Miss Olga Beatrice Bredemeyer. - Washington University in St. Louis

ST. I.JOUIS.CHICAGO.Volume 1. AUGUST, 1898. Number 12.1. /PHOTO BY WILLYERD .Miss Olga Beatrice Bredemeyer.

MUSICALR monthly musiea1Jot:.ttrna1.NEWS.Devotedto theAtrt of musie.VOLUME 1.ST. LOUIS, AUGUST, 1898.NUMBER 12.Tb~ musi~al D~ws.A MUSICAL JOURNAL, PUBLISHED MONTHLY.WALTER LUHN , Publisher and Proprietor.WALDEMAR MALMENE, Musical Editor,Piano Departm't conducted I Vocal Departm't conductedby GEO. BUDDEUS. by ALEXANDER HENNEMAN.BosTON,Fraternal Building, ST. Lours, Mo.BRANCHES:NEw YoRK, CHICAGO, WASHINGTON,AND SAN FRANCISCO.Subscription Price, $1.50 Per Year,pay~ble in advance.Single copy - 15 cents.Foreign postage, 48 cents.Advertising Rates Furnished on Application.Entered at the Post Office at St . . Louis, Mo., as Second ClassMatter.Copyright 189S by THE MUSICAL NEWS PUBLISHING Co:,St. Louis, Mo.Subscribers changing their address are requestedto notify the publisher immediately,1.nd direct all correspondence to' 'The MusicalNews," Fraternal Building, St. Louis, Mo.TO OUR SUBSCRIBERS.With the present nu~ber the ''MusicalNews'' terminates the first year of its existence,and I herewith tender my best thanks to thes'tbscribers and advertisers who have helpedme in my attempt to publish a monthly paperdevoted principally to the musical interests ofSt. Louis and State of Missouri. The undertakingof a musical journal, unsupported bysome large publishing house, is unquestionablyhazardous, and it is a matter of congratulati~n. that I have succeeded in making it self~sustaining. It has been my object not only tosupply subcriber~ with good cornpositions bywell-known musicians in our .. midst, but alsoto ·re-publish meritorious compositions byEuropean composers, who are less known inAmerica; all of which are well adapted forteaching.The space of reading matter is yet limited,but we expect to enlarge it in the course of afew months, as we also hope to increase our. subcription list, trusting that those whosesubscription expires with the present numberwill renew the same. That the ·'MusicalNews" is appreciated by the musical professionat large will be seen by the list of advertisers,which includes not only our local conservaoriesof repute, but also oth~rs afar off.To stimulate our patrons to interest themselvesstill more in our enterprise, we intendto offer prizes to the amount ofFIFTY DOLLARSfor the best instrumental and vocal compositions;full particulars of which will shortly bepublished.We invite teachers to favor us not only withcorrespondence, refering to musical items ofgeneral interest, but also to send us originalarticles appertaining to music as a science andart.A special feature of the second volume,which begins with the September number,will be aSUPPLEMENT Of FOUR PAGESof Piano and Vocal studies; the former willbe edited by Mr. G . . Buddeus, and thelatter by Mr. Alex. Henneman. These studies,which will be published alternately witheach number will be found a valuable help toall teachers.Hoping that the merits of the "MusicalNews" may induce our musical friends to continuepatronizing the paper, I remain,Respectfully,WALTER LUHN,Publisher and Proprietor.Address: Musical News.Editor of "The Mu ical News":Let me congratulate you to ''The MusicalNews.'' I wish it the very best success andwill do my very best to make it known far andnear. It deserves recognition and may be thehandmaid to the effort to establish a MusicTeachers' Association on a firm basis, we needthe very best of the profession, that is thosewho have no ax to grind. I will keep youposted in regard to the Association, which Iexpect you to join in person. Your influencewill tell no doubt.Yours resp~ctfully,H. E. SCHULTZE,Secretary M. M. T. A.MISS OLGA BEATRICE BREDEMEYER.The picture of the young lady which appearson the title page of this month's ''MusicalNews'' is one of our rising musical enthusiastsof whom it is a pleasure to give an account.After a severe course of study extending tonearly three years under Prof. R. Goldbeck,wellknown in St. Louis, and later of theChicago Conservatory, she made her firstappearance at the age of 15 at a Concert givenby the Liederkranz Society when she played"The Wanderer" by Schubert-Liszt and asan encore ''Le Tour billion'' by R. Goldbeck.Her second appearance was at Kimball Hall,Chicago, when she played at Mr. Goldbeck'spupils recitalRubenstein' s' 'Kamenoi Ostrow'' ;the ''Chicago Musical Times'' speaks of herplaying: "She gave the composition with thatsoft dreamy touch necessary to its effectiveinterpretation.,. During a pleasure trip toEurope she played at several cor:.certs receivinggreat praise, while at Weimar she had theopportunity of playing on Liszt's favoritePiano; while crossing the Ocean she gave abenefit Concert on board the vessel for thebenefit of the Seamen's fund. That MissBredemeyer is anxious to seize every opportunityto improve herself may be gatheredfrom the fact that upon her return fromEurope she took a year's course of instructionfrom Prof. Reipschlaeger, but not only technicallybut also theoretically has the younglady cultivated her talents and we are promisedone of her compositions which shortly bepublished in "The Musical News." MisRBredemeyer is at present spending the summerin St. Paul and upon her return in Septemberwill open her studio at her residence, 3828South Broadway.~All our friends and patrons are herebynotified that fromSEPTEMBER 1st, 1898,the office of the ''Musical News'' will be r..,•moved toTHE HENNEMAN BLDO.,3725 Olive Street.

