New England Conservatory of Music - Neume Yearbook (Boston, MA)
- Class of 1905
Page 1 of 148
Pages 6 - 7
Pages 10 - 11
Pages 14 - 15
Pages 8 - 9
Pages 12 - 13
Pages 16 - 17
Text from Pages 1 - 148 of the 1905 volume:
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PUBLISHPLD BY THE CLASS OI
NINETEEN HUNDRED AND F1
UMIC Iicmun 11105
X X j
By THE CLASS
1905 THE NEUME i5
HE Board of Editors of the Class Book of 1905 present to the
New England Conservatory of Music of Boston, its students and
its friends, this, the first volume of its kind, THE NEUME.
Broad though our field may be, since we proudly claim the institution of
this long-needed publication, and have consequently had every phase of
Conservatory life to treat at our disposal, we have necessarily been hampered
by the absence of any previous attempt of this nature upon which we might
hope to improve.
May our readers look kindly upon our feeble endeavor to appeal to the
student body-to impress them with the fact that life really does exist in an
institution of this kindg and may every class that is to come deem a year
book of their own publication an indispensable part of their course, and
freely profit by the many and varied experiences of the editors of THE
ctw. ,N K I 1 ff,
6 THE NEUME I905
New England Conservatory of Music
FIRST SESSION begins Thursday, September 14, 1905, and closes Wednes-
day, January 31, 1906. y
SECOND SESSION begins Thursday, February 1, 1906, and closes Wednesday,
June 20, 1906.
CHRISTMAS VACATION fone weekl, December 24 to 30 inclusive
EASTER VACATION fren daysj, April 13 to 22 inclusive.
All teaching and business in the Conservatory is suspended on 'legal holidays
The first session of 1906-1907 begins September 20, 1906.
. ,,, w,, ..
905 THE NEUME
BOARD OF TRUSTEES
Executive Committee of the Board of Trustees
CHARLES P. GARDINER, President
EBEN D. JORDAN 2
ARTHUR F. ESTABROOK Viee Presidents
S. LOTHROP THORNDIKE V
GEORGE W. CHADWICK, Direetor
WILLIAM A. L. BAZELEY, Treasurer
RALPH L. FLANDERS, Manager .
FREDERICK S. CONVERSE JOHN P. LYMAN
CHARLES P. GARDINER JAMES C. D. PARKER
GEORGE W. CHADWICK RALPH L. FLANDERS
RALPH L. FLANDERS, Manfzger
FREDERICK L. TROWBRIDGE, Manager': Assismnr
OSSIAN E. LVIILLS, Cashier and Accountant
ELIZABETH I. CURRY, Corresponding Seeretary
MARTHA PERKINS, Registrar
BENJAMIN CUTTER, Curator of Library I
WILLIAM F. WELLMAN, Superintendent of Mlzxie Store
MRS. MARGARET AVERY MISS SARAH A. PERKINS
MRS. ADALINE C. FERGUSON MISS ELLEN M. WHEELOCK
BOARD or EDITORS
905 THE NEUME
Board of Edltors
Editor in Chief
WILSON TowNsEND Mooc
SUSAN EMMA DROUGHT ANNA IRENE NIORRIS
HARRY B. KEELER VIOLA MAY SHAW
CLARA FRANCES MALLORY CARRIE BISHOP STANLEY
FLOYD BIGELOW DEAN
ROBERT ROSCOE STEEVES
I0 THE NEUME 1905
Progress of the Conservatory
By H. N. REDMAN
O be so devoted to an ideal that its realization becomes the chief
object of an individual's life is, indeed, true evidence of that
strange power which manifests itself in all leaders of a nation.
The successful development of any enterprise demands from its creator
strength of purpose, unconquerable will, and a faith which rebuilds after
The New England Conservatory of Music, incorporated in 1870 by a
special act of the Legislature of the State of Massachusetts, claims 1853 as
the date of its origin, since in that year its founder, Dr. Eben Tourjee, first
introduced into America the conservatory system of musical instruction.
Dr. Tourjee had for some time been impressed with the value of the class
system as it existed in the foreign music schools, and his earliest experiments
were made in Providence, R. I., these resulting in the Providence Conser-
vatory of Music. This institution having outgrown its environment was
removed to .Boston in 1867. Rooms were secured in Music Hallg the
public became interested in the new school, and three years later it was
incorporated under the present name.
E The attendance became large enough to compel the removal of the
Conservatory to more commodious quarters, and as Dr. Tourjee found it
advisable to obtain a building suitable for teaching purposes, as well as
affording enough room for a home department for the accommodation of
the young women students coming from all parts of the country, in 1882
he secured the large building on Franklin Square, then known as the St.
James Hotel, and for twenty years it was the home of the institution.
In 1885 Dr. Tourjee, finding the increased responsibilities of his enter-
prise too great for him to bear alone, a Board of Trustees, composed of
representative men of Boston, was organized, and thereafter this Board
managed its affairs. The founder of the institution was given the musical
directorship for life. Fate seems at times most unrelenting in her cruelty,
heartlessness, and ingratitude. To-day we may well stand with uncovered
head before the bust of this man, who, because of his great art-love, counted
QFr:mkliu Squzxrc Houscj
I2 THE NEUME 1905
not the cost of the faith within him, but labored unceasingly for the achieve-
ment of a glorious ideal.
Failing health caused Dr. Tourjee to voluntarily withdraw from the
directorship, and Mr. Carl Faelten became the acting director. The death
of Dr. Tourjee occurred April 12, 1891, and the following month Mr.
Faelten was elected to the office of musical director, from which office he
resigned in June, 1897.
Mr. George W. Chadwick, for many years a member of the Faculty,
and widely known in both this country and Europe as a leading American
composer, was selected by the Board of Trustees to be both the director of
the Conservatory and the head of the composition department. Mr. Chad-
wick entered upon his new duties by entirely re-organizing the musical
departments of the institution. A higher grade of work was required, and
students expecting to become graduates realized the value of the changes
made, and the general public became aware, by means of the various.
recitals, opera performances, and orchestral concerts, that a new period had
arrived in the development of the Conservatory.
For some time it had been apparent that eventually the Conservatory
must erect a building which would fully serve its purpose. The school
year 1902-1903 will remain the most important period in the later devel-
opment of the institution. It is not needful at this time to describe the
splendid structure, which will ever stand a noble monument to the art it
represents, to its founder, and to the many persons who have been and are
still deeply interested in the welfare of our beloved Conservatory. Then
may we serve well our day and generation, and not forgetful of those who-
labored so gloriously for the people, press onward, remembering that "the
end crowns the work."
N1-:w ENGLAND CoNsERvA1'oRx' OF Music
I4 THE NEUME l905
James Cutler Drmn Parker
ORN in Boston, 1828, of one of the oldest families. He was bred
for the law and admitted to the bar before his musical bent
asserted itself and sent him abroad to study music as his life work.
He studied Q1851-4D at Leipsic under Moscheles, Plaidy, Hauptmann,
Rietz, Richter and others, and on his return was for over thirty-five years
organist at Trinity Church, Boston.
He has written much music, almost exclusively of a religious char-
acter. He was the first great American composer of large choral works,
of which the principal are two sacred Cantatas, the "Redemption Hymn "
and l' St. John," and a secular cantata, "The Blind King." As a teacher
his influence has been widespread and profound. In the early seventies he
was the leading instructor at the New England Conservatory of Music, and
his pupils always excelled. Mention should also be made of his scholarly
translations from several different languages of various songs and of works
on the theory and practice of music.
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l905 THE NEUME I7
Jossvu ADAMOWSKI, Viola
Born in Warsaw, Poland. Educated in Warsaw Con-
servatoryg studied in Moscow under Fitzenhagen and N.
Rubinsteing graduated with honors, diploma and medal.
CARL BAERMANN, Pianofarre.
Born in Munich. Pupil of Wanner and Wohlmuth, later
of Liszt, studied Composition with Lachner. Was appointed
instructor in Munich Conservatory, but decided to settle in
Boston, where he came in 1881.
RTHUR DWIGHT BABcocK, Voife.
Born in Dudley, Mass. Studied at San Diego, Cal., and
was graduated from the New England Conservatory in
1903, under Mr. Charles A. White.
RESTE BIMBONI, Caarhing, Action and Stage
Management in School of Opera.
13orn in Florence, in 1846. Studied in Italyg has taught
in America since 19013 an operatic composer of wide
I8 THE NEUME l905
E. CHARLTON BLACK, Literature Lectures.
Born in Liddlesdale Parish, Scotland, near the Old Manse
of Sir Walter Scott. Graduated from Edinburgh Univer-
sity in the same class with J. M. Barrieg received LL.D.
from Glasgow University 3 now Professor of English Litera-
ture in Boston University.
DAVID BLANPIED, Pionofortc and Theory.
Born in Galena, Ohio. Pupil of William Apthorp, George
Whiting, J. C. D. Parker, Jolm O'Neil and Harry Wheeler.
ARTHUR BROOKE, Flute.
Born at Gomeral, England. Studied under Packer of the
Scotch Orchestra 5 came to America in 18883 played First
Flute with the Buffalo Symphony Orchestra, and joined the
Boston Symphony Orchestra in 1896.
SAMUEL W. COLE, Solfeggio and Music in Public
Born in Meriden, N. H. Pupil of S. B. Whitney and
John W- Tufts at the New England Conservatory.
I905 THE NEUME I9
BENJAMIN CUTTER, Harmony and Composition.
Born in Woburn, Mass- Studied under G- F. Such,
Julius Eichberg and Stephen Emery in Boston 3 Violin with
Singer,I-Iarmony with Goetschius, and Instrumentation with
llxflax Seifriz in Stuttgartg has written several standard text-
CHARLES DENNEE, Pianoforre and Pianoforte Sight
LUCY DEAN, Pianoforle.
Born in Illinois. Graduated from the New England Con-
servatory in 18913 pupil of Dr. Maas, Mrs. Maas, and
Carl Faelten of Bostong Leschetizky in Weimarg and
Buonamici in Florence.
Born in Oswego, N- Y. Studied Piano with A. D. Turner
and Madame Schiller, Harmony and Composition with
Stephen Emery: special study of Beethoven with von
Pflilow during his last trip to Americag has toured exten-
sively as a concert pianistg composer of note.
ALFRED DE VOTO, Piano-forte.
Born in Boston- Graduated from the New England Con-
servatory in 18983 has studied for the past ten years under
Charles Dennee. Member of Music Commission City of
Boston since 1898. Extensively known as a concert pianist.
20 THE NEUME l905
HENRY M. DUNHAM, Organ.
Born in Brockton, Mass. Studied Organ at the New Eng-
land Conservatory under Whitingg Counterpoint, princi-
pally with J. K. Paine. A well-known composer in vocal
and instrumental forms.
WILLIAM HERBERT DUNHAM, Voice.
