Perry's Musical Magazine (April, 1928)

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Martin 25 z Publishea by A. W. PERRY’S SONS, seaalia, Mo.

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PERRY’S MUSICAL MAGAZINE VIOLINS. : All Guaranteed VEPENDABLE VIULIN UULFITS FOUR EVERY PURPOSE All outfits are carefully examined and instruments correctly adjusted by our experts before shipping. These outfits come in three sizes—Full, Three-Quarter and Half-Size. When ordering please state what size is desired. so. 1. Stradivarius model, dark reddish brown, European manufacture, black keratol case, good bow with pearl slide, extra set of strings, rosin, etc. All complete, only Mo. 2. Stradivarius model, light yellow brown, finely polished, of European manufacture, fine tone; in- - eluding fine bow with pearl slide; in substantial black keratol case with lock and key; extra set of strings, ROOT R OL CDEP te, OE re aes bsg bookie gnees 915.00 3. Stradivarius model, fine hand polished, medium mahogany color, also of European manufacture, ebony trimmings; elegant tone, suitabie for Orchestra or Solo work; including black keratol case, flannel lined, with lock and key; a bow with pearl slide, suitable for such a violin; extra set of strings, and ie BRE Ss EES MIRE 13 SNe RCI ean EE $17.50 Our space allotted to violin outfits is limited, and we only mention three of our most desirable styles. We have cheaper instruments from $7.50 and upwards. All our Violins are serit out, and upon arrival should they not prove satisfactory, can be returned and money refunded. No fairer proposition could possibly be made. Low prices. for other models gladly furnished = gi application. We guarantee our prices on every instrument of similar quality to be from $5.00 to $15.00 lower than majority of retail music houses are now offering. Address all orders to A. W. Perry’s Sons, Sedalia, Mo. Ro. _ THE LATEST AND BEST OF ALL METHODS | FOR THE PIANOFORTE! Butler’s Correct Method for the Piano SEND FOR SPECIMEN PAGES MAILED FREE TO ANY ADDRESS Contains Over 250 Pages, Full Sheet Music Size Volume 1 for Beginners Volume 2 Medium Volume 3 for More Advanced Players. Volume 4, Difficult Volume 5, a Grade More Difficult PRICE OF EACH VOLUME, $1.00 The well-known composer and teacher, M. W. But- ler, has adopted in his method the best lessons of the old Masters, such as Czerny, Haydn, Beethoven, Leschetizky, etc., together with his own modern ideas as to the proper method of teaching, making this instructor for the piano- _ forte what we claim—an absolutely correct one. _. We want every teacher of the piano to examine the work thoroughly and will be pleased to send a complete copy of either Volume 1, 2, 3, 4 or 5 to any address, post- paid, upon receipt of $1.00. We hope to receive your — order for at least one of the volumes, for we are satisfied you will in future adopt it in your classes in preference to all other methods or studies. Address the publishers, i A. W. PERRY’S SONS, Music Publishers, : $EDALIA, MO. | EXTRA—A beautiful Diploma, suitable for framing, is given with each volume. ; WE ARE HEADQUARTERS FOR FINE STRINGS FOR ALL INSTRUMENTS “OUR LEADER” VIOLIN STRINGS After handling for years nearly every kind of string for Violin, we have settled on one which we call “OUR LEADER.” This, we believe to be the best all round string on the market. They are made to order for us by one of the best string makers in Europe. | They are clear and bright in color, but not white or trans- parent; feel smooth to the touch, but not polished and glassy. The artist will seldom want a softer solo tone, and the be- ginner or student, with their great durability and the fact that every length is a perfect one, will find none cheaper, besides, we sell them at the usual price of cheap strings. Strings of this grade are retailed everywhere at from 25c to 85c each, we sell them: E, 4 length. 66 Per doz ncsnsiaasoe - A, 2% length..015¢ Per doz. See e BR $1.50 D, 2% length. 15¢ Per doz... 91.75 Every string and every length is guaranteed perfect in tone, and guaranteed as to durability, except in moist climates and moist seasons, and under perspiring fingers. For these troubles we have the best waterproof E string in the world, single length 10c; 3 for 25 cents. The best academic silk, 15c. Aluminum D, good quality, 40 cents. Violin—E, A, D, best steel, each, 5c; steel, 10c; pure silver G, wrapped, 50c. American wound G, guaranteed, 15 cents. A full set of “OUR LEADER” violin strings with fine Silver Plated G, 50 cents. An assorted dozen, 6 E, 3 A, 2 D, 1 G, or an assortment near this, $1.50. We can supply dealers with bundles or assorted bundles of 80 strings, 15 E, 8 A, 4 D, 8 G, or near this, in attractive boxes for show cases, at prices not offered by any other importer. Prices on application. We can furnish high grade strings for any kind of an in strument. ms Mandolin Strings-——Best steel, E, A, each 5c; D and G, each, c. Guitar Strings—Best steel, E first and B second, each 5c; G third, each 10c; D fourth, each, 10c; A fifth, 15c; E sixth, each, 20c. Complete set, 65c. | Guitar Strings—Gut, fine quality, E, B, G, each, 15c; D, A, EH, silk center, each, 20c. Violincello—A, fine quality, 25c; D, fine quality, 30c; G,. wound, fine quality, 50c; C, wound, fine quality, 65c; complete set, $1.50. on Bass—Fine quality, G, 75c; D, $1.00; A, $1.30; B, $2.50. | Banjo, Zither, Autoharp or any kind of an instrument sup- plied with strings in sets or single. These prices are net, no discount. G wound on best MUSICAL NOVELTIES DASHING THROUGH. THE SNOW. Composed by M. W. Butler. This is one of the liveliest pieces published, and represents a party of young people out sleighriding. It is played with sleigh bells which are attached to the hands of the pianist. There is a vocal part which produces a grand effeet. Although this composition may be performed with or without the singing or bells, we guarantee you will be pleased with it. we FALLING SNOW, an Idyll, composed by Perry. Descending snow flakes, the jingle of sleighbells at hand and their vanishing in the distance, inspire the motive. The author has woven in beautiful melodies throughout this creation and to emphasize he has introduced pcaree Swiss) finger bells with charming effect. JINGLE BELLS GALOP, composed by M. W. Butler. A lively galop, full of beautiful Grade 2, without Octaves. We will fill your orders for above novelties @@) and send by mail, postpaid, at the following ‘prices: Music for each piece, only 15 cents. Bells for each piece, only 25 cents. Should you desire a copy each of the music and one set - [Imported Swiss~ Musical Bells “of the bells, will furnish them complete foronly 65 cents. "LESSON AND PRACTICE RECORDS 25 CENTS PER PACKAGE OF 25 CARDS Each card has space for twenty lessons, with provi- sion for the amount of practice for each part of the lesson and for a daily record of praetice, day and hour for the lesson, etc. Designed to promote improved practice by the pupil and systematic instruction by the teacher.

