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Copyright
VOL. XXV.
PHILADELPHIA
I'll., l\'OVEMBER,
190i.
1907. by TnEoDOBIl: PREseER
No. 11.
The Education of The Masters
CHOPIN and LlSZT
A very valuable
contribution
to Mr. fiDck's
nofabIe series
6y
IN my last article under this head I sketched briefly
two masters-Rossini
and Meyerbeer-c-who had this
in common : that they loved too much the applause
of the moment, which led them to waste their genius
on fashionable
operas that did not long outlive them.
To-day [ wish to present two masters-Chopin
and
Llszt-c-who, like Bach, Beethoven, Wagner,
wrote as their artistic
conscience dictated.
regardless of the applause or silence of the
dealing
UENRY
with tbe early life and musical
T.
Frederick
FINCK
Chopin.
Not only did the man who raised Poland to the
rank of a great musical country Jive in it ouly during
the first twenty-one years of his life-never
to return
-but
he was not even a full-hlooded Pole. His father,
Nicholas Chopin, was a Frenchman,
who, in ] 787,
.muttitnde.
So far as Liszt is concerned,
,
I
there is an
impression that he did cater to the taste of
tbe masses by writing and playing brilliant
operatic fantasias
in the fashionable
style
of the time.
This is true, but only of his
ea rlv stage;
and even then his dazzling
displays of bravura
were less the result of
a desire to "astonish
the natives"
than of
his delight in being able to do so easily
what to others was impossible.
He scampered over the keyboard as a colt does over
a field, from sheer excess of animal spirits.
In his riper period he never had an eye on
the public;
indeed,
he usually
advised
friends not to perform
his music, as the
time for it had not come.
Had it not been for Chopin and Llszt,
the situation
in the concert
halls of our
.dny would be, so far as the piano' is concerned, as different
as the operatic sttuattou would be but for wagner.
The two
men worked on similar yet different Jines.
It was their privilege and achievement
to
divert into the main current
of European
music the rivers of Polish and Hungarian
music; and what makes this deed the more
remarkable
is that neither of the two spent
more than a fraction of his life in his native
country.
That fraction,
however, included
the early years, in which impressions
on
the senses and the mind are deepest.
There
is no education
so thorough as that which
comes to us 'from our surroundings
without
Our knowing it.
A child learns his mother
tongue without knowing it; and in the same
way Chopin and Liszt became familiar in childhood with
with the musical language of their native country, ~he
mazurka
and polonaise, the lassu and friss,. the ini1.uence of which is everywhere apparent in their- works.
Chopin was born March 1, ]800, and died Octol.ler
17, 1849. Liszt was born October 22, 1811, and dled
-Julv 31, 1886, surviving his friend by 37 years.
For
'this reason, and others, we will consider Chopin fit-st.
70;
..:.
LIZST
IN
training 01 the great musician.
,."'-'
1832.
mlerated to Warsaw, where be became a teacher of
the French language and literature.
While engaged in
this task in the house of a countess at Zelazowa WoIa,
he met the young woman, Justina
Krzyzauowska,
whom he married and who became the mother of Frederick, the composer.
She was as Polish as h~r n~me,
and from her it was that Frederick got" his natlonallsm,
so far as it was hereditary.
His musical genius, as
such, was not in lier-ited ; his mother was not a muaiclan, neither was his father.
'rhey were pleased, however, when their son revealed a love and talent for
music, and provided him with a teacher.
His name
was Adalbert Zywny, and he, is said to have been
more of a violinist than a pianist.
At
any rate, he taught the boy only the rudiments, and, according
to Fontana,
"the
progress of the child was so extraordinary
that his parents nud his professor thought
they could do not better than abandon him
at tl.e age of 12 to his own instincts, and
follow instead of directing him."
Thus Chopin really taught himself all
those wonderful
secrets of the keyboard
which, in the words of Saint-Sueus, "revolutionized the divine art and paved the way
for all modern mueic."
Before he had learned to write music he
began to compose little waltzes and mazurkas,
playi ng them
on the piano
while
his
teacher
jotted
them
down.
'I'his
also
pleased his father, who, although he had no
intention
of making a professional
musician of him, engaged the services of Joseph
Elsner to teach him composition.
Elsner
was director of the warsaw Conservatory;
also, the composer of 27 Polish operas and
many other works.
He, too, had the good
sense to leave his pupil largely to his own
devices, without unduly checking his original impulses.
As a German musician wrote
from Poland in 1841, "When all the people
of Warsaw thought Frederick
Chopin was
entering on a wrong path, that his was not
music at all, that he must keep to Himmel
and Hummel, otherwise he would never do
anything decent-the
clever Pan Elsner bad
already very clearly perceived what a poetic
kernel there was in the pale young dreamer,
bad long before felt very clearly that be had
before him the founder of a new epoch of
pianoforte
playing, and was far from laying upon him a curb, knowing well that such
a nobre thoroughbred
may indeed be cautiously
led,
but must not be trained and fettered in the usual way
if he is to conquer."
It was most fortunate for Chopin-and
for the cause
of music-that
he was thus able to educate himself, (or
Warsaw did not offer any remarkable opportunities
for
hearing the best music.
It was otherwise with his
general educatlou.
He had excellent opportunities
for
706
TUE
cultivating
his mind and manuel's.
H~ remarkable
talent as a pianist endeared him to the ladies of the
Polish aristocracy, and he spent much of his time with
the most refined famBies. His father, who, after
keeping a boarding school for some years, became
professor at tile Warsaw Lyceum, also had among his
friends
many
distinguished
men,
with
whom
his boy
came into contact.
When Freder-ick "!'us fourteen
years old he became a pupil in the Lyceum, where he
learned Latin and Greek, languages, history, mathematics
and other
things.
According
to Niecks,
his
education at this time was already so far advanced
that he could at once enter the fourth class, "and the
liveliness of his parts, combined with application to
work, enabled him to distinguish
himself in the following years as a student and to carry off twice the prize.
- Polish history and li.terature
are said to have been his
favorite
studies,"
It pays to be a gentleman
as well as a scholar.
While Chopin was thus teaching himself a new kind of
music, and getting his mind trained at the high school,
his manners,
also, were, as already intimated,
polished
by 1i& intel'course
with the Warsaw
aristocracy;
and
this proved au advantage
to him throughout
his career.
When he went to live in Paris, in 1831, not only the
families of the Polish aristocracy
who lived there, but
the French,
too, received him with open arms;
and
though
he was the teacher
of their children,
they
treated him as an equal-a
matter of great importance
to one of his sensitive
nature.
In these houses he
also met the leading men of the literary,
artistic
flnd
musical
world, intercourse
with whom could not but
broaden his mind.
ETUDE
Three
years later
thed
.
with his sixth year.
DIng
his improvisations,
an
boy astonished
mUSICians by
. bur
Several
' , 0 denburg and Press urg.
plaY~InpublIcm
e
diliat
Hungarian
noblemen
wele. so much Impresse.
,
f 600 florins a year, for SIX years,
they got up a purse °t.
This induced Adam Lisat
for the boy's educe ton.
f th Esterh3ZY
to give up his position as manager 0
e
f
estate and to take his son to the musical centers
or
education.
I
a
was thought of first because ~umd,m~
ted a whole loUiS or
there, but FI umme 1 wan
.
Liszts coulu
$5) per lesson which was more than the
afford at that time; so they went to, Vienna, w~~,re;i:
boy was put under Czerny, concernmg whom
.
h
mann says: "Czemy was by no means a mere tee .•
nician as one might suspect from the hundreds of hiS
the contrary,
empty , exercises
alld sa'1·
on plec es· , on
.
he laid special stress on an expressIVe style ,and on
the painstaking
elaboration
of details, for WhlCh reasons he was just the man to teach this boy, who
had grown up rather
wild."
Czerny was so much
pleased with his pupil that when Adam Liszt ~sked for
his bill, he refused to accept any compensatIOn.
He
taught the boy a year and a half.
.
Another teacher who helped to educate young LI::lzt
was SaHeri.
He was then an old man and had decid~d
to take no more pupils, but he could not refuse thiS
clever applicant.
His lessons on the theory of musiC'
his further
Weimar
(::y
Luckily, he liked to teach, and in doing so he became
more" intimately
acquainted
with the works
of his
predecessors
than he might have otherwise.
He adored
Mozart,
and advised his pnpils that the best way to
make progress
was to play Bach always.
Schubl~rt
was another
favorite
of his.
Yet, on the whole, one
marvels
how little of these and other masters
there
is in Chopin's
WOrks. ~Just as he learned fo play the
piano practically
by himself,
so he wrote his music
mostly out of the fulness of his Own genius, needing
no educator.
In his early works, including
the concertos, we trace the influence of Hummel;
in his nocturnes, that of Field;
and he also learned some things
of Bach and Liszt; but all this is insignificant
in comparison with the wealth of melodic, rhythmic,
harmonic
and formal material
contributed
by his own creative
fancy-a
wealth
so great as to constitute
him one
of the musical multi-millionaires.
In the education
of Liszt, other mUSICIans played
a much more important
role than in that of Chopin.
The earlier
stages of his musical
education
were
passed at home, in Hungary.
His father, Adam Liszt,
was of pure Magyar descent;
his mother, however, was
an Austrian;
and as German happened
to be the language chiefly spoken at Raiding,
it came about that
Franz Liszt, though destined to acclimatize
Hungarian
music throughout
the world, never learned
the Hungarian
(Magyar)
language,
As a child he spoke
German,
and to this he subsequently
added French,
Italian
and
some
knOWledge
of other· languages,
for he was an excellent
linguist.
But if he did not
speak the Hungarian
language
he learned,
from his
childhoof!,
the musical
language
of the Hungarian
gypsies.
To their playing he listened enraptured,
and
when he began, in 1839, to give special attention
to
the national
art of his country,
these juvenile
~m.
pressions
asserted
themselves
.with full force.
Adam Liszt was an ardent
music lover.
He was
personallyacquainted
with
Haydn
and
Hummel,
and- occasionally
played in Hayon's
orchestra
at the
Esterhazy
palace.
Being also a pianist,
he was able
to impart
to "his boy the rudiments
of playing,
begin-
CHOPIN AT 34.
were thorough, without being pedantic, and under him
Liszt learned
to master harmony
and counterpoint,
and to read and analyze scores.
He also composNl
for him a number of short church pieces, which have
not been preserved.
Both Czerny llnd Salieri
were
sensible enough to make SOme allowance for the strong
individuality
of their amazingly talented pupil, who SOOn
began to clamor for things more difficult than existed
at that time and who seemed to playa
Hummel con.
certo as easily as a duck swims across a pond .. 'l'hat
it was not all technic is evidenceu
from the wellknown anecdote of Beethoven, who, after hearing Liszt,
embraced and kissed him. Beethoven was not given to
such d~monstrations.
THe
THE FIANO ITSELF.
BY
J. CREE
FISCHER.
or
b:
o
on the crumbs
which fall from the
But the rule was irrefragable
and IC,11.
feed at least
dl'en's table.
consolable."
ln,
Probably
it was aU the better for him that he '
refused.
'rhere
was little need of a teacher for "as
•
OIle
who bad learned
to \\'flte notcl' ucfore he knew th
alphabet;
wbo always
had to .lJ~ restrained
instea:
of urged on; and whose [8\·01'11,' amusement,
at an
age when other chil(!ren
play \\' i 1 h toyS, had been to
disco\'er new harmoDles
on tht:' kt·'-!Joard,
Being of an
exceptionally
recepth'e
naturc,
:-;·'\"I.:ral years of daB
instruction
at a conservoti\'(>
i:i;:jl school of musi~
might have regrettably
curbed Ii' (/UPulse to seek new
fOl'ms of expression.
Cheruhi,
:u::tion had averted
this danger, and thus it camt',1'
'It that Franz Liszt
after bis eleventh yeor, nen'r
1.,1,
nother lesson fro~
anyone
on tbe pinnoforte,
\\"1,
,> was destined to
teach a new--orchestral-Ialll,,:"l
_
Composition and
collllterpoint
b did continue
Illy, with Paer and
Reichll,
till 182G,
'l'hencefol"
. I'; only instructors
were the works of thc great
01
l'I"Joi,
notably Bach;
Beethoven
and
hubert,
Ill!
is contemporaries
l
Chopin, RerJioz and Wagner,
in turn, were influenced by him.
Unlike
hopin, J...iszt did n(,'
al'e a general high.
school education,
Ilis father
d; lIot have the means
to give him such an ducllticm I:
lIis music absorbed
bim so compl tely (rom his d
lhood that no time
would hflve remain d (or it.
11' \\"\'\'er, he got along
withont
the
reek and Latill.
t' mathematics
and
history taught
in s bOOls, 'I'll.·
01'1<1 was his school.
house and it taught hinl infinil,-!.', :I\ore than most boys
learn from books,
In PUl·i.'l un ,Ispwhere,
the great.
est men of letters,
scicn e. 1lI11~',', politics, were his
daily associates,
while SOVel't'il=ll ,111/1 popes contended
for til privilege
of harboringj,
I liS guest.
Like all
the great mast raJ he contillllt ':
>
pclucate bimself by
the rending of books llnd SCQrl
the end of his jif"j
and in his eaany on Beelho\"l·ll
'·J<;gmont" he said:
'''1'0-dny we look on musicilllJ~
human beings who,
like others,
btl\, a moral dllj~·
'educate
thoroughly
their intellect
and who Dlllst II
lire general and ex'
tensive
knowl dge;
tlod it i~ ,nceded that among"
musicin.ns
there nrc man~' w!tn ,·1.n handle words as
well as ton s,"
TIe bimself \\"11 ,ne of these; some of
his literary
works nre bardlr
·,ft>rior in interest t.o
.his best compositions.
Franz Liszt.
In the saml2 year that
Chopin
made his home in
Paris,
Paganini
gave
some
concerts
there
which
aroused a frenzy of enthusiasm,
Liszt was so deeply
stirred
by them that he went into temporary
retire.
ment, with the determination
to do [or the piano what
Paganini
had done for the violin, in exploiting
all its
technical
possibilities;
in which he succeeded.
Then
he came under the refining influence of Chopin.
Berlioz, again, taught him much in regard to orchestration
and program
music, and finally he became the disciple and champion
of Wagner.
would be opened
wide to his talented
child
13
disagreeable
surprise
was in store.
Cheru·b'. ut ~
director,
(who had a prejudice
against
"wondl:, t~e
dren"}, informed
them grumy
that the laws
fehll.
institution
excluded
foreihrners.
To cite Fran'
LO. the
. one
. essays: "W"h
Z
Iszt's
own words, as rCCOrded ru
lU8
thunderbolt!
1 trembled in every limb. Neverth a, a
my father
persever ed -Imp'1 ored ; Ius• voice an. eless,
my courage an d I ,too,
tne. d to stammer
some Imated
1 begged humbly wOrds
Like the CauunuiTI
IS 1 woman,
t
'
allowed to satisfy my hunger with the dog's portionO. b~
DR. l\IcNAuonT, F.R.A.M .. d. ·n'ered It lecture to the
Edinburgh
Musical
EducatioSociety
recently on
"Some Points
iu Ear Trainil1""
The lecturer said
that ear training
should be "rill' bn~is of every musical
education,"
important
alike
jor
the player
on the
pianoforte
and
the big drU111. "There
are three
b abits of the mJDd
.
..
t 0 m.usic' (1) you
when I1st('Tllnl!
d
sound, an
,
the
(3) you bear another
sound nlHl ('ompa1·e I't with Tb
first."
The ear is best traitH'd h." single lessons..
,e
scale degrees
should
be first ohfol('rved and their 10;
dh'idllal
mental
e[e ts differ(,lltinl·ed.
These DICtD "
effects cannot
be d scribed
in words any more h aD
1
y
the colors of the spectrum,
hut t!l('y can be as sure
these
ObSCI'VB
It Bound
distinguished.
distinctions.
(2)
Cbildren
Absolute
you
lIl("/llorize
that
even lire Quick to learn nd it
pitch iR not necessary,
~ .t
is very doubtful
if the avernl!f' pUpl 'I can acqUlre I,'S'
.
t e knowledge., h"
I
although
for a singer
an approxlmll
11ee ,. 10 D of •pl C nVery
desirable
"A..
tempornry
rceo
Adam Liszt now took his Son to Paris, where they
,
'.
,
ge pupJl oa
Or "lOterval
sense"
IS whnt
the 8\era
. ing
arrived .. in December,-1823,
after giving some concerts
f ear train
be
taught,
and,
therefore,
a
system
0
'b
The
on the way, at Munich,
Stuttgart
and Strassbur'"
ought to be based on this secon d k·lD d of pltc t' the
While these concerts
were successful
in every wa;:
should
begin
by dr3wing
attention
°bUild
there was no delusion on the part of either parent or. "-teacher
scnle degrees,
llext
the key-c hor,.d and then
h d upon
child that the latter had finiShed his stUdies.
On the
round this chord.
Dr, McNaught
finally tOUC e..
contrary,
they went to Paris, with the express object
DlPOC
l
ear exercises.
He empbaslz 'edthe 'f one caD
of Securing admission to the famous Conservatoire.
. hanuony
tance of making pupils notice the bass, f?r 1 nSY as
Being provided with a very warm letter of reCOme ,llrl?
follow the bass, the rest will be comp aratJvely e basS
m:ndati?n
in Prince
Metternich's
Own hand, Adam
"the possibilities
of what may come over th
LIszt had no doubt that the portals of that institution
limited,"
IT is gratifying
to note with what keen interest
the average
piano pupil will study, along with his
teacher,
the interior
construction
of the instrument.
It has always
been the custom of the writer to exemplify,
not only to the ear, but to the eye the
primitive
means of pianoforte
expression.
Whe~ the
pupil had arrived at that stage of advancement
where
he should begin to consider
the various
modes of
touch and shades
of expression,
a few lessons, or
portions
thereof, were devoted to the component parts
of the piano itself and their behavior under the variable movement
of the finger.
The COrrect name is
given to each and every part and its purpose
explained and its movements
watched.
The force applied to' the key is traced through
the action until
it finally resolves into an act of percussion
Upon the
string.
The rebound
of the hammer;
the check of
the hammer
in its return;
the alert bebavior of the
damper;
the return
of the parts back to a position
of repose up0n the l'eleaoo of the key; these are all
items of import in securing a fundamental
knowledge
upon which to build a good t-echnique, to say nothing
of the renewed interest
with which the student
will
resume technical
studies, which, as we all know, are
generally
somewhat
irksome.
ETUDE
707
mathematical
ratio, and that the piano bas a range
of from- about thirty
vibrations
per second in the
extreme bass to nearly five thousand in the extreme
trehJe~ it is at once evident that som"e account must
be taken of these principles
before we can be sure of
produ.cing or recognizing a correct scale.
. It IS snrely easier to Jearn and apply a few of the
Slmpler rules of tuning tban to put up with even
bad llnisons or howling octa\·es indefinitely.
Even a
smattering
knowle(lge of the principles
of temperament and tuning
not only gives the pianist
independence with I·espect to the occasional
annoynnces
from defects
in his Own instrument,
but such n
~nOwledge gives him a discrimination
and judgment
In all musical
rendition
that he would not possess
without it. There is nothing in the whole renlm of
musical
science more interesting
to the Ill.Uhitious
musician than a study of thesc princillles
und few
t~ings are IllOre conducive to the highest Bu'ccess, notWithstanding
the fact that the value of such au acquisition is seldom tuken into serious considerlltion.
The artistic
deve10pment of digital dextcrity
and
the training of the musical faculties in distinguishing
good tune, rhythm and expression from the imperfect
and inartistic,
may be said to be the pI'incipal constituents of the art of piano playing; but, surely, these
can be mOl'e easily acquired
and more knowingly
applied where the tangible causes which have given
them birth, embodied in the COmponents of tbe piano
itself, are thoroughly
understood,
Of still greater
moment
is the matter of teaching
the correct
and artistic
use of the pedal from an
exact
knowledge
of its mechanism,
operation
and
effects.
There are works on the piano pedal which
FROM A TEACHER'S NOTEBOOK.
neither
show nor describe
the mechanism,
nor definitely explain
its effects.
Where the pedal is used
BY C. A, BROWNE.
ouly for sustaining
the tones of an arpeggio or a
simple accompaniment,
the pupil of talent may use
THE people
of the United States are described by
it, at least, correctly;
but in musical rendition
of a
Europeans
as being a people who live and talk as
high order, where the pedal may serve so great a
though we were mnning
to a fire. And ns the Jugfactor, either for good or for bad, a scientific knowl.
gernaut of FIuny is upon us, even in matters lllusical,
edge of its complete r01e is certainly
necessary
to its
we may as well reckon with it Ihst, as lnst.
artistic
application.
Called the "loud pedal," it is
Of COurse, there is no royal roa{l to anything worth
so often believed to add loudness, which it does not,
having, and every student must do a certnil1 nmount
except that the sympathetic
response of the octaves
of hack work; still many of the minor brambles may
to the tones produced
add a very little, and this is
be plucl(ed from his path by that preciolls foresight
more an addition
01' alteration
of quality
than of
which is of so much more' uvail than hindsight
can
quantity.
'l'he pedal sustains
tones which are proever be. And while we know that putience is tbe salt
duced in rapid succession,
and thus gives the effect
of the bird-catching
legeod, ;yet, econOmy of time is
of adding volume;
but each individual
tone struck
an importllllt
factol';
us, in this day and age, .iAIl
would be as loud, practically,
if the pedal were not
things come to llim who hustles, while others wnit."
used.
When these things are shown and explained,
If we expect to renr even a mo(lest slll)el'structure
it is to the average
pupil like drawing
the curtain
we must attend carefully to the founda.tion walls.
A
Upon a veritable
wonderland,
child
is
like
the
rest
of
us.
"'Vhat
he
kens,
lIe
cans,"
A matter
of no less import
to the pianist
and
And, if he is taught bottom fnds hom the first, he
teacher is a consciousness
of the condition of his instrument.
It is a small matter to take a penknife
will help build himself.
Rational
explanations
are
and
remove
a toothpick
from
between
two keys
alwa.'r's in order.
A handy little pamphlet
for the
rendered
inactive
by its presence,
The writer
was
student
to have by him for st.udr and reference
is
once called nine miles to perform this operation.
It
"Theory Explained
to Piano Students,"
by Hugh A.
is not a difficult thiug to remove the panel from an
Clarke.
There are othel·S. of course, but this seems ro
upright
piano and lift out a feather
cluster which
get at the kernel of the nut iu a vel'y simple and
had fallen between the action and the strings, renderdirect way,
ing three octaves silent.
A lady called a tuner from
Old·fasllioued
teadlers
used to evade the interrogaa city twenty-five
miles distant
to "fix the ruined
tion point by alleging, "It is 80, because I say :liO;"
piano,"
which he did in five minutes.
A sticking,
which was unconvincing,
even when it silenced the
sluggish
or rattling
key may be restored
to perfect
qt1estiollel'.
'l'here was a time when the writer felt
action by a minute's
attention;
yet the long wait for
the professional
and goodly bill of charges
is the
that scales-the
whole tribe of them-were
the iU\·enusual
consequence,
excepting
the case where such
Hon of the FathCl' of Evil, and had come straight fl'om
nuisances
are tolerated
month after month, until they
the abode of departed
sinful
souls, and exercises
are at length accepted
as necessary
effects.
were weddeu, mentnlly, to the solemn passage,
"Man
Probably
the most remarkable
characteristic
posis born to tl'ouble lIS the sparks fly llpwnrds,"
sible to a naturall.v
correct ear is the acquired
inThere would be no use telling a young pupil that
sensibility
to imperfections
of the scale in regard
the piano is a harmonic, rather than it. melodic, instruto tune.
The mental
faculties
of the musician
are
ment, but if we say that a piece of piano-music
repreabsorbed
in other matters
relating
to the art and
sents several voices singing together,
much like the
gradually
become unconscious
of imperfect
scale conditions, until the ear is no longer correct.
Beginning
choir that he hears in chnrch of a Sunday, those hard
with an instrument
in perfect tune, the performer
is
chords will take OD a new nnd human interest.
FIe
cognizant
of the pure and exquisite
harmony;
but
will try to pick out the· notes which might belong to
gradually
the scale grows imperfect.
and gradually
the haughty soprano. nnd pcrhAps lle will pay more
the ear adjusts
itself to the faulty intervals,
and the
nttelltiOIl to the lowly bass.
The information
will be
voice, likewise,
with the vocalist,
twice blessed;
for IlS n side issue, he mllY do less
Without
some knowledge
of the requirements
of a
sqnirming dnring service.
eorrect scale and the tempering
of the various inter.
'i'aking the hands separately
and speaking the name
valst
one cannot
develoD that delicate
cliscemment
of each note in a new lJassage is very belpful.
In
Which is essential
to the production
or cognizance of
any case, slow and thoughtful
practice,
sans pedlllg,
a correct scale. Upon consideration
of the fact that
'Vibrations
per second are computed down to a point
cannot be too mnch recommended.
It is a well-known
of small fractions,
that certain
intervals
in the tern·
but gr'ently disregarded
way of taking n short cut 10
-pered scale must vary several vibrations
from a true
suceeSR,
Archbisbop
Paley, in censuring
the foibles of the
gentler sex, once said, "Funcy-woek .Is red with the
blood of slanghtered
time."
But what could be more
apropos
of careless
pinno-practice?
Mr. Krehbiel
thinks that, of nil the arts, music is practiced
moat
and thought about least.
It may be true, for, take
two pupils-c-one stlld,\'iug lllusic and the other art-and the budding artist will need to buckle down to
work far more enrnestly in order to seize nnd fix, at
the same time, form, mase, jwo)lOrtion, perspective,
light, shade, color and atmosphere.
For nil that muatc is evanescent, and must be re-created nt ('nch hell ring, it ia the mOI'c tangible art of
the two; for the notea lind lllorka ot eXJ}rcaaion fire
there wfiiling for th stlldQnt nny day or hour,
It is
(lilTCl'eut thon being confronted
with n pitilessly blnuk
shcet of pnper 01' !lInin niece of (llIl'ns.
Whel-cfor,
wilful wnate of mUsie-studentll'
time seenUJ all the
lllore wilful.
'l'he smallest child can grnsp some idea. of the great
baliiic elem ntll of musi
melody, harmony nud rhythm
-if the~' nre presented ill the BilllJlle guise of one voice,
more Ulan one voice, nnd swing or bent.
If it can
be impressed
On his youthful
mind thnt his plano
t'epresents II clion1s of people Ot' LL whole orchestra
of
instruments,
e\'en the dulJan:! thnt is always in Our
midst will wake up with more rCSIll:ct for the belp]l'stl
instrument
at his mercy.
When, in lesson-giving,
the composition is broken lip
into musical bits or ph ruses for the next meal, instend
of bolting whole pages, there will be less musical
indigestion
find loss of appetite.
Every normal child can be made to understand
that
a common chord is a ['oot note, with its third and
fifth added; nu(l, after thnt, new phrases may be Cflllvassed for chords, which may be an-anged 011 a separate sheet of puper in their natUl'al O1'det': noot
first, with third nnd fifth Ilbol'e.
And when the different positions
of the snme chord begin to resolve
, themselves into old friends, with new faces, the battle
begins to be won in earnest.
Croping in the dark is went'isome fOl' all of us eilloth
children, both old and young; llnd we are one and nil
grateful
for even II thrend to guide us through the
musical labyrinths
that might otherwise
prove our
undoing.
I'ROFITLESS MUSICAL HISTORY.
BY CHESTER
R. !'REEltAN.
ONE need only look at the papers
aet for students
nt cxaminntions
to see how absnrdly, uselessly, musical
history is taught to-day.
When Bach was bol'll, when
did lie go to Leipzig, what principal
works did he
"nite there?
In whnt year did T:Ian(Il::1come to Loutlon, and wheu WtlS the "Messiah"
produced'f
Did
:Mozart Ot" John 'V. Smith, of Chieogo, compose "Don
Giovanni"?
Of course, it is ndvisultle, e\'en neccssary, to know nil these things-to
kilO\\' thnt Mozal't
:.tn(1 not Smith, of Chicago, Wl'ote "Don O:ovanni,"
lInd thnt the "i.\Iessiuh"
wus written in the mhl<lle of
the last ccntlll·y, noel llOt ill the middle of this celltur.v.
But that is the sort of knowlcdge which ought to go
without sasiug.
Oue may know au endless llumber of dates and
facta, and yet not pOf;se~s n lidng knowledge of histor.}'.
'Vbat we want is II musicnl llistory so divided into
pC"iods nud scbools thnt the whole thing is as plain as
a map; that the h'lpless student, besides leal'lling, for
exanwle,
that Ilandel
wns born in ]685, will learn,
also, of what forces-purel.\'
m:'lsical, literary, social,
and so on-he
was the product;
who were his musical
forebears.
and wbich of his contemporaries
and Successors mar properly
be cla~Sfd with him.
Such a
history wou.ld, perhaps,
oHlke too hnge a volume to
be held in one hand,
The best tbing would be a
series of biogralJhies of the musicians,
not devoted t\l
dates lind elllborate
analyses
of their 11llimportant
af'hipvementf,l. but showing what they did and why (so
far as one enll tpll the wh.\, of an.'r'thing) they did it ;n
thnt pnrticulnr wfly nnd not another. Of course, such a
l'=('t of books wonlr1 not be intended for babies, and it
would tnke a grown musiciAn IiOme time to rend them.
But no one wOllld reA'arrl these fncts as disadvantnJt"cs.
It is (Iuite time that musicians
had the flame broad
knOWledge of the history nnd all the circnmstance!!
of
their art liS literary men hn\'e of their n..rt. A.nd when
musicians
acquire
this knOWledge they may JlOssihly
realize thnt it is not enough to study in the old
way forever and forever.
T"~fTUD~
·708
Making the Lesson Hour More Helpful
By
W.
S.
B.
I HAPPEN to have received lately two letters presenting typical
difficulties.
The one comes from a
teacher who complains that a talented girl of thirteen
or fourteen
plays the lesson worse and worse the
more she practices
it; and that when a study is assigned for review it comes back much worse than before.
The .other comes from the pupil side of the house, 'who
complains that the teacher assigns always a new study,
lesson after lesson, although the pupil is able merely
to clamber through the one previously assigned.
The
teacher declares that it will come Qut later on. Thus
the difficulty appears from both sides.
Here is a
teacher who wants to improve her pupil, but the
pupil seems to lack capacity
for improvement;
and
here is a pupil who wants
to be improved,
but the
teacher does not seem to expect improvement.
Faulty
Memories.
The pupil,
also, presents
yet another
element
in
the case;
it w that when a study is memorized
it
is immediat~ly
forgotten
and
cannot
be pla:;'ed
perfectly
the next day.
So here we are, with teachers
and pupils
recognizing
this fateful
physical
fact, of
the educational
basket
(the pupil's
mind)
remaining
dry, even when water is poured into it day after day.
What is the matter?
The matter
is easy; the lesson hour is not properly
administered.
The pupil is not taught
how to st'udy
nor what to st1tdy for.
Very likely there is yet a
third ingredient,
in the fact that the material of st'ltdy
is not such as to require study, being either too easy
or too shallow.
Now it is quite true that an artist
can set to work upon even a very easy piece and
find things
in it which will use up quite a bit of
practice
before the thing is prepared
for the kind of
public performance
which her ideal requires.
For instance.
when
Godowsky
came back
from
Berlin,
in 1900, he played us that fascinating
little
"Doll's
Waltz"
of Poldini;
played it insignificantly
and with contempt,
adding that some artist,
I have
forgotten~ whom, had been playing
it in programs
in
Berlin.
A little later Mme. Bloomfield-Zeisler
included
it in one of her programs
and I heard her play it.
lt was evident that she had found in it a lot to
bring out.
It was still a pleasing and charming
little
thing, with no great depth, but awfully
fascinating,
by reason
of the delicate
contrapuntal
handling
of
the first subject;
also by reason
of the charming
second melody, which is much better.
Mme. Zeisler
liad undoubtedly
practiced
that. little thing considerably, in order to get her fingers as even as possible, so
that the delicate
running
work would be as perfect
as a chain of pearls, carefully
~;raded in quality
and
size. Now this fascinating
thing is little if any above
third grade in difficulty.
And yet one of the very
greatest
woman pianists
of the day practiced
it.
Emphasizing Essentials.
Every
pupil is nnformed
in music.
Whetber
ad·
vanced
or not advanced,
she is in her
measure
ignorant
of what thing>; can be found in any possible
piece to bring out; this is her first deficiency.
She
is also ignorant
how to bring
them out when she
has found them.
Hence the proper administration
of
the lesson hour can be summed up right here.
It is
to show the pupil wha·t things to find in the -piece
under study;
and how' to br'ing out thoS6 things when
she has found them.
. 'the beginning
might be a quite mechanical
analysis.
The old story that a musical thought consists of three
elements-melody,
harmony
and rhytbm-is
correct
enough, if you carry i.t down into the midst of things.
So begin
by .finding
out what
melodies
there
are
MA THEWS
.'
'.
d when these have been
actually given ill the piece, an.
.',
discovered find out how the melodies are harmonized
-the
succession
of chords.
Find out the rhyth~;
"II y, an d shaI'l)I"
yet . WIth
get it accurately,
elastica
.~'
the "give and take" which a living orgalllsm requlre~.
'Vhen you have done'so much, then find .the melodies
which are merely sug-~ested or which actually
occur
in .subordinate
voices.
The most ·remarkable
example of bringing out concealed ideas in a piece that
ever came under my notice was Godowsky,
who. by
means of a new accentuation
would manage to bl'lng
out an entirely new melody upon the repetition
of a
passage.
How this might happen we will see later on.
And first of repetition.
If you look over almost
any piece J'ou chance to be studying
you will find
that it consists
of one, two or three strains,
which
are related and closely connected;
a second division
comes in related
keys, one, two or three strains;
and after this the entire first division
is repeated,
closing perhaps
witb a coda or proper
conclusion.
'fhis is the model of the majority
of salon pieces.
Now the last part of the piece is so exactly a repeti·
tion of the first that it is "ery possible
that the
composer did not write it out at all, but simnly indicated a da capo, to be followed by the coJa, \\lilich
he did write out ill full.
Now almost all editions
will show the usual conception,
of assigning a certain
mark of expression
in each strain and reneating
it in
exactly
the same place eacb time it occurs
again.
When the music is shallow
of itself nothing
could
bring out its shallowness
more than this stereotyped
repetitioll
of an idea with precisely
the same coloring at each repetition.
For'instance,
wben the first strain is repeated
iill·
mediately,
if the melody was given a soprano
color
at first, let it have some other character
in the
repetition.
If it is in octaves, this is easy, because
you simply color by the top notes first, and by the
lower notes of the octave after.
Or if the melody
is in single notes, you have to color it by bringing out
some subordinate
idea, such as the bass or alto, at
the repetition.
The old device of playing
forte at
first and repeating
pianissimo
may be used as a last
resource,
in case no other interest
can be found.
But be the piece even of an unimportant
nature,
a.
good teacher can find ways of making it a little less
intolerable.
Thoughtless
Hence if at the fi~st playing the interest
is coocentra~ed upon the soprano melody, at the repetition
let thl.S subordinate
melody be made more
f
d
so O"n III all similar places.
0, an
Ntl~ only to find
to brmg them out,
Exact
Rules
I am not mysel( in (uvor of auy very exact rules
for managing
the hauds aDd finj.{l-'rs for producing a
given effect.
The p1'Obl m is ~o diOicult
to under.
stand perfectly
that
it is bNtt 1'. 1 think, to learn
to hear the effect, and then with a little general di·
rection or attention
to weak IJoillt:i in the individual
ba.nd to work (or that
tonal
\·ll"l'd.
And this in,"olves th
prB tical
handling:
Ol all the standard
vari tics of technic, and their suhj.'ction
to the tonal
idea in iUlln Hat haud.
Toke such l\ I)iec
as the Ts{'baiko\Vsky
Funeral'
March, in the
hildrell's
Albulll, IIl1/1 it is a very nice
exercis
in chord technic
to I:<,t t!l,)!-;c chords and the
melody together
with tb prOIJI'!" chord effect, and the
olelody preponderating
exactl~
(-1l0Ilgh.
It is just
the aume kind of thing
os thnt which takes place
when yOll go to an eloculiOni:-lt
to learn to deliver
the Daml t BOHIO<luy, "To l)l' 01' lIot to be."
It will
be a qu stion o{ speed, or ralll1'l" of deliberation,
of
just so lUll h cmphtlSis
hcre, nnt! just so much there,
one vanishing
inflcction
here. nlJ',lh('r
there, and so
on: difT r 1l~8 of 8pcech ~o nino :1l1d subtle that at
fir8t ;yOu do not renliz
half o( llH'III: but the teacher,
being instllnt,
in s 'os nand
Ollt of season, does not
mind that.
II
k CI)S on itC'ratill;!; the phrase until
you hm'e caught
th
dclic3tt'
1111([
subtle
inflection,
and have given it with just enou~h t'nlphasis and with
the right quality of tone.
And in this way you might
spc-nd ;your first I~BOn upon the first three lines, and
then have ev rything y t to do.
what idea9. are in a piece bnt
and this involves
two technics,
Greater
Thoroughness.
Now tbi~ is what has to tnkt' plnce in the music
lesson.
"'heo
we have a littJ<' ~tlldy by Heller, one
of th6se beautiful
melody studil· ... of his, which far
surpass
any tbat huve been writ tell since, this salll;e
kind of studying
the 11010 tnkf's pI nee. and tbere. IS
not a pl1ge of u good and mURical ~tudy upon which
u good teuchcr
with An apt pupil ("ould not spend an
entire half hour
llnd then (('('I that he bad slighted
the tone--pocm.
'Iu' other wordf', the teacher has to
teach the pupil lo feel musical
(':qwC'ssion, and then,
feeling
exprcssion,
letlrn
how to play that expres'
sion.
fJ.'his is the
THE MIGHT
whole
stol'y.
. 'oned to
Sm Jo IrUA REYNOLOS WOS 01l('(' commlsSI
paint ll. portrait
of Haydn,
thc l'elebrated
COlllPO~C~e"
" tel' and gal
Haydn wcnt to the residencc
of lhc palO
Id
·
..
. I
S· Joshua wou
Illm
a. Slttlllg,
but soon grew tlrN.
11'
•
00"
"
"
"tl
a
stupId
co
not pamt a. mau of such gcnl1ls WI I
••
rl1e s aroe wcarl
tenllncc n.nd adjourned
the sitting.
.\ at.
.
at the nex
ness and wllnt of expression
QC('llrl"10g
• to
"
I tle
I CII
. ·CUOlstanct "'elll.
tempt, Sir" Joshua
commulllcnte<
. ..
.
b
of rived astra n..",irl
tl le commlsSlomng
prlllCC. W 0 co
tt German"
He sent to the painter's
house a prc Y
.
,t for
" the service
" of the queen.
"II
In
ayc I ll· look Ins. seabcdan
"
"
I
vcrsatlon"
t b e tlllrd lime, and us soon as ll~ con
ddrcsspd
to lag a curtain
rosc, and the fall' Ge~man a Haydn,.
nt
him in his native tongue with a comphm: .
ue,;tione,
d~lighted, overwhelmed
the enchantr~ss
\~lth q
Sir
IllS countenal1ce
recovered
its ammatlOn,
.
"
ed
·ts
trmtS.
J osbua rapidly and successfully
SC1Z
l
and
OF LITTLE TIDNGS. )
BY FAY SIMMONS
Undesirable.
Practice.
The trouble with' the pnpil who does not improve
things by practice is that she does not take her mind
with her, and probably does not take bel' ear either.
She has to be taught to find all the different
ideas
which combine
within
the simplest
possible
period.
For. instance,
after the melody (the first eight, ten
or slxteen measures),
there is at the same time with
it an accompaniment
figure, a rhythmic
pattern,
also
a harmonic
pattern, -which
needs to be understood,
heard, pla;yed neatly and perfectly, and then put with
the melody in a "concerted"
effect; l. e., to give and
take with the melody, like players in a quartet.
For instance,
in. the Poldilli
waltz we have in
~he rig!lt hand a bright and pleasing motive, repeated
III vanous
keys; always running
in groups of four
~easures;
and under it the bass has a very churm.
Il1g melody, quite as symmetrical
as that in the right
ha~d; the more striking because during four measurcs
while the bass moves diatonically
through
tlm solfa figure, Do-si-Ia-si,
the chord remains
the Sume in
all ~our .of the meaSllres.
Thus
the bass forms
paSSlllg dissonances
with the harmony,
and this impa.rts a variety of tension to a passage which' without
~hl~ a~cessory
interest
would be merely childish
and
1ll"'.lglllficant;
Similar
things
happen
in all well
wrItten musIC.
TUE
which are indlspenaable
to good playing.
'I'h
technic
is that of the ear, the knack
of obae first
"I·ntensil)' in tones and toue successions
Int. e.rvlng
.
usttv t
not quite the same thing as vower,
althOugh- it ~ .IS
be a long step in advance
if the pupil does ob 'ill
"
ft
.
serve
the relative power
0
ones.
But lUtensity
has'
it a personal,
meutal
quality;
11 tone or a goo
In
.
up of
tOIlCS seems to mean somet Iuug.
It has that d fi "
.
.
e nHe.
ness which speech
hue when
;\'O~ mean it a
deal-it
is not power, not pounding,
but simpIgr~at
tensity-a
lot of mind brought
to a point in it. Yin·
And when the pupil begins
to hear the Can t
d
I'
etant
change an
vane. t y 0 ft' ensron \~'ucb
occurs in con.
secuttve tones ~vhen played ruustcally then the other
technic
comes in, of the know-how
to create th
""I
.
intensities.
n a recen tk wor
upon Plano
t bese"
•
,
~nlC
the term IS. defined
as ·the art of producing and
vitalizing.
plllnofor~e.
tones
.f~r
tb:
expression
of
musical
Ideas.
'Ihls
defillitlon
gives an entirel
new emphasis
to the term
'·technic"
from 'what ~
had when it was used i~ pluce of (luency.
It is on~
thing to produce
tone~ III unpr<'Cl'dented
fluency and
complication,
and thn:l was
formerly
a pianoforte
technic:
it i::J quite
another
tiling
to produce and
vitalize tones for expressing
idea.
This is the modern
idea of te<:hnic, and it has to be taught.
'\
DAVIS.
IT was rammg hard.
lt had been l'UIDlDg steadily
for a week and my spirits were as dark as the puddles outside of my home. It was four o'clock on Saturday afternoon,
and ~y teaehug for the week was over.
So absor?ed
was I III thinking
over the day's work,
that I did not bear -the opening of my studio door
and wa~ not aware of another's
presence until I felt
two loving arms around my neck, and heard a sweet
voice exclaim,
"Oh teacher!
it was 80 lonesome at
home that I couldn't
stand it. So I burried over to see
you, for I thought
that perhaps we could cheer each
other up this dreary day."
Bless her heart!
"Cheer each other up!"
Had the
~un come out, .01' had the shadowl;'! been dispelled by
Just a few bl'lght
words aud a cheerful
presence?
" . Ah!" I thought,
as I patted bel' head, "if this spirit
eould only underlie
all art and inspire the workers of
art,
how quickly
would
difficulties
disappeal·.
and
courage and ambition
take the place of heartach~s and
weariness '"
Many
an evening
finds teachers
still
in their
stu~lios, tired from their day of faithful
teaching, yet
tl'yillg to plan out what more ther can do for some
student
grown
deal' through
houl's of association.
'They think over each pupil's needs, and decide what
extra
helpful
things
can best satisfy
them.
They
never think to ask themselves,
"Docs it pay?"
The
very unselfishness
that makes them forget to question
is what makes their, influence so great, their personalities so strong,
and they find their reward in the
artistic
development
of the pupil.
One da! last June I was riding in an open car,
accompanied
by a ~'onng teacher, who was weary and
depressed
from her year of teaching.
In the seat in
front of us sat two boys, former pupils of hers, who
had been as difficult
to manage
as the "Heavenly
Twins."
In the midst of their conversation
her name
was suddenly mentioned.
The color in her face deep·
clIcd, and her tired eyes shone with new light and
courage as we heard one boy say to the other, "Yes,
my year with her was the happiest
I ever had.
She
did so many fine things for me!
She was always giv~
ing me extra time, and she helped me a lot in every
\Yay, too!"
Do they pay, the extra little things that teachers
do'! Do they pay, the thoughtful
little things that
students
do, that spring from the love which they have
for their art and for their tescbers?
As well might
we ask if it paJ's to have the little, bright flowers in
our gardens
intermingled
with the big, conspicuous
ones.
Weed them out, and how disappointing
and
barren
the result would be!
As weli might we ask
if the simple Christmas
or birthday
gifts pay, when
compared to the more expensive ones. Examine again
the little presents
with their loving messages, and the
frogs in Y0111' throats nnd the love in your hearts will
giye you all the answer you need!
Not long before the death of that dear old 'cemst,
'Vulf lj'ries, I played at a concert in which he also
was to appear.
'l'he singer for the evening happened
fo be one of my friends, a young man of undoubted
gifts and ambitions.
On this particnlar
night he
seemE'd very nervous,
find looked pale and tired as
paced restlessly
to and fro in the dressing room.
Mr.
!i'ri€S watched
him a moment, and then walked up tl)
him.
Throwing
his arm affectionately
around
the
young fellow's shoulders,
he said cheerily, "Brace up,
my boy, brace up!
You are going to make us all
proud of you to-night.
Now look at my baby here"
(holding up his 'cello) ; "just think what he can do,
and Y01t can do even better.
'rhink that you are going
to do wen, and you will. Come now, let's see \vhat
YOU are made of!"
The young man looked .1\'11'. Fries
straight
in the eyes, clasped his hanel, and walked on
to the stage to sing as -I never heard him sing before.
Who can say that a few words of encouragement
do not often mak/'! for a man's success?
.Yet this
success, in its whole glorious
sense, meillls little if,
along' the road which led fo it, we have done nothing
to help another
reach it also.
While I was filling one of my first church positions.
ou)" choir had for a director
a tenor who wa,. ver.\'"
arbitrary,
exacting
and devoid of tact.
A substitute
contralto,
young and inexlIerienced,
'vas much frightened by his ma'nner, which seemed to take away bet'
"nerve."
Noticing
this
fact, the sopranq
quietly
moved closer to her and whispered.
as she took her
r.d
ETUDE
hand "Don'r
.
f'
you mfnd him; just watch me and listen
?r YOUI' note.