Born in Brockton, Mass- Pupil of Augusto Rotoli and
Dr. Guilmette, Bostong Shakespeare, London, Vannu-
ccini, Florenceg Koenig and Sbriglia, Parisg Cotogni,
Rome, Benvenuti, Milan-
Lours C. ELsoN, Theory.
Born in Boston, Mass. Studied Piano with August
Hamann of Boston : Voice with August Kreissman 3 and
Composition with Carl Gloggner-Castelli of Leipsic. A
celebrated lecturer and writer on musical subjects.
OLIVER C. FAUST, Pianoforte and Organ Tuning.
Born in Pennsylvania. Studied tuning at the New England
Conservatory, where he has taught since 1891.
l905 THE NEUME ZI
ARMAND FORTIN, Voicef Superintendent of Vocal
Born in Oxford, Mass. Pupil of William L. Whitney,
Boston, and Vannuccini, Florence.
GEORGE L. GARDNER, Tuning.
land Conservatory in 1890, and has been connected with
the institution since that time.
WALLACE GOODRICH, Organ, Alnaly.ri.s', Harrlzanj'
Born in Newton, Mass. Studied at the New England Con-
servatory under Henry M. Dunham, Organ, George W.
Chadwick, Compositiong and Louis C. Elson, Theory.
Has also studied with Josef Rheinherger, Munich, and C.
M. Widor, Paris. Well known conductor.
, , EUGENE GRUENBERG, Violinf Superintendent of
Violin Norrzzal 'Department.
' Born in Lemberg, Galicia. Pupil at Vienna Conservatory,
of Heissler, Violin: Bruckner and Dessolf, Composition,
and Hellmesherger, Chamber and Orchestra Music. Has
played for the last twenty-tive years under the world's great-
est conductors. "
Born in Oswego, N. Y. Graduated from the New Eng-
THE NEUME 1905
LOUIS KLOEPFEL, Cornet and Trumpet. i
PERCY F. HUNT, Voice.
Born in Foxboro, Mass. Graduated from the New Engla-nd
Conservatory in 1898 under William H. Dunham Q studied
with Vannuccini, Florence, and Bonhy, Paris.
ALBERT JEFFERY, Pianaforre.
Born in Plymouth, England. Educated at the Leipsic
Conservatory under Reinecke, Wenzel, Richter and,Jadas-
sohn: studied in Paris with Ferdinand Praegerg Organ
and Church Choir work in London with Roland Rogers,
Sir George Martin of St. Paul's Cathedral, and Luard
Selby of Rochester Cathedral.
EDw1N KLAHRE, Pianoforre.
Born in New Jersey. Studied under O. Klahreg later
pupil of Liszt, Lebert and Josetfy in Piano, Composition,
with Schulze in Weimar, Bruckner and Goetschius in
Stuttgartg Violin, with Scharwenka.
Born in Thurin ia. Has appeared as soloist in all the
principal cities off! Europe, and held important positions in
Court orchestras, in 1891 he was engaged by Damrosch as
First Trumpet in New York Symphony Orchestrag he was
tendered position of First Trumpet at Court Opera House,
Berlin, but chose to accept position in Boston Symphony
S1905 THE NEUME
MAX O. KUNZE, Double Bass.
Born in Dresden. Graduate of Royal Conservatory of
Music: played as Principal Bass in the Warsaw Symphony
Orchestrag later was a member of von Biilow's Orches-
tra, with which he came to America 5 engaged hy Emil Paur
of Boston Symphony Orchestra in 18945 has taught at the
New England Conservatory since 1899.
FREDERICK F. L1NcoLN,Pianoforze.
Born in Massachusetts.:-Graduated from the New England
Conservatory in 18813 studied under J. C. D. Parker, A.
E. '1urner, Carl Baermann, Carl Faelten and Stephen
EMU. MAHR, Violin.
servatory in 1887.
C. LENOM, Oboe and Soleggzo
Born in Belgium. Graduated from Brussels Conservatory
studied at Paris Conservatory under Massenet and E Gillet
Composition 3 E. Pessarld, Harmony played English
Horn with Cologne Orchestra was for several years member
of orchestras of Nice, Monte Carlo and has conducted
orchestras at Geneva, Rouen and Aix les Bains has been
a member of the Boston Symphony Orchestra for four years
Began his study of Violin with Joachim in Berlin in 1870
played as one of the First Violins in the Wagner Festival at
Bayreuth in 18763 spent several years in London as solo
violinist and conductorg came to the New England Con
THE NEUME 1905
CARL PEIRCE, Violin.
Born in Taunton, Mass. Studied six years with Leandro
Campanari 5 organized Municipal String Quartet of' the
City of Boston in 1898 3 at present a member of the Peirce-
Van Vliet String Quartet.
CLARA TOURJSE-NELSON, Voire and Pianaforfe.
Born in Rhode Island. Graduated from the New England
Conservatory Q studied Voice with Augusto Rotoli, Mr. and
Mrs. John O'Neil and Sarah Fisher: Opera School work
with Samuel J. Kelleyg also pupil of G- W. Chadwick
and A. D. Turner.
F. AuDrsoN PORTER, Pianoforte
of Pianoforle Norrzlal Department.
Born at Dixmont, Maine. Graduated from the New Eng-
land Conservatory in 1884, after a live years' course with
A. D. Turner, Stephen Emery and George W. Chadwick 3
studied in Leipsic with Hofmann and Freitag 3 has published
a large number of compositions.
GEORGE W. PRocToR, Pianoforte.
Graduated from the New England Conservatory in 18923
pupil of Leschetizky in Vienna 3 studied Composition with
Nawratil and Mandyczewzki 3 has had an extensive career
as concert pianist.
THE NEUME 25
HARRY N. REDMAN, Pianoforte, I-Iarmony and
Born at Mt. Carmel, Ill. Pupil of George W. Cliadwickq
has composed a large amount of piano music and songs.
ELIZABETH I. SAMUEL, Rhetoric, English and
Born in Bennington, Ill. Graduate of Mount Holyoke
Collegeg special work at Boston University.
EUSTACE B. RICE, Pianoforre and Soyeggio.
Pupil of Carl Baermanng writer of text-books on musical
FREDERICK SHORMANN, French Horn.
Formerly a member of Boston Symphony Orchestra.
26 THE NEUME 1905
HEINRICH SCHNECKER, Harp.
Born in Vienna. Studied with his fatherg graduated from
Vienna Conservatory in 1884, under Professor Zamara Q
became E1 member of the Boston Symphony OrCllCSll'3 In 1886-
CLARENCE B. SHIRLEY, Voife.
Born in Massachusetts. Pupil of Charles A. Whiteg a
concert and oratorio tenor well known throughout the
L ALICE MABEL STANAWAY, Voife.
Born in California. Graduated from the New England
Conservatory in 18983 pupil of Augusto Rotoli and Charles
A. White, Bostong Dubulle, Paris, studied in Opera
School under Oreste Bimboni.
CARL STASNY, Pianoforte.
Born in Frankfort, A. M. Pupil of Ignaz Brlill, Viennag
Prof. Wilhelm Kruger, Stuttgart, Franz Liszt, Weimar,
extensive career as concert pianist.
l905 THE NEUME 27
ANNA M. STOVALL, Pianaforte.
Graduated from New England Conservatory in 18953 pupil
of Carl Stasny.
ANTOINETTE SZUMOWSKA-ADAMOWSKA, Pianoforze.
Born in Lublin, near Warsaw, Poland. Her early study of
music was pursued at the Warsaw Conservatory with Pro-
fessor Strobl and Alex Michalonski, afterwards with Parle-
rewski 9 has had an extensive concert career in this country
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MARIE E. TREAT. . 'Lg I.
Born in Qhio. Graduated lfrom the New England Con- iv: i
servatory m 1900 Q pupil of Charles Dennde. ff? "
F. Monss WEMPLE, Voice.
Born in Albany, N. Y. Stul' l V ' d Cl
White of Boston, and Dllbulli2lsiPz1i?ileie un er lanes A'
THE NEUME I905
CHARLES A. WHITE, Voice.
Born in Troy, N. Y., where he studied Piano and Singing:
went abroad in 1879 3 entered Leipsic Conservatory, where
he studied under Rebling and Grill 3 continued Voice Study
with Lampertig taught in Troy and Albany, after returning
home in 1882: organized the Troy Choral Club, which he
conducted until called to the New England Conservatory in
FELIX WINTERNITZ, Violin.
Entered Vienna Conservatory at age of ten, graduated at
Berlin, and continued under Griin in Viennag came to
America when he was seventeen years of age, and played two
years with Boston Symphony Orchestra before touring the
United States as soloist, has been a member of the Con-
servatory Faculty since 1899.
GEORGE VAN WIEREN, German
Also Professor at Boston University
1905 THE NEUME 29
ESTELLE J. ANDREWS, Pianoforto.
Born in Baltimore, Md. Graduate of the Peabody Institute Conservatory of Music,
timore, Md.: pupil of Carl Faelten and Helen Hopekirk, Boston.
FRANCES A. HENAY, Hand Culture.
Born in Boston Studied Physical Culture with Dr. D- A. Sargent of Cambridge, and
Baron Nils Posse of Boston 3 has taught in New England Conservatory since 1883.
HOMER C. HUMPHREY, Organ.
Graduated from the New England Conservatory in 19023 pupil of Wallace Goodrich.
CLARA KATHLEEN QBARNETTD ROGERS, Voice.
Born in Cheltenham, England- Educated in Leipsic Conservatoryg .Piano,.under Mos-
cheles and Plaidyg Voice, with Professor Goetzeg stuldied Piano in Berlin under von
Bulowg .Voice, under Frau Zimmerman 3 also studied Voice in Italy under San Giovanni 9
has published both vocal and instrumental music.
ELSA BIMBON1, Italian.
CAMILLE THURWANGER, French.
GEORGE WHITEEIELD CHADWICK, Composition.
Born in Lowell, Mass. Studied at the New England Conservatory, and in 1877 went
to Leipsic, where he began his first thorough study of Composition under Reinecke and
Jadassohng in 1879 he went to Dresden and entered the Royal School of Music, and
became one of the first American pupils of Rheinberger, there studying Conducting with
Abelg returned to Boston in 1880, became teacher at the New England Conservatory in
the same year, and Director in 1897 gl Conductor of the Conservatory Orchestra and Chorus.
In all lines a composer of international reputation.
gl905 THE NEUME 31
The Alumni Association
F. ADmsoN PORTER . . . President
HENRY T. WADE . First Vice President
PERCY J. BURRELL . . . Second Viee President
MRS. CLARA TOURJEE-NELSON . Reeording Seeretaryl
CLARENCE E. REED . . Finaneiz1ISeeretary
ALLAN W. SWAN . . . Treasurer
EUSTACE B. Rice . Auditor
IVE the Conservatory an enthusiastic student body, and loyalty to
the Alma Mater will ever be the keynote struck by the Alumni.