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47th wae Perry’s Musical Magazine. Issued Monthly on the Ist of Each Month. A. W. PERRY’S SONS, Publishers. Entered as Second Class matter, at the Post Office at Sedalia, Mo., under the act March 3, 1879. Change of address should reach this office before ne 10th of the month. Where change of address Is desired, the old and new address should be mentioned. “ee may commence with any morth. de elred LIVES OF GREAT PIANISTS. FREDERICK CHOPIN. (Continued From Last Month.) In the summer of 1835, Chopin met his parents at Carlsbad. From that place he went to Dresden, and to Leipsic, where he was received by Mendelssohn and introduced to his ardent admirer, and champion in the German musical press, Schumann. Clara Schumann, then Fraulein Wieck, played her future husband’s Sonata in F sharp minor, op. 11, still in manuscript, to Chopin; and the latter in return “sang” (so the effect of his touch was described) a nocturne (E flat, op. 9). Here is Mendelssohn’s deliber- ate opinion of Chopin (letter to his family, Oct. 6, 1835): “Chopin intended to stay only one day, so we spent it together, and had a great deal of music. There is some- thing thoroughly original and at the same time so very masterly in his playing, that he may be called a really. perfect virtuoso; and as every kind of perfection is welcome and gratifying to me, that day was a pleas- ant one. I was glad to be once more with a thorough musician, not with those half- virtuosos and half-classics, who would glad- ly combine in music les honneurs de la vertu et les plaisirs du vice, but with one who has his perfect ‘genre,’ and well-defined direction. To whatever extent it may dif- fer from my own direction, I can get on with it well enough; but not so with those other half men.” (He means Kalkbrenner, Herz, Thalberg, Dohler, etc.) “On Sunday evening, Chopin made me play my oratorio to him (‘St. Paul’), while certain Leipzigers crept into the room to stare at him. Between the first and sec- ond parts he dashed off some of his new Etudes and a new concerto movement, greatly to the astonishment of the said Leip- zigers, and I afterwards resumed my ‘Paulus;’ it was just as if a Cherokee and a Kaffir had met-and- conversed.” Mendelssohn here and elsewhere lays stress on Chopin’s playing; as to the value of his compositions, Mendelssohn’s dictum is vague, to say the least of it: “Sometimes one really does not know whether Chopin’s bepatss: MO., APRIL, 1928 music is right or wrong.” The Preludes, op. 29, are probably the last of Chopin’s publica- tions which became kuown to Mendelssohn. Schumann’s report of Chopin’s playing and composing are rapid sketches, full of little characteristic traits, for the most part mere records of the moment, but all show a pleasant feeling of comradeship and gen- uine sympathy :— “A never to be forgotten picture to see him sitting at the piano like a dreaming seer;” “he had the habit of passing, at the end of each piece, the finger quickly over the whizzing key-board, as if to get rid of his dream by force;” “imagine an aeolian harp that has all the scales, and that these are jumbled together by the hand of an artist into all sorts of fantastic arabesques, but in such a manner that a deep funda- mental tone and a softly singing upper part are always audible, and you have an idea of his playing.” “He is the boldest, the proudest poet of our day.” Another and similar journey, to Marien- bad, Dresden, Leipsic, was made in the fol- lowing summer, the principal object of both tours being, it would seem, an affair of matrimony. Briefly stated, the facts are as follows: Three sons of Count Wodzinski had been educated at the school of Chopin’s father. As a boy, Chopin had repeatedly stayed with their parents in the country, and made the acquaintance of their little sister, Maria. The family left Poland after the Russian occupation, and settled tem- porarily at Geneva. Chopin now and then wrote to them. He visited them at Dresden in 1835, when they were on the way back to Poland; and joined them again at Marien- bad in 1836, where he proposed to Mdlle. Maria, still in her teens. He was rejected, on the ground, if we may accept the lady’s statement, that “she could not run counter to her parents’ wishes,” etc. Not long af- terwards she was married to a son of Cho- pin’s godfather, Count Frederick Sharbeck. The little love story has been variously re- lated, and turned into something of a novel. The present writer’s impression is that the relatives on both sides (probably the young- er people more than the elders) were at first desirous of a match; that the young lady was courted comme il faut; and that, eventually, a better partie was found for her. Among Chopin’s posthumous’ works there is a plaintive little “Tempo di valse” in F minor (op. 69, No. 1) dated “Dresden, September, 1835, pour Mdlle. Maria,” the autograph of which she treasured as L’ Adieu. Between July 11 and 22, 1837, Chopin, ac- companied by Camille Pleyel and a Polish friend, paid a flying visit to London, to con- sult a doctor, and to establish business con- nections which resulted in the successive publication of his works by the firm of TRS Seeger SEE EY SERENE Reto St Be PERRY'S - MUSICA - MAGAZI26 NUMBER 1 Wessel & Co. He played at Mr. James’ Broadwood’s private residence in Bryanston Square; but, according to Moscheles’s Diary, ‘‘visited no- body, and did not wish to be visited, as every conversation aggravates: his chest complaint.” . Allusions to his frail health now become more and more _ frequent, whenever his name occurs in contemporary private records. There can be no doubt that the outward signs of phthisis, probably in- herited from his father, now began to show themselves in an unmistakable manner. It is hardly possible today to write a few just lines on Chopin’s friendship with George Sand, Madame Dudevant. The wit- nesses, nine out of ten, are suspect. One cannot move a step without treading on dangerous ground. The old mythopoetic faculty appears, again, to have been par- ticularly busy, and even to have joined hands with a more recent gift of barefaced lying! It is hard to discern who is who, and what is what. Early in 1837, Liszt in- troduced Monsieur Frederic to Madame George, or with a slight and perhaps cor- rect change in the appellations, Monsieur George to Mademoiselle Frederic. Mon- sieur, or Madame, the senior by about five years, the mother of two children, and sep- arated from her husband, was known for her literary gifts and the wild Bohemian life she had been leading. A pleasant ac- quaintance gradually developed into some- thing like a civil marriage. It ended, after about nine years, in a complete rupture, which saddened the close of Chopin’s life. The first hint at the intimacy is contained in the postscript to a letter written by Cho- pin in 1837, “I may perhaps go for a few days to George Sand’s.” He did in fact go to Nohant, Madame Sand’s country house, near La Chatre, in Berry, in the summer of that year, and again in the summer of 1838. It was decided they would spend the winter of 1838 in the south. One of the Balearic Islands, Majorca, was fixed upon. Madame Sand would economize, and write a book about the little-known island. Chopin would recover his health, and be happy in her com- . pany. The little family party, Madame Sand, her son Maurice, her daughter Solange, a maid- servant, and Chopin, met at Perpignan, in the beginning of November, 1838, and pro- ceeded by Port-Vendres and Barcelona to Palma. They returned to France by Bar- celona and Marseilles early in March, 1839. A few extracts from letters will show the shifting aspect of things outward and in- ward. Here is Chopin, basking in the sun (letter to Fontana, Palma, Majorca, Nov. 15): “Iam at Palma, among palms, cedars, cactuses, aloes, and olive, orange, lemon, fig, and pomegranate trees, etc., which the Jardin des Plantes possesses only, thanks

