Perry's Musical Magazine (March, 1929)

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Ca Year MARCH, 1929 No 12 ¥ “ Single Copy 15 Cents $1.50 per Annum PRICE IN Contents; seer music Waltz - - Hitte 25 Love and Roses. Romance Ward 90 Old Folks at Home Martin 25 America Forever. Grand March = | - tong 50 Windy Nebraska Waltz § Miller 25 Gray Feather. Song Farris §0 Sly Brownie Waltz Swaltzwelder 25 The Missouri Rag Fitzgerald 50 7 **ADAGIO”’ aD Published by A. W. PERRY’S SONS, Sedalia, Mo.

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PERRY'S MUSICAL MAGAZINE VIOLINS. Ail Guaranteed DEPENDABLE VIOLIN OUTFITS FOR EVERY PURPOSE All outfits are carefully examined and instruments correctly adjusted by our experts before shipping. These outfits come in three sizes—F ull, Three-Quarter and Half-Size. When ordering please state what size is desired. “#0. 1. Stradivarius model, dark reddish brown, European manufacture, black keratol case, good bow with pearl slide, extra set of strings, rosin, etc. only @o. 2. Stradivarius model, light yellow brown, finely polished, of European manufacture, fine tone; in- cluding fine bow with pearl slide; in substantial black keratol case with lock and key; extra set of strings, TOMI, Mi. COUUIOUO, ORT oi cine: Wo. 3. Stradivarius model, fine hand polished, medium mahogany color, also of European manufacture, ebony trimmings; elegant tone, suitable 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 ROR REN Dh CMRI QR er ne eat $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 sent eut, 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 bp application. We guarantee our prices on every instrument similar quality to be from $5.00 to $15.00 lower than majority ef retail music houses are now offering. Address all orders to A. W. Perry’s Sons, Sedalia, Mo. METRONOMES BEST AMERICAN MAKE Guaranteed to be Perfect 1. Mahagony case, finely All complete, No. polished, without bell $4.50 No. 2. Mahogany case, finely polished ,with bell — $5.78 We realize that there are several inferior makes of Metronomes on the market. Ours is the best. Every musician and teacher of music should have a Metronome Heretofore the prices have been very high, making it a very expen sive luxury for some. We have just \y received from the manufacturers a large quantity and are putting them on the market at the above low prices, which places them now : within the reach of all. Add _ 36 cents, if you desire us to prepay the Express charges, or send by Parcel Post. _~ is ny A . 6 ee M. W. BUTLER’S FOLIO OF BRILLIANT PIANO. FORTE VARIATIONS ON FAVORITE SACRED MELODIES These beautiful variations, published in sheet music form, woiu'é cost over six times the price of this book, which contains «.: pages. CONTENTS: “Just As | Am Without One Plea,” “Ths Ninety and Nine,” “He Leadeth Me,” “At the Cross,” “Blesse: Assurance” and “Jesus, Saviour, Pilot Me.” Price, 50 cents. A LETTER FROM M. H. STAINER. “Just a few words to tell you that Mr. Butler’s Hymn Varis tions have been a wonderful help to me. I use them witl success as Voluntaries or Preludes to our church service.” WE ARE HEADQUARTERS FOR FINE STRINGS FOR ALL INSTRUMENT& “OUR LEADER” VIOLIN STRINGS After handling for years nearly every kind of string fa: 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 faa 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 tr 85c each, we sell them: KH, 4 length... 15¢c Eee A, 2% length 15c 5 | CER eERee Se D, 2% length. ......15¢ Per doz. ge ae) yf) Every string and every length is guaranteed perfect tm tone, and guaranteed as to durability, except in moist climatee and moist seasons, and under perspiring fingers. For these troubles we have the best waterproof E string t& 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, 3 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 t& strument. Mandolin Strings—Best steel, E, A, each 5c: D and G, each, G wound on best 10c. Guitar Strings—Best steel, E first and B second, each 5e: 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 BH, 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. Double Bass—Fine quality, G, 75c; D, $1.39; EB, $2.50. Banjo, Zither. Autoharp or any kind of an instrument sup: plied with strings ‘n sets or single. These prices are net, no discount. $1.00; A, 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 effect. Although this composition may be performed with or without the singing or bells, we guarantee you wiil be pleased with it. we FALLING SNOW, an Idyll, composed ore Perry. Descending snow flakes, the jingle sleighbells at hand and their vanishing in the distance, inspire the motive. The author has woven in beautiful melodies throughout this creation and to emphasive he has introduced Gaeoriet Swiss) finger bells with charming effect. JINGLE BELLS GALOP, composed by M. “W. Butler. A lively galop, full of beautifal ‘melodies. 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 will furnish them complete foronly 65 cents. LESSON AND PRACTICE RECORDS ~95 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 practice, day and hour for the lesson, etc. Designed to promote improved practice by the pupil and systematic instruction by the teacher. Imported Swiss Musical Bells of the bells,