Nothing so happily forecasts a forceful alumni body as such a visi-
ble proof of the esprit de corp: of a Senior class which strives to leave its
impress upon its Alma Mater. So it is with the real appreciation of the
worth of the young students who send forth THE NEUME that the Alumni
Association congratulates the Class of 1905.'
I have been requested to write briefly of the Alumni Association.
May I be permitted to speak historically and hopefully. Not all can be
said in the space at our disposal, yet it is our desire that the best in the
Association shall find imprint here. The Alumni Association of the New
England Conservatory of Music was organized in 1880. Its avowed objects
are to perpetuate and intensify in its members their fidelity to their Alma
Mater and to bind them together in a spirit of true friendship and mutual
helpfulnessg to assist worthy students by the establishment of a loan fund,
free scholarships, and prizes, and by aiding inthe endowment of professor-
ships when these helps shall become practicable, and in general, to aid the
Conservatory, assist each other, and further the true progress of art.
At the time of this Alumni organization the Conservatory was located
at the old Music Hall in Hamilton Place, and had an attendance of some
eight hundred pupils. Eben Tourjee, a name to be revered by all who
32 THE NEUME 1905
enter and leave the Conservatory, made his sweet and irresistible influence
felt in this Association, which his wisdom and foresight told him could be
of great service to the growing institution.
The first president of the Association was Miss Sara Fisher, now Mrs.
A. C. Wellington, and her successors have been Mr. Henry M. Dunham,
Mr. A. D. Turner, Miss Clara S. Ludlow, Mr. Frank Morse, Mr. Charles
H. Morse, Mr. Everett E. Truette, and Mr. F. Addison Porter.
Each year the Alumni gather together for a banquet and reunion. On
these occasions they meet' the graduating class, form new friendships, and
renew old ties.
It would be a serious omission if we did not ascribe to the Conserva-
tory Alumni an expressive authority in the realm of music. The Conserva-
tory has always sought to teach the best music and to cultivate the highest
tastes and truest appreciation among its students. Some years ago the best
music was but infrequently heard, and Conservatory and students were not
blind to this deplorable condition. To-day in the musical world there is a
great change for the better. The Conservatory graduates are entitled to
credit and praise, for to them belongs the distinction of having exercised an
influence greater than any graduate force, and possibly more dominant than
any other force whatever, toward elevating the tone of music and inculcat-
ing in the public mind a finer appreciation of it. The ennobling influences
in the homes presided over by so many who were once Conservatory stu-
dents can never be measured from the public standpoint, yet music has
played a wonderful part in training the alert ear and moulding the plastic
mind of the young. -
I have a real eagerness to name some of the famous musicians who
have passed through the Conservatory, but to make such a distinctive list
would be an invidious task. One may point with pride to the pinnacle of
grand opera fame, to the best symphony in America, to the noted Faculty
of our own Conservatory, and to many another one in the land, and to the
directorship of musical institutions. We find the Conservatory pupil in all
these exalted stations of life. Conservatory Alumni have also distinguished
themselves as concert artists, book writers, and magazine contributors. We
should not forget that the institution once embraced departments of elocu-
tion and art, both of which graduated those who have achieved note in
their respective spheres. Some of our most talented elocutionists and
actors received a share of their training in Music Hall and Franklin Square.
I905 THE NEUME 33
In short, the Alumni of the Conservatory has earned for itself a prestige in
which it may justly take pride. They may return to the old school any day
and look with a peculiar satisfaction upon the bronze tablet in grateful
memory of Dr. Tourjee and at many fine books in the library, both the
gifts of the Alumni Association to the Conservatory.
The Association retains its spirit of propaganda. It would choose that
the final word in its contribution to THE NEUME serve as a missionary agent
into the field of the Class of 1905. We are ever eager for new blood.
We are urgent that you enroll yourselves in the Alumni Association. The
effort is being made to place the membership upon a more permanent basis.
Entrance or initiation fees have been abolished, and a life membership on a
graduated scale of annual dues has been established. Assuredly the ambi-
tion and enterprise of your class may find its usefulness further enlarged and
its loyalty yet more manifest by being one with us, and in so doing the
Alumni Association cherishes the hope that the new member may feel that
the reciprocal in life is not lacking toward him.
PERCY IEWETT BURRELL.
May 24, 1905.
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FOUNDER or 'mn NEW-YENGLAND CONSERVATORY or Music
1905 THE NEUME 35-
The Development of Class Spirit
As Seen from a Post Graduate's Point of View
HE trite little saying, "United we stand, divided we fall," includes-
much of which I might say regarding class spirit. Who of us
does not know the various experiences which befall a class divided
into many factions, the many pullings this way and that, with freely ex-
pressed dissatisfaction, until the poor mortal known as the "president" is
ready to resign in despair?
In class meetings, as in any public meeting, freedom of speech is widely
indulged in, and only when there is one strong feeling uniting the class
does it sail safely through the obstacles confronting it.
In the study of music at the Conservatory there is no systematic course
covering any limited number of years similar to a college course. The
many pupils enter with no definite idea of graduating. After a pupil has
become acccustomed to the life fand it usually takes one good yearl she
may decide that it would be nice to graduate, get a diploma, and be one of
the favored ones to share the excitements of Commencement, so she
immediately arranges her work and feels that life is really worth while.
If she is to graduate as a teacher she may see posted in some conspic-
uous place a notice reading thus, "An important meeting of Juniors to
organize the class and elect officers." At the appointed time she arrives,
feeling very important fthis is not personall, confidently expecting to find
the Gym-every first meeting is held in the Gym-quite full of class-
mates, eager and loyal as she.
Unless she be one of a model class she will find herself almost the only
member present, and after wasting precious time with a half dozen more
or less interested students she goes away, rather disgusted, but wiser.
Several weeks pass before any other meeting is called, and our student
goes through the routine familiar to us all. When the second notice of a
meeting meets her eye she finds it is to consider the annual invitation
issued by the Seniors to the Juniors to attend a reception. Presto! Where
did all these people spring from? Why this sudden class interest? Can
36 THE NEUME l905
it be that they are thinking of the refreshments? fAlways bear in mind
that the writer graduated from the old Conservatory-ice cream once a week
and holidays.j And the student recognizes many friends who reside in the
building. Sufiice to say, the opportunity is at handy a class is formed,
president elected, and at last the student feels herself one of the glorious
Class of 19-, which is to outshine every other class, have more geniuses,
and altogether add to the already high reputation of the Conservatory.
So the class is launched, and the following year for our student means
the Senior year spelled with a capital S. Of all you graduates, who does
not remember the unusual importance connected with these class meet-
ings--of the choice of colors, selection of pins, not to mention such little
things as final exams in harmony, piano and the like?
The class spirit this year seems to be more general. And if there is
in the president the combination of tact and good nature many little difii-
culties are smoothed down, and every member feels that spirit of loyalty
which seldom comes into their lives.
If our student be one of the chosen few to be on the Commencement
program she feels that her cup of joy is surely full fagain I warn you, this
is strictly impersonalj, and such little remarks as having her head compared
to a cabbage and the like, indulged in by a sorely tried teacher, are even
borne for the sake of possibly being an honor to her class. And when
Commencement is over, and she has become an alumna of the Conserva-
tory, she appreciates more than ever the loyal spirit without which no class
can work in unison.
Now, in taking up the thread binding the old Conservatory life with
that of the new, we notice a decided change. Having no students' apart-
ments in the Conservatory building causes a feeling of independence among
the pupils. When one and all come from their homes, making the Con-
servatory the center, more of a strictly class spirit is called forth, all meet
on one common ground, and each one has a chance to become better
acquainted with her classmate. Especially was this true of the Class of
1903, which, though handicapped by the unfinished state of the building,
was the first class to graduate from Jordan Hall.
With the Class of 1904 came the founding of Class Dayg and well may
this class be proud of its record. The facilities of the building made such
an act possible, and certainly the Conservatory is important enough to have
everything attending its Commencement equal to any college in the country.
i905 THE NEUME 37
The present Class of 1905, in issuing THE NEUME, has instituted a
custom which I sincerely hope will never die. One does not realize how
much a class paper or a class book means to the students. Of course I
mean students who are loyally interested in their work and the institution
in which they spend so much of their time. Class spirit means loyalty to
one another and loyalty to their Alma Mater, and the success of an institu-
tion depends upon its students. i
It is impossible to resist urging all prospective graduates to develop
this feeling. Look at it in a broad sense, overlook the little unpleasantness,
and when your dreams are at last realized, and you stand an alumna, may
you raise your hand high above your head, and cry with heartfelt fervor:-
Alma Mater, Alma Mater,
May the love we feel for thee
Strengthen as the years grow longer,
And the tie that binds grow stronger
Towards our dear loved Alma Mater.
SARAH DELANO MORTON.
XELLIE XV. SCHEIBLEY IIORACE XX'llITEllOL'SE :XLMA P. BIAKTI H. PAYSDN PORTER
1904- CLASS OFFICERS
. V 1 ' M
Q, IM N
X ky 'WM
905 THE NEUME
Officers of the Class of 1905
WILSON TOWNSEND Mooo . . President
BLANCHE LLEWELLA CRAFTS . Vice President
SUSAN EMMA DROUGHT . Sefremra'
FLOYD BIGELOW DEAN . . Trenwfef
CLARA FRANCES MALLORY . . Historian
MARY ANDREW .
JANE MAY BACON . .
EVANGELINE RosE BRIDGE
WINIFRED MURIEL BYRD
MARY ALICE CHURCHILL
HELEN BARNARD CORY .
ISABEL TUTHILL DAVIS .
FLOYD BIGELOW DEAN .
RALPH BEN ELLEN . .
KATHARINE ESTELLE FISSE
CHARLES FRANCOIS GIARD
MARJORIE ELIZABETH GROvEs
ELLA MAY HILLPOT .
LAURA BERTHA HUXTABLE
ETI-IEL GARRETT JOHNSTON
HARRY B. KEELER .
VIRGINIA LOU KELLY .
RUTH ELIZABETH KERANS
ETI-IEL BLANCHE MCCRILLIS
MARIAN PERCIVAL MINER
ANNA IRENE MORRIS .
LUCY LEE POWERS .
MARY THERESA RILEY .
ELIZABETH LEE ROACH .
. 46 3rd St., E. Cambridge,
. 68 Stanton St., Dorchester,
. 104 Harrishop St., Roxbury,
. . 197 Court St., Salem, Oregon
. 45 Ketchum St., Buffalo,
. 162 Washington St., Lynn,
. . . Miller's Place,
. 19 Jersey Ave., Ogdensburg,
. . . Willoughby,
. 262 W. Elm St., Brockton,
389 Northampton St., Boston,
. 568 E. 5th St., So. Boston,
. . . Tacoma Park,
. . Longview,
. . . Danvers,
. 26 Summer St., Hyde Park,
. . . Jackson,
. 14 Intervale St., Roxbury,
. 64 Elm St., Jamaica Plain,
. 218 Lakeview Ave., Lowell,
. 204 Ewing Ave., Dallas,
. 3144 Allen Ave., St. Louis, Mo
. . . Frenchtown, N. J
. Mason City, Iowa
IDA ELIZABETH BAGG .
