The Baton: Vol. 4, No. 4 - January, 1925 - The Juilliard School

T H ETHE ANNIVERSARY ISSUEAs January marks the anniversary of thefounding of the Institute by James Loeb and alsothe establishment of The Baton by Dr. FrankDamrosch, that issue of the paper is always devotedto events in the history of the school. Itseemed appropriate that the Institute's newbuilding, a beautiful annex adjoining the originalstructure should have been opened this month.The usual Anniversary Concert to commemoratethe birthday of Bett}^ Loeb in whose memory theInstitute was "founded twenty years ago, tookplace on the evening of January 16th.As for The Baton: According to an article byMr. W. J. Henderson in a recent Evening Sun,the baton made its appearance as far back as1318 when it was wielded by a minnesinger. Itwas not until 1922 however, that our newspapertook its name from the conductor's stick because,do not both indicate the musical pulse of themoment?B A T O NThis is, therefore, our fourth birthday and tocelebrate, it was decided to publish for our studentsand other readers, brief biographicalsketches of the members of our distinguishedFaculty. The teachers acquiesced most graciouslyin furnishing the desired information whichwas all too interesting to omit a single detail.For this reason it has been necessary to dividethe material into two or three issues of the paper.In this number appear the stories of the Director,many of the teachers who have beenassociated with the Institute since its earliestyears and the teachers of theoretic subjects withwhom all the students come in contact.To avoid the aspect of an encyclopedia the datahas been put in narrative form by the Editor whoacknowledges with grateful appreciation the assistanceof Mrs. Blanche Jacobs and the followingstudents—Victor Bowes, Beatrice Kluenter,William Knapp and Anna Lapidus in compilingthe biographical material.CONTENTSThe Director and Members of theFaculty represented in this issue:Dept. of PageDamrosch, Frank 4,5,6Altman, Elenore Piano 14Augustin, Helena Piano 20Baldwin, Adele Voice & Languages 10Bergolio, Mabel Piano 16Crowthers, Dorothy Theory 22Dethier, Edouard Violin 17Dethier, Gaston Organ & Piano 17Donovan, Richard Theory 21Dunham, Lucia .Voice 14Fonaroff, Mark Violin 11Friskin, James Piano 14Fyffe, Anna Piano 18Goetschius, Percy Theory 7Hasselbrink, Carlos Violin 14Henderson, W. J Lectures 9Hough, Bassett Theory 22Hough, Lotta Piano 21Kneisel, Franz Violin 16Lamson, Gardner Voice 10McKellar, Annabel Piano 10Merrill, Mary Piano 11Murphy, Howard Theory 19Richardson, A. Madeley Theory 9Salzedo, Carlos Harp 15Soudant, Belle Theory & Voice 21Strauss, Elizabeth Piano....8, 18Svecenski, Louis Violin 8Toedt, Ella Voice 8Walther, Madeleine Voice 9Wedge, George Theory 19Whiley, Helen Theory 20Willeke, Willem Violoncello 17Members of the Faculty to berepresented in the next issues.Albro, MargueriteAsenmacker, AntonBarrere, GeorgeBostelmann, LouisBoyle, GeorgeCarpenter, LilianClarke, ErnestDessoff, MargareteDuques, AugustinEdlin, LouisFirgau, BerthaFriedberg, CarlGardner, SamuelGartlan, GeorgeGibbs, HaroldHaubiel, CharlesHeld, ConradKramer, LeopoldKroll, WilliamLetellier, LouisManoly, LudwigMathieu, PierreMeader, GeorgeMichelson, HenrietteMiller, MarieMiller, RosalieMontray, EdwardMorris, HaroldNaimska, ZofiaParme, FredRosanoff, EmmSamoranya, MargotSansone, LorenzoSchlossberg, MaxSeeger, CharlesSieveking, MartinusStewart, RuthToledo, DianaDept. ofLanguagesVioloncelloOrchestraViolinPianoOrganOrchestraChorusOrchestraViolinLanguagesPianoViolinSupervisorsLecturesPianoViolinViolinViolinOrchestraOrchestraOrchestraVoicePianoHarpVoiceOrchestraPianoPianoOrchestraVioloncelloVoiceOrchestraOrchestraLecturesPianoVoiceLanguages

THEBATONThe wind moaned dismally along the desertedverandahs of the Lookout House situated as it ison the very tip-top of a mountain. Snow crystalstapped gently on the window-panes of the roomwhere Molly Pearson sat, gazing wistfully intothe dancing flames of an open fire. Rapt inthought, she did not notice the dirge of winteroutside. Isolation from people and events did notdepress her; she was used to it. This was thenearest she ever got to civilization; she was withina few hours of the object of her dreams, NewYork, but it did not enable her in any way tosatisfy her longing to mingle with makers of historyin every walk of life—perhaps to achievesomething herself.It seemed to Molly, who was now sixteen, thatnothing would ever happen to ripple the monoto-Lcopold Damrosch, father of "theDirectornously placid waters of her existence. Duringthe summer her father was engaged as a lumbermanin the north woods of Maine where she andher mother were kept busy providing a kind ofhome for the men during the logging season.The tedious repetition of three meals a day wasthe endless routine of work for the women. Forthe winter months the Pearson family took apaying vacation by acting as caretakers of theLookout House.There is scarcely a more desolate spot on earththan a summer hotel closed for the winter. Theechoing emptiness with its suggestion of personsdeparted has some of the cheerful atmosphere ofa mausoleum, but to Molly it was luxury itselfafter the rough life of a camp in the wilderness.With her girlish imagination she often tried topicture the gay scenes of the summer about theplace, to re-people the hotel and its grounds withREFLECTIONS OF YESTERDAYthose whose laughter seemed to ring again alongthe corridors and through the gardens."Now whatever are you thinking about sohard?" It was the jovial voice of Mrs. Pearsonwhose sweet motherly countenance showed anexpression of great pride in her daughter. Shesecretly wished they had been more fortunatelysituated so that the girl could have the advantagesof education and culture which she herselfhad missed.Going to the window which commanded anextensive view of mountains and valleys shroudedin white, Molly said, "It must be wonderful togo beyond those peaks toward the great city.""Perhaps the chance will come some day," repliedher mother, half between doubt and hope."But now it is almost time for your father to behere with that lady who is coming to spend theweek-end. I wish we knew more about her. Theowner of this hotel only said in his telegram thatshe was a personal friend who was seeking solitudefor a few days.""She'll find it," laughed Molly. "Maybe she'llbe interesting," she added, glad to see anyonefrom the city.The sound of a sleigh announced her arrival.Mr. Pearson, a big man of jolly demeanorentered, baggage in hand, followed by the expectedguest, a slender lady whose expressionand movements indicated alertness and energy.After a few preliminary words and directions asto the hours she wished her meals served, she accompaniedMolly to a room adjoining the livingroom which was to be hers during her sojourn.Molly, eager for conversation, exhibited curiosityover a portable typewriter the lady depositedon the table."This is why I came," she said, indicating themachine and a roll of paper which she took fromher suitcase."But you'll be so lonely here," suggestedMolly."I wish to be," replied the lady. "It's a realluxury to be alone. One can never escape peoplein the city. One must have quiet for work andthis is certainly work." She pointed to the manuscript."It's a story.""Oh, are you writing a novel?" and Mollyclapped her hands in delight."Well, no, not exactly," answered the lady,"but some of it is certainly novel!""Do you live in New York?" asked Molly regardingthe visitor with awed respect as shenodded in the affirmative."Now, my dear child, you must leave me to mytask," said the lady as she gently but firmlyterminated what might have been an endlessvolley of questions from the eager girl. "See thatno one disturbs me while I am here at the hotel.People do not come at this season, do they?""No, indeed," assured Molly mournfully."Perhaps I'll let you read the story when it is

THEBATONtyped," added the lady kindly, and Molly althoughreluctant to leave, wias pleased at theprospect of a novel at first hand.II"It looks like it's fixin' for a blizzard," remarkedMr. Pearson seeing from the kitchen windowthe ominous clouds gathering."I certainly hope not," asserted his wife. "It'sbleak enough here without adding a blizzard forthe entertainment of our city guest."Hardly had she spoken when the wind beganto increase in velocity, the snow changing to hailwhich beat a sharp tattoo on the windows. Thehotel seemed to shake on its foundations andMrs. Pearson going into the living-room to pokeup the fire, glanced nervously in the direction ofthe guest's room. The latter, however, quiteoblivious to the elements without, was hard atwork and the typewriter was click-clicking ata furious rate of speed. With a shrug of hershoulders Mrs. Pearson returned to the kitchen.Her husband, still standing by the window,gave a sudden start. He peered intently throughthe dusk and storm in the direction of a railroadbridge at the foot of the mountain."What is it?" questioned his wife anxiously."Looks like a wreck," ejaculated Mr. Pearson."I must hitch up the sleigh and go see.""Oh, not in this terrific wind and sleet,"pleaded his wife."I may be needed down there," he called as hepulled on his boots and grabbed his coat and cap.During an hour of tense waiting they watchedthe lights of the train below and the lanterns ofthose running to and fro near the bridge, andthen they saw a sleigh coming slowly up themountain as if heavily loaded. As it approachedthere was the sound of many voices and beforethey realized it, Mr. Pearson entered with theannouncement that there had been a landslidejust ahead of the train as it crossed the bridge.Fortunately the cars and passengers had escapedinjury but the engine had been damaged and itwould be impossible to proceed that night."Fix up some rooms of the hotel, Molly," hedirected, "and we'll give 'em what food we'vegot. The train is a special from Buffalo witha lot of people who've been to a conference orsomething there." He called to the visitors tocome in."Oh, they must be dreadfully important," whisperedMolly with excitement to her mother, as agroup of ladies and gentlemen entered. As theyshook the snow from their coats and warmedthemselves at the fire their remarks indicatedvarying degrees of disgust, distress, indignation,resignation and amusement at the predicamentin which they found themselves. Other sleighsfull of people began to arrive and Molly who wasbreathless with interest, was hurried off by hermother to assist in preparing the rooms and arepast for the hungry assemblage.A long table was arranged to accommodate allthe guests and soon the party was gathered aboutwhat was a really festive board considering theshort notice. Everyone seemed more cheerful atthe sight of Mrs. Pearson's tempting fare andconversation became genuinely merry. Molly,who was having a hard time to serve the guestsand listen to the conversation at the same time,gathered from their words that they must be verycelebrated folk. She conveyed the impressivenews to her mother who was too confused to care.As the girl brought the dessert one of the gentlemen,(a very good-looking one, she made a mentalnote), asked her whether she was fond ofmusic."Oh yes, sir, what little I know of it," she replied."What do you know of it?" asked a lady ofcharming appearance who had heard the question."Not much, but I do love to sing. I alwayssing at my work," answered Molly with embarrassmentas she noticed that all the conversationhad subsided and attention was directedtoward her.She, in turn, could no longer restrain the keeninterest she felt in the visitors and begged themto tell about themselves. Here was a golden opportunityto talk to persons of that alluring outsideworld. It might never happen again. Shewould return to her drab existence and nevermore come in contact with celebrities. Withthe storm they had come; with the storm theywould go."I heard you speaking much of music duringdinner. You mentioned names I've read in the'History of Music' which my cousin gave me.You must all be very great musicians," she saidwith such apparent reverence in her tones thateveryone laughed good-naturedly."Well, why not?" exclaimed one they hadcalled Mr. Willeke. "We must pass the timesomehow and I'm sure we'll never have a moreenthusiastic or interested audience." At the suggestionthat he lead off, Mr. Willeke said, "Ohno! That's for our Director to do," and hebowed to the one at the head of the table. Thenhe drew up a chair for Molly, whose eyes wereaglow with excitement at being an audience ofone, with what seemed to her, the whole worldto entertain.Ill"We represent," began Dr. Frank Damrosch,"some of the Faculty of the Institute of MusicalArt of the City of New York in its, variousdepartments: Voice, Piano, Organ, Violin, Violoncello,Harp, Orchestra, Theory and Composition,Languages, Lectures and the Supervisors'Department."The organization of the Institute is the culminationof my whole aim in life. I felt thatwhat was needed in America was plenty of opportunityfor the right kind of musical education.That meant to me that students should not