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47th YEAR 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 Sedalia, Mo., under the act March 3, 1879. Change of address should reach this offi the 10th of the month. pe reiioi eta Where change of address Is desired, the old and new address should be mentioned. ee may commence with any morth de sired. LIVES OF GREAT PIANISTS. GEORGE FREDERICK HANDEL (Continued From Last Month.) In order to procure for themselves more easily than had hitherto been possible the enjoyment of a good Italian opera, a stock company was now formed by the most il- lustrious and wealthiest art amateurs of London, who, in 1720, founded an academy of music. For model they had in mind the Paris Academie de Musique, and as the king took a box at the opera-house, paying for it a very considerable sum, they were per- mitted to call themselves the “Royal” Acad- emy of Music. Before arrangements were fully completed, Handel was sent to the continent for. the purpose of obtaining suit- able Italian singers. The best talent pos- sible to be procured was in request for the Royal Academy. In search of singers there- fore he went again to Germany and visited Dresden, where the elector had established an Italian opera under the direction of the great Antonio Lotti; on this occasion he played at court with great success, and re- ceived a present of one hundred ducats. Bach, who, two years before, had engaged in his famous competition with Marchand, had not been noticed by the Court. It hap- pened oddly in this year that Bach, passing through Halle in the course of a journey, wished to seek out Handel, whom he sup- posed to be visiting his relatives in the place; but he arrived too late—Handel had already gone. In the spring of 1720, the opening of the Academy took place. The composers engaged for this occasion were the Italians, Bononcini and Ariosti, and the German Handel. The latter, who, during the eight years’ existence of the academy, wrote fourteen operas for it, finally drove his Italian colleagues wholly out of the field. Two of the most famous prima donnas of their day were secured: Francesca Cuz- zoni (1723) and Faustina Bordoni (1726). It is related of Cuzzoni, that, because she refused to sing a certain aria in his opera, “Ottone,” Handel seized her and threatened to throw her out of the window. After this she was tractable through fear, and became SEDALIA, MO., MARCH, 1929 devoted to the master through her convic- tions as an artist. Between herself and Bordoni, however, a rivalry existed from the beginning, which, intensified by the ad- herents of each, finally led to an exchange of blows between the singers on the public stage. In consequence of this and of other annoying scenes, the standing of the insti- tute was injured. From the beginning it had encountered violent opposition from the native musicians, who saw _ themselves thrown in the shade by the foreigners, and, the financial basis of the enterprise being insecure, it had to be abandoned in 1728. In the meantime, King George I had died on the eleventh of June 1727, and was suc- ceeded by his son, George II, for whose coronation festival Handel had composed four great anthems. The text of one of these is as follows: “Zadok the Priest and Nathan the Prophet annointed Solomon king. And all the people rejoiced and said: God save the King, long live the King, may the King live forever! Amen, Alleluja.” It soon became very popular and was called, for brevity, the anthem, “God save the King.” From this arose the idea that Han- del was the composer of the English nation- al hymn, the first strophe of which ends with these words and which, for this reason, was also named from them. The idea is erroneous; the poet and composer of the hymn was the Englishman, Henry Carey, who wrote it in 1743. For the space of a year and a half, from the first of June, 1728, to the second of December, 1729, there was no Italian opera, but the public amused it- self with the