I will give you your lead.
Now do)
smg,!our
best '. You know what it is going to mean lo
yO?
And with sudden inspiration
the girl's lovely
VOIce ~ang out, clear and flutelike, in bel' exquisite
rendermg of the selection.
. Does this spirit of helpfulness
pay?
Ask the quesbon of '.successful
..
mUS1ClRns,
who have conquered
tremendous difficulties,
They will tell you of the time
when, stumbling
along alone, they were glad to feel
tb? strong clasp of a friendly hand and to hear the
voice of c~unsel which renewed their courage and
turned then' darkness into light.
Ask the Iather of
t~e wayward boy. He will tell you how he persuaded
his son to study music (in tbe hope of redeeming hitn
t~rough the love of melody).
He will tell you of the
helpful advice given in the littlc friendly talks a[ter
lesson. hours by the tCRcher, who knew something
about boys as well as about music, and of the extl'U
moments spent in nlaying duets which in time cultivated in bis sou a taste for ~ncert.s 'instead ~f for
t~e I?w. forms of entertainment
hitherto enjoyed.
Ask
htm If It all lmid!
You will heal' such an answer as
will echo in YOUI·hearts forever.
Tile musical life is hard and steep in places.
The
thoughtful little cOtH'tesies which we offer, [md wbicb
are offered us all along the way, make the path shotter
and brighter.
'.rhe battles we must fight are many,
and word:,; of encouragement,
of hope, of sympathy,
help to make us conquerors
in them.
Disappointments, heurtaches
and failures grcet the world with
every morning sun: But as each day advances
ambi.
tions and com'age returu through the helpful ~ouusel
of friend to friend, encouraged
hCllrts look up once
more, and believe anew that "God's in His I-IeavenAll's well with the world."
Our beloved art binds us in sacred, unselfish obligation to OUl" fellow workers.
No thoughts of jealousy
or of hard feeling should ever mar its belluty..
Like
one large brotherhood,
onc union, man should be bound
to man by the interests
which uplift and strengthen.
No helpful ward is too insignificant,
Rnd no kind act
too small. but that some one is the richer for them.
There are moments,
I know, when tactful words of
sympathetic
criticism
are needed in order that we
may learn how to improve.' But there are other times,
more numerous, when words of lmrsh criticism \Vouid
crush us and cause us to fail, where wods
of encouragement
might have helped us to win.
"Only
a thought
A smile,
Has
lifted
No other
in passing,
an encouragiu3'
many
gift
word,
a burden
could
have stil·red."
In the study of our art it is the conqu~ring
of the
little things
that brings success.
There is an alL
Persian proverb which says, "Do little things now;
so shall big things COW" :;::. thee by and by, asking to
be done."
Our id,::<..:~ broaden
because of the perfection
of
these lIllllor details.
Through
them we develop un·
suspected powers, and the consequent
delight in our
manifest
progrp.::;~ spurs
us on to still
greater
acb ievemeu t.
Wl:HW rin organist
successfully
conducts a church
serv:..:e it is not his expcrt pla.ving of the voluntary,
anthems
or postlude
which shows his true worth.
His musicianship
is revealed by the harmouies
in
his modulations,
by his keeping of the se::vice all in
oue key (so to speak),
by" his interluoes
to the
hymns, by his phrasing,
and by the shades_of artistic
coloring shown in his rcgistration.
It may seem a "little thing" for an accompanist
to
know by instinct how long a yiolinist intends to bold
a note, or just when a sing-er expects to breathe;
and
it may seem a small matter for her to be on the alert
to gh'e the note of a lost "cue," or to emphasize allY
change in harmony.
Rut these little points count
as much towards
ultimate
success as do any of the
greater ones.
'We often wonder llOW this or that pianist could
commit so many pieces to memory and play them so
perfectly at a recitnl.
But why should we wonder?
The' artist well knew that the consciousness
of ooedefective spot might mar his whole performance.
So
he gave perfect preparation
to every little detail, he
absorbed every note, he i.ntellectllally
swallowed each
selection, morsel by morsel, until it became a part of
his very being.
He gave months of toil and thought
to eacll composition,
measure
by measure.
He
studied phrase
by phrase,
he classified
and mcmorized e"ery musical
idea.
He practiced
first slowly
709
and laboriously,
then faster and faster as the music
grew wore perfect.
'I'ben slowly again, for technic's
sake, always slower, and then faster, as one would
regulate a clock until it runs correctly.
He never
wearied of re\'iewing;
his one thought was to have
the music perfect from the COUljlOSCI"Spoint of view
were he on earth to hear it. would you or I, who
say that we would "give auythiug'
to play RS he
does, practice aa be does?
Are we not nlwnys wnnting things to "sound lovely" right off, yet ever rendy
to leave out the hard work and the tiresome discipline?
Wo can no longer deceive ourselves.
This is theage when perfection
is demanded of nil those who
wish to be true UI·Usts. 'fhe summit of Pnrnnssua
is not as far distant ns we think, but there is onl.v
onc wny thllt leads to it. Oue Jitllo fj!cP up tho lud~
del', then another,
and aoolher,
n]wnys one by one.
carc.fully find iutellig ntiy tnken, "without
skinViug.'
Until lo! before we know it we ha'·e t ached that
wondrous
goal!
'I'hen if we fire worthy,
we will
look back, and with outsll'etchc{1
£Inns beckon and
encouragc
those struggling
on aehind us, bid{1ing
them to take heart and to keep on striving, step by
step, patiently,
persistently,
\lntil they too stand side
by side with us.
BACH'S SONS.
to a triend, Johann
Sebnstin Bach sa' ~
his tamily: "All arc bol'll musicinns,
and cert<l:u'I)
we could nlrenuy
give with them a vocal and j.')_
strumental
concert,
eSI:lRcinlly as my wife has n.
very pure soprano voice and my eldest dnughter
does
not sing badly."
The record of the sons of Bach is not complete.
They were Rll musicians,
but works did not survive
in the case of two of them, Gottfried
Rel'llfll'Cl and
Got~freid Heinrich.
'!lic fOt'mer held several organ
nppointments,
but WIlS Yel'~' ullsettled
in disposilion,
In thc latter ~'eaI'S of his life he WIlS at thc Uuivel'sily or Jena, stndying Illw. He died thel'e ill 1739
at the age or 2'1:. Of Gottfried
Heinl'ich,
Alldr~
rit'l'O, the biographer,
says tltnt he wus a gl'ellt
genius wllo rcmained
a child.
Pirl'O cl'edits to him
what has been wri1tell about.1! cel'tnin "DHviu" Bnch,
'"'~o, simple·minded
nnd ignol'ant
of ull techllicnl
:;now:2dge, could .vet improvise nIl manllcr of stl'nnge
poetic things at the harpsichord,
music which brought
tears to the cre.
'Vilhelm
Friedemnlln,
thc eldest of the SOliS, was
his father's
favorite,
llnd was tl'ented as a sort of
cOllll'nc1e. "Come :110llg, Friedelllann:
let us go Hlld
heat· the ·little songs of Dresden,"
he would SUy to
him sometimcs,
lInd they would sct Ollt 011 foot. Be
was wondcl'full~'
tnlented
and ke<!ll ill inlellect,
but
semed to luck the powel' to usc his gilts of mind
to advnutuge.
Be fIeld severn I importnnt
positions
as organist,
but lost the places by extravagancc,
wild
behavior,
aud the free use of a bitilJg tongue.
A
man of genius, he died in poverty and wretchedness
with the consciousness
Of fl wasted
life. He is responsiblc
to !)oSlC'rity for tiJe loss of some of his
father's
valuable m.11111scripts, which he bartered
tor
the pleiHllll'es of tlle moment.
Karl Philip Emmanuel
BaciJ, known us th" "Berlin" Bach, is the best known of the 8On8, and information
in regard
to him is accessible
in any
musical dictionary.
He is said to have rcmurked
that he could not emulatc his fnthC'l', and therefore
struck out Oll a ncw path, through
wbich resulted
valuable
contributions
to the development
of the
sonata.
His works
were largely
and devotedly
studied by Haydn.
Johann
Chris6tn,
also called
the "Milan"
or
"English"
Bach, had a brilliant career and was much
esteemed in his day. His works show the influence
of Italian
music and suggest
Moznrt's
style, in a
mefisure.
He wrote a number
of operas
in. the
Italian
style and olle to a French libretto.
Johann Christoph
Friedrich
first studied law which
he gave
up for music,
filling
the position
01'
Capellmeister
to Count SchaUJ.Ulburg, at Biickeburg~
therefore
being known as the "Biiel..~burg"
Bach.
Hc was ft diligent composer, principa..J:ly ot sacred and
chamber music.
WRITING
ot
THE pianoforte
playing of Brahm!! was far from
being finiAhed or even musical.
His to'le was dry or
devoid of sentimcnt,
bis interpretation
inadequate.
lacking style and contour.-Dr. TVm. MOSO'l.
Tnf:
710
f:TUDf:
Klindworth
tells us that be did SUch d '
bis left thumb tbut one was te~\ ato believe it twic~ ~be I,engtb o~ a~ ordinary
th:rn~~
What chiefly diatingulahed Llsat s technic was th
absolute freedom .of .his arms.
The secret lay in th:
unconstrained
swmgmg
movement
of the arm from
raised shoulder,
the bringing
out of the tone tbl'OU h
the impact
of the Cull elastic
mass on the keys, ga
through command
and use of the freely rolling fore_
arm.
Be had the gift for which all strived, the ryth.
mic dance of the members
concerned-the
springin"
arm, the springing
hand,
the springing
finger.
pla)'ed by weight-by
a swinging
and a hurling of
weight from a loose~ed shoulder that had nothing in
common with what IS known as finger manipulation,
It was by a direct transfer
of strength
from back aou
shoulders
to fingers, which explains
the high position
of hands and fingers.
At the time of his most brilliant
period as Virtu_
oso he paid no attention
to technic
and its means:
his temperament
was the reverse of analytical-what
he wished to do he did without
concerning
himself
as to the how or why.
Later
in lifp he did attempt
to give some practical
suggestions
in technic, but these
were of but doubtful
worth,
.\ ,I;'{'nius is not always to be trusted
when it COlllPS to theoretical
explanation
of what
hc does mon'
by instinct
than
by calculation,
His power over an audience
wus Rudl that he had
only to place his hands ou the keyboard
to awaken
storms of applause.
E\'cn hili pIlUS{'S had life and
movement,
for his hands
SI>okt> ill animated
gesture,
while his Jupiter-like
head, with it~ lllane of flowing
hair, exercised
an almost
hypnot it' ('ffeet on his entranced
listencrs.
From a I>rofcssional
standpoint
his execution was
not alwa:\'s flnwless,
Dis great I'h'lIl, Thalberg,
had
greater equality
of touch in sc·nl('f.1 llnd ruus; in wllat
was then known
as the jell 1H'1'/c (literally, pearly
playing)
bis art was also fin£'r.
Liszt
frequently
struck 'false
notes-but
eal'S WI'r£, closed
to such
faults:
bis hearers
oppeared
not
to notice tllem.
These spots on the sun ar
m('ntioned
only to put
an eod once Cor all to the foolitih stories
that are·
still current
about
Liszl's
wontll'rful
technic,
'l'hif
greatest
of all reprodu
tivc nrti~l~
was but a
and often erred, though in a lo.l'~(' and chal'actemtJc
fashion,
Liszt's
technic
is the t.vpical
tt,('hnic of the modern grand piano (IIllmmerkla"icr),
lIe knew well
the nature
of thc instrument,
its old-fashioned
single-tone
elf ts on the oDe hond,
it!'! full harmonic
power
aro-I !)(I1yphonic
npabililil's
on
the
other.
While to his predecessors
it WilS ~illlJ1ly a medium for
musical purposes,
under his hancl~ .it was a .means of
expression
for himself,
a r('\·t>latloll of hiS ardent
temperament.
In
mparison
with
the contracted
fi,'e-finger
positiolls
oC the clas~i('al
technic, its brOken chords and arpeggios,
Lis1.t'~ j('chnic had the a~f
vantage
of a fuller, freer Row, of greater
fulness
tone and increased
brilliancy,
('hapin
has, pel'~a_ps,
discovered
more original
forms;
his style of wrltJng
is far more delicnte
and graceful:
his individual n~te
is certainly
lllore musicnl,
b\lt hi!' technic is spe.clal
T "I:
a twelfth.
clous rhlugs with
Liszt as Composerand as an Jtrtist
By F. S. LAW
When we speak of Lisat the composer we g.enerally
..
t
of the sl'mpholllC poem.
think
of him as the ongma or
d
death have wrought no little change in the
and
it
is
true
that
the
present
powerful
tend~ncr t~var t~
general estimate of his significance as a commusic with a poetical basis is almost, enb.re ~hisu~en.
poser. Two recent issues of that admirable German
him.
But there are signs of a reactlon.lD
.
tIll'''
publication,
Die Musik, have been devoted to a critical
dericy.
When the pendulum
~hal.1 sWlllg. lilt will
consideration of his life and works. Omitting biographiA
cal details, it is believed that the readers of Tlll'J opposite direction, as it surely wJII, In what hg?b
Liszt's
orchestral
compositions
then appear.
• t
ETUDE will find much to interest
tilem in a brief
present it is hardly possible to answer such a farreview of two of the leading
articles;
one dealin;
reacbinO' question.
It seems certain,
ho~Yever, tl;at
with Liszt as a composer, the other with the peculiaricertain ~veaknesses,
such as the frequent discrepanCies
ties of his technic.
In grouping together the three personalities whoJ between conception and execution already spoken. of,
will be more apparent
than now. B ut ~'t" IS,ImI. )Qsslble
during the last half of the nineteenth century have a
to imu"'ine a time when such mighty lilsplratlOns
as
definite direction and character to modern German
the tin=l~ to the "Faust
Symphony"
and ma~y others
music-Berlioz,
'Vagner
and
Liszt-Ruclolf
Louis
equally powerful
will fail to awaken enthUSiasm and
emphasizes
the fa(:t that Liszt was the latest to reHE
T
twenty years that have passed since Lisat's
ceive recognition
as a composer.
Berlioz, as the foredelight.
t
The noblest and most enduring works of. the ~a~ er
runner
of the neo-romantic
school,
made his first
are those in which he has expressed
hiS religlou!!
success in Germany
before the line had been sharply
.
"0·'
aspirations;
his two oratonos,
hns us, " an d "St .
drawn between the romantic
and classical schools, and
Elizabeth;"
choruses like the XIII.Psalm,
the. masscs,
later bent his influence against,
rather than for, what
tc In the "Christus"
we possess his masterpIece.
In
7las then contemptuousl.v
t01'med the music of the
'far as "St. Elizabeth".
falls short of this it is to
future.
Wagner's
comparatively
rapid rise in popular
be ascriDed to the unfortunate
text by Otto Roquette.
fayor is due to the fact that through
the stage he
appealed
to the people themselves.
It was the great
uncultivated
public,
with its freedom
from precon·
ceived ideals,
its instinct
for dramatic
verity,
that
won him the victory over pI'ofessioual
prejudice
and
jealousy.
Liszt, however, was in a far more difficult position
than either of his great contemporaries.
Even more
revolutionary
in theory and practice than them his battle was fought is the concert room, the home of conser,'atism,
its
frequenters
ill-disposed
to accept
his
radicai
departure
from classical
models.
Then,
too,
it must be admitted
that
while even the greatest
composers
have left wOI'ks unworthy
of their fame,
the numbe! of such works among Liszt's compositions
"
LISZT'S RE~UJ::'KAnLE HAND.
is particularly'
great.
His cosmopolitan
life, his early
career
as a virtuoso,
his activity
as a teacher.
as
The Liszt Technic,
guide and men to!' to struggling
genius-all
stood in
tbe way of the absorption
and concentration
necesEven more interesting
to the a"erage reader will be
sary to the creative
mind.
In denlopment
and sym·
the following account of Liszt's art as a pianist
by
metry
of form
the great
majority
of bis original
Rudolf Brietner;
I works
are decidedly
inferior
to their conception
and
'What we hear of Liszt's technic in his best years,
invention.
Hence the criticism
that his scores make
from 1825 to 1850, resembles a fairy tale.
As artists,
the impression
of genial improvisations
for the piane
Liszt and Paganini
have almost
become legendary
is not unjustified.
personages.
Iy anal}'zing Liszt's command
of tile
However,
the consideration
of Liszt's
weaknesses
piano we find that it consists first and foremost in the
as a composer
but
heightens
impression
of the
revelation
of a mighty perlilonality rather than in the
truly great that he achieved.
Then, too, a distinction
achievement
of unheard
of technical
feats,
Though
must be made between
those of his workfl, that can
his admirers will not believe it, technic has advanced
stand on their own worth and those whose chief claim
since his day.
Tausig excelled him in exactness
and
is that they have sCl'yed as inspi.ration
to other:3.
brilliancy;
von Bi.ilow was a greater master of interLiszt's
influence
oyer his contemporaries
has neVH
pretation;
Rubinstein
went beyond him in power find
been ~ufficien::ly recognized.
It is not too much to say
in richness of tone color, tl1l'0ngh his consummate
use
that specifically
modern music has ~rown from the seed
of the pedal.
Even contempOi'ary
artists
6. fl., Carhe has sown.
reno, d'Albe'..'t, Busoni,
and ill j)art, Godowsk~', are
Naturally
his greatest
productiyity
is shown
in
technically
equal to Liszt in his best days, find in cerworks for the piano, nnd it is precisely in these that
tain details, owing to tlleimpl'oved
mechanism
of the
the large mass of his pool'e!'=t 1l11lsic is found.
One reason
pia::lo, even his superior.
that much of it has failed to hold its own is that
Ii: is time to do away with the fetich of Liszt's
no one' now can play it as he did, in such a way as to
techn'c.
It 'VflS mighty as an expression
of his potent
subordinate
the virtuoso element nnd make it serve as
personality,
mighty in its domiul1tion of all instrumenthe expression
of intens\';
indidcluality.
Fot' this
tal forms, rn;ghty in its full command of all registers
reason the less there is of the llUl'ely technical
in his
and positions.
But I belie\"2 .~11at if the Liszt of
compositions
fol' the piano, the m01'e like:,:' they are
former days-not
the old mun ~'-hose fingers did not
to endure.
As examples
,,-e ueed only mentioD his
fl,lways obey his will, but the young, vigcrous
Titan
"Consolations"
and
many of the numbers
of his
ot the early nineteenth
century-were
to play for us
Annes de perc'I'inugc, which show him at his best as
now, we should be as little edified as we should prot)a composer
f(' I' the piano_
ably be by the singing
of .Jenny Lind 01' by the
His songs are far more independent
of his person~
pla.ying of Paganini.
Exaggeration
finds no more
ality than his piano pieces, though many of the more
fruitful field than the chronicling
of the feats of noted
complicated
accompaniments
seem to call for his hand
a l,tists.
if they are to produce their full effect.
Some of them.
'Ve hear for instance
much of Liszt's hand, of its
and these dating
from a period late in life, lire of
vampire-like
clutch, of its uncanny,
spidery power of
such exquisite
simplicity
and naivete that future genextension-as
a child I firmly believed that he could
erations
cannot
but be moved and touched
by these
reach two octaves
without
difficulty,
These stories
expositions
of lJiszt's lyric genius, c. ,q .. Die Glacken
are all fables.
His fingers were long and regular, th,~
'lion Marling, Sci Still, Tn St1ttld.cn dcr lJJntm.lIti,qlf'ng,
thur:nb abnormally
long; a more than usual flexibility
Und SPl-1ch.
•
of muscles and sinews gave him the power of spanning
:0
n:
;na.n
in its character;
it 1ncks the brolHI swecp tbat g,l;es
Liszt's
technic
its peculiar
freedom
and adaptalnhty
to the instrument,
Take
Schumann
and Brahms :1lso, and CODlPO,;'
..
0 With LISz S
thea. manner
of wrltlllg
for t I'
1(' pJnll
I
Both have writtcn
much that .lloi no bl ( a nd benutJfu
_
·1
t
the IDstrUconsidered as music. but so clUlmn Y IIU on
With
ment that it is unduly difficult for the player,
1,Ie
1
Liszt, however,
no matter
wh.lt lhc crffi
1
CUIty, 0t I to
Ulenns may be they orc ulwar~
pl'C'('isely adnp ec d
.
,.
't
soun s
the end in view
nnel ever:\,thing- he WI'I es,
b t
.'
.
I
binatJon,
U
well.
It IS no m rely theoret1cn
com.
.
.1'
•
stnct acmeant to be p!(Iyed on the piono. nnu 1S III .
'rile
cordance
with
th
nature
of tlH' instrument.
d
.
I
t together
all
player
finds nothing
Inbol'lollS y p\1.
, t conrequiring
study
for its disentnnglemcnt.
V~z tllsks
siders the l3tru'cture of the hand, and aSiiigns It
suited to its capabilities.
Liszt's
Among the distinctively
original
fenture.s ofthe imi.
technic are the bold outline,
the large fOlm. , hestrlll
tative
effects
of organ
and clavier,
the O!? (ilso
\\~ thnnk hml
timbre it imparts
to the piano.
e
.
f pafor tbe use of the thumb
in the declan~atl~~r~eteri.
thetic cantilena,
for a. breadth
of melodiC cd violon'
zatiou which resembles
that of the horn au for the
cello, for the imitation
of brnss instrume~tl~
and vigreat advance
in all sorts of tremolos,
ttl
ity to
S
bratos,
which
serve to give color and intcu
moments
of climax.
His finger passages
are not
merely empty runs, but are like highlights
in a picture;
his cadenzas
fairly
sparkle
like comet trains
and are never introduced
for display alone.
They are
preparatory,
transitional
or conclusive
in character'
they point
contrasts,
they heighten
dramatic
eli:
maxes.
His scales
and arpeggios
have nothing
in
common with the stiff monotony of the Czerny school
of playing;
they express feeling, they give emotional
variety,
they embellish
a melody with ineffable grace,
He often supplies
them with thirds and sixths, which
fill out their meager outlines and furnish Support to
hands and fingers.
In his octave
technic
Liszt has embodied all the
elementurv power and wildness of his nature.
His
octaves rage iIi chromatic
and diatonic scales, in broken chords and arpeggios,
up aod down, hither and
thither,
like zigzag flashes of lightning.
Here he is
seen at his boldest,
c. g., in his Orage, 'l'otentanz,
Mazeppa" Don Juan fantasia,
VI Rhapsodie, etc.. In
the trill, too, he has given us such novel forIDS as
the simple trill with single fingers of each hand, the
trill in double thirds in both hands, the octave trill
-all
serving
to intensify
the introduction
01' close
of the salient
divisions
of a composition,
From Liszt dates the placing of a melody in the
fullest and most ringing
register of the piau(}-----that
corresponding
to the tenor or baritone
compass
of
yoice;
also the division
of the accompaniment
between
the two hands
and the extension
of handcrossing
technic.
To him we owe exactness
in the
fixing of tempo, the careful designation
of signs for
dynamics
and expression,
the use of three staves instead of two for the sake of greater clearness of notation,
as well as the modern
installation
of the
pedal.
In short, Liszt is not only the creator of the art
of piano playing
as we have it toda~y, but his is the
strongest
musical
influence
in modern musical
culture,
But granting
this, those thinkers
who declar4:!
this influence
not unmixed
with harm are not altogether
wrong,
It is not the~fault
of genius, however,
that
undesirable
consequences
follow
in its
wake.
It is also my opinion that it will do no harm
to retrace our steps and revive the more simple times
when there was less piano playing and more music.
_I:T U 0 I:
and recreation
in the interests
or their health and
livelihood.
'I'hese arguments
had no effect, however,
and they began their lessons.
At the end of two
years I could not help feeling just a little compunction that I had ever for a moment tried to prevent
their stUdying music.
Had they roltcwed my udvtce,
and that of the members of their family, they would
have been deprived of much pleasure.
'I'be girls did
Dot play difficult music. nor did they play with much
finish, but they played well enough to be useful in
their own way, and their duets were 1.1. never ending
source
gratification
to rather, mother and many
others, and incidentally
t.o themselves.
2, Parents
always imagine that their children
are
gifted musically, and nre hurd to reraunde thnt their
children are unable to do anything thllt others cnn do,
'Vhen the mother ot one of my pupils spoke to me
of the probability
of her daughter
becoming (l eing('r,
I saw my difficult:\, find tricd to escllp~, by the p!et\.
that it wus ont of my line of work.
However,
the
solicitude of the lady was such that I nsked the girl
to sing for me.
of
My decision was thot, nlthough
shc had n correct
ear, there was neither qunlity IlOr qlHlntit:\' of tone.
I told the mothel' that voclll 1essolls would b~ bcne·
ficial to her daughter
physically
it in no other way,
but did not encourage
her to 1001, for grent results
musically.
The vocal WOrk was ulldel'takcll,
und con·
tinned for two years with no special results that I
could notic~.
She sl1ng II few songs such as the
uverage tencher gives, and sang them. much as the
average
pupil does,
I left that plnce 11lM did not
hear of her for two years, when I lellrn~d that her
voice h~d developed in fulness nne! power, and wus
distinctly out of the common,
I wos quite rendy to
admit that, not bcing a vocal teacher, my estimate
in the first place wns nll wrong, but the other teachers she studied with said they never expected anything of her voice; while the lnst tencher,-a
vcry
eminent one by the way-admitted
that the development seemed to come all at once.
Had she taken my
advice, sh~ would have been deprived
of the Il1uny
benefits, physical,
meutnl und esthetic,
nrising il'om
music study not to mention the plellslll'e her friends
received from her singing, nnd the natural
gratification she would justly f~el nt her success.
A Common
SHALL WE DISCARD PUPILS 1
BY
T.
:E.,
RICKABY,
AFTER thirty
;years of musical
work I find that
many opinions I formerly
held have hecome modified
or have
changed
altogether.
My attitude
toward
certain
conditions
has also undergone
considerable
chang~, and I wish to write here of one matter that
perhaps
has' developed
more or less acutely in every
teach€r's
experience,
and that relates to a teacher's
duty in advising
pupils against
the study of music
where circumstances
would seem to be against
success; 01' against
further
study where the results
of
former work do not apparently
'justify a continuance.
'l'he artist
teacher,
the heads of conservatories,
find the eminent
professionals
in the large citieS do
not have this question
to decide;
but the" rank and
file "-which
after
all is the class of teachers
that
does the real work-have
this problem to solve many
times.
Untalented
Pupils.
Time was when
I thought
only musical
people
should study.
From the high plane on which I found
myself (at twenty-two)
I ~olemnly decreed that none
bnt those of decided musical talent should have the
privilege
of my guidance,
and ministrations.
I waR
sincere enough, too--we
all are at twenty-two!
But
I soon fOllOd that that plan would not get me any·
where, and so gradually
came to the conclusioD t?at
.1 had better teach everybody
that came ::l1ong, goettlllg
my pleasure
out of the- gifted or musically intelligent
few, and-make
a living.
I stand a little different now in this regard.
I teach
nIl and sundry,
doing the best I can with everyone,
because results are very problematical,
as the following experiences
will prove;
.
1_ Two sisters
presented
themselves
for mstruction.
I learned that they lVere stenographers
eng~ged
all day in their offices, and I advised them agamst
the ('xpenditure
of money and time that the .study
would involve, and suggesting
thnt their ~venmgsthe only leisure they had-ought
to be devoted to rest
Mistake.
3, A brother
nnd sister were brought
to me for
instl'llctiou,
und J noticed from the fiL'st that the boy
had a g1'lISP ot the situ:ltion
that the girl WIlS fllr
from possessing.
His J)1'ogress in the nctual playmg
was'rapid,
and Illoreover he evinCerl such an understllndiug
of Dlusic th~t it was no trouble
to te:.l.ch
him. 'l'be girl did IlOt seem to lenrn lit all, and after
a while I spoke to the fathel' and sngg'c'sted thnt the
boy b~ allowed to devote mOI'~ limc to lllusic, and
thnt the girl's lessons might as well be discontinucd.
The father consented to the boy deYotin~ all thc tiJll{'
he pleased to the piano, but snid he want~d the girl
to contnme being <letermined that whether she learned
or not she SllOUld not be deprived of tbe opportunity.
A few months passed, and all at once the boy's
progress
seemed to stl'ike a dend wall.
He apparently could procecd no furth~r.
It was only fl mutter
of a short time before he discontinued
::litogethel', lind
so fnr as I know never played ngnin.
The girl?
'Veil shortly after the talk with her father, it seemed
that she began to "take
notice,"
and afterwards
became a high1r satisfactory
pupil, a good performer,
and the last I heard ot her was doing very creditable
work as a college Illusic teacher.
4. One more instance and I am through.
A violin
pupil gave me mnny a "bad
quarter
of an hour."
He did. '1':'~ seem to poss~ss the least Wen of any difference in tones, and notes too flat or too sharp or
all right sounded"
all nlike to bim."
I endured
it
for as long as possible and then.decided
that it was
.c1ear!y my duty to the boy, his fath~r and mYRelt to
advocate
the dif;continuance
of the lessons.
I met
the father in due time, but before I hnd !lny oppor~
tunity
to speak of what was in my mind, he astounded
me by saying,
"I really am very pleased
with the wny my son is progressing
on the violin. "
That took the wind out of my snils. and I decided to
postpone my snggestions
till a " more convenient
senson" rather than disappoint
the tather nnd probnbly
incur his ill will. At the very next Icsson I detected
or thought
T detected,
nn improvemcllt.
Tn the
course of a tew weeks there WIiS Il decidpd chnnge
tor the better.
Of course such a pupil could never
become an artist;
but this boy lenrned to piny very
711
well. He works at his trade all day, and adds to his
income very materially
by playing in the local theatre
and tor dances and the like. A humble musieul plane
I admit, but from which he derives botb pleuaure
and profit-a
result which incidentall;y
was of no
small advantage
to the teacher, who deliberately
intended
to suggest
a. discontinuance
or the music
lessons.
Decide With
Care.
'rbese instances
in my own experience
have lend
me to be "ery cnrerul ill making fl decision, 111ld nee
to decide ulltllvorubly
until eV(lryihing hilS been done
und sufficient time hue been devoted to 8\lldy to mnke
n de<:isiou or Iluy kind l'cnsonnbly correct.
A d Bire
to study music in (lily torm is comm~lldlllJl(', whnt·
ever Uluy prOHlI)t it llml the desire ail 1Ild be encouraged.
For we do not kllOw whllt good results
ml1Y
come.
'1'0 lrustrntc
t1ii!se r suits
,'en unillt(>ntion~
ally, ia criminn!.
By dcci<liug ugtlinst l1lulilic sllldy
r
the contiouunce
ot it w urc Illmost sure to euusc dls~
appointment,
und equally sure to incur some ill will.
This will 1I0t bUDpen it u telLcher will usc e\'er)' effort,
nnd Wttit long enough to gh'e the elrorts time tv bring
results;
judging frOIll the eXnlllj11es given, and which
doubtless could be dllplicnted by others.
A LETTER FROM A TEACHER IN NEW
ZEALAND.
To the Editor of '1'llE E'L'UllE;
Teachers
will ndmit it is ten cbances to one that
the stops occur lit bar lines,
Muny n time huve I
thought therc must be some underlying,
unsuspected
psychological
rcason to the child-mind in consistently
arranging
stOt)S at some buL' linc,
If experience i8 to
be relied on, one may also say thllt the fuult quite
often occurs with mature Pllt)ils backwllrd in music.
As an experiment
induced by this thought, I care·
fully and legibly mncle a copy of 11 Bertini
study,
omitting
cVC"y bu'r line, cven tho finlll dOllble bnl',
and assigned it to n PllJ)il Ilfllictecl with the "mOllsemovement"
for
thorough
practice.
'1'he measure
signature
wus also omitted
and the only direction
written on the MS. wJlg for her to count One. two,
three, tapping
t\ foot and
specially emphasizing
the
syllable OM, but above aU to keel) the tapping
very
evcn,
Of course the ridiculous
aspect of the mlltter prcsented
itsclf
very
strollgly,
when
I nt length
suggested thllt I had llOt gone to the trouble of eOI)Ying out the music nnd writing thereon directions
for
practice
as nbove just to mnke her lnugh at me,
she quieted down und listened ~eriously while the study
was "counted"
over, the topping ~1J)cciafly promi,umt,
'The very novelty of this illusie, and the "new" counting kept her hurd at pmctice on it. 'I'he wonderful
succeSf:, o[ the device as showll b}' the Ilext rccital, a
week Jater, makes me seriously belicve tl1l1t, if a progressive publisher
brouA'ht out 0. few, :;imple, prctty
pieces-in
the first two grude~-pril)tcd
with the omissiOn of bul' lines nod conventionul
measure signature,
teachers
would eagerly seize. the OPPol'tll\>ity of em·
ploying a novel and effective aio in securing
even
playiug twd routing the tnouse-movement
from umong
their pupils or reducing it to an encouraging minimum.
In place of the regular
measure
indication,
the
syllable
counting
would appenr,
and the unit
of
motion (eighth, quarter
notes, etc,) could be stated
beside the metrooome
Dumber or between the staves.
Howe,'er,
we may defer this point for the present,
and return
to it later.-FSANC1S
n. MORTON, New
Zealand,
MANY 8tories are told of bow the composer Brahms
treated pianists and 8ingers who were eager to get his
criticism.
If one of tbese aspirants
for his favor was
fortunate
enough to find him nt home and be received, Brahms'
first concern wns to seat himself on
the lid of his piano, a position [rom which he rightly
deemed few would have the temerity to oust him.
If
this failed, he had recourse to the statement
that the
instrument
was out of tune.
"Oh, that doe8 not matter." remarked
one courageous
individual.
"Perhaps
not to yOll, bllt it does to me," replied the waster.
On
one occa8ion he WtlS just Icaving IllS house when a
long-haired
youth, with a bundle of music under his
arm, hAiled him with, "Can :\'ou tell me where Dr.
Brahms lives?"
"Certainly,"
I.1.nswered the master in
the most amiable
manner.
"in this house. Up three
flights."
And, 80 S8~'ing, he hurried away.
THt:
712
HOW TO SELECT A l'IANO.
BY RUPERT HUGHES.
IF you go to buy a horse, the dealer can tell by
your first look, by the way you cock your bead and
the preliminary
motion you make toward the animal,
whether
or not you know anything
about horses.
You
may assume
a ,very sportsmanlike
appearance,
and
frown and purse your lips judicially
as the nag js
led forth, but if you are ignorant of his points and
their order of importance,
you are bound to betray
yourself
immediately.
Once the dealer
knows
that
you are Illiterate
in horse-lore,
you have met the
enemy and you are his.
Somebody must buy the in~
feriol' animals or there is no profit in the business.
So you are selected to purcliase in haste and repent
at leisure.
Not long ago a man in New York bought a very
handsome
horse whose beautiful
coat he greatly
ad-mired-till
he tried
to drive him in a rainstorm.
Then he found
that the color was the only thing
about that horse that wo'uld run.
Pianos and horses
are commodities
of much kinship.
In both, an outward gloss of surface
may conceal poor works, poor
action, an unreliable
temper, and a lack of endurance.
If you are like the average householder,
when you
enter the shop an affable salesman
comes forward,
asks you a question
or two, "sizes you up" from
your first answer
and your gullible
stare
of innocence, leads you to the remnant
department,
picks
out the worst piano of the lot, smites a few resounding chords, ripples out a few arpeggios,
and tells you
a fairy story;
then, before you know it, you have
told him to wrap it up for you.
Once it is home you
find that the chords don't resound, the arpeggios
don't
ripple, the case doesn't
fit your woodwork,
and you
have an imitation-rosewood
elephant
on your hands.
The first thing to choose in selecting
a piano· is
the dealer.
This trade is full of frauds,
and there
are endless tricks and numberless
tricksters.
Many
pianos, like the razors of poetry, are "made to sell;"
and it is the buyer who is also sold.
The advertisement columns
of the newspapers,
the auction
rooms,
the cheaper department
stores are the haunts of pianopirates.
So ingenious,
indeed, are the devices that
even an expert is liable to deceit.
The only safe rule
is to call upon a dealer of established
reputation
and
choose from his wares an instrument
which has his
guarantee
and your own approval.
As to price, it must be remembered
that pianos cannot be made for nothing,
and that, of all -things,
a
cheap piano is most risky.
It is either a musical instrument
or nothing.
It is far better to buy a phonograph
than
to pick up certain
alleged
bargains
in
pianos, which turn out to be only pine boxes fnll of
loose wire.
A cheap piano is as great an extravagance as a tin battleship.
Silence
is golden
and
cheap piano music is brass.
So, buy a decent piano
or none.
If your cash is limited you will find that
practically
all piano makers
sell their
instruments
-on the installment
plan, or some system of easy pay·
ments.
And let me repeat the caution to buy of a reputable dealer or not at all.
The fact that the piano bears the label of a weIlknown manufacturer
is not enough, since these labels
are often forged.
The market
is full of these socalled "stenciled
pianos."
In case of doubt, do not
trust the name painted
on the outside
of the case,
but look inside at the "frame,"
which is usually
of
metal.
The name that is. cast in the frame -is very
likely to be the real name of the manufacturer,
though
the· only absolute
safeguard
is to know not only what
you are buying, but who is selling it to you.
But merely going to a reputable
piano dealer
is
not enough.
In the first place, not all pianos by the
same maker are equally good.
All the parts may be
conscientiously
made of the best material,
and yet,
through some ilI~luck, may have· been badly assembled.
If Homer couId no{l, so can a piano maker "by royal
appointment."
In the 'second place, pianos of equal
value still differ in quality of tone :;lnd touch. so that
one person
may not be suited
with an instrument
that delights
another.
I have seen and played -on
~rand pianos that I would not gil'p: house-room,
or at
least heart-room,
though they were in cases specially
designed,
carved,
and painted
by great artists.
And
. I have found cheap and tawdry-cased
uprights
that
cSang like a choir of angels.
t:TUDt:
.
f the first problems.
The matter
of cases IS one a
.
. e of furntA piano is so large and important
a piec
.
ture that it dominates
any room.
It cannot be Ignored or regarded as a mere dash of rosewood or a
little 'SPlaSh of curly maple.
So before you enter th~
shop make up your mind what style of wood an
what school of architecture
your mu~ic ,room dem.an.ds,
or permits;
then hunt for a piano WlthlO these liml~s.
It is apt to be a harrowing
ordeal, ~owever~ and WIll
resemble the effort of a man to find a Wife whose
hair matches his wall paper;
he will easily find the
hair of the right shade, but he will probably
take
an intense dislike 'to the woman it grows on.
So, to
the weary seeker for an ebony piano, only the walnut
pianos sound in tune.
...
This difficulty, however, can be obvi,ated by hav,ing
a case especially
made.
It takes a little more t1~e
and a little more moncy, but it enhances
the musIc
room. Be sure, however, to select the piano-action
t~at
suits you and insist on having it put in the speCial
case.
Otherwise
you may end where you started.
It is well to remember
that pinao cases no~adays tend to great simplicity,
except in the instance
of elaborate
works of art.
The last generation's
abominable
fondness for frippery
and wooden gingerbread in sleeping cars, street cars, piano cases, and
all furniture,
has been outgrown, ·and everywhere
there
is a fashion
for smooth simplicities
of surface
and
ornament.
Piano cases are rarely made now with all
the complicated
carving once in vogue.
So you will
doubtless select an instrument
of a chaste severity of
design, enriched
by the fine texture
of the natural
wood.
The high polish formerly
seen on all pianos
has now in many cases given way to a dull finish
that is very effecti ve in certain woods.
•
The question
of durability
is a vitally
important
one.
Pianos cost money and ought to last.
It may
be accepted as absolutely true that a cheap piano will
have a very brief life. The tension of the strings on
the frame ranges from seven to thirty tons.
A weakbacked piano is sure to buckle more or less and then
no power can keep the slackening
strings in tune.
If
the frame is 6f iron, the sound board may be too thin,
and may split.
The veneer may crack and swell;
the felt come' loose on the hammers,
the action stick
and grow loose at the joints.
There is no hope, then, of c1urability in a very cheap
piano.
And yet one may pay a high price and fare
no better.
Many n:.akers advertise
that their pianos
improve with usage.
This is true of some pianos, as it
is of violins and voices; but of others it can only
he said that their tone roust get better
because
it
could not get worse.
However,
in well-made
instru·
- ments time works certain improvements.
A soft and
smothered
tone will grow more brilliant
as usage
hardens
the felts on the hammers.
A heavy action
will grow somewhat
easier
from practice,
though
heaviness
of action is largely a question of balancing
the keys a:Q-dmust usually be remedied at the factory.
It is not wise to select a piano wbich is very brilliant at first hearing,
for time will turn it into a
tin pan.
If, however,
the tone pleases
you but
seems too brilliant
it can be softened by asking the
dealer
to "pick
up the felts."
'rhis
consists
in
puncturing
the hard surface
of the hammer.heads
with a needle-pointed
tool.
But best of all is to
~unt till you find the piano that pleases yO~ most
III the greatest
number of. points, and tben take good
care of it.
. Having
visited
a reputable
dealer,
asked
for a
plano of reputable
make, and decided on a satisfactory. price and case, we come to the remaining
points.
FlI'st examine
the strings and the pedals, making
sure that the latter work easily and do not squeak.
All first-class
pianos
have three unison
strings
for
ea~h note, except in the lowest octaves, in which the
strmgs
are wound with fine copper wire.
Tbe soft
pedal usually shifts the hammers so thh.t each strikes
only. one of its three strings;
hence, in some piano
mUSIC we find the direction
for the soft pedal is
una c01·do" namely,
"one string,"
and for the loud
pedal tre corde, "three
strings."
In upright
pianos
the soft pedal, as a rule, siIQply shifts the hammer
nearer
the strings,
so that the impact is less vigor.
ous.
On cheaper
instruments
the soft pedal merely
lowers or raises a strip of flannel or felt between
the hammers and the strillgS, muffling the tone
~he "loud"
or damper
pedal lifts from
~11 the
strlllgS at .once the little dampers which rest against
them.
ThIS .allows of sympathetic
vibration
so that
the "overtone~"
may sing and enrich the col~r of the
tone.
With the damper
pedal down, every note that·
is struck
becomes
a chord, though the upper t
.
I.
ones
are so delicate that on y a trained ear can an I
them.
a Yze
.
Most pianos are made nowadays
with three ped I
the middle one being called
the "sustaining"
d a,
'I'hia. a 11ows tb e re t en tiIan a f· certatu
notes whll pe thal,
hands are playing
others.
It is not, however'
e
, ernployed by performers
to any great extent.
The white
keys of the best pianos
are of i
though celluloid
is much used, and keeps its ~~~;
well.
The black keys should
be of ebony;
thOugh
they are likely t~ be of cheap wood stained.
A good
test of the genuineness
of the keys is to rub th
with methylated
spirits;
if the white are of sen :m
,
Uloe
ivory, they Will show no effect, while celluloid keys
will smell ~tronglY of camphor;
if the black keys are
me:ely stalOed, the touch of alcohol
will remove the
stam and reveal the truth.
Notice the music rack, and see that it will really
hold music.
On some pianos
the rack carefully deposits tbe music
on the performer's
hands the moment he begins to play.
'rhis is likely to cause the
musician
to interject
remarks
not taBed for by the
composer.
The "action"
of a piano is all-important.
It can
be tested
in various
ways:
by sliding
the finger
rapidly along the wbite keys in a ylitiBandfJ; by trilling on two notes as rapidly as posdihlp, and by alternately striking
tbe same note with the middle finger
of each hand with the utmost SPC('u and force.
Many
pianos have such sluggish
action
tlJat a real trill is
impossible,
while the rapid
hamlllering
of the same
note reduce}; it to quick silence.
Tlw instantaneous
reo
turn of a bammer
to a position
of readiness
for the
next stroke is due to a complex s;p ..tC'm called "double
escapement."
A pinno that lacks this powcr of imme·
<liate readiness
will be an exasperation
to any trained
musician.
If you yourself
canllot
produce
these effects very swiftly,
ask the salcslllnn
to demonstrate
his piano's qualities.
It is eSllcciuJly important that
a piano shall trill easily and c!enrIy.
Play, or ask
the man to play trills aod chains of trills in various
parts of the keyboard,
low and high.
'.rbe latter part
of Cbopin's Nocturne,
Op. 62, No.1, is a beautiful test
of a pinna's flute-like
qualities.
Having
examined
the body of thc instrument,
we
come to its soul-the
tone.
Ever}' piano has its in·
dividuality
and its mannerism
of speech.
Some pianos
are so lethargic
of action
and so '·tubby"
of voice
that a few chords
betray
their
n:-cIessness.
Others
are so rich in tone that they seize instantly
on the
affections.
B.ut n few chords are fin insufficient test,
for a piano should hnve melody n~ well as harmony i
the notes should Using,"
The terst of the "singing
tone" is this: strike any
key with any finger, and measure
the duration
of the
tone.
It is not desirable
to strik~ hard, but it is important
to keep, the wrist
and fingcr stiff and firm
when striking,
and hold them so till the note ceases
to sing.
'l"ry this on various
notNI nnd chorc1s with
the loud pedal on, and also with it off. If the notes
are speedily hushed, do not bur the piano.
, Having satisfied
yourself
tbat the piano sings, note
whether
or not the harmonies
t!w.t accompany
the
melody are full of color and warmth,
or are simply
so much noise.
Chords
should
he neither
wooden,
nor yet woolen.
They should
hare
a bell-like suggestion of metal without
being lUetallic.
Playa
number of chords
slowly.
Bend
the head close· to the
piano ltnd listen
iutently
to .the nftcrmath
of each
chord; but be sure not to hold the loud pedal down
While changing
the harmony.
Schumann's
Nightpiece (Op. 23, No.4)
bas some '\,"ondel'ful chords,
anc1 a piano that is really worth while must be able
to talk when one improvises.
Next test the extremes
of the piano.
The ~p~~:
part should not be tinny or dead.
It should till k
ac
with a crystalline
sparkle
like the drops faIli~g b
d
into a fountain.
Runs in sixths and thirds, tnlls and
all manner
of arpeggios
and curlicues
should soun
.
..
.
ent of some
d e I•ICIOUS
III tIllS realm.
Plano
arrangem
h
.
andte
nn
fW
o
agner's
operas
such
as J.Joheng .
d'd
magie-fire
music
fro'm Die Walkure,
give splen 1
proof of the upper reaches
of a piano.
. oS
Then try the hflss.
