The Etude: Presser's Musical Magazine (March, 1920)
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* 2.00 A YEAR [x2 z Ss = = i = VY) —_ z Y} as (2) Y) Y) (x) a av PRICE 25 CENTS
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Four Hand Exhibition Pieces FOR THE PIANOFORTE Cele- brated Recital Songs Compiled and Edited by DAVID These Works Present the Best of the Newest and Most Practical Material for Teachers and Music ~ Lovers. * By Various Composers Price, $1.25 NE ‘hundred and ten pages of the best four- - hand music published. The contents are ex- tremely well selected and a number of specially arranged duets are included. Among the composers represented by both original four-hand compositions : _ Or transcriptions are. Cui, Brahms, Moszkowski, : ’ Tschaikowsky, Gottschalk, Jenson, Grieg, Raff, we Displiou. Twenty-Five Melodies for Eye, Ear and Hand Training | FOR THE PIANOFORTE By MATHILDE BILBRO Price, 75 Cents ACH one of the twenty-five melodies is, in E; reality, a study of a special nature. Every one is devoted to some particular point in connec- tion with eye, ear or hand training. Particular at- tention is given to the matter of sight-reading and the consideration of the leger lines. The melodies tend to develop true musicianship in the early inter- mediate grades. Old Rhymes With New Tunes SIX PIANOFORTE COMPOSITIONS By GEO. F. HAMER Price, 60 Cents N this interesting set of teaching pieces by the popular writer, Mr. Geo. F. Hamer, some of the popular old rhymes, such as “Little Jack Hor- ner,” “Jack and Jill,” “Hickery, Dickery, Dock,” have been used as the basis for some excellent writ- ing in characteristic style. The pieces lie in the second or early third grade. The text is ad lib. American | Composers’ Album FOR THE PIANOFORTE Price, $1.25. | | veals’ twenty-two meritorious ‘composi- tions that are ‘the ef- forts of a number of the biést ‘American composers! The pub- lishers. were fortunate in having excellent material’ available for the compilation of this album which stands. as ‘a credit ‘to *American music. ‘No © difficult pieces have~- been in- cluded, but. only. those of medium grade and of exceptional worth. There are over one hundred pages in this album and every page represents American musical ability. Great N* examination ‘of this volume | re- Dvorak, and Rachmaninoff, Pictures from Holiday Land FOR THE PIANOFORTE By DAVID DICK SLATER Price, $1.00 "PXHESE tuneful teaching pieces have a vein of originality, and are thoroughly practical. Take any one of the twelve two-page pieces in this collection, and the experienced teacher will soon note the convenient “lay of the hand” that seems to fit the fingering in such a way that there are few, if any, stum- bling blocks. They “play right off’ and do not put obstacles in the way of the child in the second and third grade. An Opportunity to Ascertain the Real Worth of the Publications of the THEODORE PRESSER CO. To afford a bet- ter opportunity of judging the genuine value of the books listed on this page, we will gladly send. them for exami- nation. To fur- — ther assist in the selection of mu- sic, we have cata- logs covering every classifica- tion. We wi gladly send any of these gratis. Child’s Own Book of Musicians — VERDI — Price, 20 Cents : added to Child’s Own Book of Great: Mu- : sicians series. These clever biographies in- struct the children, and, due to the combination of play and study, impress. the “high: lights” in° the lives of great masters upon their minds. After read- OS adie is the title of the latest biography | ‘ing the facts given-and pasting in the pictures sup- plied, the child writes a story of the, master and then binds the book with the needle and cord sup- plied. Thus the child practically. makes his or’ her “Own Book.” . The series is the work of Mr. Thomas Tapper, and in addition to Verdi, the lives of the following may be had: Bach, Mozart, Schubert, Schumann, Handel, Chopin, Beethoven, Mendels- sohn, Haydn and Wagner. = BISPHAM Price, $2.00 FORTY-SIX MASTER SONGS T HE most notable collection of songs, ancient and modern, made in recent years. Mr. Bispham personally supervised the preparation of these songs and there are copious notes, revisions, English translations, breathing marks, teaching direc- tions prepared with the view of making this work of the widest possible use for the Music Lover, Student and Teacher. There are three complete analytical lessons upon three song masterpieces; a 2,000 word introduction giving advice upon how to select songs for recitals. Substantially and at- tractively bound. Pedal Book Foundation Studies for Acquir- ing Artistic Piano Effects By DR. J. M. BLOSE Price, $1.00 flee is an excellent work that can be taken up by a student in the second year of study and it is at about this point in the pupil’s work that disagreeable and unmusical effects, arising from incor- rect use of the pedal, should be avoided by a clear ’ understanding of the purpose of the pedal, and then adequate drill such as that for which this book en- deavors to provide a foundation. Remember that although it has been said, “The pedal is the soul of the piano,” a student should not depend on “soul” or “inspiration,” but be guided in using the pedal by systematic and intelligent practice. Mail Order Music Supply House Theodore Presser Co. 1710-1712-1714 Chestnut St., Philadelphia, Pa. Music Publishers and Dealers 7
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THE ETUDE | MARCH 1920 Page 146 >» VIN Nuaddad Nui | ‘ ms byehhee J qh "if — \ t edt \, \ nt iN \ | LA MD | HAMMAMET VT HHT hit Hite | MWY If My ; Wi | il The Arts That Make Your House A Cultured Home HE subtle magic that changes a house into a home where you love to dwell is found largely in two arts, music and furniture. When you choose your phonograph, choose it for what it can give you of both. OM p= A phonograph’s value as a musical instrument can be measured only by its realism. Thomas A. Edison spent three million dollars coe i _ in research work to develop a phonograph so realistic that its re- The French-Gothic lines of the production of an artist’s singing or playing cannot be detected posts, and the French-Gothic grille with its Chinese cord-cut frieee from the original, when heard in direct comparison. The result is combine to give an effect of stately beauty. Se SE Lhe NEW EDISON i! a 3 **The Phonograph with a Soul’’ FIs a Pz —=S ) * Weg eg oe er oe wr ar 18 reflects the m| vr Jacobean ten- dency to T literally “RE-CREATES” ance and the New Edison’s RE- most luxurious days, or the es- eee music, and the United States CREATION of it. These re- thetic beauty of Italy’s inspired ange. Government has given Mr. markable tests have been reported furniture art. Edison’s designers Edison the exclusive right to in more than five hundred of went to the original sources of use the word “RE-CREATION” America’s leading newspapers. - every representative period and in connection with the reproduc- If you love music, you probably chose its finest examples. They tion of all forms of music. appreciate good furniture. The ¢Stablished seventeen different The absolute realism of this New Edison not only gives you designs in all. new phonograph has been estab- _ the literal RE-CREATION of an Whichever Cabinet you select, lished by tests with fifty different artist’s voice or instrumental per- your choice will have the en- WILLIAM artists before three million peo- formance, but it also adds to dorsement of Miss Elsie de Wolfe AND MARY ple, who were unable to detect your home an exquisite piece of and Lady Randolph Churchill. (1689- 1702) a difference between any artist’s period furniture. In the minds of these two women, voice or instrumental perform- The entire wealth of furniture’s considered the greatest furniture The legs, Golden Age is yours to choose authorities in the world, the New stretcher, pendent pull, and grille are typical of the taste and del- icacy of this period. from. Youcanhavea New Edison Edison stands supreme. Cabinet which expresses the dig- The New Edison gives all that nity of England’s best periods, or is in music and all that is in fur- the elegance. of France in its niture art. = Y ~ itv ) Write today for your copy of “Edison and Music” NE of Thomas A. Edison’s right-hand men has writtena book about Edison. The book’ paints a fascinating word picture of Mr Edison. It also con- | Elsie de Wolfe \ who designs and furnishes the interiors of the finest homes in America, says: { J Mr. Ealiaon “ge ao te Churchill & | | wh tains 17 exquisite plates and r.Edison has adopted for ; : : aw | ! : , his phonographs are in pleas- pager grr big A ig | = | invaluableinformation about ant contrast to the rather ae Historic Furniture. Wehave oo sage ven — H IS ee ys pr a — | | XVIII CENTURY ENGLISH & issued a special paper-cov- quently sees, 2rom the dim-~ succeeded in putting the char- _ }j/ | ; r ae F «dt inutive Heppelwhite to the acter and feeling of the best periods Ky (ADAM) (1728-1794) . ered edition for free distri costly replicas of historic jnto his phonograph cases. These {)| The work of the Adam Brothers is | bution. pieces, the superior furniture graceful and artistic productions will © | noteworthy for simplicity, elegant 5 Address Thomas A. Edison, value of Edison cabinets can he received in many homes where less 1 | slenderness, fine proportion. s Inc., Orange, N. J. 7 scarcely fail. to Impress the worthy machines have not been wel- % Le gilhs ~ lover of good furniture. conse he retofore.” By
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MARCH 1920 EASTER MUSIC A Selected List for Choirmasters a following selection is made up of new and standard numbers from our catalogue. Every number is a gem. Solos, Duets and Anthems all have the true festal ring In addition to our own large and comprehensive catalogue we have THE ETUDE Page 146 THE GEMS OF CZERNY ARRANGED AS A GRADED COURSE OF STUDIES Selected “Czerny” Studies a.complete stock of the music of all publishers. send for your examination copies of any music we have. UPLIFTING EASTER SOLOS We will gladly BRILLIANT EASTER ANTHEMS Revised, Edited and Fingered, with Copious Annotations, by EMIL LIEBLING IN THREE BOOKS a? 33 PRICE $1.00 EACH VALUABLE and noteworthy addition to the technical litera- 12948 Christ Hath aoe High “i (Continued) ions Chk ae ae a eee Alleluia, Alleluia!..... Stults .15 ture of the pianoforte. This work represents a diligent sift- ee ee Ahee | Pheen Seoe Hepes to. Daven, ing and careful selection of material from the entire works of 12530 Christ’s Victory. High. R. W. Martin .12 . : Neidlinger .60 | 6085 As It Began to Dawn.Norris 20 Czerny, including all | the popular opus num- 12531 - $ —” ka as .6 s It Began to Dawn..Stults .12 $ 12532 Sa FR er ‘60 |10518 Awake! Glad Soul....Bridge 12 bers together with many less known, but 8924 Come Ye Faithful. Med. = {10910 Awake, Thou That Sleepest. equally meritorious studies. Mr. Liebling’s 12534 Death is Vanquished. High. | | 10088 Behold. I Sh agg: knoe C3 editorial work has been of the most exact and Neidh 60 ehold, ew You..Camp_ .15 : : . ise ss be eee 40000) Behold, I Skew. See 4 15 painstaking character from both the technical Tatdline rea orth with Joy. Dale. .12 ° . : r : 16162 Easter Dawn. ware i 10472 Christ is Risen......Brackett .12 and interp retativ € sides ; the annotations C. P. Scott .50 | 10875 coriat is Risen..... Morrison 12 are of real practical value and musical in- ° . Hi ‘ .60 Tist 1S ISON. wwe oico . i Serene renee ere ner: wie 1 Soot Saal. Chivint in Rieen, Hallelujah! terest. The three volumes, which are 12723 ” Low. “ .60 . J. T. Wolcott .12 ; RS 5330 Glory to God. ids A, Rotoli .75 | 6086 Christ Our Passover.Shackley .15 carefully and . closely graded, the studies be 5321 8S M0 i, ee * 75 | 6251 Christ the Lord is Risen. ing arranged in pro- gressive order, range 5: RIN tr ek RE yond in difficulty from the early second to the sev- 8046 Hail Glorious Morn. Violin 10504 Come See the Place...Avery .10 sf y : ORK 5 PRU ies 5 bs Geibel ‘60 | 10655 Come Ye Faithful..Percippe .15 enth grade. Czerny’s mastery of technical de- 8047 Hail Glorious Morn. Violin 6040 Day of Resurrection. . ° ° : ae alee, pee eibel 60 Newcomb .15 tail and his mastery of musical expression are RENEE Fe SOM Riaeg Oe: ee. gg | 08OE Death is Swallowed Up. truly remarkable; he was a most voluminous . . ar ‘, even ‘ M k 25 . ll - . 12749 Hail Thou Risen One. Low. 10287 aster Even....... Soba a8. writer. The object of this present compila- Ward-Stevens .60 10114 East Tri h B . kett 15 ° ° : ° ° ° 6891 Hail to the Risen Lord. High. i tiie cee ck tion is to present his very best studies of all grades in attractive and arding .50 F ; : - Se7t-1a the Down at Marly More Be ee Tee te convenient form for general use. ‘The success of this work has been ing. High,“ Vingh Db 60 | 10163 Glory, O God....... Brackett 115 of the most flattering character. It is the best work of the kind 8078 In the Dawn of Early Morn. | 10487 God Hath Sent His Angels. ever offered. It is printed from beautifully engraved special plates y i r ing. Low. Violin Ob. garter. 1.18 d substantiall d th hh bound in h e Shackle 69 | 10908 Hail! Festal Day...Morrison .12 and substantially an Orougniy Dound I1n heavy paper. 8061 Light of Hope. High. .Geibel “60 | 10808 Hallelujah! Christ is aid 8062 . be : Wit. 0: .60 é : astham —.05 5337 Lord is Risen. High. | Violin i oe = I age ak ae tn: i ire Re ‘ tee ee ee i ‘ Co Gtk VON oe 5372 Lord is Risen. Low. Violin apa ~oaage d FO isha roar 15 THEODORE PRESSER CO., Philadelphia, Pa. y Age k a he ee winek x sie x 2 .65 | 6066 How Calm and Beautiful. 16241 Lord of Life and Glory. Schnecker .15 RS ar . A. Clark .60/|10890 I Know that My Redeemer. 9868 Resurrection Song. High. Brackett .15 Stults .60| 10629 Jesus Christ is Risen. 8059 Risen Lord. High.....Geibel .50 Neidlinger .15 rare rd pret peer ; 50} 6244 King of Glory ee: GS Coombs’ .20 in i e Sons o ; 1 ices. ey: Cee EP Berctope 1s FOR PRESERVING IMPORTANT ADVICE AND 7142 They Came to the Sepulchre. 10242 Lord, My God........ Steane 115 5206 oa BAN pene -60 | 10162 Morn’s Roseate Busy ae? LESSON NOTES IN PERMANENT FORM rackett .60 ’ wel by . : : : 10376 Morn’s Roseate Hues. , 4715 Voice Triumphant. High. ° Eee 30 ek ee te cite beet By ALBERTO JONAS Price $1.50 me “Low. Stults 50 Se ee eee. 10115 ee and Mh ing Ha ar neg? ‘ h 15595 The Resurrection..R. M. Stults now that no 14467 Ch eagerioe Dien d cee aes oe © Waerigha «(12 ae ee eee the sg bes cy a pt they Ten.) 7 ; Wein “Roberts - .60 | .6088 Sing, Gladly Sing....Wodell .12 must continually give special exercises to meet special conditions. 9447 Every Flower. (Sop. and 10689 Sing, Ye Heavens...... Starr .12 ty erasers eee Rockwell - #6 tem meee ree orrigen «12 THE PIANOSCRIPT BOOK is in no sense a blank music book in the or- 15885 He Lives Again. (Sop. and 10575 Thanks Beto God ..Hotchkiss .12 di : f th T h . wage Bi“ sie d OM. ) a saints 0% W. H. Jones .60 | 10874 Thanks BetoGod ...Lansing .12 inary meaning of the term. rue, there is ample Dilank music staves an 14381 I am _ the _ Resurrection. 10120 Thanks Beto God ..Marchant 15 blank pages for the writing in of plenty of new exercises for special needs. In (Sop. aad Alt.) ..... Stults .60 | 10401 *Tis Glorious Easter a. 15 addition to this, however, Senor Jonas has written a large number of special 14403 Easter Agee +e _ 60 |10889 Triumphant Lord....Berwald 15 exercises and suggestions so that the teacher will have no difficulty in knowing Alt.) . o+,e- -ochoebe 60 . 10063 Welcome, Happy i: een cau ak how to proceed. ahs Oaaewis BRILLIANT EASTER ANTHEMS nh gai ‘ estes 15682 Welcome, Happy Morning. : 10999 All Hail the Glorious Morn. Gs. N. Rockwell 12 THERE ARE TWENTY-FIVE SECTIONS or Departments In Mf Riper _ _R.M. Stults .12| 10809 Why Seek Ye the Living. each one marked by a marginal thumb index, like a dictionary, so that the 10240 Alleluia, Alleluia!...Brander .15 W. H. Eastham .05 student can turn instantly to the right page and keep all “reer notes - ae The book is handsomely bound in cloth, stamped in gold—something the : | ‘ WOMEN’S VOICES student can keep a lifetime as a valuable souvenir of student days. 10803 Alleluia, Alleluia! (Three Part).........seseseeeeeeees 6 Wet es SE Seek tes HonG.. SP teat 79 This book is now very strongly endorsed by such eminent men as Godowsky, Friedheim, Hutcheson, Stojowski, Bauer, Chadwick, Faelton, Damrosch, MEN’S VOICES Foote, Dr. Rybner, Sternberg and many others who have introduced it in SES ET TORTS SIs PL DOODLE hare ELECT PERE Brander 15 their regular teaching work. Copies on sale to established teachers. ne A I ed OUD ONES ou bias Sew eWiawspuaes ceases dicate onc i t i SS RR Sa Te) Pr ey ee Pee eS inshall-Nevin . = Se ana gee ROSE RE NR tee ee i Granier 210 THEO. PRESSER CO., Publishers, PHILADELPHIA, PA. 10806. Sing With All the Sons... 262.0. ccc cerccctvrvcccccccevcwscess Brackett .10 _ THE GREATEST LOVE VICTORY DIVINE By H. W. Petrie 75 cents| By J. C. Marks $1.00 Permanently Adopted by Foremost Teachers DAWN OF THE KINGDOM THE WONDROUS CROSS 52 cla gem a ara STANDARD HISTORY OF MUSIC IMMORTALITY By R. M. Stults 60 cents By JAMES FRANCIS COOKE PRICE, $1.50 Any of the above Publications will gladly be sent for examination 1712 Chestnut Street THEO. PRESSER CO. Philadelphia, Pa. | Please mention THE ETUDE when addressing our advertisers. A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES A thoroughly practical textbook told in story form. Socleara child can understand every word— so absorbing that adults are charmed with it. All difficult words ‘“‘self-pronounced.”” 150 excellent illustrations, map of musical Europe, 400 test questions, 250 pages. Strongly bound in maroon cloth, gilt stamped. Any teacher may use it without previous experience. THEODORE PRESSER COMPANY 33 - PHILADELPHIA, PENNA. ee ee ee a a
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nk Migs te% SO LR RERES EERE cote Suguacamaon a em gee” seeeieere Sta ek PRR Oe wen pas ae hee Sethe Senna oe =. ee anaes eibieetetetene a reese, Reena a RE Subscription Price, $2.00 per year in United States, Alaska, Cuba, Porto Rico, Mexico, Hawaii, Philippines, Panama, Guam, Tutuila, and the City In England and Colonies, 11 Shillings-2d; in France, 14 Francs; when remitted by International Postal money order, payable at Philadelphia. All other countries, $2.72 of Shanghai. In Canada, $2.25 per year. per year. _ Single copy, Price 25 cents. REMITTANCES should be made by post-office or ex- ress money orders, bank check ordraft, or registered letter. United States postage stamps are always received for cash. Money sent inletters is dangerous, and we are not responsible for its safe arrival. DISCONTINUANCES.—Owing to the educational UDE a majority of its readers erefore, the pub- lishers are pleased to extend credit covering a Twelve Months’ subscription beyond expiration of the paid- Those of our subscribers not wishing to avail themselves of this convenience of remitting later will vlease send a notice for discontinuance. ‘character of THE ET do not wish to miss an issue. ‘ up period. Moritz composer, is suffering with throat trouble at. Paris, and is considered seriously ill. Moszkowski, the eminent Jaques-Daleroze, the French lec- turer on Rhythm, has postponed his projected tour in the United States. Pres- ent conditions of transport, etc., have made so many difficulties that his manager thinks it wise to wait until conditions are normal. American copyrights in Finland, upon musical and literary productions, which were forfeited during the war because of the interruption of mail service, are shortly to be restored. The will of the late Horatio Parker, disposing of property to the amount of $30,000, has been probated. Each of his three daughters receives $100, and _ the residue is bequeathed to his widow, Anna Parker. The Paris Opera was filled to over- flowing with the Opera artists and their friends and sympathizers at a meeting held there on January 10th. The artists are on a “strike.’”’ A celebrated French com- poser, who notified the strikers not to use any of his compositions at their meeting, was hooted in derision by the artists when mentioned by one of the speakers. The Boston Symphony Orchestra announces two concerts for school children, to be held in the afternoon after school hours, and to include the best music. The tickets will be on advance sale at a small price for the children before they are available for the general public. ~Luigi Illica, the late Italian libret- tist, was a victim of the recent war. Te had never recovered from the results of an accident while on service at the Italian front. Though a man of over sixty, he volun- teered for duty as a corporal of artillery. The new Lord Mayor of London, Sir Edward E. ,Cooper, is an organist and an accomplished musician. . Anton Door, pianist ond teacher of Vienna, died on November 7th Up to 1902 he was a member of the Vienna Con- servatory and among his pupils were such notable artists as Felix Mottl, Zemlinsky, and Fischoff. “Zaza”? Leoncavallo’s opera, was pro- duced at the Metropolitan, New York City, on the 17th of January, with Miss Geraldine Farrar in the title rele. It was enthusias- tically received. Paderewski, who had resigned the premiership of Poland, has been in- duced, it is said, to reconsider. This rumor is offset by another which places Skilski with a. coalition cabinet te fill the vacancy. * Tolanthe, the graceful light opera of Gilbert and Sullivan, was performed in mid-season by the Society of American Singers with great appreciation from a large audience in New York. It is all but acknowledged that “Michael .Dvorsky,’” the mysterious Spanish-sojourning . composer, and _ Josef Hofmann, are one and the same person. 4 al is the equivalent in Russian, of “Hofmann’’ in German. Mrs. Reginald de Koven, wife of the late composer, is said to be a convert to spiritualism. *The People’s Choral Union, founded by Dr. Frank Damrosch nearly thirty years ago, gives classes in sight singing throughout the city of New York, at the moderate price .of ten cents a lesson. Those who take the course are fitted to sing nart songs. and choruses readily and accurately at sight. Vol. XXXVIII No.3 A MONTHLY JOURNAL FOR THE MUSICIAN, THE _. MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke Entered as second-class matter Jan. 16, 1884, at the P.O. at Philadelphia, Pa., under the Act of March Copyright, 1920, by Theodore Presser Co. for U.S. A. and Great Britain MARCH 1920 3, 1879. The World of Music Mme. Schumann-Heink, the great contralto, is reported ill a+ her heme in San Diego, Calif. THr ETupkE’s sincere wishes for speedy recovery. The strike of artists at the Paris Opera, which closed the heuse on January 2, is said to be at an end, concessions having been made on both sides. Petitions urging the repeal of the war tax on music are being sent in to Congress from all over the country. Nail, the opera of Mr. Isadore de Lara, is the only opera in English given so far during this season in London. Patience, of Gilbert and Sullivan, has experienced a_ successful revival in London within the last few weeks. It was preceded the previous week by the ‘“‘Yeoman of the Guard,” a less well-known opera by the same composer and librettist. The famous Handel Festival will take place in London in June at the Crystal Palace. The last Festival was held in 1912. Sir Frederick Cowen will conduct. The Mystic Trumpeter, a werk for chorus and orchestra by Mr. Hamil- ton Harty, the English Composer, was given with great success by the Phil- harmonic Society at Belfast recently. The poem of which the work is a setting, is by Walt Whitman. Franz Neumann, is the new con- ductor ef the Czech Opera at Brunn, Czecho-Slovakia. He was formerly con- ductor of the Opera at Frankfort a/M. Opera is thriving at Brunn, and the house is filled every night to hear the operas of Czech composers, such as Dvoraik, Kricka, Smetana, Fibich and Foerster. John Alden Carpenter’§ Symphonv was performed in New York on‘ Sunday, Jan- uary 11th. It achieved a great success. A new precess of “doubling up” is being adopted by the Lenden Cencert Halls, two concerts being given on the same afternoon, one early, and the other immediately following it. | A Prize of Two Hundred and Fifty Dollars for the best American band piece, has been offered by Edwin Franko Goldman, conductor of the Goldman Band. Victor Herbert, Perey Grainger and Lieu- tenant John Philip Sousa will be the judges in the contest. he compositions must be in before May ist. The winning work will be performed in June at Columbia University. Address the Goldman Band, Columbia Uni- versity, New York. Mme. Galli-Cureci, the coloratura soprano, has recently been granted her divorce. John D. Rockefeller, Jr., has con- tributed funds for a series of free concerts at the Metropolitan Museum in -New York City. Dr. Carl Elias Dufft, the baritone, passed away at his residence at Mt. Vernon, N. Y., on January 9th. He was well known in this country and abroad and had the reputation of having sung in every state of the Union. He was educated as a physician, but his’ voice led him into professional paths as a musician. He belonged to many clubs and organizations. He leaves a wife, son and two daughters. Chamber Music for amateurs is a sroewing activity in musie in Eng- land. In every musical journal there are advertisements for amateurs, of the various instruments to practice and play chamber music for pleasure. CONTENTS FOR MARCH, 1920 PAGHD Terie OF MEGRIC. 410% odcec de ia Wins wbecks 147 SEEIMID sk odie ce Re CT ee ere te Olslew © 149 Music After the Great War Dr. Walter Damrosch 151 ETO WOUTCR. ose ccc ck ce dios ce 152 Getting Ahead in Music.............. 152 OS SO) SE ee ie ea 152 Method versus ‘“Methods”’.Oscar Beringer 153 Oe SOOMERS -“TOUCM cs 6 ii 64s ee wh eS S 154 The Spirit and the Letter.A. 8S. Garbett 154 Murdering Your New Piece Roland Farley 154 Franz Schubert............ BE. di Pirani 155 The Secret of a Good woe Memory r. OC. W. Pearce 157 Why, Oh, Why?s...:.:... O. W. Mosher 158 Teacher’s Advertisement....H. M. Smith 158 A Large Order...... .- D. G@. Woodruff 158 A Home Made Metronome M. M. Chapman 158 Classic Piano Playing..W. J. Henderson 159 Hints for Repertoire...... L. 8. Ashton 160 A BEORRPE TSTOTE Bi a. T. MacLeod 160 How to Accompany........ A. H. Lindo 161 Mental Attitudes....Norman H. Harney 162 The Right Kind of Musical History Sidney Grew 162 ICRA WET ME yb i6idaib gs ocalwle bie M. C. W. 162 What Instrument Shall I Choose? E. H. Pierce 163 Friendly Rivals....... Sheldon B. Foote 164 Teachers’ Round Table..... N. J. Corey 165 Hxamination by Father Bach.......... 166 Tee PERV MNE Sol. 5 5 'a a ay win. w 9S eleiwiw's's % 166 Grieg’s Batterfiy.....<... Yvonne Gianac 166 Music Prize Winner? . « siccces sc ceaccnes 166 By ee re hola Sk Ke nce Wield ero aes 166 Why He Didn’t Get the Pupil A. J. Eastman 195 PAGH Voeat Department. ...-sesceccceesbuee Ime Pianographs ESOT A ae W. Francis Gates 199 Three Hssentials....... William Calhoun 199 Organ Department, Edited by FE. R. Kroeger 200 Musteim ‘Schools... .... os bee ee 203 AP 1Omeer (Scholar... .ivsssc. cae + +k ae 202 TRO. Music of Atigele,....... 3s... eee 203 Robert Braine 204 Questions and Answers, Edited by Arthur de Guichard 207 JUNIOR Etupn, Edited by Elizabeth A. Gest 208 MUSIC Rubinstein’s Melody in F..... E. Schutt 167 America Victorious....:... L. Strickland 170 ORE Ses i ed ant She eee J. A. Fernandez 171 Merry Marchers....... Theodora Dutton 172 Corre i 4s Si eS E. A. Dicks 172 Peaceful Thoughts........ E. 8. Hosmer 173 Floretta (Four Hands)...A. W. Lansing Galop Burlesque (Four Hands) A. Garland 176 The Old, Old Love........ R. De Koven 178 Oriental Sketch. ....0.-...4% J. I. Wray 183 EIGER BORE ou 6.5 ada als es R. Braine 184 Medal of Honor........ J. F Frysinger 185 Semersine. 6... ices bos A. F. Lejeal 186 REM SBOOE 6 oon kon tg Oa H. L. Cramm 187 An Eastern Intermezzo....G@eo. Spenser 188 Chrysantheme (Violin and Piano) W. FE. Haesche 189 SO OE i a a hh wk a C. W. Kern 190 Canoe Song (Vocal)....... '. Lieurance 191 The Voice of Jesus (Vocal).R. H. Terry Canzone in A Flat (Pipe Organ) E. H. Sheppard RENEWAL.—No receipt is sent for renewals. On the wrapper of the next issue sent you will be printed the date on which your subscription is paid up, which serves as a receipt for your subscription. Liberal premiums and cash deductiens are allowed for obtaining subscriptions. MANUSCRIPTS.—Manuscripts should be addressed to THE ETUDE. Write on one side of the sheet only. Con- tributions on music-teaching and music-study are solicited. Although every poosible care is taken the publishers are not responsible for manuscripts or photographs either while in their possession or in transit. be returned, ADVERTISING RATES will be sent on application. Advertisements must reach this office not later than the lst of the month preceding date of issue to insure insertion in the following issue. THEODORE PRESSER CO., Publishers, Unavailable manuscripts will 1712 Chestnut Street, Philadelphia, Pa. Rosa Raisa, the dramatic soprano, has taken out her first American papers, and will become a citizen of the apis States. She was born a Russian- ole. Pauline Hall, well knewn to a former generation as a light epera star, is dead. : Grand Opera in the public schools is the latest activity in musical affairs fer the people in New York. A class in community seng leading has been formed in Oakland, Cal., that may be. drawn upon as occasion arises fer well- drilled conductors of communal music, Caruse’s new baby girl is to be named “Gleria,’” and her god-parents are the Marchese and the Marchesa Cappelli. The Boston Handel and Haydn So- ciety has Just celebrated the 105th anni- versary of its founding. Marie Van Zandt, once a neted opera star, is dead at her home in Cannes, France. After a successful operatic eareer which embraced tours all ever this eountry and Europe, she married Professer’ Teher- Inova, and retired from the stage. Choir competitions have been held recently in South Africa by the native choirs with astonishing results. These people who were so short a time age mere Savages, engage in part singing with de- lightful ease and musical sense. They are good sight readers, thanks to the thorough training which has been part of the educa- tional efforts of those who have had their welfare in hand. The Thirty-fourth season of the Lendon “Sunday Popular Concerts” began this winter with the giving of its eight hundredth performance. The newest use for music is an electrical device that plays music in the hen house continuously. It is said to keep the hens so alert that more egg- laying is the consequence. The second meeting of the Musical Alliance of the United States was held in the latter part of November in New York City. Many musicians of national reputa- tion were present, and enthusiastic interest was manifested in the plans proposed for the advancement of musical projects. Major Henry Lee Higginson, former patron of the Besten Sym- Phony Orchestra at the time of the Muck incident, left nothing in his will te the Symphony, but his musical library, in trust to his manager, Charles Ellis. It has been rumored that had it not been for the storm areused in this country by the treacherous activities of the leader of the Symphony, Muck, and the disapproval ef Majer Higgin- son’s defence of him, the latter would ve endowed the Boston Symphony Orchestra with the whole ef his great fortune. It is announced that Richard Strauss has made an adaptation of a poem by the Viennese poet, Hugo ven Hoff- inaceenunts the librettist of Strauss’ epera, ectra. Atlantic City, N. J., is te have a Symphony Orchestra of its own in the near future. It is said that the late Andrew Car- negie contributed te the purchase of 7,689 organs for churches which steed in need of them, He spent in this ene charity an aggregate of $6,298,309 in all. He is quoted as having said that he weuld net en- dorse all that the clergymen speke frem their pulpits, but he would stand for every nete played by the organists. , 47
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Page 148 MARCH 1920 THE ETUDE N unexpected meeting—a battery of eyes focused upon your face —Can you meet it with com- posure? Is your skin flawless? Clear, lovely in coloring? Or is there some blemish that stands out mercilessly in your own conscious- ness ? ‘There is nothing that so destroys a man’s or woman’s poise and self-con- fidence as the consciousness of a ¢com- plexion at fault. Blackheads are such a disfigurement. Enlarged nose pores, a skin that will get shiny—But these things can be cor- rected. ‘Take care of the new skin that is forming every day as old skin dies. Give it every night the right treatment for your particular trouble, and within a week or ten days you will notice a marked improvement. ‘Take one of the most common skin troubles. Perhaps your skin is con- stantly being marred by unsightly little blemishes. No doubt you attribute them to something wrong in your blood—but authorities on the skin now agree that in the great majority of cases these blemishes are caused by Under Searching Eyes- Do you ever wince inwardly ? bacteria and parasites that are carried into the pores from outside, through dust and fine particles in the air. How to remove skin blemishes By using the Woodbury method of cleansing your skin, you can free it from such blemishes. Just before retiring, wash in your usual way with warm water and Woodbury’s Facial Soap, finishing with a dash of cold water. Then dip the tips of your fingers in warm water and rub them on the cake of Wood- bury’s until they are covered with a heavy cream-like lather. Cover each blemish with a thick coat of this and leave it on for ten minutes. Then rinse very carefully, first with clear, hot water, then with cold. Use this special treatment until the blemishes have disappeared, then con- tinue to give your face, every night, a thorough bath in the regular Wood- bury way, with Woodbury’s Facial Soap and warm water, ending with a dash of cold water. In this way you can guard against any reappearance of the blemishes. The booklet containing full direc- tions for each one of the famous Weod- bury treatments is wrapped around each cake. Get a cake to-day and begin using it to-night. ' You will find Woodbury’s Facial Soap on sale at any drug store or toilet goods counter in the United States or Canada. A 25-cent cake lasts for a month or six weeks of any treatment, or for general cleansing use. Would you like to have a trial size cake? For 6 cents we will send you a trial size cake (enough for a week of any Woodbury facial treatment), to- gether with the booklet of treatments, ‘A Skin You Love to Touch.” Or for 15 cents we will send you the treat- ment booklet and samples of Wood- bury’s Facial Soap, Facial Powder, Facial Cream and Cold Cream. Ad- dress ‘he Andrew Jergens Co., 5603 Spring Grove Ave., Cincinnati, Ohio. If you live in Canada, address The Andrew Jergens Co., Limited, 5603 Sherbrooke Street, Perth, Ontario. SIMI The Jesse French & Sons Baby Grand HE Jesse French piano for all. 1802 Seventh Ave. ESBIANONNMAAA eA MI & Sons Baby Grand represents the supreme effort of our 40 years of piano manufacturing. the finished player is justly entitled to. Liberal exchange offer on your old piano. Easy terms. Our Illustrated Catalog on request. Jesse French & Sons Piano Co. ‘Jesse French, a name well known since 1875”’ IMI a OS La RD Fe CR 0 ree Pc TO ee a ee SR we Cope Mane Ca i TD Sra TE eS een MN MPR ae ORNS ee RL a SOPH SHUM Lee LU PU PE ee It is the instrument It is the ideal New Castle, Ind. I ERT | l PMS MUMS SSL SMS US MUU LULU LLL LL LLL LULU ALLL = AN IMMEDIATE SUCCESS > sees keen interest.”’ *“Most excellent. MR ee ee eee eon ee ee eee ee eo eee Ret eM REN RN RE SEM RENDERED DRE THEO. PRESSER CO. Harmony Book for Beginners By PRESTON WARE OREM Price $1.25 Brief, Simple, Vital, Practical, New and Distinctive Lays a strong foundation for future musicianship by giving the main essentials of the subject in such simple, understandable and interésting manner that it will prove invaluable in the class or for self-help work. Read this letter from JOHN PHILIP SOUSA, Famous Composer and Conductor: The system adopted in your Harmony Book is admirably adapted for the student who requires an instruction book that is “as plain as a pike.” The text is so lucid that he “‘who runs may read ’”’—a decided virtue in any text book. I congratulate you on your work and commend it to the student of harmony. THEO. PRESSER CO. sua ¥o8krs PHILADELPHIA, PA. TMS SS LS SL STS TLS LLL TLS LLL LLL LLL Saag a Sted) D dy Sd dy Sb SS SSS SSS eS Mastering the Scales and Arpeggios By James Francis Cooke Covers the entire subject from beginning to end Read these unusual testimonials from World Famous Teachers and Virtuosos: | Gabrilowitsch: “Unusually solid and valuable book. Extremely thorough and comprehensive.” M. Rosen- thal: ‘‘Very valuable and. useful.” presentation imaginable of an all important subject.” An ever increasing sale among progressive teachers is its best advertisement Price, $1.50 ADMIRABLE FOR SELF-HELP PUT eL PU PLL LS LL % Sure to arouse Alberto Jonas: “Masterful from a pedagogical stand- point. I recommend it to every earnest musician.” Katharine Goodson: Emil Liebling: ‘‘Most practical iooeddnasidinaarddadanimmooaauandt PHILADELPHIA, PA. Fs RL RRR LAR HR AH AAA AH AR AAA RAH HARA AAA RAR AHA ; Please mention THE ETUDE when addressing our advertisers.
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aoa atetetacetavetetet Solel SON SCE I Re SOR SSS NN ate Deere eae Petit Se ha eek a ba wigs aseletitetatetetetetetatetatateeeatttee at Sees sista PRY oa eat m5 * Me » a ate ots - 2 ‘, “ee x ‘ ey ag a Naw ne oe eae oot seen gt. ee . fee 2 roe fe é ; ate tece. SOS THE FTUDE “MARCH, 1920 Single Copies 25 Cents VOL. XXXVIII, No. 3 Sry Ox see's ee Ae ” se Salas a ON = Oe ee oe SMe x “€ nah et les setee’? gd Ps ° e* eisai etait septa sees et 8 ae Paige rips sso The Test of Time To have written one masterpiece in a lifetime is an accom- plishment given to so few men that those favored few are well entitled to all the honors that mankind can bestow upon them. The poet Grey has been belittled because his one claim to fame was his “Elegy in a Country Churchyard.” On the other hand, when we consider the awe-inspiring, never-ending procession of souls down through the centuries, we have had but one Grey. In music there are numbcrless masters whose fame rests upon one full outpouring of the soul into immortal chalices. Indeed when we scan the catalog of musical art we find only a very few who have left more than a mere handful of works destined to stand the test of time. We know Adam because of Noél; Auber for Fra Diavolo; Balfe for the Bohemian Girl; Borodin for Prince Igor; Cramer for a few etudes; David for Le Desert; Ernst for the Elegie; Field for a few nocturnes ; Flotow for Martha; Gottschalk for The Last Hope; Halevy for La Juive; Kullak for the Octave Studies; Leoncavallo for I’ Pagliacci; Litolff for Robespierre Overture; Mascagni for Cavalleria Rusticana; Nicolai for The Merry Wives of Windsor; Offenbach for The Tales of Hoffman; Ponchielli for La Gio- conda; Scharwenka for the Polish Dance; Thomas for Mignon. Yet the works of these composers, taken as a whole, would make catalogs running up into the thousands. Probably the composer whose complete works have best stood the test of time is Chopin. That is, Chopin could claim a larger proportion of his compositions that have remained in demand than any other composer. Of his eighty-six works (twelve without opus numbers) there are very, very few that artists would consent to have thrown into the discard as they readily would push aside some of the less inspired compositions of some of the other great masters. Consider, for instance, his incomparable Opus 10—the Twelve Etudes. All of these works are played by present-day pianists—some more frequently than others, of course, but not one of this set could be sacrificed. Some of these deserve more frequent performance—the beautiful Number Three, really an exquisite nocturne ; the fairy-like Num- ber Seven; the dramatic Number Nine; the intricate Number Eleven. The same might be said of the second set of Etudes, Opus 25. Indeed, one might go through the entire Chopin catalog and only here and there could one find a work which might be dispensed with. Chopin certainly mastered the art of avoiding that mediocrity which leads to oblivion. A Loss to American Musical Art January, 1920, marked two of the greatest of losses to American musical art in the passing of Horatio W. Parker and Reginald De Koven. Both Parker and De Koven were splendidly educated for their work. Parker, a pupil in America of Emery, Orth and Chadwick, studied in Europe with Rheinberger and Abel. Most of his early life was spent as a teacher and organist. In 1894 he was called to the Chair of Music at Yale University, where for over a quarter of a century he labored for the uplift of musical art in our country through exceptionally important channels. His own works were lofty in conception and perfect in technical finish. Possibly his most distinguished work is his oratorio, Hora Novissima, recognized here and in England as one of the most notable works of its form produced during the last fifty years. Oxford conferred the degree of Mus. Doc. upon him in 1902. Dr. Parker was also fortunate in winning 9 ee ve"eTe"aTe%e"eTee "eee" aha%eeletetetet tbe, 0 eb e ee Tate esse eh, arate et Tete e atetetetetetetttetetate tte eee wet etete ete a ate tate tatetat Ete e Oe, He Tee Oe ge ee ene two famous prizes, valued at $10,000 each, with his operas, Mona and Fairyland. Reginald De Koven, born in 1861, was two years the senior of Parker. His father was an Episcopal clergyman who took a great interest in his son’s musical work. The boy was edu- cated in America and at St. John’s College, Oxford, England, where he took his degree. In Europe he studied music under Speidel, Lebert, Pruckner, Dr. Hauff, Vannucini, Genée and Delibes. His romantic comic opera, Robin Hood, produced in 1890, became, without question, the most popular of all light operas ever written by an American. It was given over a thou- sand times and is still popular in many ways. His opera, The Canterbury Pilgrims, produced at the Metropolitan Opera House in New York in 1917, marked the result of a new am- bition, as did the Masque of the Drama, produced in Philadel- phia shortly thereafter. His death at this time, however, is peculiarly pathetic, as it was not until this year that his genius rose to its highest powers, as manifested in his folk opera, Rip Van Winkle, recently given in Chicago by the Chicago Grand Opera Company. ‘This was at once recognized as a spon- taneously beautiful and characteristic work. Many of the dis- tinctive De Koven harmonies and melodic touches are evident, but on the whole he has struck a new and natural method of treatment far in advance of anything he had previously pro- duced. This is particularly noticeable, not so much in the thrilling arrival of the apparition of Hendrick Hudson, or the delicate Katy-did-Katy-didn’t chorus, which opens the second scene of Act II, as in the sustained musical interest which the composer gave to the masterly text by Percy Mackaye. The opera bears the opus number “414.” Among these were many works which became enormously popular, but there is none which stands so greatly to the credit of the composer as Rip Van Winkle. Fortunately he was able to witness the success of the work, presented for the first time just a few days before his’ death. Mr. De Koven was a great admirer of Tur Erupr, and told its editor many times personally, that he felt that of all the influences in American musical education, THr Etupe stood in the very front rank. Making Money Work From time to time we venture a little thrift suggestion to our teacher-readers. ‘Money is the most worthless thing in the world until it is swung into proper action. Merely hoarding money for the sake of having money is one of the lowest of human traits. Yet, as a matter of providence, every professional musician should learn the art of saving all that he consistently can. It takes a great big lump of money to provide a fund big enough to make old age secure—a lump far bigger than many people imagine. When you spend a dollar you may think of it as a small amount, but a dollar is the Savings Bank interest for one day on $10,000.00. That is, if you had $10,000 put by in a Saving Bank all your income would total $365.00 a year—surely a small sum for all means in these days. Ideal thrift prompts the worker to strive for a fund that would pay him his annual income if he were obliged to stop work. Very few musicians ever achieve this. The next best thing is to strive for a principal that would pay the minimum amount upon which you and your family can exist. Many can get at least this, if they really work for it, and the comfort of hav- ing it pays for all the effort of getting it. | PO ee eae ae ee eae aa
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te, Pd Sits ‘ i eae Was Aristotle Right ? Son of a physician and highly educated man, pupil of Plato, Aristotle had the best training possible in that amazing day when Greek civilization evolved intellectual ideals which are still discussed in all the great Universities of the world. In his politics he discussed at measured length the bringing up of the ideal citizen. Just now, when so many people are trying to show that the so-called literary subjects (including drawing) have such utilitarian value, it is well to listen to Aristotle who, perhaps, saw further than the moderns in many things. Music, for in- stance, was to be employed for higher development, not merely for pleasure nor for the sake of relaxation. He divided melo- dies into two classes. First, those which give us pleasure and second, those which give us pain. The first he associated with noble ideas, and the second with debased ideas. Aristotle attributed to music the power of inculcating “the habit of forming right judgments and of taking delight in good dispositions and noble actions.” But the greatest attribute which Aristotle would have us believe music to pos- sess is “katharsis” or purification. Music was believed by this great philosopher to rouse in us a compassionate regard for humanity, to raise us out of ourselves, to free us from debasing temptations, to bring us into touch with higher things, Can you imagine Aristotle at a modern Symphony con- cert? What would he have thought of the Scheherazade or L’apres midi dun Faune? How would he have considered Salome, or the Fifth Symphony, or the Manzoni Requiem? If the primitive music of Athens inspired him with such reverence for the art, what might he have thought of the music of 1920? We have done years of thinking about music, but we do not believe that we have come to any wiser conclusions than those which Aristotle evolved twenty centuries ago. We have the evidence of thousands who have told us of the refreshing and purifying effect of music. Some years ago Mr. Edwin Bok told in THe Erupe of the wonderfully restful and in- vigorating effects of symphony concerts when he found him- self fagged out on Saturday nights. He was merely retelling the theory of “‘katharsis” so luminous to Aristotle. A Great Musicologist Tue passing of Dr. Hugo Riemann, in June, of last year, removed one of the foremost of the world’s musical lexico- graphers. He was also one of the most industrious, if not one of the most profound, musicologists of his time. He was born in Thiiringen, July 18, 1849, and died in Leipzig. His father was a man of means, and he provided his son with all facilities for an excellent education. He studied philosophy, law and history at the Universities of Berlin and at Thiringen. Later he entered the Leipzig University and the Leipzig Con- servatory, where he became a pupil of Jadassohn and Reinecke. Unlike many musical theorists, Riemann was a practical worker. He wrote many compositions, including a symphony, and was at one time a much sought-after teacher of piano as well as musical history, theory and composition. (Max Reger was probably one of the best known pupils). He was engaged in many educational institutions in his native land, until in 1908 he was appointed Professor of Music at the University of Leipzig. In a recent issue of The Monthly Musical Record (London), Dr. Frederick Niecks, Professor of Music emeritus of the University of Edinborough, gives a very detailed biogra- phy of Dr. Riemann, recounting many of his noteworthy works in theory, history and composition. His accomplishments seem truly enormous when regarded merely from the standpoint of the immense quantity of his output. He is best known to our friends through his famous Musical Dictionary, which, at one time, had a truly immense sale, but which has now been super- ceded in the homes of many by the larger dictionary of Sir George Grove. Dr. Riemann contributed valuable articles to IY, SONS Cah Sahil toh pa aa THe Eruper, and was an agreeable correspondent. His pen- manship, however, was so microscopically minute and so diffi- cult to read that we were constantly concerned over the possi- bility of misprints. He represents a phase of musical scholar- ship, combined with practical experience, which cannot “fail to command a permanent position for his excellent works in the musical history of the future. Hand Playing A PIANO-pPLAYING device of truly remarkable character advertises “the nearest approach to hand playing.” What a consummate testimonial to the unequaled worth of real hand playing! But the value of hand playing is not a matter that ends with the mere approval by the sense of hearing. That is something which is very hard to explain to the unsophisticated music-lover who has never experienced the great joy of hand playing. Tue Ervupe has recognized for years the very great educa- tional value of sound reproducing machines. Music is of course primarily for the ears. It must be heard to be fully enjoyed, but all instrumentalists know that there is something about the use of the hands in making music which gives entirely new and different understanding to the art, and which conveys a sense of artistic gratification almost impossible to get in any other way. Miss Helen Keller, the modern psychological miracle, who, despite her total blindness and deafness, has written books that are now regarded as great literature in their field, says in one of them (The World I Live In): “My hand is what your hear- ing and sight together are to you. In large measure we travel the same highways, read the same books, speak the same language, yet our experiences are different. All my coming and going turn on the hand as pivot. It is the hand that binds me to the world of men and women.” It is not until we realize what has been done by the won- derful tactual sense of a Helen Keller, that we gain a proper respect for the hand. The training of the hand in the art of playing an instrument has such immense possibilities that volumns have been written about it. Yet its scope has never yet been fully comprehended. Let Helen Keller speak again, from the patient beauty of the soul liberated by the hand. “It is the hand that binds me to the world of men and women. ‘The hand is my feeler with which I reach through isolation and darkness and seize every pleasure, every activity that my fingers encounter. With the dropping of a little word from another’s hand into mine, a slight flutter of the fingers, began the intelligence, the joy, the fullness of my life. Like Job I feel as if a hand had made me, fashioned me together round about, and moulded my very soul.” “No Music” Mozart was once asked what he considered the most won- derful effect in music. He replied: “No Music,” meaning that the silence, caused by rests, is more impressive at times than the actual music itself. Very few players pay the proper respect to rests. An ingenious English writer, Mr. C. A. Harris, has devised a very practical way of “holding up” little players for rests, and many students who are studying without the watch- ful eye of the teacher might find it a good idea. It is merely that of raising the hand and touching the wood of the piano when one comes to a rest of more than one or two beats in length. Mr. Harris writes: “This insures that the hand is raised from the keys, and the difficulty of doing so apparently simple a thing will at first cause considerable amusement. The plan is invaluable, not only for securing the observance of the rests, but for acquiring independence between the hands. MARCH, THE HEIGHT OF THE MUSICAL SEASON—THE BEST EVER!