42 THE NEUME I905
MINA FRANCES Ross
SUYE SHIBATA . .
GERTRUDE HELLEN SMITH
Mrs. EVA AUGUSTA SPARROW
CARRIE BISHOP STANLEY.
EDITH MAY WARDROP .
FRANK SEYMORE WATSON
GERTRUDE DAMON .
SUSAN EMMA DROUGHT .
HORTENSE ESTES . .
'GRACE GARDINER . .
EUJENE HAMILTON STORER
GRACE HELEN SWAIN .
VIRGINIA MARILLA SWEET
MINNIE DOROTHEA THULLEN
FRED LYMAN WHEELER .
HUGH JOHN DUGAN .
STANLEY EDWARD FULLER
RALPH ADAMS LYEORD .
CLARA FRANCES MALLORY
WILSON TOWNSEND MOOG
ROBERT ROSCOE STEEVES
BLANCHE LLEWELLA CRAFTS
VIOLA MAY SHAW . .
St. Johnsbury, Vt.
. . . Tokyo, Japan
587 W. Park St., Dorchester, Mass.
. 153 Broad St., Pawtucket, R. I.
. Willow Road, Nahant, Mass.
. 25 SO. Oak St., Mt. Carmel, Pa.
319 So. Main St., Woonsocket, R. I.
1048 Riverdale St., W. Springfield, Mass.
. 907 H St., Washington D. C
728 Ontario St., Port Huron, Mich
. 281 Dartmouth St., Boston, Mass
26 Thomas Park, So. Boston Mass
. 250 Park St., W. Roxbury Mass
. . . West Leeds, Me
. 15 Gotham St., Watertown, N. Y
. . . Youngstown, Ohio
. 182 So. Main St., Gardner, Mass
State Soldiers' Home, Sandusky, Ohio
. . . Woodstock, Vt
. 676 Pleasant St., Worcester, Mass
. . West Hartford, Conn.
. Forest Park, Baltimore, Md
. Moncton, N. B., Canada
. . Maple St., Milton, Mass
. 421 High St., W. Medford, Mass
HARRY PARSONS HARTMAN . . 827 Market St., Williamsport, Pa
HARRY NELSON KINSEY . . . , Wichita, .Kansas
-G. SUMNER FRENCH . 31 Stonehousehill St., Brockton, Mass
5,g-,,1gf.i11 . 4 .- A 5 , 45. ' - A A- 1 X
44 THE NEUME I905
Senior Class Concert
Tuesday Evening, May 2nd, I905, Jordan Hall
At 8.15 o'clock
BEACH " One Summer Day "
CHAMINADE . 'l Come, my love, to me "
RHEINBERGER . . . "Homewards"
HAUSER .... "Rhapsodie Hongroisew fviolinj
MISS BLANCHE CRAFTS
SAINT-SAllNS 4 . " Aimons Nous "
DELL' ACQUA ..... " Chanson Provengale "
MISS GERTRUDE DAMON
SAINT-SAENS .... Barcarolle
Mrss CRAFTS, Violin '
Miss FRANCES ROSS, Pianoforte
MR. RALPH LYFORD, Violoncello
MR. ROSCOE STEEVES, Organ
WHITING . . . Fantasie for Pianoforte and Orchestra
MR. FRANK WATSON
Orchestral parts played by DR.-I. ALBERT -IEFFERY
CHADWICK . . . . . . " To Heliodora"
" Lullaby " " Behind the Lattice "
F. DE LA TOMBELLE, "Andante Toccata," from Sonata in E minor forganl
MR. WILSON T. MOOG
905 THE NEUME
We the Class of Nineteen Five,
Active, strong and all alive,
Ever may our members strive
To act the loyal part.
Glad our years in N. E. C.,
Faithful to its teachings be,
We our cherished goal shall see,
Ne'er lose hope and heart.
Alma Mater! Hail to thee!
How we love thy spirit free!
Loyal will we ever be,
Though far from thee we stray.
To our hearts thy love will cling,
Grateful homage will we bring,
Through the world thy praise we'll sing,
Thy mem'ries cheer our way.
All the field of music vast,
That has glorified the past,
Has inspired us at our task,
Kept us true to art.
Gathered here, an earnest band,
Firmly joined in heart and hand,
For the highest we will stand,
Choose life's better part!
46 THE NEUME l905
HE honor is ours of being the first class to have taken and com-
pleted the course since the erection of the well equipped fire-
proof building in which the New England Conservatory now has
its home. This building has given increased facilities for study in all lines,
and the growth and scope of the work is nowhere better illustrated than
in the enlarged organ department. We ought to appreciate having lived
in this day and generation.
Yet how long we can claim to have existed as a class would be sur-
prising to an outsiderg as a matter of fact, our organization began in De-
cember, 1904. And yet we say our class is the first to have its course in
the new building, because the majority who compose it have taken the
work during this period. Many of our number at first did not come with
the intention of graduating, and did not plan their work with that in viewg
others have entered with work sufficiently advanced to allow them to take
the course in two years. So within the last five years our noble class of
1905 has silently been gathering forces. But most of the work here is so
distinctly individual, when compared to that of other schools, that one
hardly knows in what year to expect to be graduated until some grand
upheaval like the fourth grade examinations or the finals brings one to
realize about where he stands.
Our officers were elected on january 7, and the names posted4the
first official announcement that the Class of 1905 was really in existence.
While we guessed from information culled in different quarters that we
should have a class of over forty, never more than thirty-one during the
next few months were brave enough to publish their hopes of being
graduated this spring and become identified with the class. How many
interesting class meetings and social functions they missed by being so faint-
Those of us a little more daring began to talk about such doubtful
subjects as class pins, class color and flower, graduation plans, cap and
gown, and how many meetings were thus furnished with food for refiection
fsince these subjects were usually laid upon the table until the next
l905 THE NEUME 47
meetingj. One of our earliest decisions was to order a pin less pretentious
than classes usually had, and to put the difference in price toward a gift
from our class to the school--a thing which we hope will become a custom.
On April 8 a general shock was suffered by the hopeful candidates for
graduation by the report that the final examinations would take place
April 17 and 18, and the "pieces" would be heard May 8, 9, and 10. Then
it was learned that forty-nine took those examinations-with a fewer
number of conditions than any previous class, not to say more-we re-
spectfully refer the reader to the director and class inspector for further
information. We do not claim any remarkable brilliancy as a class, but
We can conscientiously apply the remarks of some of our Faculty that we
have been hard workers, and illustrate what an institution like ours can do
to develop general musicianship.
We claim the honor, modestly, of taking the initiative in a few direc-
tions-this probably because our earlier class organization gave time for
seeds of class and school spirit 'to spring up and bear fruit. We bequeath
to the Class of 1906 the Senior Bulletin, which became a necessity to pub-
lish our appointments, and we hope that in the future it may continue to
be used for their good.
On May 2 a class concert was given in Jordan Hall, entirely under
the direction of the class, and we should like to see such a concert given
each year. We seriously recommend that future classes consider the sub-
ject of presenting the school with a gift as a token of gratitude to Alma
Mater. And we also hope that each year THE NEUME may be published,
believing that there is a place for such a book in our midst.
We of the class do hereby urge ourselves and others who follow the
art of music to be broad, and study subjects other than music, to read books
On science and philosophy as well as on matters musical, to attend'lectures
on literature and topics of the day. Try a serious study of some exacting
subject such as mathematics, and see how the discipline will sharpen the
intellect for musical work.
Be the best possible musician, yet be always something more than a
CLARA FRANCES MALLORY.
48 THE NEUME l905
HE Japanese music is very much different from European music.
It is almost impossible to treat it as Western music. There are
many different kinds of musical instruments, but the most popular
and common are the samisen and the kote.
The samisen is a three-stringed instrument. It is a kind of guitar,
but the tone quality and the tuning are entirely different. This instru-
ment is used more generally than any other among the common class of
people. The kote, or Japanese harp, is a thirteen-stringed and Hat instru-
ment which is played on the floor. CWhen at home, the Japanese sit on
the floor to read, write, eat, sew, and in fact for everything they do, using
no chairsj. The strings are about half an inch apart, each stretched over
a small bridge and tied at both ends of the instrument just as tight as
possible. It is played with three fingers, with the ivory finger nail attached
to a leather string. .
All music is written in minor keys. There is no key relationship. A
piece begins in one key and ends in another. There is no cadenceg there
is no method of notation. For this last reason, the amount of music is
limited. Instruction is given by ear and by dictation, a short section at
each lesson. The teacher plays and sings and the pupil plays after her.
Afterwards they sing and play together until the piece is learned. It takes
a long while to learn one piece. Since there is no notation, the pupil
cannot take up any new piece to study by herself.
The people are getting hold of Western music very rapidly. It is
only a little over thirty years ago that the Japanese government started the
Conservatory of Music at Tokyo, at which time they applied for an instruc-
tor in America. Through Dr. Tourjee, Mr. Luther Whiting Mason went
over to take the position, and laid the foundation of Western music in
Japan. If has been very hard for the Japanese people to understand and
adopt Western music, and they have taken very little interest in it, but
the government takes a great deal of interest and encourages the people to
make special study of it. They send specially talented pupils abroad to
study either piano or violin.
1905 THE NEUME 49
They charge almost nothing at the Conservatory. By paying one
Yen, which is about fifty cents in American money, one can take all the
studies required at the Conservatory, taking piano or violin in a class of
three, theory, harmony and voice, all in classes, two lessons a week. Some
1' l ns down town in Tokyo,
hich is about twelve and
a half hour lesson a week.
They have to do this in order to get the people interested in it, but the
P1'CSCI1t outlook is very encouraging. l
interested in it, and pay more attention
of the Conservatory teachers give vioin esso
Chafglng by the month only twenty-five cents, w
R half cents in American money, and giving
People are coming to be more
f01t. Our public school music is most promising. As the time goes on,
the new method and music may become more natural to the people as a
SUYE SHIBATA, Tomo, JAPAN.
,- 0:1 as
' draw r
Q 4 4 ,
1' -XE ji-
50 THE NEUME
Perhaps you think you're finished, and ready quite for fame,
When you've mastered Stasny's technique or that of others I might
Or when you've learned to warble like the far famed nightingale,
Or played a Bach fugue with your feet in a way to turn us pale.
You are very much mistaken, for your labor will be lost
If you've not had Stage Deportment, which you need at any cost.