The lower IJart of many PI!l3ne
sounds like nothin .... so much as pounded
muc1.
II
o
.d playing 0
cannot expect
pleasant
tones from rapI
I 'IV
the bass strings,
but they should
~'espond to St~st
movements
with
sonority,
and sentiment.
To
n'
power, strike octaves with as much force as yoU ca •
TOE
and run slow scales in octaves. Do not try thirds and
sixths.
A well-toned
piano should give a trombone or
tuba-like
beauty
in its lower octaves.
In fact, the
lower ranges
of the piano have been far too much
neglected
by composers.
Perhaps
that is why Rachmaninoff's
Prelude
was pla;red to death in such a
short
time
after
its appearance.
'l'hough
nearly
killed with kindness,
it is a fine test piece for a
piano.
Chopin's
Prelude,
Op. 28, No. 20, is a good
test of a true
bass, while the funeral
march
in
Beethoven's
Sonata, Op. 2G, is perhaps the best of all.
Other tests of a piano can only be found by sitting
down and studying
it more or less at random.
Do
not waste time on a piano after the first few chords
have shown it to be dull and unsympathetic.
Gradually cull out two or three from the stock and compare them, going from one to the other with the
same chords
and melodies.
It is not a waste of
effort, for one does not buy many pianos in a life.
time, and a miscalculation
means a long-lasting
regret.
·When you have
finally
chosen
the piano
that
pleases you-and
don't cease to hunt until you dolook inside and make a note of its number, so as to
be sure that they deliver the one you bought.
It is comfortable
to close with the assurance
that
American
pianos
are superior
in all the grades of
quality to those of any other country;-Good
Housekeeping.
FINGER
QUALITY IN l'IANO-l'LAYING.
M. HENRI FALCKE, the Paris pianist, is one of those
players
of whose
perforrriance
scarcely
anything
is
written ·without
making
mention
of his delicacy of
touch.
As pupils of his who have not been blest in
this way by nature
have been known to acquire the
magic quality,
his manner
of proceeding
with such
must be of interest.
"I am not a fatalist
as to touch," says M. Falcke;
"I do not say, with a great many, 'Oh, well i touch
is born, not made, so that settles it.'
Some are born,
T know, with
this justness
of expression
by the
fingers, which does not mean eitheu strength or weak·
ness, but a close physical
connection
with sentiment
of the mind, which may be called a sentiment
of the
fingers.
With some this can be cultivated,
partly by
mcntal, partly by physical processes;
with others, cultivation
may be more 01' less perfecf, so as to reduce
extremely
disagreeable
playing to that which is extremely agreeable.
In any case there is no excuse for
leaving a pupil in a statc of nature just because he
was born so.
"Touch
is to the fingers what quality
is to the
,'oice; but reflect how few singers are artists on native
quality.
There is much more that is artificial
tl~an
natural in art, as in the development
of taste or manner.
How many gauche girls may be made gracious
and charming,
how many brutal natures
refined and
discriminating,
through judicious and per.sistent training!
"All work with the hand must be individual.
No
two persons'
hands
are alike, any more than two
leaves on a tree; it is impossible.
The study from the
start must be in line with band conformation.
What
will do for a wide hand will not do for a slim one.
The hand that ·is thick through will not respond to the
course for a thin, transparent
web,
Two sorts of
llands are the most difficult:
One that is long and
narrow
and bony-like
lead pencils
bound
tightly
together-at
the knuckles;
the otber a thick, flat,
'Solid one with square finger-points
and an expression
that, eve~ if it has never done anything, looks as ~f it
llad been always pushing
wheelbarrows.
There IS a
fat hand~ with small finger-points,
that can make a
delicious touch when guided by a tender soul; and a
hand does not have to look like wax, according to the
novelists, in order to be a piano hand.
"I am convinced
that tbe wrist has more to do
with piano-touch
than is realized by players, teachers,
or the public.
"Most of the disagrecable
sound that is called indescribable
and unchangeable
is the result of playing
from the elbow.
Till the wrist is perfectly free, both
ways, nothing
can be done toward toucb.
The side
motion of the wrist is absolutely
indispensable
to a
'Caressing tone.
A stiff wrist means 11arcl tone; only
blows of sound are made.
"Then.
too. tone clop!': not depend on elevation
of
the fingers, but on the thought that lies between the
finger-points
and the keys at the time of contact.
Fingers
may be raised a yard high, yet come down
ETUDE
upon an object with the lightness of a feather.
This
may be illustrated
upon the piano-wood or upon the
hand of the pupil-that
force is in intention,
. "Pupils learn too much and hear too little.
Mind
IS. busy with notes, nerves with fear;
muscles are
stiffened to make time us those of a horse to make
a jump;
the whole intention
is bypuctized
by bars
and lines, and imagination
is paralyzed.
Pupils plny
and do not listen;
everything
is hnrd and dry aud
false.
"Instead,
they should breathe as they play.
See,
here are regular commas and semicolons and even ex.
clamatton
points through
these exercises.
I'unctuntiou, phrasing, meaning are nlIied-nnything
thut will
make notes and bars subscevtent,
auytbtug
thut will
make the eyes look in, not out.
"Will you think it stl'ilnge if I say to ;\'OU that
Sarah Bernhardt
has been Illy best l)inno pl"Ofessor?
"Het' diction, her dcclumntioll,
hcr trnlHlllillit;\', hcr
freedom of thought in uttering Jiues, were tl t'evolution
to me in musical, expression,
L lent·l)(~d whitt phrasing
meant in 'CleoPtltl'll,' and lost siglit of btU'S find notes
in ll!"'edora.' and 'Gismonda.'''
Much irregularity
and feeblcness of touch come from
a habit pupils have of pt·csfiing thc kers but patt war
do\Yll, with the idea of making
n light tone. The ke;\'s
must be pressed quite to the bottom, and the tone made
to depend on the force, or sentiment of fOt'ce I·ntller.
To show tIle importance
of thought, fancy. imagina·
tion in piano-playing,
is the most diflicult pflrt of the
work.
'I'he choice of picces that shall have little
thought and little technic and much meloc1y, with distinct lines of sound and color, is difficult.
'1'0 kcep
dowll pride in technic at thc snme timc thnt pcrfection
in technic is developcd is difliclllt.
Thel'e comes a
time when the pupil's pride in technic is maddening
to the musicinn-teachcr.
I-Iis hands have become so
free, so able, so supple; he is so much lllaster of notfl
tangles; be is possessed to do, to show, to go, find he
plays with anvil rhythm.
The haste of Amcrican
pupils and their misconCel)'
tion of cducationol
lincs arc \"ery hampering
to tho'
foreign teachcr.
'rhcy many times come to have so
many lessons, just to put on finishing tonches.
They
look for a coat of varnish in art, OL' mthcr in success,
for that is what many seel,.
Thc.\' go the minute
the first dawn of progress
is made.
They give a
teacher no chance to usc his Illan of teaching,
whicil
is variety itself an~ infiuite.
LANGUAGES IN THE MUSIC COURSE.
B~ T. CArlI. WIII'rMER.
Fan those who want to be teachers of the highcst
grade it is evident
that a control of the EngJisli
tongue is essential;
and for those who aspire to [Jny
reasollable
breadth
of culture
it certainly
is necessary to be able to read technical
works in Frcnch
and German.
These paragraphs
ure written simply for the reason
that the present writer
desires to be added to the
list of those who urge tbat French und German
be
made optional (lnd a certain grade of English
compulsory in the securing of 11 certificate
of gruduation
in colleges of DlilSic.
In the course adopted by the college with which
the present
writer
is connected
a reasonable
ac(]uaintance
with the ordinary
branches of study and
a special knowledge
of English
and psychology
arc
made compulsory
for graduation
in piaoo; and for
post-graduation
a rending knowledge of German and
French.
This has been in force for about two years,
and was brought about by the writer of this article,
who has been impressed
more and more, in his relations with the average
teacher,
by that average
teacher's
inflbility clearly to express even ordinary
ideas, much less technical ones.
CUOPJN
continually
mixec1 up the major Rnd minor
modes.
This arises from his Polish nationnlitv,
and
represents the sudden flashes of chi\'alrO~s cnthnsinsm,
the outburst of joy at the prospect of delivcrance;
and,
on the other hand, lhe feeling of deep nnd mournful
resignation
and passionate sorrow at a deplorable fate,
-Ernst
Patter.
713
TEACHING NEW MATERIAL.
BY
WILLlA.U
P. ARMSTRONG.
ASIDE from the studies
that are necessary
for a
good technical
roundnttou,
it is well from year to
year to add to one's stock of teaching material.
In
looking over the immense amount of muetc publlshed
both in Europe and tnts couutrv there appear from
time to time 11 fell' good numbers suitable for concert and teaching
purposes.
'the thoughtful
teacber
bae certain
ulecee for producing
light, rapid, deli.
cnte effects; cuiore fOI· the pompous. brevurn IHyl('.
those where the p dnl is uaed, ROme for legato, some
for stUC(:/I[.
'l'heu there nrc the dlrrerent forme to
be studied, tue preilid • fugue, ilJ\'Nlllon, 8ultf,l, IWIHltl.l
and the dun .
A young
tcacher
holding hifJ fil1lt p08ltion In n
college wroto his former insU'uctor
thnt "he \\'1\8
afraid
to make n sclection
outside of the master
works all he felt he was not (Iuite nlJle to judge or
thc merits of a new (:olllposer,"
he wanted to do
something for thc AlDel'ican composer, but felt 1hM if
his students
Illnced their work ou their recital I~r
gram the public would think that he was tr,yiug 10
lower the standnrd
nUll slight the classiCi!.
So for
severnl ycars he had only lJach, Daudcl,
Haydn,
Mozart, Beethoven,
with an occasional number from
Mendelssohn,
Schubert, Schumann and Chopin.
When
the S;rmphony
Orchcstra
came to one of the lan,,--c
cities ncar to where his school WlIS located, and he
had again the opportunity
to henr the "Pntetico,"
of
'l'schaikowsl,y,
and some of the excerpts
from the
Wagner opel'lls, it awakcned
in him n desire to explorc these new fields. and this dcsire was kindled
into enthusiasm
after hearing, some two weeks later,
a rehenrsal
and concert
performancc
of Smetana's
"Aus Ucinclll Leben," by the Kncisel String Quartette.
From this timc on he has been one of the most
earnest students
of uew works, and is rankcd as a
most successful tenchCI·,
Tn selecting new Illusic, a good knowledge of harmony, countcrpoint
and composition is essential.
NOI
e\'cl'Y piece we henr played by the virtnoso is suit·
able for teaching
pUI·pOSCS, cspecially
if it be aD
original work, because the artistic abilities of the performer will make it sound well, where the student will
utterly
fail for lack of talent and expcrience.
'rile
introduction
of
the
three-four
and
sc\'en-foUl
rhythms,
also the thrce,
fivc and seven meaSure
phrases nrc diflicult pl'oblcms to grnllple with 8tlCCcsefully in the carlier
grades;
further,
the complex,
chromatic
figurcs thnt are now introduced,
possiblJ
for the sal,e of vlll'iety, scrvc ouly to add to the con·
fusion and chaos.
Naturalness
and saneness might be the first itemt
one wonld look for in choosing new material.
The
rhythm, mcasures,
notation
and general construction
correct, of course this criticiBIU will not include those
lInil]llo worl,s, which arc characteristic
01' written
for
certain elTects,
An eminent teacher in the Middlc West devotes a
6eason to the new music of cach nationality
or school
-the
Norwegian,
IltiSSifw, Frencb, German, Italian,
English and Amcrican.
TIe sends and gets a complete
"selection"
of these pieces, gOCS through them airefuJly and makes n. note of what is good and what
he can use.
Thcn he gi\·cs a public recital of those
numbers which app~al to him most strongly.
It might
be well to add that in some quarters
the best music
is not always written for the pianoforte.
Orchestral
works, string quurtettcs,
operas and Hongs will give a
better representation
of the eountry.
The following
list will suggest the names of some of tbe composers
who have contributed
to piano literature
during tb~
past few ;years:
Norway:
E. Grieg.
Russia:
P. Tschaikowsky,
G. Knrganoff,
J. F.
Xngel (St Petersburg),
.\. Liadoff.
Denmark:
Sindiug.
France:
Saint Sacns, C. Franck,
C. Debussy, C.
Chaminade, B. Godnrd, F. Thom~.
Italy: G. Sgambati, P. :'\[BsCagni. E. Bossi.
Germany:
A. Jensen, Max Reger, R. trauss, Ph.
SchaTwenka.
x. Schnrwe:nkn, Isidor Ceisa, l~. Meyer
Delmund, 1\L Moszkowski, E. chOtt.
England:
F. Cowen, E. Elgnr, Coleridge Taylor.
America:
E. A, McDowell.
Arthur
Foote, G. W.
Chndwiek. Willinm Mason. Wilson G.
mith. E. R.
Kroeger, Jns. H. Ro~ers. E. Liebling, H. Schonfeld,
F. van der StUcke-n, H. II. [Juss.
ETUDE
THE
714
THE
concerto in G minor Op. 15, a Te Deum a f)"
.
dIP.
"'0
for str-ings a~
~~~an, s~vera
sets of songs, piece!;
for piano an
VIO 10,
an
m~ny piano compositions
which are debserV~dlY pop.ular III the best sense of the
word.
Of t e plano qumtets,
the concerto
and th
symphony
it may be said that
they arc amb·,,· '
'rb
10US
rather
than spon Ianeous.
ey present
the CUr'
phenomenon
of a gifted Italian
composer Who was IOU8
in sympathy
with the ideals of his colleagues, but n~t
turned to Liszt and Germany for instruction
and r 0
example.
Much of his work in the larger
forms has nelth
the spontaneity
and melodic invention
which cha:~
acterize
Italian
music,
nor
the
depth
which h
German models possess.
The piano concerto IS the m I~
successful
of these be:ause
Sg.ambatl,
a brilliant Pi~~~
Ist, knows ~lOw to write effectively
for his instrument..
The two m!ddle movements
of the str-ing quartet, Op,
17, are veritable
gems, spontaneous,
polished in workmanship
and original
in conception.
The ether tw
movements
are disappointing
in comparison,
Yet tbi:
quartet
has been frequently
played
by the Kneise~
Quartet,
it found a conspicuous
place on the program
on the occasion of their debut in London.
Sgambati's
songs, .oP. 1, 2, 19, 22 aud 32 (hcRides six others
without opus number),
cannot, in spite of many charming qualities,
be regarded
as his most characteristic
efforts.
As a composer
fol' the piano, on the contrary
he will take a high position
for thc originality
of hi;
piano style and fl'equent
charm of cxprt'ssion.
In ad.
dition to the quintets
and the concerto
are the following: Op, 3 nocturne,
prelude
and fugue Op. 6, two
concert studies Op. ]0, Album LeuI'('R Op. 12, Gavotte
Op. 14, fouL' pieces OJ}. 18, thrce nOdnrnes
Op, 20,
suite in B minor Op. 21, [.Yl'ic Pi\,(,(,S Op. 23, Nuptial
Benediction
Op. 30, Fifth
NO('tlll'1lC Op. 31, Poetic
Melodies Op. 3G. Of thesc the most ('harncteristic
are
the concel't study in 0 Hnt, Op. 10, 1'10. ], the Gavotte
Op. 14, the Old Minuet,
Nenia and Toccata
from Op.
]8, the 1l0ctll1'lleS in B minor and G major, Op 20, and
the entire set Op. 23. 'l~he transcrlI!tion
of a melody
from Gluck, and another
of Chopin's
Lithuanian
Folksong are also both characteristic
and effective,
Sgamhati's Iliuno stylc, whilc showing
trnn'S of Schumann
and Liszt, is vCl'y individual;
it mak!';; decided demands
on the pla.yel', although
it is l11\\'n~'s well adapted tothe nature
of the instrument.
In t he brilliant
style
the best eXllmples arc the concert
fitll(l,\' in D flat, the
Nenia and Toccata Op. 18, while the Gn\'oUe, although
effective, is by no means easy;
the hest examples of
his lyric style, which is full of ('0101', harmonic
and
melodic, distinguished
by beauty of form as well as of
expressiou,
the Old i\:[inuet Op. ]S, till;! nocturne in G
major and the entire set Op, 23. :;\[f'ntion must also
be made of a captivating
and ori~illnl
"Napoletan
Serenade"
for violin and piano, Op. ~4. ~o. 2.
In spite of the dryness
of much of his chamber'
music, the somewhat
futile classicir,:m of the symphony,.
and the pretentiousness
of the piano cone-el'to, we must:
recognize Sgambati
as a composer
for the piano of red
distinction.
His piano pieces arc ori~dnal in technical
style, and also in musical conception:
they are elevatedl
in artistic
standards,
and they cannot
fail to be admired where good music is appree-iatcrl.
As director or
the Academy
of St. Cecelia.
as condlle-tor of orchestral concerts in Rome, and as a COllra~('OI1S pioneer in
the causc of the clrlssics,
S;:;ambali
enjoys the high
estecm and artistic
recognition
to \yhich his talentg.
and his high chl.1l'[lcter as 11 man entitle him.
piano
I
A
~~~~~'~b~~L~!~!x~~t~
!'~G~~IM~!
A~~:n:T!:!Szt
Method_His
Principal Compositions-His
By EDWARD
NE of the pioneers of classical music in Italy, and
one of its most talented -composers
of chamber
music and in symphonic forms, is Giovanni Sgambati, born in Rome, May 18, 1843, His father was a
lawyer; his mother, an Englishwoman, was the daughter
of Joseph Gott, the English sculptor. There had been
some idea of making a lawyer of young Sgambati, but
the intensity of his interest in music and his obvious
talent precluded the idea of any other career. When he
,YUS but six years old, his father died, and he went with
his mother to live in 'I'revii, in Umbria, where she soon
married again.
Even at this early age he plaj-ed in
public, sang contralto
solos in church,
and also conducted
small
orchestras.
When
a little
older he
studied
the piano,
harmony
and composition
with
Natalucci,
a pupil of Zingarelli,
a famous teacher
at
the Naples
conservatory.
He i'eturned
in 1860 to
Rome, where he became at once popular
as a pianist,
in spite of the severity
of his programs,
for he played
the works of Beethoven,
Chopin and Schumann,
and
the fugues of Bach and Handel.
Many of these works
were entirely
unknown
to Italian
audiences;
he thus
became an ardent
propagandist
of the best literature
of the piano.
His next teacher was Professor
Aldega,
master of the Capella Liberiana
of Santa Maria Maggiore.
He was on the point of leaving for Germany
for further
study when Liszt came to Rome, became
interested
in Sgambati
and took him in charge
for
special
instruction
in the mysteries
of higher
piano
playing.
He soon became the leading exponent
of the
Liszt school of technique
and interpretation.
Sgambati
was the soloist in a famous series of classical chamber
music concerts
inaugurated
in Rome by Ramaciotti;
he was (as mentioned
before)
the first interpreter
of
the works of Schumann,
who in the years 1862-63 was
virtually
unknown
in -Italy.
Later
he began to give
orchestral
concerts
at which the symphonies
and concertos of the German
masters
were given for the first
time.
In 1866, when
the Dante
Gallery
was inaugurated,
Liszt
chose
Sgambati
to conduct
his
"Dante"
symphony.
On this occasion
Beethoven's
EI'oica symphony was given for the first time in Rome.
In 1869, he traveled in Germany
with Liszt, meeting
many musicians
of note, among them 'Vagner,
Rubinstein and Saint-Suens,
and hearing
"The Rhinegold,"
at Munich.
Wagner,
in particular,
became so much
interested
in Sgambati's
compositions
that' he secured
a publisher
for them by his emphatic
recommendations,
On returning
to Rome,
Sgambati
founded
a
free piano cIass at the Academy
of St. Cecilia, since
adopted as a part of its regular
course of instruction.
In 1878, he became
professor
of the piano at the
Academy,
and at present
is its director.
In 1896, l;e
founded
the Nuova
Sociebl
Musicale
RomaDa
(the
Roman New Musical
Society)
for increasing
interest
in \Vagnerian
opera.
Sgambati
has been an occasional
visitor to foreign cities, notably
London and
Paris,
both in the capacity
of pianist
and as conductor;
he has led performances
of his symphonies
in
vurious
Italian
cities,
and at concerts
where
the
presence of royalty lent distinction
to the audience.
Miss Bettina
Walker,
a pupil of Sgambati
in 1879,
gives a most delightful
picture
of Sgambati
in her
book "My Musical Experiences."
A few extracts
may
assist
in forming
an idea of his personnlity.
"He
then played three or four pieces of Liszt's,
winding
up the whole
with
a splendid
reading
of Bach's
'Chromatic
Fantasy.'
In everything
that he played,
Sgambati
fal' exceeded
all that
1 could have anticipated.
His lovely, elastic
touch, the weight and
yet the softness
of his wrist staccato
the swin'" and
go of his rhythmic
beat, the coloring' rich and ;'arm,
and yet most exquisitely
delicate,
and over all the
atmosphere
of grace, the charm and the repose which
O
Distinctive Pianoforte Playmg
BURLINGAME
HILL
perfect mastery alone can give," -"But to return to
the relation
of my studies with Sgambati.
He gave
me the scales to practice
in thirds, and arpeggios
in
the diminished
seventh, for raising the fingers from the
keyboard-recommending
these as the best possible
daily drills for the fingers.
He also gave me some
guidance
in the first book of Kulluk's octave-studies
and he tried to initiate
me into the elastic swing and
movement
of the wrist, so important
in the octaveplaying
of modern
compositions.
.Sgambati's
playing of Liszt was, now that I compare him with many
others whom I have since heard, more poetical
than
any.
In the sudden
fortiss·imi
so characteristic
of
the school his tone was always
rich and full, never
wooden or shrill;
while his pian'is8'irni were so subtle
and delicate, aud the fbnances, the touclIes of beauty,
were fraught with a sighing, lingering, quite inimitable
sweetness,
which one could compare to nothing more
material
than the many, hues where sky and ocean
GIOVANNI
SGAMBATI.
seem to melt and blend, in a dream of tender ecstasy,
[llong
the coast
line
between
Baia
and
N[lples,
His playing
of Schumann
was also a 'specialty;'
and I remember
vividly
his delicious
wrist-played
staccato,
from the first to the last bal' in tIle left
hand of the last variation
but two of the Symphonic
Studies."--"I
also recall his playing of Schumann·::!
'CarnevaI'
as one of the pieces which gave him great
scope for showing his masterly
range in maIl1' directions." -"Sgambati's
pluying of Beethoven'~
E flat
concerto is one of the finest.1 have beard: such beauti.ful tone, ~uch perfect taste, such broad simple phmslllg~ sU~h reserve of force;
never have I heard any
artist
smk so poetically
f.rom fM'te to piano in the
two octave pages of the first movement."
If. ~gambati
sho\wd
at an carly a~e his brilliant
~uahtJes
as a pianist, he was nlmost equally precocious
111 regard
to composition.
At the ag-e of nineteen 11"
wrote his first compo;;:itioJl in classical
form a stri~;
qu~rtet .. This was followed by a quintet for ~iallo Rnd
st;lllgS III F minor, and a second l1uintet OJ). 5 in (}
millOI', a prelude
and fugue Op. G, an overture
to
Ca~sa's "Cola di Rienzi" which has remaineit in mannSCl'lpt, .Sgambati. has also composed an octet. still in
manuscnpt:
a strm,g- quartp.t in C sharp minor Op 1which has bee? wi.dely played:
a Festival
Overtu'r~:
thre~ ·symphomes,
one of them published,
which have
received
frequent
performance
throug-hout
Europe;
a
TT:lE great
Gel'man poet Go('llw hns written:
"Musicbegins where
speech
leaves
oft"
an(1 the immortal
Reetbovell
ouce said:
"j\[usic
is a revelation
more
sublime than wisdom nnd philosophy."
WJlat did tllesemen mean by music?
Did the~' mean the simple tl1Ue
that is whisHed
or hummed
for wunt of .thougllt?'
Did they mean the tune
that is mcrely set as an
accompaniment
to wOl'ds?
Did thev l11('nn the Italian
aria or the sentimental
ballad?
1-.ro. Thcy had in
mind the sublime mnstelllieces
of geniu:::~the
inspir~tiolls of the world's great tone-poets.
For this mUSIC"
does not alone please
the ear, it satisfies
the soul.
There are mcntal
conditions
Rnd emotions
that cannot be reproduced
or expressed
eitlH'r by wordS or'
painting.
It is only ill the realm of tones-tone·
language
alone cun express
the most profound
affections
and sentiments.
Through
music the human
heart
and the mind. too. find speech when all else.
d ,peec!h
15 powerless.
Orclinary
lan;:;l1age-mere
wor
.
-expresses
but faiutly
either
thought
or eU1ot~On~
Even poetl'y without
suitable
music is an impel' ec·
m('(lium f(lr expressing
Ollr deepest feelings.
ON SOLICITING PATRONAGE.
ETUDE
715
and a reasonable amount of good looks. Many of Our
ducements include also those things which show your
best concert-urtlsta
find it necessary to teach.
interest
and willingness,
outside of private lessons,
Let me take the liberty to sum up my talk brieOy
namely, providing special classes of eusemble-ptagtng,
BY E, VON SCHLECHTENDAL,
and add n little to it. Ml' young teachertheory,
history of music or of special
classes in
Be humble.
clavier-practice,
technical work, normal school lessons,
THE first attempts
in getting up a private class
Be charitable.
ecitals and lectures.
And (7) finally, I advocate an ;nafter fifteen years of teaching in colleges has taught
Be tractable.
direct wnr of soliciting patronage,
which means: a
me a number
of new things.
A college teacher is
Be contented.
soliciting wltbout one word about business.
Go to
Be womanly.
not expected
to canvass
for pupils.
All he has to
parties,
sociables, invite and ;;e invited, don't talk
Be willing to wait.
.do is to see that
pupils are contented
to remain
'shop," but show yourself from the best side in conFind your forte and do it nobly.
through
the session and anxious to returtlfor
another
versatiou, games, manners Il.:jt' taste.
All you have to
Dou't let visions make you unhappy;
fit into your
'year to enjoy the same advantages
of a conscientious
do is to be pleasant au., ....uuuble, appreclutlve
or nosniche.
and inspiring
instructor.
So, at the beginning of a - pitable according to whether you be the host or the
Be aggressi vc.
session, Director
X goes to his teaching-room,
where
guest.
Remember you cannot catch any flies with
Be progresatve.
be finds a number of girls from different States or
vinegar, but a little molasses will help considerably.
'Iukc a sweet view of life.
different
sections
of a State, of all kinds of clnssee
Study your needs nod the needs of others will b&and grades.
I-Ie is introduced to them and begins to
ADVICE TO YOUNG TEACHERS.
come tangibl .
classify, to grade, to teach.
But when it comes to getting your own pupils by
BY EDlTl1 LYNWOOD WYNN.
your owri efforts!
I know that there are some teachers who pride themselves upon having never "sol'ioited"
WHAT BECOMES OF OUR IDEALS 1
patronage.
Those are the proud kind like the merBE aggressive,
Very little comes to people who walt
chant who never fails to mention in his advertisement
for pupils to make up their minds to studY. You can
BY HELENA
MAQUJLlE,
that "people will not be importuned
to buy."
As if
"talk" ~'our pupils into enthusiasm,
'l'hel'e is somethe buying was a matter of secondary
cODsideration
thing' more than placing a sign on ·~'OUt·door-someTms
is the question which the teacher who hae
and the showing of goods the end of all transactioJIs.
thing more to be done, rl'hero is something more than
taught
music fOI' ten years or Illor(' is IIpt to ask
It is true that one well-taught
pupil is worth more
advertising in u lOcal paper-you
must become known.
when she begins a new year, und is confronted
witb
than
a hundred
advertisements
and a' better testiAs much
depends
upon
your
personality,
your
the
contrast
between
the
feelings
with
which
she
hemonial than all the high-sounding
certificates
of the
genialit~" and readiuess to help in local Illusical mat·
gins her wot'k this year, and the feelings with which
grandest
people in "Society."
But it is not so easy
tel's, as upon ~·our ilctual fitness for yOU1' work, if you
she remembers to have been filled on taking up her
to furnish a well-taught
pupil right on the outstart of
wonld succeed. Do not be discouraged j[ pupils do not
work afresh a decade ago,
a career.
It takes years of patient,
hard work and
flock to you when you first pnt out your "sign of
Undoubtedly
she has traveled fur on the road to
besides we must consider the material out of which it
welcome~' in the town in which ~'ou nre to teach,
success, has done good and honest work. und has reis possible to make a well-taught
pupil.
How many
'l'here are older teachers there.
'l'hey know how to
ceivcd her modicum of compen8lltion.
But it is l\11
requirements
does it not take in the pnpH's qualimake friends.
They have learned perhaps-we
hope
so
dirrel'cnt
from
what
she
planned.
so
unlike
thc ideal
ties:
talent,
application,
perseverance,
congeniality,
they have-to
be magnanimous,
and they are discreet
life she had meant to !il'e, so stripped and shorn ot
bealth,
strength,
ambition
and last, but not least,
and tactful.
They cun make pupils work, and their
many, many things that she had once believed it immoney, in order to give the teacher a full chance to
life has been spent in hard service for their art. You
possible to live and work without.
show what he can do under the most favorable cirhave a diploma and ~your technique is finished.
The
But wait-if
we look l'ightly into 0111' lives, into
cumstances.
(Parents,
natUl'ally, think that he has the
older teacher has been too busy to "keep up," but
what they have grown to be t.hrough these year!; ot
most favorable
circmnstances
with their child in every
you will find that the older teacher has assimilated
teaching, we will find not one of our ideals missing,
instance.
And who would dare to enlighten them.)
and knows what to teach far better than you do. You
r.rhey are all there-woven
closely into the warp, but
Therefore
I contend
(and most of roy pl'ofessional
are only experimenting.
'rhe people of the town
all there, all the beauty, and f(lith, llnd high hOlle, and
brothers
will affirm my assertion)
it tak.es systemat'io
admire your playing, but you have to de.monstrate your
inspiration
of our golden youth.
Not one is missing.
11Olioiti.ng for patronage
to succeed in raising a class.
fitness to teach.
An old music teacher once said to
rrhey have changed it is true, hardened, perhaps into
Advertising
in the newspapers
is a fine thing and the
me, "No one can build his house by tearing down
iron fol' endllt'ance, so to withstand
the weRr and
newspaper
men themselves would advocate this means
the rouses of others."
The young music teacher needs
tel\r, and the renl intrinsic value of iron is fur grcnter
above all others;
the advantages
of advertising
have
to be meek, .respectful
and discreet in her relations
than that of gold. Ycs, Ollr ideals as we sec them
been and are continually
praised in the newspapers
of
with older teachers in the town.
It is better to have
now, so dcep in the nattern of our fading lives tllttl
every description,
how ,Vanamalccr
or some other rich
the best to say of all in the profession,
Undue
they seem to have taken on the grayness of the rcst,
merchant
certifies that his start in business and all
confidence and familiarity
toward pupils renders the
and be lost in the general sombreness of the whole,
his snccess is due entirely to the newspapers,
teacher's influence unsafe.
She may love her pupils
may be likened to the iron that has come to eurth
Among the numerous ways of soliciting I shall menbut she must be fai,·. If my gifted pupil pays for an
from golden meteors, iron that is of more "aluc than
<:ion on ly seven:
hour's lesson she l'eceives hel' hour's time; so does
gold, that means much more to our pupils in its
I, P1'inted circulars
to yOUl' patrons
and those of
my slow pupil, and both feel satisfied.
I feel that
prcsent state, "bent, beaten and rcfined" as it is, thun
whom you heard as possessing an inclination
towartls
in ten or twenty ~'cars of teaching experience I have
it ever could mean to them us the nebulolis airy gilded
your way of teaching.
These little papers announcing
learned that pupils comc to one bccau8e the teacher
things commonly called ideal!;, that swirl in ether so
your business and time to begin lessons will do better
is interesting, magnetic and leind. Young people st~dY
far above the grasp of wee worldlings.
service than an ad. in the papers, simply because it
tbe art you follow fully as often because they like
And of your iron you fire making wOllderful things,
is more personal and more apt to be read and appreyou as because the;y like the art.
Of. itself it is notlling, but in thnt which is mude of
ciated, although it is printed.
But with a few written
It often seems necessary in privat-'l-schoOl teaching
of it it becomes wonder[ul.
It is the pupils, the young
words added you will increase its value ten-fold,
2.
to persuaae people to study.
It aids the school. .It
musicians Wllich nre the product of our iron, that make
Personal
letter.
That
is, a letter
adapting
itself
aids tIle teacher's
value to the school.
Many pupIls
its "real intrin8ic vulue."
in style.
Short but complete should be its contents.
of little talent have been helped by just tbis thing,
Someone put it this way, a long time agO. "A bar
but interesting
and epthnsiastic
enough to elicit an
they are sent away from school later with some acof iron is worth a few pennies.
This bar of iron,
answer.
I do not, however, believe in "taffY" or even
complishment
that adorns a quiet bome and makes
made into horseshoes, is worth a few dollars.
Made
honest compliments
as long as you have "an ax to
some one happy.
into needles it is worth some hundreds
of dollars.
grind."
3. The next better thing is to call up "the
Nevel' discourage
pupils from the study of music
Made into watch-springs
it is worth se\'eral thousands
mother"
by telephone and then inquire:
"I hope you
if they have the time, the money and the inclination,
will send your little girl to me for music lessons this
of
dollars."
with a little talent ailded. They will enjoy life bett~r
And so it is with the ideals that have been through
session 1" If she cannot decide right then and there,
fer the music they hnve learned.
Try to keep 1n
the processes of life ani! experience.
We have them
ask her to come to yonI' studio at a stated time.
touch with parents.
Tf you are in a private
school,
limiting her convenience.
4. Now you will certainly suc·
preserved intact in the iron that is the best of us,
send out a letter once a term or even once a )·ea:.
ceed in gaining her confidence and coming to an agree·
and we realize our ideals in the pupils that we
It is a courtesy and a necessity.
Your income IS
ment, if you can have a personal interview.
Talk but
"turn out."
Something good we fire making of onr
derived from the teaching
which these same fond
little, be polite and give her time to consider. 5.. It i~,
iron. Is it also the best' Are we making of our iron,
parents permit their children to enjoy ..
of course, more certain to gain a personal intervlew If
One of my friends went abroad thlS summer.
She
our ideals come to earth, pupils that are as horseyou at·rao"'e for yourself to call at the house of your
sent picture postal cards to all of her pupil::;, It was
shoes, as needles. or as watch-springs?
prospectiv~
patron.
I say "more certain,"
because I
a little thing but the pupils knew that she thought of
That is the question that Futurity
is asking of ttl.
know of cases where I waited and waited in vain in my
~em.
.
studio.
It's true you can be turned off at the house
Young teachers cannot be too careful in watehmg
TnE first great necessity in technic is to secure n
also, but you have better chances.
Now, qon't play
the little things that pupils are prone to do. The
loose arm. wrist, hand. and fingers:
therefore
the
with the baby '01' dog and talk about the rain; state
child sits badly at the piano, or she "makes faces"
your business and ~ome to an agreement, which must
hand or wrist touch should be taught
in the first
when she sings, or she moves her whole body when
amount to a contract before you leave. 6. Among the
lessons.
Tt not only ;s ('ulled into practicaJ use for
she plays the violin, and wags her head,
All these
BpeciaJ inducements
with which to bait your book
things are amateur habits and they must be correoteli1.
upressive
pluying as soon 11$ pieces llre studied, but
should be reductions
to two or three of one family,
If I were to write to my young girl. friend w.ilO
i~ soonest secur('s n good legato touch, because or
reductions
for those taking longer time, for i~stance:
is to enter upon teaching, I would say <10not. asplr~
the loosening
of the muscles find joints
used in
making a contract
for one. two or three seSSions, .re·
to become a concert-artist
llnless you are ex~PtlO:1nllY
playing, and becl1n~ of tbe contrllst of effect.
ductions
for those pupils advertising
your, te~chl.ng
gifted, finely trained, have plenty of influential friends
and bringing
new pupils to yonI' studio.
SpeclUl m-
THE
716
ETUDE
Some Trials and Experiences
By E. ESCH
German Teacher
of a
(Translated by Misa Florence Leonard)
tions in the piano-teaching
market.
The pro .
Pl1etor
of two shops asked to know my fee for lessons· "H
mucb is the lesson?"
"One gulden."
"What~
yOW
.
ou
must be ---!
I hardly
earn as mUch as that'
There are plenty
of women
teachers
Who onl
.
Y ask
thirty kreutzers. "
Often the teacher
is met at the door of a."
lth tt
house WIt
t re remar, k"Nt'd 0 0- ay; COme same pUPil
th
.
oer
R eason IS no ,. given, nor excuse, least of
time."
II
'to
(The
following
article
taken
from a reliable
German
source intimates that the tribulations of the teacher
in Germany are not so very different from those that
the American teacher is sometimes obliged to suffer.)
MONG the most conspicuous features of the old
Kaiaeretadt, Vienna, are often to be seen cer-
A
tain wide, black, strikingly
plain letters on the
advertisement pillars. These letters are the name of a
well-known public conservatory of music. Closer inspection discovers a row of other names, chiefly feminine,
and
there
follows
the pathetic
announcement
of
a recent examination. Two facts are evident; The
first, that without exception' every candidate has
"passed;"
the second, that 'Immature,
even half-grown
pupils
are rated as masters
of the first rank--dim
lamps as stars of the first magnitude.
The obvious conclusion is, it's a business transaction,
a commercial affair.
What is the reason?
'l'his much
seems certain:
that in the town of Haydn,
Mozart,
Beethoven
and Schubert
the musical
calling is both
pleasant
and fash~onable.
Therefore
the susceptible
Viennese lady must take it up.
If she happens to be
somewhat
advanced
in years, then her vanity centers
in her daughter,
and she wishes to shine by that reflected light.
So off goes the young Pepi or Poldi, or
whatever her Dame may be, to an academy.
Soon after
she has entered, the public examinations
begin.
Evening affairs they are, aDd the spoiled darling is certain
that she will make a furore then, for she knows very
well that success
depends
on neither
industry
nor
ability.
The academy, too, knows that one failure in
these so-called tests means one pupil----one paying pupil
-less.
It is true that there are in these schools talented
students
who regard Illusic as their vocation, if not, indeed, an indispensable
element of life; but it is also
bitterly true that young artists and their achievements
find no response
in the general public .. If they give
concerts in certain circles or clubs, a waltz of Strauss,
especially
of his later period, roused much less enthuci .sm than "'Voodcutters'
:i\farch," or "The Hunter in
the Forest,"
or "Over
the Waves."
If they offer
classic-in
the Vienna
jargon
"plastic"-music
they
may count on stiff opposition.
The audience does Dot
even attempt to conceal its enn,ui, conversation
becomes
lively and for the next meeting
of the club a more
agreeable
performer
is engaged for a smaller fee.
Such is the musical taste.
Add to this the bad manners of a large proportion
of children,
and find the re~
suIt in the trials of a conscientious
music teacher.
To many pupils I must teach behavior;
One stout,
sturdy boy of twelve, gave a noisy yawn at the beginning and end of each lesson;
others
complain
all
tl'rough
the hour that they are tired, and compel me
thus to shorten the lesson; another, while I played his
new lesson to him, drummed with hands and feet, and
devoured
cakes, bread-whatever
he could find in his
pockets;
still another
I corrected
for his position,
"When you are playing you must sit erect, Fritz, not
let your arms hang down and your feet stick out so."
"That
is none of your business,"
answered
the courteous youth.
But this is only the beginning
of sorrows.
With
laziness
and impertinence,
untruthfuhiess
goes easily.
My marks are erased and I am told that others which
indicate practicing
of the easiest passages only are the
marks I made.
I asked one boy, "Ignaz, why do you
shut your eyes whenever you come to the hard notes?"
"Because
they make me mad."
An older pupil· im~
provises
constantly,
in chords never before known to
the world, because he either cannot or will not play
the correct notes.
He must be entirely
devoid of eaL'.
If by chance he strikes a chord correctly, he starts and
cries, "Beg pardon;
that was wrong;"
yet he assures
me that he often plays all the operas by heart and his
Madame Mamma
has solid faith in the talent of her
son. W4.en I attempterl
to tf'1I ber the true state of the
case my services were at once dispensed
with.
Even
the Viennese
love least of all things an unpleasant
truth.
Another
remark
Instances
the fact.
A girl
of fifteen was asked if she il~';lessons with a man or
a woman.
"Ob, not with a man!
Men are ~erfectly
brutal if you make a little mistake;
I don't Ilke that.
Women have to hear whatever
I choose to play, and
I can stop and rest, too, and amuse myself a little."
This determined
opposition
to earnest work which
marks the average student can be proved by countless
examples.
I will give only a few. A boy had such fin
antipathy
to studying that one day when he ~aw ~e
coming he locked the door and refused to open It. HIS
parents, who had come up to the house with me, were
also obliged to retire and wait till their precious son
chose to admit them.
A child of fourteen met me one
day with a burst of tears:
"Ob, must I have a Jesson?
There's
a wedding over at the church and I
wanted to see it. Herr Professor,
couldn't you come
another day?"
But her lamentation
was useless.
She
received two lessons instead of one; the second was ad·
ministered
by the hand of her mamma.
This case of
punishment
was a shining exception to the usual lack
of discipline.
In general is the average Viennese full
of wonder at the maturity
and cleverness
of the im~
pertinent
children.
"What 1" exclaimed a housekeeper,
when she heard me address a girl of ten, of the middle
class of society, as "Du."*
"How rude you are 1 Isn't
she a young lady?
You ought to say 'Sie' to her."
(the formal address).
"Didn't you ever go to school?"
I will refrain
from speakin;
of difficulties,
not
to say discourtesies,
that arose in the attempt
to
teach a proper use of the pedal or a corrcct staccato.
But the passionate
fondness of the Viennese for a full
fortissimo shows a power of tone by which Liszt might
have profited b his "Dante"
Symphony.
In the fault
of playing
one hand before the other, the child of
Vienna seems to me to try to outdo any other child
in the world.
A girl of seventeen
had most peculiar
ways.
If
I asked her to count the time she refused, pointblank;
if I insisted
and gradually
forced her to make the
attempt she complained, invariably,
of headache;
often
in the midst of a lesson she would suddenly take her
music and leave the piano;
or she would ask what
time it was and whether
Franzel,
her admirer,
was
listening;
if there was an excitement
in the street
she would rush out and leave me sitting there.
When
I complained
of the conduct of this young hopeful,
and suggested a salutary
lecture, I was overwhelmed
with abuse.
A certain boy who often gave me trouble, one (Jay
refused to play what I told him.
After some argu~
ment I endeavored
to make the case plain to him by
emphatic
use of my hands.
He sh;rieked, "I won't
be punished!
I have 50,000 florins in the bank."
His parents appeared a~ .this moment and merely remarked, "You cannot do anything
with him.
He is
just a trial."
Another
boy would push his music
further
and further
away, till neither
teacher
nor
pupil could see the notes distinctly;
or he would
suddenly
skip several measures
"so the piece won't
last so long."
Such is the enviable lot of the teacher in Vienna.
If he me~ts with better success at times, it is hardly
due to hiS musical
ability
Or his way of teaching.
Necessary factors are those of a social sort, which he
must secretly despise more or less.
For instance
it
is considered highly complimentary
to the teacher 'for
the parents with .their good friends and trusty neighbors to assemble Jll the music room at the first lesson.
They for~ around teacher and pupil a chattering
wall,
fro~
whICh the flattest
possible
remarks
of either
pr81se or censure fall Upon the unwilling
ears of the
teacher.
If he attempts
to correct or instruct,
or to
remove these obstructions
to progress,
he himself is
removed.
The .loss is. the more painful
because he had suc~
ce:ded,lll
maklllg terms for a SUm considerably
above
thIrty kreutzers.
In such dizzy heights are thc negotia*Germans use the word "Du" (th
) Ln
their children and intImates
"Sie" (u ) I addressing
all other persons.
"Du" presiuDes fntlm~~~.
[Eg,St:l for
apology.
If the teacher
is delayed, he is required
send telegram, letter or card.
That is the reve
'
,!'Seof
themea. da l
Punctuality
o~ the pupil's
part is unheard of. If
I express
my Wishes on the point_UOb
d ~nt '
.
,
make any difference.
Are you in a hurry?"
Tbe only instance
which comes vividly to mind
an exception
to this spirit of lazy indifference was In
a family
of four daughters.
In this family w
. l ime.
'I'h e young women were patere
culture an d diISC1P
terns of courtesy,
modesty,
attention
and diligence
They submitted
wisely
to their exercises,
and took
great delight in the nobler music.
But it must be con.
fessed that the type of the pupil-material
is quite the
opposite.
It cannot be denied that there is true talent to be
found in Vienna.
But life is too comfortable
and
easy-going for it to develop.
A student of mine, Who
had excellent talent, wished to improve his piano play_
ing.
He was seventeen
years old.
After a few les.
sons his zeal left him; Cramer,
Bertini
and the TwQVoiced
Inventions
did not
please
his taste.
He
ended his musical
career
in the street-ballad
atmos_
phere.
Another
~'oung man thought
be had mastered
the soul of art when he could run through all the
major antt minOr scales, though be knew neither notes
nor time, therougbly,
and he begged me one day to
give him the hardest
compositions
of Cbopin and
Liszt, for he could not endure easy pieces any longer.
To these specimens
frOm the whirlpool
where one
is always seeking for true talent, should be added two
of the elder minds.
A lady clime to me once: "My
Peperl must play scales and exercises
vcry diligently,
and I hope that the Herr
Professor
will be severe
with him."
In the third lesson she commanded me to
drop all scales
and exercises.
"Peperl
finds them
stupid;
the lWoodcutter's
March'
he likes a great
deal better."
The other lady objected to my finding
any fault witb her boy.
"lIe is so put out and angry
when you talk to him that
way, lIerr
Professor.
Please say something
pleasant
to him even if he does
not do anything
right at all."
It is my opinion
that
the cause for all this indifference is to be found in general physical deteriora·
tion.
How far this is true is a question
for moral
philosophers,
sociologists,
political
scientists.
At any
rate the symptoms
arc alarming.
Youth is fed OD
incense,
when it deserves
chastisement.
But that
is not all. Ought not tbe evil to be plucked up by tbe
roots?
I·'
WHICH is the greater,
Mozart or Beethoven?
Idle
question!
The one is more perfect,
the other is
more colossal.