THEBATONmerely take music lessons but get an all 'roundmusical training. I knew I could accomplish thisonly if I could be independent of music teachersand so called conservatories where lessons weresold at so much per hour. Therefore an endowmentwas needed. The story of how that came topass has already been printed in the last anniversaryissue of The Baton."The next point was to find a corps of teachersnot only thoroughly competent in various specialtiesbut also in full sympathy with the mainobjective. I consider myself supremely fortunatein having secured a Faculty of such highstanding, great ability, such sympathetic attitudeand such loyalty as the men and women nowassociated with the Institute. Some of these,Franz Kneisel, Percy Goetschius, Gaston Dethier,Louis Svecenski, Ella Toedt, Madeleine Waltherand Helena Augustin have been with usfor twenty years, and those who have joined uslater have collaborated in the same spirit, so thatthere is not a more united family in any schoolI have ever known than ours at the Institute.That this cannot but react favorably upon thestudent body need scarcely be mentioned."Richard Wagner, whom Dr. Damrosch met whena child"Do tell us of your early life, Dr. Damrosch,"suggested one of the teachers. "I am sure thereare many of us who are really very ignorantof your early activities before we had the greatprivilege and pleasure of knowing 3-ou as directorand friend."Dr. Damrosch's gesture signified a disinclinationto talk about himself. But being pressed byenthusiastic and persuasive applause to reconsider,he finally threw up his hands in surrender."Very well," he agreed, "but first we shouldhave a plan which we all can follow. Who isbetter equipped to aid us in this respect than ourvery efficient secretary, Miss Helen Frank, who,by the way, has been associated with us since theInstitute opened its doors in 1905.""And may she remain with us until the Institutecloses its doors which will of course benever, so may the gods endow her with immortality,"interjected a member of the Faculty, atwhich there were shouts of approval. MissFrank, with her usual modesty was trying toelude the prominence thrust upon her by slippingout through a side door whereupon she wasgrasped by firm hands and brought back to herplace at the table."We shall have to extract the story of yourlife in punishment for your willful determinationto absent yourself on all important occasions,"remarked the Director."My life isn't a story; it's a tragedy," protestedthe little lady."Are we as much trouble as all that?" demandedseveral. But her disarming smile seemedto denote that she loved them all in spite of theworries they often caused her."Now for a questionnaire," declared a teacher."We musicians must develop more system."This was delivered with mock sternness. MissFrank, pencil in hand, rose to the occasion."What about something to this effect?" sheproposed, jotting down the idea. "1. Birthplace.2. Any incidents of early life influencing latermusical career. 3. With whom and where studentdays were spent. 4. Musical activities priorto association with the Institute. 5. Any circumstanceconnected with joining the InstituteFaculty. 6. Musical activities outside of theInstitute at the present time. 7. Any compositionsor books you have published. 8. Celebratedpersons you have known. 9. Any otherdetails of interest.""Perfect," cried one of the feminine contingent,"since you do not ask us when we were born!""Molly can keep this before her," continuedMiss Frank, "and exact her pound of flesh fromeach of you!""Let's begin with Dr. Damrosch," cried Mollyjoyously. "I'm sure he's had a thrilling life."The Director laughing heartily at the girl's unfeignedenthusiasm began:"Breslau, Germany, was my birthplace. Myearliest recollection is that when I was four yearsold, Richard Wagner was conducting two concertsas guest of my father (Leopold Damrosch)who had founded the Breslau Symphony Societysome years before. Father gave a dinner in hishonor. I was brought in with the dessert to bepresented to Wagner! As it also happened tobe the day of my eldest sister's baptism our guestasked whether the boy had drunk his sister'shealth yet. Then putting his arm about me Iwas permitted to take a sip from Wagner'sglass.""Oh-h-h!" breathed Molly as if overwhelmedat the thought."I can see it all as if it were yesterday," continuedDr. Damrosch. "Joachim, von Biilow,Carl Tausig, Carl Reinecke, Rubinstein and numerousother great artists were frequent visitorsat our house and from my earliest youth I heardthem play at our home even before I was old

THEBATONenoug-h to be taken to concerts. Moreover, myfather had string quartet rehearsals at the houseevery week. From my mother I learned thesongs of Schubert, Schumann, Franz and othersong classics from the cradle on."I had various piano teachers in Europe andAmerica, among them Pruckner, former Directorof the Stuttgart Conservatory, and Ferdinandvon Inten. As a boy of ten in Breslau I was apupil of Rafael Joseffy, who was then about sixteen! I came to this country at the age oftwelve."As for other musical activities outside of theInstitute, I can only say I have given up innumerableactivities such as the Musical Art Society,Symphony Concerts for Young People, thePeople's Choral Union, the Mendelssohn GleeClub, the Orpheus Club of Philadelphia and soon, in order that I might give all my time andstrength to the Institute. My publications include'Essentials in the Teaching of Music', thebook used in our Pedagogy Course; a numberof Choruses for Mixed Voices, and a book ofsongs for children called 'A Birthday Greeting'illustrated by my daughter."What celebrated persons have I known ?" Dr.Damrosch smiled helplessly. "Practically evengreatartist. Just last night at the reception atthe Steinway home in honor of Josef Hofmann,there were fifty famous artists present—Stravinsky,Furtwaengler, Kreisler and every violinistand pianist one could name. It is difficult to recountany little incidents of interest connectedwith these friendships. In the writing of a completebiography, which by the way I plan to dosome day, one thing leads to another."However, one incident which might be mentionedis that at the age of twenty I decided toleave home for one year in order to test my abilityto stand on my own feet without the supportof my parents. I went to Denver and as a part ofmy plan refused to do any musical professionalwork, as I wanted to learn something of the nonmusicalside of life and therefore decided to gointo business for the sake of the experience. Atthe end of a year I was not only earning my livingbut was able to purchase a horse and equipmentenabling me to ride every morning fromfive to seven and in the evenings, on moonlightnights, over the prairies, at that time minusbarbed wire fences. Thus we were tempted toride on forever."At the end of the year I had grown to love thefree life of the western frontier so much that Icould not bear to return home as originallyplanned. I found it impossible, however, to stayoutside of the profession for which I had beentrained and in 1885, after the death of my dearfather I returned to New York leaving behind mein Denver a choral society, a string quartet, asymphony orchestra, the directorship of musicof the public schools of Denver and the positionof organist and choirmaster of the UnitarianChurch and Reformed Synagogue, besides numerousprivate pupils."It was a hard decision for me to make becauseI had built up my musical position in Denver bycreating, an interest in good music, and as allthese activities were in a nourishing condition,it was hard to give them up. But I felt that asthe care of my mother and three sisters devolvedupon my brother and myself we should work togetherand so I came to New York in 1886 to takethe position as assistant conductor and chorusdirector and general utility man at the MetropolitanOpera House. It was the great period ofLilli Lehmann, Marianne Brandt, Emil Fischer,Alvary and Materna. I rehearsed for hours andhours with these and other artists. From 1886 to1891 I used to spend every day from 9 a. m. tomidnight in the Opera House.LilliLehmann"I had one official singing lesson in my life andthat was with Emil Fischer. But anyone whokeeps his ears open in the presence of great artistsis learning. What better schooling could Ihave had than coming into intimate contact withthese singers as I did every day at rehearsalswhere I was the boss. Many orchestra rehearsalstoo were under my direction except the lastrehearsal which was always with Seidl. Thiswas all during the era of the German Opera Companyformed and first directed by my father. Afterthe failure of the first season of Italian operathe Director of the Metropolitan sent for myfather. It was in August and we were at WesthamptonI remember. It was no easy task toassemble an entirely new opera company by October,at the season when it was necessary to goabroad to secure them. However, it was accomplishedand had a brilliant history for a numberof years And that is all," concluded Dr.Damrosch with a wave of the hand."When are you going to write that completebiography of which we have had such a tantalizinglysmall portion ?" inquired one of the Faculty."When I am so old and doddering that I can'tget around to do anything else," said the Director.

THEBATON"What a long time we have to wait then!"sighed Molly, quite genuinely."You bet!" affirmed a gentleman of kindly faceand gray beard."You're the very one to come next in line withthe story of your life," exclaimed Dr. Damrosch,dragging Dr. Goetschius forth from behind adoor where he was attempting to hide. "This isPercy Goetschius, endearingly known as 'Daddy'among the students," explained the Director toMolly. Resuming his seat, the Head of the TheoryDepartment settled himself to his task."I was born in 1853 in Paterson, New Jersey.My mother was English, my father of Swiss extraction.Had I passed my early years in a townmore distant from the great music centre whichNew York City was even at that time, my wholecareer might have been different. My youthfulschool training was very irregular, owing to delicatehealth."Finally, when I reached the age of twelve, myfather decided that the best place for me was inthe open air, and he took me out regularly withhim in his work as civil engineer. I attended noschool; but my studies were not neglected, for Iwas eager for knowledge and studied mathematicsand other branches by myself."But my favorite pursuit was music. With anavidity that the indifference and even antagonismof my father could not diminish, I devouredevery scrap of music I could find, teaching myselfthe notes, and ciphering things out upon awheezy old 'Melodeon.' When my sister, threeyears ray senior, succeeded in having this instrumentexchanged for a square piano, my musicalcravings were more fully satisfied. When I wasabout thirteen or fourteen a personality enteredinto my life, who was destined to exert the mostsignificant influence on my future—Mr. U. C.Hill, one i of the founders of the PhilharmonicOrchestra of New York, a skillful violinist anda thoroughly good musician. Business connectionsbrought him to our house and he was notlong in discovering my absorbing love of music.He helped me in various ways; through his connectionwith the Philharmonic Orchestra, I wasable to attend the afternoon rehearsals, and didso regularly for the following six years. Can Iever forget those Friday afternoons, where myhungry musical soul found such opulent feasts !Mr. Hill was also the first person to gratify mydesire for printed music. It did not take long toexhaust the small store of hymn books and anthemsmy father kept (for use in the churchchoir w T here my mother sang and he, ostensibly,'led'). So it was a revelation and a glimpse ofparadise to me when Mr. Hill one day broughtme—can you guess?—the 'Well-tempered Clavichord'of Bach! God bless the dear old gentlemanfor this inspiration! I waded through it,bathed in it, gorged myself with it. Then camethe sonatas of Mozart and Beethoven; and, whenabout fifteen, and earning money, I made regularvisits to the music store of G. Schirmer (then onBroadway) and bought loads of piano music.It was there I first caught a glimpse of a 'divinity'—AntonRubinstein—sitting on a sofa at theback of the store, chatting with Mr. Schirmer."In 1873 my 'musical abscess' burst; I declaredmy independence, and informed my father that Iwas going to Germany to study music. So November1, 1873, I sailed; landed in Stuttgart onthe 15th, and had my first lesson on the 17th atthe Conservatory there. In four months I hadmastered the language sufficiently to begin mytheoretical studies. And had so impressed theupper set with my musical propensities, that Iwas assigned to Dr. Lebert and Dionys Prucknerin piano. In one semester I covered the workof three in Theory, so that one year after enteringthe Conservatory, I was in the 4th grade andbecame a member of Dr. Faisst's classes in'Fugue.' Also began, with Kapellm. Karl Doppler,the study of instrumentation. (A fewmonths later my first overture, 'Samson,' waspublicly performed). On the first day of June,1875, Ludwig Stark fell ill, and I was asked totake charge of his classes for a time—so, you see,^n June 1st of this year I shall have taught just 50years without interruption. I began sketching myfirst book 'The Material Used in Musical Composition'about 1877; in 1882 the first edition wasprinted, in Germany in English. In 1883 I firstmet Mr. Schirmer (the elder—founder of thepresent firm) on board ship, bound for America.He was interested in me and my new book, andcontracted with me for the future editions—thefirst one appearing, carefully revised, in 1889."Early in 1890 I returned to America, upon acall from the University of Syracuse, New York.Was there until June 1892, when I responded toa call from the New England Conservatory inBoston. Taught there four years, and then retiredto a private studio in Steinert Hall. One ofmy many pupils, as the years passed, was JohnJay Chapman—the distinguished Greek scholar,author of mam^ eminent books in English, andone of the most generous-hearted and lovablegentlemen I have ever known. It was he who,early in 1905, having heard of the projected 'Instituteof Musical Art' compelled me to accompanyhim to Frank Damrosch and 'talk thingsover'. At the time, I had no desire to leavemy classes in Boston, and no intention of doingso. After four months of indifference, I finallydecided to accept the position Dr. Damrosch offerredme. Do you think that I have ever regretteddoing so ? I only hope that my presencehere has been half as great a source of gratificationto all, Director, Trustees and students, as ithas been a joy and inspiration to me."I think you know the rest."I have published some nine or ten books onmusic theory,^ many of which have been completelyre-written as time passed. Have com-

