The Etude Magazine. April, 1895
We have awarded the prizes for the two best essays, to the following parties: William Benbow, of Reading, Pa., receives the first prize, and S. P. Govi (a sister, of Providence) the second. The essays are published in this issue.
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The Etude Magazine. April, 1895
Music, played or sung, is an utterance. St. Paul, speaking of musical instruments, calls them “things without life, giving a voice.” The culture of this voice is the end of our studies in touch and technic. But it is possible…
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The Etude Magazine. April, 1895
Engaged one day at the library in a pastime that is always most agreeable to me—gathering notes of useful information to the musical student—an unusual conversation arrested my attention. The first speaker was a bright-eyed little Miss whose generally serene…
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The Etude Magazine. April, 1895
The “Celebrated Pianists of the Past and Present” has been received, and I do not know how to express my appreciation. I am delighted with the work, and would not be without it. Miss K. E. Blosser. I have received…
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The Etude Magazine. July, 1893
That Hanslick and his fellow critics were stupid will now be generally, although not universally, admitted. The Wagnerian music-drama has now made its way to genuine popularity. There are thousands of men and women who find in it greater evidence of genius and more of inspiring, uplifting power than in any other music whatsoever.
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The Etude Magazine. July, 1893
Many teachers instruct their pupils to raise the pedal at each change of harmony. This is a very good rule as far as it goes, but the property that a vibrating string has of giving out overtones (an explanation of which may be found in any work on Sound) often renders it unadvisable to retain the pedal, though the harmony remains the same.
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The Etude Magazine. July, 1893
Poland will some day honor Paderewski as it now honors Chopin; but in order to win the great fame and wealth which have fallen to his lot at the early age of thirty-two, he was of course obliged, like Chopin, to leave his native country and seek the great musical centres of the world. Three years ago he played in London to a $50 audience. To-day he often makes $5,000 in two hours, with $7,000 for the high-water mark.
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The Etude Magazine. July, 1893
Poetic, Schumann ever was. Poetic by nature and by culture. Poetic in his work both as composer and as criticiser of the works of others. Poetic in his every thought—every idea. And this poetic spirit he infused into the music of his time, and cultivated it wherever and in whomsoever he found it. And it is for this that I have called him “Robert Schumann—Poet,” and it is as poet that I shall here regard him.
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The Etude Magazine. August, 1891
The origin of the polka is being discussed in some of the Parisian journals. The universally popular dance is said to have been invented in 1830, by an Austrian cook, who, finding herself dull in her kitchen, sang and danced…
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The Etude Magazine. July, 1901
Hartwell-Jones, at an early period, began the composition of music, but it was not until he was well in his teens that anything from his pen came under public notice. His first popular “hit” was, no doubt, “The Heavenly Song,” which found its way, not only into the homes of England, Ireland, Scotland, and Wales, but into the far-reaching lands across the seas.
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The Etude Magazine. July, 1901
While the South has always been recognized as the land of “music, love, and flowers,” it has only in the past few years responded to the great wave of musical development that is sweeping over our nation, making us the proud and happy possessors of artists and composers of international reputation, good schools of music, fine orchestras, and singing societies, and—in some localities—of annual Music Festivals where the more important choral works are given a satisfactory rendering.
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The Etude Magazine. July, 1901
In times primeval knowledge was acquired in many and various ways. People took lessons from things animate and inanimate, and learned from vegetable and animal, as well as from human, nature. As time went on, however, the wisdom gleaned from natural sources became sorted and stored into neat bundles and handed down from wise man to wise man, until it came to be taken for granted that these bundles contained all knowledge, and that it was only necessary to go to a man possessed of a store of knowledge and receive due portion thereof.
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The Etude Magazine. July, 1901
There is both elegance and finish in the versatility of Mr. Plançon, and whether it is opera, a sacred composition, or a song, there need never be any uncertainty of his artistic poise. He is a man of absolute adaptability, and, after all, if we consider a moment, the lack of this quality, or perhaps, one may say, the lack of its development, prevents success oftener than many more recognized shortcomings.
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The Etude Magazine. July, 1901
The pupils’ recital indexes, with reasonable accuracy, the popular trend of repertory. If a few of the best or worst teachers should alone fall under observation one could easily err in his summing up, but, if the aggregate of studio…
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The Etude Magazine. July, 1901
An article appeared in these columns last issue urging the importance of American composers writing in the larger form. I desire to emphasize that need under the above heading. The subjects commonly treated by the majority of those whose music…
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The Etude Magazine. July, 1901
In the interpretation of a song the mere singing of the words in an intelligent way is not sufficient to bring before an audience the composer’s as well as the poet’s intention. Something more than intelligence is required, and that…
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The Etude Magazine. July, 1901
Much has been said of late, both in the columns of The Etude and elsewhere, concerning “methods”; but in all the endeavors to show the weakness of one method and the strength of another the main point has been lost….