The one gives you the peace of perfect
art, beauty at first sight.
The second gives you sublimity, terror,
pity, a beauty
of second impression.
The one gives that for which the other arouses a desire.
1I10zart has the classic purity of light and the ocean;
Beethoven
the romantic
grandeur
which belongs to the
storms of air and sea and while the soul of Mozart
seems to dwell On the ~thercal peaks of Olympus, that
of Beethoven
climbs,
shuddering,
the storm-beaten
sides of Sinai.
Blessed
be they both!
Each repre'
sents a moment of the ideal life, each does us good.
Our love is due to both.-Amiel.
You are to learn all you can from my playing.
relating to conception,
style, phrasing,
etc., but do not
imitate my touch, which
I am well aware, is not a.
good model to follow.
Iu early years I was DOt pailen
enough to make haste slowly,
thoroughly
to develoJ)
in an orderly,
logical and progre.ssive
way.
I waS
impatient
for immediate
results
and took short cuts.
so , 0 spea k·, and Jumped
through
sheer f orce of will
.
.
,
to the goal of my ambition.
I wish now that I h~d
progressed
by logical steDs instead
of by leaps.
It. IS:
true that I have been successful
but I do not adVlse
.
you to follow my way, for you lack my personallty.-
.
Liszt to one of his pupils.
THE
ETUDE
717
, most excellent manual, clear and progressive.
You
can also procure a key w it [91' your own use if
you so desire.
Norris' book is the best one extant
in the English language which embodies the French
eyetem of nomenclature
and figuring
the seventh
chords.
You will have to decide [or yourself whether
you wish to teach this system, or the German, which
is embodied in most of the other text books. 'I'he departurea
[rom current methods you will find mostly
in the second volume of Norris.
Kuns' Canons are very ingenious, and with a certain
lass of pupils may be u5ed wiLh good r au,lls,
CONDUCTED BY N. J. COREY
but they make no RI)I>cal to the nvernso student. Th!;'y
are more ingenious than inSI)irational, nud serve little
pUTJ>ose in the education of til YOlIllK. save thaL of
velopment and growth.
The discoveries
of modern
:MIND AND FINGERS.
Iinger- training, and they bore the child JHlpil 80 exexpertmcntnl
psychology,
along physiological
lines,
cessively thllt I qncsttou whether the,)' do not do more
"UNABLE
to secure good results from my praehave proved beyond question bow much greater arc
harm than good. A. very able tcnener, who lmd just
ttce, I found myself obliged to discontinue
the possibilities
of individual
development,
in the
come across these cnuone, once told me tbnt he »umy piano lessons for several months.
A
case of any apparently
imperfect
faculty, than wag
aldered them fl greet "find," for in using them I)UI)\]8
friend said to me in regard to this:
"I'he trouble with
formerly deemed possible.
'I'he process of building
would be obliged to think while I)rllcticing five-linger
you is that you have more music in your head than
exercises.
"Yes," I answered,
"thinking
of compliup the various cells in the brain has been elaborately
in you~ fingers.'
This remark has kept me thinking.
cations thnt they ought not to bo troubled with at
studied out, and it has been learned that by conAs a matter of fact, I am greatly interested in the
that stage of instruction,
and thus prevented
(rom
centrating
one's efforts upon any given faculty that
theory and history of music.
I also find great pleasgiving close attention
to the l)rineil)nl essential of
may seem to be imperfect,
amazing resulls may be
five· finger work, viz., the correct action of the fingers."
ure in following
the bass, as well as the various
attai~ed.
Therefore
try concentratiug
your energies
Five-finger
practiC1:l should be so simplc UJt\t even
voices, separately
in listening to a performance.
Do
upon the one point in which you [eel your deficiencY,
the tlttention <:if the dullest can be fixed entirely on
you think my fault is correctly stated?"
in the meantime,
however, not neglecting
the others
the finger motions.
The benefit of such !Jractice docs
It would be impossible
to answer
your question
overmuch, and see what results yOlt may accomplish.
not consist in leurning a vast nutliber o( cOllJplicated
confidently
without
first hearing
you play, as well
exercises, but in what is gained from n few simple
Music History
in the Class.
as being afforded an opportunity
to watch your progones gone ovcr n vast number of times with the
III am desirous of taking up the history of music
ress for a time when you are practicing.
You do
correct nction of the fiugcrs,
'1'he snme teacher told
with young girls in class this winter, and I've been
me a few years later that he sooo discontinued
the
not state in your letter whether your lack of progress
'trying
to find a simple text-book
with questions.
Kunz Cunons, ns they were too confusing
for immawas along the line of expression
and interpretation,
ture minds and dulled the musienl sensibilities.
'fhat
Could you give me the name of a text-book that
or of technical
growth.
If the latter, it is })ossible
he found that only those with a very marked natural
would answer the purpose?
that
your
fingers
and hand may be structurally
nptitucle for music could henefit by their prnctice.
"Could you tell me the names of games and amuseclumsy, and, therefore,
hard to manage.
OJ: if you
They do help to inculcate the contropuntal
principle
ments for pupils, young and old, or tell me where
are beyond
twenty-five
years of age, your musc~es
to be sure, but one needs to I>ossess very accur~te
I
could
get
a
book
of
suggestions
for
such
work?
and ligaments
may have become close set and sbl!and well-established
finger control before undertakmg
"Give me the name of the best sim}Jlified barmony
ened, in which case it will be difficult to make them
such problems.
One needs to exerciso gl·ent discretext-book for girls from twelve to fourteen years of
tion in giving young and undisciplined
minds music
loose and flexible.
age. What do you think of Norris' book?
which is almost sure to prove uninteresting
to them.
Your friend's
diagnosis
may be entirely at fault.
"Do you think {(unz' Canons too ancient and dry
If any teacher, however, has had a more fortunate
You may have a pronounced
intellectual
interest in
for pupils now?
If so, what would you suggest in
experience with thcse c:..nons, the ROUND TAULF.:'~'ill
music and still be musical to your finger tips. How
be very glad to print his or her opinIOns coocerlllng
place
of
them?"
about the great composers-Bach,
Beethoven, Wagner
them.
This department
does not exist simply for
The best history
of music with questions
with
-and
innume'rable
others,
with almost
incredible
presenting
one aide of n question, but all sides, n~d
which I am familiar is that by Baltzcll.
The submusical
mentality;
were' they not musical from an
the more actively IL discussion IDa! be engngcd 111,
ject is treated comprehensively
and yet simply.
Not
emotional
standpoint?
Your teaching
mayor
may
the more benefit is likely to accrue to thoae who paronly is there a series of questions at the end of each
not have influenced
the musical
character
of your
ticipate, which, of course, includes all who rend ~["
chapter, but several times during the course of the
playing.
Your teacher may not have had the gi~t ~f
observe.
book there are a series of review questions, some of
I do not consider it neecssary, therefore, to Buggeat
imparting
style to your performances,
although It. IS
which require that the student draw deductions from
anything as a substitute
for the Kunz Canons, but
impossible
to say much about this without knowlllg
what he has learned, aud which afford a comprehenshould eliminate
them entirely,
except
for special
you both.
.
l)urposes.
Thc place they might occupy in thc prac·
sive grasp of what has been passed over,
You can
There is no such thing as musicianship,
no mat.ter
tice hour would bctter be devoted to standard etudes,
use your own judgment: as to which of these qUQshow emotional,
outside of the head.
The old ma~lm,
or such technical exerciscs as one prllctices without
tions are too advanced for the pupils you have in
"mind rules all," cannot be escaped in any ~an1fes.
notes.
There is not enough time now, in a studenfe
hand.
In using the book with very young pupils, I
tation of human ability.
It is the mind tha~ IS back
education
for him to learn all the applied forme of
would recommend that there be no attempt to ma.ke
ruoning
~xercises, scules, aod arpeggios,
esp~e~any
. of everything
that you do, musical or oth.en','Is~. The
rapid progress.
In sucb cases balf of a cbapt~r w~ll
the latter in seventh chords and extended pOSItions,
least satisfactory
of all playing is that lD which the
ordinarily
be sufficient.
You will find that It will
These should never be neglected, and requit'C years
mental
faculties
do not seem to have been ~roused
often be necessary to provide supplementary
explanaof patient application
in order for the hands to ~e,
re
very
faCIle
and
to take any part.
Some P ayers a
tions out of your own knowledge, in order th~t the
come familiar
with, and uccustomed
to, the varied
seemingly
mU8ical in their performances
but how
oung mind may gain a thorough
undt'!rstandlDg of
positions
upon
tbe
keyboard.
The
contrupuntal
fatiguing
to listen to for any length of time, because
~he various subjects under consideration.
Ther~ are
principle I spoke of, would better be taken up when
also certain chapters
that may wisely ~e omltt~d,
utterly
devoid of intelligence.
.
the student
is far enough advanced t:o take up the
The' fact that you enjoy listening
to the varlO.us
for example, the early chapters
on anCient m~slc,
study of Bach.
The ideal etude course has not yet
hich
cannot
he
easi1:r
uudel'sood
by
young.
girls,
voices or parts in a composition
does not necess~rlli
been formulated,
but when it is, some of the easy
:hO hav~ no knowledge of Greek or Egyptian hIStOl!.
mean
that
you are not temperamentally
mUSlca.
preludes of Bach will bave been substituted
for some
Certain portions of some chapters may also be oml.tTh
'no
truly educated muof the etudes of Czerny, Loeschhorn, etc. There are
Quite the contrary.
ere IS,
detail
ted if found to be too theoretical,
and taken up aga.m
also
many
admirable
and
musically
interesting
sician whose faculties
are not ahve to every
t I
when the students
are older and have a more ex·
things by Handel, that cultivate
this principle with
of a musical performance.
The more temperame~ a
. ced understanding.
As a matter of fact, yoU
most excellent results. (Handel Album, Presser Ed.)
penen
. ..
.bl
and emotional
he is, the greater will be bis de~lg~~t
have probably already learned that It, IS ImpOSSI e
Indeed much of llandel's music is more easily graspW
in every detail that he can discover th~t may. III If" to teach anytbing without supplementmg
from your
and enjoyed by music students
than that by Bach.
..
I·'
d DO discoverIes 0f
own intelligence.
You will need to study each eh~pcate novelty
and orlgma
1 y, an
h
popular method 0
From
Fa.raway
New
Zealand.
b
tel' in advance, and thus acquire a clear and defimte
this sort are ever made
y
e
h
'
.•
of. t e
idea of just what is to be presented,
and ~ow.
I
"As a teacher in far-away New Zealand, I am writlistening
and drIfting
a 1ong on the surface
,
doubt if you are able to find any book that Will seem
t
nly conSClQUS of It as
ing to tell you of tne great assistance
I derived from
mu~ic
the nervous
sys em 0
1 'h'
to be exactly suited to your . needs.
You wou~d be
'
.
I" lS more than like y d a
our ROUND TAm.E.
I have had about ten years
an agreeable
Seni!;atlOn.
obliged to adapt any book to accord with your Ideas.
experience
in teaching here, and think, perhaps,
r
incomwete
c ucayour trouble is simply t h at 0 f an
.
There arc four books by Thomas
Tapper
~r~m
should contribute
my mite that may perhaps be usetion
You apparently
have a fine foundahon
?n
which you wiII be able to find much hel~ in 'provldl~g
ful to other teachers who sit at the ROUND TABLE.
whi~b to build, and with properly directed energlelds
lementary
material.
"First
Studies
lD MUSIC
Even in this new colony, not yet a century old, there
·c·an
for
you
wou
you may make an unusua 1 mUSl I ,
sB~PP hy." ·"Pictures From the Lives of Great Comis keen competition
in the musical pro[easion.
What
lOgrap . ,
Ch·ld
"
d "Cbats
be envied the natural
faculty you speak of by muny
1 ren,
an h
posers; " ""'.'s'c
~'." • Talks With
.JI
I
find
most
trying
is
the
number
of
'bntterfly'
an earnest
student.
I
With Music Students."
One or all ?f t. esc WI
It may be that in your study yoU need to pace
pupila there seems to be.
Ii valuable
addition to your teachmg library.
.
d
I
ent
of
vour
emolO>ntinmd on page 766.)
especial
stress
upon the
eve opm
pr~:u
will pnd the "Harmony,"
by H. A. Clarke, a
tional nature.
You will find it very amenable to de-
THE
718
•
MONTHLY JQURN AL FOR THE MUSICIAN THE
MUSIC STUDENT.
AND ALL MUSIC LOVERS.
I
Sub.crlptloD,
$1.50 per yenr. SlnJ:le CopleN, lIS Cent ••
OanndlnD Poauag e, 2::>
cents.
Foreign Postage, 7'~cents.
Liberal premiums and cash deductions
taining
are allowed for ob-
subscriptions.
RemJttanees
should be made by post-office or express
money orders, blink check or draft, or regtatered
letter.
United States postage stamps are always
received for cash. Money sent In letters Is dangerous, and we are not responsible for its safe
errtvat.
DISCONTINUANCE.-It
you
wilJh
the
Journal
_toppe(], no explicit
notIce lUUNt be seot DISby
letter, otherwise It 'WIll be continued.
AU arrearng('l!I
IIIDst
be
paid.
RENEWAL.-No
recel))t Is ..ent for renewals.
On
the WrnlJller of tne ne::l:t bsue sent you will
be printed
the date to whleh your 8ubl!lcrlp ..
tlon I. pnld up, which l!leZ"'e8al!l a receipt for
your sub/Olcrlptlon.
ltIANUSCRIPTS.-AIl
mnnuscr-lpta Intended for publlca.-
tlon should be addressed to THE ETUDE, 1712
Chestnut Street, and should be written on one side
of the sheet oatv.
Contributions on toplea connected with music-teaching and mnslc-atudy are
solicited. Those that are not available wtu be returned.
WVERTISING
RATES will be sent on application.
Forms close on 10th ot each month tor the SUC'
ceedlng month's Issue.
THEODORE PRESSER.
171:: Che8tnut St" Philadelphia.
Pa.
Entered at PhUadelphla P. O. as Second-class Matter,
FEW of the lessons
of vacation-time
may be
hearkened to uuring the laborious winter season.
Proper
and suitable
exercise,
systematically
taken each day, will prolong the physical zest and
strength accumulated
during the summer.
It is well for
every human being to be in the open air as much as possible.
It is almost imperative
for the professional
man to have an abundance
of oxygen, as, from the
nature of his work, he imposes a severe strain on his
nervous system.
Of course, physical
magnetism
is
cons~rved b:)' this means, and "personality,"
so powerful a factor in human relations,
depends much on the
condition of the health.
The statistics
that show what
an alarming inroad consumption
makes into the ranks
of professional
men and women would show a change
for tbe better if this particular
class of nerve-consumers could be brought to more effectually
com pre·
hend what oxygen means to exhausted
bodies and
A
brains.
The autumn
is an excellent
time of, the year to
outline a course in reading.
Reading is an antidote
against
the trials and fatigues
of labor, lifting the
mind above its ordinary affairs, opening that wonderful realm in which the spirit has its being.
History
and biography
are for the students,
principally;
but
there are the master essayists,
Montaigne,
Emerson,
Ruskin, to charm arid rest the elder readers. The winter, so replete with its struggles
for a livel~hood, becomes, to the earnest reader, the very best bOle of all
the year.
Reading is such a congenial employment that, after the
drudO'eries of the day are past, he who indulges deeply,
indubitably
renews the soul for the morrow, until the
morrow becomes as a field on which to contend for the
high prize of life.
Well does our dog-eared copy of
Emerson say, "The high prize of life, the crowning
fortune of man. is to be born to some pursuit which
finds him in e~ployment
and happiness,
whether
it
be to make baskets or broadswords
or canals or statues
or songs."
The companionship
of books has an indispensable
place to master and man, to teacher and student, to
young and old.
V\Tit1l. great books in hand, we con
verse face to face with great men, and rise superior
to our fortunes and environment.
4
"WHAT'S
one man's music is another man's
noise," declares tbe sapient
1\11'. Dooley.
and if all his remarks were as true as this
bis writings
would be a veritable
series of axioms.
The text-books
on theory tell us music consists
of
orderly urrangements
of tones, tones being the results
of regular and continuOUS vibrations;
also that noise
is the result of irregular
and periodic vibrations.
But
Mr. Dooley injects into the matter the feature of education and appreciation.
What is music to you may
THE
ETUDE
be noise to me; and I may play you sometbing-of
Strauss for instance-which
you will declare is discord rampant, hence, noise.
It takes education
to appreciate
the best of an~~
thing.
Good taste is seldom innate.
'I'be root of tt
mav be but it takes a lot of nurturing
to develop It.
Th!':3 i.s'true in matters of dress, of food, of all gorms
of alt.
The rough and the raw is enjoyed before the
finished and the delicate.
The primary colors are the
delight of aborigines,
not the delicate shadings
of
civilized art. 'I'he skill of a French chef is lost on the
palate of a Western farm hand.
'I'he tonal.tints
o~ a
modern composer are wasted on the ear satisfied WIth
a phonograph record of a rag-time melody.
With "'these resultant divergences of taste it is plain
that the music that is one man's music may easily be
another man's noise; and the question with the educated musician is how to get the other man to think
the musician is right as to his judgments as to noise
and music.
But with the best intent in the world,
which is the noise and which is the music is not a
tLing that is capable of mathematical
or logical demonstration.
One may prove a financial or a scientific
statement to the last notch, but not so an artistic one.
Was it Horace who said, "matters
of taste are not
to be disputed," that is, are not subject to argument,
but to processes of education?
Hence, it behooves the musician not to argue, but
to practice.
In otaer words, to make his converts by
giving them better music rather than by making bet
tel' sentences.
Good music will make its own way
with the susceptible pQrHon of the public.
It is not
worth while to expect all to come to the point of appreciating the good in art, for there is a proportion of
humanity in which the grain is so coarse that it will
not take a polish-or
appreciate one.
Make the other man's noise a little better grade of
noise to-morrow and it will soon begin to aD ll'oximate
your music; but deride his taste-or
lack of it-and
he will advise you to "go to," that his music is as much
to him as yours is to 3011. And is he not right? Young
enthusiasts
are apt to be intolerant.
They want to
convert multitudes at once; but let the young musician
rem~mber the way to elevate is to go down and assist
rather than stay above and find fault.
Help the other
Iran to improve what he calls music and you call
noise, and some day his music may equal yours.
4
EORGE BERNARD
SHAW, the Irish farceur,
says in his highly successful play "Man and.
Superman:
"At everyone
of those concerts in England,
you
will find rows and rows of people who are there, not
because they like classical music, but because they
think they ought to like it."
With that dmgnostic penetration
with which Shaw
strikes right down to the naked truth and shocks our
feelings and shakes our conventions,
he has also attacked one of the most sensitive musical conditions.
Mr. Shaw is right, thousands and thousands of people
listen to what is generically classed under "classical"
music not because
they like it, but because they
think they ought to like it.
:Music is dependent
upon interpretation
that the unmnsical
person with
social pretensions
has often come to despise it owing
to having heard "classical music" mangled under the
cruel hands of some novice.
That the public is as
indulgent
as, it is, invites
our
admiration
and
sympathy.
That more and more young teachers are
not obliged to suffer loss of patronage
for indiscretions practiced upOn the unmusical or those who bad
no advantage of musical training, is a continual SOUrce
of wonder.
G
In no other art does the artist
continually
put
forth the most intricate
and complicated
problems
for public admiration.
The musician often expects the
unmusical
audience to enjoy things that have taken
him years to comprehend.
Some teachers make up
recital programs
composed of the dryest anel dullest
contrapuntal
works ever conceived.
Some of these
works may be necessary
for technical
or historical
purposes-but
why give them to people who have
no desire to hear them and who are more likely to
be bored than benefited by them?
This does not mean
that the teacher
should lower his standarrl
in the
least.
Let his standard
be as high as the skies but
let his good sense regulate the music he puts upo~ his
recital programs.
Of the millions of beautiful
compositions
he can easily select some with melodic,
rhythmical
or harmonic. features
the- will please th£>
most superficial.
ChOpID, ~l"zat't, "SchUbert, Llszt,
Beethoven, Haydn, weber, Grleg, Schutt, SlUding, Ma
Dowell are teeming wit~ music?f
this kind and you ea:
even find many very mterestmg
popular
pieces in
Scarlatti,
Bach, Lulty, Rameau, and HIindel if you
will search for them.
Why, then, bring out C\'er.
lastingly
the grewsome,
dry skeletons
of decadent
musical forms'!
That there are people who Will endure SOme very
dry music
simply
to be thought
"a1~ fait" the
musician
should be "cry grateful.
What Would he
do without these martyrs
to the art and to their own
vanity.
'l'hey are upon the road to ultimate musical
culture.
Although
the read may be hard, they are
sure that the goal will be glorious.
Don't make fun
of them Mr. Shaw-they
are the teachers' best friends
and in fact are the foundation
of his means of
SERENADE
Andantino con moto
i'
deceit.
Many teachers lack tact because they do not tbink,
Do you ever think?
'Ve do not mean "think" in the
ordinary
acceptation
of the word, but rather in the
oriental sense of devoting
a certfl in time every now
and then for undisturbed
concentrated
contemplation
of some of the problems that confront :you. Do you
ever go to some quiet part of the house with the
determination
to get some vexed problem straightened'
out in :yOUl' mind?
Few people do.
We go ahead
bluudering
and knocking our fellows down right and
left, but rarely tbinkill(:' what we are doing.
Q[ten
this lack of thinking
is the reason for the failure to
succeed.
Some teachers, for instance, make it a policy
to lampoon any former teacher
a pupil might have
had. The "method"
of the other teacher is described
as a disgrace,
the instruction
worthless
and her
business methods bordering
on those of the swindler,
The teacher never thinks that such tactless criticism
as this alw·ays has a negative
effect.
The pupil
listens for a time and all the while the pupil's esti·
mate of the teacher
sinl's deeper and deeper, until
finally coufidence
is supplanted
with disgust.
An,d
still
the teacber
continues
somewhat
after
tblS
fashion:
"Your way of holding your fingers is disgraceful.
Didn't
your old teacher
ever correct
that?
No?
Goodness gracious,
what a fool she was 1 And tMse
staccato notes, stop--don't
play them that wal'! It
makes me nervous!
To think that you should llave
thrown away all that money for such worthless iustrllction!
'Vhy don't pup.ils come to US-goO(~ te:~chers-at
the start
instead
of squandering
then hves·
and their fathers'
incomes?
Well, I will ha\'e to
start at the beginning and teach you just like u little
child.
But I wish I could get hold of that other
teacher just once, and I would tell her what I thought
of her!"
Perhaps
SIC. STOJOWSKI,Op.8,No.3
L.69
...---...
I"g/!.
------fri"i
~
.
p
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dolce grazioso
I
:
13
P
M.M.
;;S
"
livelihood.
ERHAPS
one of the most necessary possessions
for diplomacy
in its every day connotation,
of the teacher is tact.
Tact is a little word
It means that nice discernment
between what should
be done and what should not be done at a certain
time.
Tact does Dot come intuitively
as many might
suppose.
It is the product of kindliness,
good breeding and the habit of thinking
before doing.
Many
confound tact with deceit, but tact is just wbat deceit is not.
Failing:
in tact many resort to open
719
E TU DE
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heard some such monologue your·t
It is sO
how you felt a b out 1 "
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n
the teacher
to quietly dlSUlISS n.
rk ill II bUSI'
thought of former teachers an d go to wo.
[) the
ness-like
manner
and ndvance
the pupil alo g
. ' reased a
teacher's
lines.
The pupils'
respect
IS IDC
I ss
thousandfold
and
no time
is wasted
in use c
self.
much
you have
You know
better for
verbiage.
. csS
lll
The teacher should think precisely as the bns
s
man, the lawyer or the soldier thinks.
Do Dot nefce'l:
.
.
.....
d
y oue's e
sarlly say anythmg
that mlght ouell
an
ilt
ings whether the person discussed is present or abse d
'n fame an
Go your own way and make your 0\'
d with
fortune, but do not let your path be obstructe
the correction of fanlts of others.
BE not anxious about
fight to-day's temptation
trust yourself by looking
cannot, see and could not
-Charles
Kingsley.
to-morroW.
and do not
forward to
understand
day'S duty,
Do to·
d disweaken la,ol yon
·
s
w
lle}
t 1ling
aw tbe(ll.
if yOU s
~
-----..-,
Edit_I! by C.P. Scott
~--~--.....,~Copyright 1892 by H.B.Stev,e." Co.
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MARCH
CARL WILHELM
Ternpo di M2.nia
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Op. 701
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THE
738
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TUE
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739
We Shall Know Each Other There
.f
A. F. LOUD
RC.FlOLL.ES
,
Friend with
Praise to
(By permission
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In
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each oth ,er
know
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end - ed,
And
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our
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is
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Safe with - in our Fa-ther's man _ sion,
On the Res our _rec, tion morn _ ,ing,
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fair,
care,
Il
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fleet - ing,
ring- ing,
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,....--.-
Copyrighl1907
by Theo. Presser
~
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WILLEBY
-
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one thou wert sleep - mg
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And a
In the moon -'light chill, a~d pale,
~
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con esp1'essione
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p'a lempo
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My dear
,
----
ttJgfttfJ
.....,
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CHARLES
OJ
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A SERENADE
.
Far from earth - I Y scenes so
Where an gel _ ic strains are
'::;::
AT EVEN
No.5397
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Clad III rai-ment white and
Free from pain and free from
,
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con/oie
;:11.0coa poco cresc:
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FERGUS HUME
mil.
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pt'i
_ molto
sun,
home,
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there, ..
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b
the set-ting
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0-
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coun-try, Out be-yond
In that • joy
coun-try,
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l~\Ve shall know each oth-
mil.
,
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THE
740
THE
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c rese.
poco ru:
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bove
was sweet _ly
lng,
SlDg
Midst the
I
the night _ in • gale.
trees,
ev
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poco rit.
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of
thy
"na rna -
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my
dar
will soon
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be
Sleep
gone,
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soon
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dear
love
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ETUDE
742
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DEPARTMENT
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VOCAL
69
la11/elodia niarcaio
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PIANO
G. F..HANDEL
by Guido Papini
Transcription
ETUDE
•
BY NOTED SPECIALISTS
--I
T_h_e_v_o_c_'_' _D_e_"_,,_,m_e_n_,_'nW.
_'_'h_'_Francis
,_m_o_n'_h_',_u_n_d_e_,_,_h_"_"_d_it_O_"_'
_"_"_O_'
Gates
FRANZ AND MacDOWELL.
IT is a pity that tl.c majority of men and women
ure so constituted
that they refuse to recognize a great
creator
of art works until
he approncbes dentu's
,door-and,
alas! sometimes the appreciation
is delayed
until the master has passed through.
Much has been written
concerning
the neglect of
genius.
It bus been told time and again bow :Mozart
lacked the comforts lof life; how Schubert
was reduced to a pittance;
how 'Vagner, in his eurly days,
eked out a slender existence 'by distasteful
musical
drudgery.
We are too prone to think these things
were the results of conditions that obtained a century
or more ago and to congratulate
ourselves that the
modern art world is ready to receive with' open arms
the creative
'.Htist who evinces genius of
the true order.
Yet, there have been instances
in tile recent past that controvert
this belief.
While there is doubtless
a
great advance in the matter of recognition
uwarded
talent and genius, the day is not
past when a composer, who is great enough
to be ahead of his age or who is high
enough in his ideals to be producing work
that ranks with the' best of his time, can
claim that artistic and financial recognition
that should be his during his years of great~
est activity.
If examples of this condition were necessary, one might point to Robert Franz, in
Germany,
'and
Edward
MacDowell,
in
America.
Both had to turn from their
manuscripts
to their daily teaching.
Had
the propel' artistic recognition and financial
Sl1P1JOrt been given them, the drudgery of
t1>e classroom
would not have been neces·
sary.
'While parallels might be traced be-tween their aims and the results, for both
were super-sensitive
musical poets, my in·
tention
is to consider only the matter of
l'ecognition by the musical world and its resultant
financial freedom.
Franz struggled
for years against
the unhappy
fate of a
sl~attercd
nervouS
system,
but teaching,
playing, writing,
day in and day out, the
first two to satisfy the need of his family,
the latter to give speech to his creative in~
sUnets.
When he finully had to give up
the struggle
and resign his positions
of
organist
and teacher, starvation
stared him
in the face, and, had it not been for the efforts of Liszt, Joachim, Dresel and others,
who raised a fund for the composer, there
would have been a sad tragedy.
At the root of this condition
was the fact that
Franz'
songs were not then appreciated.
Even in
Germany,
for many years, his beautiful liedel'S we~e
neglected.
Nor was there recompense adequate for hiS
scholarly
work in writing accompaniments
in modern
form to the great choral works of Bach and Hundel,
to which he devoted his later years after deafncss
and paralysis
had driven him from teaching
and
tiona.
As in the case of mnny another genius, this
hand wns beckoned by the nrduoua lnboc neeeaeltutcd
011 the part of the musician.
'I'hougb he una worked
for a quarter of a century, it is only in recent years
that his place us the foremost American composer of
the day has been recognized.
This grievous calnmity that has stricken Mr. MacDowell us be reached the ripened llIuturity
of his
powers has quickened the Illusical conscience of this
country to a feeling of neglect; and now that he cuu
no longer l)our forth that streulU of gloriolls melody,
the musical public is lamenting bim us u tone poet of
distinction.
America, to its shame, was a decade be~
hind Germany
and England
iu acknowledging
this.
"'hat
a pity that it took a physical collapse 011 the
purt of the composer to awul;:en the musical apprecill~
tion of his countrymen;
nCw tbat he lies helpless,
made original composition too fatiguing.
It was only in his last decade and since his death,
fifteen years ago, that the worl,s of !1o.bcrt Fl'ul:Z
have commenced
to secure the appreclabon
that IS
their due.
Great critics noW place them next to tile
lieder of Schubert. Schumann and Brahms.
.
Now that the cruel hand of Fate bas .stl'lcken
'Ed yard MacDowell
and bas ordained that hIS l.a~ter
,
b II b" ,pent in mental and physical inactlvlty,
years sa··
.
there is a widely awakened
interest
III blS compOSI-
ROBEilT
erty of this composer, the poet-souled musician who
at this writing lies almost unconscious
awaiting the
finnl call.
H if> not through the intrinsic
merit of the composer as expressed in the larger forms thnt appeal
ts cinde to the general public, for onl)' n small proporuon bas the opportunity
to heal orcheatrnt works
in their original setting.
It is in cue plano pieces ned
particularly
in the songs that M!U;I"''''','Cll, as other
composers, will first and most cre:le!'";..:~t ~ou.:;:h the
wider public.
And, fortunately,
it it .n these thut his
r-culus was most free and indi\'ulunl.
nis most
ehamctcriettc cueuuce show brightCflt in Ills sOll{,"tI and
his clover imngui-y, his fecundity of idell and his h!lIJI}~'
espresston of his vivid nocttc thought, now that public
attention
is turned his way, will bl'ing him all ncelnlm
ntt too late for his nppreclntlon.
Whnt a pity thnt we did not have the good judgment and fine discrimination
to luril his worth I\S it
deserved while he was yet active.
Whut nn Incentive
it would have b en to him to know that oil muslcal
_\mcric!\ honored him as its chief; )'et ill Ihis lncle of
full I'ecognition he shal'cd tl:e fale of "n nro:)het in his
0\\'11 eountl'y"-of
not onl~' Franz but of many anotber
composer.
VOICE AND DIGESTION.
IT is an old axiom that health is a. prime requisite
for the singer; voice comes next, then other things.
And at the root of good health lies good digestion and
thorough
nutrition.
Such statements
as
these seem trite-but
they nrc of the kind
that must be hammered into the heads of
ench succeeding crop of vocnl aspil'llnts,
nod then many of them do not realize their
basic impol·tance
uutil
the digestion
is
l'l1ined und the health is gone.
Not going into the many features of diet
and exel'cise that aid good digestion, there
occurs to me one I~oint that I huve not seen
mcntioned in vo.cal writings.
All touchel1l
and students of the aft of song recognize
the bugbear of the catarrhal
condition and
of the ordinary "cold."
These are among
tile most serious enemies of the singer.
They deter practice, they postpone advancement and in man)' cases murder success.
So any fight that can be mnde agninst these
diseased conditions of the singing apparatus
must meet with welcome.
Yet all of these so-called Hcohls" and
"sore throats"
do not come fl'olll atmos. pllcric. conditions 01· (rom exposurc to low
temperatures
or moist airs.
It is the ex~
perience of the writer that in a ccrtain
proi>Ortioll of the cases they m·lse frolD indigestion.
'l'he root of n "cold" that involves the vocal chords, pharynx nod bead
covities may many times be fouu.d in a
FRANZ.
firmitr
MacDowell clubs are formed right and left and the
orchestral leaders of the country are perfOmling works
of his that were first given in Germany twenty years
ago. 'I'lle composer was less interested in these em·lier.
works, "'rhe Saracens,"
"The Fair Aida," ';Lautlcelot
and Elaine" and others, than he was in his beavier
compositious
of a later period, tbe tragic "Norsc"
and "Keltic" sonatas.
The public will first come to enjoy the youthful
MacDowell;
later it will appreciate his mature genius .
He is no one-sided composer.
Almost e"el·y musical
form bas felt the touch of his pen.
His fecundity
of poetic idea, his graceful powel'S of expression,
his
high ideals, mark him as the American Tellllyson of
music.
His fluency of melodY, hiR feeling for tone
color, his noycltr and inclividuality
of thematic tl'entment-all
thc~e attributes
of genius nrc the prop·
heavy dinner.
Most persons have one weak spot io their
physical Illuke-up. Some Dlay lHn·e a perfect
hc,(}y-mncbiue nod (jnd the weak spot-in
the head.
In the lar:er number of cases
the debility is in the digestive apparatus;
consequently this iuhcr;ted or produced in~
must be recognized and tn:'en into account, be-
fOl'e eating the heavy meal or food.
ITerc is the course of c\'ents ufter over-indulgence
in
food known to be indigestible:
An indigestion followed
by constipation,
prodncing an auto-septic
conditionthat is, ooe in which the indigested food slightly poisons the person indulging in it. He does not think it
po:soo, he may only cull it a headache.
'Then comes
a feverish condition of the stomach cxtending up the
esophagus to the epiglottis and sympathetically
nffect~
iug the vocal chords.
The mucous membrancc is inflamed, the vocal chords slightly thickened, tbe voice
"goes down" n. step or mOl'e. Upward continues the
irritation
into the nasal passages
and the sulIerer
has "a bad cold in tIle head, and can't (or the life of
him tell where he caught it,"
And it is evcn worse
tbn the ordinary cold, as it covers the whole digestive
tract.
744
THE
'I'he result of such a condition is several days of
vocal inactivity and a proportionately weakened condition of vocal organs-but it is the price one must
pay for over-indulgence, for intemperance, if you will.
Yet to suggest to the possibly fair singer that she was
intemperate would bring vials of wrath on your head.
'I'here are legitimate "colds," affections which come
from atmospheric conditions that one cannot always
foresee and guard against, or from exposures that
might have been anticipated and obviated; but the one
I mention above is such that anyone with a bit of
will-power can anticipate it and remove the possible
cause: Of the other ills that follow on the heels of
over-eating, or of the mal-selection of viands, I will
not speak here at length. To those who desire a most
practical and readable article on this line, I will suggest one that I remember appeared in Music, in
the number for October, 1894, from the pen of that
more than readable writer-pianist,
Edward Baxter
Perry. Those who have access to large librades will
easily find it. Mr. Perry belabors starchy food and
white bread, and as to pastry succinctly remarks: "A
lemon pie two inches thick will atone to most familiils
for nnsubstantial preceding courses, beside having th\'l
extra advantage of disturbing the digestion."
Musicians draw largely on their nerves. Theirs is
not a muscular life. And the vocalist is the most delicately constructed of musicians, for his instrument is
within him. A pianist may force himself to play quite
well, even though he feel "out of gear;" but his instrument is in tune, its tone quality is perfect, whatever the
player's condition.
But when the singer suffers the
same amount of physical disability, his instrument is
temporarily out of condition-out
of tune, out of
quality.
Consequently, the physical condition must be the
careful singer's first thought. On it is based his gain
of to~day, his success of to-morrow.
To tbis end he
must sacrifice pleasures of palate and those little excesses that may not hurt the non-vocalist.
Do you
know a number of great artists, vocalists? How many
of them eat to excess, indulge in quantities of pastry
or confectionery, keep late hours without making up
for them in the daytime or use their voices promiscuously in loud talking in the open air? As you think
it over you will answer, "None."
If they did they
could not maintain their abilities.
Health first, art
afterwards, self-indulgence, very little; this is the rule
of life fOr the man or woman who wishes to do the
bcst that is in him to achieve or maintain success in
the vocal world.
HANDICAPS IN THE VOCAL RACE.-THE
CHOICE OF A TEACHER.
I
'L
WHILE it is well that the love of singing is wide~
spread, it is unfortunate that in the minds of many
there rests the idea that good singing is a natural
gift. But they realize that instruction is necessary in
the rudiments of music and expect to study a short
time to acquire the knowledge that will enable them
to decipher the matters of time and pitch from a
printed score. Those who would become proficient
upon the piano, the violin· or any other instrument
are expected to take lessons. People do not expect to
come into the world endowed with the ability to play
either the piano or violin. But singing-that
is another matter.
Of course everyone can sing. The
Lord intended all to be singers. Then why take any
lessons any more than take lessons in eating or
breathing?
All have voices,-then
why spend time
and money to study singing further than to decipher
the printed page?
Unfortunately~ this is the idea
of too many of those who .control the destinies of
young persons. The ability to make tone in general, but
equally general is the quickness to imitate bad tone,
the proneness to'fall into wrong habits of throat use
and the probability that the "natural" tOlle thus used
is a crude product, unsuited to the conveyance of
thought or emotion with artistic success.
Further
than this, there is a feeling in many quarters that
"cheap" instruction is good enough for him who is
beginning the study of singing. They reason that any
sort of a· teacher is good enough for the youth; the
adult may possibly secure the best, but, during the
earlier years, incompetency must suffice.
In this connection it is well to draw the line between u.cheapness" and "incompetency."
Many
a
teacher gives lessons il t moderate rates for good and
sufficient reasons, nor does he, by so doing, give less
than his best endeavors to his students.
On the
ETUDE
ether hand, many expensive teachers are highly i~~
competent. Price is not a test of competency, and 10
the nature of the case never can be. One may find
many thoroughly competent and honest a teacher
who lives for and within his art giving lessons at
from one to two dollars each, but not expecting to
secure patronage by other than honest work in the
lesson hour. On the other hand, many are those who
by showy dress, by social connections, by affectations
of manner or by catchy advertising bring the public
quicker to their doors and charge three to five dollars a lesson when the instruction imported is of less
value than that of the more retiring rival.
Competency cannot be judged by the scale of prices,
nor the number of pupils, nor by self-laudations.
A
teacher's work is best judged by the singers he turns
out. This does not mean by three or four or half a
dozen, but by his produqt of years. Every teacher
has, once in a while, a pupil possessing an excellent
voice come to him that it would take a charlatan to
spoil. Naturally he would like his te~ching judged by
such a voice. He puts it forward in recitals; he advertises "Miss Jones, the pupil of Signor Squallini."
And he may have a half dozen such-but
that does
not make him a good teacher. The question is-what
did he do with the score of poor, illy-managed voices
last year? What with that throaty-toned tenor,-what
with that screeching soprano, what with that breathyvoiced contralto, and what with the wbole host that
could not sing English so one could guess what
language they were butchering?
These are the questions by which to test the work of a vocal teacher.
If one cannot answer these questions, not having
sufficient knowlel1ge of the subject, or of a teacher's
product, all one can do is to seek the best advice
available, being sure it is based on knowledge and not
on prejudice or favoritism.
All may sing, after one fashion 01' another, but all
may not sing artistically.
In fact, it is only one out
of ten thousand students of song who may become
worthy of a professional career. Instruction is necessary to develop and control the vocal powers, just as
necessary as instruction for the dramatic or the plastic
arts. 'Vhat a child hears in his early years has a
great influence upon his vocal quality.
r.rhe childmind is but a sensitive phonographic record that is
running aU the time, taking the impress of all it hears
and reproducing the same. And what does the child
hear?
A. hoarse-voiced father,
a strident-toned
mother. Is it little wonder the .child imbibes warped
ideas of tone production, and that its own tones be.
come such that they Ul'e the despair of the teacher in
later years?
Just as a child's ideas of humanity are made from
its early experiences with those who surround it, so
are its ideas of tone, of singing. If the mother is an
artistic singer, the child is already started on the way
to good singing, for in the yeai'S of its lullabys it
hears nothing but good tone. If the mother's voice
is of the nasal, "cracked" variety, what can be expected but this little imitator wiII start into life with
the idea that that is the best tone in the world? This
is one of the handicaps in the vocal race. Another is
the amount of haphazard singing that is done in f!al'ly
years, entit'ely without direction.
The public schOol
and Sunday-school experience send a youth to the
teacher's class room with a well formed assortment of
vocal bad hahits which it may take years to eradicate.
And yet so many persons think vocal instruction unnecessary.! It is unnecessary, if one does not expect
to sing.
When one becomes impressed with the fact that
instruction is a necessity, then only the best is sufficiently good. And even here there are different kinds
of "best."
"'hat
might be the best for a well• grounded pupil might be the worst for a beginner. The
teacher who is perfectly at home in Italian Opera
repel'toirt! may be a sad failure in the first year of
voice placing and tone-building.
One does not go to
a steeple-builder 01' roofer to have a cellar dug; nor
should one go to a teacher of advanced repertoire for
the primary essentials of correct vocalization.
The right teacber fo'r the first year or two of vocal
work is th~ one who makes a specialty of tone-placing,
voice-buildmg, correct breatbing, distinct enunciation
and sight singing.
All these should precede the
study of advanced vocal workEl-but alas, too often
tbey do not. Our young people want to go at train
and automobile speed and that is the reason tbere
are so few good singers ..
TOE
THERE is considerable differe
"
bte ween aingmg
a. BOng and .nee
PROPEJR
,
'0
Sing.
PREPARA~'ION
iug at It.
ue means that,
brl
.
oa
are rJllgI~g o~t of the Song all
the poet and the com.poser J.lut Into It; that YOUI'men_
tal life is, for the time being, as complete as theirs.
The other means that you are only !lol'acticing. :No'
'b'
-,
practice is a necessity,
ut practice shOUld be confined to the study room. Do not practice on the pubr
Have some regard for the general welfare of human.
ity. If the song is still in the practicing stage, choosl:'
another to put before your fr.ie~ds and one that You
can thoroughly conquer-for
It IS well to keep them
friends and not risk their tranalatlon into enemies
One had much better sing n dozen simple son'g
acceptably, thoroughly in tune, time and expressio~
of the verbal sense, that} dabble at a quantity ot the
larger things of vocal literature and be able to sing
nothing artistically.
Many a vocal teacher rUShes his
pupils to the Italian opera repertoire before they
have conquered tbe rudimentnl
essentials, before
their tone production is fixed, before they can read 8
sentence of Italian, before they even have seen an
Italian opera.
NOR is a quantity
at material
necessary in the class room. But
there is 80 much nervousness and
unrest in this .American life and
nature that it is hard to Becure the best resultr:l with
the minimnm of materiul that is necessary. It is too
easy to get a pupil into the habit cU: expecting a new
song each week and a Ilew book of vocalise& every
month. As a matter of fact, the less material put
before a pupil in the early lessons the bettt:!r, not only
for fear of the above hnbit, but that the mind may
be concentrated on those essentials of vocalization
that should occupy his attt!ntiou. in the first year
or two.
TOKE ABOVE
EVERYTHING.
The basis of good singing is a good tone; the
only way to secure good tone is to practice the vowel8
until they are acquired.
The first point to make
is to open the singer's mind to what constitutes good
tone. That often is harder to do than to get the
tone itself. Create an ideal, then work fol' the expression of the ideal. As n root to it all the clear,
unobstructed,
well-placed tone is the real basis.
Whatever the mental and emotional equipmen.t at
the start "the tone's the thing."
.A. singer must
stand or fall, li"e or die, by the quality of the single
tones, and the quicker he understands
that the better, for it will enable him to cut 0([ the superfluitieS
of vocal methods and the flummeries of quackery
and get down to tbat which has the making of a
singer-proper
tone production.
THERE
was a dlly when this
OPERA matter of tone prodl,ction and
agility and strength of voice
was the sum total of singing. 'l'be veriest inanities
were set to music-and
sung in the most glorious
way. The Rossini, early Verdi, Bellini, Donizetti
school wrote merely to please the ear. They turl;led
out reams of operas to satisfy that one sense, not
attempting to appeal to the higher and deeper ele·
ments of mind and emotion.
For instance, look nt
Plccinni, whom one authority
states wrote 133
operas!
Here are some other figures: Pacini, 80;
Donizetti, 70; Mercadante, 60; Aubel', 50; Coccia-,
40 ; Verdi, 29; Rossiui, 39. Notice then the output
of compOseL'Sof the later duy, writers who demllnd
more than mere vocalization.
See how tbe numbers
decrease: Meyerbeer, 15 ; Wagner, 13 ; Gounod, 13 ;
Weber, 8; and Beethoven 1
.
Things have changed fr'om' the days when Pacini
wrote his eighty operas, and later when Donizetti
wrote seventy.
l"'hose millions of notes now go unsung.
But how about the few-operaed
Wagner?
~he modern demand is for a distinct story set to muSIC that shall express a variety of emotions, backed
np by an orchestra treated in a broad and musi·
cianly manner.
Notice the vogue of "I Pagliacci"
and .. La Tof!ca," for example.
So the student
Who hopes to make his mark in the WQl'ld must take
his cue from the tendency of the times. Though be:
may n~t aspir,e to grand opera, he must recognize
that tlllS change filters down into all classes of society, to a certain extent, and the inane and meaningless song that was received with applause fifty or
even thirty years ago now is thought trivial.
ARCHAIC
More is demanded of the singer than ever before.
Not only must he have the throat but he must have
the brain; not only must he have a good musical instrument, but he must use it for the expression of
the thoughts and emotions that dominate humanity.
ITALY unquestionably was the
AND home of beautiful tone production. The climate of Italy, it
is said. seems' to produce more
good natural voices, than any other in the world. The
singing teachers of sunny Italy had material with
which to work. 'I'hey did not have to make voices;
the voices were there. The people had high tone.
ideals.