8 THE BATONposed Symphonies, Suites, Overtures, and a numberof vocal and piano pieces—a few of whichhave been published. Have written very manymusical essays, and edited many classic works,chiefly for the Oliver Ditson Co. Have been intimatelyassociated with Emil Sauer, Eugened'Albert, Edmund Singer and other celebrities,and have met, more or less frequently and intimately,Franz Liszt, Anton Rubinstein, Hans v.Billow, Johannes Brahms—is not that enough?"On the whole, have been too busy all my lifeto get into much mischief, and hope to keep busyjust as long as I can be of real service to others,in our transcendently beautiful and significantArt—and otherwise," finished Dr. Goetschius relightinghis cigar which had been neglected duringthe recital."And what is your name," asked Molly addressinga dark haired lady on the Director's right."I have no name; I have no history," declaredElizabeth Strauss retreating to a far corner of theroom."But she has an aversion to talking about herself,"interjected Dr. Damrosch, "so I'll tell youwhat she said when I first approached her aboutteaching at the Institute."It was through her pupil Arthur Loesser thatI became interested. But when she heard myproposal to join the Piano Faculty of our schoolshe demurred on the ground that she was notfitted to be a conservatory teacher because shecould not promise that each of her pupils couldperform some brilliant piece every so often !""At which you leaned back and laughed heartily,"interposed Miss Strauss, "at my conceptionof 'Institute Life.'' : Then she whispered somethingin Molly's ear. The girl, acting on suggestionapproached Louis Svecenski."I suppose you think I was one of the Institute'searliest inhabitants," he said. "Well Iwas! But the school is only twenty years oldyou know!"What is it you want? Money? Thosebobbed-haired bandits at school are always aftersomething!" and Mr. Svecenski's eyes twinkledwith mischievous humor."I don't want to hold you up. I want to knowall about you," explained Molly.Mr. Svecenski cocked his head and began—"Iwas born at Osijek in Jugoslavia and it was justby natural inclination that I came to study music—that's all.""Did you study at the Institute?'"No, no—what did I tell you, you are a holdupper.You probably have a revolver hiddenaway someplace.""A revolver? No! Tell me more.""First I studied at the Academy of Music atZagreb (the main city of Jugoslavia) and later Iwent to Vienna to the Conservatory of Music.I came to America and was one of the first violinsin the Boston Symphony and then I becameleader of the viola section. When the KneiselQuartet came to the Institute, I came because,you see, we were engaged as a body to teach ourrespective instruments. (At this moment, Ishould be on my way to Philadelphia. I have aQuartet Class in charge there at the Curtis.School.) Since that time I have been busy writingstudies and what not. There are my 'TechnicalStudies for Viola', 'Preparatory Studies forthe Violin', 'Specialized Exercises for the Violin'.Of course, you want to know everything. Well, Iknew Bruckner, Brahms, Dvorak and Sarasate.Brahms, beloved friend of several ofour Faculty"Ask that lady about herself," added Mr. Svecenskidesignating Ella Toedt."Oh, yes," agreed Molly."What a funny girl you are!" and Mrs Toedtgently laughed. "Since you must know, I supposeI'll have to tell you. It was way up inWallingford, Vermont, where I was born. Itseems as though it were just yesterday, that Iheard my grandfather and mother playing andsinging. Why, child, I must have been hardlyfive years old when my studies began and yet itseems so near." Mrs. Toedt looked musingly intothe fire as though to bring back those dearmemories and then continued. "My student daysI spent in New York City. I had as my mastersIvan Morowski and Emilio Agramonte and whenin the course of time, the opportunity came to putinto play the knowledge absorbed, there was concert,oratorio and church work and many, manyyoung people who wanted to learn to sing cameto me.""Mrs. Toedt is a genius at singing at sight,"put in someone, "which has enabled her to cometo the last moment rescue of more than one directorof oratorios. She has a fund of amusingtales in connection with these experiences."Mrs. Toedt, how did you happen to come tothe Institute? You never did tell me."

THE"Well, when the Institute opened, the number•of students was so much larger than Dr. Damroschanticipated that he asked me to help himout and I have been there ever since and at thesame time have kept on with my private studio.""I suppose you must have known a good manyinteresting personages," said Mr. Henderson."Indeed I have," replied Mrs. Toedt. "Let mesee, there was Dr. Leopold Damrosch,—Mr. Henderson,you must have known him—and TheodoreThomas, Lilli Lehmann, Marcella Sembrich,Annie Louise Cary and many others. Now youhave asked enough questions. Do tell us aboutyourself and I won't even ask you when 3 T ou wereborn."W. J. Henderson chuckled. "You don't haveto. Up in that library at the Institute, the dateof my birth is shamelessly paraded on a prominentwindowsill, but somehow they overlook thefact that the event took place in New Jersey—-don't tell anybody—in Newark." This last remarkwas whispered. "Mother decided that Imust study piano and with her I began at the ageof seven. When I was thirteen, I studied w r ithCarl Langlotz for a period of about five years.Later on, came vocal study with Angelo Torrianiand ."At this point Molly interrupted w T ith, "Do youknow how to write music and who showed you ?"Air. Henderson looked at her for a moment andthen out came, "Nobody! I had to learn it for myselfand by actual experience. Once a w r eek atrehearsal, the orchestra at the old Standard Theatreplayed my exercises and I had to listen tothem and I have been engaged in 'listening' tothings, for many years since.""Oh yes, I saw a newspaper once that had aname like yours in it. Was that you?" criedMolly."Yes," groaned Mr. Henderson, "for fifteenyears I was with the New York Times as musicaleditor and the 'Sun' has occupied my attentionlikewise since 1902. In the meantime I sandwichedin several books and contributions to variousperiodicals."Our young friend tuned in again, "What arethe books?""You little vixen, the list is in 'Who's Who'.Let me see—here are a few, 'How Music Developed','Early History of Singing', another oneabout the 'Forerunners of Opera' and others.""Do you know many great people?" Theyoung insatiable was not the least bit ashamed."Oh, far too many! In my professional capacityI have to avoid them, especially the ladies.They are always after something. I do have veryfond recollections of my friendship with the DeReszkes though. Besides, you see, I dare not exhaustmy memory by too many reminiscences,else I shall not be able to tell all I should to thepeople at the California Master School. If allgoes well, I shall be there this year t from May19th to July 3rd lecturing on 'Appreciation ofBATONMusic' and I must save a little to say then. Besidesthere is a man right over there whoteaches people to compose music. He will knowa lot about the world across the sea."It was a dignified man of pink and white complexionand snowy beard to whom Mr. Hendersonnodded. "Doctor, its your turn next.""I was born at a lovely little place situated onthe estuary of the Thames—Southend-on-Sea,Essex, England, and there I passed much of myearly youth," responded A. Madeley Richardson."I was fortunate in being able to study at KebleCollege, Oxford, and at the Royal College of Musicin London with Sir Walter Parratt and SirHubert Parry. The latter wrote a book on whichwe try hard to nourish the minds of the Instituteboys and girls, 'The Evolution of the Art ofMusic'. Later I became Organist and Directorof the Music at Southwark Cathedral in London,which appointment I enjoyed till becoming one ofthe Faculty at the Institute. When I am notteaching those young hopefuls to write perfectlyrespectable basses and sopranos, / write.""You too, write books? What are theycalled?" interjected Molly."They are books which you probably won'tread till you are older and have learned aboutmusic and what it is made of. 'ChoirtrainingBased on Voice Production', 'The SouthwarkPsalter,' 'The Psalms, Their Structure and MusicalRendering,' 'Modern Organ Accompaniment','The Choirtrainer's Art', 'Extempore Playing',anthems and part songs.Molly for once, was rendered speechless.When she recovered, the Doctor had progressedfar in his discourse on the many great personagesnumbered among those known to him. "Sir JohnStainer," he was saying, "Sir George Martin,Sir Frederick Bridge, Sir Henry Hadow, Sir EdwardElgar, Herr Joachim, Monsieur Saint-Saens,Mr. J. Spencer Curwen, Herr Otto Goldschmidt,who was Jenny Lind's husband, Mrs. Beneckeand Mr. Paul Mendelssohn Benecke, the daughterand grandson of Mendelssohn, Miss AliceLiddell, the real live Alice in Wonderland."Here at last, were two names known to Molly.Surely she knew T something of the world, for shehad a copy of the Mendelssohn "Songs withoutWords". And too, she had read "Alice in Wonderland"many, many times. "I'd like to hearabout someone who is French," she suggestednext."Madeleine Walther is the very one then, especiallyas she was one of the Singing Facultywhen the Institute opened," said Dr. Damrosch."I was born in Havre, France. My father,mother and grandparents were musicians, and offour brothers three were violinists, one a 'cellist,and two sisters played the piano. The home wasa regular 'conservatoire'. From earliest childhoodI sat at the piano, practicing very early beforebreakfast every day, much to my distaste.As I grew up, I found that singing was more in