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THE ETUDE MARCH 1920 Page 151 The Musical Aftermath of the Great War An Interview Secured Especially for THE ETUDE with the Distinguished Conductor DR. WALTER DAMROSCH Director of the New York Symphony Orchestra [Epiror’s Norr.—When Dr. Leopold Damrosch, the illus- trious musician, who came to America in 1871, established the New York Symphony Society in 1878, his son Walter was a boy in his teens. It may thus be said that the present conductor of the organization literally grew up “MANY warmly colored statements appeared during the war as to the wonderful stimulative effects of the world upheaval upon art. Just how and why this should be never seemed to be explained. Because the world was turned upside down, the arts were supposed to benefit in some mysterious manner. The truth really is that art has been suffering a sad eclipse. War is the monopoly of monopolies. When a country is engaged in war there is one paramount thought, and that is to win the war. Everything else must be brushed aside. Every art is valuable at such a time only in its relation to the war, and the composers and executive musicians lying in the trenches cannot serve their art. Fortu- nately music at this time was able to do something. It could assist in stimulating enthusiasm; it.could assist in raising funds for war needs; it could relieve anxiety at home, stimulate courage among the men on their way to the front and lessen the ennui of those behind the lines. This much it did, and did won- derfully. It must have proved to all but the most obtuse people that, although music is perhaps the most spiritual of arts, its material value in the great crisis was very great. But after all is said and done, music will not fire bullets, fly aeroplanes, or run battleships ; and since war demands, first of all, those things which contribute directly to war, music, considerable as was its part, naturally suffered during the war. Creative Work Difficult in Wartime “Composers may have been fired by the great inci- dents of the war, but it was literally impossible for the creative worker to get his mind down to things. In my own case, I found myself past fifty and rather unhappy because I was too old to get in line with the boys who went to the front; but nevertheless I felt that I must make myself of service in some way. War monopo- _ lized me as it was monopolizing Americans of all classes. Good luck sent me to France in June, 1918, at the very height of the war. Mr. Harry Harkness Flagler, the generous President of the New York Sym- phony Orchestra, had supplied me with a liberal check, with which I was to engage a French symphony orchestra and take them through our American rest camps in France for the purpose of giving orchestral concerts for our soldiers. I arrived in Paris at perhaps the darkest moment, when the Germans were so near that we expected to have to evacuate that city. Millions of its citizens had already fled, air raids were almost daily occurrences, and even the Big Berthas recommenced their bombardment on the 19th of July, just after I had given a big symphony concert for the French Croix Rouge, at the historic old Salle du Conservatoire, al- though I do not believe that the bombardment was the direct result of my concert! At that time every inch of available space on the railroads was needed for the transportation of soldiers and munitions of war, and as there were very few of our soldiers in rest camps— they were all either training feverishly or already at the front—our plan of traveling around with an or- chestra would have been extremely foolish. I had again begun to speculate on the uselessness of a middle- aged musician in war time, when, like a ray of sun- shine, I suddenly received a visit from Colonel Dawes, a friend of our Commander-in-Chief, General Pershing, with a message from him asking me if I would come to General Headquarters, at Chaumont, and consult with him regarding possible improvements of the army bands of the American Expeditionary Force, which were not in particularly good condition, owing to the haste in which they had been assembled, and, above all, the scarcity of routined and competent bandmasters. “Consider this for a moment. The commanding gen- eral of the American Army thought so highly of the with the orchestra, whose conductor he became in 1885, at the death of his father. In 1892 he made the New York Symphony Orchestra a permanent organization, and liter- ally all of its work for thirty-five years has been done under his experienced baton. This year the orchestra is under- taking a tour of Europe with its full complement of 100 value of music as to stop long enough to take steps for its betterment in the American forces. | “General Pershing, with the splendid vision that has characterized him as a remarkable man and leader, realized the importance of keeping up the morale of the soldiers during times of stress, and he knew that music could do at times what nothing else could ac- complish. Colonel Dawes brought me this message on the morning of July 14th, and I agreed to go to Chau- mont to meet General Pershing on the following Wednesday, July 18th. You can imagine with what feelings of elation and happiness I looked forward to this meeting. But I must digress and tell you of an occurrence on July 4th, which had an important bear- ing on my experiences with. the Commander-in-Chief. “For months the citizens who had remained in Paris had been continually driven to their cellars for fear of raids from the skies; and for months rumors of pos- sible defeat had been mysteriously afloat, and rumors of overwhelming German war machinery like the huge guns which had been terrorizing the city. Then came the parade of the American boys who had fought like fiends at Seicheprey. Do you wonder that Paris went wild when they heard that an American parade was to be held there on July 4th? Can you imagine the scene? Emotionally this was the most remarkable thing I have ever witnessed. Along the Champs Elysée everybody was in tears, some women actually sobbing from very joy. An Old Army Custom “As I stood among the crowd on that great day an American bandmaster stood beside me, hollow-eyed and trembling with excitement. It was quite evident from his appearance and from his nervous state that he had gone through some terrific strain. He happened to recognize me, and immediately asked me to use my influence to do something with General Pershing for the bandsmen with the American Expeditionary Force. It is an old American army custom to send bandsmen to the front in time of battle as stretcher bearers, with no weapons and with only Red Cross bands around their arms, which, alas, in only too many instances proved no protection whatever from the unscrupulous enemy. This bandmaster told me that he had trained a band of twenty-eight men in America and had taken them overseas, where they had done a great work in inspiring the regiment and keeping up the morale. They had a distinct and valuable service to perform which none of the other men in the regiment could do. They were the spirit of the men—the pep, the ‘mental relief, in fact so many things that only the soldier can tell you what they are. These bandsmen had gone through months of special training to do one specific thing. Yet at the battle of Seicheprey they were sent to the front as stretcher bearers. Of the twenty-eight, nine were killed outright, two were wounded, two were shell-shocked, and the band was — thus put out of commission and months of valuable training were wasted. That these men did a noble thing in the service of their country, that they made the supreme sacrifice, entitles them to an immortal place; but at the same time there were thousands of other men who were deprived entirely of music because of this. The camp became a cheerless, silent camp, and the men, deprived of music to which they had been ac- customed every day, felt the need woefully. The band- master was sent to Paris to be a purchasing agent of musical instruments. I was deeply moved by this story, but it seemed at that time well-nigh hopeless that I, a civilian, could: do anything to change such a useless and wasteful tradition. “But to go back to my story. On July 18th I traveled men by special invitation from the governments of France, Italy and Belgium. A tour upon such a scale is unprec- edented and indicates in a remarkable manner the new position of America in the world of music. No better testi- mony of Dr. Damrosch’s efficiency and ability could be desired than this.] to Chaumont, was there most politely received by Colonel Collins, Secretary of the Staff, and invited to dine with General Pershing at his chateau, a few miles outside of the town. The other guest was Gen- eral Omar Bundy, and together we motored through the lovely country surrounding Chaumont in the ex- quisite twilight of a French July evening, amid scenes so peaceful and beautiful that it seemed hard to imagine that grim war was stalking only a few miles away. A solitary sentinel guarded the chateau. General Pershing had been at the front all day and had not yet returned. And so General Bundy and I wandered among the lovely gardens awaiting his return. As he drove up in his motor, he welcomed me with great simplicity and courtesy, and altogether made an im- pression of such dignity and strength that my heart glowed with patriotic pride that such a man should have been found to represent us in the great war. We sat down to dinner almost immediately, the party con- sisting, besides ourselves, of all the officers of the General Staff (charming men, all of them). “Although this was the evening of the famous day when Foch made his first great advance, driving the Germans back six miles, the talk at table was not of battles, but of music, its influence on the soldier and how it could best serve its purpose. General Pershing, at whose left I sat, plunged immediately into the needs of the Army for better training and general improve- ment of the Army bands. Congress had authorized that a lieutenant’s commission be given to the band- masters, but General Pershing felt that many of them needed further training before they were deserving of a commission, and after some discussion I agreed to examine all the bandmasters in France—some 200 of them—and the: General said he would send them all to Paris for this purpose. A Significant Opportunity “Suddenly, as I sat there, the picture of the hollow- cheeked bandmaster of the Fourth of July parade and his tragic story came into my mind, and I thought to myself that here was an opportunity to do something practical towards improving the position of the mu- sicians in the Army. I watched my opportunity and told General Pershing the story of the little band at -Seicheprey, and how it had virtually been destroyed and its usefulness ended because of these men being used as stretcher-bearers. I assured the General that I did not claim for a minute that a life of a musician was more sacred than that of any other soldier in the service, but that their duty in the Army was not to fight, but to cheer the fighters, and that for such pur- poses as stretcher-bearers other men could perhaps be found who were not so necessary for special work. General Bundy heartily agreed with my standpoint, but General Pershing did not say anything, and I felt that perhaps I had talked too passionately, although I com- forted myself with the reflection that, as I had talked only as a civilian, the General would not punish me by ordering to have me put up against a wall at sunrise and shot! “Next morning, while I was at headquarters discus- sing the details of my duties with Colonel Collins, an orderly brought in an envelope and, as Colonel Col- lins read its contents, he smiled and handed it to me, saying, “This will interest you, Dr. Damrosch.” It was a general order from General Pershing to the effect that “From now on bandsmen shall not be used as stretcher-bearers, except in cases of extreme military urgency.” | “T returned to Paris and immediately organized the examination of all the band masters of the American Expeditionary Force who were sent to me, to Paris,
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Page 152 MARCH 1920 from all the different parts of France where their regiments were quartered, at the rate of about fifty a week. I examined these men thoroughly, as regarded their general musical knowledge and capability in con- ducting, and was ably assisted by Monsieur Francis Casadesus; ‘a distinguished musician and a charming man. General Pershing had sent me the band of ‘the 329th Infantry, on which these young applicants could try their teeth The results were rather mixed. Many of them had absolutely no knowledge of the technic of beating time properly, and after one week’s examination I saw that what was needed more than anything else was a school in which the most glaring lacks could be supplied quickly and properly. The School for Bandmasters “I returned to Chaumont and explained to General Pershing the necessity of immediately founding such a school, not only for the bandmasters, but also to supply the three very important instruments and players for the bands, which were almost totally lacking—oboes, bassoons and French horns. The General fell in very sympathetically with my suggestions, and after further consultations with Colonel Collins of the staff, I was ordered to go ahead and given full power to organize a school that should meet the needs of the situation. The great difficulty of finding proper instructors I overcame by applying to the French Ministry of War for vari- ous celebrated French musicians who were at that time in the Army, and whom I asked to have detailed as instructors at this school. I could have accomplished nothing, if I had not had the assistance of a French officier, Lieutenant Michel Weill, who was attached to our General Headquarters at Chaumont, as Officier de Liason. This gentleman, an enthusiastic music lover and amateur musician, was appointed to assist me in my work, and he proved himself so able and so willing a worker that in spite of the fiercest raging of the war at that time, and the inevitable hampering red tape which surrounds all army organizations, all difficulties melted like snow before a summer sun. In five weeks’ time I examined over 200 bandmasters; graded them according to their capability; arranged for the refitting of an old mill near Chaumont as a home and school for about 250 of our soldier-musician students; obtained about eight famous musicians from the French Min- istry of war (all of them first prizes of the famous As soon as a piece of music becomes very popular there is always some pseudo-theorist who is ready with the reason why it is popular. Many contend that its main outlines should -be those of the pentatonic (Chinese) scale—that is, the black keys of the piano- forte. Other musicians (particularly some in England) are superstitious about the so-called “catchy fourth.” The writer knows of one teacher who always taught his pupils the intervals by associating them with some well-known tune. For instance, he taught his pupils to identify the fourth by the well-known hymn Stand up, stand up for Jesus. Getting Ahead in Music Yes, there is a technic of getting ahead in life, just as there is a technic in all other things. It is a matter of gaining more and more strength of all kinds with which to proceed. The athlete can measure his strength with apparatus indicating, in grams or pounds, his muscular advance. Every time the indicator advances one point, he is just that much ahead in physical power. More than this, the strength acquired gives the means whereby one may advance to the acquisition of more Strength. In music practice the gauge is the triumph over dif- ficulties. Don’t be afraid of difficulties. George Eliot gives this encouraging advice: “The reward for over- coming one difficulty is the strength to meet another.” Anyone who has made a serious effort to study the Forty- eight Fugues of Bach, knows that the chief dif- ficulty lies in mastering the first few fugues. Do these and do them well, and the whole system seems to open out before you like a book. Overcoming difficulties thoroughly one at a time is the technic of getting ahead. Paris Conservatoire) as instructors in conducting, com- position, instrumentation, oboe, bassoon and French horn. And while I had to sail for home at*the end of August, by November first the school was in full opera- tion, with over 200 students working enthusiastically over twelve hours a day at their various tasks. “I may truthfully say that these six weeks were among the happiest of my entire thirty-five years of profes- sional life, but it is true that 1 had to work day and night, like a galley slave, in order to get the thing ac- complished and to work out the entire curriculum of the school in such a way that it could be properly started and carried through after my leaving for home. General Pershing was kind enough to want me to stay with him, and Colonel Collins, Secretary of the General Staff, asked me what inducements they could offer to have me stay. But while the temptation of wearing the uniform of the U. S. A. under the il- lustrious Commander-in-chief, Pershing, was very strong, I was not quite vain enough to believe that my remaining in France would “win the war,” and so, after six hectic, but ecstatically happy weeks, during which I vibrated continually between Paris and Chaumont, I sailed for home to fulfill my duties at the head of the New York Symphony Orchestra, which meant ninety symphony concerts from November to April. “The music school at Chaumont was a huge success. It began November lst, with over 200 students, re- placed every two months by a new batch, comprising bandmasters, oboes, French horns and bassoons. The French professors included such distinguished musi- cians as Messieurs Henri Caplet, Francis Casadesus, Jacques Pillois, and various “first prizes” in oboe, bas- soon and French horn from the Paris Conservatoire. These masters, together with our American soldier stu- dents, lived together as one happy family in an old mill, about ten minutes’ walk from General Head- quarters, which the Army Engineers had quickly trans- former into a musical conservatory, consisting of lesson rooms, practice rooms, bedrooms and mess rooms. Our boys were so enthusiastic at the opportunity offered them that they worked twelve to fourteen hours a day, and the results were truly remarkable. At General Pershing’s invitation, I returned to France last April to inspect the workings of the school, and I was amazed at the results obtained. One of the points which I had The “Catchy t=” Other famous melodies beginning with the “catchy fourth” have been cited in the Recollections of the popular English conductor, James M. Glover, who for many years was the Master of Music at the Drury Lane Theater in London, when he became the idol of the English theater-going public. These melodies are the famous See-Saw Waltz, which was all the rage thirty years ago— THE ETUDE worked out in the school curriculum was that the stu- dents should attend once a week a chamber music concert, so that their hearing and appreciation of music might become refined by listening to the quartettes, trios and sonatas of Mozart, Beethoven, Cesar Franck and so on. During my two days’ inspection of the school last May I heard one of these concerts, which was a very moving spectacle—over 200 men in khaki listen- - ing breathlessly to an exquisite chamber music con- cert, played by the professors and some of the talented soldier-students, of works by classic and modern mas- ters. At this time Monsieur Caplet’s place as teacher of conducting had been taken by a young American bandmaster, Lieutenant Albert Stoessel, a very gifted musician, a splendid violinist and altogether a man of greatest promise. “The relations between the students and their masters were peculiarly intimate, Monsieur Casadesus, espe- cially, having won their affection, not only because of his musical ability, but his evident desire to give them the best that he had to offer. A Great Need in America “On June 1st the school was closed and our musician- soldiers began to return to America, to be demobilized and to go back to their respective homes. I am sure that the experience which they gained at the Chaumont school will help them in their musical work in the Western and Southern cities, to which many of them have returned. I hope that our Army will continue to interest itself in the improvement of its bands, and that the inspiration which General Pershing’s authority and encouragement gave in France will be continued over here. What we need in this country is the encourage- ment of the study of orchestral instruments, especially the wood-winds and the French horns. We have not nearly enough to properly equip the symphony or- chestras already in existence, and most of those we have are of foreign birth and training. There is no reason why these places should not be filled eventually by American-born musicians, and instead of the twelve symphony orchestras which we have at present, there should be at least 100. Every town of 100,000 in- habitants or over should have an adequate symphony orchestra of its own, and with the right kind of in- telligent financial support, and the proper training, this seeming miracle could be easily accomplished.” Gounod’s Soldier's Chorus from Faust. He might also have given Over There, with its char- _acteristic interval of a fourth, La Marseilles, The Pil- grims’ Chorus from Tannhauser, and many other fa- mous tunes, including the hymn Coronation. However, anyone who chose to do so might easily explode this theory by citing the number of very popu- lar successes which begin with intervals other than “the catchy fourth.” Sets of Habits Habits are best formed slowly at first by repeated, well-understood, well-thought-out actions. The habit of walking, which every normal human being employs during the better part of his lifetime, was acquired only through weeks of preparatory stumbling when we were little tots. No one can take pleasure in driving an automobile until he has built up a set of habits in steering, changing the gears, etc. The skilled golf player enjoys the. game only when his habits of play are well formed. In piano practice certain habits must be established before one really gets any fun out of it. For instance, we have the much-discussed subject of scales. There are teachers who insist that all so-called technical practice is unnecessary, that one ought to practice by taking out little passages from any piece to be studied and practicing those passages for the required technic. SKILL is a constellation of habits. Evidently their motto is “Sufficient unto the day is the technic thereof.” Teachers of this class are usually virtuosi who have learned the art of playing at such an early age that their technical equipment was ac- quired almost unconsciously. On the other hand, there are certain technical habits which, in the humble opinion of the writer, can only be built up by making a set of habits. Take scales, for instance. Musical literature is filled with scales and scale passages. Not to have the scale habits well formed means that whenever one reads a new piece one must study it as an individual piece when a scale pas- sage is encountered. However, if one knows the scales as second nature, there is no obstruction, no interfer- ence, no obstacle. More than this, one knows the prin- ciple of the thing and has the confidence that comes only from understanding a principle both mentally and muscularly.
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THE ETUDE MARCH 1920 Page 158 THE definition of the word method in its most gen- eral sense is the regularity of a process leading grad- ually up to a certain defined aim. The absence of method inevitably results in indeterminate drifting at the mercy of the whims and moods of the moment. The Greeks separated their method of teaching into three divisions. 1. The Achromatic, the teacher explaining the sub- ject to the student who then works out his own inter- pretation. . 2. The Dialogic, the interchange of ideas between teacher and pupil. 3. The Catechising which was also called the method of Socrates. The teacher by questioning the student finds out the amount of knowledge possessed by the latter, and also gauges at the same time the extent of his progress. Nothing can be properly or rationally taught without method. That is without gradually building up from the very beginning and going sys- tematically on until the student reaches the highest goal allowed by his capabilities. We will now consider “Method” in regard to piano- forte teaching. The word has been and is often still misused in a most flagrant manner. So called new “Methods” are forever growing lux- uriantly. They sprout up like mushrooms in the night. They range from the advertised method which guar- antees to teach pianoforte playing in twelve lessons, to the more serious patent medicines—I beg your pardon, I mean methods !—which profess to have found a royal road to pianoforte playing. No Royal Road There is wo royal road. The only road that will ensure satisfactory artistic results, lies in the method which is based on physical laws, psychological princi- ples and common-sense. It is very dangerous to ex- periment with some of these patent methods, as they often advocate muscular exercises in opposition to physical laws, exercises which may lead (and indeed in some instances have led) to the injury of nerves and muscles, resulting in partial paralysis of hands and arms. Even if one of these methods has some rational - foundation, it is according to my view, unwise to follow it too closely, as it must lead to narrow-mindedness, and limit the musical horizon of the student. These methods usually ignore the pupil’s individual- ity, both from the physical and mental point of view. Common-sense forces us to accept the fact that we all differ more or less in scme respect or other. Therefore to invent a system by which everyone can derive equal benefit, is a myth and worse than a myth, a gross blunder. The Alpha and Omega of any rational method lies, of course, in the gradual building up from the founda- tion to the roof. No step should be missed for fear of the structure coming to grief. The details must, however, be elastic and should not be fixed by hard- and-fast rules. The many different qualities of stu- dents have to be taken into consideration, and special means must be adopted to overcome peculiar defects. But these details must not overthrow the method in its broader outlines. * Before anyone can become proficient in the art of music, be he vocalist or instrumentalist, a certain amount of mechanical training is necessary. The most glorious natural voice cannot be produced effectively without this, nor can the most beautiful pianoforte hand play artistically without undergoing this mechan- ical training. The word technique is used to describe this mechanical preparation in music, as in all the other arts. In pianoforte playing the object of technical exercises is to train the muscles and nerves of the fingers, hands and arms to perform their physical musi- cal functions. The “musical” side must never be lost sight of. Mere mechanical dexterity must not be the aim and object of this training, but the means of real music-making. Not so very long ago, even great musicians and teachers were laboring under the impression that this Method versus ‘‘Methods’’ By OSCAR BERINGER A Practical Talk to Teachers from a Renowned European Pedagog training could be accomplished in a purely mechanical manner, without any mental effort, and advised their pupils to put some interesting or amusing book on the pianoforte desk, and read while going through their series of daily technical exercises. The fallacy of this is now proved beyond doubt by physiological experiments made in modern times. The seat of technique lies in the brain. Unless the mind is alive to every movement, and the ear constantly on the alert listening to every note, the practice becomes worthless. As a matter of fact, it is really harmful. Involuntary movements are more inclined to weaken the hands than to strengthen them. Technical exercises are held by many students to be a necessary but abominable nuisance. This view lies frequently in the fault of the teacher who neglects to explain to the student the special object for which each exercise has been framed, or to point out the technical improvement which must inevitably be the result of conscientious practice. Practice means repe- tition and repetition implies monotony. Here again the teacher is often at fault in not taking any practical steps to prevent this feeling. We have already established the fact that no benefit is derived from any amount of practice unless the mind and ear are constantly on the alert. It is there- fore necessary, more especially in technical work, to find ways and means to prevent this feeling of mo- notony. There are many ways of doing this, both dynamic and agogic. To pame a few: A.A change from similar to contrary movement. B. Rhythmical changes. C. Modulation (change of key). D. Dynamic changes. Contrary movement is especially useful as the ear can detect unevenness in finger work more easily in this than in similar movement. Rhythmical changes imply variations in accentuation, changes of meter, and alterations in speed. Modulation implies change of key. Five finger exer- cises for instance are in most books always in the key of C. It is a great mistake to limit these exercises to one key. The fingers are not on the same level in all the keys. Take the key of B for instance. The sec- ond, third and fifth finger are on a higher level than in C; in fact most keys require a change in this re- spect. Therefore it becomes a necessity to change the keys frequently both for technical and musical reasons. Dynamic changes effect the quantity of sound; for example, forte and piano, intermediate shades, also increasing and diminishing the sound, ete. Technical exercises must always be played from memory. The modulations must never be written out in full. It is better to let the student puzzle them out for himself. It helps him to fix them more firmly in his mind, and to distinguish the different key relation- ship. The following simple five finger exercises will show some possibility of changes both dynamic and agogic. Examples: 7 —————————— Ld Similar and contrary movement Dynamic changes All these exercises may be played in similar and contrary movement, and constant change of key is advisable. In the examples I show only a very small number of possible changes, as the notes always follow in regular order from C to G. Changing the order of the notes in every possible way will result in one hundred and twenty different exercises. If you now imagine in how many different ways these 120 exer- cises can be practiced with all the dynamic and agogic changes, you will land yourself in many thousands, not hundreds. Judging by this, it cannot be so very difficult to avoid the monotony. But what is even more important is that the constant change compels the student to use his brains and to keep his ears wide open during his technical practice. So far I have treated pianoforte teaching from a theoretical point of view. We will now consider it from the more practical side. Every workman must understand the use of his tools. The tools of the pianist are his fingers, hands and arms. With these he has to manipulate the eighty-four or more keys of the pianoforte. On the way in which he operates these keys depends the entire success of his performance. The keyboard is. divided into seven equal divisions, each one containing twelve keys, seven white and five black ones, each division representing the compass of an octave from C to B. The only difference is their pitch. Each of these keys is a lever to which a ham- mer is attached at their further end. When the key is depressed with sufficient force (only a little more than the actual overbalancing of the key being re- quired) the hammer rises and hits the strings, causing them to vibrate. These vibrations are transmitted to the air and set up so called sound waves. When these waves reach the ear the drum, a tightly stretched mem- brane, is set into sympathetic vibrations. The nerves in the ear telegraph them to the brain, which trans- lates them into tone. In regard to the mechanism of the pianoforte, it is of great importance that the student should thor- oughly comprehend the action of key damper and pedals. The dampers are thick pieces of felt which lie on the strings. When a key is depressed the damper is lifted at the same time as the hammer rises, thus allowing the strings to vibrate. Directly the key rises the damper falls and stops the vibrations. The hammer produces, and the damper stops the sound. The Action of the Pedals The action of the pedals will be explained later on. We now come to the actual act of touch. In analyzing tcuch one begins to realize that it is an artificial, not a natural function of the hand, and has therefore to be acquired. As a rule we use our fingers and hands for grasping, for pressing and for holding on. The rise and fall of each individual finger is in reality used only for pianoforte and organ playing, typewriting and similar work. In former years the act of touch was limited entirely to finger action, and only finger muscles and nerves were supposed to be used. To insure this, the arms were held close to the body in an absolutely rigid state, the fingers only being allowed any movement. This was carried so far that a coin was sometimes placed on the back of the hand, and if you could play a study
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Page 154 MARCH 1920 through without allowing the coin to fall, you re- ceived extra praise, but alas! the coin was generally re-transferred to the pocket of the teacher. It did not wander into that of the student. In attempting to strengthen the finger muscles, each finger was exerted separately; the fourth and fifth being naturally weaker than the second or third had to go through double doses of torturing exercises, with the idea of equalizing their strength. This pro- ceeding was hopeless, as by the means adopted it was physically impossible to equalize the muscular strength of every finger. The actual result produced was a hard and an unmusical quality of tone. All this, of course, was in direct opposition to all physical laws. It is now universally acknowledged that even in the most primitive act of touch, not only the finger but the hand and arm muscles right up to the shoulder co-operate. There is no doubt that in the past we had some great pianists, but that proves only that Nature eventually triumphs, and that these pianists must consciously or unconsciously have emancipated themselves from those vicious academical rules. But a great amount of en- ergy and time must have been wasted in their studies. The art of touch as already stated is a complicated performance in which muscles from finger to shoulder participate. They can do so only if the arm hangs loosely from the shoulder, the whole arm being in a. relaxed condition. You will easily understand why it must be so when you realize that the finger alone is not heavy enough to depress a key without some force behind the fingers to assist. This force can consist of either passive arm weight, or of active muscular exertion. The passive weight comes from the whole arm (which must be relaxed from the shoulder) and is exerted downwards until it enters the finger tips. The amount of weight regulates the quantity and quality of tone. Muscular exertion means an alternate tension and relaxations of the muscles, the force of tension regu- lating the tone. Neither of these functions could be performed if the arm were in a stiff and rigid state. The fingers having to be in a rounded shape for most work required, a certain amount of tension of the finger muscles is necessary. We call this “fixing the fingers.” But this tension must never extend to the point of making the hand feel rigid, in fact only suffi- ciently so as to keep the finger in its rounded shape after it has played’ its note. Important Observations In conclusion just a few remarks as to the position at the piano, etc. It is important to have a firm seat, a stool standing on four legs. The old fashioned stool with one leg and a revolving seat is an abomination. The seat of course is placed before the center of the keyboard. It is not possible to fix the height of the seat, which depends on the build of the performer. As a matter of fact many great pianists vary widely on this point; and it almost appears to be a matter of habit or idio- syncracy. I have no patent method either, but I might suggest that the height of the seat be so adjusted as to allow the arms to hang quite loosely. If the seat is too low, it will prevent this, and if too high it would have a similar effect. Let the relaxed arm be the umpire. | The distance of the seat from the keyboard must be just far enough to allow each arm to reach its end of the pianoforte keyboard comfortably. This will per- mit crossing of hands without undue strain or stretch- ing. The feet must rest firmly on the ground, either lightly on the pedals, or just at the side of each. Chil- dren whose feet cannot reach the ground must have a footstool. Dangling legs must never be allowed. Cross- ing the legs or curling them round the legs. of the stool (a frequent bad habit) must be strictly pro- hibited. The shape of the hand in playing is another thing which cannot be absolutely fixed. This also must vary according to the individual performer. For instance, it is quite evident that a feminine hand, flexible and possibly double-jointed, must require totally different shaping and different treatment from a masculine one with hard knuckles and stiff joints. This difference of treatment I propose to deal with in a future article. The body must not bend over the keyboard, but must be upright and in a naturally easy position. The result of continually bending over the keys will inevi- tably result in round shoulders. THE ETUDE The Spirit and the Letter in Musical Interpretation By Arthur S. Garbett THE young lady was very young; she wore her dark hair braided, and, as the song says, “there was Egypt in her dreamy eyes.’ She had been well taught under a distinguished piano virtuoso of international repu- tation, and we awaited with considerable interest what she was pleased to call “her own interpretation” of Grieg’s To Spring. Her interpretation was certainly original. Some- times we counted three to the measure and sometimes four; there were dramatic pauses on unaccented beats, rests ignored, fortcs played piano, and a total mis- understanding of the most elementary laws of musical elocution. Yet one could not altogether ignore the poetic intent. She wanted to breathe the spirit of spring to us, she yearned to evoke the imagination, to hold us with the momentary spell of musical enchant- ment. In short, she was a good artist gone wrong. A few moments later we heard another young lady play; a sprightly young lady this time. She performed Mendelssohn’s Rondo Capriccitoso with facile fingers. All the notes were there, the time was good, the phrasing accurate, and there was nothing superficially wrong; but fundamentally everything was wrong. There was no architecture, no building of effects, no poetry; and the net result was that her listeners lost interest and broke into audible conversation, which had become general by the time she had finished. These were two extreme cases of types of pupils every teacher knows. The first represented the spirit of music unguided by intellectual understanding; the sec- ond represented literal obedience to technical laws with- out the least comprehension of their purpose. Playing a piece of music so as to give purpose and meaning to it is akin to elocution in reciting poetry We all laugh at the young man who literally obeys the . mandates of the “Orator’s ‘Guide,’ raising his arms with a flail-like motion, modulating his voice with me- chanical precision. We laugh also at the soap-box Cicero, who roars and rants and thrashes the air. We have seen and heard first-class actors and lecturers at the theater, at church, at Chautauqua. Their atti- tudes and cadences are similar to the young elocution- ist, but subtly different. They have the force and spontaneity of the soap-box Cicero, but use them with restraint. They have, in short, given us standards by which to measure a proper balance between the letter and the spirit of true oratorical eloquence. In music, the average person has no such standards; consequently he is unable to judge. The literally ac- curate pianist is not ridiculous, merely uninteresting The pianist who rants may perhaps appear ridiculous, but he may be all right for all the untrained listener knows; he is at least impressive. No matter how you play, therefore, you can “get away with it” to a certain extent. . This has led to considerable indifference on the part of many music teachers with regard to musical in- terpretation. Unconsciously they permit themselves to skimp their work. Parents are urgent and want re- sults; and it is easier to give a pupil a “repertoire” of ten or a dozen pieces all carefully learned under the teacher’s guidance than it is to give him general prin- ciples which can be applied to any piece he plays. The young lady mentioned at the beginning of this article ‘ had such a repertoire,- but had no conception of the general principles of musical form, phrasing or elocu- tion. That was why, despite genuine poetic intentions, her interpretation of To Spring was a lamentable fail- ure. The other young lady had been taught the laws, and the piece she played was part of her repertoire; but the teacher had done nothing to awaken within her the spontaneous feeling, the sympathy and insight which are needed for a really interesting interpretation. If it is true that “music begins where poetry leaves off,” then every piece of music is an ultra-poem. It has a spirit, an essence, for which the interpreter must seek if he is to make a successful interpretation. It has also phrase and sentence, rising and falling ca- dences, which the student must study objectively. | The music teacher may think he has earned his fee when he has taught the pupil to put the right finger in the right place at the right time; but in reality he has only half learned it unless he has taught his pupil the objective things about musical interpretation, and has further done his best to awaken the poetic spirit in the heart of his pupil. The latter task is the harder, perhaps, We may flatter ourselves that music teaching is a profession, but we have no right to call it so unless the quality of inspiration enters into our teaching. Apart from inspiration, music teaching is a drill- master’s job, dull and routine-like. With inspiration it immediately takes place beside that of the priest, the poet, the painter, the pioneer-scientist who boldly and imaginatively explores the realms beyond exact knowl- edge. The ultimate goal of all musical teaching is musical interpretation. During the past four years the general public has been musically awakened. Any re- turned soldier knows that music is nothing unless it has “pep,” and that is only his slangy way of express- ing an instinctive demand for inspiration. Murdering Your New Piece By Roland Farley Tue other evening father and mother had com- pany, and father asked you to play something. So you got out your newest piece, which you had prac- ticed only two or three weeks, and started in. What happened? Well, perhaps the first page went pass- ably, the next page not so well; and you almost stuck when you came to the hard part. You bog- gled the time, and to cover your mistakes, you put your foot on the pedal and forgot to take it off. Then, in your excitement, you scampered pell-mell, helter-skelter to the end of the piece, and ended in shame and embarassment. ‘Mother said: “Why Susan, what is the matter with you? You played that piece so well this afternoon.” Of course the company declared it was lovely, beau- tiful, etc., because they were too polite to hurt your feelings by telling the truth. You, however, knew just how bad it was. Yet this experience did not cure you; for, when you were asked to play at the school entertainment you insisted upon playing an- other new piece, although your teacher wished you to play something with which you were thoroughly familiar. You declared that you were sick of your old things and you didn’t want to play at all unless you could have a new piece; so your teacher gave in. This time when you came to the had part, you broke down entirely, just as you deserved to do; for, you did not know your piece, and you had no business to attempt to play it in public. So then there was more embarassment and mortification instead of the applause you expected. Do not imagine that you can learn a piece in two or three or even four weeks well enough to play it for others. You can learn a piece only to a cer- tain stage at the first working over; then it should be laid aside to season. After it has seasoned for a month or so, work it over carefully just as you would practice an entirely new piece. You will be surprised to find how much more smoothly and with how much greater ease you can play it. You may have to work the piece over in this way several times before it is finished, but you will be well repaid for all your trouble. The great pianists never think of playing anything in public which they have not practiced for months, sometimes for years. It is said of one of our great artists that she never plays anything at her concerts which she has not worked at for at least three years. This is one great secret of her success. How differ- ent this is from your half baked offerings! Remember that perfect repose is necessary if you would play well; and this is impossible if you have the slightest fear of making mistakes. You cannot do yourself justice if you are uncertain as to how —— your piece will go. Every finger should be ready to fall into place at its proper time and with the right | touch. . There is also another side to the question. What about the injury that you do your teacher by playing half learned pieces? Do you not know that if you play badly it is usually your teacher who is blamed for it? Your teacher’s reputation depends in great measure upon the playing of his pupils; and you have no right to do him such injustice.
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THE ETUDE ‘ MARCH 1920 - Page 156 Secrets of the Success of Great Musicians By EUGENIO DI PIRANI The previous contributions to this series were: Chopin (February) ; Verdi (April) ; Rubinstein (May) ; Gounod (June) ; Liset (July): Tschaikowsky (August) ; Berlioz (September) ; Grieg (October) ; Rossini (December) ; Wagner (January), and Schumann (February). Scenes from the Life of Franz Peter Schubert InN the beginning of this series of articles I re- marked that my purpose was not only to find out the reasons for the success, but also of the temporary failure of great musicians. From the study of every individual, from every quality which rendered him attractive or unwelcome to society, from his success or failure we can always derive some lesson either as a model to imitate or as a warning “how not to do things.” In the case of Franz Schubert I shall endeavor to discover what was the cause of the astonishing lack of recognition from which he had to suffer while liv- ing. He was not the victim of opposition or prejudice or envy, but simply of being ignored. His life was that of an obscure individual who gained a scanty livelihood, first as a schoolmaster and afterward as a musician, and who occupied his spare time with compositions of all kinds which publishers looked upon with indifference. Schubert was considered only as a negligible quantity. , Anton Schindler (the biographer of Beethoven), who, in the last years of his life, was among Schu- bert’s most intimate friends, was of the opinion that the cause of the obscurity in which Schubert’s tran- scending talent remained was to be found in a cer- tain obstinacy, a certain inflexibility which made him deaf to well-meant and practical advice from his best friends. He was too informal in his manners, too indifferent to social intercourse. In addition to that, his appearance was far from captivating. He was short and stooped a little, had curly hair and a puffy face, bushy eyebrows, big round spectacles and a stumpy nose. Schubert is perhaps the single instance of a great artist whose outer life had no affinity or connection with art. His career was simple and uneventful, so out of all proportion with the works which he created like a heaven-sent genius, that we must at last turn to them mainly if we would form any estimate of the golden treasures concealed in the mine of Schu- bert’s heart and spirit. It was just his commonplace existence which ob- scured Schubert’s greatness from the world. Schubert’s Convivial Tastes He was also somewhat indifferent to the charms of the fair sex, nor, as frequently hap- pens with those gifted with a vivid tempera- mental fancy, was Schubert a victim to ex- cessive passion. It may be that his aspect and his manner did not meet the sympathy of noble women. He had rather plain tastes. He loved to be in company with a few merry fel- lows, and spend with them hours and hours at the wine shop. He liked good wine. In spite 'of the protestations of friends anxious about his health he refused.to thin the potations with water, and not having a strong head it happened that he would occasionally overshoot the mark and then become boisterous and violent, or when the wine had completely overpowered him, sink off to a corner, where not a syllable could be got from him. There is no exception to the testimony given on this point by all those persons who had plenty of opportunity to observe him on such occasions. One is disposed to attribute to a frequent indul- gence in wine the cause of the pain and rushes of blood to the head to which Schubert was subject in the last years of his short life; and even the illness to which he so quickly succumbed may, at least in part, be ascribed to his fondness for strong liquors. _ 3 No wonder that the rough, unpolished shell did not disclose at once the precious pearl it con- cealed. Even Beethoven, living in Vienna at the same time with Schubert, had not heard of him until Schubert was twenty-five years old and had already composed hundreds of his immortal songs, symphonies, con- certos and operas. Not till 1822 did Schubert think of presenting in person to the master he honored so highly his Variations on a French Song. Beethoven, then in his fifty-second year and suffering from deaf- ness, expressed the wish that Schubert should write the answer to his questions. But Schubert, out of sheer nervousness, felt as if his hands were tied and fettered. Some remarks of Beethoven uttered on an inaccuracy in the harmonies of his variations discon- certed Schubert the more, and the result was that never, until Beethoven lay dying, did Schubert see him again, as he had not the courage to repeat what had been a nerve-racking experience. Beethoven, on the. contrary, after the interview, was most favorably impressed with Schubert, and commenced to study the young composer’s works with keen interest. Es- pecially, as Schindler states, [phigenie, Granzen der Menschheit, Allmacht, Junge Nonne, Viola and the Miillerlieder impressed him deeply. Evidently besides genius, pertinacity and industry, something else is needed to pave the way to success. Seclusion and want of manners may prove a serious hindrance to recognition, as in the case of Schubert. Schubert’s Early Education The Schuberts were natives of Zuckmantel, in Aus- trian Silesia. Franz Schubert, the father of the com- poser, held an appointment as the schoolmaster of Lichtenthal. His first wife was a cook, by whom he had fourteen children. Only five of the fourteen sur- vived, Franz being the fourth, born 1797 at Lichtenthal. At the earliest age he manifested a decided predilection for music. It was evident that nature had endowed him for a musician rather than for a schoolmaster. When he was seven years old he made friends with an ap- prentice who often took him to a pianoforte warehouse, where little Franz had the opportunity of practicing on the instrument. At eight his father commenced to teach him the violin, and then sent him for singing lessons to Michael Holzer, the parish choirmaster, who soon found out that whenever he wished to teach the boy anything new he had already mastered it. “Con- SCHUBERT, LONGING FOR A PIANO Schubert at times in his career was without a piano for his use, and was obliged to wait outside the door of the home of a friend for a chance to borrow the use of the instrument. sequently,” he said, “I cannot be said to have given him any lessons at all. I merely regarded him with dumb astonishment.” Schubert showed altogether extraordi- nary precocity in music, although he had not the oppor- tunity to display it to a crowd of admirers. In 1808 he was appointed to the Imperial Chapel, a position which included the right to admission in the “Stadtconvict.” It appears that his garb and shape were so unprepos- sessing that the competitors jokingly called him “the miller’s son.” But Salieri, the conductor of the choir, quickly recognized young Schubert’s ability and gave him the preference. He was soon made leader of the school orchestra. Here he became acquainted with the symphonies of Haydn, Mozart and Beethoven. He was enraptured with poetically imaginative works like the G Minor Symphony of Mozart, which he declared ‘was like the song of angels. Schubert during his student days was chronically short of pocket money and wrote to his brother Ferdi- nand: “You know by experience that a fellow would like at times a roll and an apple or two, especially if, after a frugal dinner, he has to wait for a meagre supper for eight hours and a half. The few groschen that I receive from my father are always gone to the devil the first day and what am I to do afterwards? ‘Those who hope will not be confounded’ says the Bible, and I firmly believe it. Suppose, for instance, you send me a couple of kreutzer (about a cent) a month? I don’t think you would notice the difference in your own purse and I should live quite content and happy in my cloister. St. Matthew says also that ‘who- soever has two coats shall give one to the poor.’ In the meantime I trust you will lend your ear to the voice crying to you incessantly to remember your brother Franz.” Schubert’s Music Paper One more serious result of his impecuniosity was the impossibility of purchasing music paper for the com- positions which now commenced to flow in rapid suc- cession, but this want was supplied by the generosity of one of his older schoolmates, Joseph Spaun, who early recognized his genius. 1810 he wrote a piece for piano- forte, to which he gave the curious title of Corpse Fan- tasie. 1811 he wrote a quintet overture, a quartet, a fantasia for piano and his first songs, which drew the attention of Salieri to the boy’s talent, and he was handed over to Rucizka for harmony lessons. The experience of this teacher was similar to that of Holzer : “He has learned everything,” said Rucizka, “and God has been his teacher !” Afterwards Schubert enjoyed the personal in- struction of Salieri for many years. Salieri was the most eminent of Italian musicians resident in Vi- enna. He was a man of great ability, and Schu- bert derived much benefit from him. Particularly his love for sweet melodies, shown in all his com- positions, was undoubtedly fostered by the Italian maestro. Characteristic of the chauvinistic ten- dencies of German historians is the fact that they consider the wonderful and rapid advancement made by Schubert under the leadership of this distinguished musician not as a logical conse- quence of his tuition, but as ensuing in spite of the same. Although a composer of genius (he wrote 40 operas, among which Armida, Semira- mide and Les Danaides ought to be specially men- tioned) and an eminent conductor, the mere fact that Salieri was an Italian was enough in the eyes of these prejudiced critics to deprive him of the credit of having contributed to the musical educa- tion of Franz Schubert. The latter, however, en- tertained the most affectionate feelings and sincere gratitude towards his teachers, as proved by a Ju- bilee ‘Cantata he vrote in honor of Salieri. Dur- ing the same year (1816) Schubert wrote his most famous songs.
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MARCH 1920 | The Family Quartet On holidays his instrumental chamber music was played at home by the family quartet composed of ‘Ferdinand first violin, Ignaz second, Franz viola, and the father violoncello. Franz’s quick ear detected the most: trifling blunders. He rebuked his brothers, but would ignore the mistakes of his father or timorously call his attention to them, saying: “Is not something wrong here, sir?” Schubert left the “Stadtconvict” 1813, his residence there having lasted five years. The pecuniary circum- stances of his father forbade the possibility of Schu- bert’s devoting himself exclusively to music, and his only immediate chance was to assist in his father’s school. For three years he settled down to an existence of unspeakable weariness, teaching the children of the poorer classes of Vienna the alphabet and the rudiments of arithmetic; but in spite of such wearisome activity these years were the most prolific of his life, for it was then that he wrote some of his most important works. A remarkable fact in Schubert’s life is that he formed intimate friendship only with congenial persons of his own sex, while he had scanty and mostly commonplace experiences with the fairer part of humanity. 1814 he composed the opera Der Teufel’s Lustschloss whose plot was even more outrageous than that of Mozart’s Zauberfléte without having the hidden sym- bolism contained in Schikaneder’s story. It deals with enchanted castles, monsters, deeds of daring and all the paraphernalia of fairy romanticism. For a serious opera it was utterly unsuitable. It was never per- formed. Amazing as his rate of production had been in pre- vious years, all former efforts were eclipsed in 1815. Half a dozen dramatic works, two masses, two sym- phonies, a quantity of church and chamber music and nearly one hundred and fifty songs form the stupendous catalogue of works conceived and finished within the space of twelve short months! In the whole history of music we can find no parallel to this inexhaustible fertility. It is certain that it was absolutely no trouble for Schubert to compose. The subject once chosen, the ideas to express it came naturally and supera- bundantly. Unlike Mozart he did not carefully perfect his works before writing them down. Handel, Bach and Haydn wrote with extreme rapidity but none of them exhibited the degree of fecundity of Schubert at the age of eighteen. Spina has a M. S. of seven songs all composed October 15th, 1815, and on the 19th four more were written. Among the many songs of this period, those which breathe the spirit of Schubert most truly are the Erlkénig and the Wanderer, The Earl- King has a history. One afternoon Schubert was in his room and happening to take up a volume of Goethe's poems, read the Earl-King with intense excitement. The howling wind and the terrors of the forest became stern realities to the inspired youth who instantly dashed down that wonderful tone-picture in the pres- ence of a friend who had entered the room. Vogl, the singer, sang it and produced a great sensation. Jean Paul on his death-bed requested that he might once more hear the Earl-King. This song was the first of Schubert’s: compositions that appeared in print, and this happened in the year of his death, thirteen years after the ballad was composed. The publishers for years refused to have it, even as a gift, and probably would never have given the small trifle they did give for it had they not known of the demand for the copies Dr. Sounleitner engraved at his own expense and which were published in commission in 1821. Page 156 Schubert’s Aversion to Teaching 1818 Count Esterhazy, a Hungarian nobleman, offered Schubert the post of music master in his family. Schu- bert did not care for teaching, in fact had an aversion to it, but the two gulden a lesson, wintering in town, and other advantages induced him to waive his objec- tions, to accept the count’s offer, and to accompany. him to Zelesy. Soon after entering into the family he felt a growing passion for Caroline Esterhazy, the count’s youngest daughter. The pretty features, the sweet voice, and careful piano accompaniment of the girl of eleven charmed the young genius, but she did not re- turn his love and could do no more than admire his music. Yet she once coquettishly reproached Schubert for not having dedicated any piece of mysic to her. “What's the use,” replied the poor fellow, “when every- thing I do is dedicated to you.” To the last day of his life it is said he entertained the same feelings towards her but they were always hopeless and unreciprocated. Of Schubert’s sixteen operas and operettas, very few if any, are known to-day. Song was the life-long object of this true tone poet; for it he strove and above all he succeeded. Many may know him by other music but the world at large knows him more by those in- spiring melodies which express all emotions appertain- ing to human nature—love and hatred, joy and sorrow, hope and despair. His six hundred songs form a unique and precious bequest to music. Efforts were made from time to time after Schu- bert’s death to arrange for the production of his opera, “Alfonso and Estrella,’ but they were unsuc- cessful until 1854, when it was brought out at Weimar with the co-operation of Franz Liszt. The Neue Zeitschrift fiir Musik” thus criticises the opera: “Un- fortunately the poetical, large-hearted composer found himself in company with a thoroughly prosy librettist, and for this reason Schubert’s opera will have no vitality. The meagre way in which the subject is handled, destitute of any kind of interest, offering no exciting situation, no good dramatic effects, must nec- essarily have a tame, depressing effect on the audi- ence, not to mention the lyrical effusions which are immoderately dragged out.’ These last are the pe- THE GARDEN AT SCHUBERT'S BIRTHPLACE culiar features of the opera (which one could cor- rectly designate a song opera), the consequence is that Schubert, with his pure vein of melody, must have felt a constant sense of restraint and he did not get beyond the simplest phrases and forms of his Lieder. The inevitable result was a kind of suicidal monotony which even the lyric genius of Schubert: could not entirely dispel. Schubert was not a virtuoso in the modern sense of the word, but he accompanied his own songs beauti- fully, keeping the time very strictly, and (in spite of his short, thick fingers), he could play the most diffi- cult of his sonatas, except the Fantasia op. 15, which he never could master. On one occasion, whilst at- tempting it at a private party and sticking fast in the final movement, he jumped up from the chair, ex- claiming: “Only the devil himself could play this stuff !” Schubert’s Diary The best way of gaining an insight to the special likings and idiosyncrasies of a great man is afforded by the study of his diaries and private correspondence. Now whether Schubert was averse to letter-writing there is no evidence to show, but the one great charm we find in the study of the lives of other great mu- sicians is denied to us in the instance of Schubert. Also only small portions of his diaries remain. Alois Fuchs in his “Schubertiana” relates: “Some years ago I found accidentally at an autograph dealer’s in Vienna the fragment of one of Schubert diaries in his own handwriting, but several of the pages were wanting. On my asking the reason of this the wretched owner of the relics replied that he had for a long space of time been in the habit of distributing single pages of the manuscript to hunters of Schubert relics or auto- graph collectors. Having expressed my indignation at this vandalism, I took care to save what was left. The leaves refer to four days only and run as follows: ‘June 13, 1816—This day will haunt me for the rest THE ETUDE of my life as a bright, clear and lovely one. Gently and as from a distance the magic tones of Mozart’s music sound in my ears. With what alternate force and tenderness, with what masterly power did Schle- singer’s playing (Schlesinger was an excellent violin- ist) of that music impress it deep, deep in my heart. Thus do these sweet impressions passing into our souls work beneficently on our inmost being, and no time, no change of circumstances can obliterate them. In the darkness of the life they show a clear beautiful distance, from which we gather confidence and hope. O Mozart, immortal Mozart! how many and what countless images of a brighter and better world hast thou stamped in our souls!’” Schubert has left behind works in every style; in songs he is superior to every other composer, while in other branches he is not equally unique. His “Sixth” Symphony (1819), his “Seventh” (1828) and his E-flat Mass (1828) are the most conspicuous works besides his songs. The failure of so many hopes—more particularly in respect of the performance of his operas in the thea- tre—straitened circumstances and constant bodily ail- ments tended to make Schubert serious and depressed, a state of mind which later gave way to a phase of deep dejection bordering on absolute despair. On November 11, 1828, Schubert’s increasing weakness compelled him to keep to his bed. During his illness —nervous fever—which lasted only nine days, he suf- fered from mental wandering. He died on the 19th of November, aged thirty-one years. A portrait bust marks his grave, and on the pediment beneath it is the following epitaph: Music buried here a rich treasure, But still more glorious hopes. Here are a few aphorisms by Schubert and ancedotes of him: | Take men as they are, not as they ought to be. Town politeness is a powerful hindrance to men’s integrity in dealing with one another. The greatest misery of the wise men and the greatest happiness of the fool are based on conventionalism. | Schubert, when his teacher Salieri told him that he was competent to write an opera, stayed away from his lessons for a couple of weeks and then begged the astonished master to examine the entire score of Des Teufels Lustschloss, which he placed before him. Schubert had given the singer Vogl some of. his songs. Vogl examined them at his home and found among them one that pleased him particularly and had it transposed to suit his voice. About a fortnight elapsed and both friends were enjoying music together, when Vogl, without saying a word further, placed the song in the transposer’s handwriting upon the piano. When Schubert heard the composition he called out: “Hm! pretty good song! Whose js it then?” He did not recognize his own work, which made Vogl specu- late upon whether Schubert composed in a state of ‘somnambulism, or trance, without free will on the part of the composer. Schubert’s Unfortunate Surroundings Resuming, we find the following salient traits in Schubert’s life: Lack of conventional deportment and an unsightly appearance were stumblingblocks in Schubert’s artistic career. . His absurd over-modesty. Even dealing personally with publishers he was reserved and timid to a degree that he failed to reap the full harvest of his labor. Intemperate indulging in frequent and strong liba- tions, which shortened his life. Those we could call the “Secrets of His Failures,” the delay of fame dur-_ ing his lifetime. On the other hand, the eminently artistic surround- ings in his early youth, first in his own family and then at the “Stadtconvict” under Salieri’s leadership, gave Schubert a solid foundation on which he could build his wonderful musical powers. Altogether we have in Schubert a rare instance of an immortal tone-poet, who lived under the most un- favorable circumstances and was fully recognized only after his death. THE GREATEST MASTER OF SONG, A MOST UNFORTUNATE ARTIST.