In our school are many subjects, quite essential to be sure
To the rounded-out musician, and their value will endure.
There's Theory and Harmony and Composition, too,
And that other branch, Analysis, which tends to make us
Solfeggio is a science by everyone adoredg
We have to work on it like mad or get completely floored.
There are some who seek the spirit of the Violin to tame,
And some at Orchestration try their hand and dream of fame.
There are Lecture Courses five or six, and Normal teaching daily,
Recital class and Opera School, where everything goes gaily.
All these are very good, I grant, and needful in their turn,
But Deportment for the Concert Stage is what makes genius burn!
This most important study we pursue down in the Gym:
We're in full attendance every week, with never failing vim.
'Tis such a real necessity, that every student feels
He could no more do without it than an auto without wheels.
If you're needing entertainment, and have an hour to spare,
.lust visit Mr. Gilbert's class adown the winding stair.
Here you will find us hard at work under careful trainingg
We sit and stand and walk by rule, reposeful ease we're gaining.
With matchless grace advancing to the center of the stage,
We bow for Mr. Gilbert 'neath his careful espionage.
l905 THE NEUME
An imaginary audience watches us perform,
And when our little stunt is done, applauds us long and warm.
We bow once more, and backward glide, then stop to bow again.
Oh ! 'tis hard to place one's feet just so, and not trip on one's train!
There are very many things we learn in this instructive hour.
We're shown how relaxation will assist to highest power,
We're taught the proper way to sit on a piano stool,
And when before the footlights, though frightened, to look cool.
We're trained to be expressive with our faces and our hands,
all our public conduct is laid out on careful plans.
angles are all rounded out, rough edges are smoothed down,
a highly polished gentleman evolved from any clown.
We'll give all honor to the man who fitted us for fame.
So remember Stage Deportment, and if you've an hour to spare,
when success we have achieved, and great becomes our name,
Just visit Mr. Gilbert's class adown the winding stair.
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52 THE NEUME I905
1 And lo, it came to pass on the morning of the tenth day of the
month, that the Chief Priests and Elders held a consultation, and a decree
was put forth that the Scribes and Pharisees, called Seniors, should be judged.
2 And the Chief Priest, he of the House of Benjamin, caused a notice
to be posted in all the principal places of the temple, advising the Scribes
and Pharisees, called Seniors, that the trial should be on the morning of the
3 And lo, while he yet spake, came another High 'Priest, he of the
House of Samuel, crying in a loud voice that he should judge the multitude
at the last hour of the same day.
4 Behold, when it came to pass when the days were accomplished, the
Scribes and Pharisees went up into the Temple to be judged.
5 And they spake one to another words of cheer and counsel, and
verily the door was opened and they went in to where he of the House of
6 And yet a little while tarried they in the torture chamber, and the
door was opened, and their faces revealed the sorrow or joyxin their hearts.
7. And verily they sat themselves upon the benches and wept.
8 And this was the morning of the first day.
1 And straightway when the eleventh hour had come, they took them-
selves to the Inner Sanctum, where he of the House of Samuel presided,
and seated themselves before the Tribunal.
2 And the Chief Priest, Samuel, said unto them, "Behold, in the fear
that ye enter into temptation, and lest your eyes seek counsel of another's
labor, but two shall seat themselves in one row.
3 "And hearken unto my word when I say unto you to lend me your
ears, and he that hath ears to hear, let him hear."
4 Then the Chief Priest, Samuel, stood up in their midst and smote
upon an instrument of more than ten strings, and lo, a sound came forth.
1905 THE NEUME 53
5 And they asked him to strike it the second time, and he struck it the
6 And they asked him to strike it the third time, and he struck it the
7 Then the Chief Priest, Samuel, said unto them, "Verily, I shall
strike it for you but once more as ye have heeded not my words from the
8 And a loud cry of lamentation went up from the multitude assembled.
9 Then it came to pass after this tribulation was over, the multitude
Went out to break their fast, and did eat and drink.
1 And behold, on the morning of the second day, the multitude gath-
ered in the lower hall of the Temple, and shouts of joy, or wailing and
gnashing of teeth, resounded as their sentences were told to them.
2 And the elect wept with the condemned and offered words of cheer
for the second trial.
3 And lo, there were some who were not to be put to trial, and
the others marvelled greatly at their vast learning, and whispered, one to
4 "Here is he who is exempt. How unfortunate are we, oh, we of
little knowledge l "
1 And lo, it was noised abroad that Cwsar Augustus of the Temple
had proclaimed to the Chief Priests and Elders that no one should be
elected to a seat in the Alumni who could not sing anything his eyes
beheld at the first trial.
2 And forsooth, this decree brought sorrow to many hearts, as there
were many inthe multitude who had been blessed with the gift of sight,
but not frst sight. -
3 And verily they counselled together and wondered greatly what should
be done with them.
54 THE NEUME 1905
4 And behold, a prophet came in their midst and said, "Be of good
cheer, my brethren, for verily I speak whereof I know, and the councillors
and rulers will judge you wisely." I
5 But they were greatly terrified and believed him not.
6 And behold, when the hours were accomplished, and it came their
turn to pass in to their trial, their tongues clave to their mouth, their jaws
refused to open, their knees quaked with fear, so that, forsooth, they leaned
themselves against one of the pillars of the Council Chamber until they could
quiet the chattering of their teeth.
7 And as sheep before the shearers so they opened not their mouths.
8 But coming forth from the council chamber with beads of sweat
upon their brows, they spake words of cheer to the waiting multitude,
saying: "Be of good cheer. Possess thy soul with intervals. Gird on thy
augmented fourths and diminished sevenths.
9 "Sing with all thy might, and as David of old smote the Philistines,
so this our enemy, known as 'Solfeggio,' shall fall before us."
1 And when the seven days were accomplished when the multitude
were to be judged by Caesar Augustus of the Temple, they brought their
talents to him.
2 And there were many who had not wasted their time in riotous living,
but had gained many talents.
3 And when these showed their talents unto Caesar he said unto them:
Well done, good and faithful students. Ye are worthy of a high seat
among the Alumni."
4 But unto those who had brought but one talent he said, "I will give
thee more time to go and improve thyself.
5 "I know thy work and service, notwithstanding I have a few things
against thee. Show to me thy powers of first sight and all other things
will be forgiven thee."
Thus endeth the acts of the Scribes and Pharisees, called Seniors.
905 THE NEUME
Perhaps to some who o'er this glance
Inanc 'twill seem, a work of chance,
No meaning find you in its measure,
Or faulty rhyme, to give you pleasure.
Read not across but up and down,
Be sure you notice cap and gown.
U then will see the questions dire
So prone to rouse the Seniors' ire-
The much discussed bust and pin-
Prolonging meetings till twilight dim,
Inspiring all to feats of speech
No statesman wise would dare impeach
Yielding a chance for rare display
Of talents, long hid from light of day,
Unheeded were, and slight appeared '
Beside the question far more feared-
Enshroud ourselves or not, in gown
To be laughed at by half the town?
Confess now, you who wanted them,
A gloomy sight we would have been.
"Profs" look well in gowns of black,
As oft in styles they're somewhat slack
No meaning have they to us " Grads " 3
Degrees left out, we ape the fads
Good folks elsewhere are said to have.
io ye who for this classic garb
With doughty courage fought so hard,
Now weep no more but dry your tears,
No one will fail to call you "dears,"
As slowly gliding all in white,
You'll angels seem of light, not night.
QNO need to mention mere man here,
One never thinks his clothes are "dear
The tailors, only, know the truth,
Forgetting not your note-his proof.l
O let us then unite in song,
"Right always triumphs over wronguz
U can trust the taste of "Nineteen Five
She's bound to be the Con's great pride
56 THE NEUME I905
Jill Z ll
ffl., l 3. I W
May 1, 2, 3, Large rush to the bargain counter of the New England
Conservatory music store: panic resulted, but no one injured.
May 8, 9, 10, Quaker Oats Firm solicited the Senior Class picture
for "the smile that won't come off " ad.
May 10, Chafing-dish party in Gym. Seven channg-dishes and six
gentlemen present. Same date rumored that two Seniors attended Sol-
feggio: rumor denied.
May 13, Senior seen going to Solfeggio. Several people fainted.
.May 17, E. J. dreamed that Mr. Cutter made her leap down to a
May 21, Senior Class gave Recital at Perkins' Institute. Institute is
We know a young girl from N. Y.
Who never does things on the sly,
But she always shows heat
When she is called Sweet,
Although there is no reason why.
There was a young maid called Irene
Whose wit was exceedingly keen,
But alas and alack!
She would ever hold back,
And was always afraid to be seen.
I905 THE NEUME 57
Pictures No Artist Can Paint
Mlss PowERs-With a 552,000 position.
Miss MINER-With a frown.
MISS BYRD'-IH a cap and gown.
MR. DEAN'-In a hurry.
MISS SMITH--Without squash pie.
MR. DUGAN-Appearing in Grand Opera.
Miss HUXTABLE-In a rage.
MR. ELLEN-Attending a Senior class meeting.
MR. FRANK WATSON recently entered the editors' Sanctum, and said
he was about to apply for a divorce. We were greatly surprised as we
thought he had come for a certificate.
FIRST SENIOR-"Does Mr. Keeler know about the special meeting?"
SECOND SENIOR'-UNO, I only told him once?
During a sight playing lesson one sultry day our teacher became very
much distressed by the stupid blunders made by the members of the class.
With a strong, stern voice he requested us to "please all play in the same
key." As our teacher was making his ardent appeal a harmony teacher
came to the door and hearing the reprimand, said, "What! don't you allow
each one to play in a different key? Oh, give the young moderns a
chance ! "
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I905 THE NEUME 59
Esprit de Corps
IKE many another term, college spirit is hard to define, yet we are-
all positive that there is such a spirit, and that we know when we
rub up against the genuine article. Does it consist in ear splitting
yells and Haunting banners on gala occasions? Surely not, though such
manifestations are inevitable when the true spirit exists, and greatly promote
lzonne camaraderie. What a difference this exuberance of youth would
make--say on the annual Founders' Day Picnic! Is not the true and
worthy college spirit the loving gratitude which each one feels toward his
Alma Mater-a gratitude which inspires in each the desire to work for the
advancement, material, intellectual, artistic of the institution, which leads
to a willingness to make sacrifices, if necessary, and which strengthens the
determination that we will see to it, in the Platonic phrase, "that the
Republic suffer no harm "?
Wherever college spirit is lacking class spirit will also be weakg con-
versely, a strong class spirit will generate a wholesome college spirit. Up
to this year there has been manifest at the Conservatory very little institu-
tional or class loyalty. The reason is obvious: the prescribed and elective
system arranged with a view to completion of certain courses in a definite
number of years does not obtain. The polity of the school does not call
for the division into classes of the student body. Those who are or expect
to receive diplomas at the close of the season are called Seniors-the only
class perhaps worthy recognition.
