS MESSAGE 220 Wabash Ave., Chicago • the fingering of particular passages. OF GOOD CHEER TO SOME , The solution of technical problems is WORTHY TEACHER. to know how you can do it with your The Philadelphia Home for Retired trained hand and fingers. PIANISTS WANTED It does not follow that because you Music Teachers is just what the name Learn die Knack System o^playingVaude- have mastered the fundamentals of implies. Good fortune does not come HOW TO PLAY Ba:s and Arranging. Particulars FREE® technic and muscular control you will THE WORLD RENOWNED Special! “ The Knack System of Reading to all of us, and bad fortune does come Music at Sight" mailed for 10 cts. and stamp. to many who are in no way responsible have no technical difficulties. The study of Chopin and Bach will show you that Knack Studio of Music, Danville, III. for it. The home above described is DANCE MUSIC you need a liberty of technic, and that really a fine residence in the city of By SOHMER liberty is simply the adaptation of your STERNSDORFFs Philadelphia provided for lady music JOHN FREDERICK BARTH hand to the written work of those com- “Memory Schools Exposed” teachers who have reached the age and Booklet Free of ’ sixty-five, and who feel that their flLDEN NORTHWESTERN In playing the classics there must be THE SOHMER-CECILIAN INSIDE PLAYER “HOW TO READ MUSIC AT SIGHT” COLLEGE. K,» services to the art of music entitles _ SURPASSES ALL OTHERS TRACY st. clara: them to a rest, but who have not the Sent, postpaid, 0 a freedom of arms, hands and fingers means to take this rest. The means that makes for an individual interpreta¬ Memory Library, U Park Place, New York veon ::: have been supplied and abundant provis¬ tion of the composition. You must ion has been made for the comfortable know wherein you can make your hands and fingers more facile and COMPOSER*S GUIDE support of retired lady music teachers, A. First—Since 1860 && $ wheeler; adaptable. _ _t NOT DO YOUR OWN AKKANGING ! and they may find here a home with A SHORT CHRISTMAS CANTATA WHISTLING T^ANTED—^yery musician in the send^one doL and every consideration, social and otherwise, Some power to produce sound and without the worry of support. The home FOR YOUNG PEOPLE some sensitiveness to sound are quali¬ vmmetumm is liberally endowed and everything has ties pervading the greater portion, if WILDER laagSSCHC!. I g&SS J. SIMON .fc CIE., 6 l! L. FRANK COMPANY, South Bend,Ind. been done to make the surroundings re¬ not the whole, of animate nature. The WINKLER BSfigiSBS find and agreeable. If you know some ear of the crayfish, though a far more lady music teacher whom you think de¬ SMCLMIS’Pim restricted organ than the ear of man, have been before the musical pub- serves the protection, rest and care that is planned on the same principle, whilst 50 years and rank with the SIX WEEKS’ COURSE FREDERICK MAXSON this home provides, this is a fine season the various means by which inferior highest standard pianos of the day. CONCERT ORGANIST to investigate the matter, and carry the animals produce sound resemble as to DECKER PIANOS:Uprights, Grands and the celebrated Kay be engaged ^for Organ Has played at PIANO FRAUDS! FOR TEACHERS Christmas message of good cheer to her. the principles of procedure those by Decker Player Piano. Full information and catalog sent on request. INCLUDING BOARD The Piano and Organ Residence at this home does not in the This Cantata which man produces it; that is to say, rv i o.o w 699-703 E. I35th Street PIANO, VOICE, VIOLIN, ELOCUTION, ETC. PHILADELPHIA, T lease imply a cessation of interest in the enra,' all sound of animate origin is produced Decker e* Son, Inc., new york city Teachers educated in Europe. Les- Purchaser’s Guide great world of music, but simply does by the breath, or by the action of one chetizky Piano Technic. Two private By JOHN C. FREUND away with the labor of being continually portion of the body upon another or e in every respect. Established 1849 lessons per week. Class lessons in Nor¬ J. WARREN ANDREWS Editor of “ The Music Trade. ” obliged to teach through the advancing upon a separate object. The bird mal methods. Public School Music, Gives important (unpaid for) facts about all years. _loir sings; the mole-cricket produces a long, Tu from Fraud S player Pianos- Tins saves ___ce been revised l— Manufacturers Harmony, other subjects. We are interested in having our read¬ It takes 15 to 20 minutes to produce. sustained, even note of a definite pitch EMERSON PIANO GO. adapted to the needs o '266 Pages, j2th Year. 2S cents by Mail, Prepaid ers know about this fine provision made by the action of a delicate apparatus Marks’ Conservatory of Music MUSIC TRADES CO. for worthy teachers. For further par¬ THEO. PRESSER connected with its wings; the ape, as high grade Grand and Upright Pianos. Catalog on request. 2 West I2Ist Street, New York Dept. “X.” 505 Fifth Are.. New York City ticulars, write to the Secretary of the 1712 Chestnut St., Philadelphia, Pa. well as producing vocal sound, beats 560 HARRISON AVENUE, BOSTON Home, 236 South Third St., Philadelphia. hollow tree-trunks.—Goddard. se mention THE ETUDE when addres Please mention THE ETUDE w THE ETUDE 861 860 THE ETUDE