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THE ETUDE MARCH 1920 Page 157 I. An Analysis of Memory PLAYING from memory may be considered briefly from its psychological as well as from its practical side. | Long ago, Herbert Spencer found in the technical confidence and assurance of the great virtuosi, an ad- ditional proof that a long employed combination of muscular actions becomes almost as difficult to analyze as tricks of walk, attitude, of other mental action, of handwriting, etc. He says: “Similar integrations* go on between cognitionst and the operations guided by them. At last, no reasoning or calculation is required; or, indeed, is permissible; for it is notorious that in games of skill, any lengthened consideration or active interference on the part of the higher faculties, almost inevitably causes a failure, owing to the required auto- matic character of the performance.” II. The Two Forms of Memory Henri Bergson distinguishes two forms of memory; one of them, the “repeating” memory, he calls an auto- matic cerebral mechanism (habitude motrice, mécan- ismes moteurs et tout montés) ; the other, the “imagin- ing” memory, is to him the true memory, i. ¢., the actual mind, composed of remembered representations (images-souvenirs) and spontaneously reproducing past perceptions, In the present volume attention has been repeatedly drawn to the performance of certain technical actions —from mere force of habit—in an almost automatic, unconscious manner as “reflexes”; but this fact is made very clear indeed by a Canadiant teacher: “Each one of us is possessed of two minds—the con- scious and the subconscious mind; and a clear under- standing of the separate functions of each of these two minds is of the greatest value to one who would become a successful performer. The conscious mind _1s, as it were, the stern disciplining teacher, the imparter of fundamental ideas, whilst the subconscious mind is, at the outset of any interpretative undertaking, the wild, charming, undisciplined pupil. The subconscious mind is, therefore, the receptive agent, and also the inter- preter of the conscious; ‘with the added inevitable in- dividuality and technical fluency which the latter does not possess, and over which in the ultimate presentation (let us say the public performance) the conscious (teacher) has little control. Since each one of us pos- sesses the two minds, and since the subconscious is the interpreter, it follows that the more sensitive and re- ceptive it is, and the more one is able to set it free (un- hampered by the conscious) the more individual and greater artist that one of us becomes.” The same writer goes on to explain his meaning by a practical illustration. He says: “Let us take for example the Chopin F minor Etude (Op 25, No. 2). In the right hand part the entire com- position is an unbroken chain of a few over eight hun- dred quaver notes to be played at a very rapid tempo. I begin the study of this composition by reading con- sciously each note, and then I play it on the piano. This is necessarily a slow process, as the conscious mind is only capable of working at a limited speed. But’ every time I read these notes, an impression is made on the subconscious mind. At first the impression is only famtly made, but by numerous repetitions it gradually becomes strong enough to be depended upon, and I find that by allowing myself to depend half upon one mind and half upon the other, I am able to read or have the impression of a group of three or four notes at once, and therefore can play them proportionately *An integration is a function or action which does not include any principle of subdivision. TBy cognition is meant a knowledge or apprehension which is certain. ¢Mr. Paul Wells, of the Toronto Conservatory of Music. ‘The Secret of a Good Musical Memory Successive Steps in Acquiring the Art of Remembering Music By DR. CHARLES WILLIAM PEARCE Director of Studies, Trinity College, London [EpiTror’s NorE.—Dr. Charles William Pearce, one of the clearest thinking of the British musical pedagogs, has writ- ten several excellent works upon musical subjects, including a Student’s Counterpoint, Composer’s Counterpoint, The Art of the Piano Teacher (quoted in part herewith), Rudi- ments of Musical Knowledge, etc. e was born at Salis- bury in 1856, acquired his degree of Mus. Doc. at Cambridge University. For a time he was Dean of Trinity College of Music in London. The following article is an exceptionally sensible treatment of the subject of memorizing. Any per- sistent student who has the patience to do intelligently as Dr. Pearce has suggested should be able to acquire a fine repertoire of pieces “by memory” in a year or so.] faster than when I read each one separately. To make a long story short, eventually the impression has be- come so strong that I am able to depend upon it en- tirely, and dispensing with the music and all thought of the notes, I am able to play the Etude at a tempo much faster than I could possibly think it out. Being curious to know the relative speed powers of the two minds, I have by test found that to play this Etude consciously thinking out every note requires over five minutes, whereas in playing subconsciously, I can get through it in less than a minute, or less than one-fifth the time required for the former performance.” His point is that while the conscious mind has been absolutely necessary in creating the impression, its secondary, but not less important, function is to with- draw itself almost completely, so that the subconscious may have free play. The performer who cannot ac- complish ‘this latter feat, cannot hope to play such a composition as this Chopin Etude at any great rate of speed, for consciousness will hinder the entire delivery. It is this antagonism between what are here called the subconscious and the conscious minds which is so often at the root of deplorable “loss of memory” which sometimes happens whilst a pianist is playing without a printed copy of the music before him on the piano- desk. This matter can be reasoned out somewhat thus: Each one of us has mastered perfectly the technic of walking and breathing. We walk accurately, stepping so many inches each regular number of seconds; our breathing is accurate, regular; and yet this is all con- trolled subconsciously. At the piano we ought there- fore to be able to play accurately and regularly, as an illustration, a series of octaves. An octave position of the hand measures an octave no matter where it alights, just as a foot-rule always measures off twelve inches, no matter where it is placed. If, in learning to play octaves, the student consciously holds the octave position without contracting or expanding the hand until this feeling for the distance is firmly impressed upon the subconscious mind, he may then: be able in playing to depend upon an infallible octave technic, just as in walking he is able to depend upon stepping so many inches. When we hear a pianist blurring an octave passage, it is either because he has never consciously held (in practice) a definite and unchanging octave-span; or else fear or doubt enters into his conscious mind, thereby destroying the sure impressions which have been made on the subconscious. Jt is lke trying to walk a plank where fear of falling off causes one to walk unnaturally. Main’ Points of a Good Memory Interest. : Attention. Sharp initial mental impressions. Know your composition so that you can play it before attempting to memorize it. Memorize in three ways: (a) aurally, (b) visually, (c) tactually. Practice writing down difficult measures from memory and note how many omis- sions you make. Stick at it until you get it. Sd It follows, therefore, that if technic can be made a subconscious thing, so that in performance it is en- tirely detached from the conscious—it becomes at once, not a dry mechanical device, but a medium for the ex- pression of the soul. And who can deny the indefinable charm of a technic that “floats like a spirit?” Ill. How Memory Can Be Cultivated The mere psychological aspect or the purely theo- retical consideration of memory as a mental process is, however, of little practical value to anyone who may desire to be able to play the piano “without book.” It has been well said that the best way of attaining a musical memory is to be born with it! Failing this, the next best thing is to possess great powers of mental concentration. e In order that an impression be left upon the mind for any length of time, it must be either very vivid, or it must be revived many times at short intervals. During the practice-periods of learning to play a composition, every effort must be made by the teacher to secure the pupil’s clear and uninterrupted focus of conscious thought on the matter in hand. This concentration of thought will render the mem- ory so susceptible to the reception of fresh mental “images,” that the vivid impression made by them upon the subconscious mind during the first reading and sub- sequent systematic repetition of a new composition— whether practiced in sections or as a whole— shall ibe strong enough to secure the mental retentiveness neces- sary for a public performance of the music. . With this retentiveness of a complete mental “image” of the composition—as a whole, as well as in sections— must be associated an agility of thought in reproducing the composer’s flow of musical ideas, by bringing them forth, one by one, from their “pigeon-holes” in the sub- conscious mental storehouse, and presenting them to the ear of the listener in their proper order—as written. It is therefore necessary to know a composition be- fore attempting to remember it. Another important asset of the player from memory is good health. Mental concentration—whether during practice or performance—is impossible after a sleepless night, or during a bad nervous headache. The facility for memorizing music varies so much in different individuals, that no single method can be prescribed as the only one, or even as the best one. VI. Three Ways of Memorizing There are practically three ways of memorizing piano-music: 1. By ear. 2. By visual recollection. 3. By a recollection (a) of technical actions, and (b) of keyboard locality. Pupils who are highly gifted by nature have the in- ward ability to hear a composition mentally, and to proceed from this quite easily to an outward expression of the music on the piano. Such pupils usually possess —in addition to this great gift—that utter and com- plete confidence in their natural talent, which makes— for them—a failure of memory well-nigh impossible. Memorizing by ear being the most natural as well as the most musical way, is strongly recommended to reachers for development in their pupils—even with those who possess only slight natural ability in this respect. | The recalling of a past impression of sufficient depth can be brought about whenever an “association” has set up the train of visual “images” which surrounded or led up to the original experience. Visual musical memory is of two kinds: (a) A recollection of what the notes, chords, etc., look like on the printed music-page. This “association” of sight and sound is very similar to the memorizing
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Page 158 MARCH 1920 method pursued by public reciters and others who learn poems, etc., very readily by recalling mentally the posi- tion and look of the printed words in the book from which they study. (b) A recollection of the muscular feeling of the technical actions employed during the performance of the music, aided considerably by recalling the keyboard position of the notes, chords, etc., taken by the fingers whilst playing. With every player from memory the mental visual “image” of the printed notes obtained from the memo- rized music-book, has therefore to precede the memor- ized visual technical action of the fingers, etc., and the various keyboard localities affected by them. For visual memory to be trustworthy it is as necessary for a memory-player to think (or even say) over the notes of a piece away from both music-book and piano, as it is for an ordinary reciter to “say over” the words of a-poem he desires to recite, away from the book from which he studies. In either case, the music or the literature to be recited from memory should be gone over many times in the mind’s eye and ear with much certainty and confidence before either be presented to an audience. It is also a good plan to take a sheet of music-paper, and write down certain detached portions of the music from memory. It stands to reason that visual music-memory is greatly aided by a knowledge of harmony and form. Finger and keyboard memory are not of much use unless assisted by aural and visual memory. The best thing to do is to cultivate all three of the above-mentioned methods of memorizing, 7. ¢., to know the music well by ear, hearing it unfold itself in ad- vance of the fingers, and to have also in the mind’s eye a vivid recollection of the notes on the printed page, as well as of their locality on the keyboard, and the necessary technical movements of the fingers in con- nection therewith. V. A Few Useful Hints for Memorizing It is well for a memory-player to go over his piece mentally, i. ¢., to hear it with his inward ear, during a morning’s bath, an afternoon walk, or an after dinner lounge with closed eyes in an easy chair; and this not always from the very beginning of the composition, but from various points in the middle, still keeping the order of continuity of the various divisions and formal design of the music clearly in mind. When many pieces have to be retained by the memory those most recently learned will be found to need more frequent repetition than those which have been learned —and played—many times in the past. — Memorizing piano-music makes such demands on mental capacity that its value can scarcely be over- estimated as a mind-training process. Hence piano- forte-playing deserves the utmost consideration and respect as one of the most important factors in a good general modern education. “Why, Oh, Why?” By O. W. Mosher THE following is a plea for more happy, genial and informal relations between the so-called professional or semi-professional musician and the average music lover. Why is it that the average professional musician can almost never be induced to perform, even in an in- formal way for friends or even relations, unless he is paid? ) To put the matter in a light towched with deep pa- thos, I give an example. I have a cousin—an own cousin, too, mind you!—who is a crab about the mat- ter. I hate to put it in such strong language, but there is no doubt he is a crab in that particular. I will say to him in my most genial tone, “Come on, old settler, give us a song, won’t you, old socks? Just one—I haven’t heard you since before the Spanish War.” Will he sing? Well, I should say not—nothing of the kind. He sings tenor, and insists on a “tenner” every time he sings. Unless I put the plain green bills on the music rack for him to read the notes from he puts on a pained expression, and refuses to perform, and leaves me standing there feeling like the doormat after an “At Home.” Why is it that these professionals are such wet blankets at informal affairs? I know a young lady who plays the piano beautifully. Ask her to play at a party or reception and she always claims to be com- pletely out of practice—“really hasn’t anything she can play, you know.” It seems to you a bit of intel- lectual. dishonesty on her part—you know, and she knows, that she plays exquisitely; and what’s more, she knows that you know. Let me illustrate the wrong and the right attitude to take toward requests to play. Both these incidents are absolutely true. Firstly, let me illustrate the wrong attitude. I am a professor of history in a small Virginia college, and as such am supposed to assist in entertaining the occa- sional traveling lyceum stars who radiate around our lovely little city. I entertained a party of three at my home one time; a reader, pianist and violinist. Now, I’m not a bad violinist myselfi—by no means a professional, you un- derstand, nor with a very ample technic, but I think I play with some color and feeling, and I have been greatly in demand in boosting Red Cross and Liberty Loan drives; my training was under a Boston Sym- phony man and was, of course, good—so let’s let it go that I can give a performance pleasing to the ordi- nary person. | I played for my guests, and they apparently enjoyed it. Then I turned to the violinist and said: “I wonder if you wouldn’t like to play a couple of duets here with me. Here’s a dandy one of Moskowski’s and Schubert’s Serenade for two violins and piano;’it is mighty effective. Well—would you believe it, all three of these lyceums closed up like clams, and one of them said, with the most superior and snippy air, “We make it a point never to play outside of concert.” If that wasn’t a wet blanket, I miss my guess. Why couldn’t they have loosened up a little? It would have given so much pleasure to me if we could have tried those over together, and it couldn’t have ruined them professionally, that I could see. Turning from that experience, which I remember with a degree of unhappiness, let us turn with delight to a real genuine bit of good-heartedness in a musical way; from a king of professionals. I was riding in the Pullman on the way to Wash- ington, when the negro porter said, “General, I sees you got yo’ fiddle along—I plays a little bit myself, and I’d like powerful well to have you play a piece for me.” “Sure,” I said, “I’ll be glad to.” So we went out in the smoking compartment at the end of the coach, and I played for him and a crowd of traveling men there. They were all very appreciative. 8 When I had finished the porter said: “General, you sure do play mighty well; but suh, there was a fellah on the train last trip I asked to play same as I did you, and say, he was the wonderfulest fiddler I ever did see. He said his name was Mischa Elman.” “Mischa Elman?” I exclaimed. “You don’t mean to say he played out here for you?” “Yes, suh, he sure did.” And then the conductor chimed in with, “That’s right, Elman was a passen- ger last trip through to Washington, and he gave us a regular treat out here in the smoker.” 3 “Well,” I remarked to myself, “If some of these crabs of professional musicians would take example from Elman, it would be real stuff. That certainly was darned nice of him!” Of course, I can see how requests to play might easily become an imposition upon professionals, and yet I do wish to make a plea for a little greater leni- ency to us poor music-loving mortals. Jt is so flat to ask some of the accomplished ones to play something at a reception or party and have them hem and haw around and say “they really haven’t got a thing.” If they don’t want to assist in the good time, wouldn’t it be better for them to ask the host or hostess ahead of time to see that they are not called upon? It is, indeed, a sad thing to hear an accomplished musician throw a wet blanket on the proceedings by hanging back and refusing to do anything when asked. “Why, oh, why, can’t they limber up and let us hear an occasional informal bit of music—music that isn’t cut and dried and ticket-ed to the limit? THE ETUDE The Piano Teacher’s Best Advancement By Harold M. Smith _THE best advertisement a piano teacher can have is a pupil who plays well from memory. No matter where the pupil is or whether music be available at the time, he is always prepared to reflect credit on his instructor. On the other hand, how many golden op- portnities have been lost by the pupil who is compelled to make the excuse, “I haven’t my notes,’ when a music-hungry audience requests him to play. If we would “let our light shine,’ we must pro- duce pupils who are able to show others what we are accomplishing with them. Many of the most favorable opportunities for display of musical ability come un- expectedly and at times when the student finds him- self without music from which to play. If he be pre- pared with a few memory pieces tastefully rendered he has done his teacher a great service. A Large Order for a Little Thinker By D. G. Woodruff Few teachers have any idea of the mental complica- tions they present to the minds of their little pupils. Mental actions are simple or complex in proportion to the number of operations combined. The secret of natural, easy teaching is that of teaching one thing at a time, and then combining these things. This is es- pecially true in any study which has to do with execu- tive work—anything to do with the employment of the hand. Suppose you present a complicated design to the little child just learning to draw. The child is be- wildered and amazed by the many figures. Get him to start by drawing some simple figure and the result is very different. Dr. John Warriner, a well-known English pedagog and writer upon music subjects, once catalogued all the things which the little child had to think about before he could strike a single note upon the piano. Here they are: 1. He has to decide upon the alphabetical name of the note on the staff. ; 2. He has to find its locality upon the keyboard. 3. He has to decide which finger shall depress the key. 4. He has to think of the duration of the note. 5. He has to consider whether the note is to be loud or soft. | 6. He has to consider upon the kind of touch to be used. The moral to the teacher is to teach thoroughly all of the details of the elementary work, and to endeavor to teach one thing at a time until the proper moment comes to put the component facts together. A Home-Made Metronome By Mathilda Meyer Chapman How many teachers, upon advising a pupil to pur- chase a metronome, have been confronted with the fact that the parents are unwilling to expend the sum necessary to secure one! Such teachers, perhaps, will find the following little device helpful. It has the ad- vantage of being very cheap, and, while it cannot en- tirely fill the place of a metronome, it is far better than none. , Take a small tape measure with a spring, such as can be purchased in any department store for 25 cents. Drive a nail into the wall, hang the tape measure on it, and set it swinging like a pendulum. Set your metro- nome going at the same time at the speed of 200. Lengthen the linen tape until the speed of the pendu- lum is the same as that of the metronome, and mark 200 on the tape at the spot where it leaves the case. Proceed in the same way to mark the speeds 184, 168, 152, 138, 126, 120, 116, 108, 104, 100, 96, 92, 84, 80, 76, 72, 69, 66, 63, 60 and 58. This is sufficient for ordinary purposes. After you have marked one tape measure, keep it on hand and use it as a model for marking others. To use the metronome substitute, the pupil drives a tack into the wall near the piano, so that he can see it swing “out of the corner of his eye,” setting it at the speed marked at the head of his piece or study. It will swing long enough for him to get the tempo firmly fixed in his mind.
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THE ETUDE MARCH 1920 Page 159 Classic Piano Playing from Beethoven to the Moderns Written Expressly for THE ETUDE by the Well-known New York Critic W. J. HENDERSON WITHOUT question the delimitation of the period of classic piano playing is by no means simple. This must be so because periods in music invariably overlap, and the artistic impulses which govern the development and progress of the art never cease to operate. The so- called classic and romantic principles have ruled in turn ever since music began. The one js conservative, the other progressive; the former reverent before es- tablished authority, the latter proclaiming daily its decla- ration of independence. The entire classic period of music was thrown into disturbance by the advent of Beethoven. Historians and essayists are in the habit of pointing to him as the su- preme master of the classical writers, while to Chopin, Schubert, Schumann and Liszt they assign the begin- nings of the romantic era. Beethoven, however, has defied all classification. He was both classic and ro- mantic, and in the first movement of the Fifth Sym- phony he triumphantly proved that the most rigorous and logical uses of the classic method of composition could be made the most fiery and eloquent utterance of the new romantic thought. As Beethoven composed, so he played the piano. But we cannot begin a survey of classic piano playing even with the earliest performances of Beethoven. To ar- rive at a just view of the ideals and purposes of the classic piano masters we must go back at least as far as Emanuel Bach. He was the true father of modern piano playing, and, indeed, modern piano composition. But even he owed much to two predecessors, his father and Domenico Scarlatti. The latter clarified the cloudy atmosphere surrounding keyboard methods by showing the radical differences between the technic of the organ and that of the pianoforte. The former rev- olutionized clavier practice by his system of fingering. The earlier manner of holding the hand flat and the fingers extended made it impossible to use the thumb as an active member of the digital family. Sebastian Bach, Handel, Couperin, Scarlatti and other great per- formers did, indeed, use the thumb, but only occasion- ally, until Bach determined that it should be employed with the same facility as the other fingers. In order to make this possible, it was necessary to abandon the extended position of the fingers, to bend them so that the thumb might be brought always in reach of the keys, and tc raise the back of the hand. The fingering by which the thumb is passed under the fingers in scales was introduced by Bach, and has remained in use till this day. This system of fingering was at the basis of the method amplified and in part created by Emanuel Bach. | The technic of the earliest clavier players permitted the production of a smooth legato only at a moderate tempo. But once a method allowing perfect fluency in the delivery of scale passages was adopted, the per- formance of such music became comparatively simple. We must, therefore, believe that the profusion of scales in all piano compositions up to and including those of Mozart, was due to the ease with which they could be played no less than to the fact that composition for the piano was influenced by the prevailing taste for the music of the Italian opera, rich in florid passages founded largely on scale formations. The elegance, suavity and fluidity of style found in the first works belonging to the classic period are to be traced in part to the new achievements in technic and in part to the strong feeling for the vocal. We read with delight the words of Emanuel Bach in his important book, The True Manner of Playing the Clavichord. He says: “Methinks music ought principally to move the heart, and in this no performer on the pianoforte will succeed by merely thumping and drumming or by continual ar- peggio playing. During the last few years my chief endeavor has been to play the pianoforte, in spite of its deficiency in sustaining sound, as much as possible in a singing manner, and to compose for it accordingly. This is by no means an easy task, if we desire not to leave the ear empty, or to disturb the noble simplicity of the cantabile with too much noise.” One heaves a sigh of deep desire that all pianists and piano writers of to-day would ponder these wise words. Meanwhile, it is not essential to our purpose to make a critical examination of Emanuel Bach’s piano compositions. Suffice it to say that he did seek for a clear, fluent, singing style, and that his works are con- spicuously successful in their attainment of a direct ex- pression of melodic idea. Though they never reached depth or largeness, their felicity in the adaptation of the means to the end, their skilful employment of the resources of the instrument, could not fail to impress later masters, and it is, therefore, to Emanuel Bach that we trace the origin of the style of Haydn and even that of Mozart. That Mozart was an exponent of the singing style was the natural outcome of his artistic organization. Jahn, his biographer, declares that his musical training was founded on song, meaning by this, no doubt, that Mozart was, from infancy, influenced by the Italian opera. Without question, this is true, but one of the most direct and powerful influences of his young spirit is too often forgotten. His artistic paternity was his father’s training, and Leopold Mozart was a violin- ist of the classic school. It is more than likely that the suave and flowing manner of the violin player and the penetrating beauty of the sustained phrases of the violin cantilena,. familiar to Mozart from his earliest child- hood had almost as much to do with his affection for the singing style as the incessant hearing of trumpery Italian tunes which he himself surpassed while yet an infant prodigy. We do know that his fundamental demands in piano playing were a perfect legato, a singing touch, and a style simple and unaffected. He held that the position of the hand should be quiet and steady. He admired lightness, smoothness and elegant rapidity. Passages were to flow like oil. He opposed high speed and violations of time. He commanded appropriate expres- sion. Propriety and good taste were with him prime requisites. He left us one proclamation of a faith entirely obvious, yet too often smothered. ‘Three things,” he said, “are necessary for a good performer.” Then he pointed to his head, his heart and his fingers. Since Mozart was not only a great pianist, but a composer of great piano music, he projects himself forward from the somewhat prosaic musical history of his time as the true formulator of the elegant, smooth, vocal style of the classic period. With him it found its definite form, and from him it took such mildly individual departures as one discerns in the few mas- ters whose work is not yet wrapped in eternal slumber. Mendelssohn, Henselt, Moscheles—he is just falling asleep—and some of his ancestors, of Thalberg, and his kind, owed their artistic descent to Mozart. We are prone in these days to underestimate the value of the school of Mozart. We revel in the re- sources of the contemporaneous piano, an instrument of which Mozart never dreamed. We storm orchestral heights and even challenge the passionate accents of the lyric drama to outdo our keyboard in its publication THE Spirit OF BEETHOVEN of the tumultuous emotions of life. But the funda- mental musical doctrines of Mozart do still and must forever underly the superstructures of modern art. The bed rock upon which the best singing, the best piano performance, the best playing on any other in- strument rests is the production of a’ noble legato. There is no more room in musical art for continual thumping and drumming than there was in the day of Emanuel Bach. Whatever we seek to do we must un- ceasingly sing; and without a legato there can be no singing. The principles of legato playing laid down by the early classic masters apply to the piano of to-day quite as directly as they did to the mild and gentle tinklers of the Viennese makers. Those masters discovered that the secrets of the piano could not be coaxed to light by the use of the harpsichord touch, but must be sought with that individual employment of the tenuto or rest- ing touch which, alone, can evoke the smooth flow of unbroken sound in a passage. Fortunately for them, the mere blow had no prominent place in their technic. The clavichord resented it. The harpsichord nullified it. The piano alone could actively respond to it, but not with a singing tone. So the pressure touch, which had been the only one for the clavichord, passed through a simple transition in the harpsichord era to the new clinging touch of the piano. Yet we must bear in mind that Mozart’s playing could not have disclosed such a liquid legato as that of our contemporaneous pianists. In the first place, his piano could not give it. In the second place the art of pedaling was in its infancy. And, therefore, we must believe in the reports that Mozart’s staccato had a peculiar charm, while his whole style was ‘diristin- guished by delicacy and taste. Clementi vowed that he had never heard anyone play so soulfully. Ditters- dorf, who was, perhaps, less perspicacious, found a rare combination of taste and. art. Papa Haydn, ten- der always, asserted that he could never forget Mo- zart’s playing because it touched the heart. When the writer of this article took his first piano lessons he was taught the technic of Mozart’s greatest rival, Muzio Clementi, whose Gradus ad Parnassum was still the gospel to old-fashioned persons unac- quainted with the advances of Beethoven and the still later discoveries of Liszt. ; While it is undeniable that the smooth style survived long after Clementi, it is equally true that we can trace from his art the beginnings of what may be called the grand style of the virtuoso of to-day. Brilliancy, the product of agility of finger, goes back at least to Han- del and Scarlatti, but historians have often pointed out the influence of the English piano on the art of Clementi. We are in a position to compreheld fully the scope of such an influence, for the inventions of our own time have so extended the powers of the piano that the wizards of the keyboard can now produce effects which bewilder even expert listeners. That Clementi should have discovered the value of sonorities ob-
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Page 160 MARCH 1920 tained by rapid successions of thirds, sixths and chords is not astonishing. The Chromatic Fantasia and Fugue of Bach should hint to us that even the hermit Sebas- tian might have unloosed some of the grandiose ac- cents of the piano if he had possessed one. At this parting of the ways the classical players di- vided themselves into two parties, that originating with Mozart singing lyrics of bewitching lightness, grace and vivacity, while the other, favored by the better sus- tained sonorities of the English instrument, enlarged the vocal style, and reached out after a broader and deeper utterance. In the procession of performers, some 6f whom are known as composers only to his- torians, one sees the figures of Hummel and Moscheles among the products of the:Viennese school before its descent into mere pretense. Hummel and Moscheles were truly virtuosi in the best sense of the term, and both strove to write for the piano in the style in which each played. But as composers they had little to give. Of their successors it can be recorded only that they were pianists. Their very names have been buried in library dust. Steibelt, Kalkbrenner, Herz, Czerny— who knows their works now? Perhaps some unlucky students of the piano are still victims.of all of those deadly dull Etudes de Velocité, but why should anyone dally with them when the best of Czerny’s works have been carefully selected and collected in volumes like the Czerny-Liebling Etudes? | As for the other branch of the classical school, it fares no better at our hands. Old J. B. Cramer and Dussek were the best of the party till Field came. He was, beyond question, the leading virtuoso of this wing of the school. According to the best authorities, Field had a ravishingly beautiful touch (although he held the fingers rather high) and “was one of the greatest masters of all time in his picturesque diffusion of light and shade.” There was also one Karl Mayer, who is charged with the heinous crime of becoming a seeker after effect. To seek for effect merely for effect’s sake is vicious, but possibly this reprehensible old Mayer. may have contributed something toward those splendid advances “SHE plays beautifully, but she only knows the same old things.” This was the actual remark made about a young woman of exceptional ability at the piano. She had had every advantage in the way of careful training by well-known teachers, which training was evident in her artistic performances; but—“she only played the same old things.” That was the popular verdict. It is true that one thing done well is worth six things done poorly; but what a world of reproach and sug- gestion lies in the above remark! The musician may enjoy an old piece more and more as the years go on; just as the student loves the well- worn volume, and he will find something new in it at almost every playing; but the public, however small, even if jt.consists of only your family and a few friends, desires something novel and fresh. Therefore, do not allow your list of memorized pieces, your “concert program,” to grow stagnant. Keep it renewed every week with a new composition even if it be but a short melody or song. Your music, in a sense, is not your own; for the in the pianist’s art regarded as exclusively the prod- uct of the romantic period. One has only to remember that every orchestral composer who has ever discov- ered the values of new instrumental combinations or novelty in methods of instrumental solo writing has been accused of searching after effect. Berlioz, Wag- ner, Liszt and Richard Strauss filled their scores with orchestral effects. Some of them may have been used first by obscure Karl Mayers, who had nothing in particular to say, but strove to say it colorfully. We are now confronted with the supreme genius of the classic period, Beethoven. To be sure, the mighty Ludwig must be accepted as a composer rather than a virtuoso, and perhaps he ought properly to be classed as among the composer-pianists who, as we all know, never play quite as well as the pianists who are ranked definitely as pianist-composers. Almost every pianist composes a little, for human nature craves the pride of creation. But even the leonine Rubinstein, despite the unquenchable D Minor Concerto and the boundless shallows of the Ocean symphony, stands convicted of being a pianist-composer rather a composer-pianist. It is a pretty distinction, but one, I fancy, none the less clear. About Beethoven’s piano playing there seem to be differences of view. However, no one is likely to embark upon any acrimonious dispute of Kullak’s as- sertion that he “aimed at a harmonious coalescence of conception and technic.” This is a conservative decla- ration, apparently founded on the motto, “safety first,” for one might say precisely the same thing of Harold Bauer, Olga Samaroff, Florence Nash or Mana Zucca. The psychological parting of the ways could be discov- ered in the character of Beethoven’s conceptions. He was probably a much better pianist than Mana Zucca or Florence Nash (these names are chosen at random from the list of ten thousand public pianists) but undoubtedly not as finished a performer as either Mr. Bauer or Mme. Samaroff. Beethoven himself did not approve of extreme development of technical wiz- ardry. He said, in a letter to Ries: “The high develop- ment of the mechanical in pianoforte playing will end in banishing all genuineness of emotion from music.” Hints for Your Repertoire By Leonora Sill Ashton happiness of many may largely depend upon it, and it is simple altruism to learn the things that they will most enjoy, who have not the power to make music for them- selves. This is one of the first thoughts in adding to our repertoire. Next is one of a more educational value. It is hoped that every serious student of music in America will in due course of time have at his finger tips a miniature concert program of that which has been established by long use and tradition, namely: composi- tions by Bach, Beethoven, Schumann, Chopin, Schubert, MacDowell and other modern composers. Thinking of nothing but your own benefit in this case, the study of those old masters in their order will develop musicianship as nothing else can; besides forming in your mind the sequence of one school of music after another. Again, in the choosing of pieces to memorize it is well to have one composition at least of each well- known composer, and of newer ones as they appear on the scene. You will frequently be met with such questions as these: a playing need not detain us. and the romantic styles may be accepted. neither a classic nor a romantic player himself, because he was less concerned with pianistic style than with the proclamation of his own grand musical conceptions. But his playing contained the germs of the art of Liszt, a..art which culminated in making the piano the rival of the orchestra. THE ETUDE Clementi said that Beethoven’s playing was “tittle cultivated,” sometimes violent, but always filled with spirit. One can imagine the style of the master and can believe that Schindler was correct in his assertion that Czerny, though Beethoven's pupil, did not fairly represent it. There came a time when Czerny believed that he could embellish and improve, and at that mo- ment he fell under the condemnation of Beethoven’s dictum quoted above. As for the violence in the master’s performance there is evidence that it did not appear till his hearing had become defective. Doubtless he sometimes thrashed the keyboard in his endeavor to make it sound for his But the details of Beethoven’s piano The fact that he fairly stood at the parting of the ways between the classic He was failing ears. After Beethoven lived pianists whose romanticism was less full blooded than his, but who superimposed upon the classic directness some foreshadowing of the tone painting effects reserved for their successors. One cannot think of Mendelssohn and his little journeys into fairy land without feeling that a song without words is at least a distant and faded old cousin of a young and blooming ballade. Si Oiseau j’tais with no thought of Schumann’s Vogel als Prophet? I once heard that singular idiosyncrasy called Pachmann play them, one after the other, with- out pause. Can one play Henselt’s But we are forced to confess that the romanticism of the pianists who immediately succeeded Beethoven were burdened with an excess of politeness. It was not till the plumed knights and prancing steeds of Weber’s chivalric style entered the arena that the full effect of the new romanticism made itself felt in the world of piano playing. “Who is so and so? What kind of music does he write?” - The well-informed musician, be he teacher or not, will find infinite satisfaction in being able to demon- strate at once, by a short selection, the information desired. All this will require work; but remember the music you give to the world is the fruit of all your toil, and too much care cannot be bestowed upon it. One hour a day is none too much to be devoted to the memorizing of new pieces, the inspection of old ones, and the planning for more to come. In this way you will always be ready to give informa- tion and pleasure to others when called upon to do so. The busy teacher may rightly question where she is to find the time for this practice. That hour will require careful planning and managing in all probability in most cases; but be assured the pos- session of a tuneful and interesting repertoire is just as much an asset to a successful teaching career as the power to attract pupils or impart your knowledge to them and you cannot afford to let it slip away out of your reach. An Iil-founded Conclusion Concerning the Great Mozart Some people are fond of affirming that Mozart was clumsy with his hands. But when one sifts the matter down it will be found that the sole and only base they have for such an outrageous assertion is that his wife was ofice seen cutting up his meat for him at dinner. It is highly probable that Mozart had cut or sprained a finger—an easy thing to do if one is accustomed to playing bowls. And the most natural thing in the world would be that Mozart—who feeded his fingers for his writing—should get his wife to cut his meat up for him till the finger was well, not realiz- ing then, that there would come, in a later day, men whose faculty for the connection of cause and effect would be so dim, that they would infer a habit, where only a mere extratieous and accidental circumstance had presented itself before their eyes. By T. MacLeod The following facts should dispose of this myth that credits Mozart with having awkward hands: Mozart played the violin, an instrument which re- quires infinite skill and accuracy for both the right and the left hand. Mozart was a beautiful dancer. This supposes good muscular co-ordination, Mozart was a fine player.of bowls and _ billiards, both of which games demand thorough control of hands and fingers. ‘ Mozart was skilled in drawing. He used both the brush and the pencil. Any artist will bear witness that this is not to be mastered by clumsy hands. Mozart delighted in archery. Mozart’s beautiful manuscripts give the lie to this absurd fairy tale of clumsiness. No one with slow- moving, uncertain, or unskilled hands, could possibly have written musical manuscript as exquisitely as Mozart wrote it—and at top speed. Mozart’s whole physical and mental make-up is out of keeping with this assertion of awkwardness border- ing upon imbecility. He was small in stature, and it is well known that stall men are, as a rule, active, accurate, and alert in their muscles. His mind was swift as lightning—and it is the mind that directs the body. So, it would seem that the facts are against the as- sertion that Mozart was clumsy and awkward. Those small hands, of which he was deservedly a wee bit proud, which could do such marvels on the piano key- board, must surely have been able to perform skilfully the ordinary tasks of our personal everyday life.
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ETUDE Be. 161 MARCH 1920 A very welcome and widespread interest has lately been manifested in the subject of accompanying. It is a somewhat belated interest, for the matter has been one of paramount importance ever since music has been recognized as a necessary factor in our scheme of education, and amateur, as well as pro- fessional singers, violinists and violoncellists have needed the assistance of a pianoforte accompanist. Valuable, however, as is the attention that is, at length, being paid to this branch of musical art, it may prove of little general utility unless the leaders of musical opinion—writers, teachers and heads of musical institutions—see to it that it is turned to practical account for the benefit of the pianoforte student, and, more particularly, the amateur student. At present, accompanying seems to be a kind of close preserve for the specially gifted professional, where- as it should be made a part, in a few rare cases, the chief part of the musical education of every piano- forte student, so that the study of the pianoforte may be made to yield valuable results in later years when the opportunities for practice are limited or non-ex- istent, and the capacity to play solos satisfactorily has, in consequence, almost completely vanished. In its highest forms the technical and temperamen- tal qualities needed for accompanying place it beyond the reach of any but the most highly gifted, but it is proposed here to deal with it only in its humbler phases, those that are within the reach of the aver- age careful and attentive student. The outlook for the amateur is hopeful from the outset in this re- spect, that the order of technic required for the play- ing of accompaniments is neither so exacting nor need it be so immaculate as that required for the perform- ance of solos, and—an added advantage—memory is seldom called into play. *No pianoforte solo could be considered satisfactory that was not given with ac- curacy and fluency, with an appreciable amount of tone color, a sense of interpretation, and, preferably, without notes, but success on these lines necessitates continuous study for every class of pianist, and as re- gards the amateur, continuous supervision and ad- vice in addition. The Crux of the Situation A problem that will immediately present itself to teachers, pupils and others interested in this subject is the foliowing: How is the average amateur ever to hope to read sufficiently well at sight to be able to cope with the important difficult accompaniments that he, or she, may be called upon to play? ‘This is, indeed, the crux of the situation, the point upon which the whole question of accompanying as a study for ama- teurs revolves, and, were there no simple and practical solution to the problem, any discussion would have, at the best, a merely academic interest. The solution, simple and practical enough, is this: The amateur should seldom, if ever, be called upon to play a diff- cult accompaniment at sight, for every student’s series of pianoforte lessons should include, as a matter of course, the learning of certain standard accompant- ments concurrently with the acquisition of the usual standard solos. It is open to teachers to protest that there is not sufficient time at present to deal with the work that has to be accomplished, and that to expect them to find time to teach accompaniments in addition is unreasonable to a degree. This is a difficulty which will prove to be more apparent than real. Five minutes at the conclusion of a lesson would usually be found adequate to deal with the difficulties of any accompaniment that had been carefully practiced, whilst many could be learned with- out the need of any instruction or supervision on the part of the teacher. There are also many accompani- ments, stich as those to Schubert’s Erlkénig, Handel’s Oh, Ruddier Than the Cherry, some of the songs of Debussy and the pianoforte parts to certain well- Every. Music Student How To Accompany By ALGERNON H. LINDO A Practical Article by an Experienced Accompanist known violin solos—Le Zephyr of Hubay, the (P. F.) octave passages in Wieniawski’s Airs Russes and the finale to the concerto of Mendelssohn, which might well take the place of the Cramer or Czerny study that, ordinarily, would have been prepared for the lesson. The list of accompaniments to be studied would be furnished by the teacher, but the pupil could assist in this, selecting from concert programmes as well as from the repertoire of friends and fellow-students. A list of the chief accompaniment that it would be desir- able to have some acquaintance with would look for- midable enough if written down, and yet it need not prove very alarming, after all. It would not impose an appreciable strain upon any student to learn one important accompaniment for each weekly lesson, and, in the case of some of the less exacting songs of Schu- mann, Schubert, Brahms and other standard composers, it would be possible to learn two or three. But were only one accompaniment. learned every fortnight, in addition to the ordinary work, the student, in the course of three years’ work, would have gained a knowledge of over seventy-two important accompaniments. That a first-rate performance would be given of any accompaniment that had been studied a few years pre- viously and had not since been played is not to be expected but a performance might reasona;bly be anticipated that would enable the soloist to sing or play without much misgiving or anxiety. Even if a considerable period of time had elapsed, and the accom- panist, now neither a student nor in regular practice, were asked to undertake the accompaniment to one of these important vocal or instruniental numbers, surely a genuine musical amateur would have retained suffi- cient technic and sufficient confidence to be able, at least, to keep with the soloist, though possibly at the rate of a few blurred passages and not an altogether satisfactory opening or closing symphony. However, the problematical case of the middle-aged or elderly amateur being called upon unexpectedly to. accompany Von Ewige Liebe of Brahms or Les Fan- toches of Debussy need not distress us unduly. Such a circumstance. would not often arise. Besides, the amateur, having once become interested in the study of accompanying, would cultivate the acquaintance of people whose hobby or recreation was singing, or the playing of the violin or violoncello, so that opportunities would occur for rehearsing most of the accompani- ments that an amateur might be called upon to play. So far only the case of the privately taught pupil has been considered. With regard to conservatoires and schools of music, the matter is so much simpler, and the possibilities for the study of accompanying so much greater, that it becomes permissible to hope that these institutions will tend more and more to make this study a prominent feature of their curriculum, and, where it seems advisable, to develop the powers and abilities of certain sensitive and sympathetic pupils in this direction rather than in that of solo pianoforte playing. The reason that the attention of such institu- tions is so earnestly drawn to this matter is that it can be arranged so as to save both trouble and expense, instead of incurring both, as one might be led to expect. In every conservatory, academy and school of music there are, of necessity, a number of teachers of sing- ing, the violin and other instruments who need the assistance of an accompanist. It is not always satis- factory for the teacher to act in this capacity, even granted that he has the ability to do so, and so the usual plan is for him to engage an accompanist to play for his pupils. Although it may not be feasible for some time for any teacher to dispense altogether with the services of a paid accompanist, a scheme could almost immediately be put into operation whereby the pianoforte pupils at these instrutions could take their turn at accompanying the violin, violoncello and sing- ing pupils at their lessons. The experiment could start at a comparatively early stage of the young pianist’s Should Learn development. One whose work technically was not very far advanced might be given the accompaniments to practice of a few simple ballads; promotion would then come in proportion to the progress achieved, and the pupils who reached the higher grades of pianoforte playing would be those who would be called upon to accompany their fellow-students who were doing advanced work as vocalists, violinist, etc. The benefit to a young pianist of playing the piano- forte part of some important operatic rdle, such as Carmen, Tannhauser, Brunnhilde, Louise or Marguerite once or twice a week would be incalculable, nor would it be possible to overestimate the value of being called upon to play the accompaniment to the Mendelssohn Violin concerto under the personal superintendence and direction of some eminent violinist. An accompaniment under these conditions would be played, not once, but many times, and for many successive students—that is where the academies and conservatories could afford such priceless opportunities for the study of this art— and by their constant repetition the accompaniments would become safely embedded in the minds as well as in the fingers of the accompanist. , It is probable also that under this system many friendships would be formed and many arrangements made between fellow-students to meet at each other’s homes for supplementary practice. These friendships would often, it is to be hoped, outlive the conservatory days, and opportunities would be found for continuing this work, long after cares and occupations had arisen to make urgent claims upon the time of the amateur musician. | Not a Difficult Study Marty a married woman, with the responsibilities of a house and family on her shoulders, would make a point of devoting a little time each week to her sing- ing or violin playing if she knew she could count upon the services of an enthusiastic accompanist, in the same way as pianists would have an incentive to keep up their pianoforte playing, if, instead of utilizing it to break down an ill-prepared or half-forgotten solo, they could with a degree of justifiable confidence undertake the accompaniments for the songs and violin solos at any concert or social function where such services were required. Instrumental music, once learned, never goes entirely out of the fingers, and although after a lapse of some years it would take a considerable amount of practice to render a solo fit for performance to an audience, it would need but a moderate amount of work to bring an accompaniment, once learned, to a condi- tion of comparative safety. Although the intuitive anticipation of effects, the ability to read with ease and fluency and to transpose with safety, the experience and readiness for any emergency that may arise, are amongst the qualifica- tions that can only be looked for from the hands of an accomplished and expert professional accompanist, the amateur is strongly advised to take every means of acquiring all the information obtainable upon this subject. The essential point, and it is commended with all deference to teachers and the heads of musical institu- tions, is that accompanying, being, on the whole, more necessary or perhaps more utilitarian than solo play- ing for the amateur pianist, should be made a com- pulsory study for every pianoforte student. With some it might never get farther than learning the mere notes and tempi of a few of the accompaniments to well- known songs and violin solos. Even that would prob- ably be found to be of very definite value at some period or another; whilst other and more ambitious stu- dents who were sufficiently interested in the subject could pursue their studies in this direction under expert professional guidance, with the object of themselves becoming competent and artistic accompanists. The study of this subject can claim several distinct advantages. First, it could be pursued without appre-
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Page 162 MARCH 1920 ciable interference with the student’s ordinary musical work. Secondly, it would enable the academy and conservatoire students to be of some real assistance to the institution under whose musical care they were placed, whilst at the same time they would be gaining valuable experience for themselves. Thirdly, it would lead to a wider and more intimate knowledge of musical works other than’ pianoforte solos, and lastly, it would tend to the cultivation of musical friendships, . and mainly through that to the continuance of an active practical interest in music till much later in life than is-now generally found feasible. The Student’s Mental Attitude By Norman H. Harney Tue “Tired Business Man,” like many another cele- brated character, may be largely mythical; but the at- titude of mind which is supposed to be his is unfor- tunately rather common, even among persons who cannot claim the distinction of being either “business” men or “tired.” The individual thus afflicted enters a theater, an opera house or a concert hall without any preparation whatever and without any intention of ex- erting his mental faculties. He sinks languidly into his seat and, in effect, says: “Well, here I am; now enter- tain me if you can.” And frequently his words are not so much an invitation as a challenge. This frame of mind may not be a great drawback at some performances, but, needless to say, it is hardly conducive to a proper appreciation of serious music. Any great work of art—a drama, a poem, a painting, a symphony—makes certain demands upon him who would enjoy it. Its purpose is not to relieve the bore- dom of an idle moment. It must be approached with an open mind and with a willingness to make whatever effort may be necessary to arrive at a complete under- Standing of it. It must be approached without prejudice and with a determination to avoid the injustice of a hasty condemnation. ‘I Don’t Like Bach’’ Many persons, unfortunately, lack altogether the in- clination to give careful, patient, earnest and unbiased consideration to a work of art. They are too prone to - form a snap judgment and let it go at that. This atti- tude of mind is not uncommon among music students, as many teachers can testify. “I don’t like Bach,” says one young pupil. “I think his music is very tiresome.” Another declares: “Schumann does fot appeal to me in the least. Why should I waste my time on some- thing that has no interest for me ” A third says: “I can find no meaning in the music of Debussy. I must pass him by.” ‘Would it not be vastly wiser if these young people were to reason somewhat in this fashion. “This music, as yet, means little to me, and there is of course no reason why I should accept it on the strength of some other person’s opinion. I will not pretend (as, I am afraid, some do) that I enjoy that which gives me no pleasure. But nevertheless, in view of the fact that this music is so greatly admired by educated musicians and so warmly praised by competent critics, there is at least a very strong presumption that it possesses great merit. I will therefore strive, earnestly and patiently, to discover for myself the beauties which others find in it, so that some day the door to this chamber in the great temple of music may swing open for me, too, and permit me to enter.” John Ruskin, speaking of books and reading in Sesame and Lilies, says: “And be sure, also, if the author is worth anything, that you will not get at his meaning all at once—nay, that at his whole meaning you will not for a long time arrive in any wise.” This applies with equal force to music. The beauties of a great composition are frequently, to the uninitiated, not of an obvious character. The full meaning and merit of a piece of music are by no means always apparent upon a first acquaintance. The writer would therefore give this advice to the young student: If the music of any great master does not make an immediate appeal tot you, do not be discouraged. Do not put it aside with the thought that it is not for you. Resolve, rather, that it shall be yours, and be sure that you will be well repaid for any efforts you make to that end. Remem- ber that the music you once make your own will re- main yours forever. For Art is not a capricious god- dess, but is everlastingly faithful to her sincere devo- tées. The singer may lose his voice, the skill of the instrumentalist may pass away; but the music of which you have mastered the meaning in the days of your youth will be a joy, an inspiration and a blessing to you to the end of your life. THE ETUDE The Right Kind of Musical History By Sidney Grew [Mr. Sidney Grew is a representative English writer upon musical topics, whose articles appear frequently in the best English musical periodicals.—EDITOR’S NOTE.] “Reap the history of music? But it’s so dull! We did ordinary history at school, and I’m sure musical history must be just too dry for words. Besides, music itself is all I want. I don’t want its history!’ This is what the greater part of music students say at one time or another, generally when the teacher be- gins to hint at the need for deeper study. And they are not altogether to be blamed, for history may, indeed, be terribly dry and dull—or rather it may be made dry and dull. But if history is set out as it should be, it is found to be the reverse. It is really warm, bright, full of life, and endlessly romantic. Apart from actual music, it is the best thing in the art. There are, however, two sorts of history-books. It all depends on which we happen to take hold of. If we take hold of the wrong sort, history is undeniably dry; it is so dry tlat we may apply Hamlet’s words to it and call it “weary, stale, flat, and unprofitable.” It chokes us with dry names and dates and “facts” gen- erally, none of which are of value in living music. If, however, we take hold of the right sort of history- book, history becomes a very refreshing matter. It makes the art green and fresh. It opens our eyes to new beauty and makes us see further beauty in what we had already found to be lovely. There is a good deal of the wrong sort of history about. I imagine the fault lies largely with examiners, for this wrotig sort happens to be the easier. It gives examiners no trouble to settle on a dozen or so “facts” and fire these off in the way of test questions. As Charming as the Telephone Directory A student could do it quite as easily. Given ten minutes with a dictionary, a smart student might dis- cover more than one question a University Professor could not answer. But the easiest is not the most useful or the most interesting, and the books that represent the wrong sort of history (there are scores of them on the market) are of a character to frighten even a student who may be ever so willing to study his- tory. They bristle with names of composers, dates, titles of works, technical terms, and similar matters of fact, the greater part of which have no actual bear- ing on music at all. They contain long lists of operas and oratorios that are as dead as Queen Anne, also lists of composers, each with his double dates, who were at no time more than respectable contemporary mechanics or steady practitioners of music. They give dull pages of petty details about the music of nations that had—or that have—no music according to our idea of music. They contain a certain amount of good and nutritious grain, but this grain is so mixed up with chaff as to make it a hopeless task for the young student to pick it out. Such books are the cause of the refusal of many students to take up. history with willingness. They have about as much charm for the student as the Telephone Directory. They should be turned down, along with the many thousands of dead compositions they name but do not describe. History-books of the right sort give us the romance of music. They show us composers as real men, and bring back to life the actual times in which they lived and worked. These books stir the imagination; and to have the imagination stirred is what we need in music, as in everything else, true imaginativeness being the most precious faculty of the human mind. Genuine history deals with the facts of musical his- tory in the way Shakespeare deals with flowers. False history deals with facts in the way the scientific bot- anist deals with flowers. When Shakespeare mentions a flower he touches our imaginative powers. He helps us to see the flower as we never saw it before. He tells us of its beauty, and beyond that he tells us of the meaning and significance of its beauty. But when the botanist describes a flower, he leaves it as it was before, if, indeed, he does not leave it less than it was! He tells us about its shape and character, about its habits and relations; perhaps he gives us its Latin name; but at the best he only instructs us scientifically, which is not what we want to help us to enjoy the ower. The right kind of musical history does help us to enjoy music. It goes beyond mere instruction as to facts, and thus helps us to understand it. It lifts up the curtain that separates us from the past. With this curtain out of the way, we see great men at work. We see what things were like fifty, or a hundred, or five hundred years ago. We see what men thought about and how they thought. We see what pleased them and why they were pleased, what fun they had, what happiness and sorrow, how earnest and sincere they were, and what victories they won; all of which is good for us. There is nothing dull about this. Musical history is as fresh as any other sort of history, and its stories are quite as pleasant. Bach as Wonderful as Columbus Bach was as wonderful a man as Columbus. His life was as varied and significant. We like to read about Columbus—about his ideas of things, his determination to prove the truth of his ideas, his plans and prepara- tions for his voyages, his dauntless courage, his stead- fastness and ultimate success, his final reward, which was personal disgrace and death in poverty. We like also to read about Bach, about his vast studies of all contemporary music—French, Italian, English and German—his copying out of other men’s works and his composing in their different styles, his gradual accumulating, within his one mind, of the en- tire mass of music as it existed in his day, until he was fit to begin the creation of the first full and com- plete music that the world had known. We can not understand the value of the work of Columbus and the position of America through the centuries unless we understand the history of Columbus; similarly we can not understand and enjoy Bach’s music, still less understand the music of Beethoven and Wagner and living composers, unless we understand the history of our art. History makes things live their proper life. Until life is dull and dry, history must remain fresh and stimulating. It belongs to the past, of course, but so do we, in so far as the present is a continuation of the past. It is the story of things, and things are histor- ical monuments. We can not enjoy or appreciate the significance of a monument when we are ignorant of its story, for then our imagination can not help our understanding. Musical compositions are the most dif- ficult of all monuments. Genuine musical history re- moves many of the difficulties in the way of students. The student is on the wrong path when he speaks as set out at the beginning of these remarks, but on the right path when he says: “History? I love it. Simply couldn’t do without it! I never-really thought the old composers were actual men before I began to do history, And I’ve never had a dull hour’s study since I found that a piece is a sort of record or monument of something. To tell you the* truth, I don’t think I enjoyed music thoroughly until I got what my teacher calls the ‘historical sense.” Any- way, I wouldn’t be without it for worlds!” Do You Want a Flexible Wrist ? — By M. C. W. THE way to. get things is to get them. The way to do things is to do them. It is said that one of the most famous pedestrians of America was unable to walk because of a bad case of inflamatory rheumatism. He came to the conclusion that the way to walk was to walk, and that it might cure his rheumatism. This ‘it did and he achieved fame through what was a mis- fortune. The way to get a flexible wrist is to play suitable exercises with a flexible wrist. Try these. They have ————— a a SS ee ee ee ee eee eee