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The Etude Magazine. July, 1901
It has been said that a great singer is born, not made. But this, like a great many other nice sayings, is only a part truth. No singer has ever achieved greatness on just what was born in him. Nor,…
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The Etude Magazine. July, 1901
It is already definitely known that the singing and the speaking voice differ only in the plane of vibration, plane of resonance, and trend of the energy used. Otherwise the mediums of expression and the physical force employed are identical….
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The Etude Magazine. July, 1901
We must have our organizations and clubs for the cultivation of the externals life, as well as for deeper things of intellectual culture and thought-interchange. Is there anyone within the reach of my voice who knows of a more satisfying…
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July, 1893
Many teachers instruct their pupils to raise the pedal at each change of harmony. This is a very good rule as far as it goes, but the property that a vibrating string has of giving out overtones (an explanation of which may be found in any work on Sound) often renders it unadvisable to retain the pedal, though the harmony remains the same.
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August, 1891
It is said that one of the most eminent lady American pianists (Mme. Rive King) owes her great command of the resources of the keyboard to a somewhat strange and rigorous style of practice. The system seems to be also...
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• Praise of a Poor Piano - A Paradox - By Eugenio Pirani -
January, 1924
• Basic Principles in Pianoforte Playing, Part IV - JOSEF LHEVINNE -
January, 1924
• Basic Principles in Pianoforte Playing, Part III - Josef Lhévinne -
December, 1923
• Should Piano Playing Undergo a Radical Reform? - Vladimir de Pachmann -
December, 1923
• Basic Principles in Pianoforte Playing - Josef Lhévinne -
November, 1923
• How and What to Practice. -
December, 1901
• Victorious Liszt. -
May, 1902
• Liszt as a Musical Influence. -
May, 1902
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July, 1893
Poetic, Schumann ever was. Poetic by nature and by culture. Poetic in his work both as composer and as criticiser of the works of others. Poetic in his every thought--every idea. And this poetic spirit he infused into the music of his time, and cultivated it wherever and in whomsoever he found it. And it is for this that I have called him "Robert Schumann--Poet," and it is as poet that I shall here regard him.
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January, 1924
The underlying trait of my father's character was a lofty artistic earnestness. Along with this, however, there poured forth an illuminating humor and a sunny happiness which, notwithstanding the difficult life situations and the disappointments, rarely resolved into satire or irony.
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• The Writing of the “Requiem.” -
December, 1898
• Notes on the Works of Some Living Composers -
July, 1893
• Victorious Liszt. -
May, 1902
• Liszt as a Musical Influence. -
May, 1902
• Liszt, the Musical Liberal -
May, 1902
• Liszt as Pianist and Piano-Composer. -
May, 1902
• Liszt As a Teacher, by Amy Fay -
May, 1902
• Transcriptions for the Piano by Franz Liszt. -
May, 1902
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July, 1893
That Hanslick and his fellow critics were stupid will now be generally, although not universally, admitted. The Wagnerian music-drama has now made its way to genuine popularity. There are thousands of men and women who find in it greater evidence of genius and more of inspiring, uplifting power than in any other music whatsoever.
Read More »
|
|
July, 1901
While the South has always been recognized as the land of "music, love, and flowers," it has only in the past few years responded to the great wave of musical development that is sweeping over our nation, making us the proud and happy possessors of artists and composers of international reputation, good schools of music, fine orchestras, and singing societies, and--in some localities--of annual Music Festivals where the more important choral works are given a satisfactory rendering.
Read More »
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• Usefulness Of Some Recent Composition - JAROSLAW DE ZIELINSKI. -
July, 1897
• The Humor of Richard Wagner - Written Expressly for The Etude by the Son of the Great Master - SIEGFRIED WAGNER -
January, 1924
• Dr. William Mason - The Nestor of American Musicians. -
October, 1901
• Famous Musical Women of the Past. -
November, 1918
• Analysis and Logic in Music. -
July, 1893
• Methods and Customs of the Paris Conservatoire -
February, 1910
• Wolfgang Amadeus Mozart, January 27, 1756-December 5, 1791. -
December, 1901
• Mozart: An Appreciation. -
December, 1901
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Selected content from "The Etude" Magazine
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Selected Etude Magazine Stories 