So it came to pass that the term "Italian
method" became a synonym for the beat in tone pro.
duction and anything labelled with this magic name
was accepted as the simon-pure article. But inasmuch as the Italian mast~rs of the past did little
writing concerning their methods, it is almost impossible to outline 11 method and prove it to be the one
used in the golden days of Italian singing. Here was
an opportunity· that many charlatans appropriated
and "Italian"
became a pet term on the vocal shingle. And the funny part of it is that there are al·
most as many methods as counties and yet all are
self-sufficiently
labelled "old Italian."-somewhat
like the" old French" wines from California or the·
"Turkish"
tobacco from Connecticut.
Under the Italian flag ma.ny monstrosities and ab~
surdities are perpetrated on a public, all too willing
to be gulled. As a matter of fact, any conscientious
and wide-awake teacher will appropriate any bit of
method he· may find, from whatever source. If it's
good, use it. Though there was a day when "Italian" meant something far different and much better
tkan what the rest of Europe had to offer, that day
is now past. The musical world has appropriated all
that Italy has to offer and has added French poIis~,
German science, English tboroughness and the art IS
now a world-art.
It behooves the pupil to :::ast aside
geogra,phy in choosing a teacher and make his selec·
tion along the lines of comparative results. For early
work choose that teacher who makes a specialty of
voict! building and sight reading and whose pupils
show the teachers ability and proficiency, for more
advanced worl<, with that teacher who has- the largest command of repertoire and style.
GEOGRAPHY
METHODS.
SONGis speech combined with
music. The music again is the
combination of two actions; i. '7.,
first the mechanical work of the
vocal apparatus;. second, 'the use of the b~'ain and
heart in regard. to tonality, time and expreSSlOn.
Consequently a singer has not only to know ~ow
to control his vocal apparatus, but to be an elocutIonist and musician as weIl.
To be a singer of even moderate attainmen ts seems
to comprise 11 wider Ecope of knowledge than any other
branch of music. It is a common belief that every .one
who has a voice is an elocutionist or singer; o~e m~ght
as well say that everyone who possesses a chlsel IS a
sculptor.
'th ..
A person should no more try to sing, WI ou~ a
knowledge of the construction of the vocal apparat~s,
than an engineer should attempt to run an engme
about which he knows nothing. After be understa~~s
the construction of the vocal organ he call reaal y',
see the USe of reliable vocal exercises to strengthen
and beautify the voice.
.
And. the voice is not the only organ the s~nger
should strengthen.
A beautiful voice coupled. wlth nR
WHAT A SINGER
SHOULD KNOW.
weak, unhealthy body is very r~re, and tb:;O~~~ ca I~
not improve uIjless the body lS well car
'.
seems that the voice is tuned with the bod!, smce,
when the body is out of order, R~d the singer I~,.the~~~
fore, "out of sorts," it may easlly be dete?te blD best
voice. But if the body and voice are both III t e .'
condition and the mind of the singer wra~ped u P "
..
what he , is smgmg,
nO one s tops to thmk a f lbe
.
d it is apparently no more
mechanical part of It an.
;
If than it
difficult a way in which to express one s se d b k
would be to speak one's thoughGtS. A ~e?'G;~as~i~s
on gymnastics for the singer is uttman s
for the. Voice."
.
d health comes
Next in importance after the VOIcean
't'
the
the ear. A singer must have a good ear, as I IS
ETUDE
only means he has of determining correct pitch. He
cannot depend upon the certain distances of strings,
as the violinist can, nor on the different keys, as the
pianist does, but must guage the distance by his ear.
Arthur Heacock's book on "Ear Training" is vel')'
good and has proven to be very helpfnl to the pianist
as well as to the singer.
One great drawback to many singers is their lack of
the knowledge of instrumental music. 'riley cnnuot
enjoy their singing when atone, if they are uunble to
pluy their own accompaniments.
Even before the
publle, they are forced to acknowledge their deficiency,
if no good accompanist happens to be at hand. "Good
accompanist" does not uieau "good plnntat," nlouc.
'I'he accompanying of the voice is an art in itself and
if a singer attempts to sing with an accompanist who
is not in sympathy with what he is singing it is
impossible for him to properly expreBS himself.
Brains are as essential in singing as they arc in
any other profession. Lum!lcrti \lse<1to make many Il.
girl with a benutiful voice weep by saying, "TIow do
you e\'er expect to sing'l You have no brains." If
the aspirant for fume has a voice aud braius, nnel lair
presence, and the dozen or more essentials, he mmtt
take advice from tliose capable of giving it, must use
judgment in deciding what to do, and when he bas
decided, he lUuSt not be afraid to work.
A person may spend half his life doing nothing but
the mechanical work on his voice, nnd at the end of
tbat time, even though he may have an ex.ceptionally
fine voice and one we!l trained, he is not capable pf
filling his place as a singer. He has no knowledge of
the song literature, he docs not realize the value o[
good songs, he knows nothing of their origin, nor of the
ordel' in which they were composed. He would be incapable even of arranging a song rccital; though he
might be able to deliver it.
In order to interpret the song literature, one must
appreciate its worth; and in order to appreciate it, one
must not only be a.cquainted with it, but must under·
stand it.
Song is the oldest bl'ancll of music. It is closely
connected with poetry. '.rhis requires a singer to be
acquainted not only with the. music of the different
people, but also with their literature.
In order to
interpret the master songs with intelligence to the
different classes of people, one must ha.ve some knowledge of the people to whom he sings and must even
understand their native languages.
To understand the foreigu languages is a matter of
utmost importance nowadays, because, ha.rd as it
may be to say it, our composers have not been the
equals of the great masters of song and opera across
the sea. The fault is not with the language.
,
There is not 11 sound iu Nature to draw man s ?ar
are undividedly than that of a perfect human VOIce.
;agner says: "'The human voice is the oldest~tl,l,emos~
genuine and the most beautiful organ of IllUSIC. ~ut
its chief charm lies not alone in the beauty of muslcal
tone. The voice is the personal organ of the soul .. It
shows one spirit to another and minOrS every emotion.
. d, the Ileart
.
, and every phase of man .are focused
.
Th e Dlln
in this instrument; and it is the only mUSical 1.n~trument that is played upon directly by the spl1'ltual
personality, for,
?
"Doth not song to the whole world belong.
Is it not given wherever tears can fall,
Wherever hearts can melt, or blushes glow,
Or Illil'th and sadness mingle as they flow,
A. heritage for all?"
EDlTli E. DIMMITT.
UNLESS the embryo singer shows great and .decided talent my advice is no~ to adopt the mUSical
rofession. People rush into It because they see one
~an successful, and think every man cnn be the
To be successful as a singer it is necessary to
~:~:. more than a voice. Voiee alone w~n't carry
far General cultnre, study, general knowledge,
y~u II e'quall, essential for success. Personality, too,
ale a
. .,
Some
slllgmg.
h as a g reat deal to do with success. 10 d
'I
m 10
of those who have very fine VOIceS. 011 sec
he
great
fault
WIth
prescnt-day
II
T
I
a
getona .
d
sin erS is that they obtain a few engagements nn
g
few
gu',oens
and
think
tbey
have
already
earll a,
.
made their fortune, and that they have nothlOg more
745
to do. .A. good erusr determines to do better each
time and does not rest couteat, The career of D
aiager means plodding, plodding, I)lodding! 'ro which
should be added the plodding Lbe great singer must
do through the figures of. his bank-book.-Ben Davie •.
IN 0. recent number or the frond JlpDu;-d"c, Mme.
Alban i offers advice to aspirants.
Ifere are acme of
her points:
Study not merel)' the notes, but the intention nod
meaning.
Think out your song : knit It t ..retuer and gntbee It
up.
It is not ueceasertty the prodlJ;y thnt reaches ram.
Perseveren
hilS a grent dent to do wlth success In
muate.
Study slowly.
Avoid mnnncelsma.
Allcctlltlon Is tuerueue,
Dnly the strong should bNx>mc ",In'tera or actors.
The wenr nud tear of tl'twel ploys !li\\'OC wlth wonk
constitutions.
BI'cnlhe properly. Nevcr sing for lUore than twenty
milllltCil at a lime.
if the studcnt's method be good, nothing will injlll'tt"
his voice. LCllrD the right wny to sing llnd 'Vngner
can do you no harm.
Progl'ess is slow. Not even froll! montb to month
can you gauge progress. After flvc or six mouths yOUl
may perhaps look back.
A singel' should be grounded by a good teacher ..
'There Ilre many incompetent teachers in Italy.
The would-be singer should have enough money too
support him or herself dlll'ing the period of studY.
No reputation is so high that it cannot rise higher~
Self-complacency is fatal.
'l'llEll1~
nrc five causes of
nerVOUSllCtlS: (a) r..ow vitulity"
NERVOUSNESS.
of thc ncrvous s)'stelll; (b) thefacultics of self-mastery bf'ing·
wcak; (c) loss o[ sleep; (d) thc use of impl'oj)(ll~
foods and drinks; (e) associntion with elTtltic, cx·
citable, l1CITOUS,idiotic, insllnc, cynicnl and pessimistic people.
When the life force is constantly leaving the body
at the finger tips, at the fect, through the eyes, at the
knees, at the hands nnd at the elbows n person be-cOllies nervous. In order to O\'CI'comethese losscs a
]>erson should learn to control every movemcnt. A
restless foot an uneasy eye, a swinging leg, involuntary Dlotion~, a trembling voice, an uneasy step, jerky
actions, anger, irritability, pessimislll, suddeu starts~
etc., me signs of nervousness. Unless a pe.rson dcvelops his faculties of self-mastery, unless be lUcrcnscSo
vitality of the nervous system, unless he gets the aleel)
which is necesstu'y each and every day, unless he eatsthe right kind of foods lllld drinks the right kind of·
drinks, aud uoless hc associates with thc right kind
of people, he will become more ncrvous. Lastly, ~Iewill becomc 0. physical and mental wreck. lJe will
become old looking and hUggUL'tl.TIe wiU die befOrehis time.
'I'HE CAUSE OF
NERVOUS impulses mtlY be either exhilumting or depressing. An iodividPHYSIOAL
ual frequently cannot control the efFITNESS
feet of surl:oundings on his nervous
system-conSeqUelltIy on his voice production. What may be stimulating to one may cnul'le
fenr nod trcooor in another. And, willy-nilly, the
singer suffers from such things. Consequently, he
should try to secur~ calm !lnd normal surroundings
prior to 0. performance. The clothing should he freeand comfortable; no disturbing chatterers should beadmitted to the green-room. The singer shou~d try
not to worry about tbe song or tb~ accompaDlment~
but concentrate' his mind upon his selection. P:ep~ration may be made [or this normal an~ calm condition by securing Illenty or rest 011 tbe dny ?f the performance. A good sleep in the aftt!rnoon IS a splen~
did nerve tonic.
The vocalist is a finely graduated a~d adina.ted
machine and he must plly attention to tbe phYSIcal
condition, to maintain success: every environm~nt or
element that bears on this matter must be close~y
watchw and the un[avorable ones eliminated. ThiS
matter is of even more importance to ~he young
singer than to the artist, yet the latter lS the. one
who more generally renli7.es its bearings and shl ~d8
himself from distractions, physical and mentnl, prIor
to a performance.
THE
746
ETUDE
propelling
force in the service,
whose oversight
extends over the entire worship
from beginning
to end.
those whose opportunf
SUGGESTIONS
AS ties of study have been limited
TO MATERIAL.
it may be well to suggest som~
material
which the writer con.
stders suitable.
The average
collection
of voluntaries
is weak, in that too great a proportion
of the music
does not belong to the organ,
nor is it partiCUlarly
well adapted
to church
usc.
However,
there are
some that furnish a reasonable
amount
of usable material, such as, for instance,
"The Organ Player,"
by
Orem.
There
is a volume
of Hesse's
voluntaries
which contains
much that may be useful, though inclined to sameness.
Then George Calkin's "Soft Voluntaries'
and Smart's
"Slow Movements"
help out wonderfully,
and such publications
as the "Village
Organist."
The publisher
of 'rUE ETUDE has on his list
some very satisfactory
ortgtual
works
and arrangements for the organ.
For postludes
the "Eight Little
Postludes
and Figures"
of J. S. Bach are fine, and
Rinck's "Organ School" furnishes
some good material
bC'th in the "postludes"
and among tl:e "Chorales::
Some of Dudley Buck's "Studies
in Pedal Phrasing"
may serve, also George
E. 'Yhiting's
"Progressive
Studies"-in
(<lct, there is no lack of good material
for even the lighter grades.
FOR
HOIR.,
The material in this department was prepared under the editorial supervision of Mr. J. Lawrence Erb, of New York.
THE CHUI\CH ORGANIST-A SPECIALIS'.c.
IT does not necessarily
follow that a good con-
cert organist is also a
goo d
church
organist.
By this it is not to be inferred that consummate
mastery
of the organ is not to be looked for in the
good service player but rather that certain qualities
which go to make the virtuoso are a hindrance
rather
than a help to the church organist.
The really good
church organist
should have, in addition to a finished technic,
an enthusiasm
for his work,· a knowledge of liturgies,
an understanding
of the requirements and limitations
of the particular
style of service which he may be called upon to conduct, the
ability
to plan suitable
programs
both of organ and
choral music, and to train and handle bis vocal forces
to the best advantage.
In this connection
it may be
sta ted that the organist
who is too much occupied
with what the people think of his playing,
as the
concert-performer
is likely to be, and is too anxious
to please the public-is
hardly
the proper person to
lead the cougregation
in worship music.
And the person who has so little regard for the organ and what
it really stands for as t2 tilink it not worth his while
to become well acquainted
with it is not likely to be
serious-minded
enough
to become
a true
church·
musician.
'Vhat is the function
of music in church'?
The true
and only function
of music in church is to assist in
worship.
Any other purpose
for which it may be
used is entirely
foreign.
It is sometimes
urged that
the organist
ought to be the musical
educator
of the
community.
Undoubtedly!
Surely
he would be de~
lighted, especially
if he were to receive for his labors
an educator's
wages.
But let him do his educating
on work-days
like everybody
else.
The church serv·
ice on Sunday-or
any other day, for that matteris for worship,
and nothing
eise that is incompatinle
with its spirit should enter into it.
Therefore
it is
of the utmost
importance,
both that the music used
shall be fitting,
and that it shall be rendered
in a
fitting
manner.
THE organist
who has only a qual'"
tet choir to deal with needs little as~
sistance
in the way of suggestion.
'Of course, ·where it is possible to have both solo quar~
tet and chorus,
the arrangement
is entirely
satisfac·
tory.
In the writer's
opinion
the ideal choir is a
chorus-paid
if possible,
otherwise
volunteer.
All
the traditions,
as well as the authorities
upon church
music, agree upon this point.
The director
of a volunteer
cllOir must, to succeed,
be possessed of some personal magnetism,
a cool head,
well-curbed
temper
and
a pleasing
personality.
Where
services
are given without
remuneration
the
pleasure
derived at the rehearsals
and services must
be part of the attraction.
Hence the rehearsals
must
be made attractive
by the exercise of care in the se-lection of music, but still more by the manner of con·
ducting
the rehearsal.
It is the director's
first business to make every member of the choir his personal
friend, then there will be sympathetic
understanding
and faithful.co-operation.
But that the friendships
may not be subjected
to
unnecessary
strain, there must be no partiality
shown
by the director
for one person 01' "set" in the choir.
Here is the rock which splits the majority
of volunteer choirs sooner or later.
If the director
has any
preferences,
he is wise if he does not exhibit
them
too plainly.
Especially
must the matter
of solos be
bandIed
carefully.
'The writer
during
fifteen years'
experience
as a volunteer
chorus
director
has absolutely avoided all choir squabbles,
largely by cutting
Qut the solos entirely
and assigning
solo passages
to
the er;.tire part, or, in the case of solo with chorus
THE
CHOIR.
accompaniment,
dividing
the solo parts
in two, so
that some sing the solo and others the chorus part.
People are sensitive
about services
which they render gratis, therefore
it is best not to f1.aunt the superiority
of one in the face of another
who is rendering as much service. even though, perhaps.
not quite
so important
or valuable.
Directors
of volunteer
choruses
who have difficulty in holding their chorus
together will do well to try the plan suggested above,
also the plan of IJl'oviding
social features
for the
members
of the choir.
If rehearsals
are held in a
choir room with piano--much
the best way-the
social gatherings
may follow the rehearsals.
Otherwise
it is better to have purely social meetings at various
homes, or choir picnics,
excursions
or theatre
parties (where the church rules do not forbid).
Such
social features
do much to create an esprit d,t corps
and add much to the longevity
and enthusiasm
of a
choir.
In the choir as well as at the organ it is neces·
sary that only good and appropriate
music be used.
Fortunately
there is much good choir music of moderate difficulty and at a reasonable
price that is easily
available.
Somptimes,
too, a hymn, preferably
not
too familiar
to the congregation,
well sung, proves
even more effective than an anthem-for
instance,
on
a stormy Sunday, when only a dozen have turned up.
FOR the
Offertory
Solo
something
brighter,
though
Jjy no
means
trivial
or
flashy, may he used.
Many
organ works by modern Fl'ench or American composers,
or the brighter
of· the slow movements
alluded
to
above, are appropriate.
Here also may be introduced
to good advantage
adaptations
from the great ora·
torios.
In l'3rge measure
the musical
numbers
for
Preludes
aud Offertories
are interchangeable.
THE OFFERTORY
SOLO.
MANY organists
use for their
Postludes
marches
almost exclu~
sively, but the advisability
of so
doing is certainly
questionable.
Sometimes
the meso
sage from the pulpit is militant.
when, by all means,
the march
should be likewise.
For those who are
able to handle them, the first or last movements
of
many organ sonatas
are usually suitable for this purpose, and, of course, Bach is nearly ~lways in order.
The treatment
of chomles
in the variation
form, as
by Rinck and others, also presents
some available material.
The suggestion
of a recent writer in this department
that there be a transition
consisting
of a short im·
provisation
01' modulation
beginning
softly after the
Benediction,
and gradually
working into the Postlude
is an excellent oue.
In St. Paul's Cathedral,
London:
tbe organist
goes even a step farther,
playing first an
entire
soft vohIntary
of a character
similar
to the
Prelude,
then the brilliant
Postlude,
frequently
a
figure.
The Pos'tlude is not inserted
in the service simply
to exploit the organist
(it may do so, but that is not
its primary
function),
but to complete and round out
the service.
Persons
sua'ering
from enlargement
of
the ego should remain outside the ranI,s of the church
musicians,
for the ideal church musician
is the one
who loses himself in the set'vice, whose end and aim'
is to make bis work essentially
a part of the artistic
and spiritual
whole, and that whole the entire ser·
vice, consisting
of music, scripture,
prayers
and ser·
mono
On no other basis can the church
musician
be a true success, for he is not, nor can he be, the
controlling
factor in the service.
'Ttat place belongs
to t.he pastor, who must always be the directing
and
THE
POSTLUDE.
THE
once t?ere. comes a hurdy-gurdy-Iika
tone owing to the
acoustic diffe rence III the instruments.
'I'he classical
literature
of the organ does not avoid the use of
fairly quick movements,
hut sometimes approaches the
effects of the piano.
Of course one will perceive that
as a rule, it only does this in forte passages, while
the piano passages are more sustained
and slow. The
organ can afford this tremor because it is only played
in a large room and because the greater size of the
room reduces
the running
figures to their right impression.
Heard from the seats of the auditors
even
long, quick passages played on the church orguu have
nothing
repellent.
They sound heavy nnd solemn,
blending into each other. 'I'he wide reverberation
gives
them a legato which they do not possess in themselves.
The Harmonium
is not usually used in either
large rooms nor for such strong forte passages.
From
its nature
it is adapted
to more intimate
effects.
Everything
has to be reduced
to a more delicate
measure.
Wind Instruments
only sound well at a certain distance in entire contradistinction
to the string instruments, piano and violin, which are heard best at a
short distance.
In the orchestra, the More conspicuous
wind instruments
are placed behind the string instruments,
so that they will not be too prominent.
To
be properly
appreciated
the Harmonium
should be
heard at a slight distance rather than nearby.
Treatment
IN all this discussion
of serIMPROVISATION
vice music,
the subject
of 1m·
provisation
has
been
scarcelv
touched upon.
The reason is apparent-there
are fe~
who are able to improvise acceptably.
Though thel'eare,
no doubt, many who would be glad to avail them·
selves of improvisations
to avoid the labor of working up voluntaries
it is safe to say that ninety-nine
organists
out of one hundr~d
should let extended im·
provisations
in pubtic severely alone.
It is only -after
considerable
study,
supplementing
natural
ability,
that even the mOst talented
become successful
in this
uifficult art.
However,
every organist
ought to be
able to bridge n gap 01' play a smooth
modulation
without
having recourse
to notes.
'i'his is a part of
the evpryday business of the organist,
as necessary as
tl:e ability to transpose
01' read
from "ocnl score, and
continued
experience
in these less exacting
directions
will be likely to lead, sooner or later, to some ability
in more extended improvisation.
TIut the (act remains
t!:at improvisation
as an end
instead of a means is likely to be deadly dull.
Only
a master should trust
himself
to an extended
essay,
and even a master is likely to repeat himself in a most
wearisome
manner
after a few times.
:My advice to
or:;anists
would be: Cultivate
the ability
to impro·
vise, but be careful about displaying
it.
IN the matter
of choice of material for the Organ Prelude,
it is
PRELUlJE.
well
to bear
in mind
the fact
that
the
Prelude
is meant
to
'Serve as a transition
from
the ever~'day,
out-ofdoors world
to the service
of the sanctuary.
Its
prevailing style, therefore,
should be one of meditation,
of quiet introspection,
or of gentle uplift.
Festival
occasions,
of course,
would
demand
more brilliant
selections,
though in any case care must be exercised
lest the music degenerate
into a concert performance.
Chorale·preludes
of one form or another
are ideal
in this connection,
a.lso the slow mO"cments
of the
better Ol'gan sonatas
are nearly
always
suitable,
as
are many detached
pieces-Andantes,
Adagios, Meditations,
and so on.
l\fany slow movenwnts
arranged
from sonatas
for other instruments,
il'om symphonies
".
(if a.bbreviated)
or (rom clHlmher music may serve,
though these must be judiciously
selected.
THE SERVICE
FOR some years
there bas
been a growing desire for the
revintl
of chamber-music,
so
AND ITS FUTURE.
popula l' in the days of the
great masters.
Side by side with this comes the increasing
popularity
of the harlllonium-a
kind of
reed organ-in
reality
a miniature
orchestra
for tlie
chamber.
Th~s little instrument
has little
in comm/?n with
the ?rgan, h.owever, as is at once demonstrated
UpOD
playmg mUSIC. composed especially
for the organ.
At
THE REED ORGAN
of Stops.
By manipulating
the various
stops it is possible
to produce a great variety of tone colors such as the
Bassoon,
Oboe and Flute.
If the player is proficient
he can also attain
the effects of the Viola, Cello,
Double Bass and even Violin. ·One instrument
is built
with a very high stop called "Aeolian Harp,"
which
imitates
a choir of violins with mutes.
Combining
the Aeolian
Harp
with the stop "Yiola dolce," one
obtains
the effect of an enchanting
string choir, in
which, on account of the higbness of the voices, one
can play without
dangel', quicker phrases.
Such an
Aeolian Harp stop, which is a very clever contrivance
on the left side and is very well adapted for accom·
paniment
after the style of high tremolant
violins,
gives to this Harmonium
a preference
in orchestral
effects.
The art of playing the Harmonium,
as well as its
lit.erature,
are still in the embryonic stage.
Hitherto,
l-iarroonium
literature
was limited to some few tra.n~
scriptions
and a few solo pieces, the transcl"iptious
generally
having
the fault of being too piano like,
simply being a note-by-note
transcription
without giving any color or variation
in the tone.
What Liszt
attained
with his piano transcriptions
is what we want
fOl' the Harmonium.
But the solo pieces sulIer from
the great lack of unity in the building of these instru~
ments and noting of tbe stops, which is the fouudation
of Harmonium
music,
and without
unity in construction
there can be no general
instruction,
and
on this account
the Harmoninmhas been up to the
present practically
a closed instrument.
However, in
the Mason
& Hamlin
instruments
this difficulty is
overcome,
as these instruments
are now generally ac-
deuce in almost every wny, giving him comparatively
all. good and no evil.
A celebrated
English writer
said he never looked upon a handsomer
(ace. lie had
grace and elegance,
He spoke four languages
with
perfect ease. He read Greek and Latin as he did his
native tongue.
He belonged to one of the best families
in Germany.
His grandfather
was a philosopher,
his
father a banker, his uncle Bnrtboldy
was Prusaiun
minister
to Rome and a great patron
of art.
llis
brother-in-law
was Hensel,
the court
pointer;
'1lis
sisters and his brothel' occupied high Bacilli positions.
He was heir-apparent
to a great estnte.
11(' WIHI
greeted with the npplnuse of England
from the outset
of his career.
While nlmcet It boy he nwoke Iumoua
after
the production
of hie "Midsummer
Night-'e
Dream"
music.
l~vel'Y ccmpoeitlon
he brought out
was a trtumpnnnt
success.
l jis modeKty made him
wonder that he could be the man whose entmn
into the crowded halls of London should be tho signal
for ten minutes' protracted
ehcertug.
lIe refused to
set art against
money.
Ite refused fume unless it
came in an honest channel.
lIe refused to undertake the mandates 'of a king, unless with the acquiescence
of his artistic
conscience.
De WflS the
pet and joy of the poct Goethe.
TIis life was cloud'less.
Those checks and compensations
which Providence gives to others were not given to him.
nis
compositions
are unsurpassed
for originality,
finish,
-grace,
refinement
and delicacy.
Dis oratorios
were
received with unbQtlllded enthusinsm
on their first
performance.
This
mun
was
ll'elix
Mendelssohn
Bartholdy.-I.
V. Flagler.
cepted as the standard.
After some essential
improvements
hud been introduced, some experiments
in employing the Harmonium
both as a solo and as an orcllf'stra
instrument
were
tried at some public concerts
in Berlin
(Germany)
with exceedingly gratifying
resuHs.
In spite of opposition
here and there, interest in it
rapidly
increased
in distinguished
musical
circles.
"Tell-known
singers
such as Frau
Lilli Lehmaun,
Emmy Destinn
and many others have sung- with Harmonium
accompaniment.
As '<1. natural
consequence
the attention
of composers was directed to the instrument.
This gave birth to a large number of original
compositions,
which in a most striking manner de~~n.
stl'ated
the extraordinarily
varied expressive quahtIes
of the modern Harmonium,
even for secular music.
To Mr. Koeppen is due the special credit of having
created
a new and extensive
literature
for the Harmonium,
In Koeppen's
Harmonium
Music Catalogue,
which has already reached the total of over four hun·
dred and fifty numbers,
there are both original and
special arrangements
from the pens of celebrated mod·
ern composers.-Siegfried
Herz.
MENDELSSOHN.
There was another great composer of sacred music;
one who, contrary
to the actual
and historic
e~verience of other men of genius, was blessed by ProVl·
PRIZE COMPETITION FOR AMERICAN
COMPOSERS,
'i'IIE National
Fedcrlltion
of Musical
Clubs announces that it will give three prizes [or the three
best compositions
by American-born
composers,
one
prize in each class, as [ollows:
Class 1. Orchestral
Composition,
$],000.
Class 2. Vocnl Solo Composition, $500. Class 3. Piano Solo Composition, $500.
'l'he compositions
may be in nllY form, and of any
length, find the vocal solo accompanied
by piano or
organ, as desired.
The conditions
of the competition
are as follows:
1. 'l'he composer sho.ll omit signature
from the manuscript,
labeling it with the Ilame of
class in which it is entered, signing it with only a
private mark, and shall send with the manuscript
a
sealed envelope containing
both this mark and composer's name.
2. 'l'he compositions
submitted
must
not have been IHlblishcd, nor have received public
performance.
3. All compositions
must be in on or
before October
I, 1908.
4. All manuscript
must
be iu ink and clearly written.
5. The competition
is
open only to composers born within the United Stutes
of America, or those of American
pa.rentage in foreign count.ries.
This competition
was inaugurated
at the Fifth
Biennial of the National Federation
of Musical Clubs,
at Memphis, 'fennessee,
'May 8-11, 1007, uDd the successful compositions
will be performed
at the Sixth
Biennial,
to be held at Grand Rapids, Michigan,
in
the spring of 1009.
Th~ ju{lges, nine in number,
three ,in each class,
will
be chosen
from
among
competent
persons
prominent
in musical life in different
parts of the
United States.
MI'. C. 1\1. J...oeffier, Mr. H. E. Krehbiel, and Mr. David Bispham
have kindly consented
to act in this capacity, and the names of the others
will be announced
through
the press as soon as the
committee of judges is complete.
All compositions
are to be sent to Mrs. Jason
Walker,
in co.re of the Beethoven
Club, corner of
Jefferson
and Third streets, Memphis. TennesseeAmerican-born
composers
are cordially
invited to
enter this competition.
Mrs. Jason Walker,
Cb::Jirman, Memphis,
'I'enn.;
Mrs.
David
A. Campbell,
Coffeyville,
Kansas;
Mr. Arthur
Farwell,
Newton
Center,
747
ETUDE
Christmas Anthems
Adama" Thoa.
While All Things Were in Quiet Silence. ••••••.•••••.
8 erwald, W.
SlIIg, Oh Sing This Blessed Mom
Manney, ChlU"lel F.
Rejoice Greally...............
••........
.••••.......•
Malllfield. Orlando A.
Glory to Godill the Highest..........................
Shackle.,.. F. N.
lind 10 rhe Lord's Anoillt<:<l...........•....••
, •.••..••.
Spence, Wm. R.
WillIe Shepherl1s Wau;hed ......••...•.••.....•••....•
Trowbridae
J. E.
And il Shall Come to PaIS
IJ
.16
.16
I~
1:1
11
Christmas Cantatas
·The Birth of Chrilt.
W.lkrwald
*The Ri.hhlOUI nraneh. H. CIOu"h.I.I:I~htel
,so
. •. •. .. .,.
.Tho
Nativity. John K. Pnllle...
•
.Soll and cborUB with orga1l nccomllllnlmelll.
.00
Sl.lJO
Christmas Songs
BilChoff. J. W.
Ilnl1eluJnh. Chrlbt Is Born. 3 ke)'" •.•..
Hanlcom, E. W.
llrl~ht in the J!tIM. :I k l"
.... ...•
Heek"l. Harw. The Mtssnge or P lice. :Ike)'.....
...
Lyn"l. Frank. There Were Shepherds.
3 ke)'I1... ....•.
Wllh ,·Iolin obi.,
Sr:NT FRr:r:.
ClItnloKues
contninlllK
COMrl..Il")f.
MUSIC, OItGAN, ANTIlIIM~ B11d Sol'G!'I.
Special attention .iv"n Selectionl.
,5O
60
·50
50
:6,5
LISTS of
CUIUSTMAS
ARTHUR P. SCHMIDT
BOSTON
LEIPZIG
NEW YORK
136 Fifth An.
120 Boyl-ton. St
Ch urch Organs
LATEST
BOSTON
CHICAQO
lMPROVEMEN'IS
NEW YORK
LOUISVILLE
PHII.ADELPHIA
DALLAS
Main Office & Works ~~~..I~~~~I"~~e~~·.M
ooK
H ASTINGS
Established
FBII' Prleel.
C O.
....
All Size_
1827.
Choir and Chorus' Conducting
By F. W. WODELL
Bound in Cloth, Price 51.50
In this work the author gives practlcal dlrectlons coverlnt
every point of dlfflculty connected with the orglllllLIIllon of
choirs and choral societies. their manllgeffierlt. trainlntkffiulllC
to be studied, and the 21ving or concerts. maltl(ll: a wor Ibso-lutely IndIspensable to a choir director or chorlll conductor.
In
addition. the book eonlalna many very ueeful hlnilltoall sl"gers
-on :lCCCInt,enunciation. inlerprelallon.
phrasing. breathIng,
etc. Present conditions show a wide: pread interest In choral
music and a demand for trained choral bodies.
Such eminent professional crltlcs as Phl1lp Hale. B. J.
Lang. L. A. Russell. F. H. Tubbs. A. L. ManchestlH. W. L.
Blumenschein. F. W. Root. H. W. Creene and F. H. Torrington
have written strong commendations of this book.
THEODORE PRESSER
1712 Chestnut
Street
-
Philadelphia.
Pa.
The Latest Hymn Book Success
Church Hymns and Tunes
"The lIlost evenly balanced
of all. "-fValte,.
Sample lOPY (,.d",.nable)f"u
choip'-maJll"s and commiltt'l!s.
Heaton.
fo" e.ramination, 10 (Jp'ganiJ/J,
In w,.iti"g, give name of chu,.ch_
New York.
A. S. BARNES (, CO.•
HUTCHINGS-
,VOTEY,
CY>RGAN ro.
'Mass., Committee.
ALT. good music is a character
builder because its
constant suggestion of harmony, order nnd beauty puts
the mind into (J normal attitude.
Music clears the
cobwebs out of many minds, so that they can think
better, act better and live better.·
Some writers a:e
dependent upon music for their inspirntion
and their
moods.
Somehow it brings the muse to them.
It
adds brilliaucy
to the brain and facility to the pen,
which they cnnnot seem to get in any other wny.
.13
HIGH GRADE ,
~
PIPE ORGANS
PNEUMATIC-ELECTRIC
~05TO~
PITIS()URC
NlWYORK
CHICAGO
Send for Booklet, 17
Plene
mention THE ETUDE when .ddressing
our .dverultrl.
TOE
748
ETUDE
e•.
'I.
~i1 viOLIN
DEPARTMENT
••
...,:::::::::::::::::::::::::::: ••...
....
Conducted
by GEORGE
OUR TEACHERS OF TO·DAY.
THOUSANDS of men and
women
are
to-day
engaged
in the delicate and difficult art of teaching boys and
girls how to play the violin. These countless thou·
sands have undertaken to guide an appalling number
of pupils,
many of whom nature
bas so richly
endowed
that their future success seems only to depend upon
tireless energy and application. The majority of
these students, of course, are neither sufficiently gifted
to cross the border line of mediocrity, nor do they
earnestly strive to pass beyond amateurish achievement. But what, we often ask ourselves, becomes
of the minority-the
goodly number, after all', who
begin .their work so full of hope and promise, devote'
the best years of their lives to a beautiful
and allabsorbing
art, and when, at last, the land of promise
is visible, seem to melt awaJi', unheard, unknown!
Yes,
what becomes of this minority
that has struggled and
suffered in vain?
The answer will never be known.
We do know, however, the chief cause of many of·
these blighted lives.
We know, with scarce the possibility of a doubt, ..that many, too many, are to-day
the
wretched
victims
of
bombastic
pedagogical
"systems"-of
"methods,"
"tbeories"
and
imposing
absurdities
that fire the unsuspecting
victim with enthusiasm
and leave him, after years of eager, honest
experiment,
crushed or utterly
wrecked.
This much
we know;
and it were well that the student-world
should share our knowledge
and experience.
The Teacher's Advance.
We cannot
so much
accuse
our
modern
teacher!
of negligence
and indifference
as of ignorance
and
criminal
vanity.
The day has passed when teachers
as a rule were placidly
indifferent.
to their pupils'
welfare, making no effort either to impart knowledge
or to profit by the broader experience
of other players and teachers.
Indeed, we note, in our own country, at least, a growing tendency among our younger
teachers
to equip themselves
more thoroughly
and
intelligently
for their calling ~ and to accomplish -their
purpose, they earnestly
seek the knowledge and guidance of reputed teachers
at home and abroad.
This,
in itself, is most praiseworthy,
and is deserving
of
the happiest
results.
But unfortunately
these young
people are themselves
incapable
of choosing
wisely
from among the numerous
"celebrities"
that are before
the public, and it is thus that the greatest
damage is
done. Like our gifted young players, they arc hampered
by the limitations
of their own ability
and experience.
They easily magnify
the worth
of wEat is
strange or new to them, they clutch at the opportunity
of unraveling
mysteries
where in reality no mystery
exists.
Unconsciously
they soon become impressed
with "systems"
and "methods"
that are at best only
complicated
methods
of contorting
and concealing
some simple truth;
and in the end their own pupils
easily fall victims to the uprinciples
of art," which
they themselves
have been taught
to promulgate
and
uphold.
Difficult as is the art of modern violin-playing,
no
art more readily admits, or stands in greater need of
a simple presentation
of its facts.
And the simpler
LEHMANN
these facts are made to the pupil, the greater
the
teacher's
merits.
Clarity
and simplicity
of ideas
and of demonstration
are clear
and unmistakable
characteristics
of an able teacher's
work; circumlocution and complexity
are the true betrayers
of the
incompetent
and the charlatan.
Common sense, least
common among the
attributes
and
virtues of our
"celebrated"
pedagogues, is one of the most important
factors
in the
art
of teaching.
Its
application
sweeps aside everything
unnecessarily
perplexing,
and
straightway
seeks the root of a difficulty regardless
of tradition
and precedent.
Common sense recognizes
no fixed laws, no conventionalities
of acqnisition.
It
recognizes above all things the end to· be achieved.
It
knows no rigid adherence
to one set of facts to the
utter exclusion of all others:
it takes up every variety,
every manifestation
of talent,
examines
each thoroughly, and proceeds
to build the simplest
possible
foundation
of good art.
Yes, good art;
not petty rules that fit the needa
of one player and demoralize
another;
or a system of
.bowing or fingering which some shining example found
expedi.mt or happily suited to his physical peculiarities; not the narrow and childish horizon of the man
that recognizes in some one manifestation
of art the
only possible good: not such and similar pedagogical
puerilities,
but good art as we have learned its true
meaning
from artists
of ali climes and all "schools"
from the days of Corelli to Ysaye.
The Higher
Technic.
Our representative
teachers
are so absorbed
in the
technic
of the finger-board
and the bow that they
easily lose sight of the ultimate
and highest uses of
technic.
Like the violin makers of the present day,
who seem to be going farther
and farther
away from
the simple principles
of Stradivari's
art, these peda'
gogues are chiefly engaged in increasing
the difficulties
of violin-playing.
For example:
They have certain,
inflexible theories about bowing
and tone·production.
Absolutely
devoted
to tbese
theories, they refuse to recognize virtne in any ideas
opposed to theirs.
With a fanaticism
that would be
pathetic
were it not intolerable,
they cling to and
promulgate
fallacies,
desperately
attempting
to prove
the impossible.
Reared in a school of bigotry themselves, their pupils naturally
develop into confirmed
bigots, who, like tlleir masters,
scoff at everything
beautiful
and artistic
that
does not emanate
from
their own school.
Is it conceivable
tllat men of such
na.rrow vision' can be safe and wholesome guides for
a budding talent?
Hardly-yet
there are many such
men among our modern teachers
who are daily entrusted with the delicate, the sacred work of developing violin talent.
How many bopes these men have
blasted will never be known.
We repeat:
our modern teachers,
as a class, can
hardly
be accused
of indifference
to their
pupils'
progress.
In this respect, at least, they merit a word
of praise.
But it is exceedingly
difficult to understand
how our students,
with certain
facts before
them, continue to entrust
their futures
in the hands
of international
"celebrities,"
whose work; year after
year, is the best evidence of their incompetence.
These
men have every opportunity
of proving
that their
reputations
are not built on sand, but on substantial
soil.
Gifted
pupils flock to them every year, and,
what. is more, work long and earnestly
under their
direction.
If, under such favorable conditions, teachers
constantly
fail to ripen talent into artistry,
"develo
ing" only mediocrities
.fro~ the great abundance ~
artistic
material
at tbetr dispoaal, we have no choice
left but to condemn them, to hold them aloft as a
serious menace to the student-world
of to-day.
And this being the time of year when so many
gifted students find it necessary
to enter, so to speak
a newer and higher field of instruction
than the on;
they have enjoyed in the past, we sincerely hope that
will heed our warning.
We hope they will pause
just long enough gravely to consider the facts before
them before embarking
on their perilous journey.
We
hope they will be guided by common-sense,
not lured
to inevitable failure by will-ot-wiep
reputations.
THE VIOLIN
A
QUARTETTE
OF STRA'DIVAR!'S
INSTRUMENTS.
SOME few months
ago the British
Museum, accord,
ing to the London
Telegraph came into posscssion
of a remarkable
quartet
of instruments
made by
Stradivarius.
These
instruments
had been owned
by an English
surgeon
named
Charles
James Oldham.
This gentleman,
it seems, was one of the many
fiddle enthusiasts
to be found every\',here
in Great
Britain.
More fortunate,
however,
than most collectors, he is said to have had an excelll'nt collection
of old instruments,
most
beautiful
amI valuable.
Among them were the so-called
'.ruscau
Strad and
the afore·mentioned
quartet,
consistingof two violins known
respectively
as the "Rodc"
and tbe
"Spanish,"
a viola also known as the "Spanish,"
and
a violoncello
known as the "Christina:'
The "Tus·
can" Strad Dr. Oldham
desired
should be sold for
three thousand· five hundred
pounds
(nhout $17,500),
or, at the very least, three thousand
g"uineas.
'I'he
quartet
he bequeathed,
with
certain
insignificant
conditions,
to the British
Museum,
nnll, in the evp.nt
of no purchaser
being found within a reasonable time
for the "Tuscan,"
at either of the pri('es mentioned,
this historical
Amatise
also was to go to the Britisb
Museum.
Are
Such Bequests Wise?
Such an important
bequest naturally
excited much
interest
in England.
Naturally,
al~o there arose
among professional
players,
amateurs
n nd dealers the
question of the wisdom of such a bequl'st;
so a writer
for the Teleumph
made it his busilH'SS to obtain
from numerous
individuals
their views on this question.
·We, too, have certain views regarding' the propriety
or wisdom of looking up, for all futlm> time, the art
works of the Italian
masters;
but ,ve wish, in the
first place, to reproduce
the interestingarticle on this
subject
which
appeared
in the Tell'!lraph before
expressing
our own sentiments.
"It is my desire and request,"
wl'ok Dr. Oldham,
that the said collection
of musical
instruments
shall
be undivided,
and as such be deposit('u
in some safe
and suitable position in the British
Mu:-;eum, such all
shall be consistent
with their safe, convenient
and
proper e.xhibition to the public;
and that they sball
be enclosed by themselves
in a suitahle
glass case,
bearing the words, 'Bequeathed
by Charles Oldham, F.
R. C. S.,' legibly inscribed thereon.
The newly acquired
Antonius
Stradivarius,
the 'Tuscan,'
to be
o,ffered for sale at three thousand
five hundred pounds;
if (after
a reasonable
period)
no purchaser
shall
come forward
at that l)rice or at a lower one of
three thousand
guineas, the said violin to go with the
others upon a like trust,"
A Prison for
Violins.
"The tenus
of the bequest"
,says the Telegraph.
"seem, therefore,
clear enough.
"Tith a view of obtaining
the opinions
of those intel'esled
in violins
(either as players or as dealers)
regarding
the value
of the bequest, the I)resent writer called upon varioUs
personages
of authority
and found a curious diversity.
There were some experts who valued the quartet roughly at about eight thousand
poundS, and they
thought
that for this reason the instruments
should
be permanently
exhibited.
Yet more held the vie"
that the chief worth of the gift was the opportunitY
that it afforded for students
and others to examine
magnificent
and historical
specimens
of the art of
violin making; while several deemed the bequest to be
almost criminal, in that by locking up the instruments
they ceased to exist
for the practical
purpose of
their being-that
is. to be beard.
THE
749
ETUDE
"There
is, of course, something reasonable in each
not known precisely how-e-came
in 1794 into the
but the two last are of the great ....... ~ossession of David Ker, an ..lri;bman,
wh~ obtained
est Importance,
and there is much to be said on beIt for a paltry tweuty-fiva
pounds, acting-he
being
half of both.
Many earnest lovers of Strads expend
a collector of artistic rarities and not a musieianon the advice of Angelica Kauffmann."
their- devotion
upon the tone, while others are as
The Owner of a collection of instruments
has the
much or more attracted
by the color, the lines or by
undeniable right, it is true, to make of them such
the scroll.
One, in fact, loves the soul, the other
disposition as best pleases him; but we must frankly
the body.
It seems generally conceded that practiconfess that it is not without a pang that he benr
cally all Strada are things of beauty to the eye; but,
occaaiouully
of beautiful
examples
of the old ruaaon the other hand, it is equally agreed among the
tel'S' art being placed forever beyond the reach of
cognoscenti that all Strada have not the same soulful
those who need them most, and who, nfter all, aptone.
A Strad is not immortal so far as its soul is
preciate them best-that
is, our urtlata,
concerned.
Dr. Oldham, like ninny ether collectors, we 8US'
pect, knew but little of the rent joy of pcaeeaslug 0
"A well-known
authority
of great experience on
Strad.
Ile WlIS probably nn indiffel'ent nrnateur, or
violins informed· the writer that the 'life' of a Strad
he did not play at all.
In either CUBe, if he rcscmbl d
was a very great deal shorter than the life of a man,
other men o[ his kind-and
he probably did-he
was
if the instrument
were used more or less casually,
incapable of appreciating
the touul beautles of his
as the everyday
worklug
bread winner;
and it is
instruments,
und equully Iucnpnble of giving" others
stated that even so careful a protector of his violins
the pleasure produced by a Strnd when in the honds
as Dr. Joachim has exhausted the 'life' for a time
of an artist.
l1is chief delight consisted in the realiof two Strads .. No doubt the life returns to the tern·
zation of possession, nnd vunity, as the wording of
porarily lifeless, instrument
with rest and care Strads
his bequest surely nttests,
influenced bim entirely
ure intensely human;
but e·aeh return is shorter than
in his gift to the British Museum.
its predecessors,
and the 'soul' becomes less and less.
The beauty of Strudivnri's
wood, workmllnship und
There is something,
then, to be said, in favor of revarnish is as nothing, after lIll, cOUlPured with the
taining in activity the instruments
that are still full
beautiful tone of his best instruments
in the bands
af the joi de vivre, and of placing in museums only
of a capable player.
And if a musical instrument is
those specimens which, having ceased to produce the
primarily
intended to give pleasure to the ear, not
concord of sweet sounds, call for decent sepulture.
the eye, such bequests as Dr. Oldham's deserve cen"On the subject
of tone, expert opinion seems
sure rather thnn praise.
very divided.