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THE ETUDE MARCH 1920 Page 163 “Suppose one can play the piano fairly well already, how far is self-instruction on some orchestral instru- ment possible?” Or, “suppose one’s knowledge of music has been reached through the study of the violin, under compe- THESE and similar questions have become very com- mon of late years, owing to the rapid springing up of amateur and semi-professional orchestras in countless places throughout this country, and in particular, owing to the great impetus given to the interest in orchestral music by the formation of school orchestras in several cities, encouraged and even subsidized by school boards. In order to answer these questions helpfully, we must first glance briefly at those peculiar circumstances which give rise to them. The typical school orchestra, or indeed almost any amateur orchestra, at its first calling together, is apt to be a rather shapeless, unbal- anced and unpromising thing. One good pianist is needed, and the fact that there are a dozen mediocre ones to choose from does not help matters; there is usually a fair supply of violinists, good, bad, and in- different; besides the two cornetists needed to make up a quorum in a small orchestra, there is sure to be an oversupply of players on that instrument who can’t understand why there is no place for them. Often there is the same “embarrassment of riches” in the over-supply of would-be drummers, while on the other hand an amateur orchestra that can find cello, double bass, viola, clarinet, flute and trombone, at the very start, may deem itself fortunate. As for oboes, bas- soons or French horns, they are put off until some happy time in the dim future. Were it not for the effect of the piano, which has the fortunate faculty of supplying missing harmony and binding the tone into one compact mass, so to speak, the tone would be hopelessly unbalanced. In a _ full-sized symphony orchestra, having all its parts complete, together with the proper proportion between the numbers of differ- ent instruments, the piano is not used (except for piano concertos with orchestral accompaniment), but in a small and incomplete combination of instruments, it is practically indispensable. As soon as the players realize the need for other instruments, if they are duly enterprising and in earnest, they set about trying to supply the defect. they are met with two serious difficulties: outside the largest cities there is seldom anyone qualified to teach such instruments as the cello, the oboe, the bassoon, etc. In small places it may happen that there is even no clarinet or no double bass. The other difficulty is that of choosing intelligently the instrument most fitted to one’s tastes and abilities, in the absence of any broad knowledge of the subject. This last is really a serious matter, and is often the cause of much grievous disap- pointment, which might have been avoided if the person concerned had known where to look for intelligent advice. The writer recalls several striking examples of this that have come under his notice in the course of years: 1. A boy who had lost the first finger of his left hand, attempting to master the violin. 2. A girl, born without thumbs, who wished to be- come a pianist. (A fact!) 3. A lady of 30 who spent much time learning the zither, supposing it to be an instrument she could play in an orchestra. 4. A boy who bought and practiced on a high-pitch C clarinet, supposing he would be able to play it in the orchestra. 5. A boy with very small close-knit hands, who tried to learn the ’cello. 6. A gigantic young man with a hand like a ham, who was trying to learn the violin. This list might be largely extended, but is already sufficient for illustration. Numbers 1 and 2, absolutely hopeless in their attempts described, would have found But heres What Instrument Shall I Choose? Practical Advice to Parents, Students and Music Lovers By EDWIN H. PIERCE tent teachers, is it possible to change to some other bowed string-instrument without outside instruction?” Or again, “can a good cornet player master the French horn, or a clarinet player the oboe, without pro- fessional guidance ?” their particular infirmities no handicap at all had they chosen the cornet, trumpet, trombone or French horn. Number 3 had acquired a pleasing accomplishment, which was not altogether to be regretted, but the zither has no part in any orchestra—its feeble tone would be hopelessly swamped among louder instruments, and no part is written for it. Number 4 had not lost his time, but only a little money, as he had really learned to play the clarinet, although the particular instrument he had purchased was not suitable for present orchestral needs. Number 5 would have done better on the violin; num- ber 6 on the double-bass, or even the ’cello. The Facts About Each Instrument Violin: Must be taught by a violin teacher, who understands the technic of the instrument. Knowledge of the piano would be a slight help in regard to reading music, time-keeping, etc., but no further. A violinist must have a perfect ear. for tune, a limber and muscular hand, and, in general, quickness and grace in his bodily motions. Self-taught players are awkward and have no beauty of tone. The violin is a difficult and exacting instru- ment; no one should take it up unless he is very much in earnest and has unlimited patience and enthusiasm. Viola: The technic of the viola is identical with that of the violin. Anyone who has studied the violin a few years and has not too small hands, can master the viola in a few months, self-taught. It reads from a different clef, and this fact frightens many from attempting it, although the difficulty is one that readily yields to a moderate amount of patient effort. The viola part in orchestral music is commonly much easier than either the first or second violin part, and this occasionally leads pianists to take up the viola, but with poor results, os lacking the violin bow-technic, they have a poor one. Violoncello: Unlike the viola, the technic of the ’cello is quite different from the violin, and cannot be learned except from a good cellist. A pianist or a violinist may, after a few lessons from a cellist to acquire correct mechan- ism of the bow-arm and left hand, teach themselves successfully, but it requires hard and careful study, as the fingering is intricate and as great pains must be taken to acquire a rich, full tone. Amateur celilsts are apt to have so feeble a tone that their playing is not even heard in the orchestra, which is especially to be TOETEHNON, as the cello has an interesting and beautiful part. Double Bass: A good sped having strong muscles and a good ear, may often master this instrument fairly well, with no other help than a proper instruction book. So maya violinist. It is the foundation of the orchestra, and ‘its part, though often simple, is indispensable to a proper balance of tone. Flute: Possible for a pianist or violinist to teach himself, by means of a proper instruction book, though a teacher is a great help. The flute being in some respects more simple in technic than other instruments, and conse- quently more agile, composers even-up matters by giving the flute many difficult and rapid passages, which re- quire much practice to execute well. Clarinet: Fingering more intricate than that of the flute, and the management of the reed and mouthpiece need some expert advice. Nevertheless, we have known a few good players (previously pianists or violinists) who were self-taught. For orchestral playing two clarinets are required: A and B flat (in former times a C was also used), which makes an outfit rather expensive. In military bands, the B flat only is used, therefore if one is beginning with only one clarinet, this is the best one to buy. (Note.—In military bands an E flat clarinet is also used, but not by the same person.) Oboe: Fingering resembles that of the flute, but is not iden- tical with it. Small double reed in the mouthpiece needs some expert advice as to adjusting and keeping in order, as well as in regard to producing tone. Have known clarinet players to learn the oboe by themselves suc- cessfully—less often, violinists, flutists and pianists. Bassoon: The bass of the oboe and, like that instrument, played with a double reed, which, however, is easier to keep in order and control than that of the smaller instrument. Fingering more intricate than that of the flute and oboe, but may be learned from chart in instruction book. Have known pianists to teach themselves the bassoon successfully, also clarinetists. ~ “T would like to get into the School Orchestra, but they already have a pianist—what instrument wonid you advise me to learn?” These are questions which constantly come before the teacher for answer. ; ‘ Cornet: _ The chief difficulty is the embouchure (skill with the lips), which must be learned: with patient practice under the guidance of a good teacher. The fingering is not difficult, and whatever of music one may have learned by the study of the piano or other instrument will be a help. Trumpet: This was originally an entirely different instrument, but during the last twenty years has been altered in such a way as to play exactly like the cornet, though it differs from that instrument in its narrower bore, different shaped mouthpiece and more rousing quality of tone. Players often change back and forth between these two instruments. Trombone: This noble instrument, used by classic composers only for passages of solemnity and grandeur, has been de- based and put to trivial and even grotesque uses by popular composers of the present day. It is by no means an easy instrument; one needs a good em- bouchure, as for cornet, and is expected to be able to execute rapid and often difficult passages. There are two forms of the instrument, the “slide” and “valve.” The slide is used by practically all good players; the . valve is chiefly used by those who are satisfied with something easier though inferior. A cornetist can change to valve trombone with very little practice, but not to slide trombone, except with longer study. French Horn: This is the most interesting and perhaps the most difficult of all brass instruments. The compass is great and the embouchure more difficult even than that of the cornet. It is exceedingly easy for one to hit a wrong note simply through a lack of perfect skill with the lips. A teacher really needed, though I knew one pianist who taught himself the horn. Melophone in F: An easy substitute for the French horn, made for the use of amateurs. It may be played almost at once by any skilled cornetist, or even =f the player of the alto in a brass band. ‘Though inferior in quality to a well- played French horn, it reads from the horn part and helps fill in the harmony. Melophones in C are also to be had. These are good for playing songs, etc., without transposing, but are not used in orchestra or band. Euphonium or Baritone: Properly a brass band instrument (in which it has a very interesting part, much like the ’cello in an orches- tra), but has been used occasionally in orchestra, par- ticularly in some modern light operas in England. Can play from a trombone part in popular orchestra music. Tuba: Properly a brass band instrument (having the bags part), but has been much used in large orchestras by Wagner and later composers. It also exists in a contra- bass, or extra large form, which is of specially fine effect in . band, though heavy to carry and rather expensive to buy. Alto: A brass band instrument, easily played by anyone who has mastered the rudiments of the cornet, as its part is commonly easy. Not used in orchestra, except in the form known as melophone in F. Saxaphone: A brass instrument, played with a reed like a clari- net, but easier to master. Properly a military band instrument, but of late years has been introduced into dance orchestras, and a part furnished for it by certain publishers. Exists in several keys, of which the E flat alto and B flat baritone are most used. There is also a C saxaphone, of which the same remark may be made as of the C melophone. Some players, wishing to uge the saxaphone in small orchestra, play from the ’cello part, but this demands some musicianship for the neces- sary transpositions. Tympani or Kettle Drums: : Used: in pairs (or sometimes threes) in all fully equipped orchestras. A good tympanist must be a fine musician, as he must possess not only a perfect sense of rhythm, but a perfect sense of pitch, these drums being tuned to keys indicated by the composer. Often a tympanist is one who has had previous experience as an orchestral violinist. A good pianist often makes a good tympanist, if he is familiar with orchestral routine. Drums and Traps: In no country other than America is the drummer expected to be such a versatile and hard-worked person ; the bass drum, snare drum, cymbals, bells, xylophone and a score of miscellaneous small trivial musical con- trivances are all under the charge of one person. proper technic of the snare drum, particularly the method of making a good “roll,’’ must be learned from” good drummer, but the other instruments may be seli- taught. A good pianist generally makes a good drummer, i
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Page 164 MARCH 1920 Harp: This instrument is used in large symphony orches- tras, but not constantly, often for only a few measures in some part of a piece. Occasionally it is used in small _ orchestral combinations as a substitute for the piano, but except in music of a very simple nature it is less satisfactory than the piano, unless a part has been specially written for harp. The full-sized, completely evepeee harp is a very expensive instrument; small or . “Trish”? harps are beautiful instruments to accompany “. folk-songs and other very simple music, but have no - use in an orchestra. Mandolin: , Has no place in a regular orchestra, though Mozart used it just once for a special effect in one of his operas, Don Juan. The tuning and fingering are like the violin, and any violinist may take it up by himself if he has a little instruction on the method of holding the plec- trum and making the ‘‘tremelo.” Is a leading instru- ment in organizations composed of plucked stringed instruments. Banjo: Has no place in a regular orchestra, though it has been used in some dance orchestras, playing either the melody or a part similar to second violin. Used in com- binations of plucked stringed instruments. The tuning and fingering are somewhat peculiar and are_ best learned from a good banjo player, though sometimes a pianist can pick it out by aid of an instruction book. Guitar: Has no place in regular orchestras, though Weber introduced it in one number of his opera Oberon. Used in combinations of plucked stringed instruments and excellent as a light accompaniment to song. Tuning and fingering best taught by a good guitar player, . iy a of pianist may learn much from a good instruc- on book. (There are various modifications and varieties of these last three instruments, for use in mandolin. and banjo clubs: for instance, a banjo which is tuned like a mandolin, etc., but to describe these would lead us too far afield.) Besides the legitimate orchestral instruments we have named, there are a number of other worthy and well- recognized instruments which are nevertheless so little used, and so seldom called for that it would scarcely pay an amateur orchestral musician to spend his time on them. We pass over these briefly: English Horn: Not a horn at all, but an alto oboe. side line by oboe players. Bass Clarinet: Taken up as a Side line by clarinet players, Sarrusaphone: -A double-reed brass instrument, having the same rela- tion to the oboe that the saxaphone has to the clarinet. Used in various keys and sizes in some very large mili- tary bands, and in its deepest bass form occasionally used in orchestra as a substitute for the double bassoon. Taken up as a Double Bassoon: Sounds an octave below the bassoon. side line by players on that instrument. Terz Flute or “Flute in F’: (should properly be called “Flute in E flat”) : A flute which transposes everything a minor third higher, consequently the part for it is written that much below where it is to sound. Called for in orches- tra on a few very rare occasions. Sometimes used in military band, in which case it may play from the part of the E flat clarinet, with excellent effect. Taken up as a A FEW days ago a music teacher friend told me a little anecdote that has caused me many a moment of thought and speculation as to the causes which brought it about. The story is as follows: “Not long since a new pupil.came to me for lessons and after hearing her play and observing her needs I gave her a book of studies and explained the method I wished her to follow in using them. All the time I was talking I could see that she was anxious to say something and finally out it came. ‘You don’t paste blank paper over the covers of the music you give to your pupils, do you?’ Of course this aroused my curios- ity and the forthcoming explanation was not only amusing but most unexpected. “The former teacher of the girl (who must be dubbed ‘Smith’) had been in the habit of pasting paper on the outside of all pieces and studies given to his pupils, for fear that his competitor, Mr. ‘Jones,’ might see what they were, as the pupils were obliged to pass his home on the way to and from Mr. ‘Smith’s’ studio.” Now I suppose there might be two guesses, per- haps three, as to the cause of this apparent secrecy. Which is yours? Was Mr. Smith ashamed of the class of music he gave to his pupils? Was he so small and selfish that he was afraid his competitor would profit by the information gleaned as he jeal- Piccolo “in E Flat’: (should be called Piccolo in D flat). | A small and shrill form of flute, used in military bands, and sounding a minor ninth higher than written: thus, if the part is written in G, it will sound in A flat. Used constantly in brass bands, but practically un- known in orchestra. Piccolo in D: (should be called “in C,” as it sounds in the same key as written). Played as a side line by flute players, who generally provide themselves with one. Technic identical with that of flute, but sounds an octave higher. We should not fairly put it in this ‘‘unusual’’ list, but do so be- cause no one would think of taking up the piccolo only, as an orchestral instrument. General Groups of Instruments The following facts should be kept in mind in making a mental inventory before learning a new instrument: 1. The knowledge of the piano is valuable as giving one a general insight into the notation of music, the formation of chords and the cultivation of a sense of time-keeping, but it will not help one toward the proper production of tone on any bowed string-instrument nor in the embouchure of any wind-instrument. 2. The possession of a good violin-technic makes it easy to pass to other bowed-instruments—the viola, ‘cello or double bass—but the ’cello, in particular, de- mands some important modifications which must be learned from a good cellist. 3. The possession of a good cornet embouchure and technic makes it easy to pass to the alto, baritone, euphonium, valve trombone, trumpet, tuba. Also it is some help, though not so much, toward the French horn and the slide trombone. 4. The experience of the clarinet makes the saxa- phone easy, though the fingering is very different. The saxaphone, flute and oboe all finger much alike (though not exactly) but the embouchure is very differ- ent. Skill of embouchure acquired on any reed instru- ment, helps on any other, but the flute embouchure, clarinet embouchure and cornet embouchure are three entirely different things. 5. One should not take up a very-little-used instru- ment, except as a side-line, and in this case, it is best as a side-line to something that has some affinity with it, as the viola to the violin, the piccolo to the flute, ete. What Instruments are Needed Thus far we have discussed the subject from an individual point of view, but often we must look at it from the point of view of the needs of some musical organization. The proper basis of all orchestras is a complete quota of stringed instruments—first and second violins, viola, cello and double bass, but in small orchestral combina- tions in which there is a piano, the second violin, viola and even the bass may be omitted. The ’cello should always be used, if available, but in modern popular music, especially dance music, its functions are in a fashion performed by the trombone or even the saxa- _ Friendly Rivals By Sheldon B. Foote ously peered forth from his window at the proces- sion of Mr. Smith’s pupils? Or possibly was he concerned lest the progress that the young musi- cians were making might lead Mr. Jones to make some unkind remarks? No matter what conclusion you come to as the chief cause of this teacher’s queer action, there is something not quite friendly about the matter. At any rate I prefer to think that the second answer is the more likely one. Are we not as a whole a little inclined to fear that our competitors will in some way criticise our methods or materials or perhaps profit by our suc- cess along certain lines? You may be sure you will never succeed in doing anything which has any chance of being more or less publicly known, without stirring up some criti- cisms good and bad. There are any number of good music teachers who are not succeeding to the full, because of some petty fear or worry about adver- tising or inartistic publicity. Mr. Bender’s Business ness Manual will teach you a great deal; and moreover, unless you have the courage to try out that idea of long standing, you will never have the satisfaction of knowing whether your worry or doubting mind was justified or not. To get back to Mr. Competitor (harsh word!) Why not be friendly towards him? He has wanted to be friends far longer than you may suspect. oa mentation possible. THE ETUDE phone. The next instruments to be supplied are the cornet, clarinet, trombone, flute and drums. Before a second cornet, second clarinet or French horns are introduced, the number of violins should be largely in- creased, and when the number of first violins reaches four or more, the second violins and violas should be doubled. A further increase of numbers, and the ’cello: and bass should be doubled. The next thing needed will ~ be an oboe and a bassoon, when the orchestra will have reached almost, but not quite the proportions of a regu- lar symphony orchestra. For the older classics—Haydn, Mozart, etc., the regular forces needed are about, as follows: 12 First Violins. 8 Second Violins. 6 Violas. 4 ’Cellos. 2 Basses. First and second flutes, oboes, clarinets, bassoons, horns, trumpets, tympani. (Trombones, and_ third and fourth horns, occasidnally.) The Pianist as Leader Many of the standard classics are now-to be had specially arranged for the modern small orchestra. In these arrangements, any important solo occurring for one of the less common instruments, is “cued in” to be played by one of the more common ones—for instance, an oboe solo might be given to the clarinet, or even to one violin. This prevents any bad hiatus in the har- mony or melody, but of course involves a disappoint- ment as to tone-color, wherefore it behooves amateur orchestras to try to provide the most complete instru- But do not make the mistake of doubling wind parts, as this unbalances the tone color. There may be a dozen first violins with profit, but there can only be one first flute or first clarinet: there may be eight second violins, but there must be only one second cornet. Modern music for large orchestras often has parts for three trombones, but if you are playing music in which only one trombone is provided for, it would be a barbarism to have three trombones playing this same part. This matter is often inperfectly understood by amateur organizations. There are, and have been for ‘centuries, three well- recognized sorts of orchestra leaders—those who con- duct with a baton, those who play first violin, and those who conduct and at the same time play piano. The last-named is probably the most numerous. Sometimes a pianist-conductor will succeed in gradually enlarging his orchestra until no piano is needed, when he blossoms into a “baton” conductor. In any case, however, it is a great advantage to him to have a smattering of the various orchestral instruments, if only so far as to pro- duce a tone and play a scale on each. It will save him from many ignorant blunders and add greatly to his influence over the players. Just suppose, for instance, that after you have become so well acquainted that you smile at him in passing and say “Nice day,” you take your life in your hands and suggest that he come éver some evening and play some four-hand arrangements, bring some music of his own and play the primo part. | A few such occasions would add to your knowl- edge and appreciation of a number of symphonies and overtures, and you might ask some of your pupils in to get acquainted with these works and the composers of them. lt is my privilege to know a college professor resident in Texas who studied the violin as a boy in Chicago and who is to this day an enthusiastic amateur. By a great deal of the “friendly” he suc- ceeded in getting together two rival violinists and a ’cellist and he took up the viola in order that an embryo string quartet might be formed. The first year was at times discouraging, but now after seven years of playing and worshipping that most fasci- nating branch of our art—chamber music—it would be impossible to make anything but “friendly rivals” out of the two violinists, and it is needless to point out the value in that community of the standards which have been set up through the efforts of this good friend of music, “i
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THE ETUDE MARCH 1920 Page 165 Keeping Up the Interest “What would you suggest as the best thing to do in order to keep up the interest of young pupils between the a eight and twelve in violin and piano study? find that after the novelty of the instrument has worn off they lose interest. Would you suggest a prize at the end of the season, and if so how would you advise me to go about it? What do you think of a report card so parents og, 2 a aed how their children are advancing ?’’— The waning of interest after novelty has worn off is by no means confined to children. It affects grown people to an equally marked degree. It is only an ele- ment of human nature that has to be taken’ into ac- count in everything. With young pupils the best you can do is to try and arouse their interest by means of the music you give them to play. Try and make them feel that they want to play, and that in order to do so they must attend to their practice and follow the same route that everyone has been obliged to take’that has learned to play. Avoid dry exercises as much as possible, never giving more than one, aside from their scales and ar- peggios, if they have advanced far enough to take up these. You will confuse them if you give them too much at a time or give them too many ideas to digest. There is very little usable intellect at the age you men- tion, and it should not be forced. Try and find en- tertaining pieces, and give them some that are com- paratively easy for them, so that every piece will not seem an insurmountable task at the start. Prizes at the end of the season have been found very useful in- centives by many teachers. There should be at least three, a first, second and third. A definite schedule should be laid down for the season’s work, such as regularity and promptness at lessons, faithfulness in practice, and excellence in exercises, etudes, pieces and memorizing ; for pieces and etudes, accuracy and beauty of tone, shading and tempo also. You will need to keep a very careful record during the season. Write to the publisher for list and samples of record cards, report cards and printed scheme of prizes. Report cards are excellent for sending to parents. The only difficulty arises in the case of pupils who are very back- ward because of small talent. They practice faithfully, do the best they can, and yet make very slow progress Sometimes, slow in the early stages, they take a start later and make better progress than some who out- stripped them in the beginning. Meanwhile continual report cards of slow progress discourage them, unless the reports are made very adroitly. | Stumbling “T have a pupil eleven years of age who does not get along very well with her piano lessons, al- though she is bright and quick. It does not matter ~ how long I keep her at a lesson she always stum- bles and never gets it beyond a certain point. She seems careful and practices more than most chil-. dren of her age, but never can play anything with- out stumbling. She reads and fingers well and her dgatacit but I am at a loss what to do.’’— In the majority of cases that have come under my observation, stumbling has been a habit which has grown from small beginnings, and sometimes becomes very serious. It is more prevalent in musical students than in those who ere unmusical. The unmusical pupil makes a mistake and either does not notice it, or does not care, and forges right ahead. The musical player makes an error, feels it at once, wishes to rectify it and therefore stops, or her sensibilities are shocked and she is involuntarily held up for aninstant. The first thing you need to do is to blunt her nerves a little and teach her to be a little more careless. Stopping to rectify a mistake does not correct it, for it is only in the in- tegrity of the connected series of notes that the point that is wrong can be made right. Stopping makes two mistakes out of one. If you have C on the staff and make a miss of it, does it correct it to stop and strike it out of time? It can only be made right by playing The Teachers’ Round Table Conducted by N. J. COREY This department 1s designed to help the teacher upon questions pertaining to “How to Teach,” “What to Teach,” etc., and not technical problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. Full name and address must accompany all inquiries. it in correct routine in its connecting passage. Now, your first task must be to work with your pupil until she can go right ahead without stopping to notice these small errors. She will at first have to force herself to it, but in the end she will cure herself. Notice must be taken of the errors, and their place in the music, and then special practice must be given at those points until learned. Then try again and play the passage as a whole. It is a mistaken idea in both pupil and many teachers as well, that stopping to correct an error cor- rects it. Once made there is no correcting it. insofar as that particular playing is concerned. To go ahead with the mistake unnoticed makes a far better effect and is more salutary than the frequent stumblings. Try this method. Exceeding the Limit “T have a girl who plays Liszt’s Second Rhapsody nearly all from memory, but is completely exhausted when through. Her shoulder pains her and it af- fects the muscles in her upper arm. Should this be so? Should not most of her strength come from her wrist? Would you advise her to give up music? © She is frail but gifted.”—J. W. From this, and what you wrote once before, Iam of the opinion that this pupil is playing far beyond her ability. Liszt’s Second Rhapsody should only be given to a pupil of the most advanced virtuosity, and these are comparatively few. If she were sufficiently advanced, there would be no more than a normal fatigue after playing it, none of the strenuous conditions you men- tion. If she had developed full control of her fingers, hands and arms, there should be nothing but the most supple flexibility throughout the playing. Strength should come from the upper arm only occasionally in the heaviest chord work. A good deal of the rhapsody should go with fairylike lightness and as swift as one of your western cyclones. If you have no metronome, the next best way to determine the tempo of the last movement will be to take out your watch and count one to each second. This beat, one to each second, should represent the beat of each entire measure in the rhapsody. Trying it to that beat you will find it pretty rapid. The virtuosi, however, play it much faster than that. I am afraid your frail girl has been given a task far beyond her ability to play and too much of a task on her strength therefore. For a person to attempt to play a composition of this sort who is not technically ready for it means a stiffening of all the muscles, fingers, arms and body, in the effort to carry it through, and from this results the pain. It is well to dwell on this, because there are so many teachers in the country who commit this error with their pupils. They give them music of this sort before they have acquired a foundation suitable for a Mozart Sonata. You should not advise the young lady to give up her music, but lead her into music that is fitted for her ability and advancement. Anyone who cannot play the second part of the Second Rhapsody with the swiftness of lightning and with muscles completely free and flexible throughout, should not attempt it, or anything like it. Sharps and Flats “How can one learn to play pieces in several sharps as easily as those in flats? Why are sharps harder ?’—K. B I have never been able to explain this hallucination of the imagination, and have never been aware that sharps were more difficult than flats, so far as my own playing was concerned. Whenever this increased dif- ficulty is felt, it is doubtless because the player has played more pieces in flats than sharps. I am under the impression that there are more of the pieces that are ordinarily in use in the flat keys than the sharps. Playing in the flat keys more would naturally. accus- tom one to a greater familiarity. If this is a real dif- ficulty to you, confine yourself exclusively to pieces in sharps for a time and you will entirely overcome it. One at a Time, or Two? “1. A leading Middle-West conservatory taught me that the correct way to begin a new work was to practice each hand separately, in phrases of a few measures, and learn perfectly before putting together. A leading teacher near here says this ’ Is all wrong, that both hands should begin together very slowly, quickening the tempo gradually. Which is correct? “2. In teaching studies like Cramer, should one study, or a half of one, be given at a lesson, and should one insist on its being perfect in notes, time and fingering? Or should one give two studies, expect less perfect results, but hope to gain greater proficiency in reading? I have heard two authori- ties differ on this.”—T. F. 1. The manner in which a new composition should be practiced should depend entirely upon the relative difficulty of each part. A Bach Invention, for exam- ple, is equally difficult in each staff. It is a good plan to conquer the difficulties separately. All unusual diffi- culties should be figured out, and practiced by them- selves. If the passages are not fingered you will need to think and try out the best fingering, mark it, and get it fixed in your hand. Common sense should be your best instructor in all cases. There are hundreds of excellent pieces that begin with a rather difficult right-hand part, but with an ordinary “rumty-tum- tum” accompaniment in the left hand that you have learned in a thousand other pieces. Common sense will permit you to attack both parts at once, and con- tinue until you encounter an exceptional difficulty, when you should pause and attack it carefully. Only ninnies need to be told to practice everything with each hand separately, for having no judgment, they will practice all things alike, and probably all things badly. 2. The amount of an etude you give a student should depend upon the talent of the pupil, the length of time given to practice daily, the frequency of his lessons, the accuracy and faithfulness of his efforts, the length of the etude, its difficulty, its special tech- nical demands and the purpose for which it is given, and the amount left «anlearned of a previous lesson. Shake these all up in your common sense judgment, and do what you think best in each individual case, and give the two quarreling “authorities” the benefit of the Shakespearian slang, “Go to.” Individual con- ditions must be treated individually. I knew one of the most famous Boston teachers to keep a pupil for six months on Mendelssohn Concertos and_ similar compositions, learning all perfectly at less than half their correct tempo. When the student began to work them up he found that a certain rigidness of muscles had vanished, and he was ever afterwards able to play with supple hands. Notes, time and fingering should always be perfectly learned. Scales Antique “While conversing with a young piano student, a beginner. I received the astounding news that she was not to study scales, as they were considered ‘old-fashioned’ by her teacher. I hope this is of enough importance to answer in your column, and whether or not this is the general opinion among modern teachers ?’—J. M. Asinine is not too strong a term to apply to the remark you quote. The fundamental fact in music, both theoretically and practically, is the scale. The scale is the root out of which the vast tree of music grows. It is also the base upon which rests all com- position, although modern music has developed many variants in the form of the scale. The pianist who cannot play the scale in all its forms, and with every variety of touch and velocity, will indeed cut but a sorry figure. The systematic practice of the scales and arpeggios is of as much importance as ever, even though all technical practice be confined to these two forms. .
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Page 166 MARCH 1920 An Examination by Father Bach Amonc the many observations left by Johann Sebas- tian Bach are the’following. They make a stimulating basis for a self-musical examination: “No one should play who cannot think musically,” How do you know that you are thinking musically? Can you:get the full meaning of a new composition without trying it on the piano? Can you imagine the melody played by different qualities of sound—by the violin, the flute, the cornet, the organ, the oboe, the clarinet? “Tam what I am because I am industrious: whoever is equally sedulous will be equally successful.” Do you know that Bach during the greater part of his lifetime worked at his music from early morning to late at night? Do you realize that, notwithstanding this steady application, if he had not constantly intensi- fied his effort he would not have produced one-half of the masterpieces that stand to his immortal credit? “Music ought to move the heart with sweet emotion, which a player can never secure by mere scrambling over the keys, thundering and arpeggios.” How much of your musical effort is scrambling after things which you never play really well? How much is pounding and dawdling which you would be ashamed to do before a critic you respected? , Healthy Rivalry in Music Study Very few teachers employ rivalry as it should be employed in music study. In modern business where a great number of salesmen are engaged, it has been found that the volume of business may be increased enormously by pitting one salesman against another all along the line. When a man knows that he has an- other man contesting with him for a record, he is likely to work much harder. It is the play, the interest that every human being finds in running a race. In the great drives for funds for the Red Cross, Y. M. C. A., Liberty Bonds, etc., the rival team was employed con- stantly, with the very greatest success. Harking back to the time of the Protestant Reformation we find two excellent rival systems of education. The system of the iconoclastic Martin Luther and that of the dom- ineering soldier, Ignatius de Loyola, the founder of the Society of Jesus, or the Jesuits. The Jesuits were wise in employing a system of rivalry among the stu- dents which has never been excelled. The class was divided into two sections. That is, every pupil had his rival to check on his studies and conduct and to give that incentive which only comes in a good race. The ereat success of the Jesuit system of teaching is proven by the enormous spread of the Jesuit colleges in that day. In passing, it might also be well to comment upon the Jesuit system of review. The first thing in the day there was a review of the work of the previous day. At the end of the day there was a review of the work just done. Each week, month and year concluded with systematic records of the work accomplished. To Grieg’s ‘Butterfly ” An Impression After Hearing the Composition Played by a Noted Pianist By Yvonne Gignac Tue world is full of sunshine. The air is filled with the odor of flowers. They are everywhere. A flash, a blur, and one of God’s miracles, the but- terfly, goes winging its happy carefree way through the wonderful medley of Nature’s beauties. It touches one flower for an instant, just an instant, then another, and another. Again a blur as it flies to a distant part of the meadow. It settles upon a beautiful white flower. Its wings droop onto the silken petals. But it cannot rest. The glorious sunshine calls. The wonderful freedom of the air beckons. It flutters and flits from one flower to another, skimming through the sweetsmelling air. The soft south wind bends the nectar-laden flower heads and they beckon it on. It is never at rest for a moment. It is mad with the wine of life, the glorious, glad- dening freedom of it all. For an instant it sways upon a tall dahlia. Its wings drop softly. Surely it will stay. But no—lightly, it unfolds its wings. It flutters, here, there—and is gone! THEODORA DUTTON THE ETUDE LiLty STRICKLAND Two Recent ETUDE Prize Winners THEODORA DUTTON TuHEoporRA DuTTon comes of an old New England family, and is a direct descendant of two of our his- toric colonial figures—John Alden and Myles Standish. Her family are all extremely gifted in music, and little Theodora was carefully grounded musically in the home before she was sent to New York for training under celebrated teachers. Her compositions have been very successful, and she has done valuable work along the line of teaching pieces, such as the Mother Goose Duet, The Knight and the Nuns, Dansettes, etc. Her winning composition, Merry Marchers, will be found in this number. LILY STRICKLAND Lity STRICKLAND was born in Anderson, South Caro- lina, and was educated at Spartanburg College. She specialized in music, afterward coming to New York City to continue her studies. She has published over one hundred compositions, including songs, choruses, anthems, part songs, and piano pieces. Miss Strickland is A veritable American composer, since all her musical education was acquired in the United States. Miss Strickland’s prize-winning composition, America Vic- torious, appears in the music of this issue. Ir will interest our readers to know that Mr. E. R. Kroeger, whose Humoresque Americaine was one of the winning entrants in the February number, has twice before been a winner in previous ErupE compositions. Tue third prize winner of this month’s competition, Mr. Javier Fernandez, of the City of Mexico, has evi- dently been prevented by prevailing conditions, from sending us his biography and photograph. These we may be able to publish in a future edition. Meanwhile Erupe readers will enjoy his prize-winning composition, Kcestasy, in this number. Dr. Smith N. Penfield Dr. SmMitH N. PENFIELD passed from earth on Jan- uary 7, 1920. He was born in Oberlin, Ohio, April 4, 1837. He was of Welsh stock, his ancestors coming to this country in 1630. His great grandfather was an officer in the Continental Army, and he was with Wash- ington at the battle of Harlem and fought on the ground where Dr. Penfield died. His father was a fine amateur violinist. Dr. Penfield took up music so young that he could never remember learning to read it. At seven he was engaged to play at musical con- ventions, as a musician who “could read anything at sight.” He was also the regular accompanist for a glee club at their concerts, and acted as substitute teacher at singing school. At the age of ten, he was the best teacher of music at Oberlin College, and taught sight reading at the college classes. He earned his way through college, paying all his own expenses, in- cluding board to his stepfather. He was the first or- ganist at Oberlin College, and had’ an extension key- board constructed so that he could lead a chorus of 135 singers, while he played. Later he studied in New York, Paris and Leipsic where he was received with enthusiasm as a fine organ- ist and musician. Returning to America, he located in Chicago, later removing to Savannah on account of his wife’s health, where ne established a conservatory of music, and a club called the Mozart Club. Here he gathered a number of eminent musicians about him from all over the country. After several years he came to New York. There he was at once active in constructive musical affairs, training two hundred chil- dren at the Five Points House of Industry for a song service. This work Dr. Penfield kept up for thirty consecutive years. He was one of the first to insti- tute concerts at which composers conducted their own compositions. He organized a music festival to which the people from the rural districts might come, training a chorus of three hundred singers, and paying fifteen hundred dollars out of his own pocket for an orches- tra, since there was no fund for the purpose, and con- tributing beside five hundred dollars toward the next meeting of the festival. Directly afterward he was called to Indianapolis to adjust some troublesome points in The History of Church Music. He so arranged the matter that this subject was dealt with by a Jewish rabbi, a Catholic priest, and an Episcopal clergyman. | Dr. Penfield won the Clemson prize for a sacred cantata of the Eighteenth Psalm, and composed other works of the same nature, but his greatest work was as a teacher and organist, and as a promoter of large musical interests. He was one of the founders of the Guild of Organists; a member of the National Asso- ciation of Organists; the New England Society; the Manuscript Society of New York; and manager of the American Institute.
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Page 167 MARCH 1920 » a: BO oP } $2 cm BS ta fi RUBINSTEIN’S MELODY IN F Poco moto con molto desinvoltura | THE ETUDE poco trang. Moderato asf amd ih ae ee” jake at Hae Th. im Meat at ga SETRONARL ey ad. simile wee Bly International Copyright secured Copyright 1920 by Theo. Presser Co.
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eq [alll NII tll RY Ye) Ry Fi Ry ae \ = a S SER T S all Se A Se daF Be i / ! il Hi / I +t A ‘Tye i \s | VG. , bt L} i 4 a S N RS S = Ne = es as = 2 ce X 3 ae OL ~ ie ae en) | iY) a te. 4° R. 2-4
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104 Pige MARCH 1920 THE ETUDE ic) Tempo I poco tranquiilo 5 - | rt Ped stmile. 2 ee ee ee ee ee et 5 Lhe | l es | Tt 2} a eS 7 * a. iA <1 — oe, 7 ae | Pe ws al id At, bi roue pi iY AL § (tre corde) 4h
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ger ena a fs “if i ‘Ht ~ ao | T ' Ra © - wn i. hs m | ‘ C i mm GGL & ae Rill: ef ~ Be 2 SF an =" => 3. >>> MR 4.4.4.4.2 es Pe Tt A ~) S S + 3 tts Rg “- A Rae CH style, not difficult to play, but full and sonorous, Grade 3. } AMERICA VICTORIOUS MAR —— eo = law) & ec S CS ms &f © pine ~ — — marcato => 432 WAS fs RB SEE FED ER Meili! «SSE RE f MARCH 1920 ea) < fy, < fy Ur + ie oi) Page 170 British Copyright secured Copyright 1920 by Theo. Presser Co.
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Page 171 MARCH 1920 Ss ° oun —_ Sad N — po Fa = 2 w o el — a. S ~ =. S & ECSTASY A very effective song without words inthe Spanish American style. Mr. Fernandez isaresident of the city of Mexico. Grade4 Etude Contest i‘ / alt i “J | off if ( TT Ped.simile PY British Copyright secure JAVIER A.FERNANDEZ id ll i 4) Ae iy Andante Copyright 1920 by Theo.Presser Co.
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Page 172 MAROH 1920 : ae | «THE EPUDE MERRY MARCHERS Prize Composition AR sit . as Etude Contest spirited march movement, to be played in a jaunty manner, well accented. Grade 3. THEODORA DUTTON Con spirito M. M. d= 126 ee TT | ; DE RE SEY FRED OSE ORIERURS CP natit REA TARODa 10 AR ETE RS SN ER SET eS ee ee oe WAR : SSS ee oe RRR fe TREN ome pan faetin SOT, AS OE RE A, Se RTO OR ue BE ATL ORR EW | + —— REET TE OE TSE ET AUN RTE ee a aa © A or “a —— Ot 4 8B ee” SS A well-written teaching piece by a contemporary English composer. Grade 2%. ERNST A. DICKS Shoe eR Oe UR ERS RE! ST CORT a pap ct ili OR e ak 20 SORE, Sees: —dim.— et 5 pall, av SERMONS, MEE SRN FA TRO REE SC RE CUSTER ET SR TAR RC PRE oe ey SS oe I i “SR EY A a 0) Re ET * i a Copyright 1920 by Theo. Presser Co. . British pyteth secured
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THE ETUDE | MARCH 1920 Page 173 | a wy cs scenario setts 2 ic | Bb 4 N N 4 aca \3 4 oe 2 a. a A A ST LS AL wee HE ANT Ye SN SN AACN SR EN” A SAAS mS SO SOS AS OA Ce OS SO 4 hp a ag ey aa ie se Be - me eo ai pd (oe. .? ne Na P BBTBE ARB Reh OH ER OF ES A RR AY RS SN Je 4 | yw am AR U Eee 9° ae . eee Li tk 2 iia A TIE Ne) RR i EK NEO! ese PH TAMERS OP SS) SATIS S CE ORIN! mer mou Leis het m Ay Cee I aati aietinc chaal ee reas ——————— ra : RD bee . We Gere ne ed. RE SEA 2 458. :¢° Ke ee | RC NNT el A ee RUSS A OS a ses lceeateedanesdnaiasian ei EL eT Toh eer ere, m= 3 eer we OSS A Go RCE wii Ri seek advlbee a oe eK RH eR mil) mill ‘ii di il PEACEFUL THOUGHTS A tuneful song without words well adapted for small hands.Suitable also for the organ, Grade 2%. E. S. HOSMER Andante M.M.¢.-54 Ce io Ce a an aspen 9 _}__,,-_|+— , abun = a “te 3 ee —— ee I ey ee ee pa pope te ro A NE ee a AL AA mm Em NS a | See coer ee oe Se ee een mma — + -@-#—_@— —_ 9 —___4___>_____ — Copyright 1920 by Theo. Presser Co. British Copyright secured
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RS o alll | TT 3 S 7, 3 S D nil | | : i: oe € i : i 5 Oe y : ! z & 4 | | = ® ce, Ii a. ad s =| s wn 3 SS: x haat 3 S = _ x : eT lh E Sy ° il cab = te a » ten | = if | pa | > c dh can MIN tal ) eT 8 a ae
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Page 175 MARCH 1920 THE ETUDE FLORETTA T POLKA CONCER A.W. LANSING MO PRI Tempo di Polka M.M. ¢=108 2 om i¢.. ‘= ° Boe BN Li AQ ; ul il § --222---¢ Am. ae - SESS MPP SFTeOCF OEP eee eae’ Seeeaeesee tease naeun = it i —— - = aaeeeeannnguaEnienaeNenteee Ee SSS SSS SDE SDS SONS SSNS OOS SSS SPOS ESSE SERN S AEH HEE EOS SSO SENN EDSRREBNE DESERT ESee wa ee a, = TE Busseemin 4 ng He i cif al: i sf
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THE ETUDE SECONDO MARCH 1920 Page 176 uf s Hi ah = I oe 2. fy TE a Ga et ig Hi ( Mt Lt : iim ai ale Cl lalate emlabahal M it ca = o Cp. = al eae . oc | i ‘ it iA ‘tk iikal +! max=g Copyright 1920 by Theo. Presser Co. : "1 i i British Copyright secured /
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Page 177 MARCH 1920 THE ETUDE PRIMO a ‘a 7 alta 1 A.GARLAND 9 ite YS a ome wenn | jrammpemmaniacod eer = PRIMO GALOP HUMORESQ = 144 Vivace MMe ul =| eel” _ iN on ™ i> THY a 9 1 Se ae SE by BOSS SS SS SHAS SS SSS SSSA ASRS SSA RS SHSAA AS SKRATSCS HASH ARS SNS SOTAHE SH ROES SSS SKATE SSSR NSEES Sea SSEBESenseunen ana eo TY ees : ' ia SE EE SE EE ES OD oe SE GE Oe OF OD ae ae aE GE ED ES FE SEE SS OE SS SS SS STS SSS SSH SHS SSS SSHSS SSE SSS SSS SSSTCSASSSSSTSS SS SSSR SSH SSSTSSHSS SSH SSH SS SSK Se See eS © oe ee er we es oe ‘as | | THY et il
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THE ETUDE THE OLD, OLD LOVE An effective piano solo arrangement of one of the most popular of the late Mr.deKoven’s most recent songs. Grade 4 MARCH 1920 Pause 178 lie len, Ul. British Copyright secure’: 5 —_ } | old love,fromthe skies a-bove That REGINALD DE KOVEN, Op.390 old brings ’ Tis the jlove that lasts, we {kno wrong f ¥ fromthe |skies 4 saat A: - - ai ' z s Ui LU bi $ : = ts jee ih : > ; 6 ne Sie od 4 z > e | ot - S = i) | pe = * ~ A7 Wes Pe ~ 1. a. ° CG an-Z OO
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THE ETUDE REESE ETUC TSE CIES IS ES BIOS IEE ES CIEE ES GIES CHEESES IEE | —s ZOOS ZOO FUSE BC FUNC OIC OZOTUSS OS OTUSS CS OS USESCS CSE FUMNZCBUFUES WSO ‘ study in that lesson. The studies are pleasing and The Best Elementary — MARCH 1920 Educational Works for the Piano Just as the Master Craftsman uses the best tools and materials to achieve master results so the teacher to achieve pedagogic success must use the best formative teaching material :: :: The ‘‘Standard Graded Course’’ and the ‘‘Beginner’s Book’’ stand unequaled in the number of copies sold and the other works mentioned below rank far above the average in the number used by the teaching profession. The above facts are given as a solid foundation for the statement that among these works the most discriminating teacher will find the one that satisfies, as Each Possesses an Individuality that Appeals Standard Graded Course of Studies FOR THE PIANOFORTE Compiled by W. S. B. Mathews IN TEN GRADES TEN VOLUMES PRICE, $1.00 EACH GRADE The Original Graded Course Each volume supplies all the needed material for the grade with which it treats, and in addition pieces for study diversion are suggested. | Constant revising, enlarging and re-editing keep this system modernized and filled with the world’s best studies. Teachers desiring to use special systems for various purposes can readily apply them in conjunction with this course. No other method has been so widely used in music education. Landon’s Foundation Materials FOR THE PIANOFORTE PRICE, $1.25 An Old ‘‘Stand-By’’ of Thorough Teachers Includes special spelling lessons for the acquir- ing of accurate note reading. Replete with careful directions to both. teacher and student. Every lesson has a note explaining what should be observed and obtained from the By M. G. Evans By Adele Sutor progress gradually. | n the last pages an extremely illuminating ex- planation of fifteen different chord touches is given in conjunction with a like explanation on the art of scale practice. The maxims at the foot of each page form a bic of musical literature that all serious students would delight to read. By Thos. Tapper Essential Helps in Elementary Instruction Primer of Facts About Music Note Spelling Book Tunes and Rhymes By Geo. L. Spaulding Very First Duet Book Price, 75 Cents Child’s Own Book of Great Musicians A Series of Ten Biographies for Children Price, 20 Cents Each Beginner’s Book SCHOOL OF THE PIANOFORTE, VOL. I. by THEO. PRESSER | PRICE, $1.00 The ‘‘First Reader’’ in Piano Study The simplicity of this work has enabled many teachers to achieve speedy results with even the youngest beginner. The rudiments of music, notation and elementary work are thoroughly covered in a most delightful manner. The first grade of study up to, but not including, the scales is the scope of this work. Large music notes, illustrations, questions on the lessons and many specially written exercises individualize this work beyond others. New Piano Method By A. SCHMOLL IN TWO BOOKS PRICE, $1.25 EACH The Popular French Method _ The teaching, profession have here in the only edition with an English translation; one of the most popular methods used in France. Price, 60 Cents Price, 50 Cents Book One covers the necessary rudiments, chord study, the major keys and major scales, in a thorough and original manner. Price, 75 Cents Book Two is simply a continuation of the first book and takes the student through a course of study up to about the Fourth Grade. Throughout the work is attractive and is with- out doubt one of the most melodious methods obtainable. The Above Given Prices are Subject to a Liberal Discount to the Profession THEO. PRESSER COMPANY 492 ttworrens. THe mane PHILADELPHIA, PA. Page 179
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Page 180 MARCH 1920 | | THE ETUDE he Brunswick Met saenlaeaenrneannenrnenencmnanentidahanamrntnenrnat Beast? Cat aati ea LOL PROCR AA ARLE AE RT RELL AE A ROTEL EN RE LO ELD PEELE EA ALOE RRO REBAR Ae NER tenn Cone ULLTONA mE! PLAYING A BRUNSWICK RECORD F Four Triumphant Features How The Brunswick captivates music lovers. Purity of tone has been our constant aim. And we have attained it Rare Tones Ever Present . But even this great success did not satisfy Bruns- Ht In: CONTPAHGGM with others. i hoe wick designers. And so they experimented long to bring For Brunswick has accomplished what all phono- out tones hitherto lost and give purity to all tones. graphs have sought. HE secret of Brunswick favor, if secret it may be called, is easily discovered by those who hear The Brunswick Tone Amplifier was The first Brunswick idea brought 3 the result. It is moulded of rare woods. instant recognition. It was the Ul- . Nametal whatever is ase. tona, the technically correct all-record © : The violin inspired this wonderful , player. By it Brunswick PU HESS EES improvement. And as the violin issues ! enabled to hear all artists, orchestras pure tones, so does the Tone Amplifier. *. , and bands. For sound waves are permitted to vi- The Ultona, as time has proved, ts brate and expand naturally. one of the greatest inventions in the phonographic world. And it belongs exclusively to the Brunswick Phono- graph. It frees Brunswick owners from the limitations of one or two makes of records. And it does this without any extra equipment or makeshift attach- Once more The Brunswick was ap- plauded. New laurels were won. The Brunswick Method of Reproduc- tion of which these two features are the major part, is now known the nation over, and all who hear The Brunswick give it instant acclaim. These are the reasons why we ask ments. you to hear The Brunswick—why we At a turn of the hand it presents to each make of record the proper needle, the proper diaphragm. ask you to judge it by comparison. And we know you will want to hear it if you love good music rightly rendered. THE BRUNSWICK-BALKE-COLLENDER COMPANY Branch Houses in Principal Cities of United States, Mexico and Canada General Offices: 623-633 S. Wabash.Ave., Chicago Musical Merchandise Sales Co., 819 Yonge St., Toronto ~ AND RECORDS Canadian Distributors:
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Mat AAA ARM AGG A ILE PA BLE DRYSDALE ABOARD DI AAAS EAI Ee ODODE DRA LDEY AEE L SBIR EAL EAE EAR ISDE SES ABAD THE ETUDE x od of Reproduction And Now Brunswick Records As we have sought improvements in reproduction, Te TONE AMPLIFIER, MARCH 1920 so have we brought new ideas into record making Peters that the Brunswick Method of Re- production would not be complete until we could bring out our own Brunswick Records, we devoted every resource to the perfection of our ideal. We began with the basic, laws of interpretation. And musical laws guided us in our four years of preparation. | Each Brunswick Record is interpreted by a noted director or an accomplished artist technically trained in the art of recording. Thus we unite the talent of the artist with the genius of the composer. We bring a new idea into record making You will know what this new idea means when you hear a Brunswick Record. Youwill realize that here is the artist at his best. And more. You wili feel the composer’s inspiration. You will know that a master hand is in control. We offer Brunswick Records for your approval by the same severe test we have invited for Brunswick Phono- graphs. We want you to hear them and make comparisons. Remember, Brunswick Records will play on any phonograph with steel or fibre needle. Exquisite Cabinet Work The lover of the best in music is also a lover of fine craftsmanship in cabinet work. And so we ask that you note this fourth Brunswick feature when you make The Brunswick comparisons. The House of Brunswick has been long famous for its excellence of wood working, and the cabinets which conceal the Brunswick Phonograph are made by our own skilled workmen. | We have recently announced, and recommend to you, four models de luxe. In design, three are remi- niscent of the romantic periods in England, France and Italy. Modern art is expressed in the fourth model. These classical cabinets are true re- productions of the furniture designing art of historic ages. Those who seek the ultimate in both phonograph and encasing cabinet will surely select a Brunswick De Luxe. An interesting Brochure in colors treats of all models in detail. Write for it or ask any Brunswick dealer. It will, therefore, be distinctly to your ad- vantage to know Brunswick Phonographs and Brunswick Records before you make your choice. Any Brunswick dealer will be de- lighted to assist you in coming to a decision. THE BRUNSWICK-BALKE-COLLENDER COMPANY Branch Houses in Principal Cities of United States, Mexico and Canada PHONOCRAPHS AND RECORDS General Offices: 623-633 S. Wabash Ave., Chicago Canadian Distributors: Musical Merchandise Sales Co., 819 Yonge St., Toronto Page 181
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. eS Page 182 MARCH 1920 | | | THE ETUDE apy \CHOLASTIC SERIES 4 a DALINUDADANLCIANSANDNNUAAVEIUUNAUONNOUSACQUNGONEGENUECQOUNOODUOELOUCQUUNDNNDOELOUCQOCNOEEDSUVONCOOCGNNVONUOESCOUQNGCOUGUUQCIOQUGUHUGULICOOOUCGUULSUOLCOOCGUOUEOUELCOUEDREEOUTSCOOUSONEDSEUECOGUUGEEEUGLECOGCDOEDOUEUOLE SS OPOORDOUEELCOOLDOOETOEIOIE illite ANAM all ( ad —Z =m fe (ans wonderful Series, already famous though but two years in existence, embraces only copyrighted works cover- ing practically the entire range of vocal and instrumental study “from the very easiest to the most difficult.”” The number of teachers, schools and institutions who have been quick to see its advantages and the extent of its educational riches is enormous even now. New and unique works by the best known contemporary music pedagogs are constantly being secured by the Series’ editors. Certain of these, the appear- ance of which will be considered epochal, are scheduled for publication during 1920. Information about, and a complete catalog of, the Series will gladly be supplied by the publishers. MOST RECENT ADDITIONS For Piano: Diller and Quaile, Second Solo Book (Vol. 72) 75 Diller and Quaile, Second Duet Book (Vol. 73) 1.25 Rogers, J. H., 15 Exercises and Studies on Broken Chords (Vol. 71) 1.00 Becker, R. L., Five Staccato Studies (Vol. 74) 1.00 | For Violin: eo Zimbalist, E., One Hour’s Daily Exercise (Vol. 40) 1.00 | For Voice: | Mabon, C. B., The Art of Recitative for Women’s Voices, High and Low, and Men’s Voices, ditto (Vols. 56, 57, 58, 59) each 1.50 Send for Complete Catalog Ask Your Dealer About Schirmer’s Scholastic Series VAVGUUAENEUECQGRUAUAEURANUCQUOUNVOUUOCTOCOUCUNTCUNSOOCUGTOUGEEEOEOC QUNAUECEOEUC QUVEEUCCTOGUEC QUGUEUOUOOGEUC OUGUETOCOUCEECOUCUVVEOEGDER QUEEEUOCERCOUOUELDUOCURGDOQUGLEEOCERCLECOCENEEOCECCUOCQUELETEEUGTECOUETETREUEEEEQUETATEUDATREQUELATUEEHELEC . SCHIRMER - new york city Please mention THE ETUDE when addressing our advertisers, 3 EAST 43d STREET ° ¢ ee eee ee ee ae tues ” —— LE Ee Le
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Puge 1838 MARCH 1920 THE ETUDE ORIENTAL SKETCH The various syncopated effects will afford excellent rhythmic drill. WRAY JAMES I. Grade 3 A modern ¢xéermezzo, full of color. =104 OSO M.M.e 10] G sempre staccato Ria Ae ce Le ee ce a ete nab teh ae atari Ir bet BE ql ‘hel a aN ee Dn A tl ee a et inl a on cin \ rie iy nahi eo AR CRI SURE SE La 3 TT Ht 3 British Copyright secured Copyright 1920 by Theo.P-:esser Co.