so-called “Beggar’s Opera” of John Gay, a coarse, popular vaudeville, the musical charm of which consists in the in- terwoven national airs. Here was a reac- tion against foreign influence which plainly showed the desire of the English to impress upon; their music the stamp of nationality, even though this was no longer possible. Within the next twelve years more than a hundred vaudevilles in the style of the Beg- gar’s Opera were produced, a part of which spread over to Germany and contributed in no small degree to the development of the “Singspiel,” which was to be moulded by Mozart and Weber into the national Ger- man opera. During the interval above men- tioned Handel was not in England. He first went with Steffani to Italy, where he passed the winter. A new Italian opera enterprise was already planned, which was to be in- dependently conducted by Heidegger and Handel, and its financial soundness to be assured by means of subscriptions. In pur- suance to this plan Handel engaged singers in Italy, took up his abode for the summer of 1729 in Halle (where Bach attempted for the second time to make his personal ac- quaintance), and opened his theatre on the second of December with “Lotario,” an opera of his own composition, furnishing in PERRY'S - MUSICA - MACAZIRE SP A PET OLE AL METRY LEN RAE NTT RIOR II OCS DS RRS CTC NT NUMBER 12 all six similar works during the four years’ . continuance of the enterprise. The arro- gance of the Italian singers and the political opposition of all those who were angry be- cause Handel enjoyed the favor of the royal court, finally rendered the situation unen- durable. When the directors were obliged to suspend their performances, the same op- posing faction, who were contending against the foreigner in the person of Handel, called into existence a rival Italian opera, for which they tried to collect the most. cele- brated performers in Europe. Among the singers was Cuzzoni; among the composers the husband of Fraustina Bordoni, Johann Adolph Hasse, who had occupied the posi- tion of chapel-master in Dresden since 1731. When Hasse was invited to London, he is said to have asked if Handel was dead, so improbable did it seem to him that there was a place for him, great composer though he was, where his powerful compatriot was working. Nor was the latter inclined to abandon the field to his opponents. Driven by them from the Haymarket Theatre, he repaired to Covent Garden and there re- sumed his operatic representations on the thirtieth of October, 1733. But, though he summoned all his energies and wrote no less than nine new operas, he could not win for himself an enduring success in _ this sphere of activity. Not only were all his earlier savings now swallowed up, but debts were contracted, and in 1737 he was obliged to close the theatre. The opposite party, however derived no advantage from his fail- ure; their own undertaking was abandoned only eleven days later. Handel had made superhuman exertions to hold his own dur- ing the last few years; his strength now collapsed. <A stroke of paralysis lamed one of his hands—indications of insanity ap- peared. Yielding to the urgent entreaties of his friends, he went to the hot baths at Aix-la-Chapelle, the effect of which was so favorable that he came away after a few months, completely cured. Returning to London, he found that Heidegger had form- ed from the ruins of the two opera com- panies a new one, with which he was giving performances at the Haymarket. Handel now wrote, partly for this company, partly at the solicitation of outsiders, six more operas, the last of which, ‘“Deidamia,” was completed in 1741 and seemed the dying echo of a life-period which had ended for him four years ago. (To be continued.) MUSICAL MYSTERY From Tit-Bits, London. Mrs, Smith—This ’ere fellow thinks ’e can sing like Caruso. Mrs. Brown—wWell, they do say as ’ow Caruso ’ad a beautiful voice, but ’ow could they know, with ’im stranded on that island with nobody but Friday to ’ear ’im?