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to its stoves. The sky is like a turquoise, the sea like lapis lazuli, the mountains like emeralds. The air? The air is just as it is in heaven.” “I shall probably take up my quarters in a delightful monastery in one of the most beautiful sites in all the world: sea, mountains, palm-trees, cemetery, church of the Knights of the Cross, ruins of mosques, thousand-year-old olive trees! .. - Ah, my dear friend I am now enjoying life a little more; I am near what is most beauti- ful! I am a better man.” (To Be Continued.) CHOPIN AND THE TEMPO RUBATO. Definition: “Tempo Rubato.” Taking the portion of time from one note of a melody and giving it to another, for the sake of expression. It is much employed in the playing of Chopin’s music. — Dr. Ralph Dunstan, In Mr. Henry T. Finck’s volume on Suc- cess in Music and How It is Won, there is a chapter on “Tempo Rubato,” written by Paderewski. The eminent pianist quotes the well-known advice Chopin is said to have given his pupils, namely to play freely with the right hand, but to keep time with the left. Paderewski labors to show that in many of Chopin’s pieces the left hand did not play the part of a conductor, but “mostly that of a prima donna;” and, as supplementing this, he repeats the old story that in the opinion of some of his con- temporaries, Chopin really could not play in time. The point is worth looking into. Of course to begin with, one must differentiate between tempo rubato and an inherent in- ability to “keep time.” Tempo rubato, “this irreconcilable foe of the metronome,” as Paderewski calls it, is one of music’s oldest friends. It is older than the romantic school; older than Mozart; nay, older than Bach. Girolamo Frescobaldi, in the begin- ning of the seventeenth century, made am- ple use of it. And yet there were those among the classics who did not believe in any deviations from strict time not express- ly indicated by the composer. Mozart prided himself on the fact that he always kept .- strict time, even in passages of marked ex- pression and passion, which. is just where free treatment as to tempo is most allow- able, not to say called for. “Time,” Mozart added, “is the most indispensable, hardest and principal thing in music.” Beethoven, as his pupil Ferdinand Ries relates, “kept time like a metronome.” Hum- mel, once absurdly regarded as Beethoven’s rival, wrote: “The player must strictly observe the time throughout the entire piece; the accompanists should not for a moment be led astray by the player about the prevailing tempo, but he must execute his piece so correctly and according to the rule that they can accompany him without fear, and not be obliged to listen atten- tively at almost every bar for a deviation from the time.” Schumann was also all for playing in strict time. He protested against the prac- PERRY'S MUSICAL MAGAZINE tice of certain virtuosi of his day, whose “time,” he said, was “more like the gait of a drunken man than anything else.” From Schumann to Karl Reinecke is a descent, and yet it may be worth while to listen to Reinecke on the subject. “So long,” he says, “as I have any breath left I shall not tire of denouncing the nuisance, which is evermore gaining ground, of fluctuations of TEMPO in classical works, even if I were to be stoned for it! Nowadays, one no longer listens to a classical symphony in order to enjoy the work, but in order to ob- serve in, it what licenses this or that con- ductor admits; and if it is now quite dif- ferent from how one has always heard it, then one hails it with joy and cries, ‘He understands it: one does not recognize the work again at all.’ The object is attained, for the conductor has produced an effect; it does not, indeed, depend any more upon the work. And even the better class of critics seem nowadays to have become in- different to such inartistic runnings after effect, or shrink from censuring them.” Of course, the vagaries of orchestral con- ductors as regards fluctuations of tempo are not, correctly speaking, to be classed with tempo rubato effects. Tempo rubato, in the strictest sense, is the more or less emotional prompting of the individual per- former, unpremeditated, as a rule, and vary- ing in degree according to mood and cir- cumstances. And, as regards Chopin espec- ially, it must be insisted that tempo rubato is an essential element in the rendering of a large majority of his compositions. The zephyr-like and exquisite delicacy of his style, and his tenderness of sentiment, often verging on the extreme of sweetness, call for impassioned and unrestrained treatment in the matter of tempo, as well as for the “imploring and pleading touch” which Dr. Mason desiderated. It is superfluous to say that Chopin himself recognized this. Liszt, indeed, declares that he tried to impart his ideas on the subject to his pupils; but he adds, very significantly, that it is extremely difficult for those who never heard Chopin himself play to catch the true secret of his tempo rubato. That Chopin either ignored the value of strict time or could not himself “keep time in playing is entirely out of the question. “Time is the soul of music” was one of his sayings, and what he preached he practiced. Carl Mikuli, one of his pupils, categorically asserts that in the matter of time Chopin was inexorable. “It will surprise many to learn that with him the metronome did not come off the piano,” Mikuli adds. Mme. Fredericke Streicher, another pupil, tells us that “he required adherence to the strictest rhythm, hated all lingering and lagging and misplaced rubatos, as well as exaggerated ritardandos.” George A. Osborne, who re- sided near him in Paris, and heard him play many of his compositions while still in manuscript, has left it on record that “the great steadiness of his accompaniment, whether with the right or left hand, was truly remarkable.” Mr. Otto Goldschmidt, the husband of Jenny Lind, supports this by saying that Chopin’s rubato playing was really no rubato playing at all: “his left hand kept a very distinct rhythm and per- fect time, whilst the right hand performed independently, just as a finished vocalist would sing, properly supported by a sym- pathetic accompanist.” Contemporary critics who did not under- stand his style, spoke of Chopin’ exagger- ated phrasing.” Dr. Hanslick, the German critic, who was quite as incapable of ap- preciating a delicate genius like Chopin as he was of appreciating the revolutionary art theories of Wagner, denounced his “morbid unsteadiness of tempo.” But it is perfectly clear that, while Chopin looked to tempo rubato as a means of emotional expression, he never intended that it should obscure the rhythm—never, certainly, in his own practice, fell into that error. One hand might be unfettered; it must be the func- tion of the. other to mark the beat. He was with Mozart at least in the maxim: “Let your left hand be your conductor, and 4al- ways keep time.” His own form of the maxim was: “The left hand should be like a capellmeister; not for one moment ought it to be uncertain and hesitating.” The as- sertion that he could not himself keep time is too ridiculous to demand serious notice. To be sure, it was made by Berlioz, but Berlioz had a weakness for exaggerated statement, and was, besides, not sympa- thetic towards either Chopin or Chopin’s style. We have the authority of Henry Charles, the eminent London critic, for say- ing that Chopin could be “as staid as a met- ronome” in compositions not his own, and there is ample testimony to corroborate this. KISSES AND CASH. By Merritt G. Waston. Musicians and music teachers are report- ed to live on “praise.” Praise is a fine thing, but it will not pay board bills. The music worker should be substantially and richly rewarded for what he has to give to the world. Papa Mozart said, when he was touring with his marvelous son, “If the kisses be- stowed upon Wolfgang could be transform- ed into good Louis d’Or we should have nothing to grumble at. The misfortune is that the hotel keepers have no desire to be paid in kisses.” Later, he said, “We have swords, laces, mantillas, snuff boxes, gold cases, sufficient to furnish a shop; but as for money, it is a scarce article, and I am positively poor.” Chopin borrowed the form and character of the Nocturne from John Field, but it was Chopin who carried it to perfection and lent to it a deeper significance. INDEED, YES. From the Toronto Mail and Empire. “Yes, Sir, She’s My Baby,” played in New York by a jazz band, has been heard ‘by radio in London. What hath God wrought!