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MARCH 1920 THE ETUDE | All the jolly chase is here, On the mountain dawns the day With hawk and horse and hunting-spear!” HUNTING SONG ‘““Waken, Lords and Ladies gay, Page 184 Six Walter Scott. “hunting song:’ Grade 4. ROBERT BRAINE ie ae he ee 2a Pe Rie PPP 4 F Tempo di March m.M. #= 128 An effective tone picture; not at all like the conventional 4 4 4 } 4 . ° ° . 4 * pa | 4 “@ 8 last time to Cod REAR ER RARE CR 8S CINE, a Mae 2 ERE Sud ee ee ee | marcato con spirito 4 4 v 4 Zs SAS CRE GE OM RE Oe OR ee Gi eee UY SS RR RE OY GRR Ce) oT bead ah bj guasi trumpets 4 SS A SS RS EE OR CO WP wivwme | tpi British Copyright secured x ray s 4 . i is a Copyright 1919 by Theo Presser Co.
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Page 185 rn) 4 Ss | s ~ x 4 “ “ 5 3 oa a - icone come vee hee fs NREL) ea Raad 9 ee ee — EEE... ae a ; > we - : i a eT ee Ee EE SO LT ee ee ee ee ee ee | | eT ee oe senza rit. dim. . Pa he . SSS ORE SRR OES ee PN i cal ne © HIN - We band aa wee OO ee | ee To Betty Jane Hargreaves MEDAL OF HONOR iN MARCH In the processional style, four steps to the measure. Grade 2‘. J. FRANK FRYSINGER, Op. 189, No. 1 116 Marcia M.M.e 4 i ipo d Tem e a Re TE |= A a orem = . . ; A TTS PSLRA CR Td! OT RN IR ih ie) a A o ee RRR ET RIN I ‘RS e . SJ , (of! A Lk A AT Tae eee SE A a ee CO — i FR TTS RAS ST OL SN ERT SE — ee eae a 5 4 5 1 eR \ imental iaiaeeialitied AMI inci tll - rv. me 2 ee ee eee eee eee 5 CO 8 TEN RA TONE IY SS © A a | ae aa ee _. a: «.. a GS = a | S A TA TF GR AS ARE OPS OD A mR Se ; = Se aa ees SEERDECRES ABLES BT (AEREEL RG a OR a ERE REE OFT a 3 “4 2 —,— coescp creatinine. 5 vy, British Copyright secured | Copyright 1920 by Theo. Presser Co.
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THE ETUDE MARCH 1920 fage 186 85 F, LEJEAL, Op. Well worth careful study. ALOIS SCHERZINO i) 1s 2) THe Alt “7 gt eee anne: = q 5 Style 2 3 ssie St 3 => classi sem] 4 e 1° we alll og tigal! 8 ) AS : | ‘, 7 | “TH ; iS Wis +s a I TY oh TRY 7 a=7 can i ie Set a ii pare or) A dignified and straightforward composition in Allegro moderato st opyright 1920 by Theo.Presser Co © ee =
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&7 Page 1 MARCH 1920 : mar THE ETUDE he Al ES A = EE RE i] <ah senza ritard oo | ! Sen < ! ax=7 il a ai ot Md: Z asi5 tal lie zi | it ) or - ; *( , S : lin aL , : : \. = ~ O = a Y i 4 An attractive scherzo in double time (two counts to the measure.) Grade 24 =108 Allegro M.M.¢ a ae she {| fl a wy? MP A: x37 nna ell eee eee eee le British Copyright secured Copyright 1910 by Theo. Presser Co.
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THE ETUDE MARCH 1920 Page 188 AN EASTERN INTERMEZZO GEORGE SPENSER 4 A useful study in staccato. A good easy recital number. Grade 24 108 .In march time M.M. ¢ ins British Copyright secured WILLIAM E.HAESCHE A showy number not difficult to play, affording good practice in heavy chords across the strings and in various styles of bowing. CHRYSANTHEME ull Kee Eh NE Copyright 1920 by Theo, Presser Co. \ Vi. te ff Hew j | fi I : - Py j mye pa a NT A’ GR | VIOLIN | British Copyright secured Copyright 1919 by Theo. Presser Co.
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50 Tm (U) aaa TT) ud — . AID ti] “jl a . 3 b| = il ill au MARCH 1920 ’ ’ v = Lt Y H nl gis OR oS Oe a a eR dee ss ——ees |} _——\\ — ent — Dl —— + oo ome Ps eb ol vv 7) es mw ea ae ee dl ® * e eee ae | SRN TERROR. Le) ee eee eee ee el a Ss PO T_T. | ree cam _— i @. 7 A bn Y THE ETUDE .
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THE ETUBR MAREGH 1920 Page 190 REETING JOYFUL G clever little study piece with plenty of work for both hand Grade 21%. sé C..W. KERN, Op. 415 A ei rst). ayy : 3 : % | : Ee ‘ ft Wn: “|i its = = ar : ac A iH Aa “a o/s Lasttimeto Coda ee ee \\ i 2 ig sy ira rT att Hl ut ; . : (ye {| tl : : = i at -$ s v: S = = C. . C ae : & si : x x ac7 on a al ER Copyright 1
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Page 191 MARCH 1920 THE ETUDE CANOE SONG INDIAN LOVE BS 7. = [x] = 2 a 2 EQ o ——— The most recent additionto Mr. Lieurance’s successful series of Indian Songs, a worthysuccessor to Minnetonka. and Weeping Waters. coke = 220 eres TTT ait ta ©) — allies ald call edit oe Ne Ss Coe M = Wh/2 2 dh sue A ~ BEE Mb 3 2 IMT : aa — . . ff aml : In ¢a-noe, In ea-noe © Ah. My = — oi) - oo Ca Oo. fa at oe © oe 3 = J 2 i as a BS a = mn rs) S : 5 — . 3é 4 bao. oo 33 se p = so 7) a 3.0 — a mn > 2s 3H oO A 5 Say H | | ¥ ag ys vo = = thie sii ee ee es ee = | a De —) ~ £ ts, ! = ~ 2 3s ® o oO os 3 s fs Dy D 2 = = = © = > be 2 a eB) a S Moderato fear! { > , S > 3 a rf S ®. ‘S =| 3 oe fear! Have no wa 3d verse azz %* An Indian love song, sung for me, by Geo. La Mere, a Winnebago Indian is woven inthe Moderato. Copyright 1920 by Theo.Presser Co. British Copyright secured Also published for High and Low voice
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THE ETUDE MARCH 1920 Page 192 THE VOICE OF JESUS A fine setting of a favorite text, especially good for church use, broad and telling. Sm ee ee a a I free and worn | cs hel British Copyright securec that life giv - un - to Me ry hold Take my yokeupon you and Wea Of A = Come Be ROBERT HUNTINGTON TERRY — 8 ll CP a ee ee ee 0 | OR DG A 0 ee ET Ge a eH EE Birman has made t: Live will give you rest. € And now And I ing place, re ___vivd un-to Me, And of of Come Spteontennonwnwnnneosecas = heard the voice’ heard the voice t spiri -< With Copyright 1920 by Theo. Presser Co. Rev. HORATIUS BONAR i E iN "ati * ae = ; ? , ae o PRY ‘. ws acs * m Band baud ih ey bazz & anZ wee ee ee eee ne \ ‘, + STi bat ! AN 5 ki Se eh WY xd ee ae aa eee ee
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MARCH 1920 THE ETUDE Page 193 ] \ f of - ss bet | i a) a 2 am) —) E sce - et wld rel elal | fe ry bo fan} MN 3 ' ‘ill - S Be) ) hee ort — that light of in DS. Refrain
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THE ETUDE MARCH 1920 Page 194 CANZONE A useful prelude or offertory with excellent opportunities for tasteful registration. + SS foo] = io —| °o i) n © aL mn SR 2 ZA sie Is ee fw Mo] s en am. Te * CO wat 95 80 4, “ ee 29 eS Bas .c » Zoo eS eee < 2) pe a0] i 7 WM — et a) o ~ . SHEPPARD ERNEST H J=84 Moderato e rubato ma legato My. aul ‘ | an Wi on ls pean HL aa ~ \ ees WY ~~ Ar S] ee gn. a ¢ ® fe ges apt = 7 SRS S SSE SREB SERS SBSR EEE BBE, 8 ht aly nr ’ \} ‘ an Y wee ee ot Uy ‘a aes ) | | Copyright 1920 by Theo.Presser Co. British Copyright secured
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oe THE ETUDE Why He Didn’t Get the Pupil By A. J. Eastman Scene: The eighteenth floor studio of young Mr. Schuyler Harrison West, pupil of Meschistsky, Pohnanyi, Lafaneff, and other European Meisters. Enter Mr. and Mrs. Daniel Finnegan and fourteen-year-old Mildred Finnegan. Mr. Finnegan (genially): Is this the professor? Mrs. Finnegan (1n a whispered aside): Father! Didn’t I tell you that musicians ain’t called professor no more? Mr. Finnegan: No offence, mister. My barber ‘what plays the mandolin is tickled to death when I let slip a hello professor at him (looking about with intense curi- osity). So this is a studio—I was in one once befure. It was crammed to the door with people without manners—to me, that is—and there was music without tunes and rooms without air, and after- ward they fed me with bread as thin as a postage stamp—and about the size— and cheese that come out of the garbage can from the schmell of it. And thinkin’ it all over, I didn’t mind the people with- out manners—(you meet them every- where)—nor the rooms without air— (I’ve worked in a caisson under the water)—and for the cheese, I kept my distance of it after the first whiff—But the music without tunes—now, that stuck in me craw—it did! Mr. West (with marked languor): Ah? Mr. Finnegan (vigorously): Yes, “Ah.” And I says to myself, not one red copper of my money is going for music without tunes when Milly starts to learn the pianny. Now, my poor mother —rest her soul!—she says when I was a small lad, “Danny,” she says, “I’m think- in’ you've an ear for music. Take this half-a-dollar and buy yourself an instru- ment,” she says, “I don’t care what kind, so it'll carry a chune.” And— Mr. West (stiffly): Excuse me, but I must remind you that I charge for audi- tions. Mr. Finnegan (with an amiable but uncomprehending stare): That so? Well, I bought me a tin whistle—I called it that, but its Sunday name was a flute —and many’s the time I sat and played while my mother rocked to and fro, and I drew out the tunes like a kid pulling Christmas presents from his stockin’— Money Musk and Patrick’s Day in the Mornin’, and Wearin’ of the Green, and— Mr. West: I really must repeat that I charge for auditions. Mr. Finnegan (with a pussled expres- sion); You charge for—for—odd—odd— Well, well! Mrs. Finnegan (whispers). Mr. Finnegan (his face clearing): Oh, you mean you charge for me telling you what I’m after wanting. Mr. West: Exactly. Mr. Finnegan (pursing out his lips): Many’s the contract job I’d have lost if I soaked the man who came to find out what I could give him and tell me what he wanted. I made my wad listening with both ears, even if. it kept me late for dinner—and I most generally landed him! But perhaps that ain’t music busi- ness? Mr. West (with some displeasure): Proceed. Mr. Finnegan: This girl of mine has taken a few lessons, but the deeper she goes the less she pleases me. She plays things by a Mr. Churny that runs all over the piano like a cat with a dog after it; and some stuff by a gentleman named Mr. Back, that sounds to me like a machine chopping cabbage; but what- ever she lays her fingers to, she never happens on a tune. So I come to you to see what you can do for her. Mr. West: That is just what I shall teach her—Czerny and Bach—the only things any good teacher would teach. Mr. Finnegan (with vigor): Point me out a bad teacher, then! If I pay out good money, I want music I can listen to— Mr. West: I teach only music that is in line with culture. Mr. Finnegan (bewildered): An’ what’s that? Mr. West: Culture is a composite of those branches that lead to an intellectual and social development recognized by the best people of the day and hour as most beneficial for the progress of mankind. Mr, Finnegan (blinking): Is that all it is, professor—mister ?” Mr. West (loftily): Culture is the dif- ference between the Police Gazette and the Atlantic Monthly. Mr. Finnegan (heatedly): Well, I don’t know what this Atlantic Monthly is, but if it says I can’t have tunes when I pay for Milly to learn them—mind now, I don’t say she shan’t play Mr. Churny and Mr. Don’t-Come-Back, but it won’t hurt her, nor her teacher neither, to see that her old Dad gets a bit now and again to tickle his ears, too. Mr. West: You must remember— Mr. Finnegan: That you charge for— for—(takes out a huge wallet, peels a couple of bills from it, and lays them on the table) whatever you call them. Mr. West (hastily): I didn’t mean that—you must remember that your daughter is being prepared to enter a new phase of society. Mr. Finnegan: So the old woman tells me—(me wife—Mrs. Finnegan, I mean). Well, well, and so am J going to enter a new phase, too. If you and all the other high-priced teachers can’t get down off your perch long enough to teach Milly a tune, I’ll be off to my barber and get him to recommend a teacher that will. Will my daughter have tunes or machinery all day long—I ask you that? Mr. West: I hold strictly to the classics, Mr. Finnegan, the classics. The first year your daughter would have nothing but Bach, Cramer, Czerny and the customary technical exercises, with possibly a sonata or so. Mr. Finnegan: Look here young man, let an old fellow like me give you a bit of advice. Please your customers, be- cause without customers you can’t get very far in this world. Everybody whose money you take is a customer. Every- body who helps you earn your daily bread in any way is a customer. Please him. If you think that the customer don’t know what he wants, do your best to show him something better, but above all things please him. If a man wants me to fit him up a bathroom I get out all the designs I’ve had the best artists in the country make—but if he wants something a little different I sort of wink at it, I do, and perhaps by and by he'll see that the artists were right. If he don’t do that he’ll go to somebody else any how, and I would have lost my chance to do my best by him. This here world isn’t being run for a handful of people with little brains who cannot think outside of their own backyards—it’s be- ing run for everybody. I like music that means something to me, and I don’t see why it can’t be pretty. If you’d have said, “Mr. Finnegan there’s no reason why your daughter shouldn’t have a few pieces of the kind you like, and I'll do my best to see that she plays them as well as she plays Mr. Back’s pieces,” I’d ’a’ said to meself, “There’s the boy with brains enough to teach my daughter and I'll pay him anything he asks”—but, as it is, I’m saying “good-bye.” TheCheney Acoustic throat gathers tones and releases them under perfect and calculated control. CHENEY TALKING MACHINE COMPANY .- MARCH 1920 Like ne ee exquisite with its first rich tone, and day by day becoming seasoned and mellow- ed by the throbbing melodies it helps to create, so with The Cheney ~—“Tyr Loncrer You Pray It, THe SWEETER It Grows.” Dulcetly appealing with the first record you play on it, it enhances in sweetness and quality of tone with use. . It is the gift of original acoustic principles, evolved and perfected in The Cheney. As a final touch of craftsman-like appreciation, The Cheney is given the form it deserves — cabinets which are faithfully accurate period studies. “The CHENEY CHICAGO Dealers Everywhere Page 195
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MARCH 1920 Page 196 THE ETUDE Ir is difficult to understand the psy- chology of the teacher, especially the vocal teacher, who neglects the develop- ment of his or her own speaking voice. Excuse may be found for the crude speaking voice of the average man and woman, but there appears no reasonable apology for the general neglect of the speaking voice prevailing among singers and singing teachers. Aside from the use of the voice in singing, the more general and universal use of man’s priv- ilege of speech makes the speaking voice the most powerful of our attributes as human beings, and as a mere matter of “standing upright” and making proper use of this glorious means of “Self and Soul” proclamation, it is ofir duty to give extreme attention to the complete devel- opment of our power of speech, not only as to the matter, but also and with equal concern as to its manner of deliv- ery. There is no more evidence of his mental poise and general culture than a man’s manner of voice, its pitch, its in- flections, its dynamics, its tone quality (timbre or color), its repose or lack of repose and its fluency in combination with words. A Serious Neglect With an experience of many years with all classes of singers and teachers of singing, I am impressed more and more with the inexcusable neglect of the speaking voice, especially among public voice workers, teachers and others. The majority of women seem never to out- grow their girlhood voice, and but few men in any walk of life make use of their true voice, hence, beautiful voices are rare and serious dignity of character is seldom revealed in the everyday speech of men and women regardless of their class or station in life. This neglect of culture of the speaking voice is by no means a national trait, but appears to be universal. Among cultured classes, however, I believe that Ameri- cans are the most careless of people in the matter of speech. I am not now treating of our forms of speech, the false syntax we so frequently hear, etc., but am calling attention to the average speaking voice, and shall offer suggestions for the betterment of a condition which appears to me to be unwarranted and reprehen- sible. Very many women never acquire the use of the adult voice, but continue through life to use the voice of their childhood, to which they add the power of their larger beings, which serves to accentuate the sharp, thin, shrill child- voice, tolerable in childhood, but intol- erable in a woman. Aside from the fact that many young women prefer the sim- pering “cute” childish way of speech and continue to use this quality of voice until it has become a fixed habit, practi- cally unalterable in later life, aside from those who slothfully neglect develop- ment, there are many, who, through ig- norance of the facts of speech control, Department for Voice and Vocal Teachers Edited by Distinguished Specialists “Thank You for Your Most Sweet Voices.’—SHAKESPEARE The Teacher’s Speaking Voice By Louis Arthur Russell ever develop the girl voice or allow it to develop into the adult form or color, Very frequently women come to me with voices entirely lacking in womanly quality, in colloquial use, and very few of this class have developed their singing voice beyond a thin falsetto quality, which bespeaks the child timbre of the wornout, piping voice of the aged. This thin, hard quality of voice may be fairly agreeable in mild conversational use, but it always becomes intolerable when raised _to any pitch of emotion or of loudness; the more extreme the emotion or the forcefulness the higher and more screamlike will the. voice surely become; in fact, the womanly dignity and beauty of yoice we rightly expect among women of culture is sadly missing in society, in public meeting places or on the lecture platform. While men, because of the natural change of voice in the period of adoles- cence, are less likely to carry the boy voice into manhood, yet the average speaking voices of men are falsely pro- duced, and even in the milder conversa- tional moments a thin, falsetto quality or a raw, reedy tone of voice is the class of speech-sound the sensitive ear has to endure. I have known many public school teachers, leaders in’ church meetings and Sunday schools, whose voices as raised in instruction were an offense to the ear.and a disgrace to their vocation; and I have often heard singing teachers in conversation or in public address whose every word was beclouded by false voice production, violating the commonest laws of their profession as vocal instructors. Oftentimes these wit- nesses of a false faith have been singers of repute. | I have asked myself, How 1s this care- less condition possible, and upon whom rests the blame? Among other conclusions, I am con- vinced that the average human being is deficient in hearing. grossed in the matter the words express that we do not hear or heed the manner of speech. We are shocked by a bit of false syntax, but a delicate thought may be set in a most vulgar tone of voice without the slightest offense to our sen- sibilities, so accustomed are we to the coarser qualities of the voice. A Matter of Prime Concern I believe that professional teachers, especially vocal teachers, and yet again the teachers of children, should make the character of their speaking voice a matter of prime concern, and we of the vocal profession should constitute our- selves a body of exemplars in this neg- lected branch of culture. No singer or singing teacher should be recognized in professional or polite society whose speaking voice is not under control to such an extent that it does not violate the laws of tone pro- We are so en-. from the speaking voice. duction which we normally apply to the singing voice. No person should be al- lowed to teach children in any branch of study whose voice is raucous, thin and piping or deep and raspingly coarse. A voice clean of foul noises should be as positive a requirement in a school room as a clean face, and the child should be guarded against all offensive qualities of voice the same as he is guarded against vulgarity or profanity, so that his sensibilities may be made keen through the ear (the finest, the purest and most spiritual of the senses), as we endeavor to set standards of beauty and truth before the eye, and purity of thought before the spirit. With a proper example placed before the child, he in turn may be trained to speak purely, and in due course, we would be rid of the white, blatant, sprawling noise we have considered a normal quality of child voice. Then, perhaps, we would be justified in demanding that our public school systems should de- velop the graduates of the high schools to a point in voice use where all could read aloud a newspaper, a story or a poem in a pure melodious tone of voice, free from the offensive noises or distracting affectations so often result- ing from study of “elocution.”’ The Study of the Speaking Voice The study of the speaking voice should be a vital part of all courses of vocal study for the final purposes of singing. The vocal teacher should bring his own voice under such control as to give it all the qualities of pure tone, dig- nity and authority with complete use of emotional and dynamic inflection. The speaking voice should assuredly foretell its character as a singing voice; in fact, the talking voice should be a singing voice, and the really proficient singer or teacher of singing should be able to lapse or change within a phrase from speech to song without any change of character of voice from a standpoint of mere quality of tone or sound, and a vocalist should be as effective an orator as he is a singer. Much of this difficulty in speech voice arises from carelessness and much from the generally held but erroneous idea that the singing voice is a different voice Both of these “causes” of our neglect of the speaking voice may be readily overcome if we can arouse popular sentiment in favor of the “speaking voice beautiful,’ and there is no class of educators so properly fitted for this missionary duty as ours of the vocal profession. May I express the hope that this appeal may be of use in the establishing. of a national slogan: “The speaking voice beautiful.” To close this too-rambling story of cur vocal errors, I would suggest a summary of technical principles to be studied as we correct our speech de- fects Timidity is a nervous affection to The nervous voice is a contracted voice and its quality is thin, hard and piping. The effort to force the “timid” voice through the contracted throat destroys its true which the voice quickly responds. character; often the timid child or the reticent child is forbidden by his tem- perament and his consequent habits of life to give vent to his real voice, and he (or she) “grows up” without ever real- izing that the voice has never freed itself: from restraint and frankly declared itself. We teachers of experience have all had many of such voices to release, and have found no easy task set before us: but even this habitual tension can be re- lieved and the voice in time will find its true poise. The competent voice teacher or properly cultivated singer should have but little difficulty in reliev- ing the speaking voice of tension or undue breath force, and soon there fol- lows a normal quality of voice which will be on the same plane of action in song or speech. Women should also make sure of the analysis of their own or their pupils’ voices, that they are surely phonating with a matured vocal apparatus, never forgetting that the girl voice really changes to the woman’s voice, and that the child voice is not the proper voice for the woman’s use, though the difference is much more delicate and more diffi- cult to discern than the difference be- tween the boy’s voice and the man’s. The male voice is usually false in one or two characteristics; it is either pinched or forced to a hard falsetto, or in the other extreme it is allowed to relax to a low pitch with a rattling, reedy or breathy noise which covers the true tone by extrinsic vibration (as a kazoo or coarse comb covered with tissue paper. These extreme false qualities have many intermediate varieties which are heard in speech or song, and they are all caused by undue tension and im- perfect breath control or by lack of sup- port, with flabby tissue allowed to vi- brate or rattle. Here also we find lack of breath control a vital influence. Beware of Affectation In the study of the speaking voice as with the singing voice, we need to be- ware of affectation. Beyond a certain point of control we must not go, else we come to the overtensions which de- velop “affectation” a most offensive con- dition, often mistaken by him who prac- tices it for dignity, but which to the lis- tener is always ridiculous. The speaking voice at its best depends upon resonance for its varieties of quality in the same degree as the singing voice, and thereby appends another tale too long for this writing. I.am sure the Editor of Tur Etupr will welcome any thoughts my paper may awaken among the readers of this department with reference to the : Dera ing Voice Beautiful.”
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THE ETUDE Some Pertinent Vocal Comments By A. L. Manchester “Ir the singer will concentrate his whole attention on the musical intervals of his song as they follow one another, which, of course, should include the vowel belonging to each tone, he will obtain instantaneously the precise degree of tension in the vocal chords required for each tonal pitch.’—C. K. R. _ This statement recognizes the fact that the larynx automatically produces pitch. Concentrating the mind on the musical intervals as they occur in the song gives the necessary impulse to the pitch pro- ducing organism which, if left unim- peded, instantly responds with the pitch, and series of pitches, desired. Nothing besides this concentration is required. The student of singing cannot under- stand and act upon this truth too soon or too completely. Such comprehension of it will do away entirely with much of the tendency to contract throat muscles and stiffen tongue. It may demand prac- tice so to control the mind that it ignores the muscular tendency to produce pitch; put persistence in such concentration and practice will succeed. No single item of vocal training is of more importance than this. It removes interfering sensations that decidedly obstruct the free forward flow of tone and cover other sensations of ease and freedom that are absolutely essential to good singing. - “Out of hundreds of students, whose fitness to become singers, I have been called on to test, I have found not more than 10 per cent. whose.ears were sensi- tive to the different musical intervals. For the most part they were unable to repeat any three or four given intervals which were played or sung to them con- secutively. From this I naturally con- cluded that if they had no perception of definite musical sequences it could hardly be expected that they would be able to detect the subtle variations in tone qual- itv which either make or mar the voice.” —C. K. R. Here is a practical demonstration of a most fatal weakness of musical training. Very acute, and susceptible of a high de- gree of. training, is the sense of hearing, and to the musician the most valuable of the senses. The physician is trained to determine accurately the condition of cer- tain organs by hearing alone. The sound resulting from the tap of the finger on chest, abdomen, or other part of the hody informs him with certainty of conditions there. To the layman this sound tells nothing, but the trained ear of the medical man detects in the varying resonances conditions that enable him to diagnose the case. Yet in singing which de- mands the most acute and discriminating use of the sense of hearing, little is done toward its proper cultivation. One has only to listen to much of the singing now done to realize the serious- ness of this failure. Inaccuracies of pitch, the scooping of tones, are irritat- ing enough, but perhaps even more seri- ous is the totally wrong tonal concep- tions that are prevalent. Really beauti- ful singing is rare enough to attract un- usual attention when it is heard. Harsh, loud, wobbling tones, camouflaged with exaggerated interpretation, are too com- _ Many singers fail because they have not been told the truth about their voices, ‘admits an experienced vocal teacher. But he adds that far more fail because they do not want to listen to the truth, preferring to live on illusions. Some contraltos want their voices changed so ‘they can become renowned coloratura .sopranos. mon even on the concert platform. One of the most vital necessities in the culti- vation of the voice to-day is a return to the production of soft tones, with the auditory nerve keenly awake to the dis- criminating hearing of the tone as re- gards its quality. This development of hearing should begin with the child. Musical dictation, a comprehensive study of musical inter- vals and their recognition by the ear should be given prominent place in all forms of early training. It is interesting to note the prompt response to this train- ing of the majority of children. Constant use. of the auditory nerve backed by in- telligent use of the mind gives it a keen- ness of perception that in later years, when the training of the voice is under- taken, produces splendid results. Tonal concepts will come much more easily and correctly to one so trained. “Although the speaking voice is usually trained without reference to musical standards, my own belief is that speakers should develop their voices as if for singing, which requires a technic cover- ing all the demands for speech.”—F. R. A resonant, carrying, and musical speaking voice requires the same condi- tions of breath support, open, released resonant chambers and freedom of flow as does the singing voice. One who has control of breath and rests the speaking voice upon it, leaving larynx free from strain, and who maintains freedom from throat contraction, stiff movement of jaw and tongue and hardness of palate will find his speaking voice musical in quality and capable of being propelled without effort. Such control is acquired in ex- actly the same way as in the case of the singing voice. The training does not need to be carried so far, but in its ele- mentary form is identically the same. The ministerial sore throat is entirely unnecessary and is easily avoided. “Unfortunately, one rarely meets with students who do not interfere with the free flow of tone vibration in the upper resonating cavities by mouthing the vowels, and to this is largely due the numberless ineffective voices among those who are dedicating their time, energy and money to a study of the vocal art.” It has been the writer’s experience that too much attention paid to the direct formation of vowels in singing leads to the result named in the above quotation. It is only necessary to give sufficient in- formation regarding vowel formation in speech to be certain that the pupil hears them correctly and to correct any tenden- cies arising from provincial or sectional, habits of speech. When tone is properly formed with the upper resonating cav- ities free from tension and interference there will be no trouble in securing proper vowel production and _ distinct enunciation. Here the principle of con- cept plays an important part, If the student be given accurate knowledge of the true vowel sound and conceives that sound in actual singing, he will not need to make any direct effort to control, the response will be right. SINGERS, male and female, who are lack- ing in velocity and the power of trilling, seem to me like horses without tails. Both of these things belong to the art of song and are inseparable from it. It is a matter of indifference whether the singer has to use them or not; he must be able to.—Lit11 LEHMANN, in How to Sing. MARCH 1920 Page 197 IVERS & POND She PIANOS TLNCCIS ae SMALL GRAND DELUXE All the broad experience of Jvers &5 Pond Grand Piano building is embodied in this delightful model. The incomparable tone quality, remark- able volume, and unexcelled durability which have determined over 500 leading American Educational Institutions in favor of our make, show to maximum advantage in the Princess Grand. ‘The demand for high class Grands is insistent—their construc- tion slow and painstaking. We therefore urge the prospective buyer to anticipate his requirements. want a grand. Why not start now by letting us mail youa When you take up the matter of a new piano, you will catalogue showing the Princess and all our grands, upright and players? ship direct from the factory. pianos in exchange. Wherever in the United States we have no dealer, we Attractive easy payment plans. Write us to-day Ivers & Pond Piano Co. “ ¥ 141 Boylston Street BOSTON, MASS. Please mention THE ETUDE when addressing our advertisers. Liberal allowance for old
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Page 198 MARCH 1920 Emotional Tone By D. A. Clippinger THE tone quality used in ordinary con- versation, is so matter of fact and alto- - gether lacking in feeling and emotional in- tensity that, for purposes of singing, it is inadequate. This is due to the common- place nature of the subject matter. There is no call for emotional inten- sity in discussing the weather, crops, styles, etc., and these, with the health, morals and general appearance of the neighbors, constitute the bulk of ordi- nary conversation. But singing has to do with other and better things. It takes the better class of human feelings, and enlarges, broadens, deepens them, and presents them in ideal- ized form. In this the human voice proves itself to be the most wonderful of all instruments. There is within its pos- sibilities an appropriate tone quality for every phase of emotion. The voice is more intimately associ- ated with the artist than any manufac- tured instrument can possibly be, and re- sponds more quickly and accurately to his feeling. Hence a great singer can move a multitude of people and lift them to emotional heights that can scarcely be approximated by any other artist. Some singers reach intense emotional states easily. A word, a poetic sugges- tion, and their imagination bursts into flame. Others have to be urged and as- sisted in every possible way in order to reach a condition at all dramatic. Their feelings seem to run on a certain level from which the rise and fall is slight. It is well to recognize the real prob- lem in such a case. To say such people have no feelings is to misstate the facts. They have the germs of every feeling possible to humanity, but they have not been developed. Their lives have been running on a straight line, and their emo- tions have not been sufficiently exercised. Their exhibitions of temper are never very exciting, neither do they become up- roariously joyful. The sorrows of life touch them lightly, and their love affairs are only as sensational as digging pota- toes. Such people usually are not wicked. They are immoral only in a mild and delicate way. The excitement of being a bit devilish would be unnatural to them. They are thoroughly good—be it said to their everlasting credit! Many of these good people wish to exercise the gift of song, and they come with their even tem- perament and do the best they can; but they offer the teacher an interesting prob- lem, and one which is in no sense phys- ical. One might scour the physical realm and find nothing applicable to such a case. Instead of exercising their voices, such singers must be taught to exercise their feelings. One will not have an emo- tional tone until he can experience emo- tional states. Love, joy, sorrow, pity, courage, hope, freedom, exaltation, rever- ence, defiance, and other sentiments which they have exercised only to a limited de- gree, must be broadened and deepened. There are no limits to this development, and it is gained in precisely the same way that the technic of any subject is gained —by repeated attempts, by endless repeti- tion. In working this out I do not incline’ much toward the plan of taking the vowel ah and making it express the different emotions. I do not deny that something may be gained in this way, but the im- portant element, the suggestion of a defi- nite idea, is lacking. A sentence which indicates a particular feeling is a greater stimulus to the imagination. The teacher should select sentences covering a wide range of sentiment and direct the practice of the pupil, keeping him at it until it is easy for him to ex- press himself. Eventually it will become involuntary. He will gain control of his feelings in the same way he gains control of his fingers, by keeping constantly at it. When he has learned to assume an emo- tional state quickly and definitely it will show in his voice, and he will have an emotional tone. Some teachers try to gain the emotional tone by developing a vibrato. This is illegitimate, and inva- riably leads to a serious vocal fault The use of the vibrato is at all times to be | avoided. Hints for Singers By Thomas Noble MacBurney IF your voice is easily and evenly pro- duced, go to a good voice coach for rep- ertoire work. ; If you have vocal difficulties, find a voice specialist who knows the value of soft tones. Tone development depends on mental pictures of the ideal tones and tonal con- ditions.. Singing must be a mentally and physi- cally easy task if it is to please others. Tone development depends on reso- Resonance is the result of open nance. resonance chambers—not of lift, pressure or effort. The high voice may have as glorious a resonance as the middle voice if the men- tal pictures of resonance exclude tension. All vocal tension occurs in voluntary or controllable muscles. All vocal tension is avoidable. Tension at the diaphragm automati- cally induces tension at the throat. A soft palate held high will. make the throat as sore or tired as any cold. Beautiful tones are thought beautiful before, during and after they are sung. pull, MARY GARDEN Two World Famous Prima Donne GERALDINE FARRAR In interviews secured exclusively for ‘THE ETUDE” these famous opera singers give ideas and suggestions which vocalists everywhere will surely find invaluable. THE ETUDE A Splendid Opportunity %. Ambitious Vocal Student Preparations are now under way for a resumption of the tours of ITALY and SOUTHERN SWITZERLAND so successfully conducted before the war by the FABRI OPERA SCHOOL The 1920 tour will cover a period of four months; May, June; July and Au- gust. While abroad, opportunities will be afforded members of the party to sing in Grand Opera and Concert, under professional conditions. The advantages of this training and professional experience are too obvious to require detailed explanation. Further information, however, as to special rates, schedule and accommodations for this tour as well as details of the school’s regular work in this country may be had upon application. ment and artistic finish for professionals. and teacher. professional,’’ *Villar’s Dragoons” by Maillart The Philadelphia Press— ‘Each principal showed the results of careful train- ing, and reflected considerable credit: upon the source of their instruction.”’ The Evening Bulletin— : “The regular appearance of the Fabri Opera School offered excellent opportunities for the exploitation of such talented singers as appeared under the skillful direction of Maestro Fabri. The Philadelphia Record— “The presentation was to the credit of Maestro Fabri, who staged the opera in its every detail.’’ soprano with ‘Comedy Cut Ups’’; MIss conductor, Shubert’s ‘‘Passing Show’’ Company. FABRI OPERA SCHOOL, of Philadelphia and New York, is an educational institution in the United States which actually gives opera performances in a professional way, the cast being made up of pupils trained entirely in the school. The School offers a complete education in opera, concert and church work, beginning with the foundation of voice development; correction of vocal faults; languages; general stage deport- The Director, Maestro Fabri, is an artist of international reputation, educated in the leading musical centers of Europe; as singer, a pupil of the celebrated Francesco Lamperti; conductor (For sketch of career see “Musical Blue Book”’ and ‘‘Who’s Who in Music.’’) Extracts of Press Criticisms of Fabri Conducted Opera Performances. J. STRAUSS’ “THE BAT” The Public Ledger:—‘‘The audience saw work by pupils of the Fabri Opera School that verged closely on the The Telegraph:—‘Was skillfully sung and enacted under the able direction of Maestro Fabri.”’ The Evening Bulletin:—‘‘The performmunceisatribute tothe hard,conscientious drilling that precededit in the studio.”’ The North American— ‘The performance came as a revelation to music lov- ers because ofits gevuiue. merit which reflected the utmost credit upon the veteran ability of Maestro Fabri."’ Mozart’s *‘“Magic Flute” The Philadelphia Press— ‘Maestro Fabri gave an admirable reading of the entire score, and much of the success was due to hig careful attention to detail." The Public Ledger— “Operatic triumph! Under the firm baton of Maestro Fabri voices and*instrumental background blended admirably.’’ Among last season’s pupils engaged as ae al artists, are Miss LOLA CHALFONTH, leading 4 EATRICE ALEXANDER, contralto, now singing in Grand Opera in Italy; MARGARET SHELLEY, soprano, with Shubert’s ‘“‘Maytime”’ ompany; LOUIS GRESS, FABRI OPERA SCHOOL, Wm. K. Hammer, Manager 1626 Arch Street, Philadelphia, Pa. ANO N your home an Emerson will ensure countless hours of the finest sort of pleasure. You will never cease to enjoy it and its beautiful construction will be a perpetual source of pride. Dealers in Principal Cities Emerson Piano Co. Established 1849. BOSTON - - MASS. 554 West 165th Street, New York City ~ Good Nigh Words by RALPH LEIGH Music by EDUARDO MARZO A song of lovers’ parting. A warm and appealing melody in the flowing Italian style. A charming recital song. Published for High or Low Voice Andantino IT cresasapeinenapnanannattill cceeagittlicesanbeaneaintemataanenattiehas th iiandasaattiionnalne So EE TEER cnr en gS iat ctemeeeaaalliediii eancnadibematecannebaltlimeniatnenttindssalantveitanstieataetnea 7S RR A NEE CE RRR En ey SS {touds havehoveredoerthe day, May slumber waft through the gleams Copgrght Tle That light love’s lone ethereal way, Good night. The above is but part of this pleasing song. Send Twenty Cents for each copy desired (stamps accepted). THEODORE PRESSER CO. PHILADELPHIA, PA. Singers ! Why Not Enjoy At No Expense pleasur- able moments playing and singing specimens of new songs that are shown on our Thematic Vocal Circulars? Send for them. THEODORE PRESSER CO., Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers,
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THE ETUDE The Secret of a Beautiful Ree (a Voice A strong, clear, powerful] voice of surpassing beauty can now be yours ! You can have wonderful range of tone, greater Se richness of quality, ae more volume, more resonance. In your spare moments at home and in an amazingly short time you can obtain a perfect voice that wins admiration and success. Makes you popular and _ respected wherever you go. Not one per- son ina hundred knows how to use his or her voice prop- erly. Most ordinary methods of voice training fall short because they do not teach scientific control of the organs which actually produce the voice. Now the secret of a perfect voice is yours for the asking. Simply send a post- card or the coupon today for complete information about the famous Fenchtinger method of voice culture. Wonderful New Method Improves Your Voice Just a few moments a day of your spare time at home de- voted to simple, scientific, silent exercises of the vocal organs brings umazing results right from the start. You will be astonished at the new richness, clearness and qual- ity in your voice almost immediately, This exclusive Fenchtinger method is endorsed by leading European sing- ers, actors and speakers. It has helped men and women everywhere to wonderful success in singing and speaking, in professional and social life. Do You Stammer? Stammering, stuttering, lisping, and other impediments in speech are quick- ly overcome by the Fenchtinger method. Huskiness, harshness and weakness are banished. No matter how poor your voice is now, you can easily make it perfect, VALUABLE EF rR E BE BOOK SENT A handsome, illustrated book tells all about this wonderful, scien- tific discovery of the secret of a perfect voice. It will be sent to you without cost or obliga- tion if you write for it at once. No matter what kind of work you are engaged in, do not over- look this opportunity to learn how you can win greater suc- cess through the possession of a perfect voice. Send the coupon or a postcard for this valuable book now —it is absolutely FREER, PERFECT VOICE INSTITUTE 1922 Sunnyside Avenue Studio 2303 Chicago, IIl. AR — a ee ee ee ee ee ee ee PERFECT VOICE INSTITUTE, Studio 2303, 1922 Sunnyside Ave., Chicago, Il. Send me the illustrated book and facts about the Fenchtinger Method, without cost or obligation tome. I have X opposite sub- ject that interests me most. [] Singing [] Speaking [j Stammering {} Lisping NAME ADDRESS CITY a we D. A. CLIPPINGER Summer Term for Singers JUNE 28th — JULY 31st Send for circular Author of The Head Voice and Other Problems, price one dollar Systematic Voice Training, price one dollar SENT ON RECEIPT OF PRICE Send two cent stamp for booklet ‘Scientific Voice Training” Address D. A. CLIPPINGER 617-18 Kimball Hall ; Chicago A Scientific System of Voice Culture, Without Exercises By FRANK J. BENEDICT Simple, Practical, Thorough, Complete **Tells Exactly How”’ Boards, $1.00 Cloth, $3.00 Leather, $5.00 Mailed to any address on receipt of price Send stamp for discriptive circular Address THE BENEDICT VOCAL STUDIO 29 West 81st St., New York City Kill The Hai Root My method is the only way to prevent the hair from grow- ing again. Easy, painless, harmless. No scars. Booklet free. Write today enclosing 3 stamps. We teach beauty culture. D. J. Mahler, 753-X, Mahler Park, Providence, R. I. Please mention THE ETUDE when addressing our advertisers. Pianographs By W. Francis Gates AN uninspired teacher means an un- inspired student. Does that musician talk a lot about himself? An empty wagon makes a lot of noise, Of what use is playing without under- standing? And how can a child grasp any but the simplest pieces of Beethoven or Schumann? Don’t worry about quacks. Like their prototypes, mushrooms, they are short- lived. In a health emergency one wants a good diagnostician. Why not the same in music teaching? Accent is life in -any musical perform- ence, for without accent there is no rhythm and without rhythm there is no music. The main purpose of a teacher is to help the pupil to think. Do your pupils think better because of your teaching? Does your teacher talk about music— or about what HE does in music? Noise does not mean practice. One must think,when one practices, and no one can hear thinking. For parents: Health first; piano or violin afterwards. Three Essentials By William L. Calhoun © Ir it be urged that the great “method- ists’ of piano playing have produced pupils whose playing possesses high mu- sical value, the answer is obvious: A teacher of first-class intellectual and musical endowment may do for a long time without serious’ injury to himself what would prove fatal to one of small natural powers. It will be remembered, moreover, that the eminent “methodist” early in his career turns over to assist- ants the labor of developing his pupils on the physical side. The assistant al- most invariably exhibits in aggravated form the pathological symptoms the Maestro escapes. It will be remembered too that the very greatest musicians among teachers, men like Chopin, Liszt and Rubinstein, who created the art of piano-playing, were never teachers in the sense of inventing or imparting methods. I do not now recall the name of the man who tried to wield the sword of Ajax, but the general opinion has always been that he would have done better with his own weapon. And what is the weapon of the teacher—that is to say, what is the body of knowledge which he brings to bear in the training of pupils? Not quite the: same for any two teachers, but in any case, no doubt, it must com- prehend (1) a knowledge of the instru- ment and its technic, (2) a knowledge of the special literature written for the instrument, and (3) above all a knowl- edge of music as such—something that does not depend on the piano. The piano exists in order that people may make music with it; and when the teacher or student becomes obsessed. with the instrument itself or the means of overcoming its mechanical difficulties, he is in danger of losing all sense of real musical values. MARCH 1920 Page 199 A Woman’s Smile Should Reveal Glossy Teeth All Statements Approved by High Dental Authorities It is Film That Clouds Them That slimy film which you feel on your teeth is the cause of most tooth troubles. It clings to the teeth, enters crev- ices and stays. The tooth brush does not end it. The ordinary tooth paste does not dissolve it. So it continues to mar the beauty and to wreck the teeth. That film is what discolors—not the teeth. It is the basis of tartar. It holds food substance which fer- ments and forms acid. It holds the acid in contact with the teeth to cause decay. ; Millions of germs breed in it. They, with tartar, are the chief. cause of pyorrhea. it. daily use. Supplied to All Who Ask Pepsodent. to anyone who asks. to urge that you get it. the digestant of albumin. combat it. That film is the teeth’s great enemy. So dental science has for years sought a way to end Now an efficient film com- batant has been found. . It has been proved by careful tests. And _ now leading dentists all over America are urging its For home use this method is embodied in a dentifrice called And to show its effects a 10-Day Tube is sent This is Pepsodent is based on pepsin, The film is albuminous matter. The object of. Pepsodent is to dis- solve it, then to day by day This method long seemed im- possible.‘ Pepsin must be activated, and the usual agent is an acid harm- ful to the teeth. But.science has discovered a harmless activating method. And now active pepsin can be daily used to combat this viscous film. Able authorities have made con- vincing clinical and laboratory tests. Now everyone is asked to make a home test and see what Pepsodent does. Compare the results with the methods you are using. change in ten days. See the Then decide for yourself if this new method is best for you and yours. the coupon now. PapsadéAt REG.U.S. The New-Day Dentifrice Now advised by leading dentists, se eat aw et foe lle oe See What. It Does Send this coupon for the 10- | Day Tube. Note how clean the teeth feel after using. Mark the absence of the slimy film. See i Druggists everywhere are supplied with large tubes. Ten-Day Tube Free THE PEPSODENT COMPANY, i Dept. 133,1104 S. Wabash Ave., Chicago, IIl. Mail 10-Day Tube of Pepsodent to how teeth whiten as the fixed Name ceereereeneeseeees eereeeereeert evens eeee film disappears. These effects i are most important—prove them. ; PGBROOR sv: 9.50 detwsnasinssakime lee Cut out 297 TEACHING PIECES By mrs. A. M. VIRGIL ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS 150 for GRADES 1 to 6, ON SELECTION. GRADED CATALOG. VIRGIL PIANO CONSERVATORY, 11 W. 68th St., NEW YORK Please mention THE ETUDE when addressing our advertisers,
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MARCH 120 Page 200 THE ETUDE THE object of this paper is to make a plea for a departure from what may be called the traditional style, and thereby draw new friends to the instrument and to its literature, particularly from the ranks of composers who are possessed of progressive ideas. Almost certainly it must have been, and must be, a matter of regret to an organist who is enthusiastic in regard to that complex piece of mechanism which all “of us are accustomed to call “the king of instruments,” that so few of the great modern composers have contributed to its literature. In determining what constitutes “modern” music we may elim- inate at once Bach and Handel, who closed the old order and did not begin the new. It would be right undoubtedly to date the modern impulse from Joseph Haydn. Haydn moved with astonishing rapidity along instinctively what were the needs of the people who were to come after him, and of the people of his own day. He had not tilled the orches- tral field or that of chamber music a decade before it had become apparent to the world that the methods of his pred- ecessors had vanished forever. What did so great a benefactor of instrumental art do for the organ? Nothing. He composed music for a number of unim- portant instruments—the baritone, the lyra da braccio, the harmonica, the lute, even some pieces for the musical clock, but the organ he left severely alone. Mozart and the Organ Keeping pace with Haydn along the path of progress, even outrunning him, was Mozart. There were but few forms of musical art that he did not illuminate with the magic light of genius. What Mozart did for the opera, for the quar- tet and other forms of chamber music, for the symphony, for the concerto, has been acknowledged by every writer of a treatise on musical history. What did Mozart do specifically for the organ? Again, nothing. It may be objected perhaps that the catalog of the master’s works shows the existence of seventeen sonatas for the instrument, but these compositions are not sonatas for the in- strument at all in the modern sense; they are merely pieces—short pieces— for organ, two violins and a bass; and Mozart thought so little of the organist in most of them that he did not even take the trouble to fill in his music, but provided him with nothing more than a figured bass. What did Beethoven accomplish for the enrichment of the literature of the organ? Once more, nothing with the exception of a rather anaemic fugue written when he was thirteen years of age. And Schubert? Nothing. And Weber? Nothing. The composers whose names have been mentioned represent, to be sure, the cream of the world’s genius. But so far first and the last of them. Department for Organists Edited for March by the Well-Known Composer, Organist, Teacher, E. R. KROEGER “The eloquent organ waits for the master to waken the spirit."—DOLE Modern Organ Composition as organ music was concerned, even the creative talents in the second rank did not think it worth while to bring music for the organ to the level upon which that for other instruments had been raised. Hummel (at one time considered superior to Beethoven) wrote nothing for the instrument; Pleyel, nothing. There is no organ music by Dussek, none by Steibelt, and Spohr, whose range of expression in the instrumental and vocal field was very wide, also left the organ out of his creative accomplish- ment. Mendelssohn’s Rank Whether or not Felix Mendelssohn- Bartholdy stands in the front rank of the immortals among the masters of mu- sic is not a sttbject for discussion in this paper; at least he was a personage of distinction in the history of art, and he should be endeared to lovers of the or- gan and its literature as having been al- most the sole representative of the mas- ters who took the instrument seriously. His six sonatas for organ undoubtedly are a landmark in its literatue, if only because they brought forward a new idea or two in the technic of organ composition. Since it is impossible to please everyone, Mendelssohn probably was not at all surprised when he was told by the conservative element among the organists that his conatas were, as the Germans would say, “Klaviermassig ;” that the essential technic of organ per- formance was lacking in them. It is not necessary to go further into a statistical investigation of what has been accom- plished for the organ by the great com- posers of music. Mendelssohn was the It is more to the point to find out why the associa- tion between genius and the organ col- lapsed after the death of Bach and Handel. And this investigation will have the more point because it has a bearing upon my plea for a reconsideration of the style necessary for a-reawakening of interest in the instrument. Two things in my opinion contributed to the neglect of the organ by the great men whose inspiration should have added to the glory of its literature. One was the insistence on the part of most peo- ple that the organ was indissolubly wedded to the church, and that the quali- ties of art that might be fitting enough in a symphony never should be permitted in the music of an instrument which be- longed to the house of prayer. The other cause for the avoidance of the or- gan by the great masters was the poly- phonic tradition, which, it was generally believed, was a prime essential of its art. Now, in putting in a plea for non-ec- clesiastical treatment of the organ, one stands in grave danger of being accused of attempting to undermine religion it- self. No such purpose is to be discov- ered in this paper. There can be no question of the nobility of the music of the church or of the suitability of the organ to its development. Nor is it to be said that the literature never has been secularized. It has; but not by the com- posers who were best fitted to undertake that secularization. In endeavoring to advance the suggestion that the organ should be made a vehicle for the expression of emotional and dra- matic feeling, and that the aloofness and restraint which belong to it in much ec- clesiastical music are not fundamental attributes of the instrument, it will make the ground a little more solid to remind you that the instrument did not associate itself with the church until a considerable period of time after its general employ- ment as what may be called a domestic instrument. Instrumental art, indeed, was regarded with abhorrence by the early Christians because of its vicious associations with the decadence of an- cient Rome. In putting forward the or- gan as a candidate for the honors that have been won by the symphony, the quartet and other forms of chamber music—the sonata of piano and _ violin literature—a return simply will be made to first principles. / When Modernity Began _ This will involve a consideration of the other of the two impediments that gave pause to the great masters when they turned their thoughts in the direction of instrumental art. The polyphonic style arrived at its apotheosis in the music of Bach and Handel. Modernity in music practically began when Handel was laid to his everlasting rest in Westminster Abbey in 1759. As the originators of the newer order Haydn, Mozart and others were guided by that instinct for the right and the enduring thing, which is part of genius; it was clearly perceived that the style of art which had been cultivated for centuries—the polyphonic style—and which had reached a climax with Bach, now was worn out. Only the small fry among composers continued to beat their heads against the polyphonic wall; to endeavor to beat Bach at his own game. Haydn, Mozart, Beethoven, Schubert and the rest were content to hold the con- viction that none of them could make any- thing out of the fugue or the other con- trapuntal forms that had not been already made by their predecessors, so they pro- ceeded bravely along entirely new paths. The earlier eighteenth century masters had made use of all the instruments and some of the forms that the modernists proposed to use; the latter brought into their service the violins, violas, violon- cellos, the wind instruments, that had been a constituent of the scores of Bach and Handel and their contemporaries ; and while not much was done in the mat- ter of improving the technic of the men who performed on them and in giving the instruments new ideas. And not only that, new instruments were brought into the artistic field—instruments such, for instance, as the clarinet. But with all the reforming and all the planning that was going on; with all the opening of new paths; with all the un- folding of poetry and romanticism in music, the organ was left severly alone, a relic of the old dynasty of art. Appar- ently the masters of modernity had too much reverence for that dynasty to seek to sweep its last remaining stronghold into the stream of new ideas. So the second-rate composers went on with their fugues and their toccatas, and it became firmly fixed in the minds of men that it would be—as it were—indecent to bring the organ into touch with human emotions. Polyphonic Possibilities This attitude toward the organ has pre- vailed for so long and it is so deeply rooted, that the average music lover will gasp if it is suggested to him that the instrument is not particularly well suited for its polyphonic réle. A fugue gener- ally is a muddy affair on the organ. The great fugal works of Bach are majestic, even awe-inspiring, not because they are fugues, but because the genius of a great man has entered into them. Contra- puntal art of that kind is, to be sure, in- dispensable in the education of students who seek to become good musicians, but the sooner it is avoided by the newer school of organ composers the better it will be for their art and for our ears. Having abolished all the polyphonic impediments that for so long have clut- tered up the path of progress, it will be necessary to deepen the emotional value of organ art. In discussing organ music lately with Mr. Eric DeLamarter, one of our most progressive organists and com- posers of Chicago, that musician put his finger unerringly on the weakness of the secular branch of that music. Its com- posers, he said, have missed the emotional possibilities by confusing them with those that are merely sentimental. There can be no doubt that he is right. Turn over in your minds the average Andante in E, the Pastorale in F, the Prelude on some hymn tune, the Offertory in A Minor, the Postlude in A Flat, the Fantasia on some thing or other—what can be done with music of that kind? Is it not strange, too, that organ pieces that pretend to imi- tate storms or naval engagements still survive in recitals? Imagine a piano re- cital with Mr. Paderewski performing A. F. C. Kollman’s grand instrumental piece, The Shipwreck! It will be a happy period for organ music, I think, too, when it is generally agreed that the instrument is not a more or less humble imitator of the orchestra. There is scarcely more than a merely rudimentary resemblance between that eight-foot reed stop called in the organ “oboe,” the clarinet, the cor anglais, the trumpet and the orchestral instruments
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SS ee ee eee ee ee as THE ETUDE after which they are named. The organ cannot hope to beat the orchestra on the latter’s own ground, because it possesses nothing in its scheme of color that ap- roximates to the string tone that is the F daondla don of the orchestra. It will be one of the first symptoms of the renais- sance when organists and organ compos- ers agree that it is absurd to imitate or- chestral effects, and that the organ is a complete and wonderful, a highly colored and an illimitably resourceful instrument self-contained. A modern handling of those resources should cultivate other forms than those which generally have been in use. What —for want of a better name—may be called “chamber music” would be well suited to the organ and to the expression of large ideas. There is, to be sure, a small literature of music for organ and stringed instruments, and an even smaller one for organ and wind instruments, but the works that constitute it are either sugary sentimentalities or they are ar- rangements of compositions written for other instruments. With the development of organ cham- ber music there will come perhaps a de- velopment of that combination of the or- chestra and organ of which most com- posers have been so terrified. Is it not absurd that-when an organist is engaged as a soloist for an orchestral concert, Guilmant’s First Symphony should come to his mind as the beginning and the end of that particular branch of the litera- ture? The provision of a really modernized literature of new ideas, the throwing overboard of dull and complex contra- puntal exercises, the exploitation of new combinations with the organ should make recitals given by organists at once a fascination and a joy. There will be real art in them, and there will be money in them, too. The ordinary recital with what is known as “a silver collection,” presented by a straggling gathering seated in a church, is greatly to be deplored. To be sure, the music which sometimes is offered is not worth even the little drib- ble in dimes that is given to it; but an artist who gives great playing of com- positions that are fine and full of power and charm should be put on the plane upon which stand the masters of the piano-playing art. If one contributes two dollars for a seat at a piano recital, one should be equally content to pay that sum for one at which organ music is to be heard, for all the technical skill that is exacted by modern music for the organ, and the organist must bring to his work other qualities which the pianist does not need at all. Yet in the last analysis the future of organ music is in the hands of the organ- ists. It must be they who first will in- spire composers to their tasks and they who will make their organ music a joy to listening ears—FELIx BorowskI. . On Utilizing the Resources of the Organ . By Ernest R. Kroeger In the last two or three years I have availed myself of favorable opportunities to hear services in various churches, and, of course, have especially noted the mu- sical features therein. I have been often impressed with the conviction that many organists’ are unacquainted with the re- sources of their instruments, or do not take the trouble to utilize them. In the former case, ignorance is the cause, which can be corrected by judicious study. In the latter case, indolence is at the bottom of the trouble. Notwith- standing all the efforts of the American Guild of Organists and the National Association of Organists to improve conditions, there are many organists of reputation who in the service employ scarcely anything beyond a conventional registration. In some cases they play upon three and even four manual organs, and yet they rarely use any combinations other than those which they were taught when they were students. To be sure, it is better and safer to employ a regis- tration which cannot be criticized as -be- ing in bad taste rather than one which is blatant or “thick.” But when there are from thirty to seventy speaking stops within reach, why use only a three or four set formule? Possibly the piston is the cause of poverty of registration. It is so easy to shove on a piston. I do not wish to decry its value. It is cer- tainly most helpful as well as most con- venient. But undoubtedly it is apt to cause the player to depend upon it in most instances rather than upon his in- telligence to combine stops judiciously. Of course, it is possible to err upon the other side. The organist may experi- ment so much that his playing is “freaky.” He may greatly incommode the members of his choir by using eccentric combinations when accompany- ing them. He may arouse the risibles of his congregation by endeavoring to as- sociate the Vox Humana with other stops with which it is really at enmity. His playing may seem disjointed, badly balanced, lacking in dignity by his ex- plorations in untried tonal fields. But he has actually at his command a variety of resonance which, mathematically speak- ing, is practically illimitable. Let him but utilize a minute fraction of the com- binations he can employ, and his playing will have great variety. Let him listen to a great orchestra and observe with what skill the composer uses the “color effects” of the instruments. To be sure, the organist has nothing which takes the place of real strings, but the string stops of the organ have quite a remarkable resemblance to the violins, violas and violoncellos. The skilled organist, who understands the art of registration, can obtain some extraordinary string effects from his instrument. The charming ef- fects of wood winds in an orchestra as a background to the strings ought to be observed by the organist with scrupulous attention. He can thus absorb many points of the greatest value to him, which. he should instill into his practice until results apparently satisfactory are realized. And then there are the noble brasses. These can be imitated by com- bining reed, wood and diapason stops with good taste and discernment. By constantly experimenting and using crit- ical acumen as to the artistic value of the stop combinations, the organist will discover that he secures some effects which are novel as well as delightful. He will also find that his auditors com- mend his registration and express their enjoyment of his work. If organists generally do this, the listeners will begin to notice that the organs appear to be so much more interesting than they had heretofore noticed. The occasional vis- itor will be struck with the idea that organ playing is making real progress, -and that the beautiful “pope of instru- ments” is finally coming into its own. MARCH 1920 Page 201 dams can always look forward to a pleasant and comfortable day when you have given your hair the best possible treatment, by the use of CANTHROX SHAMPCO Especially this is true if you appreciate the value of waviness and brilliance. Canthrox is the shampoo that rapidly softens and removes dandruff, excess oil and dirt. It makes a perfectly healthy scalp which will naturally produce attractive, vigorous hair. Canthrox also gives that massy fluffiness and softness that makes doing up the hair a pleasure. At All Drug Stores No good hair wash costs less, none is spoonful of Canthrox in a cup of hot water more easily used. Just dissolve a tea- and your shampoo is ready. Free Trial Offer To prove that Canthrox is the most pleas- ant, the most simple, in all ways the most effective hair wash, we will gladly send one perfect shampoo free to any address on receipt of postage to cover mailing expense. H. S. PETERSON & CO., Dept. 109, 214 W. Kinzie St., CHICAGO, ILL. Keep Your Finger Tips in Condition in wns, x Rub a little Ingram’s Milkweed Cream into the tips of the fingers twice daily and the hardness and toughness that constant practice at the piano brings will soon disappear. This treatment is of exceptional value to the pianiste or violinist who wishes to keep the flesh of her finger tips in proper condition. Ingram’s Milkweed Cream is best known for its ability to tone up the skin tissues and to keep the complexion colorful, soft, and free from blemish. Applied to the hands it will keep them soft, white, and attractive in spite of dish- water and housework. Buy it in either 50c or $1.00 Size lngrams Rouge ‘‘ Just to show a proper glow”’ use a touch of Ingram’s Rouge on the cheeks. A safe preparation for delicately heightening the natural color. The coloring matter is not absorbed by the skin. Delicately perfumed. Solid cake. Three shades— Light, Medium and Dark. 50c. Send us 6 two cent stamps for Guest Room sizes of four Toilet Preparations and Perfumes r send one stamp for samples of 2Cilkweed Cream, Rouge and Face Powder. FREDERICK F. INGRAM COMPANY Established 1885 U.S.A. Residents, address: Frederick F. Ingram Co., 43 Tenth St., Detroit, Mich., U.S. A. Canadian Residents, address: Frederick F. Ingram Co., Windsor, Canada Australasian Residents, address: T. W. Cotton, Pty. Ltd., Melbourne, Australia (195) Please mention THE ETUDE when addressing our advertisers.