2T::S:E ::tY.t:"'CTSJ:C..A..L NE~S.St. Louis Musicians and Amateurs in ge=neral are invited to send us their M. S. compositions,which if found acceptable will bepublished in "The Musical News.'.'That Musical events are almost at a standstillduring the hot weather, something likethe Barometer at noon, needs no explanation.That Miss Anna V. Metcalf, the soprano ofthe Second Baptist Church has resigned andreb,1rned to New York is probably known tomost musicians.All our prominent musicians, whose clienteledepends upon the west-end aristocracy, arespending their vacations at the seaside andother fashionable resources.The Choir a!!d Organist of the SecondBaptist Church have their vacation in August.Mr. Waldemar Malmene-will act as substitutefor Mr. Mcintyre during his absence.The financial success of the Dorothy MortonOpera Qompany was not as great as anticipated,which is not to bB wondered at a_s nonovelties were presented.The best musical dramatic performancewhich have been given in St. Louis for a longtime were those at the Suburban Theatre.'Incidental Music from Verdi's Falstaff waseffectively introduced in "The Merry Wivesof Windsor.'' While all the incidental Musicof Mendelssohn with Choruses was given with"A Midsummer's Night Dream." Besidesthe company has excellent Solo vocal talent,which made the performances extra attractive.The Misses Ruth ·white, Eleanor Giusti andMildred Sylvester deserve special mention,while the Male Quartette, consisting of Messrs.J. F_roho_ff, A. Turnpenny) A. Blanchard andF. Price; did some excellent work.While Concert rooms are hermetically sealed,for the present, it is pleasant to spend amusical evening among Amateurs whose effortsto improve themselves, and unravel the harmonicintricacies of Chamber Music, are tothe majority as unknown as many a modestviolet which we pass by while roamingth:r;ough the Wild wood.Such was ouropportunity August 25, while listening to the -Quartette playing of Messr~. G. 4.! J{ubelman,first Violin; Th6s. Mathews, -·secon:d Violin;G ..-Nigg~mann, ·- Viola~ and A; · D .. Glancy,Violincello. These gentlemen have, for along time, met every Monday Evening at theresidence of Mr. Rubelmann and WednesdayEvenin&"s 3rt tne hoqs~ of 1\fr. Niggema;n,n,After practically discussing the difficulties ofa Mozart Quartette, Mr. George Buddeusentertained the company with some brilliantSolos.'During the performance of '' Fra Diavola''at Uhrig's Cave on Tuesday, August 26, Mr.ij:ubert Wilkie administered a well deservedrebuk;e to a select party of four, whose incessantloud talk not only disturbed the audience,but also marred the singing. His remarkswere received with applause and the disturbersleft as soon as the act was over.The Beethoven Conservatory has been keptunusually busy during the vacation to accommodatecountry teachers who usually come tothe institute at this time of the year for furtherimprovement.Few of o-qr readers who know Mr. EdwardM. Read, the genial manager for the EsteyCo. of this city, who is also Organist of theGrand Ave. Presb. Church, are aware of histalents as composer. In odd moments he haswritten a number of pleasing compositions forthe Piano, which are meeting with gratifyingsuccess. Among them are a number of setsof easy pieces for teaching purposes-' 'TheMerry May Day,"-"Pussy's Music Lesson,"-"The Children's Tea Party," also arrangedas Duets, etc. Of his more pretentious piecesare "Daybreak Waltzes," "Laughing Eyes,"Caprice, ''Happy Hearts," Mazurka, and thepopular Reverie ''Cloister Bells.'' Mr. Readhas. the gift of melody in a marked degree andwe can readily understand why his compositionsare popular and sought after alike byteachers and pupils.Pr.of. Paul Mori, the wellknown Composer,Organist and teacher has built for himselfand family a beautiful home on Odell Ave.,near I}::ingshighway in the immediate neighborhoodof Tower Grove Park and a blocknorth of Koerner's Garden. There he willspend his spare time in composing, inspiredby the magnificent view _which he will constantlyhave from his music-studio and somefine works may be expected from his pen.A jolly house-warming will take place nearthe end of August, to which he will invitesome of his congBnial friends amongst themusicians.CHOIR CAMP.Owing to the untiring efforts of Prof. PaulMori, the organist, the choir boys of the St.George's Episcopal Church were given a camp,lasting frqm July lltl} to l~thj the first campever given to St. George's boys. 18 Christ­Church Cathedral boys_ and 10 St . .. Georgeboys, a few young men, Rev. H. W.,Wigner,Rev. Smith,. Prof. Paul Mori, . etc~ enjoyedthe outing immensely. Boat-riding on theMississippi, swimming, climbing the bluffs,where one of the finest views presents itself tothe eye, fishing, base ball etc. were the principalfeatures of the camp. The tents werep'Q.t -up in a little valley between two greatbluffs, in the neighborhood of Elsah, Ills.T~e camp was a great success, the boysbehaved well and not ap. accident nor a caseof sickness cast its shadow over the ··jolly ·crowd. Such a camp cannot, but increasethe interest _a:p.d -~ov~ of the_ boys ~or their choirwork. It brings them -nearer· together ~and incloser contact with their choirmaster.Miss Cora J. F_ish will spend the month of.August 1n the East vishing Put in 'Bay andNiagara Falls, returning to resume her dutiesin teaching about the -first of September.Miss Adah Alice Black.Miss Adah .Black who occupies the positi~riof leading · sopran? in .Dr. Sneed's Church, ·Compton and Washington Avenue, has justturned from a trip to the ~outh, having visitedhe~ married sister Mrs. Birdie Black West,.who was wellknown in our musical circlessome years ago, and is at present eng~ged asChoirleader in one of the Churches in Texar-·kana, Arkans-as.The following is a complete iist of theofficers elected of the Missquri State Music _Teachers' Ass'n i. Presiden-t, E. ~· KrQeger,St. Louis. Secretary and ~reasu:rer, H. E.Schultze, Kansas City. Executive Committee,__ ..A. F. Graber, Ch~irman; Mrs .. Trouhp.an;Miss Helen Spencier, J op_lin. Mrs. Phil. P~rry,Kansas City. Program Committee, ~r~. ·Nellie Strong, Stevenson, phairman, St .. Louis . .W. L. Calhoun, Cartha-ge. .Mrs_.· Cad B1.Is~h, ·Kansas City. Composition Cqmmittee.,· W, .H. -Pommer, Chairman, St. Loui~. MissHarriet Sawyer, St. Louis. Reginald Barrett, .}\ansas City. Place of meeting, Joplin, Mo.Editor of The Musical News:

II '·WEBSTER GROVES NEWS.'rhe following items fr~m the "Webster Times" willinterest our readers as they giv'e evidence of the indefatigablewo.rk of· some of our best teachers: The last regular· meeting of the Fortnightly Club was held on Tuesday,. June 2-lst, at the home of Mrs .' W~ C. Dyer. All . themem~crs were in attendance and some guests. Mrs,· Dyer's beautiful parlors were c~ol and inviting. After· devoting a short ti'me to business the company settled·. themselves comfortably to listen to a paper entitled "Spainand Her ·Cathedrals," by Mrs. Kate Brainard. This· subject had been assigned to Mrs. Brainard in the MondayClub, in their course of study in Spanish history. She· handled it so well, giving instruction, information, beautifulthought's and expressions, even repeating couplets inthe Spanish tongue with remarkable fluency, that all whoheard it read in the Monday Club were delighted. Mrs.Brainat:d, by special invitation, kindly consented to readit before the F'Ortnightly Club at Mrs. Dyer's. It is needlessto say they were edified and entertained. Followingthis were two ~inute remarks from all members, in whichthey told who was their fa:vorite author and what his bestwork. The conclusion was that Dickens was the favoritenovelist, and Longfellow the favorite . poet. Among thegu .e~ts .were Prof. Dyer and Prof. H. Butler, who taking· part in the. program, spoke of their ardent love of Shakespeare.After refreshn 1nts .of cooling ices and cake, and aha.ppy social hour, for which Mrs. Dyer's home is so noted,the meeting adjourned. E. H. A.The Kirkwood Tuesday Club has invited Mrs. Brainard· to-read.it at their next meeting.The following communications by K. J. B. will also beread with interest: The ''Concert and Hop" given atBristol Hall on the evening of June 3d, was a great success;at least the concert was. I can't say as much forthe hop, as I was n~t there-not that I object to "hops,"but to the. hours! I have heard, however, that it too, wasvery enjoyable. The program was fine throughout. Thecello solos were most exquisitely played by Mr. Froehlich,showing a rare and refined artist..The Caprice, played by Mr. Gebhard, is one of themost beautiful and difficult of violin solos,. and was executedwith much skill, sho~ing the unusual ability of thisyoung and brigb t artist.- I was struck with the beautiful ensemble playing,especi.ally in the Mendelssohn. The piano part in theAndante Allegro Con Moto, was most beautifully given..Miss Carolyn Allen shows her musicianly ability at thepiano as accompanist, either to the voice or the strings,qu~te as well'as a~ the organ.The beautiful voices of Mrs. Knight and Mrs. Brookswere evidently much appreciated by the audience, and Miss,Totten's numbers were quite as well received, This younglady has decided talent• in her line.We always 'enjoy Mr. Hutchinson's fine voice andpresence, and he was heartily appreciated.. Miss Lawton, who was to have given two vocal num·hers, was detained on account of illness, much to theregret of many of the audience.OUJ; thanks are due each performer, also to Mrs. Black•mer and Mr. Gebhard, for so enjoyable an evening.The twenty-sixth Piano Recital by pupils of Miss MaryE. Allen held at the Congregational Church on the eveningof June 9th, was 4elightful. If a crowded house, heartyapplause; profusion of roses, beautiful program and artistic·playing stand for anything, this recital was certainly agreat success. Miss Alleq, 4owever, did not give us anythingnew in this line, for her announcements always bringjust such results. But her programs are always new, theflowers always fresh, and the improvement of her pupilsalways apparent. We are proud of Miss Mary Allen, notonly as a teacher, but a woman of rare musical culture ofmind and heart.Miss Allen's lectures on mu!>ical history, ancient andmodern, which have been given weekly during the past,s'eason, illustrated by hundreds of interesting pictures~have been a source of great pleasure and education. Shehas been requested to repeat them next season in St. Louis.In giving the program of the twenty-sixth Piano Recitalit is likewise interesti~g to read the original idea of thefollowing quotation which preceeds the· program and alsothe concluding citations.THE ~"O"'SJ:C.A.:I....NE""VVS."Let thy mind still be bent, still plotting where,And when, and how thy business may be done;Slackness breeds worms; but the sure travelerThough he alight sometimes, still goeth on."Weber, Invitation to the Dance, two pianos, MissesWeeks and Allen .pelioun, Inpromptu Hongroise, Miss Hazel Allen.Chopin, Nocturne Op. 15, No. 2, Rubinstein, ValseCaprice E b, Miss Rhodes.Heller, Nocturne Op. 16, No. 6, Tarantella Op. 85,No. 2, two pianos, Misses Hazel and M. E. Allen.Leschetitzki, Nocturne Opus 12.Gottschalk, Pasquinade, Miss Weeks.Wagner-Liszt, Spinning Song.Mendelssohn, Overt•ue, Ruy Bias, two pianos, MissesRhodes and Allen."Blame where you must, be candid where you can,And be each critic, the good-natured man."Faith, we may put up our pipes, and be gone."The beautiful lullaby ballad "Little Sweetheard Baby"by Francis West, dedicated to Mrs. Brainard, will be sungby one of her pupils before the Tuesday Club of Kirkwood.This pretty little story, with its sweet melody and fineaccompaniment is already becoming quite popular.ALTON CONSERVATORY.The excellent work being done in music schools of oursmaller cities is yearly being evidenced by the increasedmusical intelligence of the average amateurs. From anumber of programs sent, we append three from the AltonConservatory as giving a fair idea of what may be accomplishedby earnest, intelligent dir'ectors and teachers.Miss Ruth Mills is the director of this school and isassisted by Miss Katharine V. Dickinson, who is in chargeof the Voice culture.The first Recital was given under the auspices of theConservatory Club and the program was rendered by Prof, .B. C. Richardson, an accomplished musician and teacher,Miss Francis E. Bowman is in charge of the ElocutionDepartment of the Conservatory.The other programs are graduates and pupils recitals.We quote the comments from the papers upon their recitalsand call particular attention to the point made in thegraduates recital of the analysis of the Sonata form, whichmade the instrumental part of the program more enjoyableto the mass of listeners.The commenci~g exercises of this institution were concludedby an Artists Recital given by Mr. E. R. Kroegerand Mrs. Samuel Black, which was in the form of aLecture Recital ·'On the emotional and picturesque inMusic." The variety and breadth of scope in theseprograms augur much for the educative influence of thisschool. The "Republican" comments on the graduation· exercises as follows : "With each succeeding year thecommencement season of the Alton Conservatory becomesmore notable and attractive, and each year sees the attainmentof a higher standard of perfection. Last evening'ssuccess wa:; one which the talented ladies at the head ofthe institution had reason to be proud of, and yet while itdelighted and, in a measure, sU:rprised the auditors, it washard work under skilled instruction."The following program was given:Septet, 1st piano, Miss May Gormly; 2d piano, MissesStone and Garner.Sonata, Op. 10, No.3, Miss Alice Fairman.Military Sonata, Allegro, Miss Elizabeth Weeks.Sonata, Form: Analysis, Miss Rita Webster·.Symphony D Major, Largo, Piano, Miss We.eks ;. Organ,Miss Garner.Sonata, Op. 7 1 a. Largo, b. Rondo; Miss Mae Gormley.Divine Redeemer, Gounod, Soprano, Miss Haight;Organ, Miss Wheelock; Piano, Mr. Boggess; Violin, Mr.Richardson.Sonata, Op. 31, No. 3, Miss Garner.Sonata, Op. 2, No. 3, Scherzo, Trio, Miss EthelwynneStone.Sonata, Op. 90, Miss Elizabeth Van H9rne.Figaro's Aria, "Barber of Seville," Rossini, Mr. H.Clay White.Egmont Overture, 1st Piano, Misses Stone, Gormley;2d Piano, Misses Weeks, Fairman.To enlarge on the program rendered in detail wouldrequire more space than we have at command and wouldbe, to a certain extent repetitious. One of the most cl}.armingfeatures of the evening was the accompaniment of MissWheelock and Messrs. Richardson and Boggess to MissHaight's solo. Mr. Clay White's solo received a meritedenc01'e. "Sonata Form: Analysis," was a scholarly andentertaining review of this style of musical composition.It was valuable, also, as demonstrating that mere surfaceculture is not tolerated at the Conservatory. There is ascience of music as well as an art of music, and the skilledmusician must not be a mere imitator or superficial performer,but the po_ssessor, also, of a scientific knowledge·of principles and methods.Altogether it was a delightful evening and should bemarked with a white stone in the annals of the Conservatory.The skill exhibited by the. performers ·was a shiningadvertisement of the worth and excellence of the institution,and while the accomplished directors, MissesMills and Dickinson, were showered with congratulationswe are sure that they did not receive one-half what theydeserved.''The seventh Annual Hecital given by the pupils of theAlton Conservatory filled the Spaldmg Auditorium tooverflowing. The program, which is given below, wasgreatly enjoyed by the large audience which showed itsinterest and approval by a liberal share of applause toeach participant.a. Andante, Bortniansky, b. Minuet, Bvcherini,Misses Edith and Effie Beal, Nellie Maltby, Grace. Perrin.Cradle Song, Randegger, Miss Tessie Wyckoff,Jerseyville .Spinning Song, Wagner-Boscovitz, Master Tom Terry.Boat Song, Abt, Misses .Perrin, Beall, Tonsor, Navin,Marsh, O'Haver, Rice, Braznell, Garner.Spanish Dance, Moszkowski, Misses Vivienne Smith,Susie Kirby, Jerseyville.Aria, Lieti Signor, Donizetti, Miss Katie Morgan,Indianapolis.Bridal Procession, Gric, Miss Nellie Maltby.Violin Concerto, Dancla, Masters Willie and Emil Horn.a Again My Lute, Gounod, b. Because I Love ·Thee,Hawley, Mrs. Fred Laurrent, Jerseyville,The End of the Song, Schumann, Miss Mary Wheelock.The Sweetest Dream, Roeckel, Miss Katde Morgan,Mr. Sylvester Seago, J erseyviiie. · -Le Peirot, Thome, Mi~s Ella Benner, Woodb:urn.a. Songs from a Child's .Garden of Verses., b . .0, ThatWe Two We-re Maying, Miss Elizabeth Van Horne, ofTerseyvillePrelude in E Minor, Mendelssohn, Mr. Newton Boggess,Whitehall.The Resurrection, Shelley, Mrs. Georg.(Locke, Jerseyville.· ·The Nightingale, Liszt, Miss Alice Marsh.,·'97.Trio from "Belisario," Misses Marsh, .Rue, . Mr.Richardson.Sancta Maria, Faure, Soprano, Miss Rue; Piano, MissWheelock; Violin, Mr. B. Richardson; O rgan Mr; Boggess.EDUCATION ~L ANNOUNCEJM:ENTS.Hardin.College for Ladies.Founded and Endowed byLARGEST and best Trained Faculty inany Girls School in the West. ·ManySpecialist!~. Modern Improvements.Hardin enjoys the approval of herpatrons-the only test of worth.Write for Circular No. 1.the Late Governor Hardin.GERMAN-AMERICAN CONSERVATORY OF MUSIC."Hardin is the onty Conse·rvatory in America, ou!side of N.Y. City with which Ihave any connection."--XA..VEB SCHA..BWENKd, D'!-rector-Gene1•al..PRESENT IN PERSON DURINC MAY.American Branch of Scharwenka's Berlin Conservat!lry. Ten professors from ~be - RoyalConservatories of Leip;lig, Berlin, Stuttgart, Etc. Thirty-five hp.ndr.ed Dollar, P1pe Organrecently bought. Diplo;mas are signed by Sch~rwenka. A $1,000 Pr1ze P1ano and ScbarwenkaMedals" at May Festival. Endowed schools g1ve more for a dollar than the unendowed.JOH~ w. MILLION, A. M., President, 1234 College Place, Mexico, Mo.