10 THE BATONmy line, so I went to Berlin where I sang formany years. Finally I realized that I did notknow the first thing about the mechanism of avoice, though I had sung easily, "and this deficiencyled me to Mme. Gerster-Gardini, a greatartiste and one of the world's famous coloraturasingers. From then on I was happy. I learnedwith her all that I know,, and it is my privilege tocall myself her friend as well as pupil. Whilestudying with her, I sang publicly for manyyears, and came with her to New York, joiningthe faculty of the Institute in the singing departmentof which she was the head.""Molly is doubtless more interested in singingteachers than in anyone else so why not hearfrom Mme. Baldwin," suggested the Director."I was born in St. Louis, Missouri, and receivedmy first instruction with Mme. Latey,a representative and one time assistant of Mme.Rudersdorff," responded Adele Laeis Baldwin."At sixteen I made my first public appearance,journeying with Mme. Latey to Omaha, Nebraska,to sing with her in oratorio. Coming to NewYork, I studied with Achille Errani, thence toEurope, where I was successively with Lampertiin Italy, and Mme. de la Grange in France. Iwas also with Juliani in Paris, in the same classwith Mme. Louise Homer. In London I was apupil of Randegger and von zur Miihlen. Frenchdiction was learned with Leon Jancy of theOdeon and at the Yersin School; German dictionwith Max Heinrich, and Phonetics at ColumbiaUniversity."I had asked Dr. Damrosch to hear one of mylectures on diction, but being too busy to come,he requested me to give it before the students ofthe Institute in the old building, down town.After the lecture, Dr. Damrosch invited me tojoin the faculty."I have been solo contralto at All Souls'Church and at the Marble Collegiate Church inNew York City; soloist with the Oratorio Societyunder both Dr. Frank and Dr. Walter Damrosch ;with the Handel and Haydn Society of Bostonand with the St. Louis Symphony. I have concertizedwith Mollenhauer, Reinhold Herman,Carl Zerrahn, Theodore Thomas, Dvorak andSeidl. I have sung at the Bagby Concerts, andI gave a recital at Bechstein Hall in London. Ionce sang a special performance of Liza Lehmann's'In a Persian Garden' before the PrincessVictoria, sister of the present king of England,with the composer at the piano. I also sangat the home of Lady Dean Paul (known as thecomposer, Poldowski) who is the daughter ofthe great violinist, Wieniawski. Once I appearedat a musicale in Northampton, England, given atthe home of Lady Elw T es, mother of the greattenor, Sir Gervase Elwes, whose untimely deathwhile on an American tour shocked the musicalworld a few years ago."My only publication is 'Practical Phoneticsfor Singers and Speakers' but other works are inpreparation."Here is another member of our Singing Faculty,"remarked Mme. Baldwin, denoting thegentleman next to her."It was Cornelius N. Bliss, Jr., who was then atrustee of the Institute of Musical Art, and in hiscollege days a vocal pupil of mine, who broughtme to the notice of Dr. Damrosch—resulting inmy appointment as an instructor of singing there,"said Gardner Lamson. "From my earliest daysI had an aptitude for singing and in turn sangsoprano, alto, tenor, and bass. I studied voicein Boston two years with Vincenzo Girillo, oneyear with Dr. Charles A. Guilmette, three yearswith Albin Reed—pupil of the elder Lamperti—one year with Clara Smart—pupil of Mme. Rudersdorff,two years with George Parker, andthree months with Georg Henschel. Then followedmy European studies—four months in Florence,Italy, with Luigi Vannuccini, and twoyears at intervals, in Sondershausen, Germany,with Theodore Graff. As for my public appearances,I held a church position in a solo quartetcontinuously for nineteen years; for ten yearswas active on the operatic stage in Germany; andover a space of thirty-five years appeared in varioussong recitals, concerts and oratorios. Besideswork with the Institute I am engaged inteaching, and in efforts that are earnestly meantto be constructive in connection with several associationsof my musical confreres. My writtenworks have been various articles treating of sundryphases of my professional specialty. In thecourse of my career, I have met many artists ofnote in Germany who are less well-known on thisside of the Atlantic.""What do you teach?" asked Molly, waxingmore wildly enthusiastic at every recital."Piano, my dear," replied Annabel McKellar."I was born in Flint, Michigan, and had neitherteacher nor piano until I was fourteen. I beganat seven, however, poring over a 'Richardson'sInstruction Book' and practicing on thepianos of our friendly neighbors. Having graduatedmyself from 'Richardson's' and having masteredall the music of our neighbors that I couldfind, such as 'The Battle of Prague' and 'Parisby Gaslight Waltzes', my perseverance was rewardedwith a piano and a teacher. I had myfirst taste of real music under the excellent instructionof Ruth La Forge Hall, the sister andfirst teacher of Frank La Forge."At seventeen I entered the Conservatory ofRockford College, graduating at nineteen, thecourse including harmony and history of music.I was elected a member of the MendelssohnClub of Rockford, and played in many recitalsand chamber music concerts. As a soloist I gavea complimentary recital to the Club, and meanwhileI travelled to Chicago for lessons withEmil Liebling.

THE BATON 11"My first meeting with Paderewski Was on atrain, when he became interested in a game ofsolitaire I was playing. He asked me to teachit to him, and since then he always calls me 'theteacher of Paderewski.'"I eventually moved to Chicago, continuingmy studies with Liebling and taking up theorywith Adolf Weidig. I taught, played accompanimentsand was admitted to active membership inthe Chicago Amateur Club. My health requireda winter in the South, so I took a position asmusical director of a school in Texas, where Itaught piano, theory, and trained two choruses.Caricature of Paderewski"After resting a year, I came to New York andmade my home with Mr. and Mrs. Toedt. Whenthe Institute opened, I entered as a pupil of Mr.Stojowski, and the next year I was appointedteacher. I continued my study with Mr. Stojowskiand spent one summer in study withRudolph Ganz. Here at my right is anotherpiano teacher who joined the Institute Facultythe same year I did," declared Mrs. McKellar,indicating Mary B. Merrill."Yes, in 1908, the third year the school was inprogress," she replied. "I was born in Boston,and began piano lessons, like most children, atan early age, with the result that at fifteen muchmaterial had been studied, or rather played, alittle knowledge of piano literature acquired andsome degree of technical efficiency attained.Then followed four years of serious study inpiano and theory, after which came lessons withCarl Baerman, a great pianist from Munich.Later teachers were Edward MacDowell, Mrs.Thomas Tapper and Madame Bloomfield-Zeisler."An opportunity to play a trio with two membersof the Boston Symphony Orchestra led tomy going to Mrs. Tapper to coach, as she wasthen doing some ensemble w T ork and teaching.The following year she left Boston to come toNew York, and in 1907 she very kindly introducedme to Dr. Damrosch and I came to teachat the Institute."My published works consist of elementarystudies and pieces, the result of experience inteaching and in helping young teachers; 112 Exercisesand Studies, Country Scenes, SteppingStones, Duets. In 1923, upon Dr. Tapper's recommendation,I prepared a 'Manual' for the'University Course of Music,' explaining as faras possible the material contained in the thirtytwobooks of the course.""And now a violin teacher's history, please,"urged Molly. "Are you a violinist?" and MarkFonaroff nodded."I was born in Elizabethgraad, near Odessa,Russia. My grandfather was a wealthy and influentialgentleman, an alderman of the city. Hisfamily—sons, daughters and their children—alllived with him until his death, and a very closeunion existed among us all. As he was a greatlover of music, he gave all his children a musicaleducation. It was from my father, a most talentedamateur, that I received my first violinlessons. Afterwards I was placed under thecare of the Polish violinist, Matzinkovsky. Althoughhe was a fine artist, my lessons were notof much value, for there was nothing but praiseand embraces for me, and I soon realized thatI needed 'violin instruction.' Many musiciansadvised my father to send me to a conservatory,but my grandfather, who was bitterly opposedto any of his children's making music a profession,declared that he would rather see me deadthan performing before the public as a concertviolinist. However, that did not smother mydesire for further study in music. Just at thistime I had the good fortune to hear such artistsas David Popper, Sophie Menter, Sarasate, Laub,Wilhelmj, Brodsky. Then came the great momentwhen I heard Wieniawski. Hearing andcoming in contact with these great musicians andpersonalities naturally infused me with new ambitionand a longing to get away. Finally I decidedon my own responsibility to leave forWarsaw, to study at the Imperial Conservatorywith Ostrovsky. He was a splendid master anda fine personality. Our relations were veryhappy and I learned much in music from him."After several years I returned to my hometown, playing in concerts and chamber music recitals.My love for teaching developed at anearly age, and I gathered there a large class ofinteresting pupils, whom I held until I decidedto come to America. On my arrival here, somefriends induced me to locate in New Haven,Conn., where I remained several years, teachingand playing in concerts."It was then that Adolph Brodsky arrived,bringing with him my former pupil, AlexanderFiedelmann, who was the teacher of Mischa Elmanand Toscha Seidel. It was a happy reunionfor us all, and Brodsky's strong desire to haveme live in New York led to my being engagedas instructor at the New York College of Music,Alexander Lambert, Director. Here I taughtsix years, and directly after, I was asked to organizea violin class at the Educational Alliance, inwhich Prof. E. R. A. Seligman was interested.(Continued on Page 14)

12 THE BATONlafnnPublished Monthly at 120 Claremont Avenue, New York CityCopyrighted, 1925, by the Institute of Musical ArtEditor-in-ChiefDOROTHY CROWTHERSAssistants to the EditorBEATRICE KLUENTERWILLIAM KNAPPANNA LAPIDUSArt DepartmentRUTH CAIRNSCONSTANTINO ZAINOAdvertising RepresentativeDOROTHY JENKINSSubscription for SeasonNine Issues, October to June$1.00 in the Building$1.25 by MailSingle Copies—15 centsVOL. IV. JANUARY, 1925 No. 4A BOOK REVIEWBy IV. J. HendersonKeyboard Harmony by George A. Wedge,G. Schirmer, New York.The system of harmony study at the keyboardwhich has been developed at the Institute is notin need of commendation to the students. Withoutdoubt professors of the rigidly pedagogictype who dominated music study in the last centuryWould frown upon the idea of permitting thestudent actually to hear his harmonies at the momenthe was making them; but those who haveobserved the vitalizing results of Mr. Wedge'smethod of keyboard study will hardly think ofreverting to the exclusive use of the abstractprocess.The book in which Mr. Wedge has set forthhis system is one of the clearest text books thewriter has- ever met. Any pupil of ordinary intelligenceshould have no difficulty in comprehendingits instructions or carrying out its practise.The writer was particularly pleased withthe treatment of five-seven and five-nine chords.It might interest and amuse some of the studentsto know that one of the distinguished composersof modernist music points out, as if it were acelestial revelation, the fact that the chord ofthe dominant seventh already contains in itselfthe polytonal system of superposition of one keyon another because the triad G, B, D, is in Gmajor and the added third, D, F, is in D minor.Mr. Wedge makes no confusing excursions intosuch imaginary territory, but keeps strictly tothe letter of the fundamental law. No boy or girlwho has once read his simple statement of theconstruction and resolution of seventh and ninthchords will forget them, nor will any one who hasmastered this part of the book find much topuzzle him in advanced harmony.The value of a firm grasp of the fundamentalsof musical art will be felt by every pupil whomasters this work and the endeavor to create neweffects by strange combinations of tones will notblind him to the fact that the root of all music, nomatter how extreme its idiom, is the diatonicsystem. A mastery of this system will give thestudent the key to all that has grown out of itor been grafted upon it. And the writer knows ofno method of study which will more surely fixthe principles in the mind of students than thatwhich is so admirably disclosed in Mr. Wedge'sbook.THE INSTITUTE ANNEXWe announce with pride the opening of thenew extension to the Institute on January 5th,at the beginning of the second term. Our quartershave long been too small to accommodatethe ever increasing host of students, so last yearour plans were formulated and actual buildingwas started during the summer. We had hopedto occupy it in October but were prevented fromdoing so by unavoidable delays. However weare now at home in the new addition and theschool work proceeds with greater facility thanever before.The building contains twenty-one rooms usedfor class and individual instruction. Interestcenters in the large hall on the top floor wherethe orchestra practices on Thursdays and a classin Dalcroze Eurythmics meets on Saturday mornings.We have also installed three organs so thatthe students in that department now have ampleopportunity for practice.Grateful acknowledgment is hereby made tothe Trustees of the Institute, through whose generositywe were able to raise several hundredthousand dollars to erect and equip with all modernconveniences our handsome and comfortablenew edifice.•—B. C. Jacobs."Falsiaff"The revival of Verdi's "Falstaff" is the outstanding eventof the. operatic season. It is one of the finest productionsin Metropolitan history. The cast includes such notableartists as Bori, Gigli and Scotti in the title role. It alsobrought sudden fame to Tibbett, an American baritone.