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Page 202. 47 MARCH The Piano Magnificent | Superb in construction, perfect in tone qualities, magnificent in its beauty, the Vose Grand Piano at its moderate price f will appeal strongly to those who will in- § vestigate carefully before buying a piano. § We Challenge Comparison Write for our beautifully illustrated catalogue and easy payment plan. i Vose & Sons Piano Company § 195 Boylston Street Boston, Mass. HOUSEWIVES! Sudden changes from the over- heated kitethens to cooler rooms or outdoors—or vice versa—often mean a cold. Prevent it! Use Dean’s Mentholated Cough Drops. Get them anywhere. Dean Medicine Company Milwaukee, Wisconsin MENTHOLATED THE “ORGOBLO” will solve your organ blowing problems. Over 12,000 equipments in use Write for new Console Catalogue No. 20, also new Student Organ Booklet THE SPENCER TURBINE CO. HARTFORD, CONN. Winners of the highest awards at Panama-Pacific and Jamestown Expositions Piano Scratches Vanish Instantly Simply pencil any scratch on a piano, victrola or furniture with the Magic Scratch Remover,and wipe off with the Magic Oiled Brush on the reverse end, and the scratch disappears instantly. . Works equally well on mahogany, walnut, birch or oak. Sent postpaid for 50cents, stamps or coin. Guar- anteed absolutely satisfactory or your money back. Reference— National Bank of Commerce M. L. CAMPBELL COMPANY 711 E, 19th Street Kansas City, Missouri Please mention THE ETUDE when addressing our advertisers. ~ reeds. Widor on the ANCIENT instruments had almost no They had but two colors, white and black. “Jeux de fond” and “jeux de mutation;’ there was the whole pa- lette. Naturally all transition between black and white was abrupt and rough. No means existed to graduate sonority. Bach and his contemporaries found it useless to register their works. The “jeux de mutation” were traditionally af- fected for rapid movements, the “jeux de fond” for pieces of slow tempo. It is only since the close of the last century that the “boite expressive” has been in- vented; in a work published in 1772 the Hollander, Hess de Gonda, testified to his admiration of the new “engine.” Later, in 1780, Abbé Vogler recom- mended the use of the “boite” in German manufacture. The idea grew in favor, but without much artistic effect, for, in spite of the most intelligent efforts, one could not pass the limits of thirty notes in the clavier and an insignificant num- ber of registers. The problem was solved through the genius of Cavaille-Collin in 1839. He invented different pressures of breath, double layers of wind chests, sys- tems of pedals and combinations of reg- ister, applied the pneumatic motors of Barker, created the family of harmonious stops, reformed and perfected the mech- anism so that every pipe, sharp or grave, strong or weak, obeyed instantly the finger call. The touch became light as that of piano, resistance being over- come and the concentration of the forces of the instrument being rendered prac- tical. What was the result? To retain the whole organ in a sound prison opened or shut at pleasure, liberty of association of qualities, means of rein- forcing or diminishing gradually, inde- pendence of rhythms, security of attack, equilibrium of contrasts; in fact, a dis- closure of admirable colors, a rich palette of tones, the most varied harmonic flutes, bassoons, cors anglais, trumpets, voix celestes of quality and variety hitherto unknown. Modern Organ Symphonic This is the modern organ, essentially symphonic. For the new instrument a new language was necessary, another idea than that of the scholastic poly- phonic. The Bach fugue is no longer sufficient. We must have preludes, Mag- nificats, masses, cantatas and “The Pas- sion According to St. Matthew.” But this expression of the new instru- Modern Organ ment proceeded from mechanical means and had not the necessary spontaneity. While orchestral instruments, of wind or string, piano or voice, depend largely upon the quickness of accent and the ‘unexpected surprises of attack, the organ in its majesty speaks of philosophy. In- dividual, alone among all, it can unfold the same volume of sound throughout and thus give birth to the ideas of re- ligion and the infinite. Surprises and accents are not natural to the organ. They must be given to the organ as accents by adoption. That is to say, tact and discernment must be used in their employ. Here is where the organ symphony differs from the orches- tral symphony. One could never write thoughtlessly for either organ or orches- tra, but in future one must use the same care in arranging combinations of quali- ties in organ composition as in orchestral work. Subtle Expression Even rhythm is accepted by modern tendencies. It will lend itself to a sort of elasticity of measure concerning its rights. It will permit the musical phrase, the punctuation of breaks and breath, provided it may hold its own bit and go its own gait. Without its rhythm, with- out the constant manifestation of the will to return periodically to strict time, the organ executant will not be listened to, Herein lies a difficulty for the musical writer, the difficulty of expressing subtle shades of expression. How the composer hesitates and pauses before writing the poco ritenuto, which he has in his mind. He scarcely dares write it through fear that the exaggerations of the interpreter may soften or break the fight of the measure. Signs are lacking. We have not the graphic means to underline the finish of a period or to increase the force of a chord by a fashion of organ point of inappreciable degree. Is this not a great pity with an instrument producing all its effects through chronometric values? With the consummate musicians of to-day, however, the insufficiencies of musical notation are not so formidable. The composer is much more certain than formerly to have all his ideas compre- hended and, what is equally important, his intentions divined. Between him and the executant is a constant collaboration which the increasing number of virtuosi renders every day more rich and inti- mate. Primitive Organs By Lavignac | WHERE shall we seek for the origin of the organ? The Bible tells us that it was invented by Jubal, and it seems from the Talmud that an instrument similar to it was known to the Hebrews under the name of magrepha. By others the invention is attributed to Archimedes or Ctesibius, both of whom lived about 200 B. C. Many Latin authors men- tion the organ; notably Tertullian, who, writing in the second century of our era, gives a description which, inconceivable as it may seem, really is applicable to the modern instrument. “Observe,” he says, “‘the extra- ordinary genius of Archimides. I mean the water-organ; so many members, so many parts, so many joinings, so many roads or passages for the sounds, such a compendium of sounds, such an intercourse of modes, such troops of pipes, and all composing one whole!” This was the hydraulic organ, in which water served to equalize the pressure of the air furnished by the belows, in a manner long uncomprehended, but recently explained by M. Cl. Loret from a text of Vitruvius. Or- gans of considerable size, on this plan, were in use in the East and in Constantinople in the fourth century. Later, the pneumatic organ, Organum pneumaticum, was invented, in which nature’s abhorrence of a vacuum was utilized, as it is in our own time. In its earliest form, the instrument was very small and movable, the Portative Organ; when larger ones were made that required. fixed position they were called Positifs, and this name remains to a manual of the present instrument which commands a group of inde- pendent stops. Thus we see that without doubt the organ was known to remote antiquity. If we now ascend the stream of time, and seek the primitive idea, the germ, we shall find it in three very rudimentary instruments. The Pan’s-pipes or syrinx is the earliest example of a graduated series of open pipes, with a very obvious resemblance to a flute- stop. All the Greek authors speak of this as something ancient in their time. The cheng or Chinese organ is described in Chinese books, and has remained the same from its origin to the present day. It is a row of reed-pipes, blown directly. like the syrinx, by the human breath. Lastly, the bagpipe or its precursors, known to the ancients under the generic name of tibie utricularie (bagpipes), offer the first example of the storage of compressed air. These three elements united undoubtedly gave rise to the first attempts at organ-building; there was lacking only the key-board, which seems to have appeared about the sixth or seventh century in the rudimentary form of keys several inches wide, which had to be struck with the clenched fist, like the Flemish caril- lon, and thus we have a rude sketch of the giant instrument which has now been hur- riedly and insufficiently described. THE ETUDE GUILMANT ORGAN SCHOOL Dr. WituiiaM C. Cart, Director 150 Students Holding Positions Practice Facilities The Individuality of Each Student Studied 17 East Eleventh Street NEW YORK [AUSTIN ORGANS ONUMENTAL organs in great. centres continually attract the notice of the world of hearers. This work is unsurpassed because Austin Organs are built as well as an organ can be built. The Austin record for large organs is probably greater than that of any firm in the world, Equal care given to smaller instru- ments. AUSTIN ORGAN CO. Woodland St. Hartford, Conn. YEARS dr uperiority salad in bringing prompt relief WE eae from coughing, tickling in the throat, inflammation, hoarseness and other bronchial discomforts. Guaran- teed safe. Prices: 15c, 35c, 75c and $1.25 . JOHN I. BROWN & SON, Send for Catalog Boston, Mass. ‘TINDALE MUSIC CABINETS have been wanting Will keep your music in order, free from damage and where you can easily find it. Var- ious sizes, holding 200 to 1200 pieces or more. Oak or Mahogany. Send for Catatog ] ““&y) Se TINDALE CABINET CO., 8 East 34th St., New York . End Gray Hair Let Science Show You How Convince Yourself Free For years science has sought a way of restoring gray hair to its natural color. Now that way is found. Thou- sands of women have restored the natural color of their hair with Mary T. Goldman’s Hair Color Restorer. Slag, Goldman Scientific Hair Color Restorer FREE Send today for a free trial bottle and our special comb. Be sure and state the exact Try it on a lock of your hair. Note the result. And how it differs from old-fashioned dyes. Write today. MARY T. GOLDMAN 1613 Goldman Bldg., St. Paul, Minn. Accept no Imitations—Sold by Druggists Everywhere MMW 3 i . color of your hair. Faust School of Tuning STANDARD OF AMERICA ALUMNI OF 2000 ' Piano Tuning, Pipe and Reed Organ and Player Piano. Year Book Free 27-29 Gainsboro Street BOSTON, MASS. Inexpensive Leabarjan Perforator makes player- Music knowl- piano rolls from any piece of music written. edge unnecessary. Pleasure or profit, Details free. LEABARJAN MFG. CO. DEPT. E HAMILTON, OHIO Please mention THE ETUDE when addressin our advertisers,
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OO Ee re ee ’ THE ETUDE Important as umbrellas in March Because Piso’s wards off ill effects of cold, ’ rainy weather. For 55 ‘ years it has ended dis- tressing coughs and eased inflamed, ir- witated throats, hoarseness and throat tickling. Keep it in the medicine cabinet ready for immediate use at the very first symptoms, 30c at your druggist’s. Contains no opiate. Good for young and old | Kashion says. F: the use nes id DEL:A“TONE | is necessary so long as sleeve- less gowns and sheer fabrics for sleeves are worn. It assists freedom of move- ment, unhampered grace, modest ele- gance and correct style. That is why “‘they all use Delatone’’ Delatone isan old and well known scientific prep- aration for quick, safe and certain removal sf hairy growths, no matter | how thick or stubborn. After application the skin { is clear, firm and hairless with no pain or discolora- tion, on specialists dae atone for re- *|€ moval of objectionable hair , from face, neck or arms. Druggists sell Delatone or an original | oz. jar will be mailed to any address on receipt of | I by THE SHEFFIELD PHARMACAL CO. Dept. MF 339 S. Wabash Ave., Chicago, IIL xe LEARN PIANO.TUNING pes Making Trials of True Tone by Tune-a-Phone Capitalize YOUR Ability THE WORLD PAYS FOR SKILL This profession now offers unusual opportu- nities for making money. It is uncrowded, your time is your own. Our Correspondence Course with tools, and the wonderful Tune-a-Phone, our patented instrument of precision in sound, make the seemingly difficult easy to understand by any- one. Diploma given graduates, 16 years of success- ful correspondence teaching. Write for free book. NILES BRYANT SCHOOL OF PIANO TUNING 120T €ine Arts Institute BATTLE CREEK, MICHIGAN LINCOLN - JEFFERSON UNIVERSITY, ILL. Dean of the College of Music, Dr. Orlando A. Mansfield, Mus. Doc., F. R. C.O., ret Ba: Ss AY Ue Correspondence courses leading to examinations for degrees of Mus. Bac. and Mus. Doc., also diplomas of Associate, Licentiate and Fellow. Personal tuition. Moderate fee. Examinations open to outside stu- dents. Write for Bulletin to the Dean, Lock Box 239N, Chicago, Ill. URINE Night and Morning. a rv atten rire Ite ye Eyes. If they Tire, Itc Smart or Burn, if Sore, Irritated, Inflamed or OUR EYE Granulated, use Murine often. Soothes, Refreshes. Safe for Infant or Adult. At all Druggists. Write for Free Eye Book. Murine Eye Remedy Co., Chicago Please mention THE ETUDE when addressing our advertisers. Music as Needful as Arithmetic in Schools A PROMINENT western public school in- spector not long ago at a gathering of music lovers made some very plain state- ments regarding the question of the proper introduction of music into the public schools of Canada. This gentle- man admitted that the present system of teaching music in the schools was far from satisfactory, and added, “what we need in the schools of Canada to-day is more music and less arithmetic. Chil- dren are being denied the greatest edu- cational benefits in life owing to the lack of foresight on the part of our school board authorities to place properly quali- fied music teachers in the schools of Canada.” In the above connection it is interest- ing to note the views of Frank Dam- rosch, New York, who had this to say recently: “Music should have a place in every school for rich and poor alike; not in the old-fashioned way, by teaching the children to shout songs by rote, but by teaching them to sing by note, in order that in after life the treasuries of music may be available to them, just as by learning to read books the treasuries of literature have been made their own. “Let music take its place side by side with spelling, The regular class teacher can do as much good with the rudiments of music in- struction as she can with other subjects, if she is made familiar with the simple pedagogical principles which underlie the best methods of sight singing. “To introduce music properly into the schools very little preparation is neces- sary and comparatively little additional expense need be incurred. With one supervisor of music, who is a competent teacher and musician, to every ten large schools, to instruct the regular class teachers, and weekly visits to each class- room to supervise their work, the best results may be obtained. Such an ar- rangement insures uniformity of method —a very important requisite to success— and causes the least loss of time and effort. Ten:minutes a day, or in the higher grades fifty minutes a week, in any division convenient to the teacher, will, in the usual school period from the age of six to fourteen, produce such re- sults as to surprise even the most san- guine.””—Toronto Globe. A Pioneer Scholar in Music By Mrs. Ida Q. Eccles To hear some of our younger musi- cians talk one might think that America had suddenly blossomed out into a full blown rose of musical culture without having gone through the _ substantial period of real growth. All honor to the American musical pioneers, Lowell Ma- son, Dr. Geo. F. Root, and—not the least of all—John Sullivan Dwight! I never knew Mr. Dwight, but all my older musical friends looked up to him, as they received: their greatest musical inspira- tion through his Journal of Music—THE ErubE of its day. Dr. Dwight was born in 1813, graduated from Harvard in 1832 and began active life as a Unitarian min- ister. His great love, however, was mu- sic, and it soon found him as a scribe and as a teacher. His journal was founded in 1852, and he was fortunate in having as one of his contributors, another notable American, Alexander Wheelock Thayer, whose biography of Beethoven, first published in three vol- umes in German, is still looked upon as the most masterly life of Beethoven. The dignity. and character of Dwight’s Journal of Music made it comparable with the finest musical periodicals of all time. The first copies I ever saw were in a public library in New York. Mr. Dwight died in 1893—shortly after Paderewski’s first tour of this country, and before the great musical expansion which has led to America’s becoming the music center of the world. It is pleas- ant to pay a tribute to this great mu- sician-altruist (for such he was) who had so much to do with paving the way for our triumphant musical progress, through his splendid journal. The Music of Angels By W. § S. Cottingham THE story runs that Benjamin Frank- lin, the first American whose name was known throughout the length and breadth of music, worked for a long time secretly upon his musical instrument, the har- monica, and then, to surprise his wife, started playing it while she was asleep. She awoke and thought that she heard the “music of angels.” It seems strange that such an instrument, which inspired Mozart and others to write compositions for it, should have gone out of existence. Imagine a set of glass bowls, graduated in size from a large bowl to a small bowl, fixed upon one rod or axle so that the whole series would revolve uniformly by means of a treadle. The performer stood in front of the bowls, and with fingers moistened and dipped in pow- dered chalk he pressed upon the rim of Do you know that the business of moving pianos is considered a hazardous one from the number of accidents to its workers? The accidents usually occur when the piano is jammed in a narrow stairway. Do you know that in Olden-Day Bos- ton it was frequently the custom for music teachers to give dancing lessons? Pianos were so few then that the teacher rented his hour-by-hour, much as pipe Do You Know? organs are now rented to students for. the bowl as it revolved. Franklin said of his invention “its tones are incompar- ably sweet, beyond those of any other instrument. They may be swelled or softened at pleasure by stronger or weaker pressure of the fingers, and con- tinued to any length. When it is once tuned it never wants tuning again.” Of course, this is merely a mechanical con- trivance for playing the “musical glasses.” It is not inconceivable that Franklin’s discarded instrument may at some time in the future become popular with an easier method of striking or touching the bowls and dampening them as required after the manner of a piano wire and the pedal. The spindle or axle, of course, could be revolved elec- trically. practice purposes. Do you know that Sir William Herschel, royal astronomer of England, and discoverer of the planet Uranus, spent all the early part of his life as a professional musician? Herschel was a fine organist and an able conductor. He gave oratorios like Messiah and Samson with large choruses and an orchestra of one hundred performers. . reading and arithmetic. [ie YA ya seam ee vets Sno ve Hp o> eS fm ue iow ee ae owe SF ne pm pow We fre to eS nSe mo a MARCH 1920 Page 203 LAULIVOUALIUOLA LALA TAANNUESAAHNSA gy PHUVASULNAULAEH The most er piano in the seed » > SE . ns ’ FF PEBR PR SB BRB 38e ee £ saeniiiaetas cee ce 7 a HE coloring of a Corot, the modeling of a Rodin, the style of a Stevenson— all these are properly con- sidered superlatives of artis- tic achievement. And there is equal measure of accom- plishment implied when we say, “the tone of a Steger.” Write for the Steger Piano and Player Piano Style Brochure and convenient terms, Steger dealers everywhere STEGER & SONS Piano Manufacturing Company Founded by John V. Steger, 1879 Steger Building, Chicago, Illinois Factories at Steger, Illinois Sx pow ben BEA em ew Bb pm easton ms dam We. So eo pe 1 os og Pree ee & See Spe #58 per eee S. 2 + ee Bie prem ewe “Ze Clear Notes Depend on Clear Throats Luden’s aid singers, speakers and all who use the voice. Clear the head; soothe the throat. 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MARCH 1920 Page 204 THE ETUDE Department for Violinists Edited by ROBERT BRAINE “Tf All Would Play First Violin We Could Get No Orchestra Together.’ ’"— R. SCHUMANN How to Acquire Reading Facility with the Three ’Cello Clefs By G. F. Schwartz THE violincello has a register of about four octaves—approximately thirty tones, not counting chromatics; it thus includes - within its pitch possibilities those of the viola and to a certain extent the violin also. Although essentially a bass instru- ment, the ’cello lacks, on the one hand, the volume of the contra-bass, and on the other the penetrability of the violin, excepting in the higher tones of the A string. In solo playing, therefore, and even in concerted music where the ’cello is expected to predominate, the composer is very likely to demand frequent and extended use of the higher register of the instrument. Accordingly, if the ’cellist is to do anything more than the most amateurish sort of playing, he must not only be able to produce tones satis- factorily well up on the A string, but he must also be able to read notes with reasonable facility in the same register. Whatever opinions may be held as to the wisdom or necessity of employing both the “treble” and the tenor clefs in addition to the bass or F clef, the fact remains that in most music beyond the first or second grade the three clefs are more and more in evidence as the music becomes more pretentious. Learning the three clefs may be a trying task for the beginner, but it is by no means an in- surmountable difficulty for the ’cellist who possesses a fair amount of deter- mination. It may be of some help for Quite a number of violin teachers have written to THe Etupe during the past year, asking whether it is better for the teacher to play the violin, or the piano with the pupil during the lesson, or not to play at all. Teachers, even the greatest, differ very much as to their methods in teaching, and a large volume could easily be writ- ten on the subject. I know teachers who sit at the piano and play every note with the pupil during the entire lesson, and other teachers who play the violin with the pupil at all times. I have also known teachers who very rarely touched either violin or piano during the lesson, and relied almost altogether on oral ex- planations, and at times guiding the mo- tions of the fingers and the bow until the pupil grasped the correct method. The ideal teacher, to my mind, would be the one who combined all three of these methods, using each where it would be to the greatest advantage of the pupil. It is evident that every pupil is different, and a somewhat different method must be used in instructing him according to his needs. A Great Teacher The late S. E. Jacobsohn, who for many years was concertmaster of the Theo. Thomas (now the Chicago) or- -chestra and who taught violin. playing pupils during the lesson. the ’cellist—as well as others who have to become familiar with strange clefs— to remember that all clefs were at one time nothing more or less than simple letters of the alphabet (see “Clef” in Grove’s Dictionary of Music), and not merely devices intended to indicate that one must count up a certain number of degrees, and then reverse the process only to find out the name of the note in some other clef. Those who are satis- fied with this transpositional method of dealing with the less familiar clefs have their reward, to be sure, but to read music really intelligently one must learn to grasp mentally groups of notes—just as a group of létters is perceived as a word; and this can be done only by knowing the letter names of the notes as they appear on the staff. The ’cello student will find no “royal road” or short cut in learning to read in three clefs, but there are certain means of acquiring first a knowledge of and ulimately a familiarity with them; and if given a fair chance satisfactory. ,results are sure to follow. First—On a small sheet of music paper write at the beginning of three succes- sive staves, on the first the F (bass) clef, on the second the C (tenor) clef, and on the third the G (treble) clef; one or two leger lines may be added. (1) Point with a pencil to the different degrees of any one staff, skipping about freely to the various staff degrees, and name as quickly as possible the note, by its letter name, which has been pointed out. Do the same in turn with the two other staves. (2) Proceed as in number one, but instead of pointing twice in succes- sion to degrees of the same staff, change constantly from one staff to another, naming the degrees pointed out in which- ever clef stands at the beginning of the staff. Second—Select an exercise or pas- sage from a rather easy study in the bass clef entirely (the selection should not go above D on the A string during the first attempts—one octave scales and arpeggios may be used at the outset), fasten with thin paste—so that it may be easily removed after it has served its purpose—a small square of music paper over the original clef and signature, and upon the superimposed paper write the tenor clef with the signature which the new clef will require, the tenor clef transposes sharpward one remove, that is, a signature of one sharp will become two sharps, two flats will become one, and so on. After some practice one will find little difficulty in making these changes mentally; and as soon as this is possible the written help may be dis- pensed with. With the pencil the student will again proceed as in number one above, not only giving the notes their proper letter names (without any refer- Teaching Methods in Violin Study for many years in Cincinnati and after- wards in Chicago, was an example of a teacher who did very little playing with Mr. Jacobsohn was a Russian Jew and had that heaven- born genius for teaching, which is so rare. He formed a large number of ex- cellent violinists, who are now scattered over the world, and all testify how much they owe to this great teacher. I be- came familiar with Mr. Jacobsohn’s methods while he was teaching in Chi- cago. During the lesson he sat directly at the right of the pupil, where he could grab the pupil’s bow arm when he made the least wrong movement. I remem- ber that there was a piano in the room, but it was loaded down with about half a ton of books, and was rarely opened. His violin in its case, occupied a place on a stand nearby, but he seldom took it out. I remember sitting in his room for three hours on one occasion, during which he gave six lessons. During this time he played not one note on the piano, and only one single phrase on the violin. This was when a pupil failed to bring a phrase out broadly enough on the G string. The pupil failing to grasp the idea after several explanations, Jacob- sohn seized his violin and played the G string passage with trumpet-like breadth, saying as he did so: “Play this phrase like a baritone voice.” During the rest of the time this teacher confined himself entirely to oral explana- tions and corrections, together with occa- sional manipulation of the pupil’s bow arm and fingers. He had an ear of ra- zor-like acuteness, and continually cor- rected the pupil’s intonation. “Too high,” “Too low,” “A hair’s breadth higher,” “You are a sixteenth of a tone too sharp,” etc., etc. Then he was contin- ually at the pupil about some special fault in position or bowing and never rested until it was corrected. A _ pupil with faulty bowing had to stop everything and go home and practice until his bow- ing was in good shape again. At the Pupil’s Elbow Of course, in the case of pupils study- ing concertos and advanced violin pieces, he arranged for their rehearsal with piano or orchestral accompaniment when they were approaching a finished condi- tion. At the period of which I am speak- ing, Mr. Jacobsohn did not disdain to teach comparative beginners as well as advanced pupils, and took the most ex- treme care in giving them from the first a correct method. Of teaching pupils in the earlier stages of violin playing he said: “It is necessary for the teacher. to be at the pupil’s elbow at all times, cor- recting mistakes in position, bowing and intonation. The teacher must keep close watch of every move the pupil makes, and if he is continually playing the vio- ence to their location on the instrument), but doing so in strict time, with a metro- nome if possible. The same _ process may then be applied to the G clef, re- membering that this clef transposes three removes sharpward, that is, one sharp will become four and two flats one sharp in changing from the F to the G clef. It is desirable in all these selec- tions that the melodic construction should be rather disjunct, as frequent skips will be more likely to prevent a mere mechan- ical calculation of the letter names of the notes. After the student has worked fer a considerable time away from the instru- ment, it will be well for him to play the same selections, or others of a similar character, but under no circumstances should a tone be played without first knowing its name. This does not imply that “position” reading is entirely unjus- tified; the present task is that of learning to read in the different clefs; and while this task is being worked out there should be no relaxation of disci- pline, either in reading continuously in any one clef, or in making sudden changes from one to another. Thus will reading become ultimately not a matter of mere chance, but an accomplishment based upon accurate knowledge and the assur- ance which persistent, intelligent effort never fails to bring. lin. or piano with the pupil during the entire lesson, how can he give attention to these things?” Mr. Jacobsohn thought highly of giv- ing his pupils the benefit of orchestral practice, and ensemble work, and had his advanced pupils grouped into a string orchestra with piano accompaniment,- part playing first, and part second violin. All kinds of compositions were played, overtures, symphonies, suites, and miscel- laneous compositions of all kinds. When playing in public, wind instruments were added, making a complete symphony or- chestration. | Other teachers have different ideas, and play more or less during the lesson. There is no doubt that with the aver- age pupil, especially during the first two years the best results are obtained by the teacher sitting at the pupil’s right hand, and playing only occasionally during the lesson. At the same time it is very help- ful to the pupil to spend a certain portion of the lesson in illustrating certain pas- sages by playing them on the violin. It also seems to help the pupil to play the passage in unison with him on the violin occasionally. A certain amount of piano playing is also a help. When pupils hear the accompanying harmony to a piece or exercise they often grasp it much sooner than they would otherwise do. The talent of a pupil enters very ~ appreciably into the problem of how he should be taught. Some pupils thrive
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Co. Cal? hee ee Relea tt a 6 i el ae | ‘ TOE. ON GIR IES Fo Ln ee ed OR eR HEE en Gl Pe en ne, EE OP RTE TE NES OEE SIPS I te AF a ee a ; THE ETUDE “The Violin Price Problem’’ A Pamphlet for Violin Students and Advanced Players We are ready to mail copies of this pamphlet, one of the best in our series o ucational Pamphlets, to any = nner or advanced player who will ask for it. It will greatly in arriving at the solution of the ever impor- tant question of obtaining the best violin for the price one wants to pay. We specialize in student instruments the prices rang- ing from the cheapest that are possible i een ° some worth up to the neighborhood of $110.00—at which price we have coeeel many professional players. VIOLINS from $20.00 to $115.00 BOWS 3.50 ** 15.00 CASES es 7.00 ** 14.00 Educational pamphlets on all phases of the violin prob- lem. Complete list, together with latest quotations on best imported and domestic strings, sent free on request. AUGUST GEMUNDER # SONS Experts in Violins 141 W. ‘Gut St., New York Subscribe for the ‘‘VIOLIN WORLD.’ in its 27th year. A 16-page monthly piebeartptiax $1.00 the year. OUR ‘SPECIAL’ 25¢ 10 Tested Lengths, 25¢ Silk Violin E, for Send for Violin and Cello Catalogue MUSICIANS SUPPLY CO. 60 Layrange St., Boston, Mass. are ‘asa cloud before the sun,”’ hiding your brightness, your beauty. Why not remove them? Don’t delay. Use STILLMAN’S chear’ | Made especially to remove freckles. Leaves the skin clear, smooth and with- out a blemish. Prepared by specialists with yenee of experience. Money refunded ° f Es Paced ah 50c per jar. Write for particulars and free booklet — *“WouldstThou BeFair?”’ § Contains many beauty hints, and describes a number of ele- c= i gant preparations indispensable to the toilet. Sold by all druggiats STILLMAN CREAM Co. 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Mercury Music (o., 165 W, 46th St., New York City OLD & NEW VIOLINS BEST STRINGS GRAND PRIZES CHICAGO 1893 ST.LOUIS 1904: JOHN FRIEDRICH & BRO. 279 FIFTH AVE NEW YORK. EST 1883 VIOLIN OUTFITS Please mention THE ETUDE when addressing our advertisers. best with one method, and some with an- other. Pupils of hopeless stupidity are found who seem unable to. make any progress whatever without having every note of their parts played with them on the piano or the violin by the teacher. If the violin teacher is a good pianist he can assist the pupil very much by playing the piano parts to compositions being studied, as soon as the pupil has mastered them fairly well. Assistant Teachers The very greatest teachers can, of course, use methods different from others of lesser note. These great teachers will not accept beginners as a rule, but send such pupils to their assistant teachers, who get their technic in shape until they are far enough advanced to be ready for the eminent master. If the advanced pupil becomes careless and his technic gets out of shape he is sent back to the assistant teacher. Renowned teachers who are not expert pianists themselves usually have a regular accompanist who plays with the advanced pupil at times. A violin student who is a good pianist can often get his own violin lessons free of charge by playing with his teacher’s advanced pupils. He not only gets his own instruction free, but has the advan- tage of hearing the lessons of the other violin pupils. To sum up; it would seem that the teacher would find it best to use piano or’ violin, or neither, as the demands of the pupil seemed to indicate. No hard and fast rule can be laid down. At each suc- ceeding lesson these three methods would naturally be used in varying proportions according to the compositions being studied, how nearly the compositions were perfected, or according to the talent of the pupil, and the condition of his technic. Quite a number of violin teachers rely a great deal on their voice in giving les- sons, humming or singing with the pupil where it would seem to correct or help him. If the teacher has a sufficiently musical voice, this often has its advan- tages, since he can watch the mechanical part of the playing, the bowing, finger- ing, and position, while humming or sing- ing passages with the pupil. I once knew a violin teacher who was a rather indifferent player himself, but who had excellent success in turning out pupils, who uniformly played with fine tone and exceptionally good expression. He assured me that he owed all his suc- cess in teaching the violin to a naturally fine voice, and a highly developed musical temperament. The human voice is, after all, the last resort as far as musical ex- pression goes, and it was his theory that singing or humming a passage with his pupil gave him an even better idea of it, and inspired him to make an even more beautiful tone, than if it had been illustrated by being played on the violin. The gist of the whole matter is, to convey the proper conception of a.tone or passage to the pupil’s mind, no matter how it is done, whether with voice or any musical instrument. Violin Teaching Fees THE $25.00 violin lesson (30 minutes) has made its appearance in New York. This is believed to be the world’s record for prices of violin lessons. In. this same scale of prices the charge for a hearing in which the teacher tests the talent of the applicant and offers advice as to his. musical future is $30. At these prices violin teaching must surely be classed among the lucrative profes+ sions, for six hours of teaching daily would bring in $300 and eight hours $400. Four hundred dollars a day for 300 days in the year would spell $120,000 per an- num, quite a respectable income. This seems like a fabulous sum to pay for violin instruction, but there is an- other side to the question. Expert knowl- edge in any profession, law, medicine, engineering, music, literature, or com- position is cheap at any price, and is no doubt worth all it costs. From a purely monetary point of view, the future con- cert violinist who can earn large sums on the concert platform and the violinist who aims to make violin teaching his profession can afford to pay very large fees for expert instruction, since he can earn much larger fees if he has the ad- vantage of having been educated by a really great teacher. At $25 a lesson an advanced pupil could get two years’ instruction (40 weeks to the year) for $2,000. At six per cent. this sum yields only $120 a year or $10 a month, Aside from the intrinsic value of the instruc- tion, the prestige of having studied with world-famous teachers would alone bring back many times this sum. We have had the $25 vocal lesson for some years in this country, and there have been cases of even higher fees having been paid for piano lessons, where the teacher was a world-famous artist. Before the war, the greatest violin ‘teachers in Europe rarely charged fees in excess ‘of from $10 to $12.50 per les- son, and the lesson was usually from 45 minutes to a full hour in duration. In the United States up to the present time a fee of $10 per lesson has rarely been exceeded for violin lessons, and these prices were mainly confined to a few eminent teachers in New York, Bos- ton and Chicago. In New York city a large amount of high-class teaching is done by really good teachers at from $2 to $5 per half-hour lesson. In Boston a leading conserva- tory quotes half-hour private violin les- sons at $2 to $3, with considerable reduc- tion if the lessons are taken three or four in a class. There are at least two private teachers in Boston who get fees ‘of $10 per lesson, and quite a number in New York, Middle West Conservatories In leading conservatories in the Middle West the prices of violin lessons range from $1.50 to $3, and the private teachers in these cities charge about the same rates. In cities of between 100,000 and 200,000 the best violin teachers obtain. fees of $1.50 to $2.00 or possibly more in special cases. In the smaller cities it is probable that the bulk of the teaching is done between 75 cents and $1.50. The large fees which are being ob- tained by eminent teachers in the large cities cannot but prove a great benefit to the profession of violin teaching at large, for it will awaken the public to the value of the work of really first-rate teachers. Special skill in music teaching has long been recognized in Europe, but in this country the people in search of expert teaching. have too long run after artists simply on the strength of their success on the concert platform without inquir- ing sufficiently as to their special ability in teaching. There are many skillful and even famous violinists, who are entirely incompetent to teach, and who could not turn out really good pupils in a hundred years of teaching. MARCH 1920 Page 205 Schomacker Style F GRAND The quality of its tone enraptures the heart as its beauty of construction de- lights the eye. Schomacker Piano Co. Established 1838 Philadelphia, Pa« ST OEX 0%, 0 0,0%,9: ae \} okt * “TherelIsNo Pal: Like Mother” An effective 34 time number. Beauti- ful lyric. Charming melody. Regular copies l5c. Professional copies and orchestration free to recognized artists. Lyric Writers, we will revise your poem if necessary, compose an original, catchy melody and arrange an artistic piano accompaniment for only $7.00. Band arrangement, $6.00. Orchestra, 10 parts and piano, $5.00. We also have some fine bargains in second hand band and orchestra instruments at such low prices that will astonish you. Write us your needs and we can supply you. Sewall Music Company 1513 Tentu St., N. W., Wasx., D. C. &% DEPT. 10 oye o rs “fo “ ¢, .%. .%. .@ +, .@, ae efeeceese XXX eee ring Oni i Hidden Beaute the soiled, discolored, faded or raged com- sine is one fair to look k upon. Mercolized Wax grad- uals gently absorbs the devitalized surface skin, re- vea ng the young, fresh, beautiful skin underneath. Used by refined women who rater complexions of true natu rl. you tried ae i th afrec- Mer coliz RE. dice dor. y then eae Pt by Mage, i druggists “ »* SUMMY’S CORNER To make the study of music practical in the schools, a system that will make it possible for the teacher regularly in charge of the room to carry on e work is obviously the most desirable. “MUSIC FOUNDATION.” A System of Ear Training, Sight Singing and Part Singing, b farce oO resesyiaaaee Hamilton, is planned to tis work is published in twoparts: ~~ bh wey s Manual and the Pupil’s tea he Teacher's Man- ual contains directions for the presentation of the lesson; the Pupil’s Book contains the exercises and e songs. The material is planned to cover two school years. y means of the Teacher's Manual it is made easily possible for any teacher to get each lesson well in hand before attempting to teach it; the lesson is then presented in a manner most interesting to the "PT hroughout the system the pupil is not told anything. The fact, the truth, the principle, is drawn out of him by adroit questioning; thus, knowl- edge comes to him with all the charm of discovery. The whole method is a direct appeal to the reason- ing faculty of the pupil and is a decided departure from the old system of presenting the completed music-notation ready-made and which the pupil is simply expected to assimilate. Price of the Teacher’s Manual, 50 cts. Price of the Pupil’s Book, 25 cents CLAYTON F. SUMMY co. Publishers 64 E. Van Buren St., Chicago, Ill. Eastern Agency Harold Flammer, Inc., 56 W. 45th St., New York Please mention THE ETUDE when addressing our advertisers.