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“IL TROVATORE.” From the New York World. Somehow we envy that portion of the Metropolitan audience the other night which heard “Il Trovatore” for the first time. Nevertheless, it is probably more pleasantly remembered by most of us than all the fine works of Mozart, Wagner, Bizet and Rim- sky-Korsakoff combined. For when we were very young it was the whole literature of grand opera for us; indeed, if you except “The Palms,” “The Angel’s Serenade” and “Simple Aveu,” it was the whole literature of what we called classical music. There was an arrangement of its “gems” for violin, cornet and piano. And when sister sat down to the old rosewood upright, counting “one, two, three, four,” under her breath, and father screwed in the mouth- piece of his silver B flat cornet, and you tuned up your Wurlitzer fiddle, shaking a mean tremolo when you got into the high positions on the E string— did anything ever sound so beautiful as that old 3-part arrangement from “Il Trovatore?” It did not. The thing led off with the “Anvil Chorus,” played by all. Then there were dark arpeggios on the piano, you rested, and father rendered “Il balen del suo sorriso.” Then you came in again on the © lively strains of “Di quella pira.” Then the duet, cornet and violin, “Ai nostri monti.” And then the climax. The piano gave forth tragic chords marked ‘Miserere.” Father came in with some jumpy music that he loved. And when he was done, you tucked the silk handkerchief over the chinrest, cocked a dreamy eye at the ceiling and sailed away on a deathless tune called “Ah, che la morte.” It was repeated, and on the repeat you used to thrill mamma and the sewing society by taking it on the high octave, finishing with a fine flourish of thirty-second notes, bowed in triplets. And when the. Aborn Grand Opera Com- pany came to town boasting such stars as Salvatore Sciaretti, Edith Helena, Herbert Waterous, James Stevens and Umberto Sac- chetti, did you go, and think it was grand? You did, And let us be honest about it: It was grand. “HIS OWN BOSS.” James Jupp has written a book. It is call- ed “The Gaiety Stage Door,” and James Jupp kept the door of this famous London playhouse for thirty years. He has many strange stories to tell including one about a street-singer who attracted the mighty George Edwardes, then at his prime as a producer of musical comedies. Edwardes sent for the man who had a fine but un- trained baritone voice. “He (Edwardes) put several questions to him in a delicate manner, as to why he was singing in the street, if he had any parents, and so forth. Then he made an offer for which any right-minded young man would have been everlastingly grateful. It was that he should be put under a master and be thoroughly trained for opera, comic PERRY’S MUSICAL MAGAZINE opera, or musical comedy or whichever his voice proved to be most suitable for. He would be clothed and have board and lodg- ing found for him, and during the time he was studying (perhaps two or three years) he would be paid five pounds ($25) a week. At the end of his studies he was to enter into a contract with Mr. Edwardes, who would put him on the stage in London, and if he (Mr. Edwardes) had any judgment, he would be assured of a very successful career.” To this generous offer, says Jupp, the man made the following reply: **Do you know that I make as much as $100 a week at this game? Sometimes more? And I am my own boss. I sing when and where I like, and not at all if I don’t feel in the mood. Study! Me study? No, thanks!’ ” THE TEACHER OF FREDERIC CHOPIN. A vivid little book on Chopin’s childhood by Zofia Uminska and H. E. Kennedy con- tains the following description of Adalbert Zyvny who directed Chopin’s earlier studies in music. “Mr. Zyvny’s appearance was uncommon and original,’ we are told, “and the cut of his garments and their color belonged rather to the 18th than the 19th century. He had usually a white muslin cravat, a snuff-colored coat; his breeches, like his coat, were yellowish, and on his feet were long, patent-leather boots. “But more original than anything else in his costume were his colored waistcoats, of which he relates that they were bought at the auction of the belongings of Stanislas Poniatovski, last king of Poland. In his pocket he had a snuffbox, with a picture of Mozart on the cover, of whom, as well as of Bach, he was a great admirer. He carried a red, cross-barred handkerchief and a long pencil which he sometimes used as a rod on the fingers and head of recal- citrant pupils. But Chopin from the begin- ning amazed and delighted his teacher and had nothing to fear from the terrible pencil. “In spite of the eccentricity of his dress, Zyvny was a clever-man and a good teacher. From the beginning he recognized Fred- eric’s genius, and pupil and master were pleased with each other, always remaining the best of friends. He was really the only master who initiated Frederic Chopin into the secrets of piano technic. He, too, took down the first longer compositions of the little composer, who was not yet able to write them down himself.” Zynvy lived to be ninety years of age, and he remained a —— friend of his brilliant pupil. ORGANISTS SHOULD IMPROVISE, Saint-Saens who, besides being a great composer, was for twenty years organist at the Church of the Mandelein in Paris, says in his “Musical Memories”: “Under the pretext that an improvisation is not so good as one of Sebastian Bach’s or Mendelssohn’s masterpieces, young or- ganists have stopped improvising. “The point of view is harmful because it is absolutely false; it is simply negation of eloquence. Consider what the legislative hall, the lecture room and the court would be like if nothing but set pieces were de- livered. We are familiar with the fact that many an orator or lawyer who is brilliant when he talks becomes dry as dust when he tries to write. The same thing hap- pens in music. lLefebure-Wely was a wonderful improviser (I can say this em- phatically, for I heard him) but he left only a few unimportant compositions for the organ. The organ is thought-pro- voking. As one touches the organ, the imagination is awakened, and the unforseen rises from the depths of the unconscious. It is a world of its own, ever new, which comes out of the darkness as an enchanted island comes from the sea. “IT am fully aware of what may be said against improvisation. There are players who improvise badly and their playing is uninteresting. But many preachers speak badly. That, however, has nothing to do with the real issue. A mediocre improvisa- tion is always endurable if the organist has grasped the idea that church music should harmonize with the service and aid medi- tation and prayer.” VERY TRUE. Once the composer Massenet was com- pelled to listen to a youthful prodigy, and to give his opinion. “You have talent,” he said to the little pianist, “and with proper diligence and per- severance you ought to be able to——’ “Oh, I would love to compose, too,” inter- rupted the prodigy; “how shall I set about it?” “You will have to learn a great deal more and become older.” “But you composed when you were.~13.” “Yes,” acknowledged Massenet, “but I didn’t ask anyone how to do it.” “T give forth what is in me. When I think of the Divine Being, my heart is so full of joy that the notes fly off as from a spindle, and as I have a cheerful heart He will pardon me if I serve Him cheerfully.”— Haydn, “The study of harmony even though superficial, conducts to the better under- standing of good compositions, for it ren- ders their construction intelligible; indeed, it is the grammar of music and therefore an indispensable requisite for a deeper insight into the nature thereof.” I. Moscheles. PLUGGED. Judge—You claim the man nearly strang- led you and he declares he was on the other side of the street at the time. How do you explain that? Plaintiff—He threw an egg at me while I was singing through a megaphone.—Path- finder.

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THE HIPPODROME M. W. BUTLER CIRCUS GALOP a ‘ - e ‘ rn a s * ‘ a ‘ a ‘ a 4 ® ‘ 5 e t ‘ ) 2 s ‘ ‘ ‘ a ‘ 5 s 7 8 a ‘ ’ ‘ a 4 e ‘ i ry a ‘ £ 4 : é r) 4 ‘ ‘ e ‘ P) ¢ ‘ 4 ‘ a a ® t a t 4 4 £ ‘ 4 ‘ 4 ‘ 4 a a ' 1 4 ‘ 3 ‘ a 8 ‘ ‘ e ‘ a 4 ® a ‘ 6 4 a a 4 2 4 & e ‘ ‘ ‘ 5 « ’ ‘ a 4 r 5 ‘ e e ‘ 6 a ' 2 LJ e e. a a ‘ a a e 8 3 6 8 ‘ e . 41ND OS OO 8 082808 O88 88888808 66868888886 wow ww OF SO 888806 Oe ww BESO SESE OOO SOO O06 OSS OOS OF ESOS S SEES SSS SOS EAEOBSE SESS SESS SEPSOASSRSSSOSSRSSHESSHASSSSSSSOES 00 OS SSD 060 660006 0066485000605 0060S 006500 0500050005000 000 089082065055 SSSS00H05 00006040 00000055050 SSSSSESONSDOSRSOU DOORS ESe OLE OS CHS*CORDCESeGeEebcoesébose Mian etar os TR OO OOO OOOO OOOO OSS ONES OOS Oy 6 SS POLES HOE WE OO BODBBLALBSSS ESB O88 022208 BSSSSESDBDDSSOS OSS SOE SOS ESSE SET HOO OOS EOEOSOSSHEEEESE SEER ASS EHECO EOD OOERE AEE A | A A SSE 2a Ce ES SR BA A CR CR en O_o iia —— ,—- AE PE BA SR OS A A GS BE RO eee ne a a A & {| sh Il ; PBA SOS ®S © © CO BOS © @LABAPAMBELDAMS OOS 6 OB SALABAD @6G2 GABASASLDAS £2.08 SSSSESCOHREESEESESE 2682228282240 82206068 8 ©2282 22226062262682 SPR 6S 6 ee Ne ee EMBED ' x , Copyright MCMXXVII_by A. W. Perry’s Sons