Some there are who boldly, perhaps
When the old masters'
instruments
cease to be
rashly, declare that tone is a fetish worshipped only
tonally beautiful-owing
to accidents,
ill repair
or
by the ignorant,
and that there are not five and
the ruin that may be wrought by a variety of causes
twenty ,people now in London who can distinguish
-it
is time euough to put them away in glass cases,
between
the tones of a Strad and (say) a J. B.
where the hUllllln eye can gaze upon their ouly reVuillaume.
Again, it is quite clear that different
maining beauty.
players will draw a different tone from the same in·
strument,
and that a great player will produce a tone
PLAIN TALKS WITH VIOLIN PUPILS.
finer alike in quantity
and in quality from a com·
TIlE HAND, AUM AND LEFT ELBOW.
paratively
poor violin than an indifferent player wiJI
draw from the 'Tuscan'
Strad itself.
1. Hold the violin, not tightly, between the middle
"In the matter of what we have called the 'body,'
of the first joint of the thumb and the middlc of the
it is curious that all the written authorities
of our
third joint of the first finger.
considerable
acquaintance
make much more ado about
2. Take care that the neck does not touch that
the beauty of the form, the scroll, the lines, the inpart of the hand which joins the thumb to the first
dividuality
of style, the purfling and so on about the
finger. There should be sunicient space between, to
make than about the tone; and this in other than mere
enable the point of the bow to be pushed through.
working text-books on violin making.
If it be conIt is a good thing to make this trial from time to time.
3. Hold the palm of the hand
in a natural
ceded that the eye has some property, as it were, iu
a Strad of the grand period as wen as the ear, it is
position, without going too neal' or too far from the
neck. '.rhel'e must not be any wrinkles at the wrist.
difficult to understand
an objection to the placing of
It is a common enough fault to place the hand too
the Strad quartet
in safe keeping where it ~an be
faL' away when oue is making an extension, or when
seen.
And that even Stradivarius
himself intended
the little finger is bciug placed upon the fourth
his instruments
to be seen as well as heard is quite
string.
It has a contl'flr.y effect from that which one
obvious, from the extreme care that he took over his
wishes to obtain, for the reason that it makes the
scrolls, and from the richness of the ivory ornamenfinger more distant instead of auvllncing it.
tation
of some of his violins.
4. In placing the fingers one aftcl' tlle other upon
"In the case of the Oldham quartet, three of the
the notes, the elbow will be vertically under the middle
instruments
are inlaid and are, indeed, good to
of the violin. This ought to be its hubitual position:
look at;
from
a museum
standpoint
they
are
F
most desirable,
while from a player's point of view
c
they are not so valuable as those not inlaid.
That
A
they will lose their precious lives by incarceration
F
within the four walls of the \British Museum is purely
Do not play these four notes.
Merely place the
fancy;
for, ·if looked after with proper care, they
hand in position.
will quickly wake from their sleep on being played
When one is obliged to go higher upon the fourth
upon at any time.' Dr. Oldham, be it noted, says
string, it will be necessary that the elbow should
never a word to forbid the occasional playing upon
favor the position of the hand, and tbat it advunces
the quartet,
which, by the way, is said to have been
less and less according to the heigbt of the notes
made for the Spanish court.
which one has occasion to play.
"That Stradivarius
was much appreciated in Spain
is clear from references
i'n the Arisi manuscripts.
HOWING
'[HE Bow.
Under date May ]2, 1701, there runs this testimonial:
. L Hold the bow with all the fingers, the hand
'Don Antonio Caver.udo, leader of the private orchesnaturally and gracefully curved, and the fingers placed
tra of King Charles the Second of Spai~, wrote a
upon the stick, without bf:ing either bent or spread
highly
complimentary
letter
to Stradivarius
from
out.
Madrid,
assuring
him that, though he had received
2. When one puts the hand before them as theY
bow instruments
from several makers for different
would take hold of the bow, one would see by this
courts, yet he had never been able to obtain them of
re\'eJ'sed position of the hand that iu placing the
such a refined and beautiful .tone as those made by
thumb under the finger it preseots itself at the side;
him.'
and that if the stick of the bow is then put between
"The Tuscan Strad is an instrument
of such great
the four fingers, with the thnmb underneath,
it
importance
that it has been thought fit to publish
would pose itself upon the fleshy part of the thumb
its 'biography,'
with beautiful
'portraits.'
In 1891
which is near to the nail, but which is not quite at the
it was described as 'probably unique in the preserva·
extremity.
'I'he thumb ought to be about two inches
tion in every detail of the original beauty of its form
from the nut of the bow. By this plan there is more
and workmanship
(thus
evidently
intended
to. be
force or strength to grip the stick when necessary.
looked at).
It was made in 1680, almost certalOly
3. Do not bend the thumb.
for Cosimo the Third de Medici, Grand Duke of Tus-Mi8S Edith LYTl/lleood Winn.
cany, and after passing through sundry bands-it
is
of these opinions;
Ne"" Co",positlons
By EMIL sOcHTINO
Op. 58. Suite for • Violios Complefe Sf.50
NO.1 Allegro.
No. :I Adagio.
NO.3 Lento EJ;pressivo
NO.4 Intermeno
No. S Rondo I'olacca
OP. 63. THRE!E GYPSY OANCE!S
For 2 Violins, vrotcncene alld ptano.
No 1. $1.00.
NO.2. $1.2,5. NO.3
···..
1.110
OP. 70. 3 EASY QUARTETS FOR.2 VIOLINS. VIOLA
AND VIOLONCBLLO
Ne.u !n G
"
••
1.211
No. a In D....
1.211
No. J ill A min
1,15
Easy Co",positlons
FOR. STR.INOED INSTR.UI\\ENTS
By EMI L sOCHTINO
Op.54.A. 3 81lartetl for 3 VloUns und Violon eue, each 1.00
01).54.13. 3 uelS for 2 VloUns
acll .110
P.54·C,
J 'rrtos rcr 2 Vlollnland Violoncello each
.711
Op.S4·D. 3 Trios lor :I Violinland Pllil10 ....•..•. eecn 1.00
Op.54-E. J Trios lor Violin. Violoncello ,"d Plnno
each 1.00
OP.54-F.
3 Qunrtets for '1 ViolinS,
Piano
Violoncello
lI!ld
each
1.50
sent free: New Violin Themlltlc Catalogue
Mall Orderl solicited and filled prollliltly to .11 partl of
the country
ARTHUR
BOSTON
fZO Boylston
P. SCHMIDT
LEIPZIG
NEW YORK
136 Flftb An.
St.
V I 0 LIN
and Plano
ParaphJ'88e 01
.
~
Tbe buntl
.
• (lClPlrtght. 1001. bl1A1t,,1 .. aar~nt • .:....
ot. grancl old hlmn an4 ~e eb.,m of • new ~Iollo efl'tot
~Pt~i!i~:~N1l:lt~
~e c:.~r~I~~~~~t,
N.\{r~~,;:~<l;~&::'k
C,
Cold•• Coul€ha. Bronchial
Troubl.
ltellove.l AIr J'aM ... e.. pr .. d .. eln .. "erred
Yolee
Mme. Johanoa aada~lla,. :_IIM....t tAu. J'<ulfUu "rl ""collOOll
B, .ull 10 ....ftU-
T. M..ETOAI..' 00., 1l08TON. M.ASS.
RECREATIONS FOR VIOLIN AND PIANO
In the First Position
F. A. FRANKLIN, Opu140.
6356
6357
6358
6359
6360
1.
2.
3.
4.
5.
Off for the Front. March. Grade II. 50
Summer Night.
Waltz. Grade II.• 50
Swing Song. Grade II. • ~ - -,40
Meadow Queen. SchouiKhe. Grade II .50
In Miachief.
Polka. Grade H - - .50
OFF
FOR THE FRONT
T"EO. PRESSER, f71Z Chestnut St., PHiLA., PA.
ease mention
when addreuln&
our .dvcrtucrt,
THE
750
ETUDE
TUE
AUNT EUNICE'S LETTER.
My dear little friends:
I WANT to tell you all about a. dear little g ld
headed boy I used to know.
FIe was one of the o. eo.
nicest.
pupils I ever had.
HIs eyes were very blue au 1 hi
round,
chubby
little
cheeks
were always
Very ( . ISo
like pretty
little apples.
But it was his smile :~"
made him so fine·looking.
'Vl:Ienever
he came for h~~
lesson he always seemed so happy that it was fill tl .
I could do to keep from taking
him right Up \' JUt.
.
LITTLE HELPS FOR LITTLE PUPILS.
BY HELENA
:MAGUIRE.
SOME little
folks
find it
very difficult to keep the first
joint of the finger (or "nail"
joint as we call it, because it
is the joint nearest
to the finger nail) nicely rounded.
It is inclined to "break,"
that is to sink in, instead of
curving
as it does when one holds an apple in the
hallet
Your teacher
says, "You
must
keep the fingers
curved,"
and you want to please her, and perhaps you
say to yourself,
"Oh, dear, I know I should, but how
can I?"
Here is a ,vay.
It has helped many little girls to
make that nail joint look right, and it will help you.
You IUUSt know that there are two muscles
that go
down into the finger.
One is. short.
It stops just at
the nail joint and is tied there to the bone.
The other
muscle is long; it goes the whole length of the finger,
and is fastened
to the bone at the very tip end.
TJ'his
muscle
is called
"the
Profundis,"
because
it goes
deeper
01'
further
into
the finger
than
the other
muscle.
Now your
brain
sends
its commands
into your
fingers through
these muscles.
(The muscles are like
telephone
wires and carry messages
from the brain
to the fingers.)
If you send your command
to "curve
and stay
curved"
by the short muscle the message
stops just
before it reaches
the nail joint,
and this poor weak
little joint not having
received
any message
doesn't
quite know what it must do and goes wiggling in and
out like a very little baby trying to walk.
But if you send your message to the finger by the
long muscle, why then your message
goes the whole
length of the finger, the nail- joint receives the command, too, and knowing what it has to do does it, for
the fingers, like good little bQJ's and girls, are very
obedient and always do just as the brain tells them to.
So always use the long muscle to send your mes~
sages by, and your fingers will always be nicely curved
in fine position.
1. '1'0 KEEP
THE
FI~GERS
CURVED,
SOUETu,rEs a very little thing causes
a great
deal of trouble,
and the
length of the finger nail is one of these things.
Your teacher
tells you that you must play with
curved fingers, and in order to do this you must play
with the tip end of the fingers;
the only part of the
finger which should touch the key is the tip, that ni.ce
little cushion which seems especially
made to play the
piano with-it
is so nice and soft and round, and takes
such a good hold of the key.
But sometimes
when you try to stand
the finger
up on the cushion
tip aud play: you find that your
finger slides.
Sometimes
it slides right off the key,
'8S if it were on a sliding pond, and you can't get a
hold of the key any \vay but by laying the finger down
flat, and striking
with a straigllt,
stiff finger-a
hOl'l'id
sort of a way to play.
W.hat is the tronble?
Just
this-your
finger nails are too long.
They may not
look too long, and perhaps when mother looks at them
she says that they do not need filing, but the way to
tell is this:
When you place the finger tip on the key the pressure which you must make to put the key down the
whole way fia.ttens the soft cushion at the end of your
finger, and if your nail is long enough
to come the
least bit above the cushion
when it -is flattened
then
your nail is too long, and your finger will slide 01'
slip on thE'! Illljl, :l.nrl y01lT" cl1shion \:",ilI not be able
to get the proper grasp of the key because the nail is
in the way.
Press
your finger against
the flesh of
your thumb and if your nail is long enough to leave
a mark in the flesh then it is too long to play the-
2. THE
FINGER
NAILS.
piano with and must be filed.
Little folks' nails do
grow very quickly, and sometimes have to be shortened
three times a week, but it is better to take this trouble
than to form bad habits of position, isn't it?
I HAVE known some little people to
get very discouraged
about their music,
and have heard
them say that no
THINGS.
matter
how hard they practice
there
always
seems to be something
wrong about the way
they play their lessons.
If tile notes are right the
time is wrong, if notes and the tempo are both right
then the fingering is wrong, and so on.
Now there is a way to have all three of these right
in every lesson and that way is to call every study
three studies,
every scale three scale studies,
every
s,clection a study in three different things.
You know
that ;you cannot say three different words at one and
the same time; you must say them one aftcI' the other,
and so in studying-you
cannot get notes, fingel'ing
and tempo all coned
if ;you try to learn them all at
the same time.
That is what I mean by making every
study three studies,
Fil'st make it a study in notes
m:,j give all your mind to the notes, and a good way
to learn a note study is away from the piano.
Next
take your study and call it a "finger study," and practice it calling the fingers aloud as ~'ou play each one.
This helps the fingers to be sUI'e of which one must
play next, and it is only right tllat the tongue should
help the fingers to get tlleir part right whenever
it
can.
Lastly,
call your study a "tempo
study,"
and
count the time both aloud and to yourself,
"way down
in ~'our 'tumach,"
as one little girl says,
Do the same
way with your scales and selections,
and if the notes,
the fingering and the tempo are given separate
attention in this way, your practice
period will not seem
·nearly so long passing, and when you play .your lesson to your teacher, you will have these "three funda·
mental principles"
correct, and she can give the time
to talking
about phrasing,
and marks
of expression,
and all the other interesting
things that we can't get
to until we have first learned these "three important
thingst
3. THREE
IMPORTANT
IT is very difficult -for
of us to memorize,
I
this is because we do not
in the very best way.
Really we do not know a
tion nntil we can play it without
the notes, any
than we know a piece of poetry until we can
it without
the book.
4. MEMORIZING.
some
think
study
selecmore
recite
,
After you have read a piece of poetry several times
I know tllat you can read it quite nicely, pronounce
all the words and punctuate
and elUphasize quite cor.
rectly, but you would not say that you knew it, would
you?
You know that when you really learn a poem
you have to study it line by line, and th'tt some.
times it takes two or three weeks to learn a poem well
enough to recite it at school.
Just so with a piece of music.
You really do not
kno'W it until you can close the book and "recite"
it
on the piano, and the way to know a piece is to study
it just as you do your poetry-start
right in at once
to learn it line by line, learn everything
on the first
line so that you can play it by heart before you take
up the next line.
To do this sounds slow, but it isn't really, for you
are memorizing
all the time that you are studying,
there are only five Or six lines on a page, and when
';you kno'W the piece it is all memorized,
and you have
a good "mind picture" of just how each line looks.
After you have learned to memorize in (hi!': way you
will enjoy breaking
your lines up into phrases,
and
studying
your selection
by periods,
but just at first
try learning
the page line by line, and see if memor;~ing does not seem easier.
.
n my
arms' and hugging him.
But he felt himself quite a.
man and would no doubt have felt very much hurt ifI had treated him like a baby.
He was very fond of music and loved to sing, It.
was not very long before I found ouj that he Would
rather sing while I played pretty
little tunes for him,
than play himself.
~e had such a sweet, fresh, happy
voice that I am afraid
I would rather
hear him sing
than teach.
But I said to myself:
"This will never
do; if I am ever going to help him to get ahead we.
will have to work a little harder."
:-;ow Lawrence-for that was his na~e--Lawre~ce
was not a lazy boy,.
I am too fopd of }lIm to admit that, but he liked tohear pretty
things
ruther
than
work at scales ~nd
finger exercises.
One day I wus listening
to him
practice and I found out that instead uf sticking right
to a thing until he learned
it, he wa~ jumping
about:
to all parts of his iustruction
book.
1 had never told
him not to do this, and bow WfiS Iw to know?
He was working
and hnving
a ,..-pll'lldid time, but
I felt very sorry for him, as all hi:-; wOI·k amounted'
to nothing.
This was tho reason why hI' had not goneahead faster.
It was fUll listenillJ,.:" t/) him though,
fot' he soon took up some of his old"r sister's
pieces,
and commenced
to pick out the meludies.
I hated to.
disturb him as he was having such gn'a! fun. His little face just bcamed all over like n little robin redbreast on a lovcly spring morning.
1 went up to him
and put my hanel upon his shoulder.
He turned and
canght
my glance,
I meant
to ue \'l~ry cross with
him, but lle had such n cute little> look that I jllSt
couldn't,
But I took him over to the divan and said:
"Lawrence,
let's talk this over."
The dear little fel-·
low felt so guilty that he couldn't
8ny a word to me,
He knew all the time he was wrong.
"Lawrence,"
I asked,
"why
can't
you be morepatient with the work I give you?"
"'Vhat do you mean by 'patient,'
Aont Eunice'1" he'
asked.
"Well,"
said I, hardly
knowing
just how to put itinto little words so that he would 8("(' nt once, "well,_
patience
is just this.
Suppose
whcn :\fary, the cook,
makes her bread she were to put it ill the oven, and'
after it had been iu there only five minutes
she wereto take it alit again just because
she couldn't
wait
until it was done.
'Voliid the bread be good, or would
it be all dough and not fit to eat?"
"It would be all dough," be answercd
quickly.
"I
think that I see what
patience
mean!': now.
Marywouldn't
have any patience
if she couldn't
wait until
the bread was done,
Tell
me al1ot!I('r one, Aunt
Eunice, so that I will surely know all about it. Won't
you 1"
"Certainly,"
I answereet
"Suppose
rOll had some'
sweet pea seeds and put them down in the ground.
onc day and the next duy pulled them all up to see·
where the flowers wel'e."
"Oh, now I see," he broke in, "it's just like Mozart
and the sugar,
I'll call ]JOZlut and show yon."
Lawrence
gave a short, shrili whistle
und in ca~eMozart-not
the gl'eat composer,
with the Queer wIg'
and the pointed nose-but
the cutest little Scotch terrier yoU ever saw.
Lawrence
had had him over 3.
rear,
and they called
him Mozart
because
SOilleon~
found
him pressing
clown the
keys of the piano
with his fuzzy little nose one day, and you remember
there is an old story about 'Mozart which tells hoW tlJ<'
great musician
took a challenge
to play anything
written for the piano.
Someone
wrote a lliece of illusie
which required
the one hand to be at one ellCl of the
keyboard
and the other hand at the other, and then
there was a note right ill the middle of the kf'ybo:llX\'
Mozart is said to have played this note with his long
nose while he was playing with his hands ut the end'!
of the keyboard.
I don't know whether
this is a true
story, but it is funny anyhow, isn't it?
Well, \\'\lpt1 they
found the little puppy playing the piano with hi,:; nose,
they thougllt Mozart would be a good name for him.
)
Mozart
loved Lawrence
and jumped up and down
when the little fellow called him.
Lawrence
took a
piece of candy from the table and made Mozart stand
up on his hind legs and then Lawrence
put the candy
-on Mozart's
nose.
"Now,"
said Lawrence,
"just you watch him, he
won't dare eat that candy until 1 tell him to,"
There sat poor little Mozart looking cross-eyed at
the candy and wrinkling
up his funny little snout,
sniffing
and licking
his chops.
Lnwreuce
counted:
"One, two, three," and-pop-away
went the candy and
Mozart was jumping up and down for more.
"Wasn't
he patient!"
said Lawrence.
"You see,
Aunt Eunice,
he wanted that candy all the time, but
be simply had to wait until I gave him the sign."
We walked slowly over to the piano and Lawrence
climbed
upon the stool and opening his book to the
lesson I had given him, I said:
"Lawrence,
there is something I tell you at almost
every lesson.
Do you remember what it is?"
He thought for awhile and tLlCn smiled and said:
"Yes, it's this:
'There is alwa.ys some slow time
at which you can playa
piece and hal'e it absolutely
withont
mistakes.
Keep on playing
uotil you get
slower and slower and when you find that you have
reached
a time when ~'ou are not making any mistakes, commence to go a little faster, but the minute
you find that you are making little mistakes stop at
{)nce, and playa
little slower when .you start again.' "
"That's
just what I wanted you to say," I said,
""and I want to tell you something
else. Years ago.
long before you were born, I went over the ocean in
.a great big boat to Germany
to study with a great
teacher.
It cost me thousands
of dollars and years
-of hard work and the begt thin~ this teacher ever
taught me was just what you ha\·e just told me. But
-that will take a lot of patience.
The only reason I
want you to play so slowly is that I know from having taught so many dear little people that slow playing
"'Saves them so much hard work and puts them ahead
'so much fasteL
It's just like little Mozart hel'e--he
had to do his trick and wait for his sugar.
If yOIl
jump
ahead all the time and try to play pieces that
your sister has trouble with after years of study, ,\·ou
.are wasting
YOUt
time and making so mucb more dis.agreeable
work tor yourself.
Be a little patient and
it will be, 01', so much easier."
By th~s time Lawrence bad his nrm around my neck
'and his little head was nestled on my shouhler.
I
:knew that he felt very badly because he had disobeyed
-.2 and
I was l[mill from the way his e~'es looked
that he was going to cry, but, as luck would have it,
:little Mozart
jumped
to the window just then and
;nearly barked his tiny silk~' head off.
"See," said Lawrence, "the auto's ready and mamma
[lromised
to take you and me for a ride to-day."
I wonder how many of my little ETUDE friends have
.done just what Lawrence di(l? Perhaps you huve been
,doing it right along and wondering why you ha\'e not
Ibeen going ahead.
Perhaps
your mother has. been
blaming the teachers for little mistakes .you have been
making behind the teacher's back. You had better folJow Lawrence's
example, as he is playing no\\'·
"\11/1
.Y~u ought to hear him. Every lesson is "Just Jike a
wicnic," be says.
.
Remember
I am always glad to heal' from my little
friends.
This is all your department.
It doesn't h~1J0ng to anyone else, so if ;yon want me to write. ahout
.anything,
just drop me a line in care of the e(lltor of
'THE ETUDE.
A UNT EUNICE:.
MUSIC CLUBS.
THE
ETUDE is coutinually
in receipt of reque.sts
.coming from all parts of the United States. usklllg
for information
relating to Music Clubs.
It lS llee~tess to say that we are very anxious to .foster thlS
movement
which is of such practical educational
value
:and of such certain interest to all of our readers. ,,:e
ba.ve therefore
arranged
t.o plnce this department
m
the hands of an able specialist in these matters whose
name will be announced
in a forthcoming
issue. In the
meantime
we will be very glad to hear from o~lr re~~its we will prmt wlth
.ers and so far as our space per m
.
t>leasllre any information
thus: sent to us which we
feel may be of interest
to the greater bOd~ of our
readers. - We will be glad to know the expenences
~~
musical
clubs and especially
the means employed
ETUDE
?rganize clubs, profitable courses of study introduced
III the club work
and some account
of the profits
reaped and the progress made.
In this issue we offer a few practical suggestions to
teachers having the formation
of a musical
club in
view.
In selecting
members
for a musical
club it is
necessary for a teacher to exercise the greatest imaginable tact and precaution,
In fact if the teacher is not
what might be called a untum l diplomat, it is sometimes best for the teacher to suggest the desirability
of a club to the pupils and permit them to organize
the club themselves.
Children
hove u wonderful
natural
faculty fOI' orgnulzatlou
and nil hough crude
ill procedure
they ncutcvc rcsutta
thot nrc creec
astonishing.
Their inborn eeuse of mimicry asaista
them in this. They have hen I'd their elders discussing
clubs, fwd meetings of 011 kinds nnd no doubt they
unconsciously
absorb much that scorns I\tltonishing
when they meet the 11 ccssily fOI' ])t'octiC'ing.
If the teacher selects the mcm\)(ors for n club, wh
nnturall~' tries to (woid conflict find disturbullce
in
the [uture by excluding' members ahe deems might be
liable to cnnse trouble.
Therc arc "lways somc discontented children and if the teacher is llot able to
handle these children properly,
they ine\'itubly bring
a destrllctive factor into the club work, To discipline
them too severely would mean in manX cascs thc loss
of a valuable
pupil-something
the tcacher can ill
affonl.
Pupils that can be very l'elHlily hundled in
priv\.lte are often almost llllcontl'olluble
when placed
with their companions.
'We suggest that the teacher who desires to organize
a club arrange a little informal meeting of hcr pupils
STill,
OAEOU,IA.
in ller sbalio some dUY and let the PU11ils do the work
of organization
themselves,
the teacher remaining
.in
the background
to give needed advice,
The pupIls
will take to this 11lan much better thnn if they felt
that they 'were under the Sllme rf'striction
tllc teacher
is obliged to excrcise in giving n lesson,
It may be necessal'r
01' cxpe{licnt fOl' the teacher
to form b\'o clubs instead of one. for the great factor
in i!lstlrin~ a successful existencc to any club is hOl11ogeneit:o.' nnd unity of intcrests and tnstes. 'J'he teacher
shoulll not expect her pupils of fin a(h'anced age 01'
technical
nbiliLy to mix with hcr pupils
in the
elementary
dass,
Socinl positions must also bf' very
diplomatically
considered
and treated.
for although
our 1I1I1dis supposed to be a great democracy, we often
find that children have exa~gcrated
and uufortunate
notions of position and aristocracy
that might proye
the ruin of an attempted tnnflical club. Again. parent,.;
are \'er~' particular
about the children
with wh~m
their clJildrell al'e oblig('(l to associate
upon a s()('lRl
basis ~lIld the tellcher lllust take t11is into consideration.' It may thus be secn ho"- diffictJlt it will be for
t.he teac11er to employ rhe assistance
of this \·cry
\'alnable aid in her work and nt the flame t.it~e pr<'.clude any blunders which might.affeC't her posItion And
pocketbook.
.
The first thing the cbile]r('n \yill want to determIne
is the name of the club.
1n this Ill(' te3cher must
also not let hcr pcrsonal
opini()n~ ohtl'\lde in the
selection.
It wotJid be n good plan. however, for the
teacher to hn\'e n long list of names prepared fr~m
which'the
children may be able to selpct a plensmg
one.
This Jist might include:
1. 'l'he names of celebrated
musicians,
Beethoven,
Mo,.;art, Grieg, etc.
2. r£he Italian
words used to designate
musical
directions,
Legato, Presto Stllccoto, etc,
751
3. 'the Dames of mythological characters,
Apollo,
Orpheus, etc.
4. 'I'he names of musical
signs. such as Clef,
Leger, B Sharp, etc.
5. Names of American
mustctana,
Foster,
Gott·
ecbalk, MacDowell,
etc.
'I'he teacher will often find that ene will in all
probability
hove to grAdf)' the pupils' deetre for Borne
kind of insignia,
aucn as club colors, club piUiJ,
certificates
of membership, etc, Thia givcs each child
a sort of proprletory
feeling thnt is very criltlf~'ing,
and nt the same time it mekee the tenchcr's work in
this <lire tion betr r known I1n<1 iR often or decided
mnterlnt ndvlntng
to the teacher in n bustuesa wny.
Tn tile ellrl~' work of the mUjJicnl club the If'{\clu.'r
should see thnt the proceedln~8 IHe conducted In ~OOd
order, if the chlldr n fnil to take the lnltlnuve In thl,
respect. Some children
nre infntunted
wuh the Idell
of nr!Jitrllry Ilnrlinmentnry
forrnlJ. but the t{'Rcher will
find it auvuutngeoua
to setk to make thceo forms lllJ
free nnd liLt! irkSOll1<' flS )W8liible, Avoid ('lnhott\te
constitutions
nnd hy-llIws,
They only colllUlictlt
matters unn(lCtssll.rily.
'1'h I)rocecdings might J)Ilrtake
of this l\t\ture:
1. Discussion
of former 1Ilf't'ting,
2. Busincss of the dn~'.
3. • tudy of some musical question.
4. Free discussiOn and comment omong the children.
5. A short recital of pieccs, in which the teacher
mny OJ' lllny not tuke '])art.
6. SOcil\l.
Abo"e nil things, n\'oid giving the club scssion the
aspect of a. Icsson period or II. clnss. The main educa·
tiona I object of (:'e club is to induce the ehildrcn to
study through
the tlttrllctive
Itnd fllScillftling means
possible.
There
should be dues, but the dues should be
nominal.
In spending :lOy fund accumulatcd
thl'ough
dnes, it mig-lit be weI; to devot.e n portion to rcfreshments, etc., and another portion to the fOl'lllntion of
a clu.b libl'll.l'y 01' t9 the ;JUI'ChnRe of musical books, ctc.
Lnter we will present C01II'Sellof study which mny
bc pursucd through inexpcnsive
books with the nssistnn~
of 'J'll~: ]~TUI)E,
'We will be plellsed to nnswer nny questions thnt
may come in to this cI pllrtment.
Ad<l,'ess lettel's Club
Department
J~ditol' or 'I'IIF~ j';TlllH:, J712 Chcstnut
strcet, PhiladelphiA.
Write only ..on one side o( lI.
shect of paper' an(1 ill c\·el·.1' case gh'c ~'Ollr .name
nnd address,
News of Musical
Clubs.
Have rend so much of club wOl'k iu ~L'J1E ETUDE
that 1 have decided to organize 1\ club among my
pinno pupils. I hnve quite l\ lnrgc C!tH!.S alh: urn quite
sure it would be \'ery hell)flll to t1l<'\11,
J\1"F.: B. 0011 EWrY.
'I'he thing thut seemed to awoken mosl inlHcst wns
an illustmted
progrllm which wa!:! plunned us a surprise to the club.
Bach membcr hnd 1\ niece to pll\y
and I 1l1'1'(Jllged n simple illustrlltioll
for 1\8 lllUllY U8
possible.
All wen' vel'.\' simple and l'eQuired little
timc, The folding dool's were closed betwcen numbers,
find different childrcn were clllled out IlS necded to do
the illustmting.
Soldiers' Murch: Two boys with flug 3nd gun kept
step amI pJn~'e(1 the;\' W\lre lIlarchin~.
Long. Long
.\;0: A little girl in cap uod kerchief (tnd glasses,
Lusr with her knitting.
Yesper Hour: A blllck shawl,
large white handkerchIef
and ",trillg of bends con\"el'tcd 1\ soher little maid into l\ \,cn· l1c\'out sister,
who kneels nt her PI·nyers. with thl' liA'ht8 tllrned low .
Thc Butterflics:
This wns the prettiest
of all. The
butterflies
\\'ere simply toatle of bright tissu(' puper.
:\ thrend was tied to each and the)' were hung on
n fine wir('. !':tretehcd across
thc doorway.
A ~irl
stood at each si(l('. just out of sight. and with a large
fan mAde the butterflics
flutter.
The wire und Strill~" weI'/' ilH'isible fit night. and
one boy exclAimed. "\\!Jy don't they fly awny'!"'.
It was all very simple, but it pleased the c1uldren
and ~n\'e them new ideas about their music meaning
something.
FANNIE
GtLBF;RT.
fMifor Club Department:
Dcar l:;ir: We met Friday n.ftemoon
At 4 o'clock
eoeh week during the winter to study the lives or the
masters, but did nOl selC('t II nnme,
1 am very thR.nk·
ful for the help we receiv(> from ETUDE.
RespC('[fnlly youns,
~fH5.
NELT.lE
P"R){ENTER.
THe
752
ETUDe
THE
THANKSGIVING
ON
SALE NOTES.
Last month proved, as we
expected, the busiest in our existence. It seems
that each year the season opens a little later, which
means that we are deluged with orders, all within a
very short time, to open almost every school on our
books.
By almost superhuman
effort we have gotten
the first packages out to every person.
That rush is
past and we now stand ready to supplement
all orders
with a carefully selected package for special needs.
Be particular,
in making the order, to give the most
careful explanation
possible, mentioning
as examples
of style and difficulty, certain pieces.
The above refers
only to On Sale music;
We have
never had a better organization for regular order filling or a better stock than we have to-day.
Every'
order has our attention
the day it is received .. Our
discounts
can not be bettered, even if they might be
duplicated.
Our terms are made to suit the purchaser.
Philadelphia
is a day nearer the entire' 'Vest and
South than New York, irrespective
of better service.
Our publications
are right, our prices are ....
ight, and
satisfaction
is guaranteed
no matter what the cost to
us.
• • •
TWENTY-FOUR
PROGRESSIVE' STUDIES
FOR THE PIPE ORGAN, by Geo. E. Whiting, will be continued
on special offer during the cur·
rent month.
This work is planned to meet the requirements of the avel'age elementary
student in organ playing, having a fair pianoforte
technic and some theoretical knowledge.
It may be takeli np in connection
with, or immediately followiug, Stainer's
'''I'he Organ,"
or Rogers' "Graded Materials
for the Pipe Organ," or
in fact any elementary
organ work.
Mr. 'Vhiting
is
an organist and teacher of the widest possible experience.
His work is of the most practical
character.
The studies embody all varieties
of pedal technic in
conjunction
with
valuable
and interesting
~anual
practice,
together
with many hints
on registration.
Many of these studies
may be used as voluntaries,
preludes, overtures,
and postludes.
They are exceed·
ingly musical and highly original.
A pupil having mastered this work is well prepared
to advance to the
more important
organ literatQre.
The special introductory
price in advance of publication
during the current
month will be 30 cents,
postpaid,
if cash accompanies
the order.
HE
T
COMPREHENSIVE SCALE AND ARPEGGIO MANUAL, by Walter Macfarren, is
now ready, and the special price i~ herewith
withdrawn.
This work will be in constant
demand.
It
will appeal especially to those desiring a book of scales
which is absolutely complete in every particular;
one
which has the scales written out in full with their correct fingering, in all keys, in octaves, tenths, sixths,
double thirds, double sixths, double octaves, etc., both
in similar and contrary motion.
Also the arpeggios of
the common, dominant and diminished seventh chords
in' all keys in similar and contrary
motion, including
also all tonne of the minor scale and all fingerings
for the chromatic
scale. The book is printed from specially engraved, extra large plates and presents a handsome appearance.
'Ve would be pleased to send a copy
for examination
to all who may be interested.
• • •
WE
HAVE RECENTLY
IMPORTED and have
for sale a new edition of Llsst's Rhapsodies.
This is the only edition published which has the entire
15 Rhapsodies
contained in one volume.
The edition
has been prepared with great care and is edited by the
famous pianist Eugen D'Albert, .whose Liszt interpretations
are unrivalled.
In addition to the complete
volume, each of the Rhapsodies is published separately
in sheet form.
The price of the complete edition in
book form, paper, is $2.00, cloth $2.50, subject to a
discount of 25 per cent.
The price of each Rhapsodie
separately
is $1.00, subject to a discount of 50 per
cent.
We shall be glad to fill orders.
• • •
MUSICAL
POEMS FOR CHILDEN,
by Oc-
tavia
Hudson,
a little
work announced
last
month, is nearly ready, but will be continued
on special offer during the current
month.
The author of
this work is a teacher of long experience in elementary
work or with ·young children, and is wel] known as a
writer of this and kindred subjects.
This collection of
short pieces is intended more particularly
to develop
the sense of rhythm and incorporate
style and expression in playing.
The pieces have an added interest in
that they are accompanied
by texts which in most
cases may be sung with music.
'These may be used
for class or private
instruction
or kindergarten
work.
The price in advance
of publication
is 20 cents,
postpaid,
if cash accompanies
the order.
• • •
SCHUMANN'S
SCENES FROM CHILDHOOD,
OP. 15, AND ALBUM FOR THE YOUNG,
OP. 68, wiII be .continued
on special
offer dnri;lg
the current
month.
'Both of these works have been
added to the Presser Collection.
Each Opus may be
had separately
in a single volume or the two may be
had combined in one volume.
These are tbe most perfect pieces of the kind ever written.
The pieces' contained in Op. 68 are rather easier than those contained
in Op. 15, some of them being suited to quite young
players, while those in Op. 15 are not to be played by
children only, but may be played to children by their
elders.
No finer teaching material may be found. The
two works have been prepared
in our usuai painstaking manner, all previous editions having been diligently
compared.
.
The special offer price on Op. 15 is 10c; on Op. 68,
15 cents, and on Ops. 15 and 68 combined the price
will be 20 cents, postpaid in each case, if cash accompanies the order.
RICHARD
WAGNER.
THE above is a small reproduction
of a Dew paint·
ing of this great master.
The cut gives but a small
.idea of its beauty, its tone, its color, but at least it
serves as a guide to its composition.
The print is a
superb copy with a soft delicate finish; in size seven
by ten inches, surrounded
by a generous mal'gin.
A
beautiful
gift for Christmas,
and as our supply is
limited, we suggest early orders to avoid disappoint~
ments.
We wiII send a copy securely packed to aoy
address, all charges prepaid, upon receipt of one dollar.
• • •
MUSICA~
NOVELTIES IN JEWELRY.
Ou
page (54 of tIllS Issue Will be fouud au advertisement of stick pins, breast pins and the collar and
cuff pins which are so much used by women today.
Containing,
as will be seen in the illustration
11 musi.cal example expressing three good, strong sen~imcnts.
These pins are very well made of good material
and sold ~t a very reasonable
price.
They make an
. excellent badge for music clubs or classes, and a most
acceptable
and -ver~ appropriate
present among musical people.
The stick pins and cnff pins can be had
in any of the sentiments,
and the price is but 25
cents each.; the breast pin contains
all three senti.
ments,
and the price is 50 cents.
'l'hese are the
same .articles, with the exception
of the ladies' cuff
and collar pins, that we advertised
last year
and
which prove~ so popular.
.
,
AND CHRISTMAS MUSIC.
A large stock of services and music suitable for
Thanksgiving
Day and Christmas
Day exercises, indeed, almost everything
published of this character
is in our stock, and we shall be glad to make selections
for anyone
of our patrons interested,
at our usual
liberal discounts and terms.
ETUDE
753
THE NILES BRYANT
School of Piano Tuning
Founded In 1898. became a State Corporauonln
THE EVERETT PIAN 0
1906.
Every appeal we make for consideration
• ••
this piano is caused
yOUTHFUL
FOR
SONGS
but it will
DIVERSIONS, by Geo. L. Spaulding, which will be continued on special offer
during the current month, may be regarded as a sequence to the author's
widely known "Tunes and
Rhymes for the Playroom."
It is a work wbich may be
used in the early second grade. It contains 14 pieces
in various rhythms and styles, chiefly written in the
keys of C, G and F, each piece introducing some wellknown or traditional
children's melody as its middle
theme, its usual text being printed with the melody.
Young pupils especially will be delighted with these
pieces, but they will serve to amuse and instruct both
young and old.
,
The special introductory
price on this work wi!i be
20 cents, postpaid, if cash accompanies
the order.
CHILDREN
is now almost r en d t,
be continued
on spectaj offer d urmg
~
the current month. 'I'bla collection of Chlidren's Songs
will be of the most varied character
suited to all possible uses and for children of all ages. There are Son"s
for the home, for school and for recital, inclUding SOlo"s
duets and choruses, together with a number of costume
and action songs, musical drills, etc. The WOrk will
gotten out in handsome style, durably bound .
The special offer price during the current month will
be 30 cents, postpaid,
if cash accompanies
the order.
If charged, postage will be additional.
b:
JOSEPH
JOACHIM.
In response to numerous reo
quests for a picture suitable for framing of this
late genius,
we have imported
aud .huve now for
sale copies of a painting
by John Singer Sargent.
The
ol'iginal
was presented
on the occasioo
of
Joachim's
Diamond
JUbilee, on May 16, 1904, at
Queen's Hall, Loudon.
The copy is a photogravure
print that retains the work of the brush and the spirit
of the artist.
In size it is couveoient for studio decoration, being seven by nine inches, surrounded by a generous margin.
e will send a copy to any addresss.
securely packed, all charges prepaid, upon receipt of
one dollar.
Send for onr catalogue of pictures for studio decoration.
Free for the asking.
CATHOLIC CHOIR AND SODALITY. CoIIecion of Sacred xruste. cOllljJih:u by A. H. Rc-
Sewig, Director of the
hoir of Kt. Charles Borrcmeo
R. C. Church of Philadelphln,
has juxt been published in
two volumes of 112 pages euch.
Hflth volumes contain a
varied collection oC solos, ducts, trios. qU:ll't~ttes and choruses suitable for all Feasts anll ~pasons of the year.
They have been carefully
selected to meet the present requirements,
being mostly r1l:-;Y, !4hort and melodious.
VOltHllC
I contains
somc wl'll-kno\'m
OlIertorfes, complete
Gregorinll
Yesp<,l'!;, Litanies,
Benediction Hymns, etc., whilst
Voluu\{' I I contains mostly
selections
wbich hU\'e never befon'
been printed in
book form.
Many of thc selections
ha'-e both Lalln
and English
words.
From till.' authlll"S
long exeprieuce and the care he has taken in compiling these
books, we can heaI'LiI.)' recommCIHI thrill to the consideration
of Catholic
Choirs,
Sod:llitips,
Convents,
Schools and the nome
Circle as rontaining
the most
useful and approp.riate
music for nil occasions.
The
price is ~1.50 PCI' \'olulllC', with a lilJl'ral discount to
Choirs, Con\'eots, teuchers, etc. Onp ~ample copy sent
at an iotroductory
cash price of f','\('nty-five
cents,
postpaid, for either volUme of th~ ('f/tholic Ohoir and
Sodality.
•
•
•
TUIS will be ihr- last month for
METHODICAL
the special
oITel' on i\I I'. Roofs
SIGHT
Sight
Singing
]:ook,
Op. ]21.
SINGING.
The work is about complete.
It
is the Third Part of his Methodi<'al
Right Singing.
This work is the most s.}'stematic
awl modern work
on sight r~adillg that we .ha.ve.
It is up to date in
every respect.
It is the most recent work of one of
the leading voice authorities
in tht' ruited
States;
a man who is by nature
and edueal ion, a teacher.
The success of the first two \'olulllcs h'lS been remarkable, and we should like to see e"ern)1\e who is interested at a.1l, directly or indirectly
in ~ight singing, have
·a copy of this work.
During the time the work is in preparation,
we ba.ve
a special offer on tile work of only 2;)c postpaid.
• • •
.CHOPIN
Chopin Album is possibly
ALBUM.
the most populnr
of all music
books of a high grnde for the
piano.
It contains tbe very best picc'ps of this gifted
COmposer. There is scarcely u pupil oC nny advancement WllO does not need this album.
Our edition is
~dited by Isidor Philipp,
oue of the leading teachers
lU the Paris
Conservatory.
Our price is quite a nominal oue, only SOc for the
whole volume postpaid.
There al'e quite a number of
pieccs in this vain me that retail for $1.00 each.
TilE
· .
'"
THE Violin Method by Geo.
Lehmann
is still haugiog fire,
and we nre unable to deliver the
copies
until
after
the manuscript is completely in our hands.
About two-thirdS of
the work is finished and we are now in hopes of soon
having the entire work all the market.
We ask the indulgence of our readers for a short time longer.
In
the meantime the work is still on special offer at oiOc
postpaid~
LEHMANN'S
VIOLIN
METHOD.
tone
"T
)
ETUDE
• ••
CLUB BUTTONS.
We make particuhu
mention at this time of these buttons.
'rhey aro
made up of six composers' portraits:
Mozart, Beethoven, Chopin, Mendelssohn, SchuIIII!'tnn.or Liszt. We
give six to every new E'I'UDE
CLUB forming, and
've selI additional
buttons at 30 cents pel' dozen.
EXPLANATORY
NOTES ON OUR MUSIC.
PAGES.
THE mnsical
selections
in this issue have been
planned
to satisfy
varied tastes and fill many deman.ds.
The pieces in point of difliculty cover about
six or more grades, beginning with first. Composers
of various schools and nationalities
are represented,
from Handel
to the present.
Stojowski's
Serenade, Op. 8, No.3, is the work of
a distinguished
pianist
and composer, a pupil of
Paderewski,
now oc~upying an important
position in
the musical
life of this country.
This piece is a
brilliant
example of modern pianism and should be
found on many recital programs.
Bcris Fruozoff's
"Chant
d' Amour"
'is ,auother
modc_,j example
in
which the beautiful
and expressive left hand theme
should suggest a 'cello or baritone solo. This pi~ce
should
be played in rather
free time with large,
singing tone.
rfhe "Vals_e" by R. Schumann is o~e
of the very few movements in w"Illtz time by thiS
composer.
Althongh,
in a way, it reminds one of
Schubert
it is nevertheless
characteristicallY
Schumann, a 'highly idealized treatment of a simple danceform.
The three following pieces although differing materially in scope and ciIaraeter
may yet be gene~allY
classified
as drawing-room
music.
H. ChretIen's
"Tarentelle"
is a very original treatment of this characteristic
dance-form.
It is soappy and full of go,
containing
some novel and clever harmonic effects.
It must he played with vim and at a good speed. F.
G: Rathbun's
';Rosamonde"
is a graceful Ula.z~rka
movement, only moderately difficult but very bnlha?t
of effect.
This piece demands style and elegance III
interpretation
and requiTes 11 variety of tOUC)l~S. ?
Engelmann's
"Love's.Sigh"
is a melodious ex~mple of
the work of this genial and ever-popular
wrlteT.
It
is one of his best works in this particular
sty.le.
rl~he following
three easy teachiog pieces wJiI.:ve
fouod useful and in every -way acceptable.
C.
.
Kero's military
march, "In Review,".OP.
63,. ~o. 1,
is the first of a new set of four pi9ces by thiS weH'·r Kern's marches
known
composer.
Severa I 0 f l' r.
have achieved much popularity
with young students,
its
carrying
of
it .. ~-:,nllf>lling annbures-e-
upericr
tone
distillclion-iu
C:l1'3City or vibratiuu-e-irs
pewee,
and its singin~ qllalhy.
onSlalll ulidng
for the but
in tone il
the secret of our success therein.
Everett TOile is tone
One of our graduates eanling $5.00 for an hour of easy
professional
work .amld llleas:JllJ. surroundings.
• ••
• • •
THE
prinr ipally
'J)'
PIANO TUNINC
Our Graduates
If
leu.
"'C
denni"
among
auribute
ornpel •.
fvcrou
upholds
pianos
THE JOHN CHURCH COMPANY
PAYS.
CINCINNATI
51) to 810 pee Dl.y the Yen.r Round,
Earn
you tire recctvtng
This
sovereignty
lhnl
NEW YORK
CHICAGO
can double
ll~~lJ~:r,N~~~v6,;gl~~s~I:J~~~~
·l~~~.~~~:
In OU(} l'rfLctlcfLl, Elllly Ilull Com~
plete ()ours(). Altcr two or tllroo months
of lelsure·llour study at homo, you call h&
INO
Owners
of
the
Everett
Piano
Co.,
Badon
~~~u\~tl~~r~d~(l~l~~ln~~I;~:g~~g,v~~~C~~g~
hllve
finlslH:ld onr CIlSY, thorough
nnd
:rasclllntiul/;
coureo, tlle Niles Bryout
Scllool or P/llllO TIlUIIlI{wltl A"rll.ntyou II.