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Page 206 MARCH 1920 Violin Questions Answered G. B.—For the position work you describe, the Hermann Violin School, Vol. II, would probably answer. 2. It takes an _ exper!- enced violinist to pick out a good bow. Serew up the hair until the stick is straight and run the eye along the stick to see whether it bends to either side. Cheap bows often have crooked sticks. Next screw the hair sufficiently tight for ordinary playing; hold the bow at the frog with the forefinger rest- ing along the stick. Then rest the tip on a table and press the stick down with the finger so as to judge of the elasticity of the bow. Do not buy a bow which is too limber. It should be stiff, and yet very elastic. Lastly, do some playing with the bow, see- ing that it responds readily in ‘“‘jumping- bow” passages of various kinds. If you are not an expert violinist, you had better get a good violinist to select the bow for you. A. Cc. L.—If you -can play the list of studies you send really well, together with some good book of scale studies like Schra- diecks’ or Sitts’, you could safely begin the study of Kreutzer. You can obtain the Special Studies of Mazas (380 studies), Op. 36, and the Brilliant Studies, Op. 36, by the same author (27 studies) in separate vol- umes. These studies are admirable from a musical and technical standpoint, and are used by violin teachers the world over. They are excellent as introductory studies to Kreutzer. 2. Without hearing you play it would be a guess in the dark for me to suggest what would be best for you to study next. 3. The first violin parts of the over- tures you name are from fifth to sixth grade. E. B. McM.—The use of the mute gives a peculiar, soft, veiled tone-color to the violin, quite different from the ordinary violin tone. The mute is used when it would seem that the ‘‘muted’”’ tone would best bring out the character of the composition to be played. However, the composer usually indicates when he desires the mute to be used, by the words, avec sourdine (French), which means ‘‘with mute,’ or con sordino, which means the same thing in Italian. If the use of the mute is to be discontinued it is indicated by the words senza sordino. 2—4 me cord means the fourth string (G string), 2 me the sec- ond string (A string), ete. M. A. H.—Four hours daily practice on exercises and pure technic is rather a stiff proposition for a boy thirteen years of age. Personally, I think it is a great mistake to confine the practice of a young pupil to technic alone and not allow him to practice melodies and pieces suitable to his ability. However, many excellent teachers confine the pupil to exercises only, during the first year or two, and it is impossible for THE ErupDp to take sides one way or the other about a teacher’s methods without knowing all the circumstances. The principal thing to look at is results. If your brother is making good progress, it would no doubt be unwise to make a change. O. M. P.—yYour violin will naturally have a shriller and more brilliant tone when tuned to so-called “concert pitch,’ which is ap- proximately half a tone higher than inter- national pitch. What it gains in this way it, however, loses in mellow and sympathetic qualities. ‘The leading violinists of the world keep their violins tuned at all times to international pitch, and a violin will sound at its best if always kept tuned to that pitch. You ought to have your piano tuned to international pitch, and always have your piano accompaniments played at that pitch. Paganini played some of his compositions with his violin tuned a semi-tone higher than the orchestra which accompanied him. His idea in this seemed to be that it made the tone of his violin stand out from the accom- anying violins. Some soloists when play- ing these compositions tune their violins in this manner at the present day, but a large number play these Paganini compositions .at international pitch. I think you will find that your violin will sound .at its best if you always keep it at international pitch. A. S. T.—The fact that the label in your violin states that it is a copy of an Amati, made in Germany, proves that it is not a Cremona instrument, as the Cremona violins were made in Cremona, Italy, and not in Germany. If it is a good copy, made by a good violin maker, it may have a good tone, however. The chances are that it is a fac- tory fiddle of no great value.: L. I. G.—Translation, ‘Domenico Montag- nana” (famous violin maker who made violins at Cremona, a small town in Italy, and also in Venice), “under the sign Cremona’ (that is, the word Cremona was used as a trade mark), “Venice, 17—’’ (the year when the violin was made). These violins are ex- tremely valuable if genuine, but there are thousands of imitations. T. J. M.—It is not a demonstrated fact that the passing of the X-ray through a violin ages the tone. I.do not think it has any effect on it one way or another. Since the discovery of the X and other rays, and of radium, there has been a tendenev to seek in them the solution of all kinds of century-old unsolved problems, but with very little success as yet. A. L.—The age of fifteen is rather late to start with the view of becoming a first-rate professional, still it has been accomplished by many violinists. Whether you can suc- ceed depends, first, on your talent; second, on your application and industry; third, on your natural aptitude for playing a bow instrument; fourth, on the skill of your teacher and whether you have advantages for a thorough musical education. I could not state how long it would take you to become a professional violinist without hay- ing an opportunity of hearing you play and judging of your talent. The fact that you practice three or four hours a day is a good sign and shows that you love the violin and are in earnest. J. M.—Every violinist, from the smallest to the greatest has his “off days,’ when things fail to go right, and he seems to be out of sympathy with the instrument. The state of the emotions and nervous system is constantly changing, and every human being is subject to varying moods. You certainly ought not to give up the study of the violin simply because you have these “off days’ occasionally. 2. There is a constantly in- creasing demand for concert violinists of real ability, but they must be thorough masters of their profession. The invention of the phonograph has tended to increase this de- mand rather than to decrease it. W. J. N.—It is very doubtful if your bow, the stick of which is crooked in the manner you describe, could be straightened so that it would be permanently straight. You might write to some of the violin dealers who ad- Miofi in THE ETUDE and learn what could be done. S. M.—A violin student at the age of nineteen, only in the first position, has a rather doubtful chance of playing difficult compositions in an artistic way later on. Still, it has been done, but in very few cases. However, you can no doubt learn enough to gain much pleasure from your violin studies. M. B.—It is true that the use of the steel E string cuts the bridge and to a lesser extent the nut, since the latter is made of ebony, which is a very hard wood. This diffi- culty is largely overcome by the use of the little attachment at the tailpiece by which the tuning is done by the screw at the tail- piece and not at the peg. If this is not used, the notch at the bridge can be pro- tected by being inlaid with a small piece of ebony or parchment, which prevents the string from cutting into the bridge. W. H.—The personal equation enters into your question to such a degree that it is impossible to give you a definite answer. If at the age of eighteen you have thoroughly mastered Kreutzer and Fiorillo, you cer- tainly have sufficient foundation to become a professional violinist if you have the means and time to go on with your studies. The crucial point is in regard to how well you play these studies. There are thousands of violin students who have “gone through” them without being able to play them at all. Your only course is to arrange for a personal examination by an eminent violinist, one who has no interest in getting you to become his pupil. Play passages from these studies for him, and it would not take long for him to advise .you as to the extent of your talent. You could afford to pay a good fee for this information, since it might save you years of work trying to accomplish something for which you have not got the requisite talent. W. D. T.—No information available con- cerning Charlotte Blume, violin maker, re- pairer or dealer, in Pittsburgh, fifty years ago, Possibly some of the Pittsburgh readers of THE ETUDE can furnish the information. Cc. I. T.—Violin prices are very much un- settled since the war. We find very fine specimens of Stainer listed as high as $2,000 in the price lists of American dealers. Spec- imens which are not so choice are listed at $1,000 or even lower. A. E. W.—No doubt some of the firms dealing in old violins who advertise in THE ETupDE could find a purchaser for your fine old ’cello. If the instrument is as good as you describe, the offer of $200 which you have had is entirely inadequate. You might also advertise the instrument in the papers in your home town and in those of the near- est large city. B. J. D.—Having started at over thirty, it is exceedingly doubtful that vour friend could become a professional violinist or ever attain sufficient technic to play standard violin con- eertos or first violin parts in a symphony orchestra. ,From the list of works you send which she has studied and from the fact that she has appeared in public as a soloist and as a member of an orchestra, it would ap- pear that she has accomplished quite a good deal with her violin, notwithstanding her late start. If she really loves the violin for its own sake and not merely as a money-maker, there is no reason why she should not con- tinue her studies. BE. D.—As you are at present under instruc- tion, your teacher is the proper person to advise you in the matters you speak of. If you think he is not competent to advise you ree rn the only thing is to get another teacher. THE ETUDE THE BEST ORCHESTRAS ARE USING THESE | NUMBERS IN PHOTOPLAY THEATRES PRICES, NET POSTPAID Orchestra Collections to meet every demand. Send for orchestra and band catalogs. 1712 Chestnut St., PHILADELPHIA, PA. TITLE COMPOSER Small Orch. Full Orch. and Piano and Piano PN EE AAPL Th, SR in cok wc eee Ch, ae ls $1.18 $1.42 eSH Ge MUON. s Fic i cies 6 000% seins. Jad ci dees eee Oo. Ba ig or6: joined teem eden ein 1.18 1.42 pe Se eee ee ee rer Fe ye Pe See ee 1.18 1.42 NE as ioe 2s. a Ps ORI ae eee SPONONO ss hii iaitin. wee ewd 1.18 1.42 mea Te Gi i. 5s « alu centage bey » Ree ak aD ea LP Asm CORO 6.6..548 orn da 1.18 1.42 OEE iced cy BY, soc a cack & va Ta a eek ae BR een ee Oe ae 1.18 Gabeebinue BewarGe 33.7. 2000 SRE, vies B. Barthelemy............ 1.18 1.42 eM i song acs ud glint iuy! & a aks Malki taaei te A RE Sle al Wes. ddldes e205 be eae 1.18 1.42 i. Ee EE) PR CR CORE OAR) TE A; Inshetels...; i iv cecieens 1.40 . 1.75 i, aE PEE Go Prete ng reo | ees re ee ee Fy S. Rachmaninoff.......... .98 1.42 Prelude, Act Il, Opera Cyrano..............066. 0006 c eee ee ees W. Damrosch............. 1.18 1.42 i RASA AD ETT Re 5 Se ee Lea (os A TO. i... cde ea 1.18 1.42 Pulcinello, Humoristic Intermezzo.............. 0.2... 606.0005: Wi Mletiee «oo ) aes ein 1.40 1.75 Rendez-Vous Intermezzo....................0 cee cece cece Wi Aas ove cas S aee .45 .65 NN. eS FOR. OL a a OS .. LA Pe Pare eon at By fr -95 A, 5 ok inn « sonceaineth hie ae Anhalt « cardia edinas «i 2% whan eee A Cemanbeh ds is, «ist spurned .80 1.18 Romaanee tm FO, G1, ING. Bo. s ou eis cee ede ssa cea nes P. Tschaikowsky.......... 1.18 1.42 || \ Romancse.of the Rose... 55.600. ee Gl). Tees, C0 Tie -98 1.42 | | Rose Blushes, Berceuse........... 50.1. cece cece e ect e ences ea a 1.42 Be Pe gO. eto ere reine ier ee a .98 1.42 || || Scenes from an Imaginary Ballet........................ Coleridge-Taylor.......... 2.80 3.35 err a) ye RE A. Rubenstein. .... 1.18 1.42 Swite Abboriwemal, Pare fo.) ois ici cet. es eee ee D. Wheelock.............. -80 1.18 Suite: Aboriginal, Piet fF. sios65 66s. eoersirs vy. D, Wheelock............-: .80 1.18 Three Lyric Pieces, Waltz—Elegie—Homeward........... ees a Tae ieee oi) 1.42 1.75 re Ns 5G. NT aD. Shae Mae eee s oa hd... Renee SC Se Eee oe 130 1.78 Valse-Bluette, Air de Ballet. ............ cc ccc ccc eee c cence BONNE 5 d:0¢ 012) « Knee 1.18 1.42 We carry in stock all the late popular dance numbers—30 cents each post-paid. — THEODORE PRESSER CO. MOVING PICTURE ORGANISTS are earning big salaries — MUSICAL ACCOMPANIMENT of MOVING PICTURES By Lanc & WEsT $1.25 net Dr. Riesenfeld, Managing Director of the Rialto &S Rivoli Theatres, New York, says: “I consider the book ‘Musicat Ac- COMPANIMENT OF Movinec Pictures’, by Lang & West, of the greatest value to all organists and pianists now en- gaged in playing for the pictures, or contemplating to enter this field. ‘The book will go far toward con- vincing musicians in general that the musical interpretation of photoplays can be made an expression of art and a serious profession.” The only practical text book on this most important subject. Send for descriptive circular THE BOSTON MUSIC CO., % west street, BOSTON LITTLE GIRL BLUE—Soxg dy Wm. H. Pont dreamtl, A very good vocal number, es- pecially pleasing for encore pur- poses. Try the one-eighth of this song shown here. It is published in 3 keys. Copies in any key will be sent upon receipt of 25 cents per copy. (Stamps accepted) Catalog Number 16582 High Voice—E flat rw 16641 Medium Voice—D flat \¥ 16583 Low Voice—B flat Order by catalog number THEO. PRESSER CO. Copyright 1919 by Thee.Preseer Coe PHILADELPHIA, PA. 1710-1712-1714 Chestnut St. LABEL BROTHERS MUSIC PRINTERS ann ENGRAVERS SEND FOR ITEMIZED PRICE LIST AND SAMPLES S PRINTED BY U F MUSIC SUPPLEMENT OF THIS MAGAZINE WRITE US ABOUT ANYTHING IN T} COLUMBIA AVE. AND RANDOLPH ST. PHILADELPHIA, PA. Please mention THE ETUDE when addressing our advertisers. S LINE
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re Eg EE . THE ETUDE Have Music Wherever You Go This is not a novelty, but a most prac- tical and sensible arrangement of a phono- graph, with superior mechanical parts, for convenient transportation. Cirola PORTABLE PHONOGRAPH Plays all records—is one foot square and six inches high and the smooth, silent running motor has a double spring together with a tone arm which reproduces a brilliant tone of proper loudness. The success of the machine is most gratifying. Remember, you get an excellent reproducing ma- chine without having to pay for unnecessary cabi- net work. Sent prepaid to any address on receipt of price ...... $42:5° Descriptive catalog cheerfully furnished. THEODORE PRESSER CO. | THE HOME OF MUSIC 1710-12-14 Chestnut St., Philadelphia, Pa. CLOSED Carries 10 Selections 5 Amati, Nicholas Bergonzi, Carlo Guarnerius, Petrus Rugieri Francesco Gagliano, Josef L.W. HOFFMANN, 152 E. 86th St., New York Arranging and Correction of Mss. A SPECIALTY A. W. BORST, Presser Bldg., Phila., Pa. Composer of Cantatas, Songs, Ptanoforte and Church Music LE Your Music Is Torn! lt will Take One Minute to Repair it by Using Multum-in-Parvo Binding Tape 5-yard roll of white linen or 10-yard roll of paper, 25 cents each, postpaid. Transparent Adhesive Mending Tissue 10 cents per package If your music dealer does not carry it, send to Theo. Presser Co., Philadelphia, Pa. OR Multum-in-Parvo Binder Co. 624 Arch Street Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. Question and Answer Department Conducted by ARTHUR DE GUICHARD Always send your full name and address, been neglected. No questions will be answered when this has Only your initials or a chosen nom de plume will be printed. Make your questions short and to the point. Questions regarding particular pieces, metronomic markings, etc., not likely to be of interest to the greater number of ETUDE readers will not be considered. Q. My hand is very small; so small, that I cannot play an octave, although I can just touch it with very great difficulty and some pain. Two teachers, whom I have had, have recommended the use of the two following mechanical hand stretchers, in order to increase the stretch of my hand. Do you advise me to use either of them? A. Use neither. By careful manual exer- cise, when the hands are quite warm (warm them artificially, if necessary, by putting them in hot water), place the tips of fingers and thumb of one hand against the tips of fingers and thumb -of the other and press against them, so that the little finger and thumb spread by degrees away from each other. But this must be done gently, with gradually increased pressure, and without causing any pain; cease at the first symp- tom of fatigue. Avoid mechanical devices. Q. In Grieg’s “Peer Gynt Suite: Morgen- stimmung” the first chord in the bass has to be played arpeggiando by one with a small hand, Should the first note of the treble be played at the same time as the first note of the bass chord, or with the last note of the bass chord? Why? Please give the rule to fit this and other cases. In the third bar of the same piece a similar case occurs, only this time the treble is pre- ceded by two small notes. How should this be played?—A,. C. Winpsor, Nova Scotia, Can. A. The first note of the arpeggio is played with the beat, as indicated by the time-note. not before the beat, unless expressly written so. The first note of the treble should be played with the first note of the bass ar- peggio: Firstly, because the arpeggio has, in this instance, been introduced to humor the performer’s small hand; secondly, because the melody must not suffer by losing any of its full time, which would be the case if, played with the last note of the bass, and, lastly, if played with the last note of the bass arpeggio, the result would be to put the arpeggio outside the regular’ time-beat, whereas the rule requires the arpeggio to be simultaneous with the beat (except when otherwise written). When, upper part consists of chords, straight chords, these would be played with the last note of the arpeggi bass. Similar chords (bass arpeggio and treble straight) may be found frequently in Haydn’s Sonatas, and in other compositions of his period. Q. Would you kindly give me a few general rules to help me in correctly phrasing my songs? I find my breath very difficult to manage, some of the sentences seem so long, and I really do not know where I should breathe ?—4M. F. P., Brookline, Mass. A. You must first obtain good breath con- trol, by means of special exercises. If you have not that, you will not be able to keep a good, even tone to the end of the musical sentence. When you have acquired good breath control, you will study the words, their meaning and the construction of the sentences. Study the words as if they were intended for recitation only, without music. Then, when you sing them do not take breath at any place where it would sound ridiculous if you breathed there when speaking them. As for general rules: You may take breath in rests and at any mark of punctuation; if there be no punctuation and the sentence be unduly long, breath may be taken before a preposition or an adverbial phrase; that is, the breath may be taken before the preposi- tion or before the word ushering in the adverbial phrase; but breath may not be taken between a noun and its verb, or be- tween a verb and its object, or between a noun and its adjective, or between a verb and its adverb (when not a phrase), or in the middle of a word. The singer’s aim must be to keep the literary sense intact, and to sing the literary line as smoothly and unitedly as if speaking. Breath control will do the rest. QO. IT am studying to be a solo pianiste and a teacher of the instrument. My teacher tells me it is altogether impossible for me to succeed in either direction with only one lesson a@ week. Should I take more than one?—Z. N., Providence, R. I. A. If your teacher is competent—and T do not question it—he or she is the proper per- son to advise you. Nevertheless, I may say that. upon general principles, there is so much to be acquired and to be accomplished for a soloist and for a teacher to arrive at any degree of excellence that even a daily lesson would not be too much. First, the soloist must possess perfect technic, which is equivalent to saying that he must know how to spell and to form sentences, irrespective of how they should be said when formed; by technic is meant finger work, wrist work, pedal work, scales, arpeggios, double notes, chords, octaves, trill, ornaments, staccato, legato, marcato, cantabile and the many however, the. gradations of touch. Then there is the art of phrasing, which is so little or so super- ficially understood, even by thosé who enjoy a certain reputation as “good” teachers, that we have many editions of the same classical work all. with different indications for phras- ing, according to the whim or crotchet of the particular editor (whereas phrasing, in its general lines, is a precise art). Then comes the general structure of the composition, which, if not understood, will render any attempt at interpretation defective. To understand that structure the player must have a sound knowledge of harmony and counterpoint, melody and polyphony. The soloist must be well versed in the history of music as well as in literature generally, which is equivalent to saying that. he must have a very geod general education. What will one little lesson per week avail for all this? The teacher must know all this and much more; it is not enough to possess it all, he must know how to impart it to others, he must be able to gauge a pupil’s mentality in order to fit his teaching to it; he must know how to teach. And all this in one short lesson a week! ‘The earnest would-be soloist and teacher should ponder deeply thereupon and prepare accordingly. Such questions re- mind me of a woman who once came to me and asked: “Can you teach me in twelve les- sons how to teach singing?’ Flabbergasted at first, after a moment’s cogitation, I re- plied: “Yes, perhaps . . . ! It is not impossible JF you can assimilate and repro- duce ALL that I tell you during the twelve lessons!” ‘That ended the matter. Moral: There is no royal road to become a soloist or a teacher. There is only a steady, con- stant application of concentration and perse- verance to the talent we possess, to make it reach its highest point of cultivation. The conscientious teacher studies always. Other- wise what would he know about the modern Irrench and Russian schools? Q. What is meant by a resolution, musically speaking? May I jump from a discord to an- other? that is to say, may I have a succes- sion of discords without any concord between them ?—ARSHA D. F A. In every discord there is a tendency for one or more notes to ‘find a resting place on what may be termed a concord. If you play the fourth and the seventh degrees of the scale together of any key, it will be found that the ear needs the fourth to descend one degree and the seventh to rise one degree to what is called its resolution, when a feel- ing of rest is experienced. Sometimes the discord remains stationary while the re- mainder of the chord moves to a concord. This resolving of a discord into a concord is called its resolution. But a discord may re- solve into another discord, and to yet another, each growing out of the former until concord be finally reached. You may not “jump” from one discord to another; you must let one merge into the next by never allowing the discordant note to proceed by more than one degree ; this is termed conjunct movement. Q. What is the quickest way to find if a piece is written in duple or in triple time? —Mary Q., Providence, R. I. A. If the upper figure of the time signature 2 « e ® = ° , : . : 1S ete. is divisible by 2, the time is duple; if the upper figure of the ete is divisible by 3 only, the time s triple. . Q. What is meant by “Key?’—E. L. T., New York. A. “Key” is the name given to a regular series of sympathetically related tones or notes, whose distinguishing features are ex- hibited by its scale and its common chord (1st, 3d, 5th and 8th degrees). (). Why do some teachers start a beginner learning the notes as Do-re-mi, etc., while others teach 'C-D-E, etc? Also, which is the best method, and why? A. Without wishing to appear frivolous, the self-evident answer is “because those in- dividual teachers ‘feel’ like it’! Replying more circumstantially, however, it may be stated that the alphabetical names (A.B.C.D.E.F.G.) are employed by the English and the Ger- mans, especially for instrumental music. The syllables (Do—Italian, or ut—French, re, mi, fa, sol, la, si, do) are used by the Latin nations. However, the Tonic-sol-fa method (Doh, ray, me, fah, soh, lah, te, doh) is in such general use in our schools that it would be well if this system could be used exclusively. But, since the Doh is always the first note of the major scale, it would be necessary to have a sign to indicate its absolute pitch. which is now done by the use of the instrumental letter. It requires years to become a ready, rapid sight-reader by means of the alphabetical names, whereas by means of a_ scientific blending of this with the do-re-mi the writer is able to incul- eate accurate and rapid reading. both for “iclody and for harmony, in three months. MARCH 1920 Page 207 MUSICAL AMERICA The leading International Musical Weekly Newspaper Devoted to the Musical activities of the world. Profusely Illustrated Subscription Price; for One Year: Domestic . . $3.00 Ganada . . 4.00 Foreign . . 5.00 2°, * The MUSIC TRADES The Leading Weekly Paper devoted to every branch of the Musical In- dustries. Contains all the News. Is Constructive and Educational. Profusely Illustrated IT IS A VALUABLE ASSET TO THE DEALER IN THE RETAILING OF MUSICAL INSTRUMENTS Subscription Price; for One ‘Year: Domestic . . $3.00 Canada . . 4.00 Foreign . . 5.00 7 o,¢ The Piano & Organ Purchaser’s Guide For 1919 The Twenty-third Annual Edition Now Ready. Contains complete authenic list and grading of Pianos and Organs manufactured in the - United States. Also some account of the leading Phonograph and Talking Machine Manufacturers, Music Roll Makers, Supply Houses & Musical Merchandise Concerns. Price 25 cents per copy Invaluable to the Dealer in Protecting Standard Makes of Pianos and Players in Competition. Special Offer One Year’s Subscription (domestic) to MUSICAL AMERICA; One Year's Subscription (domestic) to The MUSIC TRADES and one copy of the 1919 issue of The PIANO & ORGAN 6-00 PURCHASER’S GUIDE .,.. THE MUSICAL AMERICA CO. THE MUSIC TRADES CO, 501 Fifth Avenue, New York Be the Best Paid Teacher In Your Town If you can play piano you can easily and quickly learn to teach correctly and efficiently during your spare time. * By Mail--Easy Payments a Complete Teaching Course, interest- ing new methods—graded lessons— the right start for young beginners— private and class instruction for all ages explained—ample teaching mater- iaJ—what to give every pupil every lesson, also—hints on making teaching highly profitable. Write for free particulars and new circular, ‘‘How to Build Up a Large Class.’’ No obligation, free. ADELE HOSTETTER, Director School of Artistic Piano Playing Studio 1383, 7367 North Ashland Blvd. Chicago, Tl. THE FAVORITE OF STAGE PEOPLE ‘* Even betterthan I get in Paris,” is what the beautiful actress Anna Held wrote of Magda Cream. Stage folks know the advantage of using Magda before applying powder, and forrubbing out incipient wrinkles in the nightly massage. Musicians use it to keep their hands soft and pliable. Jars 25c and 50c Japanese Jars 75c Large Tins $1 { At Drug Dept’sor direct from Fred C. Keeling & Co, Rockford, ill.
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MARCH 1920 Page 208 . Te: xr [- Os) 2 Fo v . : — =f; Whys and Wherefores ARE you a why-and-a-wherefore kind of person? Sometimes that is considered an unde- sirable kind of a person to be, a kind of nuisance and curiosity box. Haven’t you often been told not to ask so many questions, when you merely wanted to know the why and the wherefore of things? Anyway, as far as music is concerned, asking questions is a good thing to do, and your teacher will not tell you that you are asking too many, but will be glad to tell you everything you want to know, and to explain things more clearly that you may not have understood. When you go to your lesson, be sure that you understand clearly all of your teacher’s directions and explanations and ask why one thing is right and another thing is wrong. Ask why a note is writ- ten D flat instead of C sharp. Why the thumb has to go under on a certain key, why major and minor chords do. not sound alike, why a Berceuse does not sound like a Mazurka, and a thousand ‘other things. ~ Your teacher will not think that you are inquisitive; she will be glad that you are so interested in the whys and the wherefores of music. Concerning Fairies By Susie Gallup “MoTHER, may I go over to Marie's house?” asked small Susie. “Why, Susie, don’t you remember you only practiced about fifteen minutes yesterday? You promised faithfully that you would make it up to-day, if I would let you stay out and play with Doris and Marie yesterday.” “Er—er, yes, but I had forgotten. Oh, I wonder why I do so hate to practice?” wailed Susie. “Well, I have a plan,” said her mother. “Let’s pretend that each key is a little fairy and if you don’t practice and make the fairies dance and sing they will soon grow old and stiff. Then when you want to play your piece for people the little fairies will be so stiff they won’t be able to dance, and people will think you play very badly.” “Qh, that’s a fine idea,” exclaimed Susie. “When I am practicing my ugly scales and exercises I will be making the little fairies dance, and so when I play my piece they will be so limber they will just hop up and down making pretty music,” “That is the idea, exactly,” said her mother. | . gc BESS Lb hia Qn CONDUCTED BY ELIZABETH A-GEST The Bar By Gwen M. Skett Have you ever thought why we call the lines that are drawn throughout music staves “Bars”? Perhaps you have called them “bar- lines”; that is a careless habit a great many of us have, for the real name of these lines is “Bar”. The bar shows that the next note will be a strong pulse, and the weak pulses are “leading up” to, and “progressing” over the bar to the strong beat. Now, doesn’t that give you the idea? The bar is a sort of horizontal bar over which the pulses jump onto the next strong one, making the whole piece somewhat like a hurdle race. Now, when you jump over your horizontal bars in gymnasium you do not come down on your heels with a thump, do you? Then you must not come down with a thump on your strong beat, but just take a firm stand on it. Now one more thing about the bar and the strong pulse. When you have made one jump in a hurdle race, you turn your face straight to the next one, and prepare for your next one, keeping to take to seven. your eyes not on the spot before the hurdle (the end of the bar) but on the spot where you will descend (the be- ginning of the next one). Now look at these measures: i 2 Des aa EEE 2 p EASES Pee ee Number three belongs to the jump (progression, we generally call it) that “one” and “two” took; four, five, and six belong to the jump that you are going four stand next to each other, their faces -are turned in opposite directions, and they belong each to a different set of pulses. Now where is number nine going? It will still jump over the bar, but it will come down so silently that you won't even hear a sound at all. The curved line over the whole is an aeroplane, flying over the heads of the notes and over the. bars, to drop down and alight—oh, so softly!—at the end of the phrase. Making Mistakes Your brain is a very funny thing. Do you know anything about it? We are told that it is soft and grey, and that our thoughts and actions make little tracks or paths in it. For instance, when a thought or action goes over the same path a great many times, that path becomes worn and the action slips over the path very easily. Then we call it a habit. It is hard to break a habit, because the thought or action has to make a new path instead of following the old one. In practicing we have to go ever the same notes on the piano many times until the little paths in our brain become worn deep enough for the thoughts to slip over them to our fingers easily and quickly. That is why it is so hard to correct a mistake. The little thought goes down a path in the wrong direction (or to a wrong note), and we have to force it into a new track (or to the right note). So do not give your poor little brain extra work to do by making mistakes in your practicing or by forming bad habits. & 3', (T82r- , Ot. IF O4- Althonugh three and. THE ETUDE -a2 > ys ~ s > Oe eae Who Knows ? 1. What is a tambourine? 2. What is the lowest tone that can be played on the violin? 3. Of what nationality is Caruso? 4. Who wrote the opera Il Trova- tore? 5. How many Hungarian Rhap- sodies did Liszt write? 6. Which pronunciation is correct, py-anist, or pian-ist? 7. What is meant by a % chord? 8. Who wrote the Lost Chord? 9. What is a quintette? 10. From what is this taken? Answers to Last Month’s Questions 1. THe C clef is used for some instru- ments and voices and gives middle c for the middle line of the staff. 2. Mozart wrote Don Giovanni. 3. It is an opera. 4. Castanets are small pieces of bone or wood which when clapped together produce a clicking sound. 5. Leoncavallo died during the sum- mer of 1919. 6. His best-known work is the opera I Pagliacci. 7. Louise Homer is an American. 8. D C is the abbreviation for Da Capo and means return to the beginning. 9. A Saraband is an old stately dance in slow % time. 10. Minuet from Don Giovanni, Mozart. Musical Game to Teach Notes on Lines of Bass Clef Tue children skip round in a circle singing, to the tune of Lightly Row: 3 Gy B Dy Ry aad :A On the Bass Clef always stay, On the lines, as you know, Reading up we go, And in Music Land you see, He can read who has the key, G, B, D, F,; and A On the Bass Clef stay. The children pause and face in; there is a child inside the circle who now holds up a card with the bass clef and points quickly to any line, calling on a child who responds with the name of the note or goes out of the game. The song is repeated as often as desired. Dr. Ills Made some pills For his patients many. But, wondrous thing! They learned to sing _ And now he hasn’t any.
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ASR SRE Ae NR Ce ENS OE et EES + ER TER RR ptt RMR, FS eRe AR QR Ral TENNANT man re er ip er i Peres ee eee THE ETUDE Junior Etude Competition THE JuNior Etupe will award three pretty prizes each month for the best and neatest original stories or essays and answers to musical puzzles. Subject for story or essay this month. “Why I Like to Practice.” It must con- tain not more than 150 words. Write on one side of the paper only. Any boy or girl under fifteen years of age may com- pete. All contributions must bear name, age and address of sender, and must be sent to JUNiIor Etupge Competition, 1712 Chest- nut Street, Philadelphia, Pa., before the. twentieth of March. The names of the prize winners and their contributions will be published in the May issue. Follow these rules care- fully when entering the competition. MY FAVORITE INSTRUMENT (Prize Winner.) OnE day I read a book which devoted a paragraph to a description of a girl playing the harp. So wonderful was the description that the harp became my fav- orite instrument. Every one that I told about my favorite instrument thought that I was very silly, for, as I had never heard it played, how was I to know whether I liked it or not? Finally, I went to a concert and heard a man play on a harp. He played some simple melodies for which the harp seemed to be made. One could almost hear words! The music carried me away to an enchanted land, and when I came back to reality I knew that the harp really was my favorite instrument. Mary Miter (Age 12), New Britain, Conn. MY FAVORITE INSTRUMENT (Prize Winner.) I LIKE the piano better than any other instrument because it has an orchestral effect and is one of the most perfect in- struments made. The instrument as built to-day is the result of years of evolution. It is capable of imitating many sounds, for example, the wind, a singing choir, bells, an echo, raindrops, etc. It does this so well that it has been known to lead one’s mind to sleep by its soothing tones when well played. The piano has more tones than any other musical instrument and is capable of sounding more tones at once and is therefore my favorite instrument. Atice G. WELp (Age 13), Clinton, Ill. MY FAVORITE INSTRUMENT (Prize Winner.) I HAVE heard many instruments played, but to me there is none so appealing as the violin. It pleads with us, begs with us, and softens our saddened hours and our harsh hearts. If the player is bright and gay, so is the violin; its happy music cheers us and makes the whole world look bright and gay. I have never seen inside of the violin, but there fhust be many music fairies it it as we read in stories. There must be happy fairies and sad ones, and bright ones and dull ones, besides many other. So let us make the violin our friend and learn to love it dearly. HELEN E. Doyte (Age 12), Oshkosh, Wis. Letter Box DEAR JUNIOR ETUDE: I HAVE been taking THE Ertunpe for sev- eral years and I like it very much. It helps me with my music so much. I am a member of the Harmony Class of Selma, and we like to try to figure out the puzzles in THe Etupe as well as to read all the other interesting things. Mary Locue (Age 13), Selma, Ala. Honorable Mention for Compositions Paul Sullins, Portia Evans, Marjorie Warner, Ruth M. Weissenborn, Mildred Hungerford, Josephine Stark, Edith Adler, Alyce Barnes, Peggy Miller, Vic- tor Townley, Virginia Elver, Mary Richie Riviere, Margaret Dyson, Lenore Alford, Mary Pearl’ Ballard, Kunnegunde Draeger, Bernice Weller, Ethel G. Frost, Mildred Elkes, Ada M. Hartley, Mildred Trautwein, Vivian F. Sheals, and Mar- garet Adams. Puzzle Corner Hidden Words By Grace L. Titsworth (Age 13) (Frnp ten musical terms in the follow- ing sentences by combining the last part of one word with the first part of the following word): Many pianos, harps, violins and other instruments were in the room, but no- where stood a little pianoforte, the kind Elsie wanted—6r rather not Elsie but her unfortunate sister. “Oh,” said Elsie to herself, “if I never get Rilla another thing I must get her a little pianoforte while she is sick. If lately I had not been so busy with Nell I never should have been in such a rush to-day.” But after a while she succeeded in finding a piano- forte, and managed to be at home in time for tea. Answer to January Puzzle 1. Bars; 2. Fine; 3. Base; 4. Run; 5. Line; 6. Pause; 7. Rest; 8. Space; 9. Scales; 10. Flat; 11. Tenor; 12. Meas- ure; 13. Swell; 14. Sharp; 15. Line; 16. Treble; 17. Line. PrizE WINNERS—Alice Mae Arters (Age 11), Downingtown, Pa.; Eleanor Nullen (Age 12), Bridgeport, Conn., and Ruth A. Fredericks (Aze 10), Canajo- harie, N. Y. HonorABLE MENntTION—Glenn Gardiner, Gladys Cook, Peggy Miller, Marguerite Stalker, and Dorothy Coggshal. Sleepy Susan By Dorothy M. Hildahl Susan was half asleep at the piano practicing her lesson, but getting no good from her work at all. Then, all of a sud- den, she discovered that she had company right on the keyboard, and all around her were a dozen fairies listening to her laz- ily practicing scales. . They spoke to her like this—“Watch us dance up and down the keyboard. See if you can make your fingers go as we make our feet go, never missing a step.” Susan tried her best. “Surely,” she thought, “fingers should be able to go faster than feet,” so she began to play and the fairies watched her, and cor- rected her every time she made a mis- take, and told her to go over that place again. Then the fairies jumped up on the key- board again and tried to dance, but, dear me; they could not dance to Susan’s music at all. “Susan,” they all sang at once, “you forgot to count, and how can we dance if you do not keep time?” So when Susan discovered that she was playing for a fairy dance she just had to keep time, and she found that it was not very hard, after all. At the end of her hour the fairies all disappeared, and Susan ran and told her mother how she had been playing for a fairy-dance. “TI had such a lovely time,” she said, “and I do hope they'll come again, and I will try to play a little bet- ter every day.” Get busy now, for the Spring Recital MARCH 1920 Page 209 ATTENTION! VIOLIN TEACHERS Recently Issued The Following Well Known Works Arranged by EDMUND SEVERN DREAM PICTURES, Op. 23, By Jules Devaux No. 1. Antoinette. A Stately Measure.................. (2A) $0.50 No. 2. Love’s Message. Chant sans Paroles............. 2A) a) No. 3. Danse Antique. Intermezzo...................-- (2A) -50 No. 4. Danse des Sylphes. Air de Ballet............... (2B) 50 No. 5. Arcadian Shepherds’ Dance.................... (2A) .50 No. 6. Twilight Meditation. Mélodie.................. (2A) -50 No. 7. Punchinello. Morceau Grotesque..............-. (2B) 50 No, oS. Cathedral Chimes. 02°. Geiss SRA (3A) 50 ING. 8. MICO, Sere oe bk eae mene a (2A) -50 No. Apelia’ Maren cop Dae oy (2B) 50 Complete in one volume, Edition Wood No. 878 Price $1.00 CADMAN, CHAS. WAKEFIELD, Op. 40. Love Song... .(3B) -60 DUCELLE, P., Op. 24. A Twilight Reverie................ (3A) -60 CLOTHILDE. -Drifting:«:-Waltec. . .2002.5°% pa nye eke (3B) 75 Re ec OR NE INE kh ech ow clin bo: oC oan pep trieg (3A) .60 LYNN, L:,:Op. 24. . Sweet: hewender: 2... isis. o4 . Aietinn (3B) .60 ME TCALFE: 'B.,: Op. 37): Gemeeiy FRO iss 6 se esie eee ee (3A) -60 Also Shortly to Appear TEN PAGEANT EPISODES, Op. 21, By Felipe Martinez In both sheet form and complete in one volume ‘Arrangements can be made to procure the above “‘On Approval” through your regular dealer, or write direct to the publishers, giving your dealer’s name. Thematic Catalog, ‘‘Teachers’ Book of Samples,’’ for Violin and Piano, Free on Request The GB. F. Wood Music Co. 246 Summer Street, Boston 9, Mass. 29 West 38th Street, New York ALSO AT LONDON A SUCCESSFUL SEQUEL TO THE ‘‘BEGINNER’S BOOK’’ THE STUDENT’S BOOK School of the Pianoforte By THEO. PRESSER PRICE, $1.00 Intended to follow THE BEGINNER’S BOOK or any other first instructor, this volume has met with a flattering reception. It bridges the gap between the instruction book and the graded course or the conventional series of studies and exercises. THEO. PRESSER CO. Philadelphia, Pa. An Excellent Vacation for Your Daughter LET HER SPEND THIS SUMMER AT A BEAUTIFUL CAMP SPOT IN THE WHITE MOUNTAINS WHERE SHE CAN COMBINE ADVANCEMENT IN The Study of Music With the Joys of Out-doors This Camp School is situated on Asquam Lake, Holderness, New Hampshire. The campers have DAILY MUSICAL INSTRUCTION AND STUDY, but a great part of the day enjoy all the pleasures of out- door life—tennis, safe canoeing and bathing, etc. The Preceptress is well qualified to care for girls away from home. Classes, young women and girls over twelve. MAKE YOUR RESERVATION EARLY. HOLDERNESS SUMMER S°#0° MUSIC ror GIRLS For Prospectus, Address ALLEN H. DAUGHERTY PRINCIPAL 218 Tremont Street BOSTON, MASS. UMP Hair Pins Keep the Hair in Place 5 Different Sizes- Xand 10¢ Packages Everywhere Please mention THE ETUDE when addressing our advertisers.
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Page 210 MARCH 1920 PUR LM son ll) SU bse ity SAIN NS STEN , — — var lity] 1 em ATT eyes tt ae : Allin >> pes: rm Nilisayll =( Ri. STUULEEUTUUaE 7m } Nene ql el NEW WORKS. Advance of Publication Offers— March, 1920 Advanced Study Pieces............... Easy Arrangements of Celebrated Piece .40 Favorite Old-Time Tunes, V & P..... te .20 Fifty Violin Studies in First Position SE fa. ue os % 501-6 kh dek ve's 0's 0 t- 305 First Studies for the Violin, Hoffman, On, Bh, Boek OOO ico 6s (i. cas 6s ec .25 Four Octave Keyboard Chart ........ .20 Introductory Polyphonic Studies...... .40 Melodies Without Notes, Hudson...... .35 New Anthem Book.............0%8..- .20 New Indian Song Collection, Lieurance. .50 Nursery Tales Retold, Four Hands, EA EOS RE aaa ae .30 Part Songs for Men’s Voices......... .00 Piano Questions Answered by Josef eg ok a ata pinie-k 0.8 1.00 Selected Violin Studies, Second and Third Position, Levenson ......... .35 Songs and Dances from Foreign Lands, PURPUNNE Svase cacy ca tecwes ss bac aio! ee Standard American Album........... -50 Standard Elementary Album......... .30 Teaching Song Album............... .40 Twenty Progressive Studies, Greenwald. .35 Victrola Records Our Mail Order business in Victrola records has been steadily on the increase since the cut in prices on Red Seal records last July. A good many of our patrons got the impression that this reduction in price was only temporary, but we wish to say that the new prices as listed are per- manent. With very few exceptions Red Seal rec- ords formerly selling at $2, $3, $4, $5, $6 and $7 are now listed at one-half these figures. It is very generally known that a great shortage of Victor records exists at the present time, due to the fact that the Vic- tor plant for over a year made no records at all, but devoted its entire facilities to the manufacture of war materials. Dur- ing this period the demand for Victor rec- ords increased at a wonderful rate and it has been impossible for the company to “catch up.” We, however, do not confine ourselves to any one supply center in keeping up our stock of Victor records. We are buying records wherever we can locate them, and therefore have in stock a good many rec- ords which cannot be had from _ head- quarters. We have just issued another list of rec- ords which we have personally tested and can recommend. ‘ The complete 1920 catalog is also ready. If you want anything new in the line of Victor records, send your orders in to us. It is well in ordering to indicate a second choice of records owing to the shortage above referred to. We send all orders amounting to $3 or more postpaid to any part of the’ United States, safe delivery guaranteed. If you do not own a Talking Machine, let us hear from you and we will mail you booklets of the three best makes of instru- ments on the market to-day. Fifty Violin Studies in the First Position By Levenson This is a much-needed compilation of all the best first position studies selected from all the great writers for the violin. A teacher once using this book will never be without it we feel assured. The studies are arranged in progressive order so that the book may be taken up imme- diately after any instruction book. The special introductory price in ad- vance of publication is 35 cents per copy, postpaid. ! sj EE RNR ERT Nb ctncrenennnnninterett ~ e | ‘ ; Any (hy : i —————— xg MGQTHTATTTTATTTTT TTA fr AMLTIITS On Ali Publisher’s Notes A Department of Information Regarding New Educational Musical Works LLL SERN TELLER mt eA MSR SEN SITES TOE ETI ORE AM RTH Ses es PEELED U DEE ORERTEOUUULUUETOCREUUHDOUUTEUELTELETD Seo _————4] . i ahs se ey Ch ‘lille Orchestra Department The new and fully equipped Orchestra Department of the Theodore Presser Com- pany offers every orchestra leader, no matter where situated, the prompt, careful and convenient service that has for many years been enjoyed by thousands of mail- order patrons for musical publications of other classifications. Not only has a large and general stock of orchestra and band publications been gathered together, but we have secured also a personnel thoroughly acquainted with the peculiarities and special needs of orchestra work. On another page there is listed selected numbers from our stock that are now being widely used. These suggested num- bers or any other published number may be obtained promptly by mail order from this company. Remember the Theodore Presser Com- pany has specialized for over thirty-five years in supplying music publications by mail order and is thoroughly equipped to give the music buyer the best possible service. Orchestra and band publications here- tofore were not carried on a large scale, but now that the equipment is at hand to properly take care of these branches, orchestra leaders are invited to test the prompt and efficient service with the best possible prices that now awaits them. Piano Playing with Piano Questions By Josef Hofmann We cannot too highly recommend this work. The mere fact that it is read by almost every one around this establish- ment warrants us in unhesitatingly recom- mending the book. Since the last issue there has been an addition made to the work. The article that Mr. Josef Hof- mann has had in Tue Ervpe will become a part of this work. There has been no article published in Tur Ervuper for late years that has raised such an amount of enthusiasm and discussion as this article by Josef Hofmann on “The Indispensibles in Pianistic Success.” This article will be placed at the end of the work. This book will be one of the most im- portant additions to piano literature that we know of, so while you have a chance to purchase it at about one-half price why not take advantage mf it? The work is one that every pianist and piano teacher should have. | Our special advance price is but $1.00. Selected Studies for the Violin in the Second and Third Positions By Chas. Levenson After the young student has completed the work in violin playing in the first position the problem arises to introduce the second and third position in an accept- able manner; for this end it is necessary to have attractive studies, and it has been Mr. Levenson’s idea in compiling this work to select the best second and third position studies from the works of all the great writers for the violin. These studies, however, are not at all difficult; they are such studies as the pupil may be able to take up after having done a_ reasonable amount of work in the first position. This volume will be welcomed by all violin teachers and students, as it is very diffi- cult to obtain suitable material at this stage of the pupil’s progress. The special introductory price in ad- vance of publication is 35 cents per copy, postpaid. Masterly Transcriptions of Three Classics for the Piano It is not with undue enthusiasm that the Theodore Presser Company calls at- tention to three recent publications that are contributions of the highest order to published compositions for the piano. It is rather difficult to name one of these above the other since each represents a different style. We will first call attention to the Chopin Waltz in D flat arranged by Moszkowski. Always a favorite piano number this waltz has been greatly enhanced by Mosz- kowski in such a manner as to make this arrangement superior to all others and the one that should be in every concert pian- ist’s repertoire. Many well-versed musicians agree upon the extraordinary ability of Edward Schuett to add the finishing touches to a classic for the piano. Schuett has made a most beautiful arrangement of Rubin- stein’s Melody in F, and this number, which will forever live in the hearts of music lovers, can most effectively be pre- sented by the pianist using this unsur- passed arrangement by Schuett. For a number that stirs and electrifies, Ernest Hutchinson’s piano arrangement of the Ride of the Walkiire is superb. The possibilities of the rendition of this are unlimited, and we earnestly advise every artist pianist to add this to his reper- toire. Teachers should always be sure to in- sist on these arrangements, for in addition to being ideal for the concert pianist, they possess those excellent qualities a teacher desires in numbers for advanced students. Easter Music Choir directors who have not yet secured music for the Easter Services, are urged to avail themselves of our “On Sale” plan to secure the excellent material which we are offering this season. We are listing a number of novelties which will appeal to all interested in good music. Easter Sonos. Lord of Life and Glory, high or medium voice, F. A. Clark. Easter Dawn, medium voice, C. P. Scott. Christ the Lord is Risen, medium voice, Delafield. Easter Duvets. Christ Victorious, for alto and tenor, Roberts. I Am the Resurrection, for soprano and alto, Stults. Easter Morn, for soprano and_ alto, Schoebel. Kaster ANTHEMS. Now is Christ Risen, Clark. The Risen Lord, Morrison. The Resurrection, Stults. Welcome, Happy Morning, Rockwell. At the Lamb’s High Feast, Stults. As it Began to Dawn, Martin. Easter ANTHEMS FOR WoMEN’s VOICES OR JUVENILE CHOIRS. Alleluia, Alleluia, 3 parts, Brander. Hosanna, 2 parts, Granier. Christ is Risen, Warhurst. Easter ANTHEMS FOR MeENn’s Voices. Alleluia, Alleluia, Brander. Behold, I Show You a Mystery, Solly. Christ is Risen, Menshall-Nevin. Hosanna, Granier. Sing With All the Sons of Glory, Brackett. Easter CANTATAS. Greatest Love, Petrie. Dawn of the Kingdom, Wolcott. Victory Divine, Marks. Wondrous Cross, Berge. Immortality, Stults. Easter SERVICES FOR THE SUNDAY SCIIOOL. The Risen King, R. S. Morrison. Dawn of Hope, R. M. Stults. Hail, Festal Day, R. M. Stults. THE ETUDE Melodies Without Notes By Mrs. H. B. Hudson We had hoped to have this work out in time to fill advance orders before the present issue of Tur Erupe was in the hands of the readers, but owing to delays we are not able to make that announce- ment; however, we expect that this will be the last month that this work will be offered at special price. This is a little volume that has no notes connected with it, all the playing is done by letters, as was explained in our last issue. It will be taken up only with the very first lessons and the very youngest beginners. It is a sort of tonic sal fa for the pianoforte. The success of previous works of this kind that have been pub- lished warrants us to believe that there is a demand for this work, and we therefore look forward to a very pleasing reception for the work. Our special advance price for the work, postpaid, is but 35 cents. The Four-Octave Keyboard Chart We had hoped to announce that the Keyboard Chart would be on the market at this time, but owing to the scarcity of labor it was impossible to complete the work. We are therefore continuing it on the special offer for the next month at least. This chart has two purposes: it can be used as a silent keyboard for practicing the five-finger exercises on the table, or it can be placed back of the keyboard to aid the beginner in becoming acquainted with the staff, the notes and names thereon, etc. A chart of this kind should accom- pany every instruction book, for there is no quicker way of learning the notes and the position on the keyboard. Our special introductory price is but 20 cents, postpaid. Twenty Progressive Studies for the Pianoforte By M. Greenwald This is a new and most attractive book of studies. They are of about the same degree of difficulty and of similar charac- ter to those by Streabbog, Opus 63, but they are decidedly more modern. They will undoubtedly prove most entertaining to the young student and in addition they will afford splendid practice material. Each study is devoted to some particular point of elementary technic and each is written in characteristic vein; some of the — studies are almost like pieces. The special introductory price in ad- vance of publication is 35 cents per copy, postpaid. A New Anthem Book It is hardly necessary at this time to explain to our readers the purpose of this book. We have already issued about ten of such works and all have been immensely popular. It gives choirs a great many of the best anthems, bound in suitable form, at a very minimum price, about one-third of the cost of the usual octavo music. Every one of these anthems has been tried out, and it is only the cream of our cata- logue that is included in these books, so that any one who has to do with choir music need not hesitate to take advantage of the offer. Our special price is but 20 cents, post- paid. Songs and Dances from Foreign Lands Arranged for the Piano By M. Paloverde This is a collection of very entertain- ing second grade pieces. The melodies are selected from the music of old lands, and these have been newly arranged for the piano by Mr. Paloverde. Among the coun- tries represented are England, France, Russia, Servia, Bohemia, Spain and others. The special introductory price in ad- vance of publication is 35 cents per copy, postpaid.