4 THE ~trS:IC.A.::t... NE""Q\/S.Review of last Month's Compositions.Pianists, who are desirous of improvingtheir tase, will find the compositions whichwere published in the July number of "TheMusical News'' of an exceptionally fine character.The Barcarolle by Edm. Abesser requiresa careful study, especially in the lefthand which should be practised separatelywith the pedal, taking care the phrasing inthe first six measures is corrent; here the firstfour eighth must be well connected and thelast two eighth notes have to be with a light.mezzo staccato touch. The I_>layer ought carefullyobserve the holding out of the dottedeighth note in the seventh, thirteenth measureof the right hand. When similar passagesoccur, from the 25th to 28th measure, caremust be taken that the sustained dotted eighthis not too strongly emphazised to destroy therhythm of the six-eight tempo. The phrasesmarked "leggiero" in the thirthy-fifth andthirty-sixth measure cannot be played withtoo light a touch."REMEMBRANCE" by Leopold Rietz is atender and expressive ''Song without Words''which, if played with expression, cannot failto touch the hearts of those who have musicin their souls. The short grace notes ( acciaccature)in the second part must be playedcrisp but held out as the tie indicates; thearpeggios must be played very smoothly; noticealso the accentuation on the second beat ofthe measure."THE DYING CHILD," Duet by Rev. C.4Becker will be welcomed by those whose voicehas but a limited compass; it can be sung asa Solo as the Alto part is not essentiallynecessary. The melody is in keeping with thepoetry which is by the late Cardinal Wiseman.LovE'S YouNG-DREAM" by Elmore R. Condon.The Composer of this song is known toour subscribers by two excellent Violi1: Solosof moderate difficulty which appear in Novemberand April N urn ber.His vocal contribution in this number showsoriginality in treatment; much will dependupon individual emotion of the singer to givedue effect to the song. All though no specialwords or marks indicate the composer's intention,yet it may be presumed that thephrase "Was love, still lo·ve" in the sixthmeasure ought to be sung ritardando, in factand ad libitum tempo, throughout, su~gestsitself by the poetical expression. The shortnessof the song is to be regretted; the Irishpoet Thomas Moore has three stanzas of whichthe last with a little -alteration in the melody,'on account of the poetical rhythm, might beadapted to the music of the first.MuRM-pRING ZEPHYRS by R. Niemann is atranscription for the piano of Adolph Jensen'sMme. RUNGE-JANCKE,VOCAL INSTRUCTIONITALIAN METHOD,.Studio: 2845 MOROAN .STREET.song bearing the title; as this beautiful arrangementfor the piano was the means ofmaking the song so popular so was also theplaying of this composition in St. Louis by.Mr. G. Buddeus the means of making himmore favorably known. Mr. Buddeus gaveit an entirely individual interpretation, which .he noted in this edition, but it requires acareful study to phrase it artistically. A fewhints may suffice; only the first six notes inthe right hand are to be played with a lightmezzo staccato after which an extremely lightlegato must be observed. That the melody inthe left hand should be poetically interpretatedmust be self evident. The flat in thebass of the first measure page 3. refers to the 0,. which in the right hand is 0 natural. Page 5fourth line and fourth measure the two chordsin the right should be tied together. Thestudy of this composition is recommended toall who wish to lay claim to be consideredartistic and emotional players. Too muchcare cannot be· bestowed on the correct employmentof the pedals.H. E. SCHULTZE,the Secretary and Treasurer of the Missouri · State MusicTeachers Association, to whose indefatigable labors thesuccess of the last convention in Kansas City may bea~cribed, was requested by the Editor of "The MusicalNews" to furnish a biographical sketch of his life. Inresponse he has the following original !-!ketch, which willnot only interest his personal friends, but also others willsee how thorough· a foundation was laid by old teacherswith training the ear and five exercises. Mr. H. E.Schultze writes as follows:My father Johann Ludwig Schultze, who was firstBassoonist in Spohr's orchestra for many years, and hadthe title of Chamber musician, used to practice at veryregular hours all his life. I may have been only a yardlong when my then tiny ears had to take the first accousticallessonwhether I cried or laughed, just the same.As he had been reared by a strict father he was stricterwith himself, and so set us an example how a musicianmust apply himself if he desires to clime to the highestspoke of the ladder in our profession. I heard him inConcerts, where he with his Bassoon created the wildestapplause; dif-ficulties did not seem to exist for him, all nodoubt on account of the hat d and conscientious practice,which is so ne'ccessary to the full enjoyment of music.Without persistent effort no reward in anything is worthcultivating. My first teacher was a Mr. Hofman, a frenchhornist in the Orchestra, a man full of patience, but persistentthat only so many mistakes where all.owed or weas pupils were stnt home with the admonition to knowbetter the next lesson. After him I got in the hands of aMr. Krankenhagen, 2d Bassoonist of the Orchestra, whobesides being an excellent ~he.orist, was considered thebest pupil of Aloise Schmidt. . Five finger exercises w;tsmy main food, a piece now and then. In 1844 I wasgiven as a premium Loehlein-Muellers Instruction Bookby my Grandfat.her, Christian Henry Wagner, who hadbeen for many years the teacher of 'Wilhelm Scharfenberg,late of New York. He bad practised out of the samecopy and (as I was told by his teachers) continued thesestudies for a long time repeating them over and overagam. These five finger exercises for years was quitediscouraging for a boy of my age; but the thing had to bedone because father said so, and to this day I thank Godthat he gave me such a father and mother who couldstand five finger exercise practise year in year out.Pieces appeared not only a relief but a kind of entertainment,quite refreshing. With eleven years I beganViolin under two Concert masters of Dr. Spohr. Whennot at school my time was taken up mostly with Violin orPiano practice. I loved music and it helped me much inmy future career as an introduction to society and tomusical circles. Coming to Kentucky in 1859, I began togive private lessons until I was engaged in Schools andColleges for years. Experience enabled me then to opena School of Musical Art in Kansas City, Mo., preparingsuch as desired for the College of •Musicians of the UnitedStates. Later I added an Art Department with Mr. W.Weber and Miss Laing as the demand increased. TheSchool which I started in 1869 is namend after my Grandfather,a saxon, who run away from borne to satisfy hishunger for music. I have met with encouraging successfrom the whole West.Forest Park University for Women.I have one full term certificate for sale at abig reduction, covering a thorough course ofschooling, including music, board, washing,etc. Value of certificate $300.00, will deduct$50.00. The University building is beautifullysituated and surrounded by a private park.The very best instructors are in charge of thedifferent departments. Address, A B C, thispaper.Forest Park University for Women.(SUMMER SCHOOL.)Colle[e and. Preparatory Courses, Colle[e of Music.E. R. KROEGER, Director.ANNA V. METCALF, Voice.PARISI, Violin. Elocution, Art.New Building. Board and Tuition, $260 to $275.Street Railroad connection via Lindell system.sT. Louis, MO.ANNA SNEED CAIRNS, Pres.ALE:X::AN"'DER----H18NNJEMAN 9®.t®

THE BROOK tn THE fORES·T.(ETUDE.)3(WA LDBACHLE IN.)Revised and fingeTed by Geo. Buddeus.A 11 egro.~ .~ .............................. .a4al 3 4 3:t=+::~~·j .... lH. A. Wollenha upt.TW .. ~.................................................... ............3 1m.*.m . • Tw. * jC()_*CopyTight 1898 by the Mustcal News ( WalteT Luhn) St. Louts.162-3

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2Respectfully dedicated to FatheT J.R. WalkeT.· Revised, pedaled &fingered by Geo.Buddeus.Adagio.5~~~- I 5 s, ~1/lf II,.. _,,. ,.. ..... lA ,.... '!KI ......\. _, ....... ~- I""' -:.-f .... , -iT1' !"' ,.. II~f>11C11..ollf "[ A .. ,,. .......I 71-~.~ "';)R[ G 0" GILIAT ION ISONG WITHOUT WORDS.. . .-.. - ,_ ,_1-. .roo.. --,r.- 7J:.I -"11 "11,.t-"11 ~~- If'.&#~p ~ J.---. . - t-----~ r~,_.., -~1.-_.... - tJT .... &W -¥~-~.~I fl.j. 13 Ll -I" ' ~ '~#~ JJ~L. Ernest Walker.. . . ""-,.~~ JJ_p----- --.. - -.,_- -~==--4 !":'\•-~._ :J -~- -- -. ~---·r rr~"S ~ ..--""'-~~"0'-&Tw .* Too.. ~ ..~ .OopyTtght 1898 bU the Musical N~Ws(WalteT Luhn) St.Louts.170-4

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2To Mtss Julta Wohlgemuth.HAPPIM[SS.Allegretto.M. Hartding.Copy-right 1898 by the Musical News (Walte-r Luhn) St. Louis. 165-2