T H E B A T O N 13CROSS WORD PUZZLESHOULD AULD ACQUAINTANCE BEFORGOT?By Ruth CairnsNote: The lines and tails of the notes do notinterfere with the words.Horizontal1. An Arab coasting" vessel4. Abbr. for "aorta"6. India (poet.)9. A small shrill pipe12. Second vice-president of the board of trustees13. Point beyond which no progression can bemade.15. Procured (slang)17. Therefore18. Archaic19. Now (Ital.)20. Suffix used to form adjectives22. Prong24. Twentieth Anniversary (abbr.)25. The Director29. Ditto31. Jumble of figures32. Freeze33. Four34. Part of verb "to be"36. Iron (Fr.)37. Parent38. Engine of war used for battering40. One of our teachers of piano43. To lean or settle from a vertical position45. An authoress48. At that time51. Null53. A lecturer56. Our Circulating Librarian58. Initials of a popular piano teacher60. Chinese peasant61. Character in "L T ncle Tom's Cabin"63. Beverage64. Gay (Fr.)65. Organ of sense (pi.)68. Patter70. Combining form of"anus"71. Before72. A lecturer73. Spanish title74. A composer75. A concert pianistVertical1. Festival2. Initials of a famousAmerican novelist whodied during the war.3. Article4. Metropolitan oper a-singer.5. Alleged force supposedto' produce hypnotism.7 Norwegian (abbr.)8. A new member of theFaculty10. Part of verb "to be"11. Enemy12. Japanese harp13. Period of time14. Man whose death Grieg immortalized16. Contraction of "it is."19. Heraldic term meaning "yellow"20. Mental conceptions21. Initials of another of our piano teachers23. Previous to the year 125. Estuaries26. Initials of the president of last year's graduatingclass.27. Tear28. Sorry—another piano teacher30. Euphemistic contraction of "God"31. To assail with missiles35. Female servant36. Note of the scale39. Manuscript (sing, abbr.)41. Encounter42. Approach (archaic)44. Like46. A rounded, convex moulding47. Garment49. You50. Feminine definite article (Fr.)52. One of two pianists54. Torture55. Note of the scale56. German for "yes"57. Jargon used for secrecy58. Abhor59. To form into a disk or circle62. Well-known heroine of the funny-paper64. Any of several remarkable African antelopesof the genus Connochaetes65. For example66. A digraph67. Initials of a famous renaissance painter(Ital.) of a famous "Spring".69. Proceed70. Fifth month of the Jewish ecclesiastical year71. Two identical vowels

14 T H E B A T O NREFLECTIONS OF YESTERDAY(Continued from Page 11)This was soon established and the response wasremarkable. There was a gold mine of talentamong- those poor girls and boys, who wereburning with enthusiasm for their work. Wesoon organized a string orchestra and often gavepublic performances."As there was as yet no Institute of MusicalArt, and Franz Kneisel was not living in NewYork, I sent many of my pupils abroad to theHochschule, to Thomson, Herrmann or Brodsky.Many of these pupils are now playing inour best orchestras."During that period, Mr. David Mannes wasdirector of the Music School Settlement on EastThird Street, and I was accustomed to send mypupils to him for orchestra practice. Althoughwe had not met in person, he was always sendingme complimentar)^ messages by my pupils,and when at last we did meet, he invited me towork with him. The matter was to be laid beforehis committee, but to my surprise, the nextmorning brought a letter from Mr. Mannes statingthat Dr. Frank Damrosch wished to see me.On the following day, after an interview withDr. Damrosch and Mr. Kneisel, I was engagedas instructor at the newly formed Institute. Ithappened that I was giving up my work at theEducational Alliance, so that when the Institutewas opened, many of my pupils enrolled in thenew school."There is another violin teacher who cameto the Institute Faculty early in its history,"concluded Mr. Fonaroff, nodding toward CarlosHasselbrink."I was born in Colombia, South America," heresponded. "In my early life I felt a great lovefor music and the violin, but no unusual incidentsinfluenced my musical career greatly."My student days were spent in Paris. Atfirst I studied the violin at the conservatoryand later with Henri Leonard. In 1880 I cameto America and travelled through the States asa soloist. After four years I joined the SymphonySociety under Dr. Leopold Damrosch. Ibecame the concert master and later had thesame position at the Metropolitan Opera House,with Walter Damrosch and Anton Seidl. WhileMax Bruch and Hans Von Biilow were conductingin America, I acted as their concert master.In the first season, during a visit to the Institute,Dr. Damrosch invited me to join the faculty.I then refused the position of concertmaster at the newly built Manhattan OperaHouse that I might teach at the Institute."At this time I am not connected with anyother musical organization. The Institute andprivate teaching comprise my interests. Atvarious times I have known Vieuxtemps, Wieniawski,Sarasate, Alard, Dvorak, Saint-Saens, Laloand, of course, any number of contemporarymusicians."Lucia Dunham was next appealed to."I was born in New York City," said Mrs.Dunham. "Some of my earliest recollections areof hearing good music and good literature, ofsinging and playing duets with brother andsister. My parents and grandparents mademusic as spontaneously as they made conversation.My work in piano, singing and organ wasbegun under private tutors and continued atthe New York College of Music. I sang in.church and concert, and for a time opera anddrama claimed my interest. Eventually 1entered the singing course at the Institute,where I was under the guidance of Mr. AdriaanFreni and Sir George Henschel. A post-graduateyear was spent under Giraudet, studyingoperatic roles. Since that time I have touredthe country giving concerts, have taughtsinging, diction and piano in California, bothprivately and in connection with the HighSchool and University. Have also conductedchoral clubs, community choruses and plays."In 1920 I again became a part of the Institute,when I joined the faculty. Besides teaching,I am devoting a large part of my time tothe preparation of a book. During the past summerI was especially fortunate in being able tocoach with the marvellous Lilli Lehmann.""Suppose we return to the Piano Departmentnow," said Molly."I was born in Roumania, but came to Americain infancy," said Elenore Altman. "Becauseall the other members of my family had doneso, I studied music. For two years I was atthe Conservatory at Vienna with Henryk Melcer,a Pole of line teaching abilities, but of muchtemperament. My coming to the Institute wasa direct result of one of his temperamental outbursts.The Director, Herr von Perger, a manof military habits, was examining our class. Iwas first to play. Suddenly he stopped me—'Was ist's, haben sie Fieber?' And before Icould turn around, Herr Melcer jumped up andsaid, 'Either you teach her or I do.' And outhe walked and never came back."We were undecided what to do, when motherread about the school which Dr. Damrosch wasfounding. We were homesick too, so we packedand came back to America, and I came directlyto the Institute. I studied under Mr. Stojowskiand took the artists' diploma in 1911. The followingyear I was invited to play for an AlumniConcert, and the next year began teaching atthe Institute."In 1914 I went to Europe to conquer theworld. Instead, the war conquered us all. Iwas in Switzerland when war was declared, andhad the great privilege of taking some lessonswith Mr. Paderewski. I remained there foreight months, and in 1915 returned to my workat the Institute, which I find more interestingeach year."Dr. Damrosch pointed out James Friskin."Over there, young lady, is one of the fewbachelors of whom we can boast. Try your wileson him!"

THE"My recollection of my early life is somewhathazy. I was born in Glasgow, Scotland. I canjust remember my first concert appearance, atwhich I played a so-called 'Chaconne'by Durand,and the composition of a waltz in F Major witha redundant measure which I labored in vainto get rid of. I am not sure if these events influencedmy career greatly or not; I should thinkthey ought to have discouraged me."When I was fourteen I entered the RoyalCollege of Music in London, and remainedthere for the next seven years. I studied pianothe first five years with Edward Dannreuther,who was one of Wagner's champions in England,and who had a greater musical influence uponme than any other individual. Charles V. Stanford,to whom so many contemporary Britishcomposers are indebted for their technicalfoundation, taught me composition. And therewas a very strong, though less, direct influenceduring my student days—that of Hubert Parry,the director."Student days seemed to flow along ratheruneventfully; for some reason the occasionalsnubs and disasters that I met with have stuckin my memory as much as anything. There wasthe crushing reply of the old man who gave memy first harmony lessons, when I defended crossingmy parts by saying that Bach did it too,and received the dry remark, 'You ain't just Bachyet.' Another time I was sitting with Sir WalterParratt, the late organist to the King, at arehearsal, and, having exclaimed with all thepositiveness of youth, 'This is too fast, isn't it?'was put in my place by, 'Well, yes, that's whatI think. But I never say anything's too fast;I only say I think it is, which is a very differentthing.' I remember being summoned to playfor Joachim, who happened to be visiting theschool, and collapsing when I was half waythrough, with a failure of memory. And therewas the awful occasion when I, acting as timpanistat an orchestral concert, let the sticks fallon a drum in the middle of a pianissimo and hadmy discomfiture completed by the fact that Iwas the only one of the orchestra, from the conductordown, who remained solemn!"After leaving the college, I spent a fewmonths traveling through Italy, Austria andGermany. I then returned to London and remainedthere, teaching and giving concerts."One day, in the summer of 1913, a letter arrivedfrom Dr. Damrosch, inviting me to jointhe faculty of the Institute. In the followingspring we had an interview in London, and Idecided to come to New York."My publications include two quintettes forpiano and strings, trio for piano and strings, asonata for piano and violin, and three motetsfor a cappella chorus. Also I have writtenshorter pieces for piano, and a small book onpianoforte practice."Allow me to suggest the Harp Departmentas your next field of action," finished Mr. Friskin,addressing Molly.BATON-Instructors of Theoretic SubjectsLeft to right, top row. Percy Goetschius, Hoivard Murphy,A. Madelcy Richardson, Richard Donovan,Helen Whxlcy. Front row: Dorothy Crozvthcrs,Belle Sondant, George Wedge."My life," returned Carlos Salzedo, "could betabulated somewhat like this: Born April 6,1885, in Arcachon, France, of musical parents.My father was basso-cantante at the Paris GrandOpera; my mother a pianist of repute."1892—Entered the Bordeaux Conservatoire."1894—Won first prize, both in solfege andpiano. Went to Paris. Although but nine yearsold, was admitted as a student at the ConservatoireNational of Paris for solfege and piano."1897—Won first prize in solfege. Started thestudy of the harp."1898—Admitted as a harp student at the ParisConservatoire."1901-—The same day, won first prize for harpand first prize for piano—an occurrence unprecedentedin the history of the Paris Conservatoire.During the years that followed, I touredEurope as a joint-recitalist (appearing as bothpianist and harpist)."1905—Founded a chamber music society inMonte Carlo, with sixteen other first prizes ofthe Paris Conservatoire. Remained four yearswith that society."1909—Engaged by Gatti Casazza to go toAmerica as solo harpist with the MetropolitanOpera Company."1913—Resigned this position to devote mytime to touring as harp soloist."1914—Founded the Trio De Lutece with GeorgeBarrere, flutist, and Paul Kefer, cellist. That organizationtoured England during the spring of1914, and was in Europe when the World Warbroke out."1913—(August) Mobilized."1915—(August) Discharged after severalmonths in the military hospital, recovering froma severe illness."1916—Resumed my career in America. As arecitalist and with the Trio De Lutece toured fromcoast to coast several times."1917—Formed the Salzedo Harp Ensemble