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SHOULD PIANO PLAYING UNDERGO A RADICAL REFORM? VALADIMIR DE PACHMANN Who at the Age of Seventy-Five Has Re- molded His Entire Repertoire According to New Principles Which He Claims Are of Paramount Importance. (CONTINUED FROM LAST MONTH) Fluidity in Playing “During my three-score and fifteen years I have heard many times all the great pian- ists of the day. I have watched them close- ly. Liszt himself attended my first con- cert in Budapest. He sat in the first row; and after the concert we had supper to- gether in my quarters. At the end of the concert he came upon the stage and con- gratulated me most effusively, even going so far as saying, ‘I wish that Chopin had heard you play.’ Later in the evening I played his arrangement of Auf Fluigeln des Gesanges and he said, ‘So, I like it,’ with great enthusiasm. He then played his ar- rangement of Chopin’s Chant Polonaise. I shall never forget it. It was like some won- derful voice singing. Liszt was transcend- entally the greatest of all pianists. He play- ed like a god. Later I met Liszt at his home in Rome, during a time when Richard Wagner was staying with him. I had the honor of play- ing for both of them. I played the Chopin Ballade in G@ minor and was again over- whelmed by the generous praise of both. Liszt insisted that I played it better than Chopin who had mannerisms in his playing at times. “During all these years it seemed to me that the greatest method of playing the piano was that in which the masterpiece to be interpreted could-be permitted to come from the soul of the interpreter to the in- strument with the greatest possible fluidity. Of course, this presupposes that the inter- preter must be possessed of the highest musicianship and an all-adequate technic. Yet I always felt that there was something which impeded the message, something which clogged up the lines of muscles and nerves. This very thought prayed upon me for years. I could not sleep at night because of it. Thinking did not seem to solve the problem; because I knew that there must be some fundamental principle underlying the whole thing. Inspiration did what think-: ing would not do; and I discovered that the whole trouble lay in the wrist. The ‘wrists were not free. Easily said—but WHY? | Perhaps a simple experiment will serve to illustrate. Put your elbow upon the table and let your forearm fall with your hand in comfortable playing condition. Do not curve the fingers too much, because that is -un- natural. “Now with the hand and forearm in this position, move the hand (without moving the forearm) as far as possible to the left and hold it in that position for a few mo- ments. You will notice at once that there is a strain at the point of the wrist. Now move the hand in the opposite direction and PERRY’S MUSICAL MAGAZINE there is likewise a strain. It is this strain that, to my mind, distorts the muscular and the nervous condition of the hand and the forearm and results in much horrible play- ing. The tone cannot be musical and beauti- ful if the wrist is stiff or strained in this manner. Therefore I never move the hand from side to side. occurs at the elbow or at the shoulder and not at the wrist. The hand is on a straight line with the arm. Is this ‘stiff wrists?’ On the contrary it is the very opposite, and the one sure remedy for stiff wrists. The hands and arms are always free and uncon- strained. “Having discovered this, I began to find that, whereas I had been unable to practice for long periods in later years without fa- tigue, I was now able to play for hours and hours and never feel it. “What was the result?. I resolved to re- work, rearrange my entire repertoire upon this new basis. This meant refingering hundreds and hundreds of pages of music. You see, the music editors for the publish- ers are first of all fine musicians and only secondarily pianists. They do not under- stand and recognize the difficulties of the instrument. Even a great mind like von Bulow did not recognize this. If the music forced the hand into an awkward position it was immaterial. As a result of this they paid attention to indicating the harmonic structure of the work by writing the differ- ent parts or voices on different clefs, with little consideration for the pianist’s hand. Even in as highly pianistic a composer as Chopin, if one follows the best editions