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2 l'o Mr.Fr.G. Rtlpp and Priends.BELLES OF COLUMBI .. 4..W. LUHN.Moderato.$ Tem~o di Valse~ ~ 1! /-'-J 7 .·== . .0 -~.-.l{; ilf II,W.Ill ~ ~ · '- - - -,..- -"' • -. ,... ,...!!"",...""'- ~v-,, ~~ j':.1•r-• -· - - .- - .......I.. -• .:1 .:.Llj~ j· j. :j~ ~ r=~ =~ ~~ ~ ··== ;: _~ ~ A. ~ P""• -~ .... ~• .... ..'-- -· -~ ......-~ • -r- ll~~IIr-{.-.'-•» u.• • .. .... r--t - ••IJif - --L-(T,Ij • -t- --.I .... ~'1~ . '1 '"'I?·I-- .1. •~~ ~ -~ ...... ... -~: ~~ -~·-~ -~ rf/1- ·- ·f-Iitf, r.il'- t- ,... Ir.. U.ilf- -·~ '\I~JtJ-~.Tr t- ,....1' "'"'r--. -· y P""-...- r--~..,. -!. ..,. .-. " .:~I.......li- · -.y• • v .__l 11 .~ ~~ -~ :~ ·;: :~ ·• , -~.. ~ .~ ...:f ...:J =~ · ~-.-- - - -• · - -I""t:;;.'Y•Iff 'U.•• i1f --P,W. - -. .. • - P""- ~ ll.llf'' • .... -411. .... ..• ., .'I"' '-. J ll~i!• -~· • ... ·j~~·~ •• ..... ' :;, '.lit I'\ L-•,..~·n« IL~ •• - -1.1' r- • -y- '-• .. ".!-- l.-"' --... -· . ..... I!"'.....:v I- ·-- - I Jt:;-----\ ......Ip·•_.. .:I :;:Ll....~..- • •-I J I l•1.-'ilal ~ ~-~ ....I ..........I ~ I- •n•·- -:~ ::: ::: :~ ~ ~( {..'\.•ollf u • • --- -- -- --- - • • • • -- •-- 1111• ..... ..... ... .. ...' ...:1- -•-- ••, •» -A .I u. ilf - - - • • - .-rr- .., -'"J" '1jj 7Copvrighted 189'1 .by Walte·r Luhn. '

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3I T 0 l D H f"R r A I R Y S l 0 R I [ S .Words by Ed1nund Day.Music by Waldemar Malmene.Moderately slow with expression.r-~- -... r r_JII': ..... I . I'"'",, ro.. v r--J "'-'r--J'\: _,~ ..(·vI-"'~"'.... ~~-I r-...._,I1. I told her fai - ry stor- - - ies In the ol,d days long a-2. I told her fai - ry stor- - ies When \\?e had old - er3. I tell her fai - ry stor - - - ies Ahnost ev' - ry ev' - ning~..-........ -- .... - -I I I ... r 1I.....-.... - ... .... - - , ... ...- -- - --..... ,...-' ..... ... _._..J---- - .... ..... - -- -- -\. ... ........... _1.....1_,-...- .. I -.....II_,.-~~~""--- -~ :,.-_, ..... p..-~ ~-~~ ~ ~"' ('~---~/ I-'---'"' "'- - -/-··, r- - ,... , ,v-~/"":'\ .r 1 ,.. -...."'... J llr..-1 I '.J .........."'.....rI'- _.,I ·- --,, ,.. ..... ,"v r--J •.•'\: J ...... - -~-go "When we used to sit at Ev'- - - ning Near thegrown Those tales of love and cour- - age Thatnow But they've lost their oltl time co - - -lor And we\re~ ,..~--m/"":'\-- -,- --..,r- (~~ r -- - - -..... r- . . \. / f'_" vllr..-1 ..... .... .....I /- .... .... - .... .... -..........- . -~~ r.'\ ~ ...... ~y-(£~:- - -,_. - , , r- - -- -,... , .1/J_, ..... ,."' - - ....."' "'• .,·~Copyrtght 1898 by the Mustcal News (Walter Luhn) St. Louts. 168-3./ ..~ ~ ~ .. i- -.H·- ~

~I"l'l .....rr ~V'\. J~I~~~·~ JtJ-IV' t- --~ _.__"f#"-.....!--- -lI -f9"~":.1-/-She ·was"When we u ~ edBut the faitinwatchtalesmaidshadnowI- --en- owstell--. ..,.---4l~ike aHave~I: .....rr rill''-LJ't.( r IJJ~frrll ...~ Jt......t::"ll.•I I 11.V''~_JI-r-loved metide in -lost tl1eir:;.,IIr.JI......,.~,...--r-.....,..- --,_--.•_ _J_1':'\._t- ,...then I trowCO Ill - ing flow·charm I trowI l":j'r-- -.-~. .....-1-~..... '- r:J•--I -~ -~- f'-~- 1':'\1.--r- ~- r-...r-lo.rita rd.r--r-I- - -.m zza voce.,r-... JWhen I toldAnd she whisThose dear,... --\.•, ,... ...I,.j~lltJ-......_~- ~I I-,...,...-Iher fai - ry- pered that sheI[.P~.J-old fai - ryI--·-r-'-I, _ ---..I'"':ill.....-1-.----.. • •~- r- - -~'-'-,... ,... - ,... -rttard • .- iesnte- iesIn the oldIn the oldWill nevdaysdayserlonglongnevaaergo. _______________ _go. _____________ ___go. ________________ _168-3

~.5REFRAIN:~ A little more animated.- , •. _... .- I --.•---, !.. • ~ '"'"' ,.... T: r_j •: ''"' " IllOth - er child - if:;h fan- , - IT:~--I I I I.-j ....~ ..- -"""-- --- • •.-j-.-jvr~ •cies-• r:.;.0I- ,llr_j....will some-time pass a-I I.... \. .-1-I....J~ , II'• -....-....-•,_ r.;;,o; •-- --- -way _____ AndI!-.• "!!:""" .."!1:1"""rv ._ ---------r~- -- - -·-.,.. __'/*'_ .,...,..,_,_,~-c~~ ~~ r~rJ7 ~-v-,;--r~fl•fadeI, -.;.;: r~I rr' "" I.. _.j.... ~~1'~.-I·y•,._I "I'""'Ifrom mem- ry sI I I.-1lilt-- --"""t:;;•- - -:::;;..... ,.... ....•'Ī'rJ •vi-Ir~ •I I.. -1 •I"--::::0.•-~v'J-- sion When~I..--_.j17"'--r:::::a-r:::::aI'""' I'""'•-......._,-grow-ingI--rIa...•,,..,IV f-1 -r:::::a --':::;;.I'""'•-J--old_..,J--".JIIIandIo•1--,..I- - ~ ':::;;.,.... ....•-·I--J--,.... , ,....gray..ButI- .., --....-, . .... -.- -• 1.- • 1.- • 1.- • 1.-,... ,...!"""'....""~roI.. I-' -rn llli" - v\. I~fai -fl• -, ._I-:..._l'~~ v~.,-/.a.v,y· -..-~-r I-' -, I..~ !llli'"V\. ; I~dear~ ~ I _..\IF~ V jI'' 7•.. , n.; 1#,II L;.)Vfl':J-c~l 'L'•7 •~ ~v168-3-•r-I-"""I-I-'ry tales we loved-,-jJ I I.-j.... _,- -~....,-- --~,..__ .... ~• • • -- - ,...---soI--!SOv-".J .... ....-.-j- Iwell Stay with u s for-.-1- --Ir.:r;; - ,....r:::::a - --• •--r:;r, .... r--- -•~ ~•~~• •-1.- '- 1.- r:::.. r::;. r::;. ::::0. • • • •'"_jaye"J~~-I--_.---.-1---- I• •--- --- - ,.... - ,...._ -it dI-~ - -....- - - -........ ,., r- '"_jI--T aT .old fai - ry sto - - rieH Will nev - er go_ aI-...._.jr.- - -,.. r.;,o.I ,., I I ~I ~r-- -,. .... I:--,..- -- -.....,-".J".JI'"'"' -....--I,....Ia...- .... ,...~I-'l•ttaTd.- --- ---. ItrowI.. I,.... -IThose- ......... r--. - .. -I~~ ~~r- r-,.... - ,.... ...._.,------------1":'\. ·.-r- ,....,....~I •1.- way.~!":'\_,-. -r- ,..-:J•--r-. -..'t~r--..1":'\,....~