NEW PUBLICATIONS. Musk in the Public Schools. By E. . . PIANO TUNING HOW I REALLY ASSIST RECITAL PROGRAMS W. Newton. Published by Ginn & Co., Boston. Price, $i.oo; mailing price $i.io. - john Miltons Regulating and Repairing This book is intended for the use of TEACHERS ■ STUDENTS class teachers in the public schools. In it A Complete Course of Self-instruction is outlined a complete eight-year course, * Prophetic Vision for the Professional or Amateur Pupils of A. M. Foerster. in which sight-singing, voice training and was rich in anticipations and fore- | ] Beethoven Recital—Sonata, Op. 10, No. 3; the essential elements in musical By J. CREE FISCHER Know’st Thou the Land (song) ; Presto, Op. told many things; amongst others, 33, No. 7 ; Klavierstueek : Scherzo. Op. 33. pretation are skillfully treated. It No. 2 ; Inquests Tomba ; Nature's Ador. tion LOWNEY'SJWINE I O CHOCOLATES:LHULULfllU: price: $1.75 (song) ; Sonata, Op. 10. No. 2 : Aria from seems almost needless to say that the « “Fidelio,” “O. had I been Andante in F; work has been carried out in a most “from sweet kernels press’d A work of (treat practical value. . Erl-King (Relnhold Becker) : Rondo, Op. 51. tone makes it unsuited for any but small No. 2 ; Adelaide (song) ; Concerto No. 5. excellent manner. Mr. Newton’s great She tempers dulcet creams.” u What is meant by the word ‘‘cuet’’ Part 1 (with second piano) ; Duet from experience and enthusiasm have en¬ ?nfeCrittln|?nwe would" hardly advise you to “Fidelio,” “How deadly cold.” Again he describes Ldopt it in preference to the piano, organ, abled him to execute his task with a ---- of the orchestral instruments. V! S d only be the fruit of * ^ it the book will be

By F. H. SHEPARD gig | Jowkeys r“ *xF’ W3St£j£c Chocolate Bon-Bons “on hospitable thoughts intent What choice to choose tor delicacy best, What order, so contrived as not to mix Jt Tastes not well join’d, inelegant, but bring Taste after taste upheld with kindliest change.” Two centuries beforehand the great poet had a foretaste of the HUGH A. CLARKE, Mus. Doc. delicious natural flavors in a box of LOWNEY’S CHOCOLATES. is also of use in schools where there are both boys and girls, and whefe some of

enable me to command results. And I want to teach^YOU how to unfail- The Sternberg School of Music