Diploma.,
accePted tue world oycr ll.B
P'¥~ieO~~r~fi~~~~I;nONE,
our exclusIve
~~~~~~~k~IlXg8t~~:~;~IIl~~S
J~:r~I~~gll\II~I~~;
Nile.lIry&nt,
President.
clear, personal
correepondcn('o Instructton. AllY On(} \Vho Can
UI~IH' (JlIn Lea.rn to Tunc.
The ACTION lUODEL, repeatedly
~~~I:~~r ~~l~l!~tel!)~:-:~n~{
6t~We~~'I~\~~~
teaclles the student how to rel/:ulllte any
plano, Dud how to repair overy mishap
S~~
°r~u.F:
WI\~C~l
E&I~~~:~I~I~rUdont,
n Tllne.a.I>~ouo, II. fUll-sized modern up·
rIght Plnno Action, also till neCeSIlllr1
tools.
lUullY Professional
Tao(}r8 study
wltli Uij to perfect theUlSelve.s In tbelr
.
nrt. Scores or muslelanl takoour Coursc
The 1'une-a-PhOntl In Use. thnt they may be nble to care for their
own lMtrllmentl.
nut more tllke our Coursc uS no sur() mellnS
to l'IION.E\,:-!UAKING. We Utour students to eommllnd splendId
proUts In the I'ICllsllnt(}st of profes81oM.
lload What some of
our graduateS.Say IIbout It.
HIiVIl mo.doas hll{h as 117 II day, but Illivo ovcry hopo or making more.
JOSII:I'1l
~.. STBOEIILK1S,
701 Park Ave., Drooklyn, I!l. Y.
1
p;:ilo1i:r J~tl~8~n(Iweek took
InI4M~v~itl.nf:'L~~~,Il:ICnL~~,cil~x~?Y
PENNSYLVANIA
~:-::~:~I~2Jf;~
MUSIC
LITHOCRAPHINC
fo~~~~l~gi~~e?;~~~.DTI~;~t~lin~og~car;I~~e~1
8113.;~iJ::1
work.
FilED:NO!t!ll-"'-S,
H1!l Woodward AvO., l)otroit, ltllch.
!500.00 would not tonl])t me to givo up tho knowlcd!e 1 gained trom
your schOOl.
ZICLLl'OLLACK.
L mcrldge, WiS.
I ca.n now tune lour pilinos a day. I recclvlt 112.00 ellch.80 I mnke al
hlgli liS110 for I\, (Iay'e work.
WEI.LUiOTON
H.. REID,Elgin, Ill.
gilt more tuning Ullin I can do. \~'!'Je.
I
1
IC!o:~~~~a;,
~I~S~:.
~~l~~l.
CII.II
cll.sUyearn Ill'> to 1100 PtirK~snph~u~~ll~~iETKnT.
GrInnell, Iowa.
Tile Niles BrYlint School IB everythIng thl\t It elahne to
bll. Ye8t6l'(ill.Y I made $8.00 tunloll" and l·OIXl.lrlnll"
I,lanos."
\
J.:nV&N S. llU:s"T.
GreonvllIe, OhIo.
LET
US MAKE YOU LIKEWISE
PROSPEROUS.
Niles
Bryant
School
of
Piano
Tuning
BattlJ-J~~~~,Ulf~th~'lJ:rS.;-A.
The Aotion Model.
Send for Fr(}e IlJu!ltru.tetl
th'() Booklet.
COMPANY
114 N. 13TH
ST., PHILADELPHIA,
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Music Engravers
and Printers
Estimates promptly furnillhed to compoeers and publisncrll 011Sheet MUllic. Music Books, Band. OrchClltra and
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corrected.
Descrlp-
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COMPOSERS
AUTHORS TEACHERS
Write
For Brain Workers
Plalil maltinr.
For Pric ••
Printing: of Bhllst MUlie ..nd Boob
Copyrlghtl Sec..ured.
Tille. AIL St,.]".
Horsford's Acid Phosphate
Strengthens
the exhausted
and confused
brain, relieves nervous headache and induces
refreshi~g sleep. A wholesome tonic.
E. A. Stege Co.• 252 W. 47th SI., New York
)\Ius .. CYP"IJ""Pby
in .11 it<> 6nnelxo
C. Limeric9
~DUdl~Y
Composer
H. J. STORER
Critic
~
Music Editor
Theoretical
I1"'5ttuction
No. 10 South melts 6trttt, philaddpbil.
Lessons by correspondence. nJanuscripts revised and corre<:M"d.
)
Address care. of THE Ol-IVEIl- DITSON Co .. Boston.
::::.~_~=======(='=I'='='=<t='=bov=='=F=;f=(""==(h=='=~==:
ZABEL BROTHER
....
'
\.]I
.J'.nd
(or
Itemized
and
Sa~pl
MUSIC PRINTE.RS
Columbia
Ave. and
philadelphia.
R.andolph
Pa.
.It.
Please mCDtion THE ETUDE
Price
Lla.
••
AND ENGRAVERS
when addrenlDi our .dnrtiul"l.
TUE ETUDE
37~5~4~=======~===========T!~H~!E~~E~T=:U:D::E;:::===,:,In~R:.:V:i.:\V~":\V:iU:=:b~.
:IO:U:n:d~I~O
:b~.:on:.~o:f~h:iS~---=""=Attention is called. to .the effect of the "bllgle~c:rl~"best,
its echo at the begtnuiug and the end of this'
and
Kaiser'. ll'l'he Younger Set," Op. 2, No. 4 isPle~e.. P.
little waltz movement, its variety in rhythm,a l1ght
,
'
.
Ie treat.
tnent and light
runumg
wor k rendermg
it I>n t
,
P
r ICUlarly
good for teaching purposes.
nul Lawson's "PI
Kittens" is 8 genuine first grade piece bot] laYfU1
,
lying III
the tre blclf'
ee,
suited to small'1Iftll(]S
hand
pleasing
in content.
,I
POOLE
STACCATO AND LEGATO,
PIANOS
ANTON RUBINSTEIN had
to women artists:
,
,
th
Europe by the foremost
Lyon & Healy CREMONATONE
Violins are made under the ~nny skIes 0 sou ern
Iiving'Italian
and French Violin-makers,
in shops under. our exc1usl ...e co trol Ita!"
instruments in tone quality.
The CR,EMONATONE
compares very favorably WIth the best of e 0 id
l~nfl more than a centtJryi
This result isobtained
(1) By using the best old ltaJian wood, gm;ret--seasone
.or, (3) B using a. soft otl
(2) By reproducing
the best examples of the work af Stradavan
and GU("4jr CI"JUS'tendin;
the varnishing
varnish from a recipe undoubtedly
the same as that of the old masters;
y ex
Bnd drying-out
process over a period offrom two to five years.
t
d more flexible with every
We are thus able to offer a new Violin of smooth, even tone that becom~ Sl!ee et' adDViolins our annual sales
month of use. We have long been known as the world's I~ding dealers ,In hlgh:ra
years" experience and is
being from 20.000 to 30,000 Violins,
The CREMONATONE
IS the result 0 more
an
backed by the reputation of this house.
.
J
b G
rias of the HSlVlev coIJectlolJ,
No. G 1125. A reproduction
oftbe
famous Kwg
osep
uarne
,
ents $10600
recently sold by us for$12.000_broad,
sweet tone. SoJd on easy monthly paym,
••
th
B
40
FREE
NOTE.-Protessionala
who have
despairod ot ever obtaining a ... tisfac·
tory Violin outside of the limited stock
of hirh·prioced old onee, are cordially
reQ.uested to order .. CREMONATONE
On seven dsys free trilli.
~~~.'i~
~~ri~e~:~ f~~oan
MusicalHand-book. Contains wlor'
types ot Lyon '" Ilealy Cremotla~,>De
Violinl, BOO
psge., iIIustrationl, pncetl
and descriptions of over 2~,OOD
!IIullcal
Inrnumento, all ot rood Q.uamy.
84 Adams St., ChIcago.
S and
finale.
\Ve haye frenuent
requests
for n violin number '
response to wbicll we have this month added Pap" .I,n
'
lOiS
transcription
of R and.el s celebrated
"Largo."
Violin.
ists will welcome
thiS arrangement
which is reall
one of the best \V~ have seen, avoiding the fault co:
roan to SO many of winding
up with a squeaky and in.
effective passage
in the higher
register
of the instru_
ment.
The
songs
this
month
are particularly
good.
Willeb;{s
;·At Even" is of high artistic merit, admirnble
for teaching
purpost'!'i and available
for recital use.
A. F. Loud's
··We ~hall Meet Each Other
There"
is a Quiet,
dC"otiollal
number
by a Wellknown writ r.
This
BOng iH !'>llitable for the borne
circle aod Cor man)'
r('ligioll~
~'·l'dces.
The POOLr P14NO is a saiclly high G'radc, artistic
instrlllilent.
III points of .tone, action, deSign am;1durability, it is l}nexce\led .. It IS s~ld ,at a reasonable pnce, and
gives the lllghest pOSSible \IllrlllSlC value.
.
ThOllsands of POOLE PIANOS have been sold to dlscrimillsting,
cl:itical. musical people and are tlOW gi\,jng
unqualified satlsfactlOll.
.
Contemplalive purchasers should not fail to ask f?r
our catalogue,
Mailed free,
We take ~ld Plall.OS HI
exchallge and ollr system of tlI.sy payment, IS very lIberal.
We also auend ~o the deH\'ery of .lIew piano without
anJloyallce to Ihe purcllaser, aud elltltely at our expense.
Why IIOt write liS today?
.
expressed.
POOLE
For late by all le.dinf
jeweler;
orcan be ha t direct fr.m
Theodore Presser
1712 Chestnut
Th,
Street, Philad'a
a seneso, fvaluableFRir<E
educational
works, the .above
will be sent to an apphcants
Pm
Stick
(con-
.75
~
.50
.75
Collar or
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25 ct..
each
r
·SONGS OF HELENA
U
I
A FEW
Over 50,000 Copies Sold
By
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MUSIC PUPILS' MEMORANDA
FISHER
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Westel'J1 Depot,
BOOKS ON MUSIC
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ORGANISTS
"Mr. Duncao presenla his n",terinl.ln a moo! I II
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ItudentwDuld find lbestndy ofHBrmony aud CQunt u
madnn",. The .\"trR~
In "restin"
Using.this buoll."-Alicc Regan,
elp~ret and more
'J\. Ycr.1',ntere.llng work whicb will fl.ndread,. II.
,.co.... !l.
tho ·r...."_Pra .. k Damrose~, In.mute oj.lf"sicat A tppreclation .,nnoK students or
'Vcrywell written, especially v..luablefor "tu~e'nts wh h
H
•
N
WHITE.
•
ETUDE
when addressin£
•
Is a question
the country.
ing a greater
to wnte for
to-day.
THE MILLS
1
I ud
,
Ohio
.
f
t
hers throughout
we are solvmg hOI' eaJ desirous of mak.
If you are a teac erall.
. ill a you
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bo
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(
our advertisen.
PUBLISHER
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HOW TO SECURE PUPILS
t
(""i<e:!.~t;~!m~.B
us.,to my ",uden•• "'lIon,,rd."_lY. R.I'.s~~~t'~~~;,"M~:':lrd'i~=;~~~~i~:
Price $1.25
Author's Key to tbe same, 75 cents
TnOMAS
St·V~~~:::
Write for Pree sample book of Floyd J.
Organ
COIllpO!lltlo11!l lor Grand Orgat~d'
H
one and two, as played alld e.ndorsed by
Wlil .
Lemare and olher 1I0ted organIsts.
THEM
. A work which demonstrates that the harmonization of
I I
IS no mere appendage to the study of Harmony and Cou me ~ y
but that it lies itself at the vcry root of musical c~mpositi~~~erpoLnt
('101
Gil'·
DUNCAN
Agent for The Vincent Music Company,
Please mention
~[oru." "Aocept~uce,
S.yYeo,
Y
You," "I ~is" VouSo," "A~ndsummerDay Drcnm.
D, 'E, FORCE MUSIC CO,
156 Monticello
Ave.,
Jersey City, N. J.
:1:870East
onl~cnd it.
Stoneham,
Massachu.lIett.ll
128 W. 18th A '·e., Denver,
Cont"nl~:-'A J.Itt!e,~\'~y,,,"pr~~t~,~~iol~fL:~:
]\[U81('1 {JO.,
Liberal
combinations
cle, '~:'~~;eC:eu:~i:~h~o,::";;,o~~i~~~:~~~ete~:~~"~i.'~Gfro, 1"o~.a~.'Co~~~q~~dY
had ao
I, indispeouble to tbe teacher Or pupil who wi.he. be.t relultt.
Fol:' .ample copy, lIehd 16 (!ent~ 0.. thll
.dd-..essCi ofsb: l>roares8lve muslo:~teachers
Stnr
copy,
ft.rat
br
IXL
oud Eveulu~
2 keys, Sop. 'md Alto Duel.
11.
For MQtlical People, Piano TeacheTtl, Boytl and
outside of school hours. All can madk',
l~~nflr e6s~I;~
A SAMPLE
COPY OF MUSIC an
u
e al
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cent stamps.
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MELODIES
I. B. ARENSTEIN
The favorite piano solo with Teachers and Students
Medium Grade.
SPECIAL 18 CENTS, POSTAGE PAID
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THEODORE LOHR, Publisher,286 Grand St .• New York
8u",~et
I
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Avenue, Philad'a
will find i' to their advantage to get this Catalogue, to use in their reading and eta.dy
"A MOTHER'S PRAYER"
BINGHAM
the malw(acturer;
MUSIC STUDENTS, MUSIC TEACHERS AND MUSIC LO""RS
CHARLES SCRIBNER'S SONS
1"-
Doll's Serenade"
KIII~
0
"'1.2..
ILLINOIS
MUSICAL LITERATURE LIST
FREE
"r 08
SONGS,
,,1ft book
Beautlfut
Price,
New and revised edition with notes on the standard and the latest books in every department of musio
MAILED
A Japanese
Wl8h't I
Postll~l(l 25 cents
Collar or
Cuff Pin.
25 ct •.
each
WAONE1t,
Lhe
BEETITOVEN had a voice so coarse nnd hnrsh that
once, conducting
a reheul'sll!, when he tlltempted
to
hUIll a pnssnge fOt· the 'cello to show how it should
go an invohmtnry
roul" of hughter
Clime from the
or~bestrll.
He turned vcry lcd, but Ilflen\'llrd
himself laughed, and the incideut pusscd on plensnntly.
JAMES P. DOWNS, 14 Park Place. New York
•
.25
.25
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COMPANY
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"RUM BUG MEMORY. SCHOOLS EXPOSED"
~
to say
compO!>er, WllS an ardent
republicnn in 1840. In the nrchi\'Cij of Uread n there
is n document sclting forth n cnae .of high treaijOll
against
the lllusiciull.
lie wua IIccnsed of huving
written to a [riend n Ictt<~l·!>rO!lOsing to tum SllXOny
into a I'CIHlullc. "J~ut whOm shnll we Illtlke pl·eBidenl"f'
he asked. "I see nobody competent fOl' the olliee cxcept
OUl' present
so,·ereign,
Frederick
Augustus
I L."
Frederick
Augustus
does 1I0t scell1 to huve nppreciated the hUll101' of the suggestion
that he should
doff the erowil and conlent himself willi the dignity
of a republicnn president.
For this flnsh of uncon·
scious fun 'Vngnel' had to bolt to Swilzerland.
RICHARD
A Musical Novelty in Jewelry
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Pins, Breast
Pins, Collar
or Cuff Pins and
Cuff
Buttons,
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for Clubs,
Classes
and an
Attractive,
Suitable
and
Lasting
Present
for
Teachers
or
Pupils.
Made
of Sterling
Silver,
enameled in black and finished in natural silver or Roman
Gold finish.
Notice the three good strong sentiments
this
"1 think ladies ought never to study music as an
art.
At least they ought not to take up the time of
teachers who are able to tench and runke true nrtlsta.
And I will tell you why, There is no question but
there are twenty muelcnt ladies to one mualcnt 1I1111l,
and my own experience is thut thcy teurn more (}uiCkly,
have more poetry and, in Inct, nrc more diligent IH11li!8
than men. But what is the invaria.ble r('aull?
Wh.'n
n YOllng Indy has bc<:ome Il I>NtecL I\rUB! BOllle hElodsome muatnche comes t\long, !lul! aile chooses the tlll~ldSOlUe mustache in pl'e(el'cncc to lIrt'"
The four-band piece is an efIecti ve transcription of
one of the most beautiful
numbers from D I '
famous bel I et, "Co ppe lia."
lB,
n -s
. la\'ic Theme clbes
wltb
Variations." The striking and characteristic
them
in an interesting
manner
·'h a brilliant
e"
va"I'ed
~
WI
,
755
LARGE
and valuable
the work
Please mention
THE
COMMISSI,ONS
ETUDE
Cab!'"
.
The musician consented,
sars Olga Raester 1Il ao
interesting volume entitled "Chats Oll Vi?lil~S," and i'lix
months afterward
the ca~man ~\·ns CllJOY1.n~,n coro~
fortable income solcly dCl"lved fl'om ragaOiol s cub.
~,
(?': "t~\-..
IT IS said that the extempore playing o~ the great
Becthoven was marvelous, but he was entllely without the cooluess and self-possession
rcqll1l'ed .b~ n
performer who wishes to render written composItions
with accuracy and finish.
.
.
The same fault was found with hIS CQnduebng the
orchestra;
even before his deafness he often confused
the players by his sudden gestures.
.
At one tilUe he was playing one of hIS own beautiful concertos
for piano and orchestra.
During
a
long passage by the orchestra.
wI ile . the piano was
silent, he forgot his position, and fancylO~ Ilimself con~
ductor for the moment, he threw out hiS anna .at
certain chord, knocking both the candles off the plll.no.
Tbey were picked up, but when the passage ~ns
repeated and· the loud chord recurred, he forgot Inooself again, und the accideot happencd for the second
time.
d . f
and
The audience, in spite of their great a mIra Ion .
spect for the master oousiciun, were convulsed With
,.
,
t
l,',.b so digusted Beethoven
that several
merrlmen , W
,
f 'lIe un offending piano suffered
the couscstrmgs 0
cd·
If·
n
quenccs of his irritation,
which expend
Itsc
lO
prodigious thumping of the keys.
premiums to assist in
,
to those who desire to devote theIr entIre time
THE ETUDE
THE chnrfleteristic
good nature
of raganini,
the
celebrated ftalian violinist, is well illustrated
by the
following anecdote: One day whilc in Vienna he hired
a cab to take him from the hnll wh('l"e h(' had add<J(l
one more to his long list of triumphs
to his lodgin~s.
'When Pnganini awoke tlie next morning he found the
cabman wniting (or nn interview.
lIe, in (act, burst
into Paganini's
pl'ivate apartment.
"'Vhat do you want?"
"Excellency,
I come to solicit a favor of you-a
very great fnvor.
1 am fntllel' of fOil I' children ond
have the houol' to be your fcllow countryman.
You
ure wealtlly, your fame is ,uncqualed,
find if .you
plense you cnn make my fortune."
"'Vhat do you mctlu'l"
"\Vell, nuthorii'.e me to write in large letters at the
back of my vchicle these two words:
'raganini's
1712 CHESTNUT STREET
PH'LADELPHIA,
PA,
.
ur advertisers.
when a dd reSSl1lg 0
"t'ISts of the day mnke a hnbit of inC ELEBRAT EO • •
k"
'I
to
,
h·
- ....... or fingers.
Plld('rcw!l I IS sa.l(
surmg t Clr "VOh ..~
...
•
"'50 000
'
h
ds
insured
at
$45,000,
h,ubehk
at
oil,
,
have h IS an
.
ed
~50 000
and Lina Cavalieri has her voice Insur
at..
,
.
RECITAL PROGRAMS.
Pupu.
01 .4rlhur
J. Rener.
Grand Oatop C!lromatiQue ('I !IdA.). Lint;
In theSmltb)'
r'anow : Deuce ot' rue '1\1)", uenr : Autumn
Ull)·S, L1ndilll)';
'La Baladine
l:! pI4n(8),
L)'sbtrii; Bizsnrrta
ll:!
j'1I11rl.
of Ml'.,
bands),
Ptt ...rucncetu.
!luI/alit'.
MlltHI~
usuce of the nears. Jll'IDS; Clover OI08iJQm, R.thbUD· l)rt'tlUl8 of Youth, Hartorlo; lionk ot tM 1,,('IlVt't,
Ken; i 1"ir~lIU\ll'8 UaIOI) H hdJI.J, WllddinKlon; NUU~N,
ueeu : uranue "ills~ cepnce. ~t1¥ellUllllU; lWI~ 10 .y,
uetue : Yntse Cal)rICt', Str~letlr.1.
PUllll. IJf Mr·., .\flre P. llUIIlIIIJIl'.
A May
lillY
l'l
Iidli.) , ll11tllbun;
Cia ..
R(4t'('ptlon
(1Il4rt:h) Llnds0:l:; CIQv('r BI~llI.
(Wlllu,), H1l1h\)un:
lou lJrllC(\ ('I 11 II,), 1Iollln;
llllli' ,Inh'rmt'uoj,
llQwf'!;
Un)IJY l)i1UCt' 1':ugelmullll:
1.tIVI\ 1lI'I'am" Br(\wn; Ma'
~urkn tl(\ t'OIl(;('t'l, l'eulI.rd; (-"'lIth"tll I·ruel' loUlll March
(tl IlLlIJ.), Itutl!buu.
l'tll>(f~ of MIIi,f ill. 0, IJakrr.
Murch, ill lhe Artna
(01 lid.,)., J-:lll('lmann;
'I'o"lht
Olnnrr.
I;;u~{'llll(tlln:
Whhlllt'rhlJ;: ZI'I)h)'I"iI, 1\('IIlII; Illr1I1l1{'lln, KcohlOl1 ('!til'It: I'ulhth -Ulll.I\"i.\ (6 lid". L Ii har:
wi'llkll'
Soundll of l'l1)rlllg, Wt'nz{'l: I'rollt of lilt' lIullt'r
1lll'9, IJolim: 1)1'Itlluj: ·IQudll. Wolri': I'UIOUlll.o Urlllnnlt,
Uecev(le.
Illlllfill of Jf.
Whell
the
. Zook,
I.lgh,. Arc I~ow (" hds,),
I;;na:~lmann;
Soug. Murcus: 8l1lUllH~r Nlgl,1t \\'IlHz (vlo~ln),
!,'nUlkllu:
~ong ot lhe NlglLtlllJ;ule. ~('(:k{'; Vllllie '{'nl·
lIi'IUU' IHnguet j 111'111'("1 Melillllge, lJil)'C8; l1ullllllrllin
l)relln; (4 h(ls.), ruber.
Slumber
PtlJJIIB
of Mill l'lola
PUIJIIB
of LOllis
Janet.
Mllltllr'
(julop (4 lHla.), 1~llbltzll)'; MountaIn Utile
Scuottlscfic
Kinkle' 'J'artllltclla. I.lIblel're; Dance of the
l'nllslcs, Cill18 Llndee!.: Or\'etln Waltz, Fl. B. ~lll'nceJ;
'IrnuU\eri ('I h(1s.). Schumann: Slh'ery ~IOOIl, I,;lIas. e
J'anson; Joyful Heturn (~ Ilds.). Leon Hlnguet,
1'. McKay.
•
Music Box, Poldlnl: '1'111' .llll;gl~r, Spa~ldlng: Drngon
1,'lles. GilnclJals; Vnlge 1~1)lsode, h.erD; I olonalse III A,
Chopin.
l'upUs of L. Rfc/Ulland 1'IIOIIlPIOI~,
Voesiler Chimes W. G. Smith; 'I'he 'fa Ie of It B~ar,
G. L. Spllllldlnf;:' Sleepy Lund, ~\'lIloughbY, ncad;. I'~r
et~le
Not 1l{'I·th/\ 1l1etzlel': SUllbeam "nltz.
a •.
~elld·· 1IIIIC8 IIIHI Violets, ('hllrll'lilI L1ndsIlY; Iled HOfH'N.
C. W: I{{'I"I\: SIng. Hobin ~lng, 0, I~. RI)lIuldlllg; Mel'ry
Sallol's, II. Engelmllnu: ll'llllfal'e (4 bds.). C. Oobm,
PllpUB
of MiBB BcilHl WltUc.
('I
. Dallae
Clwrlce
Grleg;
Minuet
(,I Ilde.),
Pn<l~~:\~:ki; In the j'nl'k/' Wlllllltlls: ~lYOII~lrlilll~
l~'nllt~l
rUCldet'll1l\n: 'rile Lnwn
'nl·t)",lIeIIlS.
I:
0 8
,
110me (\,nl'1nLlolhll'. Uoer(\{'ll'r; (011 Amore. nf~umont.
£puulsh DlluCe (4 )(Ill.). Moszkowakl; Ln Nllld~,J home.
PUIlf1S
01 .al'-B. Oar(J, l'lcrco
vallee.
PIlpU8
of tlw Ollicava
Nyo,
,
Over !Ill! nnd Dille (4 lids.), r~n,l;elmllml; Drip. DriP!
Dietl!· I'rOIll('uaae Bohm; The "lUnge DllDCC, Cllrt{'r.
Mnl<ieil"s Wish wnitz. lJummc1; Melo/ly. G,u.rlllt ;nI.U~l~RY'
GUl'lltt'
Country
Dance, Simuldlug;
Iiol~e
ut l' IY'
Merkel.' "MIl8SU'S In the Colil, Cold Ground j' Al\flMnrtn,
UOKers'; Con~rt
I~tlldc, MllcDowell; IJe 1'111) ou,
e·
Plano
Ool/c(/c.
Blltterny. Merkel; Hondo d'Amour, Viln We~ter110utj
Jdlllio
I (lck'
8/JIIIIIII1,1;
ROIIg-,
:\lendelasohn.
Rondo:IIJlrlcCIOS~,Mcnde saolin: Vnlse Urlllnnte, Chopin,
of M£.!JB A,mc f,. HI/Ion.
.
V'lisc VelleUenne n!ngu{'t: Mnreh of DWRrfll, [I0l!t.
Joys of SP)'\1l1-\' Geibel: NnrclS8t18, Nevin; A Mny oy
'(/1 Ids)
'Hnthb·lIn· AI·Il1ioIlItIS{'. i\!lIsscnH; Stee1*' Chase,
Fink: SI>rlng; Flow·{'I·S(U lItis.). IMI1·; Dnnce 0 th~ 1lnylnakers (4 Ilds.), Wilson; Silver tHnrll Mazurka, Bo m.
PI/pUB
TAKE THEM OUT,
Or Fecd 'Them Food They
nn Study
On.
Whcn n etudent begins to brenk down from lack of
the right kind of food, there nre only tW? things to
do· either take him out of school or (eed lum properly
on' (ood t1mt will rebuild the brain and nerve cells,
'l'hat food is Grape-Nuts.
A boy writes (rom Jamestown,
N. Y., saying:
"A
short time ago I got into a bad conditioo (r?m o\'erstudy, but Mother having heard.Dbout Grape-Nuts food.
began to feed me on it. It satisfied my hunger better
than noy Qther food, and the results were marvelo.us.
I got fleshy like n good rellow.
lIy usual morDing
headaches disappeared.
and I found I coul~ study fot
a long period without reeling the effects of It,
"My (nee was pale nOli thin, but is now round and
has coosiderable color.
After [ had been using GrapeNuts for nbout two months 1 Celt like a new boy altogether,
[]lave gained ~rcatly in strength as w II as
flesh, and it is a pleasure to study now that [ am .not
bothered with my head,
r passed all of my examlD~tions with a reasonably good percentage, extra good 1D
some of them, and it is Orape-~Ilts
that has saved me
Crom a year's study in entering college.
"Father
and mother hn\'e both been improved by th"
use of Grape-Nuts.
'Mother wae troubled with sleepless nights, and got very lhin, and looked careworn.
She has gained ber normal strength
and looks, aort
sleeps we11 nig1lts:'
"There'a n Reason."
Read "Th~
T:.ond to Well ville" in pkl"1J.
1" H E E T U D E
==============~~=~~~=========---=-
756
TEACHERS'
THE
ROUND
«(."o"ti"ued
JTOI/I
TABLE.
P ge 717)
"On Saturdays
we have a class for theory
t lk
on work
in music,
composition
classes , etc' ., Wit
at b'
which all seem very much in love.
This work .
,
IS
qUIte.
gra t Ullt ou~ on. my l~aI~t,a? d· IS giving the class.
a solid foun~atI?n
In their
mU~lcal studies.
In spite
of my consClentl~U~
efforts to influence the pupils to
bccome good musicians, yet parents
very often can I
their children's
lessons with me, acting on the ad ~
of so-called
'friends,'
in order
to send them t:lceteucher
who charges
an exorbitant
fee, seems b a
fi . I . d' . 1 I
ut
~ super .cla
l~ IViCua,
and who takes no further
lIltel'est III pupils when the door closes on them aft
their lessons.
l\Iy musicales
seem to give pleasu er
.
to both pUpl·1s an d frIends,
but we never hear '"•
.
b'
.
m
~UCII eXer?lSeS
elllg gIven by the teacher
I have
Jllst mentIOned.
Can
you, or any of the 'Com_
panions
of the ROUND TABLE' give me advice in the
matter?
I confess
it is Po problem
that puzzles me.
"Xext
mail I hope to send some stndio thoughts
and experiences
to our table.
"Would
you kindly
tell me bow the trills sbould
be played
in measures
26, 2S and ::?D of Chopin';;
Ballads
in A flat?
Do the grace notes in measures
::.0 and 28 come before the beat, or with it, delaying
the
~.----v-~
26
II
TEACHERS!!
TEACHERS!!
I
SCHOOLS.
CONVENTS.
AND CONSERVATORIES
OF
MUSIC
ARE SUPPLIED
PROMPTLY
WITH EVERYTHING
-
supply
house
reasonable
methods
of THEO.
of the music
PRESSER,
the out-
growth of his intimate knowI..:dge as a tear.her
of their
needs,
and
IN THEIR
WORK
ECONOMICALLY - SATISFACTORILY
By THEO. PRESSER..
The unique but
·NEEDED
perfected
during
twenty
PffILADELPHIA.
PA.
have revolutionized
the music-dea.ling- trade.
years
as a publisher,
It w.iIl par everyone
interested in" any manner to
investigate at first hand the liberal system and
policy followed by this house in its efforts to-
Publish Modern Teaching Material;
To Give the Best Discounts Possible in Every Case:
To Allow the Most Satisfac~ory l'enTls:
To Carry' a Stock. (no matter where published. or by whom) that will
Contain Everything of Value to Music Teachers and Students: and
Thus to Aid l. eoCause of Musical Education and lighten the labors of its followers.
. In th.e new ~uil~ing •. llI~'1714 Chestnut Street, Philadelphia, Pa., lately purchased and remodeled for the best use
of thIS bUSIness, WIth ItS SIX ftoors carefully planned and stocked with everything needed in the Mu i T
h'
II:
cannot say too strongly that we are
s c cae er 15 wor , we
Equipped to Supply Every Teacher
and
School of Music in this Country
No matter how small or how large the trade. with everything
THE
and
Canada
needed.
ON SALE PLAN (original with us) is anan.ted and urried out.OD a fsr more liberal bn;s than obtainable fcom any of cm' ,mitalon,
:;:~~
:;~::baC~~.tcacller Ibc uae and ad..anla..u derived from Ibla plan. and tbe
•
a.me
Hb<r~1discoUnla.cvcn if thcy duir.
10 pIau
We w,1I
their "'lIular
All Orders. Large or Small. receive the same Attention.
All. Orders are Attended to on the Day they are R~ceived.
OUA SYSTEM OF' DEALING; OUR MANY C~T"LOGUES. ARE ALL FREE FOR THE ASKING
SENO A TRIAL ORDER AND ASK FOR OUR PLANS AND CATAl.OQUES, AND THUS SAVE
ALL OUR PUBLICATIONS
SENT ON EXADlINATION
TO RESPO~SIBLE
TlME.
PERSO~S.
THEO. PRESSER.1712Chestnut Street. Philiaedphla.
Pa.
THREE ISSUES FREE
To tho!'>€subscribing this month.
THE
CHOIR
MAGA;ZINE.
contl'1,ins, practical ~Ilg-gestiflns
di,t<ltprl
hy experit..:llce,
(ll gall
mfonnatlon.
slg"mficant
sen'we progr .. ms, helphJ1 :uticlt"s h,' F. W.
\V?dell (editor), Herve D. \~rilkills, D. A Clipping-er. Dr. Samuel A.
Eliot, Tali Esen Morgan <lnd other leading- writers; also
T'lVELVE
PAGES
of stal1d;~rd qua!i!y.
Published
The mUSIc alone \s worlh many
OF
CqURCH
MUSIC
month lv, Suhwription.')o
cents a fe;lT.
timp" the sllhCfTiption price.
It will help
s(ll~'e the .PTobl....m of T?rovidi~g suit::lhlp new :mthems.
Those who subscnbe thiS month WIll receive the last three issues of this year free.
Send
a 2'cent
stSITlP lor
postage
on a sample
The Choir Magazine
Please mention THE ETUDE when ad'dressing our advertisers.
copy
831 Colonial Bldg'
BOSTON
BEN5DORp 5
~B+~~[D[DA
Diffea:5 from other Cocoas in its
-~---===r
==f'..----.-.
28
wasted.
F .... NCIS M.A.CLEI'SSCS, tbe AmerIcan
tenor wbo lUll
"Paulral"
witl1 the neuer W. Savage Engllsl1 Gruod Opera
CompLllly in america,
hus Just been ell";Jgt:d for uve )\;au
1.3 h~lldlng tenor at tbe aerun HO)'1I1 vpera
UOI1¥e.
Tbls
hi «uoiuee Insuruce
or the excellence or tbe ureuiber , . t
tue CHSta peovtced by some or the t.;ngll8l1 opera companree In Amel'lcll.
A :-<EW building wfth aD auditorium to be devoted to
muatcat nud musomc events wlH be ereetM! in Wlike ...
barre, PI.. The hall wlli be able to eeet 2,000 P...orne
and can accommO<..il.le tbe largest cncrueee and cecueeu-es.
h Iurge uiooern
pipe organ wllb etecwrc action
and detached console wfii be tnereueu.
WUk." erre I'
the home or the ConCOI'dla ~lnglllJ; Society. ""llleu "'loU.
tbe J"aiser pl'be at the Iall Nol'ttH'aBtern 8il.nl;crtclIL.
'1'he Roclery Is under Ibe direction or Adolllh lI1otlilen,
TilE new 'ceilist ot
l\~('18~1 QllurtH will be WlllelD
WlIleke.
lie r~A hat vll of ltol'~11 ltDO: nlli> made ileY·
eral Buccellstul €UI'OlICilU tours.
~
Measure.2S
is played in the same manner. Measure
2n is played in the l.sual manner or as follows:
Ask
B rtletl
Co"
Importers,
29
3:
been
your Cocoa.
Do you use the Cocoa in Yellow Wrapper I
Trialcan.
15 cup. for 10 cent&.
tr
The ROUND TABLE is very glad to know that THE
ETUDE has earnest
readers
ill ful' distant
New Zea·
land.
People little realize how far-reaching
their inflnence may perl.aps
iJe. There i~ RGmething so very
remote sounding
in the name Kew 7.ealand, that one
can with difficulty
think
of the h,land
as hving
any connection
with onr aftairs.
Hut 'the first effect
of your
letter
is to awaltcn
liS
out of any suell
drenmy
attitude
of mind, and nol only locate the
island riglit here on Mother
Earth,
but even feel that
it is close to us here
at home,
and learn that
it has inl:aiJitants
that arc human and of our own
kind in thought
and feeling.
Your musical
troubles
do not sl'em to be very
dirr('l'ent from our own.
To all iu1cnts and purposes
~'Olll" letter
could have ('ome to the B.O!,,'ND TABLE from
an~' of our own adjoining
towns.
YOUI' troubles
as
to the superficinl
teachcr
OI'C not 0111.\' oC a type exist·
ing' everywhere.
but are of that
e"ns lcrafng
sort
with which there seems to be no immediate
way of
dealin,:;-.
Quacks
nnd ill'"'omlwtellt
teacl'ers
exist in
e\'cry community,
and often pos~w~s the commercial
instind
in in\'{~rse ratio to their Ill~J"ical understand·
ing and scholarship,
ry the !';hrcwd exercise of
th:s same business
sense tiLey nre C'nabled to flourish
apace, and ill tl.c meantime
ruin the musical prospects of e\'('I'.yone who may happen
to fall into their
clutches.
There
is no legislation
or process of ex·
clusion
that
can touch
them.
'fhe only means of
counteracting
their
influence
is to enlighten
the
public, and this is an exceedingly
slow process, for
from time immemorial
there
has b('en nothing
the
people have resented
more than
being raised out of
their own ignorance.
']'0
enli);hten
the public ball
aHva~rs meaut
tile self-sacrifice,
eVl-'n martyrdom
of
some one.
You call only go on doing your work conscientiously,
and preaclling
your
own propngandu
constantly
and everywhere.
earncstly
bnt without pas'
sion.
Let what you say be simple, logical hnd v,rith·
out heat, or people will misinterpret
your Ulotives.
'What you want to do is to comril1ce people that there
is sllch a thing as consciel~tious
effort. and thnt it is
only by such work that the pupil may be benefit~
in the long run,
and attain
musicianship
that IS
worth striving
for_
IE people can be brought to II
realizing
sense
of the fact
that
it is they theme
seh;es that are being fooled, that it is they that
being
defrauded
of their
money,
and that
theIr
children
are spending
tbeir time to no purpose, then
they
may
be induced
to examine
a little
more
thoroughly
into what is needful
for a musical edu?ation, and in the one who teaches,
before entrustlflg
their children,
or themselves,
as the case may be,
to any teacher's
care.
The awakening
is liable to ::
a severe one to those who ever become sufficie~ "I
enlightened
to know how many years of preciOUS time
have
@
which saves
Have any of tl:e "Companions of the ROUND TABLE"
ever tried to ueul dlrectty with a S!tUllLOU li•.e tuut
suggested in the fOl'eg-olUg? if so we should all be
gtuu to b.now something 01 the method nud rue resutt.
It seems to be a case, however, iu which only general
advice is available.
In nearly every other department of life work, from unrbers
to lawyers,
eredeurials are necessary.
Hut the musical profeaatcn,
like the medical, seems to be peculiarly
liable to
quacks and fakes, .. ith "tom extrll\'ugant
self aSiertion takes tl.e place of reliable credentials.
As long
as this seems to tie cn;;erly swallowed
by n too
gullible public, "'hat can be done to COl'l'ect the abuse?
As a general mle ill u'ills the emphasis comes 011
the note Oil which the trill is made.
Ordinarily
the
trill woulli he.;in Oll G 111lt in measure 20 of your
example. and the stress would I"emnin on the sumo
note. But the t\\'o gnlce notC's trllllSler the Blress to
the note a\)ove. Accordingly
the trill will \)e played
as follows, the Ii' co:niug exactly with the chord in
the bass:
_=ia~
Doubl", St,.englh,
S. L.
Rb+-. .
I
i
trill ',"
tr
757
ETUDE
O,pt. 50,
MUSIC TEACHERS' NATIONAL
ASSOCIATION.
Milk
Boston.
Chocolate.
Mass.
A New Pipe Organ Magazine
The American
Organ
First Issue. October. 1907
This new magazine coutaining 3 ~1>~ges
of pij)llorgan music will
appear I; times 8 year on the ll.ltern"temonth~of Oetolt~.r,December,
Febru"ry, ....pril ..June.a.nd Au!?U~t, 1<: •• '" A"hforcli._the ~uitora.nd
chief contributor. ThIs mac:azmeCOlltam~orgll.U"Volulltafiell
by the
bellt American and Illuropeanauthors,
Pedal
Part
on Separate
Staff
Throughout
This is ~trictly pipe organ music of the be·t I!."r~de,
bell.ut~fully
printlld sheet mu~icsi~e (oblong, 112 pa~e~of mU~lCto each I<sue.
Upon r~quest a copy of the October i"su:ewill be ~en~Oillive day~'
trial to RUyorganist, AI er 5 days $l.:lll,must be paId for a year s
, llub!lCriptionor :.;5 cents for tbe cop.vrer.ened, or the copy must be
returDed postpaid to the publisher. 'fhA uext i._sue(December)
will contain Christmas music.
$1. 50 a year io advance; 3S cents per .iosle copy.
The
Organist
A Magazine of easy Organ Voluntaries
This magazine appea.rs6 til11e~ year on the alternate mon~hll
of November. ,lanu,ry, ~Iar~h, May, ,luly and Sep embe~.· Ihe
1 mu~ic Is printed two staves to the br'lee. ~he ,,,,,dill.part bemg p!-'t
on the Ilta.ff for the left hand. The grade ISea~yPIPeorj!.":Ion
mUSIC,
such &8 can 1'i:adily:lnd ~;l.tisfactorilyh<.\ played on ~he r~ o~gan
',I by ignoring thl' pedal p:lrt j al~oc,~nbe pla,,'eol.ona l}lano1£ de-·lred,
<l2 D&l!eS
of .IDUllic,shefJt mllillC~Ize,oblon.i/;.I.".cllChis~ue. Upon
\ request IL copy of the November IS8u~ con~u~mg Chrl~tma..II:nd
I
Thanksgiving music) will be sent ('11 '"' days trl/d.~ any or~lIonl~t.
After 5 days ~L ,0 I1\UIIt be paid for a )'ear's ~ub"enptlOn,or:{"cent~
fcorthe copy receiv~.d,or the copy must be returned postpaId to the
publisher,
.
$1.50 .. year in advance: 35 cenla per ,lOgIc copy.
I
I
THE LORENZ
PUBLISHING
lSOFiftbAve.,Naw,York
216_218W.
CO.
THE
twenty·nlnth annual meeting ot tbe1\Iuslc Teach·
ers' I\atLOlllll ABIlUl:laUUll\\'111 be held at Columbia Unl·
vet'sit~'. New YOl'k City, from 1'·l'lduy. December 27, to
Tuesoay, lJec(!oolJel' :31. lhlS Is the lll'st meeting of the
Assoclation to be helo In tbe whiter,
It Is tbought by
Its oUicers and many of its 1ll(!llllJel's that such a time
may IH'ove valunl)lo:. anu at least the eXlleriment Is wOI·tb
tl'~'ing, The sess.ous will begm Oil 1"l'Iday mOI'U\ng and
cuntinue till Salul'o:IY noon. On Muuday morning they
wili be resumed. and Will close elthel' ',I.uesdll~' !luon ur
afternoon,
Details of tbe full llrugl'ElW uI'e not yet ready
fOI' aooouucem,"nt, but tbel'e will lJe much to Intel"est
every Ill'aocll of the music-teaChIng pI·ofessloo. Informal
conferences on \'adoul:l speclUltlel:l Will be al'l'ungeli. He·
ports are cxpected il'om committees that bflvo! been at
wOI'k since the last meeting,
IlUl)lH·tant IlUpel's ullon tI.
variety of subjects will be IlI"(!senteo 01' olscusslon.
'l'hough the ASSoclUtlon no longel' unoel'lako:s extensive
concertS. tl.ll'ee 01' four choice l'ecltull~ wid be )ll·ovlded.
'l'he otJIclal pl'OgTUUlwill be Issllcd about Novembel' 1,
and will be widely dlstrlbuted
tlll'Uugbout the country.
Pel'sons do:slrlng to rcceive It and thus know what the
Assoclatlon Is Lolng wIll confer a favor if they will send
tbeIL' names and addresses to the secl·etal'~'. Ralph I"
BaldwIn
81 Tl'cmont
strect,
Hartford,
Connecticut.
Tbe officers ot the Assoclatlon
are: \Valdo S. PI'att,
presIdent:
Chas, n, 1,'III'nswol·th. vlce-presld(!nti .~talph
L. Balowln, secrctal'Y: WaiteI' SPI·Y. treal'.!,urer; Executlvc Committee-Calvin
B. Carly, AI'tliul' Uoote. AI·thur
L 'Manchester. Chns, W. Morrison.
Albert A, Stanley.
Tbis organization
deserves tlle support of all eurnest
American teachers.
It numbel'S among Its olllccrs and
members many of 0\11' Illost sIncere and (levoted AmerIcan
pe(:agogues fl'nd has (lone mucb to foster the best In
American musical IIrt.
The program will Include. amon}; other features, ,adaresses by Dr. Nicholas MUITa:v BlItli.'r: Artbur 1'01"
well. "AmerIcan I~olk ~ont'.'s;" Arthul' I~OO~~,or Hoston,
"Outlines of a Slan(lar'l 1'lano ('url'lcllhlm,
A. L. r.la~;
cbester "('ensuS of Musical Educatlonnl Iustitutlons.
C. 1:. '~onueck, "('ongress of the Ipternational
Musil·
Gesellsc!laft ;" Ralph L. Baldwin,
'Muslc Courses 1n
Grammar ~cbools:" W. Rcott. "'l'he r.lovemcn~. tor the
Advancement of Music In Secon(llll'Y Education:
CharlcE!
Fnl"nswortb, "Obsenratlons of Advanced Courses Now In
Operatl('ll:" Dr . .Tohn C. Gr1ggs "Mu~.lc in H1J;'ibel'Ed~:
Clition In Germany:" Rossiter G. Cole, Musical De~.ree~ .
WaJ(lo >::, Prlltt. "~tandards In Musical Education.
'J he
American Guild of Organists will co-operat.e In making
this one of the most memorable meet1pg~ of the aasoc!a·
tlon
Numerrus othrr most excel1pnt features bave beell
lannp(l
'fhe anoual fre fQr membershIp 1n the asso~latlon 'Is $i~.OO. aod those (Iesirlng to take part in tbe
work of tbls most com'llenr'able Institution are referred
to Ralpb L. Baldwin. 81 Tremont St.. Hnrtford. Conn.
5th St., Dayton, O.
HOME NOTES.
A BARGAIN.
..
For a limited time only, we will send the following five numbers for Piano. postpaid to any ad~;ess, for
c:;n:.
h
.. A Summer Breeze," Two Step,
.. The Eag..el,
arc.
••The Faadnator." Two Step.
Siaeretta, March,
" On the Pike," (Rag Time)
..
Cash or stamps must accompany each order. and POSitIvely
but one order will be sent to anyone person.