PHOTO BY WILL YERD.MRS. ANNA CROSS,an able and popular piano teacher, has enjoyed manyadvantages in having had as instructors some of the bestteachers of this country. Ten years ago she studied inKansas City under the great pianiste and teacher EllaBachus Behr, Since then has placed herself under andwith the best teachers of our City. Mrs. Cross is a musicalenthusiast and devotes herselt to the interests of herpupils, often bringing them together in recitals, and givingmany delightful musicales. She is herself a refined andpleasing pianiste and truly deserves the success that she iswinning. Studio at 4132 Newstead Ave.Letters from a Musical Grandfather.(INDRODUCTION.)It occurred to .me that after an experienceof over forty years as a teacher, preceded byfifteen years in taking lessons from some ofthe best teachers, among whom may be mentionedLoeschhorn, A. W. Bach, JuliusSchneider, Ed. Grell, also Bordogni the celebratedvoice teaeher and others, that I couldoffer a few suggestions to pupils, teFtchersand parents, which might benefit some. Ihope not to bore anyone with long yarns, asold people are apt to do. I will not makepupils believe that I was a prodigy and alwaysa very good boy; far from it I was carelessand lost much valuable time. Well, I willnot detain with long preliminaries, otherwisethe Editor may complain that I take up toomuch valuable space. My suggestions maynot contain anything very new, they are nothypothetical but based upon experience.To PARENTS.I say, by all means give your children amusical education; commence early, sevenyears of age is not to young if the child is ingood health and able to distinguish the lettersof the Alphabet. Don't buy an old worn outtin pan and make yourself believe it is apiano; buy the best piano you can afford.There is an attraction, not merely in the outwardappearance of a piano but in its tones,which the child will be able to appreciate andimbibe a taste for that which musicians call''the beauty in ·music.". I am sure that ifT:S::E. :lM!:"'C"S:CC.A.L NE'7\T'S. 21ance, your p,ride would not allow you topurchase a lame animal and a broken downcarriage, simply because they are cheap . · Awriting teacher selects the ·best pens for hispupils ; the tone and touch of a piano are ofsimilar importance to stimulate practicingand improve the pupil's taste. Don't allowany ornaments to stand on the piano; have itkept in tune and order by a thoroughly experiencedman; it ought to be looked afteronce in six months. Don't place the pianonear the window; young pupils are apt tohave their attention diverted by outside noises.The choice of a teacher is of as great importanceas the purchase of a piano; cheaparticles are dear in the end. For a beginnerit is not necessary to have a high pricedteacher who has a reputation as an excellentSolo performer; on the contrary these gentlemenare seldom the most painstaking withthe elementary drudgery; at the same timedon't think a twenty-five cent teacher is goodenough. Beginners ought to have two lessonsa week of not more than forty-five minuteseach. Some foolish parents can never getenough for their money and want to exact afull hour; this is a great mistake as the child,especially if it be under ten years of age, willget weary and lose interest which is easilynoticed when it looks at the clock every fiveminutes and wi hes the lesson was over.Therefore have confidence in your teacher,don't measure his ability by the number o~pieces he has drummed into the child's head,on the contrary, don't look for any piecesuntil the teacher thinks the child is capableto play one correctly.To TEACHERS.I speak advisedly only to the less experienced,for I feel sure that those who havegiven lessons for some years would think itpresumption on my part if I were to give themadvice; yet personally I do not think my elftoo old to learn something every day, and asI presume that my letters may be read bysome older teachers, it may happen that someof my words will not fall on stony ground butbear fruit. Besides having had a thoroughmusical education, a teacher should have inexhaustiblepatience, especially with young children;painstaking efforts and vigilance tosecure the proper position of the hands andcorrect striking of the keys to elicit a goodmusical and well sustained tone are mattersof greatest importance. While it is impossibleto lay down a plan according to which allpupils should be instructed yet it may safelybe recommended that the first two or threelessons would most profitably be spent onfin~er or technical exercises without any in­$truction book and that they also be made theMrss EMILIE E. DETERING,means of teaching pupils counting aloud whichis a subject very few like to do and whichteachers often defer until it is almost too lateor when the time in pieces is to complicated.Counting loud is best mechanically ineulcatedwith the first five-finger Exercise C, D, E, F,G holding· out each sound while you count'aloud four beats as whole notes, next two· beats to each as half notes and lastly only onebeat to each as quarter notes; doing this willalso prevent too fast playing to which mostpupils are prone. Avoid monotony which arisesfrom ·using always the same sounds, hence Iadvise transposing the above named soundsfive notes high. Next I recommend the firsttwo Introductory exercises from ''NormalCourse of Piano Technic" by W. B. Wait.Lastly two-finger Exercises according toMason's "touch and technic" confining thesame to No. 1, which are the foundation of aclinging legato touch followed by the secondExercise in which the elastic touch alternateswith the legato. I need hardly mention thatall these exercises must be practiced very slowlywith each hand seperately. While I intend tospeak of instruction books some time later Iwill only now make the general remark ·ofavoiding large cumbersome instruction booksand some which some Grandmother mightused fifty years ago.To P uPILS.I speak as one who, although personallyunknown to them, has their welfare andmusical progress at heart. While at youryoung age you may perhaps not like the drudgeryand hard work that is necessary to accomplishanything in Mu ic yet rest assuredyou will not go unrewarded for the troubleyou take. Music is an accomplishment whichis not only pleasing in itself to ypu personallywhen you are older and in lonely hours; it isalso pleasing and entertaining to your friendand .has been the means of introduction intosocial circles to many young people. Whilepatience is expected from a teacher, it is notless so from pupils. Do not expect too muchin a short time; remember how long a time ittakes to learn the multiplication table and dosmall sums, or before you can make a decentlyshaped letter in writing, or a straight line indrawing ·which some people can never·. accomplish.. Do· hot be· impatient with yourteacher if he appears too exacting' he meansit all for your best; your progress will _notonly .be pleasing. to ·yourself and parents· andalso encourage him; his interest in you increaseswith your advancement and diminisheif you are lazy' or indiffer nt. ·Let it be youraim in life to make your teachers and parentshappy' they are your: best friends; when 'theyare laid in the cold ground the 'thought ofhaving made them happy will contribute toyour happiness.hard anP. success will be yours.(TO BE CONTINUED.)Therefore cheerfully workCARL BECKE·R, TENoR,. • . _ Voice Culture and A~tistic Singing.Teaehetr of Piano, · · :· ~ Pupils prepared lor Opera, Oratorio, Concert or Church,Studio: 1103 NORTH GRAND A VENUE, . (Italian Method.) .CORNER FINNEY AVENUE.Tone Placing and Reparation. a Specialty.Receptz'otz hours: I - J P.M. Tuesday and Friday.you could afford to buy a horse and convey- -----------Studi~,1103 N. Otand Ave., Cor. Finney· Ave.

22T:S::E ::bi.I:USJ:C.A.L NEVTS.PRIMARY LESSONS IN HARMONY No. 2.Bv WALDEMAR MALMENE.INTRODUCTION.The latin proverb ''Repetition is the motherof all studie '' should be the . motto of allteachers and pupils who desire to be successful,hence too much stress cannot be laid therecommendation that a new lesson shouldnever be taken up until the old one isthoroughly rnasterP.d. If major and minorseconds in the normal scale of 0 are thor-. oughly comprehended, which ought not topresent any particular difficulty' then proceedquestioning the pupil by using the upper'(black) key. The training of the ear shouldgo hand in hand with the very first lesson;most theoretical teachers confine their instructionto mere exercises on paper which to themajority of pupils is rather dry work. To besuccessful it is absolutely necessary that thepiano is not only in perfect tune but that it isalso kept up to the standard pitch; the lattercan hardly be expected unless a piano is tunedtwice a year by a thoroughly competent tuner.Some people imagine that a piano· need~ onlyto be tuned once in 2 or 3 years, when it isbut little used. The ear training exercisesare best begun by impressing the sound of 0(third space in the treble clef) on the minduntil it can be sung, hummed or whistled atany time without the assistance of the piano;next the Octave below followed by E and Gwhich represent the chord of 0 major and willnot present, to those who have a good ear formusic, any particular difficulty. Next in importanceis the ability to distinguish by theear, without looking at the keyboard, majorand· minor seconds. Patience and perseverancewill accomplish it.LES$0N II.To understand the intBrval of the third isthe object of the present lesson; start againwith the normal scale of 0 major. The followingquestions and answers will no doubt·be sufficient suggestions how to proceed.Q. What is the third above 0? A. E.Q. What is the third below 0? A~ A.Q. What is the third above F? A·. A.Q. What is the third below F? A. D.If necessary the piano may be used but thequestions must be continued, in other keysalso: if the pupil is far enough advanced, untilthe answers are promptly given without theleast hesitation.The next step is to ascertain, as we did withthe interval of the second, that not all thirdsare alike; to demonstrate this, in the easiestmanner, it is best to make use of the keyboard .In eonnection with this the pu.~:il shouldwrite out all the thirds indicating the intervals,as in the previous lesson, whereby the followingwould be the result:c D E~--v-'] 1D E I