School of Music

and School of Fine Arts

is perfectly simple.) Because* of its

h substitutes Artistic^Freedom^or^the

COMBS Harmony Book, 20c. Violin Studies, 20c. RAY G. EDWARDS ss Ss«, Eliot, Me. me to try a small quantity of ,-J at first, then as my stomach AN IDEAL CHRISTMAS GIFT This NEW 3-STEP 3"SS"Ss,s.:,; : GIVEN FREE WITH EVERY Then I began to have color in my face, > BEFORE JANUARY 1ST NEXT There is no better Holiday Gift for music ivers than a year’s subscription for The mmsm -. j„vl L.ioughtfulness A dollar and a half can¬ ts invested where a greater return will be given. Think of the music value _P'eces each year and at least 1000 timely, entertaining articles by the on Ow-Ng..;

E PAY BIG MONEY My address H. SHEPARD r,K1f.ndbn THE ETUDE w 1 addressing or VIRGIL and Mrs. A. K. Virgil will spend the season 1909-10 in New York Re=openingiHtVirgil School of Music , Oct. 11th. Ent-- Oct. 9th. New prospectus now ready. 2 Flatiron Building, New York

X™, ssur-sx I ♦fl'nstitute of /IIMtstcal Hrt

AMERICAN INSTITUTE OF APPLIED MU! mi/rR Pwn’J.nt (METROPOLITAN COLLEGE OF MUSIC) 212 W. 59th St., N'W Y ESS!!?**The principle of attention is to5 *

follows6 Sh0rtened HARMONY BY M of all great^musiccaimtkers^ are cxpensive in more ways than one. CORRESPONDENCE

P ft? A A Practical Cour.c. Thoroughly tested by score, of Teachers and^Students. ^Appli- Ji itrM "STSSriShS

THE SIMPLEST AND CLEAREST POSSIBLE PRESENTATION OF THE SUBJECT borders, and in fact the entire construct- test upon the patience. r.2S-3^ N.ture S—S1£L “There, that looks like just the kind of The activitjes ^~th7~day cause more

__ _Hl vertisements. ^Anyone familiar witl^ such day a tir

TAUGHT BY MAIL, SUCCESSFULLY, PRACTICALLY, QUICKLY ® day Evening plst, o^Tith such adver- But°let insomnia get hold of you, and

URVIVAL OF THE FITTEST I seems to give the*quality oThidWhluality! l,' ™lH(-'er °f insomnia is interesting. She b?'“"“-l*corn's I a"d wkich makes yoU idclltif-v il at once, “fused to be a coffee drinker and was

... ,„.„jgelI appear,ike thfi “want ads " 111 the daily doctor’s care for about S years and my IS ability is an Wilcox School of Compisiti'in c'gx- Box E, 225 Fifth Ays., N S. REID SPENCER sugar bowl, with no effort on his part, c<- Such things do not happen in any other line of business, why should they hap- New York School of Music and Arts w. 97m si. to make it stand out with distinctiveness 1 111 cnouR*> air nml 1 ' RECTOR fig. S^erune^personaU^iri^Iiair'ge ot X/otna? D*ei^r

HARMONY COMPOSITION LESSONS BY MAIL g=f=BURROWES COURSE OF MUSIC STUDY, ; the most of these t BUFFALO, 1M. V. 1 for Teachers by Home Study. •Ussysffsa.-sjs* sy.K“t,..,;,'itr^,,ii:,1f?tiar Katharine burrowf.s. '1 865 THE ETUDE