Can conditions at the New England Conservatory be bettered or are
they good enough now? The Director evidently thinks that there is room
for improvement, and has taken a step in the right direction when he-
decrees that those who wish to graduate in a certain year shall take pre-
liminary examinations two years before.
Now a practical hint or two as to helps in promoting class spirit..
Following the excellent example of the Class of Nineteen Five, let there be
a strong class organization early in the fall, of those who expect to graduate
at the end of the season. Some wise superior might also gather the new-
comers into a Freshman fold. This would provide for three classes: It,
60 THE NEUME 1905
Not It, and The Others. Class socials could be held frequently-informal
affairs, where we could become better acquainted with the talents and
character of one another. Class dues, too, are a wonderful bond. Strange
what a community of sympathy and interest is aroused among those whose
poclcetbooks are touched !
What a magnificent opportunity there is for presentation of class plays
in Recital Hall! Then if the class wished to tender a reception to the
Faculty and Trustees, into what an artistic reception room the gymnasium
could be transformed! The preparations for such events afford splendid
chances for the promotion of friendships and class spirit.
Fellow students, we are studying the noblest of all arts in one of the
best equipped institutions of its kind in the world. Shall there not be, then,
loyalty to one another and to our glorious New England Conservatory?
"1 i -
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Olumw IN JORDAN IIALL
Built by the Hutchings-Votuy Organ Company, llostnn, lQOj
1905 THE NEUME
Specifications of the Organ
Gift of Eben D. Jordan
Compass of Manuals, C to c4 Compass of Pedale, C to gl
Diapason . . . 16 feet Flute . . 4 feet
First Diapason . . 8 feet Octave . . 4 feet
Second Diapason . 8 feet Twelfth . . 23 feet
Flute fGross Flf3tej" 8 feet Fifteenth . . 2 feet
Gemshorn . . . 8 feet Mixture . . 4 ranks
Gamba ffor solo workj 8 feet Trumpet . . . 8 feet
Bourdon . 16 feet Flute fharmonicj . 2 4 feet
Diapason 8 feet Violin . . . . 4 feet
Bourdon . 8 feet Dolce Cornet . 4 ranks
Viola . . . . 8 feet Trumpet . . 16 feet
Aeoline .... 8 feet Cornopean . . 8 feet
Gamba Qfor solo usej 8 feet Oboe . . . 8 feet
Quintadena . . . 8 feet Vox humana . . . 8 feet
Voix Celestes, 8 feet Q2 ranksj
CHOIR ORGAN QINQSEPARATE SWELL-BOXD
. . .
. - .
. . .
lightj ...... 16 feet
. . 8 feet
. 8 feet
. 8 feet
. 8 feet
. 4 feet
. . 16 feet
. . . 8 feet
Dulciana . . . -16 feet Flute fRohxQ
Diapason 8 feet- Piccolo . . .
Bourdon . 8 feet Fagott . .
Salicional . . 8 feet Euphone ffree reed very
Dulciana .... 8 feet
Flute fTraversej . 8 feet Clarinet . .
PEDAL ORGAN CAUGMENTEDD
Bourdon . . 32 feet Violoncello .
Diapason . . 16 feet Flute . .
Violone . 16 feet Bourdon .
Dulciana 16 feet Octave I .
Bourdon . . . 16 feet Trombone .
Soft Bourdon 16 feet Trumpet .
" t' 1 nthcsc do not :lppcur upon thc rcgiste k I
"' The cpmlihcu 1
purposes o infor t
they :irc given here for
Elem: D. JORDAN
l905 THE NEUME 65
Specifications of the Organ
COUPLERS COPERATED BY TILTING TABLETS ovsk SWELL'
Swell to Great Unison
Swell to Choir Unison
Choir to Great Unison
Swell to Pedale Unison
Great to Pedale Unison
Choir to Pedale Unison
Swell at Octaves
Great at Octaves
Swell at Sub-octaves
Great at Sub-octaves
Great at Sub-octaves
I COMBINATION P1sToNs
Six and Release, operating upon Swell and Pedale
Five and Release, operating upon Great and Pedale
Four and Release, operating Choir and Pedale
General Release, Pedale Release
Four and Release partially duplicating Swell Pistons
Four and Release partially duplicating Great Pistons
fOperated by foot-pistons on pedal framej
Four Collective Pedals, affecting entire organ
Crescendo Pedal, with indicator at keyboard, showing exact position at all
MECHANICAL PEDAL MOVEMENTS
Great to Pedale, reversible
Balanced Pedals for Swell and Choir boxes
Tremulants for Swell and Choir
Electro-pneumatic throughout, except connections with swell-boxes
Pedal keyboard, radiating and concave
Action extended to keyboard in front of the stage i
Manual-key action provided with device for restoring modified touch of
Distribution of Students from the United States and Other Countries
Total Number, 2,062
British North America . 411 2,
Brazil . . . , 1
England . . , 1 3
Germany . l
Japan . , 2
Mexico . l
Porto Rico . 2
Scotland . . l
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70 T H E N E UEMEE l905p
Ertablislzed at New England Canserfuatory of Ilflzzsic,
Boston, Oct. 20,1898
Alpha New England Conservatory of Music . Boston, Mass.
Beta Broad Street Conservatory of Music . Philadelphia, Pa.
Gamma Detroit Conservatory of Music . Detroit, Mich.
Delta Ithaca Conservatory of Music . Ithaca, N. Y.
Epsilon University School of Music . Ann Arbor, Mich.
Eta Cincinnati College of Music . Cincinnati, Ohio
Theta Syracuse University .... - Syracuse, N. Y.
FRANK S. BROWN
PERCY J. BURRELL
GEORGE H. CAMPBELL
T. CLIFFORD CAMPBELL
GEORGE P. CHATTERLEY
HAROLD A. COLE
WILLIAM T. DAVIS
FLOYD B. DEAN
ALFRED DI PESA
J. HERBERT DODGE
HUGH J. DUGAN
STANLEY E. FULLER
ARCHIE M. GARDNER
CHARLES J. GIARD
ALBERT L. HALE
RAY L. HARTLEY
WILLIS C. HUNTER
HINTON H. JONES
HARRY B. KEELER
H. FAY LOOK
D. CLIFFORD MARTIN
Active Members .
WILSON T. MOOG
ARTHUR A. MOULTON
AUGUSTUS A. NOELTE
ELISHA P. PERRY
HA-RRY ROGERS PRATT
ERNEST M. SHELDON
R. ROSCOE STEEVES
ALBERT J. STEPHENS
ERNEST T. STONE
EUGENE H. STORER
JOHN A. STROMBERG
SHIRLEY F. STUPP
LINDLEY H. VARNEY
GEORGE D. VIEIRA
ERNEST A. VIVIAN
FRANK V. WEAVER
F. LYMAN WHEELER
MILTON A. WOODBURY
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l905 T H E N E U M E
Alpha Chi Omega
Alpha De Pauw University . Greencastle, Ind.
Beta Albion College . . Albion, Mich.
Gamma Northwestern University . . . Evanston, lll.
Delta Pennsylvania College of Music . . Meadville, Pa.
Zeta New England Conservatory of Music Boston, Mass.
Theta University of Michigan . . Ann Arbor,Mich.
1001 University of Illinois . Champaign, Ill.
Kappa University of Wisconsin . . Madison, Wis.
H. H. A. BEACH
MARGARET RUTHVEN LANG
WINIFRED VAN BUSKIRK
MME. JULIA RIVE-KING
MME. ADELE AUS DER OHE
ELLEN BEACH YAW
MME. MARIA DECCA
MRS. MARY HOWE LAVIN
PAULINE WOLTMANN-BRANDT MRS. CLARA TOURJEE-NELSON
RALPH L. FLANDERS MISS SARAH lVIAUD THOMPSON
MRS. CHARLES A. WHITE
Alpha Gamma Chi
Establislzed at Ottawa, Ohio, in 1898
Alpha ...... Ottawa, Ohio
Beta New England Conservatory . . Boston, Mass.
Gamma Cincinnati Conservatory of Music . Cincinnati, Ohio
Delta Richmond College Qcontemplatedj Richmond, Va.
B E TA C H A P T E R
JESSIE M. ANDERSON
ANGIE E. CooIwIEs
ALICE M. GILBERT
MARY D. JONES
ELSIE M. STOKES
EULA I. VARNELL
FLORENCE M. AUER
ELIZABETH I. BICKFORD
ELLA REYNOLDS BURNS
AMANDA B. ELLINSINGER
MARY B. EVANS
AGNES W. GANNON
GENEVIEVE G. GANNON
Lo BELLE HIGH
HELEN B. SULLIVAN
SADIE S. WAITE
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905 T H E N E U M E 79
AIPIWH Woman's College . . . Bucknell, Pa.
Beta New England Conservatory . . Boston, Mass.
Gamma Miss Gordon's School . . . Philadelphia, Pa
ELIZABETH H. LINK EDA COLTER
ANNA R. STONE EMILY WILSON
JANICE GRIFFIN MARGARET WILLIS
ET!-IEL WILLIAMS MARY JESSIE BROWNELL
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905 THE NEUME
Sigma Tau Theta
FAITH W. KIDDE11 MARIAN TALBOT
HILDRED THANHAUSE11 BLANCHE THOMAS
HILDA SWARTZ OLIVE L. WHITELEY
JANET M. BAILEY JESSIE NORTHCROFT
82 THE NEUME I905
Organized December 1, 1902
MRS. MARGARET AVERY MIss MARTHA PERKINS
MRS PAULINE WOLTMANN BRANDT Miss SARAH PERKINS
MRS. ADELINE C. FERGUSON MIss ELIZABETH I. SAMUEL
Miss ELLEN WHEELOCK MISS MARIE TREAT
MISS LUCY DEAN
EDNA J. SHEEHY . . .
HILDA SWARTZ .
FAITH KIDDER . .
HILDRED THANHAUSER .
. Vice President
. . Treasurer
JANET BAILEY .
- EVANGELINE BRIDGE
ANGIE E. COOMES
MRS. JEAN ROBINSON-COUTHARD
BESSIE V. FARNSWORTH
SARAH D. MORTON
M. DOROTHEA THULEN
WINIFRED VAN BUSKIRK
MARGARET W. WILLIS
OLIVE M. WHITELEY
1905 THE NEUME 83
The Young Women's Christian Association
HE Association work aims for the development of spiritual life among
the young women of the institution, and for training along such lines
as will best fit them for future Christian life.
An interesting course of Bible study has been pursued during the year
with a membership of twenty-three, Miss Sarah Perkins, Instructor.
Officers for 19044-1905
JEAN L. WOOD . ' . President
LUCILLE VooT . . Secretary
Jassus HAWLEY .