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SSP O OO SEES S SOOO L OSS DL HOSES SHOES SES HBDOOSAES OEE ESE SHOTS SE SHH SOSH S DSO ESE SEES SES ERA ESOOS SBS EEESHEEHEDS DIE SAALSOLESSSSSISHOSHBLSASSHSEBESSEOSEBERSSmMeDene se GD i ‘\ TT IN| ae ai j Fi ‘ eereceereeeezeaaneqe ie cn ee oe ae Ramee © ES RARE RE OS eae *~ ctf 9°) . git hil oe A we oh . pd oe a ee ee SOROS SETS ORO AMRESSST SETS SHE EOEZ ESE SHOES SE ESSE SS x 2 Of A LV) aw oo Le os FP SSSHRRSTASSSSSSSSSSSESSSSSSESSESOSZE SRO SS a A @ ——- —o4— beat eo A@gPEA MS WN a a A | a ee RR ES, Me NSE ST Ce GB eB SS Ba. i See RS See ie A 2 4 _ — EE ft .... a so | Pe a 2 a A TE, PANO RTL TN PRE SEE aR SET LN OTE oa CPS OS 8 Oe OOOO ESE EEE BEES ESSE SE EEER ES SOHO OSS SOF SESE EOS SE SEES OE OE ES BBE BESS BEEBE SPEER E SBE ADE SOHBAAAAREBDAHRAABABDOSS SHARAD O SAME S SHEESH OSRSSERESERAARE SS Tat ed ey ce eR Oe REP SER PORE PT SAONESS OEE ERATED ENOTES OO SOS O68 He OOO OSHS SESS OEE SESS SEES SESS SESE EE 6 6 OSS BOE SESS SOE BEES EEE BEES SEEDED EEE ESSERE EEE SEEEAESOEEEE Mee Dees Bees es HHSFEFe Benes ereraea SPSS SSERSSSSSESSERSHOHSEESSESESC OEE ES 4 8: 4-2 The Hippodrome

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4 oh we oo O06 OOO Oe ww mek ewe ewe 6 oe ooo oo oOo 6 6 OF 800006855000 00 68 O88 806008 Ow 82008 O48 FFF FOF O00 0 OHSOSOS EASE HLS SAGES SSS AMHOASAOSOMLDOOS S NODES eo menenecnan Oo Oo 0 0 OO O60 6 8 66 000600006 6508286 OES BOS ODOBEDS SHS SESS SEES OSSSEE SESS TGF SEEDS AOES OSE SHESHBSSSODSSSSHESSAASRBSBDSASAMIAASBaasassassecnnwwe 1 “HST se a) SOS OOS OM OS ODD OSE DOSES OSS LEDS SO BBBARBAR My 06 BOBBMABESBESSH ESSE SS SEDESSTSLPASAARBALDEASAALABHSAOMROHHOESSSSSSSSSORASHSAEARSSHOSSSSASSAARARSHSSSSSLSOMTERSAHEHSSS EES A A TS? OR we eee SOS OSS SS2SSESSEHSS SSH = PPO SOM Oo ABAD OO © OF 0.2 68S SH & HOO BOBS ESEASS © SO8S SS @ & BF SOBAABLSLLALDBGLSSHSSOSSSAS EROS SOS HSH SHESSEAEASSSSSSSSESSHEHESOSSOHSEHSEZEEESESE “at ‘ The Hippodrome 4-3

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OS SOS OST OOF ODS SOOO E 6 © Ow eS OOS SOS OSS SOE GDEWE ROE BOS BESS OERSOOEES SS © 6 OSE SSS SS SEE SS SESE SS © O66 OSS SHS OES TSE SESS FEBS SESSEESEESSEWSESEEESESHRSESESSEERSHESESESEEOSOO 8 1 “lI Bivrr etter eter ett enero wnreneereendennenne men csccen anes n neem eens ennenee mee renwneen nnn nemsen nee neemsnentteseereeseentserenn gen stensenaceaes Fe OO ng O88 OOOO 8 SESS OOS ES ESOS 8 ROBE EEE AD OE FBS OSES OE BOEEEES OWS EOOOEUOR SOE STOP SS EY SEES |S SHS REST SSSSSEOSSASSSSSOSESEBTASeses A ii oh lily A Be ay wee _A 8 et Shee a A A ee EE ae ee os Sl Se aR RPS PEELS SRE IIR: Cae OE I A ee ee Sew ee 0 eee iy all i or — a aicealinl SEX AS Oe Ek, | | SES RE CS EO OS ee | ee oe ee ee —_ A CESSSS ODOSHS OSCE SBSIECB Ale Og ww 6 6 0 SS OO 808066 OSES SEBO ESE SESE SSHSESESESSESEESESEHSESESEBESEAESESSS A ail asd Sah wee ee” 8 4 @ .., WO a LS eS ee, ES ea es es Se AES. RTS RA BERT SL ETS : SSRSASSEECEREOEMDESSAAAE*SEERESO WY 29>) Soe oa “A N Bea 2 REE SS Ge 6 SR 6 1 ce ae ’ I OR F = Ie a ] — | é N Re Ms 7 OS A he A N oa eee iN Og ge Si’ am4 : L 2 2S GET A ee OE YG ee ee te eee : SS eS or. é a ae C88 BOSSES SSSSHSSHESEHSHS SESS HEHE BAB EHS Hs The Hippodrome 4-4

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MY GUIDING STAR (REVERIE FOR PIANO, ORGAN OR VOICE) S LEYN E SIMMON Moderato a _ mel — — twas you x i : ap -| pear stars Copyright, MCMXXVII, by A.W. Perry's Sons must]! leave

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Prom - ie aed fe » Sue L — ae _——s Down the = ae ny = li i! i te ey i . yi ws pS e f Dream- ing to TE SS =: ci” RE When | well be hour ¥ eo AU ‘ : a SSE Bic” A A NNN My GuidingStar 2-2

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CUPID'S CAPERS Two-Step. CLARA ETHELYN RICHARDSON. 2 if + f SR RS OT ETE Ry OT RS KTS RE SE ES PE, 2 Ro" Rt - - SS. eS Sa Ge Sr | 3 Ae GS 2M SEARS Si, Oa TS 2 Se Geet —_—_ eatwee i = Sa" Nie ch macsd : | Re tL | ‘W. Perry & Sons’ Music Co. Copyright MCMXI by A _

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—_ bs - e . ° . ». id ° 3 : : se e 1° . e. ied e Pie : By e hd -¢ e 4 > 3 : ; . P4 e 9 ” - a . 2! Py Ps a d : : k ; ° : Py ao - o i — le ~4 [: e ° ° Ps _¢ Z is : . . ° : e ee eS AS SS Ve ST aD i id « « » g) oe ~ 4 é i f f ‘ , : | Cupid’s Capers. 2

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| il fi il ia il uh rT il th a Hl lll TT i di aoe | thdl i hil lil hal lil sit iM i at \Whi \W tT e ‘mil LS WUT i ax 2 ? iit > filo tliimmmiiie me Ye is th pea) al Nw nM his pth fi)" Td ih in an th tt hdl W. ll h A a th sur SN : LI : | | a il i al , ] ’ j : i Fs i UH n | o ; : : =. Ve =. YY 1 2 Cupid's Capers . 4