up- on the market, the hand is often forced into painfully strained positions. I will not ‘spoil’ my playing hand in this way. If I encounter a passage whic® demands strain I work with it, refinger it, rearrange it until the strain disappears. This has obliged me to make thousands of changes of hand positions and fingerings.” CANTANKEROUS QUEENS OF THE OPERA Oscar Hammerstein was said to know more about the tantrums of opera singers, and to be better able to meet them on equal ground, than any other impresario of recent days. It seems to be almost a part of the stock in trade of these great singers to “throw fits’ on occasions of real or sup- posed slights, and the matter is never use- less to a press agent. The most recent ex- ample is that reported of an internationally known prima donna, declaring she would sing no more in the city where her fame had been made, because a coveted decora- tion had been withheld. The prima donna’s husband has denied the facts, but the story has gone its way in both the American and foreign press, and one result has been the overhauling of old tales of prima donna waspishness, by Erroll Sherson of the Lon- don Dail Telegraph. The history of opera in all countries, he tells us, is full of stories of how the ladies (and sometimes the gen- tlemen) of operatic troupes “have succeed- The lateral movement - ORS WVU TT STEN SPRL OTR, COT ROS A ed in causing the maximum of inconven- ience to all concerned by exhibitions of tem- per and selfishness, and by assertions of out- raged dignity.” Here are some: -“T am afraid the ladies are the more fre- quent offenders. The artistic temperament is undoubtedly an excitable one, but what is set down to ‘temperamental’ natures is often a mere exhibition of temper only or a par- ade of excessive vanity. Giulia Grisi, in the days of the old opera house of the Hay- market, loved to rule the roost, and was encouraged by the crowds of young bloods, headed by the Duke of Cambridge, and others, who adored her for the beauty of her person and her voice. She aspired to have the ordering of the operas (naturally those in which she especially shone), and re- fused to let Lumley, the manager, have any voice in the matter. He put his foot down, and she left the company, taking with her Mario, Tamburini, Persiani, and others, and thus. was the opera permanently fixt at Covent Garden. “Harlier in the century, the fascinating Eliza Vestris struck for more candles to dress by. As a ‘donna seconda’ she was en- titled to only two wax candles in her room, whereas a prima donna had six. But Vestris got her way. She planted herself in the middle of the stage a few minutes before the curtain was due to rise, and declined even to go to dress till she was given the Same number of lights as the prima donna. “Gabrielli, a singer at the Haymarket house in 1775, gave many such evidences of the operatic temperament. She was call- ed the ‘most capricious member of the most capricious profession in the world.’ Daugh- ter of a Cardinal’s cook—whence she got the nickname of ‘La Cuochettina’—a pupil of the elder Garcia (called ‘Lo Spagnoletto’), she rose to her exalted position on the stage by sheer merit, and gave herself the airs and graces of a fine lady. One of her oddest caprices was to have a so-called ‘lover’ sit- ting in the pit, to whom she would address her most fervent outpourings—singing ‘at him,’ so to speak, all the evening. But if the ‘lover’ wanted to be a lover in earnest, he was at once sent about his business and another, one installed. “At Palermo the Viceroy gave a great din- ner and invited Gabrielli. She stayed in bed and ignored the invitation. That night at the opera she sulked and sang sotto voice all the evening. She was threatened with prison, but replied they could send her to prison and make her cry, but they could not make her sing! Then she was sent to prison, and remained there for twelve days. Being a very rich woman she entertained lavishly while there, and paid the debts of all the poor prisoners.” It seems that the commands of royalty are nothing to the wilfulness of some queens of song, once their ire is aroused. “Mara, a German artist, who sang in Lon- don in the last years of the eighteenth and the first years of the nineteenth century, was another self-willed, not to say obstinate woman. Once in Berlin she was ordered to sing at a fete for the Cesarewitch. She