T:S:E ::bl.tU"SI:C.A..L NEVTS. 23II.It soon became evident to Adam Liszt that he could not sendFranz at his tender age alone in the wide world and that parentalcare was as necessary as artistic education. It was quickly decided togive up his official position so that both father and mother mightaccompany Franz and take him wherever it might be necessary. Thethoughtful wife naturally raised important objections; she doubtedthat 600 florins would be enough for their joint support and the pay-.. ment of an expensive education, and asked the question what shouldbe done, if at the end of six years, the brilliant hopes of the· fathercould not be realize.d ~ "Mother, whatever God wills," was therejoinder of little Franz, who had listened to the conversation inanxious expectation, and in tones of joyful confidence assured themthat he would be so diligent that his parents would be repaid for alltheir kindness. His mother could not withstand his entreaties, and,half joyful half reluctantly, she gave her consent. The question wastherefore only where they should go. Adam Liszt had.written to hisold friend and well-wisher, Hummel, who in the meantime had becomerenowned and occupied the position as musical director at the Courtuf Weimar. Hummel was not disinclined to accept the young pupilof whom he heard such wonderful reports, but he made the modestrequest of one Louis d'or per lesson. This was beyond the father'sabilities, and, enraged at such greediness, he determined to remove atonce to Vienna and to see for himself in the great imperial . city whatcould be done for the education of the son. No sooner said than done.His dismissal from the service of Prince Esterhazy was granted withexpressions of sincere regret, and thus they bade farewell to the kindinhabitants of the village, and in the autumn of 1821 they departedfor Vienna.Arrived at Vienna it was not difficult to determine upon tvyoteachers, Charles Czerny, a pupil of Beethoven, and celebrated pianovirtuoso, and Antonio Salieri, the renowned musical director. Czernywas to attend to the _practical and Salier·i to the theoretical culture.Both were much occupied. Salieri was already advanced in years,and neither wanted to accept the new pupil, until he, without beingasked, ran to the piano and began to play. Both teachers recognizedimmediately his wonderful talent and the pupil was accepted. Czernywas more modest in his demands than Hummel, and even when thefirst monthly payment was to be made, he refused to accept anythingfor his instruction. The impetuous boy did not like his teacher atfi~st. Czeruy was a man of the severe form and school discipline,which to the little l!....,ranz was a secondary matter, for he revelled onlyin the general abstract of a composition; finger exercises and drysonatas by Clement were obnoxious to him. There was many a hotcontest, until the teacher at last accustomed himself to consider, besidethe thoroughness of the instruction, the individuality of the pupil.He now made gigantic progress. With artistic techniques and correctnessof performance, in which he was yet somewhat deficient, helearned to combine genial intelligence, and became thus a real artistand virtuoso. Salieri's instruction, from whom he learned to read,analyze and play from full scores, beside harmonie exercises in thef~rm of small sacred compositions, tended materially to advance him.He did not receive any other instruction at that time, for Adam Lisztwas only interested in his musical culture; there was no time for anythingelse, and his means were limited even for this purpose.After a year an