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10 HECEN M-HITTE “FLOWER SONG” PERL A. MINICK see, ay, you; day; dew, well hour here me, r i rt We as lik Hilyk E Ve ae Live Keo IT | SO for ies - pies pick with Scarce - Kind aa a . Be mae Boake eee a Rese ; al thru the the _ SAREE re, Ur RE EERIE RA SRA LAR SPT (SR Ee AER ROR DTS PRR BiyoecSieape Sy s ake RET AE SAE SRRSRT RRA SATS ° 3s °° ~~ Reet ~~ er SS PST. RST) 2 Se eee ak RS , RE ae OSE bee ee ee 5 can you lit . tle ers SO Be ee oe ee a N RS BESSA, VR aS DAI: Ga: 3 RS ae a. Gwe SEES AS PEE GARE, TH ET Sc a Ss Rapa SY Ri es LT Ee eee SRE OR . ee Saas > EE CASA Yisie ok i MECCA eowicee . TRAST |) ea | love ly an | have — See EE SaaS CPG SRR oe ERS PERE ier AES eS... Se RASS a eee DEW O SS e | | 4 | a | | ie . ' £ ” _ © 8 os ieee mill Oc= To ae oS tet cane dG | | | m ~~. oe * an o 5 na oO | Se i | | oe il | ls =O oOo - FSS (TP IT ress (fl 5s 38 mr = oti 2e.2 If iT all 5 se she | | ll ll lI ll I il i = oO sy a. eeu lll Ill iil eo — a A 7 22a = vo / ee ae MH O32 Wr x | [ | | ) ' ”) ¥) Ww Vy = 00—= ) o & © 4 Eas il ; l . | ; ll | | ; ‘ i Y 8 ‘ oo. E o ih cs : 3 ar to 428 Ss 2 a8 | of & | tne oy, lI le | ‘ ‘ {] c Co A ~e 45 Ne ey CAEP Ca = Ei Ans2 “TM his GN SS He GN Copyright MCMVIIII, by Perl A. Minick

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TYROLIENNE. MOONLIGHT IN THE MOUNTAINS. M. W. BUTLER. © >: So ~ ~w w D S Q, ~ Ly br =) © CORSE i SS ee et STR SS ES eee Copyright MCMXI by A.W. Perry & Sons’ Music Co.

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‘n° i ; oh. UIT aM We Hill AL ee vee ¢ * . we fo | | RE aa {i TEE ni AQ il wilt. al ae ve 09 rm ayilit Hall a: lively. Ce a ae wt, ee SE wee mM SE Bie eat tthe: ae ee se] mi ge A rw oh a Moonlight etc.. 2

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Z all Al i @ -|a1l AL | ue i ii : +H re maa o | a ea lil i i 3 Moonlight etc. -

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HAIL COLUMBIA. Play in slow March time. Notice the triplets. MARTIN. JOHN papneluane b= see 8 ~ | : a wlalr wn + alt Sa lanl in a] Loa) aT = “ P iy li | H | q | ! ic TY TY Sag EDT ry J Tee Bh a a . I Copyright MCMXI by A.W. Perry & Sans Music Co.

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CELEBRATION BAND MARCH. FOR PIANO OR ORGAN. M. W. BUTLER, oe Hail! Hail! y —s8 o—s mR 8 om - = — = ry ° 3 ss ar =a | | hi le bil : i itt ales It (7 = |e acca ate Uo H Ht Aen WS ae haa 1 He| a Tenors. “ Baritones. Full Band. i seca | 3 Copyright, MCMX, by A. W. Perry & Sons’ Music Co,

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Cornet Solo. Te hull! MS 9 shall rere Mi : Oh wk TP vee ID Reap aye, RR Ga ome | UL eiTT® ame 2 Te ~T eee | Hoss He J RL Ail RR TTT. date UTA” tt FATT WR. TMU, REN) ene eT, eI A) tll AER ites TT) alll! orrttecrat PRRs feeb Hattie ttt ell all ® Ll 1 a Tryst ||| meh ||| HT HTT ee TT LEE UT GER pase TT hase? Say | || | aan ee! | Re eel! | Hes eS ST) Nes Or WE) ihe (e ram, eS) ee Eo eH” R ‘tg \- TR —\e- R Lie —- - at ay Wee i tot il aut Tat Vin Nhe ch Ht mane {| demit tt mi | LY ) PTO) | lame! | RaGH 10) ] awa! | TiO ¢0 ei rs wu es TO s a EE AMT Fie it er TAT IO el AI uth ui, iy i ! [sree 8 ! Fi aa A a nO ae SUT ST) WS ns, Wes IT” HSU] ed TT a ee ST (I) ee ey Te Hoty IG Mu, VANE thy, UR stan, Sete) re ea tr rT Yt lie ah ae lon a tn rae SRT Tne if aa He tM) lied) al FS TE TTT WS) i OA] oa ERT SEL all bd mal Al AN) heb A ie _ Celebration Band March.—4

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RED WHITE AND BLUE. Play in March time with much force and expression. not too fast JOHN MARTIN. ws aie WE in RNC ew ’ Music Coax s ight MCMXI1 by A.W Perry & Sons ~~ Copyr

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i 2... Ae Se ee ee i Ff ip .—e—— 7 He ae SS 4 a A A OT eS (2am Sawa maa 9 a i tas Se la Se ee -|—"—_—4 —¢-8 1 —3— $+ — 3 3 etl pt ee ee ee PERRY’S MUSICAL MAGAZINE Complete copies of ‘“‘My Missouri Girl Waltz,” ‘O’er Hill and Dale,’? “The Mulberry Bush Waltz,” and other beautiful pieces, will be published in the May number of PERRY’S MUSICAL MAGAZINE. Allegro # :«:100 Orr Hill and Dale ee Se ee ee ee ee ee ee ee ee COMPLETE, PRICE 50 CENTS ayia THE MULBERRY BUSH,WALTZ R PIANO, Rohee en OR VOICE M. = BUTLER ted Moh ae a ra COMPLETE, PRICE 25 CENTS ETUDES DE TECHNIQUE By M. W. BUTLER. Melodious Technical. Exercises for overcoming the Mechan. ica] difficulties of-Piano-forte playing, together with instructive remarks explaining how to practice and execute trills, octaves, arpeggios, scales, runs, etc., with velocity and even touch. Price 75 cents. PERRY’S PIANO OR ORGAN VOLUNTARIES, FOR USE IN CHURCH SERVICES. Most arrangements of this very necessary music for the church are selections from organ voluntaries, simplified to meet the exigencies of an instrument more circumscribed in its vari ety of tone. The result is far from being favorable to bring out the best effect from reed tones. These voluntaries have been especially written for the cabinet organ, with only one end in view—the production of the best effects possible from the in- strument. Each voluntary is just difficult enough to give incen- tive to a moderate study of it. Cadences occur at frequent intervals so that fragments of them can be properly used as interludes when desirable. Liberal use of the works of the great masters have been made in the collection. Price, 75 cents. age E.OVERHOLT My Missouri Girl Waltz Composed by ; ° — 20) a Nee Se ee ee Te MS Pe ON, i A if en ee 4 eee i oe eee Fes SS eee aeee oe sme oe SS ee a ee nn ee ie Perry’s Musical Magazine BEST MUSICAL MONTHLY PUBLISHED SAMPLE COPY, 15 CENTS; $1.50 PER ANNUM. READ WHAT WE CLAIM FOR IT A year’s subscription is a volume of Vocal and In- strumental Compositions for the Piano and Cabinet Organ of the choicest variety. At least sixty-five subjects, list- ing at Forty Dollars, valuable copyright music appear, that cannot be found in any other Inagazine. To the teacher, this magazine is invaluable as 8 | prompter, with its useful hints as to proper methods of teaching furnished by the ablest teachers in the land. Misleading articles written by ignorant musicians are carefully excluded. Unsound advice, no matter how good intended, would, if followed, greatly injure, if not ruin the progress of the student. “THE LIVES OF GREAT MUSICIANS” will be instructive, entertaining and inspiring. Each number always contains our latest pieces, and we are very careful to select such music that pleases the average musical ear, and some of the easiest and medium grades, so that the beginner in music can derive as much pleasure and benefit as the more advanced player. Our Mr. Phil B. Perry selects the music for teaching | purposes. Being a pupil of Leschetizky, a graduate of Kullak’s Conservatory, Berlin, Germany, and a success- ful teacher, he knows the requirements of teachers far better than the publishers of other magazines who have not enjoyed his unusual advantages. Our ‘‘Premium List,’’ which embraces most liberal] inducements for those who wish to act as agents, will be mailed free to any address upon application. Address all communications to A. W. PERRY’S SONS, Sedalia, Mo. | a RUDOLF EHMANN