LU ETHEL HEWITT
. . . . . Treasurer
Chairman of 'Devotional Committee
Chairman of Bible Study Committee
Chairman of Social Committee
l905 THE NEUME 85
UGUSTO ROTOLI was born in Rome, January 7, 1847. At
the age of nine he entered the Hospice of San Michele and
was chosen to be one of the choir boys for the Lateran and Libe-
rian Chapels. At the end of two months he made his debut as soloist at
the Julian Chapel of St. Peters, his aria being the "Ave Regina Carlorum "
of Tornelli. His passion for music, he said, dated from that moment.
Great demand followed for his services in cathedrals and sacred melodramas
at the Academy of Music.
At the age of eleven he was regularly engaged as soloist at St. Peter's
on salary. Here he spent five years learning the traditional masterpieces of
Italian art--the music of Palestrina, Porpora, and other favorite Roman
After losing his natural soprano voice, he devoted himself seriously to
the principles of singing under Luchesi, whose direction he followed till in
1358 the title and position of "Master in the Academy of St. Cmcelial' was
Obtained. His success as organist, conductor and composer was becoming
S0 recognized in Italy and other countries that in 1873 the Queen of Por-
tugal bestowed upon him the insignia of the Order of the Cross, in recogni-
tion of his services to art. In 1876 he visited London for the first time,
Where he won subsequent distinction.
In 1885 Signor Rotoli accepted the position as vocal instructor in the
New England Conservatory. He gave a farewell concert in Rome, which
WaS 21 remarkable occasion. The aristocracy of the city, he-aded by Queen
Margherita, who was for many years his pupil, paid homage to the great
artist, whose loss was felt by all music loving Italy.
86 THE NEUME i905
Rules for Attending Concerts
'Wear creaky boots, and make your entrance and exit at pp passages.
Encore everybody. 1
5. Converse with your friends 5 only a nar-
, if ig xy row mind is unsocial while music is being per-
flffzlifillsligq formed. I . '
' 5. Instrumental music ma bei nored 5 it
I X Y g
ll l 'wx W , is generally meant as an accompaniment to con-
d lla 1 versation.
x -ill I 7. Violin music is an exception to the
' ' above rule. Listen attentivelyg open your mouth
,X 'ij I at the softest passagesg the more you don't hear
v . ,-- it, the finer it is.
p 8. Be wary lest you applaud too soon at
I very soft endings. Watch the performerg if it
jg? is a soprano, she will shut her mouth 5 if it is a
I p violinist he will flourish his bowg then you may
, QQ ' safely stamp, whistle, clap, shout "Bravoo,"
I iii "Bravee," "Bravah," or anything you like.
2 l 9. Loud endings are also to be applauded,
z , but you need not wait for the endg as soon as
"1 the singer hits the high note-go it !
1 10. Changes in programs are frequently
I. madeg be non-committal.
if 11. There are many European modes of
f I applause. Always use these in preference to
2 ' the American mannerg shout " bis," " brawl,"
" encore," etc., and somebody may mistake you
for a great kanoozer fconnoisseurl.
12. You may hum the tunes if you know
them. You may also hum them if you don't
l know them, but the former method is, on the
1 whole, to be preferred.
13. It may be possible that you do not
-3- I own the hall, singers, orchestra and audience,
. 1 but there is no harm in acting as if you did.
'-1:-- E - 14. Wag your head.
15. Beat time with your feet.
"' 16. Paste th s I s' h t b t.
iliifrffilfflrffiirfw5HN1hfMUMf 'HEL S.'E..Z'.L'Te
1905 THE NEUME 87
Ludicrous Incidents' in a Musician's Career
ny cnAm.r1s DENNEE
Y earliest connection with musical affairs, as near as I can remem-
ber, dates back to one day when I had reached the tender age of
five and was punished fin a manner I shall not dwell upon herej
for following a hand organ all the afternoon, while the police and neighbors
were searching the highways and byways for me. Candor, however, com-
pels me to confess that it was not the music of the organ that attracted
meg it was the droll little monkey accompanying the outfit.
Later on, being suddenly seized with a desire to play the piano,
because I envied the popularity of two of my young friends who could play
a few tunes, I was promised a piano and some lessons if I would consent to
have a particularly troublesome molar extracted, which no previous amount
of cajoling or persuasion had succeeded in accomplishing. The tooth came
out and the piano came in. From such beginnings as these do careers
One time, while waiting for my lesson, I heard my old teacher, Pro-
fessor Schelling, say to one of the 'sudden rich" women of our city, " It is
useless for your daughter to study any more, Mrs. X-. Ican do no
more for her. Why? Because she has no talent and she lacks the neces-
sary mental faculty." "Sure that naden't worry ye, sur," replied Mrs. X--.
"Mr. Xl- has plinty av money and he'll buy her onnything yez nade
for herg just ye tell him where he can buy those things."
During my career as a concert pianist I had many amusing experi-
ences. One evening a lady who posed as a very musical person and a great
patron of art, invited me to play for some friends at her New York home.
Among other thingsI played a piece I had just written and when I finished
it she smiled sweetly and gushingly murmured, "Oh, thank you so much,
that is my favorite nocturnef' For a long time I wondered just who the
joke was on.
While on a southern tour in 1885, it happened one day that by some
oversight the box containing the legs and pedals of my grand piano was
not taken out of the baggage car with the piano and I was obliged to set
88 THE NEUME i905
the piano up on saw-horses and enlist the services of the stage carpenter to
build a clumsy but useful substitute for the regular pedals. By draping the
piano I managed to relieve the incongruous combination to a certain extent.
Another night when I braved the rigors of a blizzard to play in Lynn
the piano became stuck in a snowdrift near Swampscott and I was given an
upright belonging to the hall. In the middle of a solo I put down a pedal
which proved to be the "soft stop," and the force of my foot broke the con-
nection. I was obliged to apologize to the audience, while the janitor in
overalls and jumper helped me tie the thing up inside of the piano with a
piece of rope. I made a hit, but not of the sort I expected.
I picked up the "Etude" one day and in glancing through it I was
amazed to find a letter inquiring about me and after it the editor's reply:
"Dennee was a pianist, composer and teacher at the N. E. Conservatory,
etc. He died four years ago." I had personally discovered no symptoms to
indicate that I was in any sense "a dead one," so I Wrote to the editor that
I was a pretty lively corpse just about that time.
About eighteen years ago a lady called on me who had four girls whom
she wished me to instruct. She asked my terms for half-hour lessons, and,
after haggling over the price for some time trying to get a reduction, finally
agreed that I should begin the lessons next day. Promptly to a minute she
arrived with her four girls and handed me some money, saying, "I subboze
I bay in advance, eh?" I counted it and remarked that she evidently
intended to pay only one quarter of the sum that day. "Vun quarter? vat
you mean? dot is it all! dot is the brice you say for vun-half hour a veek
for my four girls, aind it ?" It is needless to say that I lost four pupils
All piano teachers have met those pupils who say they cannot recall
the names of the pieces and studies they have had, 'but one was in a yel-
low covered book and the other a green oneg and oh, yes! I've played
Tarantelle, and I've had a book of 'eetudes' by ' Kzurneyf " But I think
the prize goes to the young lady who said in reply to the usual question,
"The last things I played were the 'Choppin Valises' and one of his
' Shurzoesf " I
In the spring of 1902 I received a letter from a young man out West
who had met one of my pupils. He said: "I want to study pianog how
long will it take to graduate from the Conservatory? Ihave never played piano
butI am considered a good musician and have had lots of experience 5 Iplayed
1905 THE NEUME 89'
bass drum in our band for three years and I am sure I can catch on
A new pupil once gave me a great deal of trouble for many weeks.
She could not seem to grasp the relationship between the playing muscles-
and the keyboard, touch and tone remained a sealed book to her. At
last in desperation I asked her if the pianb she practiced on had a very easy
action,-was it an old-fashioned square or an upright? "Oh,I haven't
any piano," she simpered, "I practice on my grandmother's melodeon."
That seemed to be my year for such experiences, as it was only a few weeks
later that I noticed one of the pupils who seemed to be a very bright girl
would strike a chord, then look at her hands, then at the music and play it
again. This stuttering became more pronounced when she played chords.
in the upper part of the keyboard. Questioning brought out the fact that
"everything sounded wrong " on my piano. "Your piano is out of tune,
evidently, how often is it tuned? It should be tuned four times a year at
least," I assured her. Her answer staggered me,-the piano had been
bought four years before and had never been tuned since. Her father came
to see me very indignant. "When I bought that piano they guaranteed it
for five years," he asserted, "and I am going in and tell them what I
think." I finally succeeded in convincing him that the poor abused manu-
facturer was innocent of any false representation.
While one of my operas, the Defender, was being rehearsed, the cho-
rus was at first long on tenors but short on bassesg unusual, but true. One
evening after rehearsal a comical looking little chap with a shrewd droll
face stepped up to me and said he understood basses were needed, would I
try his voice. He sang down the scale and managed to pump out a low G.
I told him I was sorry, but his voice was too weak. I-Ie turned to got
remarking, "I was afraid it would beg you see I'm a tenor, but I need ajob-
and I thought I might squeeze in as a bass." Scenting some fun, Iasked
if he would let me hear the tenor end of his voice. He fairly astounded us
all by singing up to high C in a voice at once so robust and pure in tenor
quality that he was engaged on the spot. He proved equal to three ordi-
nary tenors and was eventually one of the most valuable men in the opera,.
working into a small part. Such is the reward of persistence.
Down in Maine last summer a terrace was being made around the
cottage next to mine and I strolled over to watch the two old men who
were digging and doing the grading. They were both over seventy years
90 THE NEUME l905
'of age and looked as if they were made up for a rural comedy-drama. One
of them saluted me something like this: "Be you the feller who was
playin' on the pie-anner a minit ago ? " I acknowledged my guilt. "Well,
I'm a musicianer myself," was hissurprising statement. "Are you, indeed ! "
Iventured. "Oh, yes, I play the fiddle. I'm considered abaout the best
fiddler 'round here. i I make fiddles, I do. I got one daown to the haouse
that Lem North offered me ,fifteen dollars fer. He's a crank on riddles,
-got one cost him fifty dollars, a real old one. Yes, sir, I play the fiddle,
.Ifve played into concert right in the Taown Hall here. I like classicle
music the best, but you can't play it fer people here, no sir! they ain't
eddicated up to it. I tell you, tho, you can't beat Mowzart, Faust and
Trovatory, no siree ! Them's my favorite composers. I don't care nuthin'
abaout Wagner nor none of them new fellers." At this point I suddenly
had business in the house--it was too rich. I felt that I must laugh or 1
'should choke. I found my friends convulsed over the conversation and the
utterly ludicrous combination suggested, and to this day they ask me how
my brother artist is progressing with his shovel and fiddle technique, and if
I have found a composer yet who can equal "Mr, Trovatoryf'
l905 THE NEUME 9l
Recital Calendar for 1904--1905
SEPTEMBER 27.--Recital by Advanced Students.