Sf'
E. W. BERRY
MUSIC
CO.,
WRITE
•
..
Kanau
City, Moo
fOR
New Piano Catalogue
Reproducing first page of each composition.
_
GILMORE
PUBLlSnlNG
51. Louis, Mo.
CO.
Please mention THE ETUDE when addresslDg our advertiSers.
A MO,\U}fF.;;'T
hl\s recently heen erected to Verdi In
Buffalo .. It is a gIft of the Hallan residents of tbe city.
Dn AnTHun ~h:ES will succeed
conductor of tbe famous Worcester
Wll.]lnce Goodrlcb as
Festival Association.
11' Is announced
that. Allan Hinckley. a well-known
.Amer1can basso. has been engaged to sing tbe rOltestgt
Gnrnemanz, Hagen, Oggner and Koenig Marke a
e
Beyreutb F'estival next summer.
WILLIA}f
MIDOLESCHULTFl.tbe noted organ,;t, ~fl C~~
J
just returned from :t. blghly success u l' P
~a~~'pel~bere Ile plaved upon severfll importllnt occllslons
a~d aronsed grent enthusla.sm nmong Germlln critics.
lb~
REVIEW OF NEW WORKS.
1. Mclodic8 alld ](011) to HarmOflize
'1'11 em, hy I;:dmoot]stoune
Duuclln
(Vincent
MUBlc Co., Publis1Jerll).
2. Lifo aJifi lVo"k of Alfred. lJ rtltle(J II , by Arthur
[lerv y (John Lane, Publisher).
8. BiogrupftJJ of AntOitUlttEl Sterlinu, by M. SterHng
lHacKindlny.
TilE
first OllC, entitled
"(I,lelodies
and now
to
nannonize
Them," will prove to be £l great help to
students
of composition.
The author has treatl.'d the
matter
historienlly
and has given n large number of
well.selected examples to exhibit the gradual evolut;on
of the modern freedom of the harmonic
lrcntment of
Melody.
While the work is not a treatise on harmony.
it will be found all invalullble sUllplement to allY nnd
nil of the standard
works on this branch of the art
of music.
'l'he second book is a sketch of the life nnd work
of Alfred Brunellu,
one of n sel'ies of hooks being
published with the title "Living Masters of Music."
~~. Bruneau
l.olds an assured position in the front
rank of European
compos(>rs.
He hnd as "Ollabol'ntor
the late M. Zola. 'l'o;:;ether they produced severa! opel"llS,
none of which, unfortunately,
have as ~'et been hellrd
on this side of the ocenn.
li"'l'om this sketch one may gather
the impression
t,:l.t M, Bl'IlllC(tU is an artist with lo(ty idcals and
very decided opiniolls, find with the courage of his
convictions.
The story of his life with its strug::lcs
and successes is just the kind of book to act like a
tonic on the young artist who is growing fainthearted
in his elIort to secure place and recognition
ill the
wOl'ld of Music,
The third book on Ollr list is a biographical
sketch
of the late Antoinette Sterling, hy l:cl' FiO·t. M. Sterlinlt
:MacKilldlay.
This is a :>ook that the render, having
beA"un to read. will find it iOlposl:lilJle to lay down
nntil he reaches the word finis.
One does not know
which to admirc most, the greatncss
of the f1rtisl,
or the noble chnroctcr
of the WOlnnn. One of the
charms of the book is the delightful
glimpse it gives
of life in London during the two closing decades of
the last century.
Authors, actors, urtil:lls. men famous
in scicnce and politics, and lenders ill the world of
fashion
all join in their f1dmiration
of and warm
friendshil)
for the American
singer,
whose simple
kindly ways endeared hel' to all who llnd the good
fortune to meet hel', jllst uS surely as her man'el!ous
gift of soug cilptivated all hearers,
TROUBLE FROM COFFEE.
People
Beginning
to Learn
about
the Drug.
"Coffee trented me so badly that I want to ten
people about it, and if you cnn use my letter, I will
be glad.
"1 am forty·five years old and have drank coffee all
my life.
I hnve felt bad for years and did not know
what ailed me. Sometimes I would have to press my
hand agBinst my henrt, I would be in such pain and
I got so I could hnrdl~' do my work.
My head would
feel heavy and dizzy, and many a time I got so blind
I just hud to drop down or else I would ha\'e fallen.
"I felt bad all over. My feet would swell and burt
me. A friend of mine asked me to try Postum and
stop drinking coffee.
I tried the Postum, but it was
some days before I got hold of the right way to mal;:e
it.
My heart disease and dropsy disappeared
and I
got entirely well.
"There is much in making it.
It has to be boiled
longer than ordinary coffee. but when I got it made
good, it was fine, and nOw I woulilu't have coffee in
my house at all.
I am sure that Poslum saved my
life, and 1 am now perfectly
well.
t send y08 the
names of about twenty people tllat have been helped
by leaving off coffee Ilnd using Posturn Food Coffee."
It's worth wbile to read "The Road to \Veil ville"
in pkgs.
758
T"
ETUDE
THE
Intending. purchaser~
FOR MUSICAL
SOCIETIES
AND SCHOOLS
of a strictly first-
Pi an)
class
s h ou I d
not
. (A staff o.f musical
the
in e
MUSIC
~,
~,I
of
merits
,.~;~
THE
WORLD
RENOWNED
SOHMER
FOR
It is the special favorite of the refined anti cultured musical
public
on account
of its unsurpassed tOlle-quality,
une4ualed
durability,
elegance of design and finish.
Catalogue
mailed on
application.
THE
HOME
THE SOHMER-CECILIAN INSIDE PLAYER
SURPASSES ALL OTHERS ...
Fp,Torable TeJ.·llls to ReSI)OllslbIe Pllrtle.
SOHMER
Warerooms,
(Haus.Musik)
&. COMPANY
Cor. 5th Ave. 22d St.,
NEW
YORK
CLASS PINS
Special designs for musical clubs and classes.
Write for illustrations
to the manufacturers.
BENT & BUSH
Orchestral
and
Vocal Works
15 School
'ipr
St.,
Boslon,
ELECTRIC. TUBULAR PNEUMATIC
OR. MECl-fANICAL
ACTIONS
WII:ITll:
1. ORCHESTRAL-
Emmons
WORKS
Arrangement A.
Piano, String - Quintet
and Flute.
Arrangement B.
Harmonium,
Pia no.
String-Quintet and Flute.
of a purely devotional
with
FOR PIPE OR REED ORGANS
THIRTV-NINE
I
FORTV-THR~E
I
Wind or Percussion
can be added ad lihimoreover are already
our
" Orchesterbibliothek"
WRITE
l'OR
CATALOGUE
DREITKOPf& "ARIEL
24 W. 20th St.
.New
York
OR9AN
Price, 50
Price, 50
OPPERTORIES
64 pages of ofie~tones for pipe or reed organs.
cents net, postpaId.
and String-
Price, 50
ALL FOR CHURCH USE
THE LORENZ PUBLISH INC CO.
150 Fifth Avo.,
216·218 W. Fifth
New York
Day~on. Ohio
Secular vocal works, with accompaniment for Harmonium, Piano, StringQuintet and Flute.
Parts for
instruments
tum, and
available in
ORGAN PRELUDES
64 pagl;S Qf pr~hldes for pi pe or reed organs.
cents net, post.paid.
Quintet.
Cc)
ORGAN MARCHES
64 pages of ll1~rches for pipe or reed organs.
cents net, postpaId.
character,
accompaniment
for Organ or Harmonium
Westfield. Mass.
Sach of the three books uamed below contains 64 pages
of music beautifully priuted from eng-raved plates 011 ex, cellent paper, and handsomely bound in limp form that
can be rolled without damag-ing. Each of these books
sells for 50 cents llet, postpaid.
with accompaniment
for Organ and
String-Quintet.
Cb) Works suitable for either Church or
Concert-room,
ESTIMATES
Howard
TWENTY
Works
FOR
50 CENT FOLIOS OF ORGAN MUSIC
II. VOCAL - WORKS
Ca)
Mass.
®rgull.!lof ~iglll'.!lt~rUllr
in the following Simplified Arrangements
I
Springtime
\
=
A SONG
VOICES.
is employed to answer ques>
Questions should be:
written
on one side of the paper only and not wltli
other things on the same sheet.
The writer's
full ad ..
dress must be given In every case or the questions will
receive no attention.
In no case will the writer's name
be printed,
Questions that Ilave no general interest wlll
oat re.ceive attention,)
nons sent
fail to exam-
t.
_.
CYCLE FOR CHILDREN'S
WORDS AND MUSIC BY
MRS. E. L. ASHFORD
Price, $1.00
Th!s cycle consists of five very pretty and well-contrasted
songs, l1ltended to be sung by children's voices in unison A
the songs are connected by interludes, the work may be' used
complete, or any .of the songs may be used separately. Should
it be deemed advl5a.ble ~oproduce t.he cycle in costume and with
action, comple:o dlrecllons a~e gIVen for this purpose, Both
word:;and musIc are such as WIll prove appealing and interestlng
to chIldren, besides being of ifenulne artistic merit Th tit!
of the ~~pare as follows: 'Voice ollbo Soulb Wind ..e"I~s
~oblns,
Bullercups and. Dalsle.;;' .. Th.e Bh!:oIlYDumbl. B•• ~
Away to lbe Woods:'
.
m The ~ilgs dar~ all highly characteristic, and the accompanlPI:~sf~;
0 a mlrably supportlnr tho voices, all are showy and
-, TUEO. PRESSER, \7IZ Cbe.tnut St., Pbilo., Po.
Plea~e mention THE ETUDE when addressing our advertisers.
experts
m by !PtUDJ;l readers.
MRS.
J. B. F.-F.·anels
'I'home was born at Port
Louis, Mauritius,
OctobeL' 18, l8G!J. lIe studied at th
Paris ConservutOl'y
in 1866-70.
His principal
teaCher:
were Duprato
(Theory)
and ~IarmOlitel
(Piano),
He
now lives in Paris and Is kllOWli as a fine teacher a.
clever composer and a critic.
'
He has written
some lighter
wor}.'!
on the oraer at
operettas
for the stage, a m.ystery with music after tho
styie of the old. miracle or mystN,': pIa:;:,;, called l'Enfant
Jesus;
a
mUSical setting
of j'-I)r..\(>o
ana Juliet·
a
s~'mphonie ode "Rymne
a ia Nult" ".ud numerous light
pieces fOl' piano, voice, etC. AnH'n;: the leading pieces.
of Thome for plano are: "ArleC'!'lln ei Columbine," "Pa...
pillions noses,"
"Scaramouche,"
"";'1\ple Confession." •.
Mns. D. H.-It
Is the custom 1 employ a whole rest·
to fill a measure
io any kind ,,: ),~etre, but the best
editol's now do not use It wlw', "it<:' similarly.
For
instance
in a measure
of tbree·lI'.
tl','
metre a dottea
half note would be employed to
the bur and not a
whole note.
C. M.-In ..a mixed quartet
t}j· ,,~::'"h('st voice Is most
always the soprano,
the next b' f! '.he contralto, then
.L ,dy,
however, maythe tenor and lhen the bass.
'l'I\
be taken by any voice. although
i ''S usually given tc.
the soprano.
2. 'l'enor parts written
In the l:· \,'" clef are sung as..
;f' octave
lower in.
written, but the tones sounded ai'
pitch than they would have llf" '\ :l played upop a
violin.
3. 'l'he tenor clef when properl~ ,..r';i\]oyed gives a noteplaced upon the lIne passing tbl·(";~'" the mIddle of this
clef (the fourth
line of the sta:\" , ·.he l'lame pitch as'
that of mlddie or the C on the f~~"t leger Hne below
t.he stalI \vhen the treble or G c.d is employed.
Unfortunately
the tenor clef has hl"'ll H'l'Y promiscuously
cmpioye(l in some parts of AmI'; i'
In fact we have
seen many editIons
of popular
lj,J,j ,ds where it hag
been used where the treble clef s.:
,,1 have been used~
It is now being rapidly
diSC3rd\"1 ,'1 "ngbout the world.
E. n. W.-The
pronunciation
e names you re·
Quest is as follows:
Ba.ch-Bah
sounded hard) ~
Veral-Valrdl
(i with
the sound
in din); Grleg·Greeg; Paglnlul-Pugahnluni
(Ilk·
:'j machine) ; Ysaye-l!:eshee;
Joachlm-Yoahklm;
E"
'_--~eysei
or with
k very softly sounded;
iHochcll'~- \;, ·,ay-lays; GounodGoono; Wienawski-'Ve-ne-v·sld;
.'.1
"_"Igni-~Iascanyee;
Corelil-KoreHI;
'I'osti-Tosti:
(;,,:. j\Jwitscb-Gaybreel
..
owltsch;
Albrechtsberger-Albl"l'::i
ger; Tschalkowsky
-Chikowskl
i Bruhrns-Bt·ahrns.
y"
yill
probably find
Dr. Clarke's Httle pronouncing
,1:.'\ 'lary
published by'I'heo, Presser exuct!.v what )·ou '1,. d.
'l'EAcHEn.-The
expression,
"l'l10:·' 01' the stxth,"
Is
used to designate n form of the l r·«l, t.be simplest chord.
used,
A tdad, as Its name might ;,:::,j.\ is made up or
three notes: a fundamental
or 1'0(1:. ,', hlle the other two·
intervals occur at n distance of n t,Jirrl (major or mInor),
and a fifth (sometimes
altf'red lo '.,'1' forms diminlsbed"
or augmented)
from the fundamenbl.
In the sort of shorthand used to show the harmon \. '·lHQloved, a triad hus
figures ovel' the fundamental
Wl-WD
tLat is a bass note,
showing thus the arithmetical
relul i<:o" of the tones as far
us intervals
are coucerned.
A tri:\d em obviously have in
uddition two positions, Ol' inversioll,~ fl." they are cnUed, III
which the compouent notes of tbe j ri1d [Ire shifted around
so that some other note besides t\)", fnmlflmeutal is lowest
or bass note.
When the third of lilt" uriglunl triad f?r~s..
the bass, the .inverslon
is called the t'llOrd of the SIXtt~,
an
abbreviation
of sixth
nn,l
thjrd
because
e
numerical
relatIon of the fundamental
and fifth to lth~,.
third Is that of sixth and thIrd.
'rile other ,"Invers on
of a triad, when the fifth of the ol'il{itlal triad fOtrDl,~~~~
bass, is called the "chord of t110 "ixth and foul' h,
a similar reason
namelv the nllml'l'i<"fl! relation of WA:"
intervals.
For 'a fullel.' 'explannti01l
see cla1e's tl all
System of 'I'eaching
Harmony,"
or NOI'Fls' " rac ~o
Harmony on a French Bnsls,l
hoth pnbllshed by Th '
Pressel',
A bri-efer account
this subject for young~r'
pupils will be found in a small book. "Chords, Intrrbed:
and EJar-Trallling,"
by Jean Parkman
Brown, pUb s
,
by O. DUson, Boston.
PIANO STUDE:s'T.-For
velocity F;tn{lies, yOU cannot2~!J~
better thnn to use Czerny's Vel?city Stu7~8s,
will
also his Studies for Finger ActiVity, Op.
'.
0 39
also find that certain of the MacDowell s.rl~bes;. Fgote';
published by Arthur P. Schmidt, and also .r u co utai)).
StUdies, Op. 27, Issued by the same pnbltsher,u
vou:
practical
materia\.
For more ndvnnced!
"immight
employ MacDowell's
"Perpetual
}, °h a VirtuoSO
promptu"
and "Dance
of Elves"
from t e
MenStUdies, Op. 46. published by Breitkopf .and :,ae~~Fheuse"
.
delssohn's
"Spinning
Song" and Stow;Jow.s I ss l' a iyric
will add some variety
to this list.
For plerl"F 0 Dl" "To
order "To a 1VlId Rose"
"From a Desert/'.
aI', b s"
a Wnter Lily" from MacDowell's
"Woodland ~~etC"sea_
~Op. 51; "To a Nautilus"
and "1620" from
e... nnd
Pieces"
EmbersS'ceo .s ' ..
,
'
., 55 and "Bv, Smouldering
th
"Fireside
• From a
erman Forest'
from
I"
'b
buOdaot
Op, 61, by the same compose~, wi~1 ~urnls
a varietY'
opportnnity
for grace in pleasmg
smgl.ng thne'id make
of effect and poetic 'expressiveness
wblch s, 0~epertor1'
them most graceful additions
to the teal" h PI'S
of
~Eu
Ft~,~,
08
E' E T U 0
r
759
STUDElNT.-Ferucclo Buaoui, at present. bas cberge or
tbe advanced classes In raenc pla)'lng at the vteoce Cons~r~atory where he replaces Emil Buuer, the wen-known
vir uoso.
Busont wua born uenr Florence, AllrH 1,
1860, the son of Perdlnnudc uueont a. clarinet pla)'er
OF
and Anna Weiss, his wife. a pianist.'
nuscnt'a flut Instruction was from bls mother.
At the nile at atne be
appeared In vtenne.
lIeI'C be studll'd under
IIn.llll
Schmidt, and at Oms under Dr. Mayer. nner which he
BY
made u concert tour of Italy.
At the age of seventeen
!'LORENCE
A. GOODRICH
he cecnma flo member Of the ceteoruteu l'hlllinrmonic
So·
ciety of BOI...~!'Ia, ntter II searching eXIlUlilullion and test
tomlina- It. eet ot aay IIYnthellcltudle. with annot&tiona.
of his abl1ltles. - In ]88U he went to l~elpllie with a
.howiNl' the method ot reeortllruct\nir and IftEmOmlllll.
view to devottng
himsE'lt to ' CO'mIJ,;~ltlon, lie bad to
baaed. upon the theory ot ~uenco formadon pr
lted In
support himself, and III 1888 he uecnme n teacbee at the
C~rich'a
"Guide to MenlQr~inll'." A atudy ot theM
plecev afl(!rthlJ nlAnner fully l,l):plalOed in tho annQlatkllll
neiemgrcre conseevntoey : In 1800 he went to the MOl'
cow Co?servatory lI!tE'r winning tile Hubilistein !)rlze tor
and lIIustrntLo!\1will atoncoopon UP to tholl'ud~t
a'Mro
(:Ompreh~I\llvovi \VlXllntot tho natur') 01' .lructtlral plan
composition.
Later he camo to B08ton a8 l\ plano leacbot nlullcal eomp08lt1on; the)' Alford hwalullblo mental
er at the New gnglnnd Consen'atory,
D\ll'lng bill Ituy
tralnlnlf: will millt') all FII\lIl,lrEx~rcIHlland }~tU(\ mt"ln
i~, Amel'lcn he apilelired at concerts ot tho HoMon
moroa. mu.lcal ItwJlet. 1\.114 will blJcl,lrtllin wtnchlJ lhe
S)mphony Orchcstl·u, nnd In chumlJcr concerts
In '893
\ ..tudetlt to look Into tho ItI"uctural natu~ ot all mUll 1.1
he l'eturned to Europe, making Uel'lIll 11111 !u,nClquar'ier.
eOlnpOildom:
lakon up tor .tudy and llrtlctlto. 1'h~)'
Ill" has made concert tours to l';nJ:'IUlld, Paris. etc.
11as one at. (he most relllnl'kll!ll(' techniques at any living
IH'QvldeA 1)'ltem tor m\'lllvrtllnif pl,d lit in til m .....lv{'.
pianist, altbough his j)(>rrortMnCe8 Ill'Q ollen dellclellt In
uttrtu::tive. pletlllinir And tnteN!lt~nIt"h)/U!,r>a\Ueh'l ",·hlch
('motional wurmlh.
As II COlllj)08('r he hl\$ 1\ toni: list ot
II n )l'QOfot the toulldneu ot the prillclp ('II U»OIl v.:hleh
works Including all orclle81rlll Bulle, IwO string (11l6t't't'tl,
the)' liN) conlltructed. l)ubliBhed In tho 'Sumnl)' •.:dillon"
fl ballet·scene,
It symjlhonlc tOIl(' !lOCtll. II violIn concerto,
III thN!4lPl\rLt. each Pllrt rontAinlnrt five pI <*.
a coneert-jllece for Illnno nnd orc lcsl Ttl, l\ pllitlO concerto
Price: Port I, 75c: Parts II o.nd lll. each 11.00
in whlcb II mille Chal'tllI Is Intl·O<.!\lce<1In the flllllie
(rstl'l\n9'e flS t.hllJ mlly seem, we hn \'e lIK Ill·ecc(lent. ilee·
Ihoven s "Choml ~'nnt:tsin") 1111 overture to n comedy n
THE VERY FIRST
suite "In Armol'," elc .• but hIll most r('llIl1rkllbhl \\'ork
is as an al'l"nnger of Bnch'lj ot'gnn workl tor the plnno
his transcriptions
lind new editlotHI of works by Lls;:t:
LESSONS
AT THE PIANO
etc" nnd hl~ edition with mnny hints for Intcrprlltntloll
BY
fwd technlcnl sU.l;'gcal!onll Or the tlrst pnrt of the "W'ell'rempered Cillvlchord,"
In LIlli finch tl'nnSCI·llltlonll. nlla
MRS. CROSBY
ADAMS
In tlte pel'fortunnce of them, Duaonl stnllds alone to-dny,
Revised o.nd Enlarged.
Price 11.00
INQUInElR.-'rlJe subjecj: at t.!H' Gl'egot'lnu mo{Tes, their
The IIUCCes8 ot thiB book In its original torm was
make-UI), the harmOlllllntlon of mclodles llccording to
moot IlItillfactory, in fuct. rnther unullunl,
With
their scales, is receiving uew amI vital Impulse, In til('
most teuchera tho Inclination mhlht well have been
Catholic Church the Gregorlnn music has superseded nil
to relit content to leave it III It was. oven though,
else; composel's are Increllslngly avnlling themselves of
through l)Mlcticnl daily experience wllh it. improvethe possIbilities for new eX\,reSSlon, WIllie Beethoven
mentll, did suggest themll('lvell.
Mra. Adnmll, howhas made some use of mode hnrnlonlzntlon
notably In
ever. Is nn untiring worker with n Ilaturnl duire to
T. L. D.-There
are two important musIcal works en·
his string (junrtets, they were not in lllllClt evlaenee
provide
the
very
best
that
her
talent.1llllld
experience will
titled "Pelleas
and Melisa[]d~."
Or-e is :l suite taken
among the romantic compOsers, Rrnhms. }IOWCVCr,has
nfTord-hence the I'evision of her book. ln ita reviud
returned to the Idea nnd many of hIs most henullrui
fro~\ incid('ntal music composed, for Mrs. Patrick Camp·
form
,lone
of
the
ol'iginn]
fellturell
nre
omittl'd,
but certhemes al'e hm'monlzed nccordlng to model llUrmOny llud
bell·s London prodllction
of M,leterlinc!t's
drama. bv
tain 0lle9 havo been mllde still more Ilrncticni: othera
not llccording to the major nnd minor scale tl'iads.
'J'he
Gabriel Faur~;
tbe other is the famous opera, taking
havo
been
made
more
useful
byexlenslon
nnd
Ilew
Ollel
modem French eomposel's, especlnlly Gnbrlel FUllrO nod
MaE'tNlinck's
playas
a text, with some lllteratiuns, hy
hllVebeen lidded. IlJI improvement In every WR)' wlll lit
Claude Debussy, have lnl·gel.v t0U11ded tlleir harmonic
once
be
recognized
bynll
who
have
used
lho
orlginlll
book.
Claude Debus!!y.
'I'bis opera. must rr,nk with Strau~s'
style upon model hurmOlllzatlon.
j\
bdef and practlcnl
]n itll, milke-up it remains unchanged, ThQ new mlttter,
"Salome" us t.he two epoch-making dramatic works since
text book Is that by Louis Nle(lcYnleycl' find Joscph
IIIl told, involving nn enlarll"ement of IlOmOtwenty pllieR.
trnnsthe death of 'Wagner.
New Yorlt will hear "Pelleas :ll1d d'Ortigue, entitled "Gre~OI'lall Accompnnlment,"
made lleCesBllrytho slight miso in ])rice.
y
lated
ana
re"ised
by
Wallace
Gooddch.
While
r,rimat'il
Melisande" during the coming season at t.be Manl1att.an
Intendcd for lhe organIst, It Is c(lualiy vahlRb e to lhc
i
.Opera House with Mary Garaen, the American singer,
student wIshing to become nel'Junlntcd with this reo
who created the part in Paris, in the rOle of Melisanae.
CLAYTON F. SUMMY CO.
mill'kable system of harmonl1.ntlon.
~I'rentlse and appendix occupy but nG IlnI:es, It Is llubllshed by Novello.
PUBLISHERS
I
SUBSCRIBElR.-"The Dream of Gerontius" is generally
Ewer & ~o., New York.
·conceded to be Sir Edward Elgnr's strongest anJ most
A. S, V,-Sharps
or flats In parentheseSllre added merely
220
Waba'h
Avenue,
Chicago,
III,
Individual achievement.
It has not only been gh'en freflS a precautlon
to renssure the render thnt these accl_quently In England, but in New York, Worcester, Boston
dentals nre correct.
They are used In mo(llllntory pasnnd other Americnn cities, in Paris and at a festival at
sages, or In any cnse where the exact natuI'o of tbe
Dusseldorf.
where Richard Strauss expressed great aabarmony migbt be In doubt.
"miration
for 1ts beauties.
Elgar·" latest \Vorl,s ill the
E, T. B,-Guy d'lTardelot, one ot thl!' most enpable and
oratorio form, "The Apostles" and "'rhe Kingdom," seem
effective or women composers In Frnnce, WIiS born In tlle
,deficient in the inspiration
of the earlier work, nna presouth ot Frnnce,
She is now Mrs, Rhodes. reslaes In
, sent an added complexity' of musical thought witbout the
Lonaon and has visited America once. She Is known
sume vitality of cbaracterization,
prlnclpnlly as a composer at songs, of wllich the most
Stray Thoughts
the Piano
S, B. L.-It is impossible anntomlcaJiy that the fourth
popular is "Sans Tot"
_and fifth fingers should be as independent in their musBy
H,
ENGELMANN.
SunsCHIlWlll.-Crescendo
an{l diminuendo cannot act· cular action, as tbe tendon nttached to the fourth finger
ually be produced on tlle plnno as \ljlon wlna, brasa or
passes through the tendon of the fifth finger, thus greatly
1. In Summer Field •. (Sdltrzando) 40(.
string Instl'luucnts In which the tORe Is constantly under
bampering its activity.
']'be independence of these fingers
2, Chasing Butlerfliel. (Tarll1ttdle)40(,
the conlrol of the pln~'er, In the Cllse of the pinna, thc
can be greatly cultivated, -especially by employing Isidore
keys when once slrl1cl( cannot of course be modIfied, con3, On the Dreamy Hudeon. (Waltz)
Philipp's
"Exercises
fol', Indcpenaence
of the Fingers"
sequently the pl:mlst hns to produce the illusion of
~else\Vhere referred
to in these columns.
'I'he best ex60(.
crescendo or diminuendo h.y maitlng' ench note a stepphlg
pedient is to llttempt to arrnnge the fingedng in the pas4. Brooklet and the Willow. (Tripltts)
stone, as it wel'e, to grellt.er 01' lesscr volume ot tone,
sages that uy the fourth finger so as to admit the use
He Cllnnot inCl'ense or senslbl,v diminIsh (except b.l' some
· of another finger. In .this wa.y you can often evade dim4°(·
Illpse of tIme) cilch note, but he can Indicate n course at
_cultles that seeni well-nigh impossible.
5. Dance Crotuque
(Caprice)
SOt.
tonnl modiflcntlon which lends the listener to bcileve thnt
he Is hearing a reat crescendo or dlmluucn(lo.
This
To introduo;e th,ne excellent teachin .. piece., all of
AMERICAN COMPOSEIt.-Undoubtedly
the best·lmown
principle
must
influence
tbe
teacher
in
dIrecting
his
(lUwhich are carefully fin ..ered. the five will
American composers of the younger generation nrc Henry
pils how to produce dynanilc shadIng,
.ent podp ..;d on rec.eipt of JOc.
iK. Hadley and Frederick S. Converse.
Haaley wns born in
Somervllle" Mass., in 1871.
His father is at present
0.., '''''''or 'rtf f,,' I~f "dl",
'supervisol'
of music in the public schools of Somervllle.
He was his son's first instructor..
Later, Hadley studied
with the late Stephen Emer;;" with George W, Chadwic]t,
Om you ever consider that music is one a.rt that
· and C, N. Allen (violin).
In 1894 he went to Vien!1a,
&
WM. A. POND
is absolutely j)ul'e?
'I'he sculptor may 80 shupe bis
'where he studied with Mandycewski ana ..others, wrltmg
New York
· several orchestral
wor\l':s, afterwards performed by Anton
clay or his marble stntue that it shall suggest evil
148 Filth Avenue
· Seidl.
In 1896. he returned to the United States, and
thoughts.
The artist may (lut on the canvas the
taught
music at Garden City. L, I" while keeping up
· composItion.
More recently Hadley has been conducting
bacchanalian
<lrinking
scene,
and bring
all the
· and composing in Enrope.
He bas composed three symdegradatioo
of human life before you and into ~'onr
AND LEADERS: I
_phonIes, one of which gained the l'aderewski
prize in
1903; several suites for orchestra, overtures, cantatas.
imagination.
Eyen the architect,
with the aid of
;:il~n:~n:~eot~~~
many songs and two comic operas,
One of the hest
subsidiary arts of decoration,
may contrive mthe" to
· nmong hls 'latest
works, a "tone-poem"
after Wilde's
Choir
and
Class
Voice-Book.
Price
SOc. fOI names lIod
"Salome," is a striking work, well conceived and carrled
injure than uplift mankind.
But music ne\'er t:an
addresses of lIix live choir leaders and :lI5C(half-price).
'out, brllllantly
scored for orchestra, a decided credlt to
be made by itself n means or a voice of degradation.
American music.
F. W. WODELL, (Author)
You may mate it to words that are deg!'ading, and
F, S. Converse was born in Newton, Mass., Jan. 6,
600 Pierce Bldg, Copley Sq.
Bostoo.
Mass.
so drag it down. You may cluster cbout it degrading
1871.
He graduated
from Harvard UJ"!.iversity In 1896.
· with higbest honors in music, composlllg a sonata for
associations,
and so drag it down.
BLt the voice of
:\piano and violin,
After further study with Chadwick
music itself cannot be'so perverted as to be other than
..and Baermann
he went to Munich, where he studied
THREE LA,TEST SONGS
with Rheinberger
and otbers.
Here he graduated with
a voice pure and clean and sweet.-u1Iman
Abbott,
honors. having a symphony in D minor, Op. 7, publl,c1y
'"Tho C.l'('51 Whlto W.y"
performed.
Since his return, he has taught at the New
"Sitting By the Old l1el·'l'th Stone To-night Clrll"
-·England Conservatory,
and at Harvard University, where
'''Y.ko
Me
a.ck to Uo.r Old J.m •• town"
he was successively
instructor
and assistant professor,
To obtain the highest success a teacher must not
Three Beil Songl'lof To-day
Don't ~ withoal them
'treslgning In 1907 to devote himself entirely to coropos,l'
only
possess
the
requisite
intellectual
qualities
and
25e ea.ch or all three 65c In .tampA
tlon.
Among his works are two string quartets Op. ,
MRS.
J.
D.
BROVVNING
(MS.)
and Op. 18' an overture, "Youth," Op. L ('1EISd,);
education;
but she must have a character
so strong
CRANESVIU,E,
_
VA.
·the symphonic poems "Festival
of Pan" Op. 9, "Ln yand clean that the cllildren will look tip to her and
mion's Narrative"
Op 10 (MS)' the "Poems" for plano
follow her example to higher planes of living.
She
'and orchestra after Whitman, "Night," and "Day," OP.l1;
·'the orchestral
fantasy after Whitman "The Mystic Trumshouhl also be enthusiastic.
love the work, and hll\'e
HYMNS AND PROCESSIONALS
·peter," Op. 19; "Dramatic Scenes" for "Jeanne d'Arc." a
such a sympathy for the children in both success and
09 .. ~d
~fHlt'!-I
.. t1y ror ... d .... IE III tlle
drama by Percy MacKaye, Op. 23; a romantIc grand opeta
In one act, "The Pipe of Desire" text by George :m, Bar(aHure that tbey will feel towards her much as they
UTTLE CHURCH AROU 0 THE CORNER, N.
··ton, Op. 21 sueoessfully produced ill Boston during tbe
would towards a true and loving mother.
And finally
" Mo'l of &tl,.'''''t pt._, l~el,.dI.,11ltI
_11 '1_ .. lreol.II., .. tK't........
·seaso~ of i905.
His iatest "'ork, ·'Job," a "dramatIc
"0 PtrlK( 1_ .... u.. p89.let"W', .eI'ClII. "kIM1" .. 4 1"1 ... ,,,_
M!MnP?em for solo voices. chorus ..:.
....~ :'~'chestra, Op. 24, was
sbe sbou1cl pOssess tact to deal wisely with the chil·glven at the recent Worcester iJ'estiva\, october 2. HW7,
SPfCUll
INTRODUCTORY PRiCe. Poalpeld,
50 et •.
dren of various dispositions
intrusted
to her cure.
. under the direction of Wallace ~oodrlch.
Mr. Converse
CLARK & CO., 157 Broadway, N. Y.
'has also written songs but his most successful works are
There must be health and energy enough ·to carry out
'In the larger forms. 'His most domInant qualities are
all tIle prescribed worl-.
,1argeness and breadth of style, poetic Imagination and
Pluse me:ttion THE ETUDE whcn .ddreu,"c our .dvetti,ena.
human .eX:llI!essiveneliSo
A. B. M.~The
proportion
of practising
time to be
given to exer~l.s,;s must depend largely upon the tempera.
merit and abllth';s
of ~~e Individual pupil,
Some hands
acquire and retam racnttz very easily, while others have
to work constantly and unremittingly
to keep from Icaing
j
what they have gained at the expense of untold errort.
" There are hardly two great pianists of the present probably. who wonld agree as to exactly the amount necessary
to .be devoted to exercises. for they would Invarfably give
simply their own personal
predilection.
If, however
three hours are devoted to practising, it Is safe to so.;
that from one hour to one hour and a half should be
given up to finger exercises,
'rnec from oue and a half
to one hour for studying pieces, and half an hour for
the review of old pleces, etc. On the other hand. there
are pianists
of ability who piny relatively few finger
exercises, but maintain that the proper study of pieces
involves the practise of so many passages and the repetition of so many phrases as to fUl'lllsll sullicient material of a nature slmBar to finger exercises. All are agreed
upon one point, however, that morc depenas upon the
tIHWtncr of practising,
the concentration,
ana alert attention, the insistence upon slow, rhythmictll pl'actlse rather
than the exact subdivision of time employed.
Among
the most useful finger exercises arc the so-called "Smaller
Pischna" published hy 'I'heo. Pressel'; the l'cgular Plsehna
Exercises, tbe two books of teclmlcal exercises by Ma.cLJowell, published
by llreitltopf and Haertel;
then tOe
whole s~ries of e:!Wl'clses by Isidore .Pbllipp, tencbel' at
the Pans Consel'vatory-"Dnily
StudIes," "Exercises fol'
Independence of the Fingers" (especlrilly valuable), 'rechnical I'.:xercises for the Left Hand," "Exercises in Bxtension," "The 'I'rill," "One Hour of Exerctses"
"School
of Double Notes," "School of Octaves" (both ~xhaustive
in their scope and exceedingly usefui),
In addition,
special methods, such as the Leschetizky metbod have
tbcir. own exercises, ~ See the books on tbls method by
Maivmll Br~e, pUblished by Schirmer, and that by Marie
Prentner, pUblished by Tbeoaore Presser.
SYNTHETIC
SERIES
PIANO PIECES
Ite
I
il
TEJ{C"
I NG
MATERUL
tor
..
co.,
' S' g
To ChOlr In ers
,V.
Y,
ETUDE
THE
760
TO COLLEGES
AND SCHOOLS
LYON & HEALY
Pipe Organs
HAVING
MUSIC DEPARTMENTS
We beg to announce the
publication, as a complete
work. in tim e for the
FALL
Larc~ ~d
a
fined Pipe Ori~ W~rkt in the United States
Tubular and Electro-Pneumatic
Pipe Organs of the Highest Type
TERM
Organls" and Clerg-.,'men ':Ire !nvit~d to write fO!"18.cOPl.
(freel of "Modern TendenCIes In Flr,a Orgnn- BUI ~,,'J'~
"A Study of the
Appreciation
of Music"
Estimates
promptly
furnished.
Orga-us from !l;500 tol ........
·
.
Recent examples of our work:
St. John's E plBCOPA. T to)",
N. Y.: Ponce de Leon A,'e....ue Baptist ,AtlantA, ~a.; German.
American
Musio Hall
Akron, Ohio; F.ll'St Baj,~.18t. OkT~hom ...
Citv Okla."
St. Puuj\" Epiacopul
wrnone.
MinD.!"
010118
Ordi&!ltra brgan. Chicago; Churoh
of Our Lady 0 Borrows.
-..,,-:::l.----::~:::::"""'"~;--...
ObiCfl~'~O~.
Pipe Or8&D Exhibition HaD (the only one in America)
Addren 41 Adam. St., Chicllgo
Worn: B_ule Creek, Mich.
BY
Thomas Whitney Surette
Mason
and Daniel Gregory
A TEXT-BOOK FOR STUDENTS,
PROFESSIONALS and NON·PROFESSIONALS
CLOTH,
$1.50
Supplements
referred to in the text, specially
edited
and
annotated
by the authors, are published in one
separate volume or in single numbers.
We shall be pleased to correspond
desiring to include the work in their
for the coming
with those
curriculum
year.
Special terms on application.
THE lie W.
ORA Y CO.
ZI EAST 17th STREET,
NEW YORK
Sole Agents for
NOVELLO
&. CO.,
Ltd.
LONDON
SWALLOWS
RETURN
The latest and best piano solo written by the
celebrated composer of Robin's
Return, Leander Fisher.
Beautiful and original.
Postpaid
to you for 15 two cent stamps, from
TIlE fBERLf
MUSIC
]n anticlpatlon 01' tile unnual dewand fOl' music
suItable for Thanksgiving Services, we have prepared the following list of Anthems llnd solos, any
of wblcb we would be pleased to send to our
patrons fOJ: exami'nutlon.
ANTI1Ei\1:5 FOR THANKSGIVIl'\O
It presents, in untechnical
language and pro·
gressive order, the main. facts of musical structure
and history, from the simplest
folk songs and
dances up to the Symphony of Beethoven.
Musical
THANKSGIVING
"IISIC CO.,86 Wesl Ave ••Buffalo, N. Y.
DAY.
And GOd Said Let the Earth (Mixed Voices),
Simper .. ,
,
",
, ...•. , .15
Hallelujah, "Messiah,"
G. H. H!lndel. ... ~, .$0.08
Heavens are Telling, The, "CreatIOn," Ha)·dn.
.06
I Will Praise Tree, 0 God, '1' • .E'rank Alleu,...
.10
Jubilate Deo, E, S. It'ield, . , ... , . , , . . . . . . . . . .30
Let the' Peor-le, Praise Thee, W. Carter .....
,.
.08
Let the Rlghwous Be Gbd, C. Darmon .. '. . . . . .15
Lord of Harv~at (Mixed Voices), Brackett....
.15
Make a Joyful Noise Unto the Lord (Mixed
Voices), Simper
.08
Lord of the Harvest, Thee We Hail, P. H.
Brackett
.....
, .... ,
,15
o Be Joyful in the Lord, Jubilate Deo in C,
Carl Bruche
.,............
.12
o Be Joyful in the Lord, Jubilate Deo in F,
Geo. M. Darrett.,...
.08
o Be Joyful in the Lord, Jubilate Deo in F,
Berthold 'rours
,
,.".,.....
.06
o Lord, How Manifold Are Thy Works, Jo,,;eph
Bal'nlly
,...
.08
o Praise the Lord, All Ye Nations, H, P. Danks .06
o Praise God in His Holiness, Whitfield. . . . ..
.25
:Praise the Lord, Ye Servants, J. :M. Crament..
.15
Praise the Lord, All Ye Nations, Fiske. . . . . . . .10
Praise the Lord,~ 0 Jerusalem (Harvest),
C.
Darntou ,
,
,
,
.12
Praise Ye the Father, Charles Gounod .. ,
.06
Praise the Lord, A. "\V. Lansing .....
,.,....
.15
Praise Ye the Lord. (From Cantata_ "Nain"),
Homer A. NorriS.
.15
Rejoice in tbe Lord, A. Be1'rill!!;e
,
, .15
To Thee, 0 Lord, Otlr Hearts We Raise (Mixed
Voices), Dressler
·• .20
SOLOS IN SHEET FORM.
Crown Him Lord of All (High Voice), Henry
Parker
,
,
,
,........
.60
Crown Him Lord of All (Medium Voice),
Henry Parker .. ,
,
,...
.60
Crown Him Lord of All (Low -Voice), Henry
Parker
,
,
".
.60
o Give Thanks (Low Voice), L. Feldpauche...
.40
Praise the Lord (Medium Voice), G. Rnpes".
.35
Song of Praise, A (:Medium Voice), G. Goublier .30
We allow liberal discounts on lnrge or' small
quantities nnd our lIsual promlltness .In executing
orders maye be depended upon.
We onl,v suggest tbat all orders be sent In at tbe enrllest possIble date so as toal1ow sufficient time 1'01' rehearsals.
Sella
THEO. PRESSER,
all o' Jus
to
Publisher.
ALFREDREISENAUEU,the noted pianist, who baa tour"'d
In America, died of benr t dlseas,,:. In Berlin on Octob~r
4th.
Rel~enauer was .. born in Konigsburg in 1863 and
studied WIth Louis Kohfer-, At a very early age Reiseneuer's mother took lum to Llsat, who recognized the
child's great musical talent and is said to have we t
with joy at dlscovedng so great a genius. Liszt retus~d
to teach Itcteonauor at that time, claiming that KlIhler
a strict dls6~)linnrinn and a t~Ol'oUgh pedagogue, was
better teacher for a young child than a virtuoso coutd
ever be, Later neieenaeur studied with Llszt, who was
wont to represent him as one 01' his best pupf la. Reisenauer had a remarkabte memory and an astonIshing technic. In later life his powers failed.
He made tours In
nil parts of the world, even Siberia and Central Asia in
manv Instances baing' the first pianist of note to appeal
in Oriental cities.
As a composer ueteeunuee Is not
worthy of aertous eonstdern tl cn.
Renders, rleatr-lng tc
know more of Reisenauer n nd bls work ara referred tc
the extensive article upon blm in ~'lHj lTITuDEfor 1906,
GRlEG'S request tbat
his body be cremated was carrtec
out and Emperor Willium sent n special representaun
to hIs runerer.
Phi1a•• Pa.
DEl PAeHMAN, the noted pianist, Is said to be aa earnest student of phllosopby and It Is cluimed tbat he ts
familial' with the works of Spmoea, Kuu t , Spencer, Dar
win, Schoepenhauel', and uuxtey.
'I'n a iumous Stuttgardt
Conservatory,
from which th,
"Stuttgardt"
method 01' plano playing sprllng whlIe th,
Institution was under the dh'ectlon of Lc])prt and Stark
will celebrate
its IlfUeth unnlversary
tllis year.
Th
present dIrector is Professor S den Lange while the notel
pianoforte
teacher, Mnx PaUl', is at the head of tho
plano classes of the institution.
While the "Stuttgardt'
method has been supplunted by other methods of a some
what less arbitrary
IlDd more Interesting
nature j'
America, the conservntol'y
is apparently
prospering, a
the numbel' of students is 679.
RICIlAlU) STRAUSS' "Salome" will be produced In Ale)
andrla. (Egypt) during tbe coming seasoll. '1'hls does no
seem so unusual when we remember tllat Verdi's Aid
was wrltten for an Egyptian Opera House.
AN English paper reQorts that Miss ?lfarle Hall, tb
violinist aod pupil of Sevcik, who tOUL'cd America l"l
eently. has just returned from a tOU1' which include
the FIJI Islands, where she is said to have met wit
enthusiastic
nudlences,
SUI'ely the dominion of musl
will soon know no bounds,
A 1.1>,\01:-<0
firm of Illnno Dlnnufuctut'('I'S In England m
nOllDce that they arc obliged to rolse the price 01' the
Insiruments
consldembly owing t) the npllHrent perml
nent increase in t.he cost 01' raw material" for planas.
MARK HHtBOURO. the plan 1st who wlll tour Amerl<
this year, has recentl.y returned from 0. highly successf,
concert tour in South A1'dco..
CHAS. WmoR, the noted FI'ench oqmnbt :Jud compose
announces that he haa just completed 0. sacred symphoD
for organ !lnd ol·chestl'a. which he hH.~ dedicated j
the B,"l'lln Aco.demy 01' Fine Al'ts, which has just elect{
him to membershlI).
IT.Af.Ynow boasts of 1,5]7 theatres nnd opera. hOllS
or one for every 22.068 members 01' tllf' population.
Nc
wlthstandlu~ this. illiteracy in Italy is wry great.
n.1GINNINOwith tbe new yeo.r It Is flal<! that Jean l
Reszke will take the newly created post or vocal direct
at the Pads Grand Opern.
IN St. Petersburg. Russia. a great opNa house for t
people Is to be constl'tleted aftel' the d{'slI'es of Ant
Rubinstein.
It will scat 4.000 people and the admlssl
prices will be nominal.
IT is silid that' a manuscript
opera hy Yerd! has'
eently been dIscovered at his home. Th,' opera is Sl
posed to be an early one and was no UQullt put asi
by the composel' as a work of little COIHH'fJUI!Dce.
P,'OEJREWSKIwHi give seventy
d.urlng tht;i coming season.
in
Ameri
COLrJMDANRUSSI, an o,·gullist. recently d;ed In And
matt. Swltzertnnd. at the age of one hunlll'ed and thl
;years. He bad followed his professIon tmccessfully
sIxty-sIx years.
:r.bnJ. NOltOICAbas recently celebrated the twenty-til
anlllV'Crsal'y of hel' first appeurance
1n opera.
She
said to have IUllde he.' debut in 1882 as Marguerite
COUDod's "Faust,"
at the Paris Ol'und Opera,
CAJ<LRH1I'mCK~, the noted Leipzig plOlllst, comp,°b
conductor nnd teacher. has recently celebrated bis e g
third birthday.
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