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LOVE AND ROSES ROMANCE C. A. WARD My @ oo Op. 12 \t eae es AE REET SEES RS RS.” RTOS PE = 72 Moderato M. Not fast. Cantabile Copyright MCMXXVIII by A.W. Perry’s Sons.

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Piu Animato Sva SARSRA MS CASS AOR S STIL RS Seer "4 Ga PRT ROR SAREE POR RR OF RERERIS HST. OE ‘ 1 a : . | “ ® > . ae ‘ % y) k = SUA cnanncccncnccncncncnnne scanccacacnnnansnccccscenencenncnsnncecwnenencenanccensencncennscasesasnnsesasconaacsssesencesensseccenaneaces ery oe Love and Roses, 3-2

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| 4 TO EN NENT a GP Ste OD TE Rie aE ‘ 6 EEE 2 SS Ss OSE FT OE A ET EE me. SR ESERO Ue So ST CR SRT ORE EE Ms A ee ee RE ee ome es §va : a> q zi AY hud a al wee OO Eee” ; Love and Roses, 3-3

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OLD FOLKS AT HOME. FOSTER. Arr. by John Martin. Andante. Copyright MCMXI by A.W. Perry & Sons’ Music Co.

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AMERICA FOREVER GRAND MARCH By J. OWEN LONG be be f ) Se aa Se! fs Se SE OO Bn Re CE A 2 ee ee ee i or . oF a ae ee ce eee, ORS SE TEES Pa NE ee RWS RE Be RE OR. RB RE F168 Ree. eh Re LR LO) a as ME PY TR Os ee De rE ; ES” SO eS ATER SE NE SI CARA SE LS ES oe) EOS EA OR EE. Ee: Re WS Hae. sey ee a ° Copyright MCMXXVIII by A.W. Perry's Sons:

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SNE: SEA ORD ACES RTE GROEN” SMI NR: * see aul A RO NR A Ei RE me EG FOE Re Re MR, UO NE A CER OR OS I ORO RO OT EE SOE RE CR DOE RT CRE ee = - “Wu . Be Te Sa a EN He 2 SG TREN Kia DR. i A. RS th A AAO REE Ge ONE ee RE GR he Le A CO 6 RE i - Ge ee eee det el Se ee a A ee Ae LL Le SAT AC SRE EA A RE ek RN ORT cae ITE America Forever. 3-2.

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ae. PTS AR AEE SS Coe Kas CURORS? CRETE AY RS TE RE RE 6 ie | AEBS GEES CRIS ments i A. SEE ER ELIE ROE mV ee ee Oe ee ee eee 2 eee “) BE EEe Ee’ EE Ee eee Ae eee ee peeencere ©. Ses ome mae ance Fee Oe ME KLM y America Forever, 3-3.

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Windy Nebraska Waltz. For Piano or Cabinet Organ. Composed by MISS NELLIE MILLER. Copyright 1900 by A. W. Perry & Son. te

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= on ome -S __—_p——_9- —é—o—»- Ss ‘ —-_—_—_——- @ Vat ae Eee —_e\# —+—|——— ; 3 =. ——F-}-4-—F — F- = pope Ee = | | —+— | 3 Ry 8 S S ee ee eee Se : sie same Windy Nebraska Waltz.

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GRAY FEATHER Music by ISAAC N. FARRIS An Indian Love Song. Words by JOHN J.Mf& ROBERTS Slowly, with deep feeling \ 4 "a8 H ¥ ns peacefully that night On dimtntsh aoe ly pent was Where ___ the wa-ter old Wy - o-ming, in Copyright MCMXII by John J.M¢ Roberts and I-N. Farris.

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and brave Gray Feather__ young the Stood “ ing, fall “An NY | the Then love __. for his brie... with had ‘con-quered. Rr he Lil a HT | NNGE SN 4 | Camc clouds ____ C th And ter shone on the wa- ‘di AS Ra ee Gray Feather 4

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@ =i was safe the moon she then — And -den_. hid Sang: he And thus- Gray Feather 4

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un - pray And cl. my blan- nN i with - Come : F il .» . | A ol “ ateaear )) eh Aish Albis tf ll % y Ny & ~ OS ~ > ~~ ~ 3 3 : S ~ St 4 “ 6 en es © hy io) 8 : ' Sg ll ; i | > tlh o i oO A ° eb ro" ss is) ) | : = As ANY oY ALL ii ae CO xy SG » —" S Cs a os Seb a a z 3 8 © ~ RANA I ie aU WN eT WZ WW SS $ | Ras Gray Feather %

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2 an i WALTZ E. SWARTZWELDER Moderato Copyright MCMXIII byA.W. Perry & Sons’ Music Co.

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a, Sly Brownie 2

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FOR PIANO OR ORGAN. LD. 2. —— s Composed by MAIE. FITZGERA Can be used effectively as a Polka or Cake Walk. —>- a = ca Tempo di Marcia. eo #»- 2. ef ete =e rs ~- s+ oo { i hme mnneeynemnenrntani b- FS tg —}-—_ e-- | ——_|+--—__ a eee Copyright, MDCCCC, by A. W. PERRY SONS’ MUSIC CO.