HENRY LEIDNER,lliVE~YUNDERTAKER AND EMBALMER.PHONE, TYLER 517.Rf{O BOR~OING STABilE. -lif~ 'Fine C&trtri&g.es &t ~e&son&ble ~&tes.1415-1417- 1418 NORTH MARKET STREET, ST. LOU IS, MO.INDEX 'TO VOLUME I.About Pianistic Bad Habits, I .................. No. 6" " " " II.. . . . . . . . . . . . . . . . . " 7" " " " III.. . . . . . . . . . . . . . . . " 9Art and Artist. ............................. . . .Biographical Sketches. (Illustrated.)"1Benedict, Franz J ........................ .Black, Miss Adah Alice .................. .." 11.5Boeddecker, Mrs. Emily.... . . . . . . . . . . . . . . . ":Brainard, Mrs. Kate J.... .. .. .. .. .. . .. . . "Buechel, Robert ...•.....•.................Buddeus, George ..•.... .... ...............Comfort, Mrs. Anita •......................"7()"4"5" 10Crumb, Miss Berenice. . . . . . . . . . . . . . . . . . . . " 8Ernst, Alfred............................. '' 5Griffith, Milton B.. . . . . . . . . . . . . . . . . . . . . . . . . " 6Henneman, Alex- .........................· '' 8Jochum, Miss Kate. . . . . . . . . . . . . . . . . . . . . . . . '' 8Kalkman, Miss Adelaide.... . . . . . . . . . . . . . . " 8Kellersman, Miss Martha • . . . . . . . . . . . . . . . . " 7Kroeger, Ernest Rich...... . . . . . . . . . . . . . . . . " 4_Lewis, Mrs. C. A. (nee Kulp).. . . . . . . . . . . . " 7MacDowell, Ed. Alex .................. .'... " 5Meyer, L ........... .o • ·............. .. • '' 5Mori, Paul. ............·. . ..... ........... '' 7Ralston, Miss Marion. . . . . . . . . . . . . . . . . . . . . . " 5Remeny, Edouard...... .. .. .. .. .. .. .. .. .. ' ' 10Rohland, Mrs. Cora D. •. .. . . . . . . . . . . . . . . . . " 7Rubelman, A. ::\1 ••• • •••• · •• . • • • • . • • . •• • • • • " 7Saye, Miss Virginia ..... · ·....... . . . . . . . . . . '' 1Schafer and Miller, Misses............. . ... " 8Schoen, I. L.. . . . . . • . . . . . . . . . . . . . . . . . . . . . . '' 4Schulze, H. E ..... ·... . .. .. .. .. .. . . . .. '' 12Seidl, Anton.... . . . . . . . . . . . . . . . . . . . . . . . . . . '' 8Seymour, Chas................ . . .......... " 10Sherrey, Miss Mae Ayres . . . . . . . . . . . . . . . . . " 10Thraner, Miss Anna Helena.... . . . . . . . . . . . . " 9Wadell, Robert E............... .. .. .. .. .. " 11Breathing in Songs. Alex. Henneman . . . . . . . . . . " 10Chicago View of Music in St. Louis..... . . . . . . . . '' 2Curious Facts aLout Music. Dr. H. A. Clarke... " 1Frontispieces:Beumer, Mme. Dyna ...................... No. 1Bloomfield-Zeisler, Mrs. Fanny. . . . . . . . . . . . . " 6Bonsack, Mrs. W. A....................... " 7Boston Conservatory of Music . . . . . . . . . . . . . . " 3Emerson . Dr. Charles Wesley .......... .'... '' 5Herbert, VIctor..... .. .. .. .. . . .. .. .. .. .. .. '' 2Jager, Miss Georgia....................... '' 8Scharwenka, Xaver..... . . . . . . . . . . . . . . . . . . . " 11Stockton, Miss Maud.... .. .. .. .. .. .. .. . . .. " 10Strassberger, Clement..................... '' 4Thorell, Miss Helen.... . . . . . . . . . . . . . . . . . . '' 9Guenther, Dr. Otto. A Sketch . . . . . . . . . . . . . . . . " 3Greeting. A Poem. I. R. Walker............. " 5Hints for Players... . . . . . . . . . . . . . . . . . . . . . . . . . . . '' 1History of a Young Musician ...........,. ....... " 5Liszt, Franz. A biographical Sketch No. I . . . ... " 11" " '' '' " " II. ·..... '' 12Letters from a M;usical Grandfather, No. I....... '' 12Major and Minor. . . . . . . . . . • • . . • . . . . . . . . . . . .. . . '' 1Melba, Mme. An Interview . . • . . . . . . . . • . . . . . . . '' 1Mischiefmakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . '· 6Missouri State Music Teachers Ass'n ..........·.. · '' 10Music.. .. ... . ..... ... ....... . .......... . . . . . . " 2Music at Hardin College, Mexico, Mo...... . . . . . '' llMusical Convention .........•.......... , . . . . . . . '' 11Musical Criticism, No. I ....................... " 4" " ' ' II...... . . . . . . . . . . . . . . . . . ·' 5Musical Lectures, Prof. Waldemar Malmene. . . . . " 4Musician's Mutual Benefit Ass'n, by I. L. Schoen. " 4New Theory of Interpretation. A. J. Goodrich... '' 9Notes from my Musical Scrap Book, No. I.. . .... " 6" " " '· '' " " II...... . '' 9New Musical Publications:In Fairyland. 5 characteristic Pieces by E. H.Kroeger .................... . ......... No. 6The. Organist, by A. I. Epstein. . . . . . . . . . . . . " 6I Love you Dear, by H. Chas. Humphrey.... " 6Come Beautiful Spring, by Max Ballman . . . . No. 6Three Song, (1. Cupid Way; 2. Love Thee;3. The Widow's Lullaby), D. Pughe-Evans " 8Old Violins. . . . . . . . • . . . • . • . . . . . . . . . . . . . . . . . . . . " 1Our Music. (Analytical review of the Music publishedin the first volume of ' 'The Musical News"):First Violet, by Ed. Rohde ....•........•.•. No. 10Hungarian Dance, by Eugen Gruenberg. . . . . " oLa Graziosa, by Paul Mori. . . . . . . . . . . . • • . . • " 9La Zingara, by Waldemar Malmene.... . . . . • " 6Little Sweetheart Baby, by Francis West..... " 10Love's Desire, by Edm. Abesser........ . . •. " 30 Tarry with Me, by Francis West.......... " 9Parting, by Bruno W andelt.. . . . . . . . • . •• . . . .1 ' 1Rustic Dance, by Rob. Steuer . . . . . . . . . . . . . . " 9Sartorella, by Alfred Ernst. . . . . . . . . . . . . . . . . ·' 9The Bolero, by Ernst Heuser. . .... . ........ " 1The Contented Child, by M. Hartding...... " 10The Hunt, by Joseph Loew................ " 10The Minuet, by Alex. Henneman . . . . . . . . . . • " 10Walther League March, by G. S. Schuricht.. " 9When Love is Kind. Old English ...... : . . • " 1Perils of Foreign Vocal Teaching.. . . . . . . . . . . . . . '' 1Piano Teachers Mission. . . . . . . . . . . . . . . . . . . . . . . . " 1Prevailing Bad Habit...... . . . . . . . . . . . . . . . . . . . . " 4Primary Lessons in Harmony, Waldemar Malmene I, " 11" " " " " " II, " 12Remarkable Russian Singers.. . . . . . . . . . . . . . . • . . . " 2Sight Reading, Waldemar Malmene.. .. . . . . . . . . '' 10Silent Night, Holy Night. A Sketch, Balth. Ludwig " 4Sousa's Debut .................. ·• •• . . . . . . • . • . " 3Third Annual Meeting of the M. M. T. A.... . . . . " 11Tschaikowsky, Peter Ilitsch. A Biographical Sketch ·' · 3Violetta, by Elise Polko...... . . . . . . . . . . . . . . . . . . " 3Voice Culture, Waldemar Malmeiie, No. I . . . . . . . '' 7" " ' ' " " II . . . . . . . " 8Wagner, Rossini and Schoppenhauer...... . . . ... '' 3Who is Musical? by Prof. Dr. Carl Billroth, No I, " 7" '' " " " " " " II, " 9INDEX OF THE MUSIC PUBLISHED IN THE FIRST VOLUME.VOCAL.Happy Thoughts, (Leichter Sinn), K. Mahlberg, No. 4In Season, (Zur rechten Zeit), Fred. Gumbert... " 3*I told her Fairy Story, Waldemar Malmene...... '' 12*Little Sweetheart Baby, Francis West .......... '' · 10*Love's Young Dream, E. R. Condon . . . . . . . . . . " 11*Memories, Waldemar Malmene...... ... . . . . . . . . '' 7*My Sweetheart's Coming Home, Fred. Hoffmann, " 6*0 Tarry with Me, (0 bleibe bei mir), Francis West, " 9*Sartorella, Alfred Ernst....................... " 9So Lovable, E. Hartenstein . . . . . . . . . . . . . . . . . . . " 3Spin! Spin! Hugo Juengst.................... " 2Then, Franz Behr.... • . • . . • . . . . . . . . . . . . . . . . . . " n*The Dying Child, Rev. C. Becker.... . . . . . . . . . " 11*The Rose, M. Hartding.. . . . . . . . . . . . . . . . . . . . . " 8W.hen Love is Kind, Old English .............. · '' 1INSTRUMENTAL.I.(EASY AND MEDIUM GRADE.)Birdie's Evening Song, R Eilenberg ......... ·. No. 6Dedication, A. Rose. . . . . . . . . . . . . . . . . . . . . . . . . . " 5*Emilie Polka, M. Hartdirig..... . . . . . . . . . . • . . . . " ~Forest Worship, Abt-Jungmann ... . .. ...... ·••• " 3"'Happiness, M. Hartding .. . . ...... . . . . . . . . . . . . " 12TEACHER OF PIANO,Studio; 27~1 1\llllEft RV:e. -----~(All Compositions marked thus(*) are especially written for "The Musical News.")Love's Greeting, J. Doebber ....... . . . . . .. ... No. 4*Marguerite Polka Mazurka, J. Lenzen....... . .. " 5*Maud Gavotte, M. Hartding..... . . . . . . . . . . . . . " 6*Mexican Waltz, Chas. Gilbert............ . . . . . . " 1*Minnie Waltz, M. Ilartding ................... '' 5*Nellie Polka Mazurka, A. Trautmann........... " 6Our Little Birdie is Dead, E. Rhode. . . . . . . . . . . . " 8Remembrance, Leop. Rietz . . . . . . . . . . . . . . . . . . . " 11*The Contented Child, M Hartding. . . . . . . . . . . . . " 10The First Violet, E. Rohde.. . . . . . . . . . . . . . . . . . " 10*The Klondike Millionaire March, Rob. Buechel.. ' ' 4*Walther Leagne March, G. S. Schuricht, M. D.. 9II.(ADVANCED PLAYERS.)Adagio from Sonate, Op. 13, L. v. Beethoven ... No. 1*Air de Ballet, E. R. Kroeger . . . . . . . . . . . . . . · . . " 6Barcarolle, Edw. Abesser .... . . ..... · .... · · ·. . " 11Bolero, Ernst Heuser.................. . . . . . . . '' 1Canzonetta, Fr. v. Wickede...... . . . . . . . . . . . . . " 2Chant Sans Paroles, P. Tschaikowsky . . . . . . . . . . " 3* Fantasie Berceuse, Paul Mori.. . . . . . . .. . . . . . . . . . '' 7*Feuillton (A new Joy), C. W. Rohland ......... " 7Funeral March, Fred. Chopin ............... ·. . " 2Hungarian Dance, E. Gruenberg..... . . . . . . . . . . " 5MISS AGNES GRA.Y,. + TEACHER OF VIOLIN, +CONCERT VIOLINIST.Studio; 2830 P.A~~ .AVENUE."'Joyfulness Waltz, F. Marion Ralston .......... . No. 5*La Graziosa. Air de Ballet. Paul M0ri.. . .. ... " 96,, "2*La Zingara, Waldemar Malmene . ............ .Love's Desire, Edm. Abesser . . ..... · ......... .March d' Athalia, Felix Mendelssohn .......... .Melody, No. 2, Ant. Rubinstein .............. .*Minuet, Alex. Henneman ................... .Murmering Zephyrs, R . Nieman .............. .Parting, Bruno Wandelt. . ... .... ............. .Rustic Dance, Rob. Steuer ................... .Rustic Waltz, J. T. Nagel, .................. ..*Silent Thoughts, A. M. Rubelman ......... · ... .*Sweet Sounds from Home, W. Luhn .......... .Song without Words, 0. Wolff ..............•..The Ballet, A. Rose .............• • . . ·: · · .•.. ·The Brook in the Forest, H. A. Wollenhaupt .•.Valse Impromptu, G. Stahlberg .........•. · .•. ,PIANO DUETS.'· 4,, 12" 10",,111"9"47823,, ",,",, 12(( 8Marche Finlandaise .......................... No. 5The Hunt, Joseph Loew .. .. .. .. .. .. .. .. .. .. .. " 10VIOLIN AND PIANO.*Serenade, E. R. Condon ..................... No. 3*Berceuse, E. R. Condon ............ · .. · .. .. .. '' 8MRs. HlJGHEY'SSchool of Music Culture,Studio during the Sommer Months:

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.. The Power of Music ..to charm is chiefly measured by theinstrument that produces it.-~-..-ja 0IN THE a.,..-- ...~SHAW ·PIANO~We ptresent an instrrument that treptresents the highestdevelopment of ski11 in the atrt of piano making.Outr system of selling these · insttruments on installments fotreash ptriees plaees a fitrst~elass piano within the treaeh of all.Tb~ Piano and musi~ Hous~ of St. Louis~1118 OLIVE STREET. Phone nain 124.