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‘immediate demand for the book. -contain a preface by Mr. Lieurance, dealing with THE ETUDE Polyphonic Studies for the Pianoforte There is rather a scarcity of works of this kind for the piano. Considering the great benefit and the educational value of counterpoint playing, it is a wonder that there has not been more studies of this kind produced. Of all the great vol- ume of pianoforte studies that Czerny has written there is but one book of poly-, phonic playing; that is, part playing, and yet in actual practice the average musi-' cian is concerned in part playing about as much as in everything else. Besides this there is that intellectual training that is acquired by the concentration of the mind on the various voices that have to be brought out. We personally lay the greatest stress on this work. It is one that can be taken up from the very start; it will not contain very difficult poly- phonic playing, but it will be a sort of continuation of a book of first studies by Bach, and we highly recommend the work to our readers. Our introductory price is but 40 cents, postpaid, Part Songs for Men's Voices By W. Berwald This book will soon be ready, but we are continuing during the current month the special introductory offer. This will prove to be one of the best collections of part songs for men’s voices ever issued. The larger number of pieces in the book are original compositions by Mr. Berwald which have never before appeared; these are both sacred and secular. In addition, some very successful songs and part songs by other writers have been especially ar- ranged by Mr. Berwald, making altogether a most attractive volume. The pieces are all of intermediate difficulty and they may be learned with a minimum of rehearsals by most any club or singing society. The special introductory price in ad- vance of publication is 30 cents per copy, postpaid. Favorite Old Time Tunes for Violin and Piano This work is very nearly ready, but the special introductory offer will be continued during the current month. This will prove an admirable book for violinists of modern attainment, offering, as it were, a wealth of the old and favorite melodies; just such things as violinists are frequently asked to play in gatherings. The book is es- pecially rich in the old-time jigs, reels and other dances. “The special introductory price in ad- vance of publication is 20 cents per copy, postpaid. Teaching Song Album ~ There is a distinct class of songs that the voice teachers use for education. They are not necessarily difficult, but are suit- able for the development of the singer’s voice, and it is with this in view that the present volume is being compiled. It is sort of a studio volume; that is, educa- tional and at the same time beautiful, not always suitable for public performance. There is nothing of any unusual compass “or difficulty, but the songs are all of a practical nature. Our special introductory price for this volume is but 40 cents, postpaid. New Indian Song Collection By Thurlow Lieurance . This is the title adapted for the new collection of eight songs by Thurlow Lieurance. It is only necessary to state that this new volume will contain among other numbers the famous song, By the Waters of Minnetonka, to stimulate an Other successful Indian songs by Mr. Lieurance will be included, notably the very beautiful The book will illustrated song, By Weeping Waters. very beautifully the music of the American Indian. ~The ‘special introductory price in- ad- . ance of Pee is 50 cents per copy, postpaid. Advanced Study Pieces for the Pianoforte This work is very nearly ready, but the special introductory’ offer will be con- tinued during the current month. This will prove to be an unusually desirable volume for piano students who are some- what advanced. We can give a partial list of the contents as follows: Impromptu in C$ Minor, by Reinhold; By the Sea, by Posca; In Springtime, by Noskowski; Oc- tave Intermezzo, by Leschetizky ; From the Garden, by Pesse; Japanese Studies, by Poldini; Song of the Kankakeet, by Morey. This list of pieces will give one a very good idea of the general character of the volume. All of these pieces possess tech- nical quality as well as musical merit. The special introductory price in ad- vance of publication is 35 cents per copy, postpaid. Standard Elementary Album for the Pianoforte This is another one of our new albums printed from the special large plates. It consists of first and second grade pieces taken from all writers, classic, modern and contemporary composers being included. It will probably prove to be the most ex- tensive collection of elementary pieces ever issued. Every number has been se- lected with the greatest care and all are gems. The young student taking up this album will find attractive recreation ma- terial extending over months of work. The special introductory price in ad- vance of publication is 30 cents per copy, postpaid. Nursery Tales Retold By Geo. L. Spaulding (Four-Hand Pieces for the Pianoforte) This book is now on press, but the special introductory offer will be continued during the current month. It is a new number in the attractive series for four hands, preceded by You and I and Just We Two. It is of about the same grade of difficulty as the two preceding; all of the little duets lie either in grade one or in grade two. Each piece, written in char- acteristic vein, has appropriate verses which may be sung ad lib; and some of the familiar old nursery tales are again set forth, but in modern guise. The special introductory price in ad- vance of publication is 30 cents per copy, postpaid. Easy Arrangements of Celebrated Pieces for the Pianoforte The idea of simplifying difficult piano compositions is rather an innovation. This has not been done until recent years. There has always been such a halo encir- cling these master pieces that it was con- sidered a sacrilege in any way to tamper with them. We think differently now; everything is made in miniature to edu- cate the child and to prepare the pupil for higher flights. In the playroom will be found miniature locomotives, automobiles, histories of England and the kings. The classic writers have all been made over to suit the child. We are now doing just the same thing in music, and music is very suitable to ex- pansion and contraction. Take a compo- sition like the Largo, by Handel, or The Serenade, by Schubert, and a thousand other pieces. There we have the simple melody first of all; then we have the ac- companying harmony—you can go almost any depth; then we have the expansion into the various forms for the orchestra, for the organ and combination of instru- ments. When a composition which has unusual merit comes out at the present time the publisher gets it out in all the forms possible. Sometimes as high as twenty or thirty arrangements will be made from a single composition. This is just what we are doing now with these master pieces for children; we are mak- ing an excellent volume, as our catalogue is replete with the best material. Our special introductory price is 40 cents. Standard American Album for the Pianoforte This book should not be cnatinited with our Album of American Composers which was recently published. The Stand- ard American Album is one of our series of albums printed from the special large plates, and it is primarily a collection of teaching pieces by contemporary American writers. An unusually large number of pieces is included, and some of them are among the most attractive of numbers of their character ever written. The pieces in this volume are chiefly of the third grade, some are a little easier and a very few a trifle more difficult. The special introductory price in ad- vance of publication is 50 cents per copy, postpaid. First Studies for the Violin By R. Hoffman Opus 25, Book 1 This is one of the standard elementary books for violin used by nearly all teach- ers. It is a book which may accompany or follow any first instruction book; it is a book that many teachers feel they cannot get along without. The studies are of moderate length and tuneful, adapted to the young student. The special introductory price in ad- vance of publication is 25 cents per copy, postpaid. Advance of Publication Offers Withdrawn The two following works, promised for some time, have now appeared from the press, and the advance orders will be filled about the same time as this issue makes its appearance. These works are now on the market regularly, and any of our patrons who desire to examine them at our regular, professional prices, are cheerfully invited to do so, with no responsibility except the transportation. Musical Theory and Writing Book, by Venth, 75 cents. Twenty-five Melodies for Eye, Ear and Hand Training, by Bilbro, 75 cents. These Rewards for a Few Odd Moments If you will mention to your immediate acquaintances the many good things that Tue Ervupe contains and get their sub- scriptions, collecting $2.00 for each one, we will send you, as a reward for your trouble, any of the following albums and premiums as given: For ONE Subscription (Not Your Own) Cramm, H. L. New Tunes and Rhymes for Little Pianists (with words). Grieg, Ed. First Peer Gynt Suite, Op. 46. Mathews’ Standard Graded Course; 10 grades, any one grade, Modern Dance Album. Standard Bril- liant Album (27 pieces). Standard First Pieces (72 pieces). Young Players’ Album (70 pieces). Bugbee, L. A. First Grade Studies, easy. Paperoid Wallet. Manicure Set (five pieces). Hanger Sets. Voaks, Dr. Pocket Doctor. For TWO Subscriptions (Not Your Own) Compositions for the Pianoforte, by Woman Composers. Gurlitt. Album of Selected Composi- tions (Mathews). Liszt, F. Album of Celebrated Works. Masterpieces, The 21 best composi- tions. Mendelssohn. Songs Without Words (Complete). | Mozart, W. A. Sonatas, 1 Vol. Beginner’s Method. Theo. Presser. Intended for the youngest beginners -and perfectly adapted to their needs. Czerny-Liebling. Selected Studies. Three books, either one. Czerny’s most necessary studies selected and arranged. Mason, Dr. Wm. Touch and Technic; Part 1, The Two-Finger Exercise; Part 2, The. Seales; Part 3, The Arpeggios; Part 4, The School of Octaves. cd one part. — MARCH 1920 Page 211 Bon Bon Dish. Quadruple silver plated. Silver Thimble. Paperoid Wallet—Larger Size. Speedy Stitcher Sewing Awl. Picture Frame (Non-tarnishable Plat- inoid. Oval or Oblong. 4x6 in.). | Brush and Comb Set (Imitation Ivory). Yor THREE Subscriptions (Not Your Own) Cooke, J. F. Mastering the Scales. Enables the teacher to start scale study with very young pupils and carry it on to the highest degree of proficiency with advanced student Hanan, C. L. Virtuoso Pianist (Com- plete). Heller, Stephen. Thirty Selected Studies. The best studies from the most popular opus numbers. Leschetizky Method. The Modern Pianist (Prentner). Mathews. Standard Graded Course of Studies (Any three grades). Phillip, I. Preparatory School of Technic. Daily practice in technical es- sentials. Standard Concert Etudes. Bender G. C. Business Manual for Music Teachers. Orem, P. W. Harmony Book for Be- ginners. Photogravure Pictures of Composers in characteristic pose (Wagner, Schu- bert, Liszt, Mozart at Salzburg, Bee- thoven). Any four. Standard Dictionary. _ Picture Frame (Oval or Oblong—5 x 61/, in.). Gold Bangle. Attractive Design. Solid Gold Bar Pins. Old Rose Finish. Cream Ladle. Black Crepe Grain Morean Lined Bag. Air Gun. Special Notices ANNOUNCEMENTS and rece seme | WANTED and FOR SALE | Rate 10c per word FOR SALE—DPight Organ Books—Bach, Organ Sonatas, Mendelssohn, Rheinberger, one opera score, other organ music. Condi- tion excellent. Address Miss L. F. Thayer, 33 Manhattan Ave., New York City. REWARD for address of F.. Handley Wells, music teacher. W.. France, Scarboro, Canada. ANNOUNCEMENTS | Rate 20c per word MUSIC COMPOSED—Send words. Manu- scripts corrected. Harmony, correspondence lessons. Dr. Wooler, Buffalo, N. Y. YOUR DEATHLESS SMIL E—Appeal- ing lyric, music by Leo Friedman, author of “Meet Me To-night in Dreamland.’ Words by Lona M. T. Clarke. War Memorial Song to Boys Who “Met Death Smiling’ in France. Now ready to mail. Fifteen cents, postage paid. Order from North American Music Publishing Company, Grand Opera louse Bldg., Chicago, Illinois. MANUSCRIPTS prepared for publication. Music composed to words. Compositions criti- cized. Irving Gingrich, 646 Belden Ave.,, Chicago. TEXAS TEACHERS’ BUREAU—Organ- ized 1888. Oldest teachers’ bureau in Dixie; strong commercial and musical departments; membership $1.00. CC. C. Truitt, Mgr., Mar- shall, Texas. . VOICE CULTURE—A scientific system without exercises. ‘Tells exactly how” in a simple, practical and thorough manner. Board binding, $1.00; cloth, $3.00. The Benedict Vocal Studio, 29 West ‘81st Street, New York City. STUDY HARMONY and COMPOSITION © by MAIL fiiruction of Dr. | Alfred Wooler, winner of Interna- tional anthem competition, 1911. A simple, concise and practical course. Send for prospectus and rates. Composers’ MSS. corrected. ALFRED WOOLER, Mus. Doc. A 322 W. Utica St., Buffalo, N ¥. Please mention: THE ETUDE when addressing our advertisers. Lewbess
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MARCH 1920 THE ETUDE a ee ; Some Day I Shalt’ Hear You Calling} — Page 212 Music Lessons | UNDER TEACHERS =AtHome= Words by Guiapys Lacy Music by Artuur F. Tate High Voice, E flat Low Voice, C The words of the first verse and the melody of a portion BOOTS ET Ree reer teem ee ne eee eee EE ES Seat en eee Smee eee eneeeeee see eeeeeerenneenereres sag You Can Take a Complete ‘Conservatory Course Either Students’ or Teachers’ and learn how to play or teach correctly, in your spare time at home, by the University Extension Method, which is now used by leading colleges of the country. Sherwood Piano Lessons for Students Contain complete, explicit instruction on every phase of piano play- ing. Nostone has been left unturned to make this absolutely perfect. It would surprise you to know that Sherwood devoted to each lesson enough time to earn at least $100.00 in teaching. It is possible for you to get all this time and energy for almost nothing, compared to what it cost. The lessons are illustrated with life-like photographs of Sherwood at the piano. They are given with weekly examination papers. Sherwood Normal Lessons for Piano Teachers Contain the fundamental principles of successful teaching—the vital principles—the big things in touch, technique, melody, phrasing, rhythm, tone production, interpretation and expression—a complete set of physi- cal exercises for developing, strengthening and training the muscles of the fingers, hands, wrists, arms and body, fully explained, illustrated and made clear by photographs, diagrams and drawings. Harmony A knowledge of Harmony is necessary for every student and teacher. You can study the Harmony Course prepared especially for us by Adolph Rosenbecker, former Soloist and Conductor, pupil of Richter; and Dr. Daniel Protheroe, Eminent Composer, Choral Conductor and Teacher. You will receive the personal instruction of Herbert J. Wrightson, Theorist and Composer. Harmony Teaches You to 4. Detect Wrong Notes and faulty pro- gressions whether in printed music or dur- ing the performance of a composition. Memorize Rapidly, one of the very greatest benefits derived from the study of Harmony. 6. Substitute Other Notes when for any reason the ones written are inconvenient to play. 1. Analyze Music, thus enabling you to determine the key of any composition and its various harmonic progressions. 2. Transpose at Sight more easily ac- companiments which you may be called upon to play. 3. Harmonize Melodies correctly and arrange music for bands and orchestras. Advanced Composition Edited and personally conducted by Herbert J. Wrightson, distin- guished theorist and composer. This is the most advanced musical course given by any school in America. History of Music By Glenn Dillard Gunn, noted writer and musician. This History Course ineludes Analysis and Appreciation of Music. Unprecedented Special Offer! Will you take advantage of our offer of 6 lessons which we offer to ETUDE readers without charge or obligation on their part? We will send you 6 lessons from the Normal Piano or Harmony Course or 6 lessons selected from some other subject, if you prefer. We have courses in Piano (one for students and one for teachers), Harmony, Choral Con- ducting, Public School Music, Violin, Cornet, Guitar and Mandolin. Select the course you are interested in and write now for 6 lessons and catalog. You will receive full details of the course and be under no obligation to us. The cost is nothing and you will benefit much. University Extension Conservatory 6314 Siegel-Myers Bldg. Chicago, Illinois Well-known Song are given below: Oft in the twilight when shadows are falling, Faintly come stealing from over the sea; Faces long vanished and voices now still, Voices I loved and so dear once to me. | Price, 50 cents | in days of yore, — f # Ta # | Some day I shall feel yourkiss-es, Love you ev - er - more. (pee Sagar tag tae Writer's hep | 2 | Ta * simile ~ _ oe ae Most Some day when the clouds have vanished, Stars will shine again; Rec ent Then shall dawn hope’s glorious morrow, Success. 3 C. THEropore Presser Co., Phila., Pa. A song that will “set over.” Has a popular appeal and Real Musical Merit. Love be our refrain. | THEODORE PRESSER COMPANY 1710-1712-1714 CHESTNUT STREET Singers Everywhere are Beginning to Use this Number. Get Your Copy Now and Enjoy the Flattering Reception an Audience Always Gives Those First Introducing a New Song Success. PHILADELPHIA, PA. KING SOLOMON AND KING DAVID 85 sr8°"Ccote' (Price 30 cones intr epentedly scores Mite Wats by Bispham, Scott and Werrenrath “The King Solomon Song went over very big at the Reinald Werrenrath recital at Aeolian Hall, New York. The newspapers made special comment upon it. It was warmly applauded."’ Wolfsohn Musical Bureau, N.Y. SENT ON RECEIPT OF PRICE TO THE PUBLISHERS THEO. PRESSER CO., - EASTERN BEECHWOOD #8. tages Broad St. Conservatory of Music 0) M 6 Gilbert Raynolds Combs, Director 1827-31 8S. Broad St. Philadelphia, Pa, r SYSTEM. Improved Music Study for p J NN | N G beginners. Normal Training. Classes Carre Louise Dunning, 8 W. 40th, N.Y. . OPERA SCHOOL. Voice training for Church, r AB Ri Concert and Opera. 1628 Arch St., Phila. 554 W.165thSt.,N.Y. City. Circulars mailed. Piano School H AWTH R N Leschetizky Method Potsdam, N. # a CHRIRTIAAR ‘ Gommponee elioty tudio: Carnegie K R ENS Suite 303, New York City POR SRA il, Ril 5 hea RS MN AOE A Hl Ee | RE A! AER! STEERS Mrs. M. B. Piano Instruction Mi () T N Studio—Sternberg School 10 8. 18th St. Philadelphia —— ae School of Music and Arts Ralfe Leech Sterner, Director Central Park, W., & 95th St.,N. Y. NEW YOR <i sesiinsugetensip ssc iletemesiigeapcnceranitsncasiiieiteseniiet made G. PHRASING and TONE-COLOR A AR DA at the PIANO. Studios, Carnegie Hall, New York mag —- 250 Main St., New Rochelle, N. MARIO: Voice Culture. A N | Studio: 206 West 71st St., New York Phone: Columbus 2202. VIRGIL “Ps-sckcct end conserzetory SOUTHERN PAA NL SEN A EA GARI A Rit oe SENN SEER BITES "SSE SOUTHERN CONSERVATORY OF MUSIC. 4 Pe ANT Gilmore Ward Bryant, Dir. Est’d 1898, All Degrees Conferred. Durham, N, C. Please mention THE ETUDE when addressing our advertisers. ‘mL Professional Directory “ PHILADELPHIA, PA. WESTERN CONSERVATORY 70 Instructors Piano, Voice, Organ, Violin, etc. Kimball Hall Chicago SCHOOL OF MUSIC 0) [ D Katharine M. Arnold, Director 93 Madison Street, Tiffin, Ohio. B RO ROY DAVID. Concert Pianist—Teacher, WN Assistant to the late Emil Liebling. Lyon & Healy Building, Chicago 3 COURSE OF MUSIC STUDY RB U BR BR OWE Kindergarten and Prim Dept. D. 246 Highland Ave.,H.P. Musical College. 53rd yr. Leading Schoo! C LH C A G0 in Abiation Peah, Wesel, Violins Organ, Theory,P.8.M. 6208.Mich.Ave.,Chicago Conservatory of Music EsTaBLISHED 1867. HighlandAve, and Oak St. Cincinnati, Ohio Clara Osborne Reed, Director COLUMBIA S25 S2%s zee, DAHM PETERSEN <3 Los Angeles, California CONSERVATORY OF MUSIC i 1000 Students. 50 Teachers 1013 Woodward Ave., Detroit, Mich. anville, Business Mana D ETR 0 1117-19 Woodward Ave. , Detroit, Mich. Conservatory of Music Galesburg, Illinois Catalog free Wm. F. Bentley, Director ee SCHOOL OF MUSIC INSTITUTE OF MUSICAL ART H.B.M ANNA M. NORMAL TEACHER Pupil of Leschetizky. Seud $1.00 Vi a for sample lesson on Hand Develop- ment nnd Interpretation, 300 Fine Arts Bldg., CHICAGO .: Institute of Music and Dramatic Art, W ESTE R | All Depts. F. Schweikher, Director Wolfe Hall, Denver, Colorado oe
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THE ETUDE | MARCH 1920 Page 218 Schools and Colleges eA] N Sz) CHICAGO AND GENERAL SS WHOOP OS CLO OLOGY GLO GLOV GVO GLO VOY GVO VO VOTO VOLO VOV OVOP OVO LO VOLS POVOVOPOPVOVOVOHGYOVoyie re R MASTER SCHOOL | | le ~— June 28 to August 7 [Six Weeks] : PIANO VOCAL VIOLIN ORGAN PERCY GRAINGER OSCAR SAENGER LEON SAMETINI CLARENCE EDDY RUDOLPH REUTER HERBERT WITHERSPOON MAX FISCHEL ERIG DeLAMARTER ALEXANDER RAAB MME. DELIA VALERI FREDERIK FREDERIKSEN C. GORDON WEDERTZ 5 FLORENCE HINKLE MAURICE. GOLDBLATT HELEN W. ROSS HAROLD MICKWITZ ADOLPH MUHLMANN LOUISE FERRARIS ELIAS BREDIN 2) EDWARD COLLINS MRS. O. L. FOX RUDOLPH REINERS MAURICE ARONSON EDOARDO SACERDOTE | LOIS DYSON eee Sravan AesPouen SMa LL UGH BURTON auie ywaaton ‘lan MABEL SHARP HERDIEN ‘KARL RECKZEH tae Cutie ch ee REPERTOIRE AND INTERPRETATION CLASSES HARRY DETWEILER EDOUARD DUFRESNE | HERBERT WITHERSPOON (Vocal) C. GORDON WEDERTZ GENEVRA JOHNSTONE-BISHOP OSCAR SAENGER (Vocal) MME. DELIA _VALERI (Vocal) BARTON BACHMANN EDITH W. GRIFFING, ELIAS BREDIN PERCY GRAINGER (Piano) LEON SAMETINI (Violin) HARMONY, COMPOSITION, COUNTERPOINT, CANON AND FUGUE FELIX BOROWSKI LOUIS VICTOR SAAR HAROLD B. MARYOTT LAURA D. HARRIS BARTON BACHMANN’ PAULINE HOUCK TEACHERS NORMAL COURSES PUBLIC SCHOOL MUSIC TOE, BALLET, INTERPRETATIVE VUTOTOTOTOROMOTT®: HERBERT WITHERSPOON (Vocal HAROLD B. MARYOTT AND CLASSICAL DANCING 5 OR i HAROLD B. MARYOTT (Vosal). HISTORY OF MUSIC ANDREAS PAVLEY a Sea PERCY GRAINGER (Piano) FELIX BOROWSKI MAE STEBBINS REED GLADYS PRICE 5 . = eR JULIA LOIS CARUTHERS (Piano) ENSEMBLE PLAYING & ACCOMPANYING RUTH AUSTIN GLADYS BENEDICT LEON SAMETINI MAX FISCHEL SCHOOL OF OPERA | | ALTON PYRE (E d 3 Ole SSA ren ey a a hehe mi ITALIAN FRENCH ADOLPH MUHLMANN ; AND DRAMATIC ART S | C Kimball Building, Chicago, III. Dr. Carver Williams, President Offers to earnest students the fullest and most profitable ACADEMIC COURSE of high grade, of CLARE OSBORNE REED, Director “@ Soa SHORT PEDAGOGICAL MUSIC COURSE by EFFA ELLIS PERFIELD Consists of material on the following subjects: 1 Spey | 4 Melodic Dictation 2 Sight Singing 5 Ear Feeling 8 Improvisin 6 Rote Song 7 Rhythm and “eee Dictation 8 Keyboard and Written Harmony 9 Keyboard, Sharp, Flat, etc. 10 Scientifie Pedagogy 11 How to correlate preceding subjects any School of Music in the Middle West. An unexcelled faculty of Artist Teachers. BE A MUSICIAN For information, address Dept. E. E, L. Stephen, Manager ing, Orchestra mig’ tS History of Music, Demonstration, Children’s Classes. s Free year book. 5 Students’ Orchestra and Chorus. COLUMBIA SCHOOL OF MUSIC Box 73—509 So. Wabash Ave., Chicago, III. Gen © 6 a 2 cnc SS © _ || voresr Universi School of Music ' MARTA MILINOWSKI, B. A.., Director A Musical School with College Standards. Seund training under teachers of wide reputation and long experience. Four MRS. CARRE LOUISE DUNNING, Originator, 8 West 40th St., New York City. Portland, Ore., June 17th; Chicago, August Ist. Mary E. Breckisen, 354 Irving St., Toledo, Ohio. Louisville, Ky., June; Toledo, Ohio, July. Harriet Bacon MacDonald, 609 Fine Arts Bldg., Chicago Illinois. Chicago, March, July. Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo. Mrs. Oscar E. Busby, 233 North Ewing Ave., Dallas, Texas. Dallas, March 8th; Memphis, Tenn., June 21st. Jeanette Currey Fuller, 50 Erion Crescent, Roche ster, New York. Rochester, July. Mrs. Jean Warren Carrick, 977 East Madison St., Portland, Ore. Portland, April 15th; August 15th. Clara Sabin Winter, 410 North Main St., Yates Center, Kansas. Wichita, Kansas, June 2nd. N. Beth Davis, Whitman Conservatory of Music, Walla Walla, Wash. Walla Walla, July 12th. Mrs. Wesley Porter Mason, 5011 Worth St., Dallas, Texas. Virginia Ryan, 1115 Washington St., Waco, Texas. Waco Feb. 16th. Carrie Munger Long, 609 Fine Arts Bldg., Chicago, Illinois. New York City, Feb.; Chicago, April. Stella Huffmeyer Seymour, 1219 Garden St., San Antonio, Texas. Mattie D. Willis, 617 South 4th St. Waco, Texas. Waco, June 17th, New York City, August, 2nd. Laura Jones Rawlinson, 554 Everett St., Portland Oregon. Portland, April. Mrs. Ura Wrinkle Synnott, 824 North Ewing Ave., Dallas, Texas. Dallas, March 8th; June 28th. Ruby Frances Jain, Dallas Academy of Music, Dallas, Texas. Maud E. Littlefield, 204 South Olympia St., Tulsa, Okla. Enid, Okla., Phillips University, June; Colorado Springs, Col., July, August. Cara M. Garrett, Bay City, Texas. Isobel M. Tone, Lakeview Hotel, Los Angeles, Cal. Los Angeles, June 17th. Elizabeth Hasemeier, 41 South 21st. St,, Richmond, Ind. Richmond, June. Beatrice S. Eikel, Kidd-Key College, Sherman, Texas. Kidd-Key College, June 15th. Mrs. H. R. Watkins, 124 East 11th. St., Oklahoma City, Okla. Oklahoma City, Spring and Summer. INFORMATION AND BOOKLET UPON REQUEST f “ with the FIRST year’s piano work. PRICE of this COURSE is: s SUMMER SCHOOL & | PRICE of this COURSE. st 6 weeks—June 28th to August 7th = or $35 in Three Payments— Pa rat DUNNING SYSTEM °"%e'sedoners Ganiar ah ion Public School Merle Methate 7 for Beginners , EFFA ELLIS PERFIELO MUSIC SCHOOL, Inc. ini ter- " Pe 950 McCl Bldg., 218 S. Wabash Ave. PR say fii gg ny Graduate I rence The Demand for Dunning Teachers Cannot Be S upplied. Why? mip tina Sieh ni NORMAL CLASSES AS FOLLOWS: ee ee Ss e G= ONSERVATORY ( INCORPORATED): Elias Day, Pres. and Dir. of Dramatic Department . Theodote Harrison, D:r. of Voice Department Faculty includes many other prominent Artists SUMMER TERM June 28th—August Ist - THEODORE HARRISON (4/] Branches of KCusic Director of Voice Department and Dramatic. Art Taught Work taken during summer will be credited on regular courses. Diplomas and Degrees. Write for years course for degree and diploma. oo courses in Keyboard Harmony, istory of Music and Appreciation. Sehool chorus, orchestra and recitals. Con- genial home environment. Dormitory ac- cemmodations for girls limited. Address ’ who can quali- detailed information and free catalog. The Director, Box 105, Lake Forest, Ill. Private Teachers fy foe Associ OTHER pag tari Addries Siaglitess Credits allowed by Lake Forest College bership in the Western Conservatory may provide regular SCHOOLS O Dept. E and Ferry Hall for Music School work ei” ee ae gory ae | aaio, PAGE 214 600-610 LYON & HEALY BLDG.,, Chicago Please mention THE ETUDE when addressing our advertisers.
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& MARCH 1920 Page 214 soveed!!* _eemmenem. “ “949. CHICAGO AND MIDDLE WEST iii cn ee i + American Conservator of Music = 34th Season CHICAGO’S FOREMOST SCHOOL OF MUSIC THE CONSERVATORY ANNOUNCES THE EXCLUSIVE TEACHING ENGAGEMENT | FOR THE SUMMER SCHOOL OF TWO WORLD FAMOUS ARTISTS | Joseph Lhevinne David Bispham Joseph Lhevinne and David Bispham aside from giving private instruction will conduct Repertoire classes especially designed for Professional pianists and singers, for advanced students and teachers. Mr. Bispham will also have a class in Recitation to Music. su " i ‘icc a HN Only a limited number of students accepted. Apply without delay. Special prospectus mailed on application. Summer Normal | Session | _ Six weeks, from June 28 to August 7, 1920. Special Course in Public School Music of six weeks, June 28 to August 7, 1920. Lectures; Recitals. All Departments of Music and Dramatic Art. AA AAA JOSEPH LHEVINNE DAVID BISPHAM Ninety Artist Instructors— Among the Most Prominent May Be Mentioned Voice: Karleton Hackett, Ragna Linne, E. Piano: Heniot Levy, Allen Spencer, Victor Violincello: Robert Ambrosius. arren, K. Howe, Charles La Berge. Garwood, Silvio Scionti, Louise Robyn, Public School Music: O. E. Robinson. Violin: ay Svc Butler, Adolph Weidig, M Ruse Fyenicels Fee! Dinis, May Dositing. Harp: Enrico Tramonti, Helena S. Torgerson. amon Girvin. usica eory omposition: °o ; bed Organ: William Middelschulte, Herbert Weidig, Arthur O. Anders on, J one Dramatic Art: Letitia Kempster Barnum. Hyde, Frank Van Dusen. Palmer, Leo Sowerby. And others of equal importance. A Desirable dormitory accommodations. Many free advantages. Teacher’s Certificates and Diplomas conferred by authority of State of Illinois. Catalog mailed free. Send for Catalog and Summer Session Prospectus. Address AMERICAN CONSERVATORY OF MUSIC, 571 Kimball Hall, Chicago, Illinois JOHN J. HATTSTAEDT, President KARLETON HACKETT, ADOLF WEIDIG, HENIOT LEVY, Associate Directors I kx, ALPARAISO UNIVERSITY SCHOOL OF MUSIC | VALPARAISO (Accredited) INDIANA The University School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public School Music. Students may attend the Music | School and also take the regular work at the University. . THE EXPENSES ARE THE LOWEST Tuition, $36.00 per quarter of twelve weeks. Board, with Furnished Room, $60 er quarter. Catalogue will be mailed free, Address Henry Kinsey Brown, President . 47TH YEAR—STUDENTS ACCEPTED AT ANY TIME eA on A Northwester! WV... UNIVERSITY “7 SUMMER SCHOOL OF MUSIC | e pocamee SIX WEEKS—June 28 to Aug. 7, 1920 PETER C. LUTKIN, Dean A beautiful campus on the wooded shores of Lake Michigan, in Chicago’s most important suburb. Special courses in Applied Music and in Public School and Community Music, also lectures in Piano $ Nor Methods with Children’s Demonstration Classes. Private lessons in Piano, Voice, Organ, Violin and Violoncello. Class lessons in Harmony, Form and Analysis, Counterpoint, History of Music, Sight Singing, Organization and Maintenance of School Orchestras and Bands, and the scoring and arrangement of music for the same. ; Special Lectures and Recitals. Gymnasium, tennis courts and bathing beach available. Address the Secretary, Music Hall, Evanston, Illinois, for the Summer School Bulletin: fl Summer courses also given in College of Liberal Arts, Law and Oratory OTHER CHICAGO SCHOOLS on page 213 ' ; C. W. H. BANGS, President REX ARLINGTON, Director HUNTINGTON COLLEGE CONSERVATORY 0 Music Department of Huntington College, Endowed, with absolutely no expense , so can offer very best of advantages at very low cost. Aim is to educate, not make money. Faculty of unquestioned standing. .., « VIOLIN, PIANO, VOICE, HARMONY, HISTORY OF MUSIC, PUBLIC Courses Offered: $PiooL MusiG, LANGUAGES, EXPRESSION and DRAMATIC ART Special Courses Giving Teachers Practical Work Applicable to Their Needs BOARDING FACILITIES EXCELLENT—NO BETTER ANYWHERE The secretary will be pleased to furnish full Address, Box 512 - - - HUNTINGTON, INDI ANA details and supply any information desired. Minneapolis School of Music, ORATORY AND DRAMATIC ART WILLIAM H. PONTIUS CHARLES M. HOLT - Director, Dept. of Music Director, Dram atic Art 60-62 Eleventh St., So. MINNEAPOLIS, MINN. LARGEST SCHOOL OF ITS KIND IN THE WEST ALL BRANCHES OF MUSIC AND DRAMATIC ART Year Book Free on Request 50 Artist Teachers ADVERTISE YOUR SUMMER SCHOOL Don’t wait until it’s too late. Send in advertising copy NOW for the next issue of THE ETUDE :: MACcPHAIL SCHOOL OF MUSIC 806 Nicollet Ave., Minneapolis, Minn. PUBLIC SCHOOL MUSIC—THADDEUS P. GIDDINGS, Teacher Complete in Pi Voice, Violin, Or; Teachers’ Certificates, Diplomas. Dormitory for Ladies. Comes 0 Eee NOEs ct caces Jama Fist, Sindents May Enter New. . Catalog Proc. Please mention THE ETUDE when addressing our advertisers. THE ETUDE Putting Fun into Scale Practice By Fannie F. Brooks | THERE are two kinds of music lovers in the world. First, the kind who will not study music because they would have to practice scales. Second, the kind who would play better if they would practice . scales more diligently. Scales have al- ways been a bugaboo, and I suggest a way to make them more palatable to the child appetite. =) When a student has learned to finger the. scale of C correctly, ascending and descending, let him hum as he plays it: Do this for ear training. Get this quite smooth. Then start on D flat for the key note, remembering ‘the fingering, and the child will build his own scale and flat the necessary notes: Next on D for the key note and so on; As.the child hums along he will make all sharps and flats. He need not even know the names of the keys; in fact, give these later. In a few lessons he will have mastered the twelve major keys almost unconsciously. Now start the left hand alone on Key of C for the fingering, adopting the same humming method, then use two hands through all the keys. This makes good introductory practice for the lesson arid there is nothing like it for ear training and technic. i Vary the rates of speed and force of stroke. All this will clothe with in- terest what was before deadly dull work. A simple tune may be given in the Key of C, then carried through all the keys. “I suggest Lightly Row. You will be sur- prised how well they can. do this, and how lively their interest as they go from one key to another. They get that skill and independence in passing over black keys which are generally left too late in their course. “ How Do You Pronounce It ?. —_——— By Mrs. C. H. Carpenter ; DvorAk, Saint-Saéns, Brahms, Liszt, Bach, Gounod, Rossini, Ponchielli, Doni- zetti, Wagner, Puccini,. Strauss—how many of them can you pronounce and feel that you have not committed an unpdr- donable sin? Well you say to yourself, “I know what Dvorak and Brahms, Bach and Wagner are, but I’m aq little in the dark when it comes to Ponchielli and Donizetti and even Puccini.” How many of us are in the same boat? Many persons of quite a high degree of refinement and a good knowledge of the music of the great masters, are unable to pronounce correctly some of their names. This is often the cause of pain- ful embarrassment. It is certainly a fault that one can overcome and one that every musician or lover of music should attempt to correct. It only requires some careful study arid a little perseverance to be able, in a short while, to pronounce, without hesitation, the names of all the celebrated composers as well as the difficult cognomens of our present-day musicians and operatic sing- ers. The reason that there are a great many of us who cannot pronounce. these names is simply because we have:not tried to learn to pronounce them. We have no doubt heard them pronounced cor- rectly numerous times but we did not take the little trouble necessary to pre-: serve the pronounciation in our minds. Whenever you come on a name in music that is difficult to pronounce, find out just how it is spoken and study it until you feel that it will not slip from your memory. | | Get a good pronouncing musical direc-. tory and go to work. Don’t let a dollar or so stand between you and knowledge.
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THE ETUDE Making Monkeys of Us By Frances L. Garside A SINGING nation is a progressive na- tion. A singing nation is never defeated in war. One cannot have a grouch in his heart if there is a song on his lips. You cannot hate the man next to you quite so bitterly after you have sung out of the same book and discovered that your voices harmonize. Instead of wish- ing to murder him, you plan to make him your partner in a duet. There are many reasons why singing is good for the world. There is even compensation in the singing of the girl in the next apartment after midnight, for it gives you good cause to break your lease when the landlord raises your rent. Everyone wants to sing. Those who can, do sing, and some who can't, try. Those who know they can’t are happy in the song of others; in the change from the deadly monotony of business life; in the opportunity to get one’s mind off high prices, the sorrows of the great world outside and the petty troubles within. Many are there longing to hear the songs a mourned husband, brother, or son had on his lips when he marched away. The “fly in the ointment” is the effort of the leader to make monkeys of his audience in a mistaken notion that by so doing he is teaching it to sing. For instance: “I do not like the way you sang that last verse of Giggles, and I want you to sing it again. Suppose those in this row who are married sing the first line and those who are unmarried sing the next. Let’s see which has more power.” Childish Nonsense Or— “You sing A Day in June as though you had never. known one. Wake up! Sing it as if you knew what you were singing about. Oh, yes, you have all had perfect days in June. Let’s see if you have. I want all who are married to sing the first line and all who want to get married to sing the second, etc.” Or— “Suppose we try this plan: All over fifty sing one verse and all under fifty the next.” Or, since the leader is delving into the family cupboard, why not try this? “All who have been divorced lead in The Gang’s All Here and those who would like to be sing the chorus.” Or— “Let the men who kissed their wives when they left the house sing When We Meet Again, to be followed by Put Your Trouble in an Old Kit Bag by those who didn’t.” These evidences of bad taste are not imaginary. There are community chorus leaders somewhere, every day, who think they can wake up an audience in song by making this sort of appeal. The community chorus is one of the most beneficent things this country has had in many years. The leaders, in the . main, are marvelous in their skill in in- teresting men and women in song who haven't tried to sing in many months; their patience is wonderful; they are do- ing such good it would not be amiss to call them singing evangelists. But—the men and women who com- prise the audience are often of higher intelligence than that with which the leader credits them when he thinks he can put a song on their lips by first mak- ing monkeys of them. : Bons seveed!” “PENNSYLVANIA, OHIO, DETROIT AND SOUTHERE COMBS CONSERVATORY PHILADELPHIA THIRTY-FIFTH YEAR A Residential and Day School of unparalleled Fa cilities for the attainment of a complete musical education in all branches. A SCHOOL OF INDIVIDUAL INSTRUCTION (Theoretical and Applied Branches Taught Privately and in Classes) Because of its distinguished faculty, original and scientific methods, individual instruction, high ideals, breadth of culture, and moderate cost, combined with efficient management, the Coss ConsERvAToRY affords opportunities not obtainable elsewhere for a complete musical education.’ oa All branches, Norma! Training Course for Teachers, | Public School Music Supervision. Complete Military Band Department. Four Pupils’ Recitals a week, Two Complete Pupils’ Symphony Orchestras, Reciprocal relations with University of Pennsylvania, Ghe only Conservatory in the State with Dormitories for Women A School of Inspiration, Enthusiasm, Loyalty and Success Illustrated Year Book Free GILBERT RAYNOLDS COMBS, Director 8%, Siudice and Dormitories Broad and Reed Streets NEL of MUSIC. EstaauisHen 1867. 52ND YEAR CLARA BAUR, Foundress Conducted according to methods of most pr ve European conservatories Elocution—MUSIC—Languages Faculty of International Reputation - Exceptional advantages a post-graduate and repertoire work. Department of Opera. Ideal location and r ce department with supertor equipment. Master class for virtuoso violinists under EUGENE YSAYE Season 1919-20 For catalogue and information, address Miss BERTHA BAoR, Directress, Cincinnati, Ohio. DANA’S MUSICAL INSTITUTE WARREN, OHIO THE SCHOOL OF. DAILY INSTRUCTION IN ALL BRANCHES OF MUSIC Address LYNN B. DANA, President Desk E, WARREN, OHIO ESTABLISHED 1857 ) PE ABOD CONSERVATORY BALTIMORE, MD. HAROLD RANDOLPH, Director ne of the oldest and most noted Music ales Bebeala in America. BEETHOVEN CONSERVATORY senate: wenasome catalogs tothe One of the oldest and best Music Schools in the United States 4525 Olive gall ag hs ae Mo. “Strongest Faculty in ‘Detroit Institute of Musical “Art te Middle Wen” GUY BEVIER WILLIAMS, President A School which offers every advantageincidental toa broad musical education Fifty artist teachers. Highest standards. Artistic Environment. For Catalog Address 1117-1119 Woodward Avenue, DETROIT, MICHIGAN H. B. MANVILLE, Business Manager BURROWES COURSE OF MUSIC STUDY Kindergarten and Primary—cCorrespondence or Personal Instruction Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method Enthusiastic letters from teachers of the Course, sm ceidhameduss BURROWES also descriptive literature sent on application to Dept. D. 246 HIGHLAND AVE., H. P., - - DETROIT, MICH. Pianist, Organist and Musical Lecturer The most Novel, Varied and Beautifully Illustrated Lecture-recitals upon e American Platform. Given with success at wine of the largest Universities, Colleges, Lyceums and Societies. The Lecture-recital on the ‘* Eroica Sonata of MacDowell,’’ Mr. Corey’s literary interpretation of which has the composer’s own endorsement, is especially adapted for music schools and musical clubs. For information, address 38 WOODWARD TERRACE, Detroit, Mich. yas lll ree iE ee me. Schools and Colleges : MARCH 1920 Page 215 Zeckwer z= Philadelphia Musical Academy m began Sept. 8. A few vacancies for ad- sana eae pen under calinoad artist-teachers. Theory, instrumental and vocal. Students’ Symphony Orches- tras and recitals. Branches in West Phila. and oe For prospectus address TON LEWIS 4 Managing Director, 1617 Spruce St. PITTSBURGH MUSICAL INSTITUTE, inc. College Degrees for Music Students with University of Pittsburgh 4259 FIFTH AVENUE MR. and MRS. CROSBY ADAMS Annual Summer Classes for Teachers of Piano for the Study of Teaching Material MONTREAT, July 8-23-1920 August 5-20 Write for. booklet containing outline and strong letters from Teachers who have taken the Course. MONTREAT, NORTH CAROLINA Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH Advantages Equal to Those Found Anywhere Students may enter at any time. Send for Catalog. GEO. F. LINDNER, Director Peachtree and Broad Streets, Atlanta, Georgia School of Music SHENANDOAH COLLEGIATE & INSTITUTE LEADING SCHOOL OF MUSIC IN THE SOUTH Large Orchestra, Full Regimental Band sent from this school to France. All branches as well as Art, Expression, Piano Tuning and Preparatory work. Ask for Booklet FREE. S.C.1. BOX 110 DAYTON, VA. } BRENAU COLLEGE CONSERVATORY ia ©6Noted for: Select patronage 30 states; pleasant social life; loca- MN tion foothills Blue Ridge mts. North of Atlanta, Standard § A.B. course; special advantages in music, oratory, art, domestic — physical culture. 82 buildings including lenny houses, i Ww gymnasium, swimming gee Separate ‘‘Sohool”’ for young i vale Catalog and-illustrated boo |, Address Brenau, Box T, Gainesville, Ga. | SUMMER IS NOT TOO FAR AWAY TO NEGLECT PREPARING FINANCES FOR SPECIAL MUSIC STUDY DETROIT ranciettvort Mt A-, Pres. CONSERVATORY of jcitson," MUSIC Offers courses in Piano, Voice, Violin,Organ, Theory, Public School Music and Drawing, Oral Interpretation, etc. Work based on Sest modern and educational principles. Numerous Lectures, Concerts and Recitals throughout the eo | environment. Students may enter now. For detatled information address James H. Bell, Please mention THE ETUDE when addressing our advertisers.
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Page 216 MARCH 1920 ia | oe THE ETUDE Play a Piece Your Own Size eee ools and | Colleges } ya, | | By George Gilbert NEW a AND NEW ENGLAND 3 As you come away from the concert, (and bring. tears with. the saa The what themes are uppermost in your brain? Suanee River; and who are you, young L PIANO CONSER Seldom do we carry away with us im- violinist, that you must inflict upon your \7IRGI VATORY pressions of phrases of great harmonic small public the Moto Perpetuo, that complexity; of tunes loaded down with only a Paganini could play to perfection (29th Season) accompaniment until they are all but in his time and a few others since? drowned. No, it is the lovely, flowing David Bispham brings all the power vir IRGIL METHOD OF TECHNIC legato melodies ; the left-hand solo play- of his artistry to bear to show forth the ‘ Y : | : ing of the gifted pianist; the well-bowed beauties of A Banjo Song, and who are air that the first violin played with a you, Miss Conservatory Graduate, that slumberous background of the orchestra’s you must worry the home folks to the RESULTS TELL bass just sustaining, not burdening, it. verge of homicide with. your perennial Superior Instruction in Piano, Harmony, Theory, We perhaps, it is the lively rataplan of Jewel Song from Faust, when you cannot Public Performance racine Paka sevens | emergence run half the intricate turns in it without obscurity; the soft slurring them all together, like a raw Foundational and Advanced Courses thudding of the keyed kettle drums, ‘cello pupil trying his first “slide? from TEACHERS’ CERTIFICATES DIPLOMAS against the Oriental lilt of high-pitched one position to another? If you are one re For Particulars, Address BIve>s In short, the simple—the pEO- of the few in a generation fit to sing = foundly. simple—appeal of the flowing the Jewel Song, sing it; but if not, let it MRS. A. M. VIRGIL - |] W. 68th St, New York . ave the melodic content of beautiful alone and take up “something your size” INSTITUTE OF MUSICAL ART OF THE CITY OF NEW YORK Special PREPARATORY CENTERS in different parts of the city for children between seven and twelve years of age. FRANK DAMROSCH, Director 120. CLAREMONT AVENUE Greatest of all teaching methods unes. — and enjoy it—and let folks enjoy it with In this there is a lesson for the young you, player who yearns to play the great, Take some great simple theme. Make whirlwind compositions; some Rhapsodie it your own. A dozen such, mastered Hongroise of Liszt; some piece like the will make you up a program of eons Hammerclavicr Sonata of Beethoven. lence; a few “show pieces,” delivered raw Youth struggles with such immensities to suffering audiences, will make folks and becomes a nuisance to the discerning flee your musical presence*>as if you listener. These are for the very few, had the plague. But if instead you master the handful in each musical era. The the elements of music to be found in beautiful, flowing themes are for the these simple themes, you will have laid many. Seize upon and go deeply into the the foundation for greater attempts later, beauties of simple themes, even if it be when your mind and muscles, more prac- only a few modest folk-songs. Kreisler ticed, more mature, can, with safety, does not think it beneath him to play essay their difficulties. Is Recognized as One of the Leading Musical Institutions in the United States 2% me {—ds =e ~ ee Faculty of National Reputation and Broad Experience Dean How Our “ Yankee Doodle’? Went to Europe Send for circulars M. I, DITTO, Cor. Secy KATE 8. CHITTENDEN, 34th year Oct. 1, 1919 [Mlere Conservatory of Music= Special advantages for those who look forward to concert or educational work. All instruments, vocal, dramatic art, languages, etc. Graduates filling highest places available in America. Beau- tiful, commodious buildings, concert hall and dormitories. Resident and day students. Reason- able terms. Catalog. The Registrar, 1 De Witt Park, Ithaca, N. Y. By Lawrence Leinheuser THE introduction of Yankee Doodle into men were unable to supply the answer. European lands as America’s ‘national They questioned the bandmaster on the anthem took place under very amusing matter, but he, too, was unable to throw circumstances. The War of 1812 had any light on tHe subject. They then de- become tiresome to both America and cided to hunt up Clay and get the de- England. Henry Clay and John Quincy sired information from him. Adams, the American commissioners, They accordingly questioned Clay on _ were at Ghent conducting negotiations the matter, and the American informed _ with the British emissaries for the con- them that Yankee Doodle was the na- clusion of peace bétween the two coun- tional air of America. The bandmaster, . tries, not being acquainted with the air, asked That Ghent should be the town selected Clay to hum it for him that he might for these negotiations was looked upon as__ take down the melody. But this Clay was | no small honor by the simple burghers unable to do. The secretary of the INTERNATIONAL Oa DENCY of the town. They felt very much flat- American legation also failed in his ef- MRS. BABCOCK tered by this singular mark of attention forts to hum the tune. Clay then hap- ~-and determined to- show their apprecia- pened to think of his negro servant, Bob, OFFERS Teaching Positions, Col- | “~~ ~ leges, Conservatories, Schools. tion in a tangible manner. This, they and calling the latter in, bade him whistle a Skidmore School of Arts AlsoChurch and Concert Engagements | thought, could be done in no better way Yankee Doodle for the gentleman. Bob A Professional and Vocational College for Women eee ALL. NEW scaas than by saluting the distinguished visitors responded with alacrity, the tune was rTe- vei and Applied Arts Home Ee ee CAR with their respective national airs. But corded in notes, and in this manner was Mus iseral Stepan wrath aon here a difficulty presented itself. With Yankee Doodle introduced into Europe England’s national hymn, God Save the as. America’s national hymn. For years ere ets King, the burghers were perfectly fa- afterward it appeared in European col- miliar, but when the question arose re- lections under the caption, “National PIANO | | Crane Normal Institute of Music SCHOOL garding America’s national air, the towns- Anthem of America.” Training School for Supervisors of Music Pianists :: Accompanists BOTH SEXES “Tue melody runs through every piece are at the moment enunciating the Teachers’ Training Courses Voice culture, sight-singing, ear-training, harmony, Booklet CARNEGIE HALL, NEW YORK ‘SALVINI VOICE The Courtright Syetem of Musical Kindergarten Oldest and most practical system, Write for particulars of correspondence course. Mrs. Lillian Courtright Card, 116 Edna Ave. ,Bridgeport,Conn. Grand Opera Performer with Artist Students ysnbug ‘yspundy ‘youaag “UDYDIY :312.02190d0T 'EACHERS, SCHOOLS & COLLEGES OF MU SIC should enjoy the Publicity Opportunities of the Professional Directory See Page 212—The cost ts small—Send Jor rates Se form, music-history, chorus-conducting, methods, like a road through a country hillside. theme,” This is the it : . ? ; ° s . e practictenching. Graduates hold important pon | ‘The art of conducting is to clear the way a the inferesting siahechaat 53 MAIN ST ; POTSDAM, NEW YORK for this melody. to see that no other of Modest Altschuler, conductor of the ie instruments interfere with those which Russian Symphony Orchestra. SSSSSNSSSSNS VS... AAAS SVT WwW Wy °°, ee ° °° e"°™1Wt°7°°”°”wp»; "y°’)!E6Wr\'wW WWW p5x. rw— wn yyyyy WFWWtWIT qi IL, WW'»oU}.. hn WOW SY NEW YORK SCHOOL OF MUSIC AND ARTS | Fak | 2€ Opposite Central Park, cor. 95th St., New York City | RALFE LEECH STERNER, Director New York City’s most beautiful and home-like School devoted to Music and the Allied Arts with UNSURPASSED BEAUTY , OF SCENE FACING CENTRAL PARK Celebrated faculty including Arthur Piadhein, Ralfe Leech Sterner, Aloys Kremer, Harold A. Fix, Leila Yale, Eugene niiiatowas Guiseppi Melfi, Frank Howard Warner, Mabel Rivers Schuler, F, W. Riesberg, Helen Wolverton and many others. NS 20 SSS. CWC—"O3Xqdddwwmss ae ee WOO DORMITORIES IN CHOOL 1} BUILDING: AND PROPER CHAPERONAGE WITH MANY SOCIAL AND RECREATION ADVANTAGES. OP | THE ENTIRE YEAR. PUPILS MAY ENTER aanp J CONCERTS EVERY WEEK. TERMS, INCLUDING TUITION, BOARD, PRACTICING, ETC., ON APPLICATION. 3 Y SEND FOR BOOKLET AND TEACHERS’ BIOGRAPHIES ZY NWWWQQN "UC T"=»FHailaa2L_L{_I_____g}} 0". MAXX WWW MEHLIN PIANO USED EXCLUSIVELY. GGG WWW ®"tljl'h'" QUOT WOAH’ Please mention THE ETUDE when addressing our advertisers,
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Nearly All Big Magazines Increase in Price on April Ist The American Magazine, McCall’s, Modern Priscilla, McClure’s, Delineator, Everybody’s, People’s Home Journal, Today’s Housewife will all advance in price in thirty days. Other publishers have warned us they may do likewise without notice. Pictorial Review and Ladies’ Home Journal are refusing subscriptions. The paper situation is getting to be more than the publishers can bear. Another paper increase became effective March Ist. Another postage increase goes into effect July Ist. These Prices are Good for Thirty Days Only ATE ee 3, on S97 Woman’s Home Comp. 2.00 3. 15 With ETUDE 2 years, $5.50 Sree. ey, ee Both Modern Priscilla. . . 1.50 $3.10 With ETUDE 2 years, $4.85 A a ae ar pl Both American Magazine . 2.00 $3.75 With ETUDE 2 years, $5.50 os : January 1920 Re Se, 2.001 9 ChristianHerald. . . 3.00/94.00 With ETUDE 2 years, $5.50 ETUDE ...... ...' $2.00) Beth Delineator . . ... 200183.75 With ETUDE 2 years, $5.50 a 2.00) 60's _ SiGe See: McCall’s Magazine. . 1.00 2.50 me With ETUDE 2 years, $4.25 ee gs bie nN Sac McClure’s Magazine . 2.00 3.90 With ETUDE 2 years, $5.25 eran 9200) Woman’s HomeComp. 2.00 for fh) American Magazine 2.00 & 4 (To one address) : 79 ve With ETUDE 2 years, $6.50 Bae kG me Both People’s Hom Journal . : 1.00 $2.90 With ETUDE 2 years, $5.50 March Last Chance Offers THE ETUDE, Theo. Presser Co., Pubs. 1712 Chestnut Street, Philadelphia, Pa. Gentlemen: pesmi vou. $66 for which enter my subscription to SS gS a aR years. You may also send the other magazines listed below, one year each. ease ee, ee SLE OS SR ROS eee RRS OS SS S88 Bee hace 6 eS COR ed eS Eee © 660 6 © 8 eee ateS = 2 Sere 6 a 8 6 C6 2 @ @ 6 0 6.8 OO & C64 8 6 066 6 6 Ue ® ee ee ye Oe ee See Oe Oe et elem e Ss OB Ale 6s ee eS DS) Baw Od 8 8.6009 0-8, 9 60. 6b tee 4 'e 6.0 © &-6 66.8 eee Sea ee ee ee OO, Oe OS ROS Ce Cee Ore, eS Ae OR 6S eS O58 6 1b 06 OO 0:6 6686 6 Ord 64a ta 6 2S O08 Q Ore 0°S OS 6 62.10: wD OO Db 6. oe 8 G'e 6. ee ee OS Oe he 66 6 Name of other Magazine _ bedding or ‘planting in bord- Roses You Can Grow These plants, and the other items of merchandise described on this page, can be had by in- troducing THE ETUDE to your friends. They are given as re- wards for getting your neighbors’ sub- A a scriptions. The complete catalogue of ce... ~<a premiums offered by THE ETUDE is now ready. Ask for your copy. 1920-P. C. 80. Entire Set of Six Roses. These plants are shipped direct from the nursery. ? MARIE VAN HOUTTE. Canary-yellow, passing to creamy white. eS Va riety HIAWATHA. Brilliant Scarlet. QUEEN’S SCARLET. Rich Scarlet. ISABELLA SPRUNT. Bright Canary-yellow, f S d abundant bloomer. O ee S HELEN GOOD. Delicate’ pink shaded to deeper pink at edges. 1920-P. C. 79A. Flower NEW CLIMBING MOSELLE. Golden yellow, Seeds. One packet-each of | cream colored blossoms. ee asters, poppies, mignonette, Given for two subscriptions. nasturtiums, . cosmos, phlox and a large packet of sweet peas. Given for one sub- scription. 1920 - P. C. 79b. Glad- ioli Bed. Twelve superb new hybrid gladioli bulbs; as- sorted colors. Given for one subscription. 1920-P. C. 79c. Sweet Peas. One packet each of ten named varieties in white, pink, scarlet, lavender, blue, yellow and red. Given for one subscription. 1920-P.C. 79d. Six Assorted Dahlias. Ideal for PSS \\ Z p JW A.BEANE —_ 1 : \ MNS ze — = ers. Given for two sub- ——— = AN Se Aas scriptions. Solid Gold Bracelet Watch 1920-P. C. 1A. A ten-year gold- filled watch. 10% ligne, convertible, plain polished, 7 jewel, nickel move- ment. 2 adjustments, gilt dial, 1-20 gold-filled adjustible bracelet. The watch comes with a satin-lined case, in addition, and 21 subscriptions are all that are required. Two or three days’ effort in spare time will make this watch your own. Given, with : case, for 21 subscriptions, post- ' paid. Fiction— Standard and Otherwise 1920-P. C. 91. Any one sent, postpaid, for two subscriptions. A Tale of Two Cities—Dickens. ° Bab—A Sub-Deb—Mary Roberts Rinehardt. Bought and Paid For—Broadhurst and Hornblow. Business of Life, The—Chambers. Christmas Stories—Dickens. Daddy Long Legs—Jean Webster. David Copperfield—Dickens. Fighting Chance—Chambers. Gentleman from Indiana—Booth Tarkington. Heart of Rachael, The—Kathleen Norris. Holy Orders—Marie Corelli. Iron Woman, The—M. Deland. Rainbow’s End—Rex Beach. It Pays to Advertise—Roy Cooper Megrue. Rising Tide, The—M. Deland. Jane Cable—G. B. McCutcheon. Seven Keys to Baldpate—E. D. Bigger. **K”’—Mary Roberts Rinehardt. Seventeen—Booth Tarkington. Melting of Mollie, The—M. T. Davies. South Sea Tales—Jack London. Mother Carey’s Chickens—Kate Douglas Wiggins. Spoilers, The—Rex Beach. Ne’er Do Well, The—Rex Beach. Thirteenth Commandment, The—Rupert Hughes. Old Curiosity Shop—Dickens. When a Man Marries—Rinehardt. Oliver Twist—Dickens. Where There’s a Will—Rinehardt. Penrod—Booth' Tarkington. _ Who Goes There?—Chambers. Pickwick Papers—Dickens. Within the Law—Veiller and Dana. | Tue Evimp THEO. PRESSER CO., Publishers THE ETUDE 1712 Chestnut Street, Philadelphia, Pa.
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