16 THE BATON(composed of seven harpists). That organizationalso toured the United States from coast to coast."1919—In August. Appointed Chairman of theCommittee on Constitution and By-Laws of theNational Association of Harpists."1920—In January. Elected President of theNational Association of Harpists, Inc. Re-electedannually in that capacity."1920—Organized the Franco-American MusicalSociety with E. Robert Schmitz and a groupof prominent French musicians. Annually reelecteda member of the Board of Directors ofthat Society."1920—In October. Appointed Editor ofEolian Review, now Eolus."1920—In November. Formed the Salzedo HarpTrio with the two first players of my Harp Ensemble,Marie Miller and Elsie Sorelle."1921—Assisted Edgar Varese to organize theInternational Composers' Guild."1924—Elected Vice-President of the Franco-American Musical Society."1924—Appointed member of the Board ofDirectors of the International Society for ContemporaryMusic."I am the only harpist who has been engagedto appear as soloist with the leading symphonyorchestras of America, such as the PhiladelphiaOrchestra, the New York Symphony, the BostonSymphony, the Chicago Symphony Orchestra,the Friends of Music, the Syracuse Orchestra.I have also appeared several times with theleading chamber music societies of the UnitedStates."My compositions number about twenty-six,besides transcriptions of works by nearly all themasters.""Mrs. Bergolio, you haven't said a word yet,"exclaimed someone."There's nothing to say," replied Mabel Bergolio."I was born in Boston, studied with Joseffy,came to the Institute, found it a nice place, andstayed!"In a moment that lady was at-the door. Turning,she said, "I feel like the Fisk babies in theads. It is time to re-tire. Good night!" and shefled, without another word."Not a bad suggestion," murmured several asthey rose to go upstairs in spite of Molly's protest.Her disappointment was so evident at nothearing every story that Mr. Edouard Dethierwent to his suitcase and brought forth a book."Here is a bound copy of our Institute magazine,and in it you will find biographies of someof us—enough reading to keep you up severalhours longer," he laughed as he bade Molly andMrs. Pearson good night."Oh, mother!" exclaimed Molly a few minuteslater, "here are pictures of some of them."Occasionally she read portions aloud. Hermother listened attentively, taking pleasure inher daughter's enjoyment."This is an interview with Franz Kneisel,"read Molly."Roumania was my birthplace. My father was a militaryband conductor, a leader in the musical circle,and was my first teacher. My three brothers all playedviolin. One of the greatest advantages in that formativeperiod, was my teacher in Bucharest."I started playing" at the age of seven, and at ten,entered the Conservatory where I studied with Mr.Wist for four years. From there, I went to Vienna andstudied with Professor Grim for two years. Then Iconcertized."One of my most cherished recollections of thoseearly days, is the friendship of Johannes Brahms, thegreat composer. Although still a pupil, I had the greatpleasure and good fortune to play under Brahms'direction."Many years later, in 1893, I went to Ischl, a resortwhere Brahms spent his summers. From that time on,he was the center of our social gatherings."Whom else of interest did I know? There wasSarasate, Joachim, Dvorak. The first, Sarasate, wasa very reticent man, but had a keen sense of humor.Joachim, an important figure in the lives of several ofour teachers."Joachim was a tremendous personality and verygood-natured. Dvorak was a child at heart; he had nosuspicions nor cynicism. It has been my observationthat the greatest artists are too absorbed in their art,and its ennobling influence to stoop to even think ofworldly, petty things."I first came to this country in 1885, and resided inBoston for twenty years. While there, I was concertmeisterof the Boston Symphony Orchestra, and conductedthe orchestra during the absence of Nikisch, andafter he left. Major Higginson, who founded that organization,also started and supported the KneiselQuartet, which existed for thirty-three years. AlthoughI concertized for many years, it was a relief to give itup. Too much traveling and too many hardships areinvolved. One must be young and enthusiastic to standthe strain. The Quartet also visited England twicewhere it met with great success."New York has been my home for seventeen years,and I have been with the Institute of Musical Art sinceit opened."Mr. Kneisel has been for twelve years President ofthe "Bohemians," a musicians' club interested in philanthropy."We meet every Monday at the Harvard Club, andevery month, we have a musical program. Its membershipcomprises all of the artists, such as Kreisler,Heifetz, etc. The purpose of the club is social and ithas established a foundation for needy musicians."The Degree of Doctor of Music was conferred uponMr. Kneisel in 1911 by Yale University and in 1915 byPrinceton University.

THE BATON 17After a pause, the girl continued. "Here isan article about those two gentlemen who spokeFrench so much, Gaston Dethier and EdouardDethier:"Situated on a high bluff overlooking the Meuse, theriver of romance, Liege guards the surrounding mountainsand fertile valleys. This was the birthplace ofGaston Dethier in April, 1875 and of Edouard in August,1885. They come from an exceptionally musicalfamily.Gaston is the oldest and he began his studies at theage of seven under his father's supervision. He wasextremely precocious and took his first organ positionwhen eleven years of age, at the church of St. Jacquesin Liege.At this time, Gaston entered the conservatory ofLiege and studied with Daneels, a pupil of Mailly. Ofespecial interest is the fact that he became a violinist ofconsiderable accomplishment. To put it in his ownwords. "But I was then a chunky bit of humanity andas stubborn as a mule, and practising violin made meperspire so! To this day, I deeply regret not havingfollowed the violin of which I am passionately fond."Upon graduation from the conservatory at the ageof 17, Gaston was awarded the gold medal "by accla-. mation" for organ and piano, the highest distinctionthat can be bestowed. It is the only time it has beenwon in both subjects the same year. He also receivedthe first prize in harmony and fugue writing. He becameorganist of the Church of St. Christophe in Liege,but his career was to have been that of pianist. Hewas engaged to play as soloist with the AmsterdamOrchestra when an incident occured which changed thepath of his musical destiny toward the organ, almostexclusively.Father Young in America* cabled to Guilmant for apupil. The eminent organist had none ready but hadheard a young man in Paris who had impressed himhighly—this young man was Gaston Dethier whoplayed for both Widor and Guilmant when he made atrip to Paris with his father. The outcome was thatGaston came to New York before he was 19 to fill avacancy left by Bruno Oscar Klein, as organist of St.Francis Xavier, a very important post. He held thisposition for fourteen years until the Pope changed theedict of church music. Mr. Gaston was not in favorof the new regime and resigned.Mr. Dethier has given many organ recitals throughoutthe country. He opened the Newberry Organ atYale, the organs of St. John the Divine, Roman CatholicCathedral of Pittsburgh, Williams College, the Pan-American Exposition at Buffalo. He has often beenrequested to conduct master classes during the summerin various cities, but has declined "because", he says,"to accept would interfere with golf, you know!"Dr. Damrosch told Mr. Gaston of his plans for anInstitute of Musical Art, and asked him to be head ofthe Organ f Department. He has become a prominentfigure in the Piano Department also.He has attained considerable fame as a composer ofchurch music and organ numbers.Edouard Dethier received his first violin instructionfrom his brother Gaston.At the age of eight, Edouard entered the Conservatoryof Liege where he later graduated with first prize.He then went to the Brussels Conservatory. At theconclusion of his first year, when he was only sixteen,he won from among a class of thirty-six competitorsthe "premier prix avcc grande distinction." This contest,known as the "Concours de Violon" is held in anauditorium larger than Aeolian Hall and the jury iscomprised of eminent musicans from Paris, Berlin andother continental music centers. Shortly after theselaurels were awarded him, Edouard played at the palaceof King Leopold II.Joachim came to Liege at that time to play. Uponmeeting Edouard's father and hearing of the boy's honors,Joachim asked Mr. Dethier to bring his son toCologne where he was going for a few days. This requestwas eagerly complied with, and all the way toCologne in the train, Edouard practised diligently.They spent a whole afternoon with that King of Violinists.Edouard was not embarrassed before the greatman, as Joachim was a very kindly gentlman, exceedinglygracious and encouraging. There was great joyand pride in the Liege home of the Dethiers a fewdays later, when a letter full of praise was received, inwhich Joachim asked Edouard to go to Berlin to studywith him. As Edouard had just been appointed teacherin the Brussels Conservatory, and he felt as if he shouldbegin to support himself, although but seventeen,—hedid not accept Joachim's offer.The ensuing three years Edouard spent in the beautifulcity of Brussels. He was engaged as soloist withthe "Concerts Populaires" and in addition to his teachingat the Conservatoire was a member of the YsayeSymphony Orchestra (Edouard's father and Ysaye wereboys together in Liege) and was engaged as first violinof the orchestra at the Theatre de la Monnaie, thehome of grand opera in Brussels. Mr. Edouard firstmet the young Polish violinist, Paul Kochanski, in theautumn, when each went to reside in Brussels. Suchan attachment immediately took place that they livedtogether for three years. They began in an attic intrue Bohemian style, but instead of burning music forfuel, they were kept warm by the necessity of blowinginto the stove in futile attempts to make it operate!In 1905, Mr. Edouard Dethier at the suggestion ofhis brother Gaston, came to America. For severalyears he concertized with enormous success—first inCanada, then in New York, where he played as soloistwith the New York Symphony Orchestra and five timeswith the Philharmonic Orchestra. He was soloist alsowith the New Haven and Montreal Symphony Orchestrasand the Hartford Philharmonic. He gave recitalsin all the principal cities and annually at Aeolian Hallin New York. He toured the country with his brotherGaston in Sonata Recitals, during a period of eightyears.In 1907, he accepted the offer to become a memberof the Violin Faculty of the Institute of Musical Art."And here is a picture of that jolly one, whosename appears to be Willem Willeke," criedMolly.Willem Willeke was born at the Hague, Holland;his mother was French and his father Dutch. All of hisfamily had been very musical though not professionals. Hestudied one year with Hartog and three and a half yearswith Eberle.At the age of fifteen, he was engaged to go to Russiaas first 'cellist of the Riga National Opera Company.He spent a half year there and then toured Russia.Upon his return to the "Baltic States" he appeared assoloist with the orchestra. The conductor was takenill during the program and the manager was desperateto find a substitue when Willeke, who had someknowledge of conducting", offered to come to the rescue.He led the Beethoven Eroica Symphony with such successthat he was retained eight months in Riga as leaderof the orchestra.He received an invitation to go to Cologne, Germany,where he was engaged as head teacher in theConservatories of Dusseldorf and Cologne. Whilethere, he was a frequent visitor at the Castle of CountHoensbrock at Geldern in the Rhine Province, whenthe other guests invariably included Otto Neitzel thecomposer, critic and pianist,—and Friedrich, laterCrown Prince of Germany, who was then a student atthe University of Bonn. The latter was quite a violinist,and many pleasant hours were passed in which he,Neitzel and Willeke played trios.With Richard Strauss, Willeke toured Russia, Ger-