864 THE E T U D E MICHIGAN CONSERVATORY OF MUSIC .y™ j£Vparh S?./IDETROIT, MICH. FREDERICK L. ABEL. Director DUNNING SYSTEM OF MUSIC The Fletcher Music Method for STUDY FOR BEGINNERS Address Dept. C, and a handsomely Ulus. both Teachers and Children MAKES YOU A SPECIALIST MINNEAPOLIS SCHOOL OF MUSIC ^ PRACTICAL and ARTISTIC ORATORY AND DRAMATIC ART _in--- THEORY and APPLICATION A COMPOSITE SINGER. vocal and dramatic work brings icicles to the brow. They complained that while There used to be a mania for printing Calve’s interpretation cf “Carmen” was a lot of photographs on top of one dramatically thrilling, her impersonat.on The Mary Wood Chase School another and calling the result a com¬ was about fifty pounds too heavy. Cava- posite. So we had composite statesmen, lieri’s gracile charm has Jed the music of Artistic Piano Playing’ clergymen, artists, athletes, assass.ns critics to refer her to the art critics, what not. Being everything in general since they have found her musical be¬ they looked like nothing in particular. haviour faulty. Two negatives may make an affirmative Now suppose—alas, we can only sup¬ in grammar, but in photography, no. pose—that we were permitted by the anti- Try to arrive at the look of an eclectic vivisection league and the grafter’s union Mrs. CARRIE LOUISE DUNNING poet and what happens? Shakespeare’s to dissect and analyze, then synthesize andt bald dome shines through Racine’s flood reassemble the choicest traits of each of 326 Delaware Ave., Buffalo, New York the cohort of geniuses at the two opera of curls; Dante’s hook nose is annulled FINE ARTS BUILDING - by Verlaine’s scoop; Poe’s sickly mous¬ houses. It were a consummation de¬ SHERWOOD MUSIC SCHOOL tache shadows Goethe’s lip; Shelley’s voutly to be wished! As Omar might jMas saES cheeks are lost in Swinburne’s discon¬ have said: addition* w the pe ^g ^ TEACHERS IN ALE BEPA^RTMENTS r solate whiskers and those in the flood of “Ah, love, could you and I with fate conspire uid Theory, Walter Keller, To grasp this cast of characters entire, Bryant’s beard which hides Byron’s Would we not shatter it to bits and thru m be eugiiged for Recital*, Twelve y Remold it nearer to our heart’s desire?” MISSGERTRUDE PAINE, 1023 S. Burlington Ave., Los Angeles, Cal. lyrical collar, while Walt Whitman’s HOLMES, Secretary servatory of Music, Evelyn 1 swelling thorax wars with Pope’s corseted For instance, to compose a ravishing introduced lie rib?. The result is not composition, but ragout of vocalism: Take five golden bead-chains of Tetrazzini’s; five pearly Since that tim cancellation. Washington College of Music NORTHWESTERN UNIVERSITY How much better if one might really cadenzas of Sembrich’s; add a sufficiency DAVID SCHEETZ CRAIG, Director West and I --= EVANSTON-CHICAGO = compose by selection and elimination, of Destinn’s dramatic recitation, Frem- MUSIC and DRAMATIC ART influence of 1 taking the best of the best, and making stad’s warm human tone, Bressler-G'a- SCHOOL OF MUSIC teaching of I THE SCHOOL OF MUSIC-EDUCATIOr a better than best. noli’s middle voice, and a mixture of the poignant notes of Schumann-Heink’s lower I have often bewailed our inability to Arcade Hall Building, Seattle, Washington comprehensive , study of practical and Mrs. Fie t correct the drawing and anatomy of some voice with Louise Homer’s deep contralto. invention of h Stir and knead this mixture till it is per¬ ELEMENTARY SCHOOL of our operatic queens. Now I am or as anif elementLake IVof L£Scago’s° most tormented by a desxe to compose a new fectly blended, then pour it into a form three times on lecture trips to England, Germany, CALVIN BRAINERD CADY, Principal suburb. star out of the star dust of the whole composed of the best portions of Farrar Columbia School 900 Beacon Street BOSTON, MASS galaxy. What a soprano we could make and Cavalieri with the grace of Garden. ie*degr e'e of Gradual The Fletcher Music Method lays a solid foundation in Music. Y —if we could. Now there is a singer as is a singer. of Music, Chicago Students and Teachers alike gain the ability to read rapidly, to \ Mr. Henderson, the critic of the New The same method could be appliecj to Clare Osborne Reed, Director analyze, transpose and modulate, AND FOR A PURPOSE. The York