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PERRY’S MUSICAL MAGAZINE BEAUTIFUL ARRANGEMENTS OF THE WORLD’S MOST POPULAR OPERA, IL TROVATORE 5 e = w = Ee =| g a d >. rs be Ne : Complete Copies of these beautiful

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PERRY’S MUSICAL MAGAZINE To Colleges, Schools and Teachers - 1. We make a speciality of College, School and Teach- er trade. SEND FOR OUR I. Complete Thematic Cat- alogue ef Classical and Popular Music. 2. Our terms” are the MOST LIBERAL; our dis- counts the LARGEST, and from the educational stand- point, our publications are second to none. II. Catalogue of Music Bocks and Studies for all Instruments and $8. Our Facilities are an- Voice. equalled. til. Addenda to Catalogue. 4. All Orders are Filled (Latest Publications, by Experts. We pride our- 86 pages.) gelves on promptness and cor- rectness. Two important things for your consideration. 5. Our Own Publications~- are Noted for Accuracy and Mechanical Excellence. 6. Our Plan of Sending Music on Sale (full particu- lars sent on request) is Lib- eral, and only the latest and best Music is used for this purpose, IV. ‘Teachers Guide—The- matic illustrations of over 500 of our most successful easy and medium grade Teach- ing and _ Recreation Pieces for Piano. We carry a Complete Line of All Foreign and Ameri- can Publications that is in de- mand. There is no feature of the music teaching profes- sion with regard to which we are not prepared to be of prompt and practical assistance, either by furnishing the necessary material or by giving helpful informa- tion or advice at all times. We solicit your trade, and are positive that we can save you time and money. Accounts opened with responsible parties. A. W. PERRY’S SONS, SEDALIA, MO. A DICTIONARY OF MUSIC By W. S. B. Mathews and Emil Liebling. The Pronouncing and Defining Dictionary by Mathews & Liebling is beyond question the best vocabulary of musical terme ever published. Contains over 10,000 definitions of words and terms, many of which are encyclopaedic in character. Gives the correct pronunciation of each word. The explanations are up to date in every particular, embodying the results of the latest thought and investigation of musical scientists the world over. . Price by Mail, Postpaid, $1.25 BARTL’S PIANO OR ORGAN PRIMER An indispensible little work for students of music. All the most: important musical questions is herein asked and the answers given by one of the most prominent teachers. PRICE, 15 CENTS. 2 Perry’s Lesson Record and Memorandum FOR MUSIC TEACHERS This book was revised with much care and thought, and is expressly for music teachers. It enables the teacher to keep an accurate account of all lessons given, music sold and names of pupils. Price, 15 cents, post-paid. STUDENT'S Composing Book SIZE, 5x7 INCHES. Contains 32 pages, ruled 6 staves to each page. Just the pook needed for students of Harmony, singing etc. Adopted by many of the leading supervisors of music in the public schools and colleges of the United States. Single Copies, 10 Cents, by Mail. LESCHETIZKY’S SCALE EXERCISES. Leschetizky’s Arpeggio Exercises. PRICE, 50 CENTS EACH The art of playing scales runs, etc., is known to compara- tively few. The editor of Leschetizky’s Scale Exercises, M. W. Butler, has studied under some of the best American teachers, but none of them called his attention to the fact that he was not using his thumb properly in the execution of scales and runs. In 1883 he departed for Germany for a five years’ course of musical study in Berlin and Vienna. In Berlin he studied piano-forte playing with Kullak, Klind- worth and Reif. All seemed satisfied with his touch. It was not until he arrived in Vienna when Leschetizky pointed out to him that in order to execute with the right hand a rapid as- sending scale or run evenly with the greatest velocity it is absolutely necessary that the thumb should pass quickly under the fingers (towards the next key it is to play instantly) as soon as the second finger has struck its key. It retards velocity and creates an uneven touch to wait until the third or fourth fingers have played before passing the thumb under. Lesche- tizky personally taught the editor his exercises for preparing the hand to execute scales, runs, etc., evenly and with the great- est velocity, all of which are published complete, and with full explanations as to how they should be practiced in Lesche tizky’s Scale and Arpeggio Exercises. These books also contain instructive remarks by Paderew- ski and his teacher, Leschetizky, lessons explaining how all pianoforte music should be practiced. PERRY’S ALBUM OF CLASSICAL MUSIC FOR THE PIANO This book contains the most celebrated pieces composed by the great masters. They are correctly fingered for teaching purposes, and contain explanatory remarks showing how they should be interpreted. These compositions published in sheet music form would cost over ten times the price of this book. The following is the contents: BACH—*“Gavotte from the Eng- lish Suite in D Minor.” BEETHOVEN—“Adagio from the Son- ate Pathetique.” MENDELSSOHN—“Wedding March.” SCHU- MANN — “Traumeri.” DONIZETTI-BUTLER — “Sextet from Lucia.” SCHUBERT—“Greeting and Kisses for My Beloved” and “Serenade.” WAGNER-—“Lehengrin Wedding March.” “PERRY’S ALBUM OF CLASSICAL MUSIC FOR THE PIANO” will be sent postpaid to any address on receipt of 15 cents. GEMS FROM CELEBRATED MELODIES A collection of the most famous compositions, arranged for the Piano or Organ, by M. W. Butler. This book contains the following beautiful pieces, which, if purchased in sheet music form, would cost over NINE times the price of the book. CON- TENTS: “Intermezzo Cavalleria Rusticana;” “Columbia, the Gem of the Ocean.” “The Palms.” “Rocked in the Cradle of the Deep.” “There Is a Happy Land.” “America, Variations.” “Last Rose of Summer.” “Lauterbach Waltz.” “Beulah Land.” “Almost Persuaded.” “Romeo and Juliet Waltz,” Gounod. “Kathleen Mavourneen.” “What is Home Without a- Mother.” “Believe Me if All Those Endearing Young Charms.” “Battle Hymn of the Republic.” “Lohengrin Wedding March,” Wagner. “Sweet Gen- evieve.” “Marseillaise March.” “Traumerie,” Schumann. Price 25 cents Each. Complete in one velume, 50 Cents. M. W. BUTLER’S BRILLIANT VARIATIONS FOR THE ‘PIANO, ON THE MOST BEAUTIFUL HOME SONGS. These charming compositions, published in sheet music form, would cost over six times the price of this book. CON. TENTS: “My Old Kentucky Home, Goodnight.” “The Star. Spangled Banner.” “Her Pright Smile Haunts Me Still,” “Alice.” “Old Folks at Home.” “Maryland! My Maryland!” “Dixie’s Land.” “Lovely Night. The Tales of Hoffman.” PRICE COMPLETE IN ONE chee ee ste | PERRY’S ALBUM OF SACRED SONGS,, PRICE 15 CENTS A new collection of the: latest, and. most beautiful sacred songs and quartettes, with piano or ergan accompaniment printed from large. size music plates. These new. songs, pub- lished In sheet music form cost over ten times the price of the ps which will be sent: ne to any —_— on receipt of cents.,