18 THE BATONmany, Scandinavia and Holland, and was soloist withthe leading orchestras in the principal cities of Europe.Two summer seasons he spent in London as first solo'cellist at the Royal Opera Convent Garden, Hans Richterconducting.The winters he passed in Vienna, where for five yearshe was first 'cellist under Gustav Mahler at the Hofoper,and for the same period was soloist at the courtof Emperor Franz Joseph. The others of this groupof Royal Hofartists were Leo Slezak, tenor; SelmaKurtz, soprano; Arnold Rose, violinist; and Gruenfeld,pianist. They appeared at the Hofburg, the Palace ofthe Emperor in Vienna. Mr. Willeke played beforeKing Edward of England, King Leopold of Belgium,King Oscar of Sweden, the King of Spain, the GermanEmperor, and other royalties.He was the recipient of most marked royal favorand enjoyed great popularity with the music lovingViennese public."At the youthful age of twenty-two. I was calledupon to substitute for the 'cellist of Joachim's Quartet.''said Mr. Willeke."After supper at the Bristol following the concert,Joachim took me to his room and presented me withthe manuscripts of the cadenzas he himself wrote tothe Beethoven violin cencerto. I am very proud ofthem as they are the only ones in existence."Every Wednesday evening Mr. Willeke and EdouardSchutt went to the home of Leschetizky where theyplayed Sonates, etc., until four or five in the morning.In 1907 Franz Kneisel made the trip from Paris toVienna to investigate the rumors he had heard of thegenius of the 'cellist at the Viennese court, and to engagehim for the Kneieel Quartet which post Mr. Willekeaccepted, coming to America the same year.The 'cellist has composed among other things, somecharming songs which Shumann Heink and KittyCheatham have sung at their concerts.Mr. Willeke is the fortunate possessor of a NicolaAmati, one of only four known to be in existence,dated 1647. Formerly it belonged to the great FranzLiszt. Besides many recitals, he has appeared as soloistwith the New York Philharmonic Society, the NewYork Symphony Society, the Chicago Symphony, theSt. Louis and Russian Symphony Orchestras, and onvarious occasions has conducted the New York SymphonyOrchestra on tour and in New York City withmarked success. Two years ago he went with WalterDamrosch on the European tour. His recitals, and thefamous Elshuco Trio which Mr. Willeke founded someyears ago, keep him busy, as well as his activities ashead of the 'Cello Faculty of the Institute of MusicalArt."This concerns one of the ladies, Anna LockwoodFyffe," continued Molly, discovering- anotherarticle.She was born in Ohio, her father, an amateur musician,was well trained in piano, organ and violin. Ensemblemusic in their home provided the little girl withan invaluable knowledge of musical literature at a veryearly age. Good teachers in her home town preparedAnna so thoroughly that at eighteen she was able toenter the Post-Graduate Department of the New EnglandConservatory at Boston, where she studied firstwith Carl Faelten. She also studied with the late Mrs.Bertha Feiring Tapper who became her intimate friendas well as teacher. Paderewski, always interested inMrs. Tapper's work, advised her to study in Vienna,whither she went, taking with her the Conservatory'smost talented American pupil, Anna Lockwood.In Vienna they were members of the most brilliantclass the great Leschetizky ever taught at one time,including such illustrious names as Ossip Gabrilowitch,Mark Hambourg, Artur Schnabel, Katharine Goodson,and our own Elizabeth Strauss and Lotta Mills Hough.As a result of overwork and anxiety, she suffered anervous breakdown, necessitating a premature returnto her home in Ohio. While she was recovering fromthe effects of her illness, her attitude toward her workunderwent a gradual change. Although she possessedevery natural qualification and had had the training fora career as concert pianist, she began to feel that herbiggest opportunity lay in the field of teaching. Withthis in view, she started with characeristic energy tolearn the art of the teacher. She came back to Bostonto study with Calvin Cady, who later sent her to NewYork as his representative. Every summer for sixyears, she studied in Paris with Harold Bauer, attractedby the man's great mentality. She also went to Berlinfor intensive work with Eisenberger.Mrs. Fyffe was one of the pioneers at the openingof the Institute, heartily concurring in all Dr. Damrosch'sideas for broad musical culture.Leschctizky, famous teacher of manyof our Piano Faculty-''Listen to this, mother," laughed Molly. "Hereat last is something about Miss Strauss.''Accidentally meeting aboard a boat plying in Mainewaters you seize the opportunity to glean informationwhen your victim cannot escape! Miss Strauss regalesyou with tales of this sort: She was born in Lynchburg,Va., in 1998, which makes her twenty-four. Shecomes of unmusical but honest parents; they were respectablepeople, not professional musicians!She claims her first public appearance to have occurredwhen she was "quarter past six" and took partin some entertainment. Her family moved to Lexington,Ky., and four years later she went to further herpianistic studies at the Cincinnati College of Music.The next year she sailed for Europe . . ». and- at thatpoint the story reached an abrupt end."Abrupt end is right," declared Mrs. Pearson."We can't sit up here all night reading stories.Come, child."IVThe next morning Molly was just as alert asif she had not had a sleepless night from somuch unusual excitement. There were stillmore whose stories she had to hear and shecould hardly wait for the guests to appear. Thefirst one to come down for breakfast was theinteresting looking young man they had affec-

THE BATON 19tionately called "George." She believed hisname was Wedge. Of course, she couldn't knowthat morning is a very low tide in the affairs oftemperamental artists, and especially of GeorgeWedge. He seemed uncommunicative, so sheventured some questions with the following enlighteningresults :"Were you born in this country, sir?""Danbury, Connecticut.""Were there any incidents in your early lifewhich influenced you to take up music?""None.""Where did you spend your student days?""Institute.""What were your musical activities before youwent to the Institute?" asked Molly, still hopefully."None," replied Mr. Wedge with increasinggloom."What circumstances were there connectedwith your joining the Faculty?""None.""And outside of the Institute, what musicalconnections have you ?""New York University, Curtis Institute, MadisonAvenue Methodist Episcopal Church." Mollywas encouraged."Have you published any books?""Ear-Training and Sight-Singing; AdvancedEar-Training and Sight-Singing; KeyboardHarmony.""What celebrated persons have you known?""None," said Mr. Wedge, relapsing into monosyllables."Surely there have been some details of interestin your career," urged Molly despairingly."None," asserted* Mr. Wedge with emphasis ashe attacked his oatmeal vigorously."Good gracious ! Why paint such a drab pictureof yourself?" demanded Howard Murphy,laughingly. He had been listening from thedoorway. "You only give information which isevident—your now far-famed books and theschools which have succeeded in obtaining yourvaluable pedagogic presence." Turning to Molly,Mr. Murphy continued, "Young lady, allow meto introduce Mr. George Wedge, who enjoys anenormous popularity at our Institute and whoholds an enviable place in the esteem and affectionof all those who have had the privilege ofcoming in contact with him. He is the headof the Keyboard Harmony, Ear-Training andSupervisors' Theory Departments."If looks could kill, Mr. Murphy would be onlya memory, for Mr. Wedge's aversion to publicityis well known. His modesty, in view of his reallyremarkable achievements in a short space of time,is one of his most attractive attributes."Some of us would lose our jobs if peopleknew all about us," remarked Mr. Wedge, morecheerfully, over a cup of Mother Pearson's deliciouscoffee."Some truth in that," acknowledged Mr. Murphy."You no doubt have a regular matineeidol's life as a dashing young bachelor in a schoolreplete with beautiful girls." Mr. Wedgechuckled knowingly. "Surely, though, you candisclose a little of your past," added Mr. Murphyin behalf of Molly who was still waitinganxiously."There's absolutely nothing to tell," respondedMr. Wedge. "I've just always been at the Instituteand it will probably never get rid of me.While a student there I did everything from actingas registrar to taking numbers at the lecturedoors. My initiation into teaching there was tosubstitute for the Director.""Well!" ejaculated the other, incredulously."Nothing mean about you. But, come now, keepto facts.""Truly," assured Mr. Wedge. "It Was veryfunny. Dr. Damrosch was called out ot townand he asked me to conduct the Choral Classduring his absence. As the chorus consisted offorty young ladies I was embarrassed to deathand was so long screwing up enough courageto enter the room where they were that thesecretary offered to lead me in by the hand!When I finally reached the piano it was all rightof course. After that I think I substituted foreveryone in the school and just grew like Topsyinto being one of the regular faculty."I don't know how I came to study music. Ican remember when very tiny picking out withone finger the hymns I had heard in church. Iused to play in church and dancing school inConnecticut in order to earn the money for mymusic lessons. Perhaps about once a year Isaved enough to go to New York for a few days,and they are bright spots in my memory. Wehad no good music in our small town, so I madeup for lost time in the city. I used to stand upat the opera twice a day and a few fine concertsbesides. Such glorious artists I heard! ThenI would descend from the heights of Valhalla tothe plains of Connecticut, weary of body but refreshedin spirit. At last I came to the Instituteto study organ with Gaston Dethier, and here Iam!"The people I have met? Oh, I can't remember.Of course all the artists who appeared withthe Musical Art Society, of which I was the accompanistunder the direction of Dr. Damrosch.Others since then. Perhaps there were especiallypleasant episodes connected with meetingCyril Scott, Percy Grainger, Kate Douglas Wiggin,Mary Garden, Eva Gauthier, Josef Hofmann,Mme. Cahier and Ternina," finished Mr.Wedge, lighting a cigarette."And now you," said Molly, who like OliverTwist, was always asking for more."Very well," began Howard Murphy, resignedly."I was born in Pittsburg, Pennsylvania. Ididn't begin my work at the Institute until 1915,when I entered as a student of the organ. ButI had had seven years of more or less concentratedmusic study at Knox College Conserva-

20 THE BATONtory in Galesburg, Illinois, where I graduated asa-bachelor of music in 1915. So my organ courseand post-graduate work in composition at theInstitute were completed in two years. In 1919I was appointed a member of the faculty as aninstructor in theory and composition. At presentI am also instructor in theory at the NeighborhoodMusic School and the Home Study Departmentof Columbia University. I've writtena song, 'The Heron/ which G. Schirmer haspublished. That's about all up to now. Isn'tthat enough scandal? Surely you don't want allthe details. Too much is sufficient!"Two ladies who appeared at that moment weregreeted enthusiastically. Molly inferred theymust be greatly liked. One proved to be MissAugustin and the other Miss Whiley."Still not safe from holdups?" asked MissAugustin. "Don't miss 'the Institute's bestgirl,' " she added, as Helen Whiley, covered withembarrassment, tried to change the subject. ButMME-.One of the "queer people" in Miss Whiley's life!Molly was quite fascinated by the slender, youthfulMiss Whiley, whose trim tailored suit anddark bobbed hair gave a boyish attractivenessto her appearance."Wouldn't you know to look at her that sheis adored by all her pupils," persisted MissAugustin. Molly nodded emphatically and.pleaded for Miss Whiley's story."I was born in Ohio—a state renowned as thebirthplace of presidents and Miss Americas. Butwhen my career was planned, women were notrunning for office or for beauty contests, so musicgot me. After serving four years at Vassar,I came to New York to study violin and chosethe Institute because the Civil War hero, WilliamTecumseh Sherman, was a native of my. townin Ohio, and I felt I would be most at homein the vicinity of Grant. In the Institute Ifound some of Our Best Minds concentrating onears—so I did. Anyhow, it soon appeared thatwhat I could hear was more important than whatI played—at any rate, it disturbed fewer people—and when the authorities found I had a prettygood set I started in broadcasting for others, and,incidentally, searching for an honest ear. I stillam."In the course of a long and unvaried careerI have certainly met a lot of queer people! Thearticles I might have published are as follows:'That Earstraining Look,' 'Adventures of a V7Chord Among the Onebees,' 'Solfeggioing onMount Parnassus' and 'Queer 'Earings,' " finishedMiss Whiley with the droll humor which makesher classes exceed the cleverest comedies mtown!"Why not tell about yourself? Yours is apast that bears recounting," said Miss Whileyin retaliation."My past has been a dark secret up to the presenttime, but perhaps it should now be revealed,"and Helena Augustin tipped her head sidewaysin a mischievous manner. "I was found in analligator's nest on the banks of the Mississippi.Dr. Damrosch, hearing of the event, knew I wasdestined to be the greatest piano teacher theworld has ever known, so he sent a cable requestingme to teach at the Institute when Igrew up. You see, I was still in the cradle atthe time."I received my early training at Karnak,among the andent Egyptians, and before acceptingthe invitation to teach at the Institute I wasDirectress of the Conservatory of Music in Bagdadand toured Mesopotamia in a series of concerts.Upon arrival in New York, Dr. Damroschgave a ball to celebrate my joining the Faculty."I have played before all the crowned headsof Europe, Asia and Africa, and know all thegreat artists, who are insanely jealous of me. Allthe crowned heads, by the way, were at my feet,of course."I am writing a book—'The Memoirs of MyDead Life,' in collaboration with George Moore—and I have one composition to my credit. It isthe result of early influence and is called 'CrocodileTears,' " asserted the incorrigible Miss Augustin."In fact, the tears overflowed into theInstitute Annex!""Don't believe a word of it, little girl," an-