Sun, once complained that while the men with profit. Take Caruso’s top Offers most complete education for least Tetrazzini sang her downward runs notes and Bonci’s art, Zenatello’s fire and expense in Piano, Voice, Violin, Theory, V. Course in Public School Musi ear is trained to a degree hitherto considered impossible and rarely Methods. superbly, she sang her upward runs in Erik Schmedes’ heroic frame with Dal- Public School Methods; leading to grad¬ Courses I, II and V include lite attempted in any other method. Mrs. Copp’s Method of Memoriz¬ such a fashion that if she were in a con¬ mores’ gift of characterization, Du- uation and degree. Our graduates occupy Academy wit JUST ISSUED servatory she would be refused a diploma. franne’s mellowness and Renaud’s dra¬ the foremost positions in the country as ing is based on psychological laws, therefore the results are certain. artists and teachers. Best location and, A thorough Preparatory Depar Little if any fault has ever been found matic genius—then where would your The whole aim is to teach Music so sanely that its intrinsic educa¬ equipment in Chicago. Write A. Shaw The environment is perfect a with Mme. Sembrich’s vocalism north or critics be? The answer, of course, is Faulkner, Manager, for illustrated cata¬ tional value to every pupil may be fully absorbed and thus enables him MUSICAL KINDERGARTEN south bound. Now if—but wait. that they would still find plenty of fault, logue. Ohio, Building, 328 Wabash to become a more highly cultured and developed individual, because Several critics avowed that while since no combination would suit every¬ Avenue, - CHICAGO, ILL. , P. C. LUTKIN, Dean, Evanston, III. body, for there are nearly as many ome¬ with him Music has been used correctly. The Power of Musical Mary Garden’s physique was a fdast for METHOD the eyes, her high notes gave them the lettes as there are eggs, and ears have expression within him has not been eradicated, as is so often the case. For the Nursery and the Class Room earache. They usually say that, though their individualities as well as voices.— Emma Eames’ beauty fires the blood, her Rupert Hughes in Life. Especially Designed for the Use of Mothers and Music Teachers American Conservatory What some great Musicians and Educators 239-253 Wabash Ave., Chicago, III. have said of the Fletcher Method By DANIEL BATCHELLOR and CHAS. W. LANDON BUSH TEMPLE CONSERVATORY and Dramatic Art. Seventy eminent instructors. Course of study passed Teachers’ Training Department Public School Music. School DR. LYMAN ABBOTT, NORTH CLARK ST. and CHICAGO AVE., CHICAGO :or. Diplomas and Teachers’ Certificates. Many free advantages. KENNETH M. BBADIET, Director F*rtee, $1.50 ly ime. a a og pre8ident ACTING Kf IT C I r EXPRESSION :=ai!S»5iy.7 ‘ ’^HlS^is^the^first complete Musical Kindergarten Method ever pub- HARVEY WORTHINGTON LOOMIS. Composer: “ The Oldest School of Music in North America You ale indeed the Froebel of Music amt the importance of your e.t T BUILDINGS Every Branch of Music Taught Dana Hall Main Building Fine Dormitories Junius Cottage 1 The Martha Potter Thorough SPECIAL PRICE BEETHOVEN CONSERVATORY Hall NEW MUSIC 5 for SI.00 The o’dest. West and best music school j' • v'' ■ ”*• "js me West. A11 tranches of music taught. Specially Low Rates for Beginners pHS^T'3n!'. nnpni Normal Class of 1910 Small City in the Country WARREN, OHIO can now be receivedtceived. BREHM’S MONTHLY BARGAIN KROEGER, PIANO. FOREST PARK!Gallowav, Organ, PATRONAGE from all sections of the country. Instruction daily and private. EVELYN FLETCHER-COPP MERRY SLEIGH RIDE 49th year. College, College Prep., College of Music. Practice in buildings devoted to that purpose. Pure water, foodstuffs, etc., from our E. R. KROEGER, CoS^r, own farm. Maintains in daily rehearsal a large Orchestra. Chorus and two fine Mili¬ 31 York Terrace, Corey Hill, Brookline, Mass, Theodore Presser, 1712 Chestnut St., Philadelphia Director and Teacherier of Advanced Students.Studt tary Bands. Send for a 64-page catalogue and the blue book which gives full information. or Box 1336, Boston, Mass. ANNA S. CAIRNS, BREHM BROS. President, St. Loui UNIVERSITY Fall Term Opens Sept. 13th WILLIAM H. DANA, President V

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