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PERRY’S MUSICAL MAGAZINE <+y3 Sounds From the Home A collection of the most beautiful melodies arranged fo: the Piano or Organ by i JOHN MARTIN Every piece is pretty and easy. Teachers should get them for their young pupils. They will not only instruct, but wil encourage the pupil to greater effort, as they will be entertain. ing and enjoyed by themselves, parents and friends. | CONTENTS: *Annie Laurie, *Battle Cry of Freedom, Davling Nellie Gray, Dixie, Hail Columbia, *Happy Day, *Happy Dream Waltz, *Home Sweet Home, How Can I Leave Thee? I Can Not Sing the Olc Songs, *In the Gloaming, *Listen to the Mocking Bird, *Love’s Old Sweet Song, Massa’s in the Cold Ground, *My Olé Kentucky Home, Good Night; Old Black Joe, Old Folks at Home, *Old Oaken Bucket, Red, White and Blue, Star Spangled Banner, The Old Cabin Home, *Yankee Doodle. The pieces marked witha Star (*) are written with the Treble Cleff in both hands. Price, 25 Cents Each. Complete, in One Volume, 50 Cents. music, Primary and Sunday Schools, etc., using them for merit marks. 100 Gold Stars in a box, No. 2— 75 in No. 4, a little larger star. Price, 15 cents, post- paid, each box. BLANK RULED MUSIC. PAPER—12 staves, 10!4x13i4 inches, GOOD QUALITY, per sneet, 5c; per quire, $1.00. MUSIC MENDING—Hall’s Stykum Phast Cloth; will mend anything; 10 yards ina roll. Price, 50 cents. FRENCH GUMMED PAPER; transparent. Price, per roll, 5 cents. THE SHEI.P HINGE—The only Hinge Tape in one piece you can cut to any length wanted. Box containing 5S-yarda, 15 cents. s SCHOOL MODEL PITCH PIPES—Chromatic, 10 reede; price, 50 cents. “A and C combined, in metal box, only 15 cents. MUSIC STANDS—Black Iron, Japanned; folding; each, $1.25. The same, nickel plated, $2.00. MUSIC STAND CASES—Good quality imitation leather, $1.50. Genuine leather, $2.50. = If you are wanting any Kind of musical merchandise not listed above, _— for our lowest prices. No. 4 LIVES CF GREAT MUSICIANS John Sebastian Bach, Carl Philipp Emmanuel Bach, No. T Louis Moreau Gottschalk, William Vincent Wallace. No. 2. Ludwig Van Beethnmen, Von Weber. No. 3. Johannes BrahniS, Bartholdy Felix Mendelssohn, Muzio Clementi. No. 4. Frederic Chopin, John Field, Eduard Hagerup Grieg.- No. 5. Francis Joseph Haydn, Camille Saint-Saens. No. 6. Franz Liszt, Giovanni Sgambati. No. 7. W. A. Mozart, Sergei Rachmaninoff. No. 8. Anton sae tiated Alfred Jaell, Joseph Joachim Raff. : 3 No. 9. Franz Schubert. ~ No. 10. Robert Schumann, Ignaz Moscheles. No. 11. Carl Maria Von Weber, Niels William Gade. 3 PRICE 25 CENTS EACH NUMBER Postpaid to any address. Order by No. or Author’s name © Per dozen, singly or assorted, $2.50, post paid. When ordering always state Perry Edition. Every pianist, music teacher or student of music should have these volumes in their library. A beautiful gift for the music teacher to make their truly ambitious pupil as-a reward of merit, etc. . BACK NUMBERS OF PERRY’S MUSICAL MAGAZINE We have had so many calls for back numbers of PERRY’S MUSICAL MAGAZINE we decided to print a limited number of extras each month, and as long as the supply lasts we will sell at the low price of $1.00 PER DOZEN ,ASSORTED, OR 15 CENTS SINGLE COPY. Address all orders to the publishers, A. W. PERRY’S SONS, SEDALIA, MO. GUMMED STARS—In great demand for teachers of. EXTRA SPECIAL BARGAINS! MUSIC ROLLS AND SATCHELS No. 1. Music Roll. Gea- uine Barleykoid. Moire lined, patent end strip to hold music from slipping out. Genuine leather strap. Nickel buckle. Size, un- 3 rolled, about 14x15 inches. Yery durable. Color, black only. Our special price only $1.00, sy mail, postpaid to any address. Retails many places for $1.50. The following three styles of Combination Music Bags are very popular and were selected by our buyer with great care. No. 2. Good seal grain Karitol; size unfolded for carrying sheet music, about. 11%4x15 inches; folded, about 6x15 inches; genuine Moire lined; solid leather straps and two black metal buckles; a substantial leather handle. Our special price oniy $2.00. Easily worth $3.00. No. 3. Heavy seal grain Karitol, very durable. Solid lea- ther handle, two solid leather straps and buckles; black. Size anfolded for carrying sheet music about 13x15 inches; folded, about 7x15. Beautiful orange color lining. Our special price enly $2.75. Regular retail price is about $3.75. No. 6. Music Bag and Band Master’s Case. Color black only. Closed ends. Hs pecially adapted i to the use of band ! teaders and music | teachers that are | called upon to earry a good many i 3jieces of music and studies. Made xf genuine Bar- m '‘eykoid; two | straps of same iurable material .\round the 2°” ‘re 9ug; two round ‘randles ‘so made ‘| same material. Solid sa ler lea ther strap and square nickel rack Lined with beautiful Moire. Size 15x12 inches. Retails everywhere for $6.00. Our special price, by mail, postpaid, to any address, only $4.50. No. 7. String Case. Every ~ teacher or. plaver of the Violin, ; Mandolin, Guitar,” ete., should possess.- one of our new and very beautiful little ‘String Cases. Itisa genuine Barleykoid leather case with four partitions, and the size small, so can be carried easily SS in your pocket. It is closed with a snap button. Price by mail, postpaid, only 50 cents. We can include a full set of our reliable (Our Leader) violin strings, E, A; D, G, for 50c additional, total, $1.00 for ees and case, which makes a fine present for any Violin player. ' The above line of Music Rolls, Bags and Binders, we believe is the best on the market at or near their prices. We buy direct from the manufacturers and all middle men or dealers’ profits is here given to our customers. We sell direct to the users of Music Carrving Cases, and hope you will send vour orders direct to us. We mail postpaid to any address. A. W. Perry’s Sons, Music Publishers, Sedalia, Mo. DIPLOMAS Music teachers, or teachers of any art, giving diplomas to their pupils, should adopt those manufactured by us. The finest style of engraver’s art is adopted; also best quality of paper used. Our Diplomas are so worded that they can be filled out by the teachers for pupils who have finished the different grades; also for graduation purposes. Suitable for framing. Price, 10¢ Each; $1.00 per Dozen, Postpaid.