THEBATONnounced Miss Whiley. "The truth of the matteris she was born in New Orleans, Louisiana.She studied piano in Dresden, Berlin and NewYork with Mme. Carreno, Ferruccio Busoni,Moritz Moszkowski and Alexander Lambert.She gave concerts in all three places, and in manyother American cities besides. She was notedfor her Historical Lecture Recitals, and now devotesher time to the Institute, to private pupilsat her studio and to private musicals. You see,you can't make me tell my secrets and keep yourown," declared Miss Whiley triumphantly. "Andhere comes another of our piano teachers so decorativeof appearance and so disinclined todivulge what must have been interesting incidentsin their careers.""Don't even ask me," called Lotta Hough asshe approached from the hall. She had heardthe preceding remark. "I thought this child,"indicating Molly, "would have slept it off bythis morning and never want to hear anotherbiography. Imagine her wanting to know where,and of all things, when I was born. My brilliantresolutions for 1925 to forget all unpleasantmemories are too recently made to recall anythinglike the date of my birth. I simply can't.-,.-.,;] Cartoon by Ruth Cairnsrehearse my misspent past and faulty deeds,especially as I am about to make myself brandnew, acquire all the virtues and cast off all thevices! And since there was actually one viceI did not have—smoking—I must, to be consistentand successful in my task, take up 'TheWeed of Forgetfulness.' And if I have anyreal friends they will keep me supplied withnice ash receivers, pretty mouth pieces, and anythingelse that will help smoke out 'My Past!'Better luck next time; perhaps in the on-rushingnext world, for I know I'll set everythingafire with this new habit!" Then on secondthought, Mrs. Hough added, "I will humor youto this extent, Molly: I was born in Goshen,New York (where they specialize in good butter,you know, and other fat things like me)." Hercomely figure belied her statement. "I workedin Vienna with that superlative master and man,Leschetizky. And now, 'Quick Curtain.' ""I don't seem to be having much success thismorning," said Molly, turning hopefully towarda lady and two gentlemen entering the room."This seems to be a storm center," said BelleSoudant with her irresistible laugh.

22 THE BATONMolly, of the inexhaustible questions, pouncedupon her. "You haven't said a word to me sinceyou came." Miss Soudant looked resigned to herfate."I first came into being at Collinsville, Connecticut,where my mother was a well knownsinger. My teachers were Mrs. Francis Smith,in Hartford, and Mme. Von Niessen-Stone, inEurope. I studied piano with Fraulein Gottschalk.After coming back to the United StatesI did a great deal of choir work and, oh—lotsof accompaniments. The Institute held attractionsfor me, too, and in the course of naturalevents, I received my diploma in piano, and inpost-graduate singing under Mrs. Toedt. LaterI taught voice at Smith College and in otherprivate schools. Child, I've told you enough—I must look over this lesson or I shall never beable to quell my young sight-singing enthusiasts.""I claim New Haven, Connecticut, as my birthplace,"said Richard Donovan. "I studied atYale University with David Stanley Smith andHoratio Parker. A Scherzo for Orchestra,played by the New Haven Symphony, broughtme the Steinert prize. One day I awoke firedwith the desire to study with Mr. Dethier, forthe name of Dethier is magic to a young organist.Hence, I sought him at the Institute. I enteredand discovered many reasons for remaining.Time passed and one year found me graduatedin organ, the next year in piano, under thegentle guidance of Miss Strauss, and still a fewmore years and Dr. Goetschius' Theory coursewas completed. Since then, anthems and oneservice of mine have been published."I have played in several New York churchesand was Assistant Organist at the Cathedral ofSt. John the Divine. My travels took me toParis, where I studied organ with Dupre andWidor and some composition with the latter.When I returned to America I was given chargeof the music at the Taft School in Watertown,Connecticut, and now I am Associate Professorof the subject at Smith College. George Wedgeis the one who brought me back to the Institute.We all come back! It can't lose us.""My first musical experience took place whenI was quite young," began Bassett Hough. "Itwas in Leesburg, Virginia, the town of my birth.I was required to pump the organ in the littlevillage church and listen for 'chords.' I wouldalso hold down the keys while the organ wasbeing tuned. About this time I read about JohnPowell, who was then a boy-prodigy, and whenI heard him play he influenced me greatly."My first serious study was in Richmond, Virginia,where I studied piano and organ. I thenwent to Berlin and studied piano with JosefLhevinne and Ernst Dohnanyi. I went to Londonfor further study, and finally came to NewYork to complete my pianistic work with RaphaelJoseffy. Composition I studied with Dr. Goetschius."In 1911 I was appointed organist and choirmaster of the American church in Berlin, whereI went to live. I returned to America in 1915,by way of Norway and Sweden, because of warconditions. Soon after arriving in New YorkI became director of music at the New York Institutefor the Blind, and also an instructor ofmusic at Columbia."It was through Mr. Robinson that I joinedthe faculty of the Institute of Musical Art. Hecalled upon me to take charge of his classeswhile he was in France."At the present time I am a teacher of musicat Columbia, director of music at the New YorkInstitute for the Blind, and also organist andchoir master at Glencove, Long Island."In 1924 my compositions, 'Magnificat' and'Nunc Dimittis,' were given by St. Bartholomew'schoir and the Columbia University choir. I havewritten a Chaconne in G Minor, which wasplayed by John Powell last year."My associates among musicians are chieflymy former teachers and colleagues. I have enjoyedthe close friendship and musical companionshipof John Powell for many years. An incidentof possible interest was the fact that duringthe first year of the World War I was inBerlin and was standing in front of the palacewhen the Kaiser stepped out on the balconyto make his famous speech concerning thedeclaration of war."ijC 3j4 3pEverything turned to ashes for Molly whenher father came in to announce that the landslideof the night before had been cleared, thespecial train had acquired a new engine, and itwas now time for them all to start back. Therewere farewells as each sleigh left. Some of theladies embraced her affectionately; some of thegentlemen said they'd like to, and before shecould realize it, they had gone. It was all over.VMolly, alone in the living room, was startledby a knock on the door. She had not heardthe sleigh approach. She opened the door andsaw a young lady on the threshold."Good evening! Mrs. Blanche Jacobs is here,I believe?""N-no," stammered Molly."Oh! Have I missed her? When did shego?" returned the other.Molly, hearing the click of the typewriter inthe next room, suddenly came to her senses. "Inthere," she said, indicating the door, "but shedoesn't wish to be disturbed.""It's all right. Tell her a friend is here," repliedthe newcomer with a smile."Why, Dorothy, what on earth brought you?"exclaimed Mrs. Jacobs, emerging from her room."Partly to get the story which the printercommands me to produce at once if The Batonis to be published this month, and partly for anotherreason, which you will hear soon," sheanswered.

THE BATON 23"Well, all I can say is that I hope you willnever again be tempted to write a story of suchlength. I've worked steadily for twenty-fourhours, with only time out for eating and sleepinga minimum amount, and it isn't finished yet.A half hour more will do me, though." And Mrs.Jacobs returned to her room."Your name is Molly Pearson, is it not?" inquiredMiss Crowthers, turning to the girl whohad let her in."Yes," ejaculated the other. "How did youknow ?""Last summer, when I was staying here, theproprietor told me about you. You have a nicevoice, I understand."Mrs. Jacobs returned, waving the manuscript."Dorothy Crowthers," she said, "you haven'tgiven the desired information about yourself.All the other Theory teachers had to do their bitin the biography line, why not you?""Oh, well, put down that a teacher is not ateacher when she is an editor. That won't do?Here are the bald facts then ; the colorful detailsmust of necessity be omitted! New York is mynative heath. The Institute has made me whatI am today ! The usual order of things was reversed; instead of going abroad to study, myparents brought me home from Europe for thesole purpose of acquiring the thorough musicaleducation offered at 120 Claremont Avenue.Upon graduation from the regular vocal courseunder Mile. Walther, the best part of a yearwas spent travelling in the Orient, through Chinaand Japan. Then studies were resumed at theInstitute, with the result that the Artists' Diplomaand Teachers' Diploma in singing now decoratethe library wall as an incentive to furtherstudy!"Dr. Damrosch and the Institute having becomean essential part of my musical existence,I could never tear myself away, and first becameone of the Administrative Staff. Then it wasMr. George Wedge who asked me to teach inhis department. One cannot but be a most enthusiasticfollower of his precepts."The friendship of Geraldine Farrar duringthe past eight years has been a great inspirationand influence in my life."It has been my good fortune to have opportunitiesof meeting some other famous artistsalso. Among the most interesting are Melba,Sembrich, Scotti, Clement, Mary Garden, JohnMcCormack, Galli-Curci, Muratore, Bori, Gigli,De Luca, Kreisler, Heifetz, and Maeterlinck.""Have you any photographs of them?" askedMolly."Yes, indeed—autographed ones which I'llshow you when you come to New York.""I shall probably never be there," lamented thegirl."Oh, maybe you will," replied the other. "Thereal reason for my visit is because I understandthere is a young lady here who would be veryhappy to study singing in New York."Molly's hand went to her heart; she thoughtit had stopped beating."A wealthy patron of art, recently learningyour story from the owner of this hotelpromised to give you a scholarship at the Instituteof Musical Art if your voice proves worthcultivating. One purpose of my coming was toconvey the news that you are to go to NewYork to sing for Dr. Damrosch just as soon aspossible," she concluded, taking the girl's hands.Molly was too dazed to speak. Her expressionconveyed her gratitude, however."And what is more," said Mrs. Jacobs, "youhave broken into print. You appear in this story.I'll leave you a carbon copy of it so you can readall about the illustrious Institute you are to attend."The two guests made preparations to departand as they were leaving the editor turned back."Do you ever have bad storms here—blizzardsI mean?" she asked."Yes indeed," answered Molly, "frequently.""I imagined so," mused the other and smiledknowingly.Molly was left wondering.VISeveral hours later Molly's mother found thegirl again gazing with rapt expression into theembers on the hearth."Of what are you thinking?" she queried."Of the Institute," answered Molly happily,"and of the wonderful possibilities for a studentthere—yes for me; and of the celebrated personageswho teach there whose biographies are containedin this story I have just read."OPERAS AND CONCERTSThe Baton regrets that owing to the nature of the Anniversaryissue, it is not possible to include criticismsof recent musical events. Suffice it to say that the presencein New York of Igor Stravinsky, the Russian composer,as guest conductor of the Philharmonic Orchestrahas created much excitement. Another guest conductorawakening keen interest among concert-goers is Furtwaengler,who has recently held the baton of the NewYork Symphony Orchestra.The announcement is received with enthusiasm from theOpera House that Wagner's "Ring Cycle" in its entiretywill be reinstated in the repertoire with a series of matineesvery soon. "Gotterdammerung" returns Saturday,after an absence of many years.Compliments ofParnassus (ElttbCompliments ofCONSUMER'SBOX BOARD & PAPER COMPANYLITITZ, PA.

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