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ae fet - -0— 9. The Missouri Rag.—4,

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PERRY'S MUSICAL MAGAZINE Complete copies of ‘‘Throw Out the Life Line,”’ Variations, ‘‘Old Acquaintance March,’’ and other b2autiful pieces, will be published in the Aprilnumber of PERRY’S MUSICAL MAGAZINE. THROW OUT THE LIFE-LINE INTRODUCTION BRILLIANT VARIATIONS By M. W BUTLER Moderato. Con Bravoure BUGS «insisting FUE c-ne, Ban. & Gf. & Bo. t% BD. fa. fd. BW % COMPLETE, PRICE 50 CENTS “OLD ACQUAINTANCE.” MARCH C. A. WARD Tempo di Marcia. M.™. J +120, sa Op. 10 | STOR ARN RAO CE LAT Os BE MRS Ce ake Se) aN OR a A . A AE OO SNES RT OP ERT UR SL A LR RA LL SED A Ue iY *0 OE AS RR ae ER RE TY te CREE MER) SE SO eT SA NR REE RL SRN OREO PURER oR GS CAPER Oe IR Re UI RD kT RN 8 ORR -_— COMPLETE, PRICE 50 CENTS SUBSCRIBE FOR 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 magazine. To the teacher, this magazine is invaluable as & 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, an 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. 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. ‘er, has adopted in his method the best lessons of the old Wasters, such as Czerny, Haydn, Beethoven, Leschetizky, stc., 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 sopy 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, P A. W. PERRY’S SONS, Music Publishers, | SEDALIA, MO. EXTRA—A beautiful Diploma, suitable for framing, is given with each volume.

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PERRY'S MUSICAL MAGAZINE To Colleges, Schools and Teachers 1. We make a specialty of College, School and Teach- SEND FOR OUR Jr trade. L. Complete Thematic Cat- 2. Our terms are. the MOST LIBERAL; our dis- sounts the LARGEST, and from the educational stand- point, our publications are second to none. dl 8. Our Facilities are an- equall fars sent on request) is Lib- . eral, and only the latest and | ©f All Foreign and Ameri- best Music is used for this | °8n Publications that is in de- purpose. 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, 2nd are positive that we can wave you time and money. — Accounts opened with responsible parties. A. W. PERRY’S SONS, SEDALIA, MO. alogue ef Classicai and Popular Music. il, Catalogue of Music Books and Studies for all Instruments and Voice. 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 LESCHETIZKY’S SCALE EXERCISES. Leschetizky’s Arpeggio Exercises. PRICE, 50 CENTS EACH The art of playing scales runs, etc., is known to compare tively few. The editor of Leshetizky’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’ cours¢é 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 te him that in order to execute with the right hand a rapid as cending scale or run evenly with the greatest velocity it is absolutely necessary that the thumb should pass quickly unde? 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 seales, runs, etc., evenlv and with the great est velocity. ail of which are published complete, and with ful explanations as to how they should be practiced tn J.esche tizkv’s Scale and Arpeggio Excrcises These books also contain imstructive remarks by Paderew ski and his teacher, Leschetizky. lessons explaining how al! pianoforte musie should be practiced ETUDES DE TECHNIQUE By M. W. BUTLER. Melodious Technical Exercises for overcoming the Mechar-. ical 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. Pries 75 cents. PERRY’S AI"UM 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—“Lohengrin Wedding March.” “PERRY’S ALBUM OF CLASSICAL MUSIC FOR THE PIANO” will be sent postpaid to any address on receipt of 15 cents. STUDENT'S Composing Book SIZE, 5x7 INCHES. Contains 32 pages, ruled 6 staves to each page. Just the book 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. 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 muslio 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.” “tsauterbach 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. Com.=!ete in one volume, 50 Cents. Perry’s Lesson Record and Memorandum FOR MUSIC TEACHERS This book was,..revised with much care and thought, and is expressly for music teacbers. It enables the teacher to keep an accurate account of all lessons given, music sold and names yf pupils Price, 15 cents, post-paid 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 organ accompaniment printed from large size music plates. These new songs, pub. lished in sheet music form cost over ten times the price of the book, which will be sent post-paid to any address on receipt of 15 cents., PERRY’S PIANO OR ORGAN VOLUNTARIES, FOR USF. IN CHURCH SERVICES. Most arrangemexts of this very necessary music for the church are selections from organ voluntaries, simplified to meet the exigencies of an instrument more cireumscribed 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 voiiatary 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.