OCTOBER 6.-Pianoforte Recital by Mr. Edwin Klahre.
NOVEMBER 25.-Concert by Orchestra and Advanced Students. Miss Ger-
trude Damon and Mr. Frank Watson, soloists. A
NOVEMBER 30.-Recital by Students of the Advanced Classes.
DECEMBER 19.-Concert by Orchestra and Chorus.
JANUARY 9.-Recital by Mr. Carl Stasny, assisted by Mr. Wallace Good-
rich and Mr. Percy Hunt.
JANUARY 16.-Pianoforte Recital by Mr. Frank Watson.
FEBRUARY 1.--Pianoforte Recital by Mr. George Proctor.
FEBRUARY 8.-Recital by Advanced Students.
FEBRUARY 24.--Concert by Orchestra and Advanced Students. Miss
Dorothea Thullen and Miss Olive Whiteley, soloists.
MARCH 3.-Concert by Chorus and String Orchestra.
MARCH 13.-Organ Recital by Mr. Homer C. Humphrey, assisted by Mr.
Alfred De Voto, pianist.
MARCH 21.-Organ Recital by Mr. Henry M. Dunham.
MARCH 27.-Song Recital by Mr. William H. Dunham, assisted by Dr.
J. Albert Jeffery, pianist. Mr. Alfred De Voto accompanist.
APRIL 3.-Pianoforte Recital by Mr. William Strong.
APRIL 4.-Mustel Organ Recital by Alphonse Mustel, Organist-Composer,
Paris. Mr. Alfred De Voto at the pianoforte.
APRIL ll.-Performance of Conservatory Opera School at Boston Theatre.
APRIL 14.-Concert by Orchestra and Chorus.
APRIL 17.-Concert by the Sinfonia Fraternity.
APRIL 24.-Concert of Mr. H. N. Redman's Compositions.
MAY 2.-Concert by Senior Class.
MAY 10.-Organ Recital by Prof. Harry B. Jepson of Yale University.
MAY 11.-Pianoforte Recital by Mr. Edward Klahre.
MAY 24.-Concert by Members of the Ensemble Class.
MAY 26.-Concert by Orchestra and Advanced Students. Miss Georgina
Nelson and Mrs. Inez H. Dunfee. '
Ezine-. Q '
The Student Problem in the Cities
O the sincere lover of his kind, and to him who seriously looks into
the future, no problem is of more absorbing interest than that
which concerns the young men and young women who are each
year entering our great "homeless cities." Especially is this true as regards-
,the student population of a city offering, as does ours, unlimited oppor--
tunities for culture in all departments of knowledge.
How shall this throng of youth, the wor1d's promise, be suitably housed
and fed, and, above all, be so protected and guided that they may success-
fully resist the varied and subtle temptations inevitably to be met, and gain
the fullest and noblest development possible? Philanthropists and religious
workers recognize that "the normal occupation during adolescence is-
consciously or sub-consciously to make life choices," and so estimate the-
importance of careful guidance and wise environment at this period, when
the heart is impressible like wax, but retentive like bronze.
To an institution like ours this problem appeals strongly because of its.
immense student body, made up of young men and young women from all
parts of our own land as well as from other lands. To its solution the-
President and Conservatory authorities have brought much thought and
1905 THE NEUME 93
First of all, dormitories have been provided where a large proportion
of the young women students Find safe and pleasant homes under the care
of women whose wisdom and experience eminently fit them for this posi-
tion of 'guardians and preceptresses.
A Board of Visitors, among whom are many women of wide acquaint-
ance with social and economic questions, are interesting themselves in the
dormitory life, and coming into helpful personal contact with the individual
A committee from this same Board
holds special relation to the student
life outside the dormitories. Working
with them, reporting to them, looking
to them for assistance in meeting the
varied needs which she discovers-social,
financial and otherwise-is a Precep-
tress whose entire time is given to this
department. She advises with the stu-
dents ofhcially, visits them in their rooms,
keeping in touch with their home life,
and thus continuing and strengthening
the friendly relations begun by instructors
and officers of the institution.
Broad as are the existing plans, new
ones are continually being evolved out
of the great demands and perplexities
Of this student problem of the cities,
which our institution shares in common with all others having at heart
the greatest good and highest development of youth.
SARAH ANNIE PERKINS.
SARAII ANNIE PERKINS, Prvcejflresx
94 THE NEUME l905
By EUGENE GRUENBERG
HE narrow frame of a hastily improvised article will hardly allow a world's
exhibition of material, interesting, rich, and profound enough to promise the
desired elucidation on the subject in question. Still, having spent fully two decades
of my life in playing with and belonging to the three great orchestras of Vienna,
Leipsic and Boston, I have come in contact with so many conductors of Qand also withoutl
name and fame that it may not necessarily appear arrogant, if I take the liberty to appeal to
the patience of my readers by submitting to them the following remarks.
Before all, it should be realized that the art of conducting is a very peculiar one. It
cannot be studied and practiced like physical culture, nor like singing, nor playing the
violin, by means of scales, arpeggios and etudes. It is not enough that one is blessed with
powerful arms, nor does it follow that one who can compose operas and symphonies must be
a fine conductor. This, of course, does not mean that a man must be a poor conductor
because he is a good composerg every poodle is a dog, but not every dog is a poodle. Study
and experience will improfue, but they will not always make a conductor. When Leon
Delibes for the first time conducted his lovely ballet " Coppelia" in a most fascinating
manner, the remarkable statement was given out that he nefver before had held a baton in
his hand! It would then not be so very ridiculous if a musician, asked whether he knows
howto conduct, should answer: " I don't know, I haven't tried it yet."
- There are many kinds of conductors: those who are born to be conductors and those
who are born not to be conductorsg there are nervous ,and fussy aswell, as calm and phleg-
matic conductorsg those who have the score in their heads and those who have their heads
in the score, then again, those who are insatiable in regard to drilling, tormented by a
demonic, agonizing fear " something might happen "5 and those blessed by an immovable
confidence in their star of good luck, owing to which they will make rehearsals unexpectedly
short, and create on the players' faces " that smile that won't come off." Conspicuous by
contrast are the two extremes, namely, the ultra-conservative and the ultra-modern con-
ductor: the former still fanatically adhering to the infallibility of tradition and convention-
alism, the latter discovering every day new mistakes in old scores. Finally, we can easily
discriminate the features of patience, politeness and delicacy in some, and on the other
hand intolerance, impetuosity, and " divine" rudeness in others.
Theoretically speaking, Wagner was the greatest of all conductors funless it was
Berliozj, but not practically, for he very easily forgot himself-either hypnotized by the
beauty or angered by the intolerableness of the music he happened to conduct. We have
been present at a rehearsal in Vienna when he interrupted the playing of the orchestra in
the midst of a passage with the words: "Oh, children, let us stop a moment, it is too
beautifuI-overwhelming-intoxicating!" And in the real performance it happened to
him that he, three times in succession, gave the sign to the bass trumpet for a motive which
was to come much later. He finally stamped with his foot and tried to suggest the motive
to the player by gestures and rhythmical motions of his lips, until he was most humbly
l905 THE NEUME 95
reminded of the mistake by one of the musicians. " Why, of course," said he, laughingly,
and everything was all right. Nevertheless, we all know that we owe the modern con-
ductor to him and to his evangelism laid down in his essay, " Ueber das Dirigiren," and
in other chapters of his epoch-making writings.
Liszt, the venerated master, was also as a conductor much talked about and commented
upon. Radical, indeed, must have been the innovations introduced by him into the art
of conducting, when we consider the controversies between his followers and their antago-
nists. We have read articles praising Liszt as the real messiah, and others calling him
down as a grotesque, eccentric charlatan. In his later years his attitude as a conductor
appeared to us of the younger generation absolutely not extravagantly or aggressively
modern. But possibly growing age and the experience of a long and eventful life may have
caused changes within him, contrasting with the symptomatic features of an earlier and
more fermenting period.
I shall never forget a performance of his "Missa Sollemnis " C" Graner Festmesse "Q,
in which I, then a pupil of the Vienna Conservatory, had the honor to play under the'
master's own direction. In fact, we did not have one, but three conductors at the same
time. Ofiicially, it was Mr. Eduard Kremser, the conductor of the concerts of the " Society
of Music Lovers," who was announced as leader, while Liszt himself, standing like the
Holy Ghost on an Eiffel-tower-high platform in front of Mr. Kremser, appeared to play
the r0le of nothing more or less than a metronome. He mostly confined himself to giving
the first few beats of every new tempo, while Mr. Kremser, catching the master's intention
from a mirror fastened to one of the organ pipes, communicated to the mass of singers and
players the inspiration reflected to him by the mirror. But it happened that the Abbe
now and then forgot to give the cue Csome were mean enough to claim that he fell asleep
incidentallyj, or he all of a sudden started to swing his baton in a manner positively con-
fiicting with the time beating of Mr- Kremser, which every time produced such a medley
among the performers that Mr. Josef Hellmesberger senior, director of the Conservatory and
first concert master, could not resist proving himself a real deus ex machina by using his
Eddie stick in an extraordinarily energetic way of swaying, in that way smoothing and
calming down the swollen waves of that gigantic ocean of chaotic sounds. It seems a
mystery how we ever got through!
The last general rehearsal of that memorable concert was not either without a thrilling
sensation, as the score of the " Missa," in regard to proportions in both size and weight
the largest volume ever printed, fell from the composer's lofty music stand and nearly killed
an elderly gentleman of the audience who had just approached the master in order to offer
to him the expression of his unbounded enthusiasm.
This reminds me of another incident, in which Mr. Saint-Saiins, the graceful and'
admired French composer, conductor, pianist, organist, essayist, librettist, scientist, pro-
fessor and astronomer, came very near the danger of losing his life. We were studying
H Pha5ton," the symphonic poem. The composer was just trying hard to explain to the
first oboe player the meaning and character of some important passage, but failed, owing to
the absence of an interpreter. At last, Saint-Sacns, highly excited, and following a sudden
impulse, as it seems, came to the conclusion to approach the oboist, probably thinking he
Could make things clearer when standing close to the man. But he completely lost sight of
the tremendously high level of his elevated platform, and the very first step made him fall
d0wn so unfortunately that his head would unfailingly have been crushed on the heavy
music rack in front of him had it not been for the presence of mind of Mr. Reinhold Hummer,
the first 'cello of the Vienna Orchestra, who caught the little man with an iron grip, and so
'96 THE NEUME l905
saved him from an untimely, terrible death, and the world from a great and irreparable
loss. By the way, it was the accident of falling from a window which deprived poor Saint-
-Salins of his only child.
One of the most important qualities of a skilful conductor is to be quick in cases of
femergency. Many characteristic facts, more or less true, will hand down to posterity the
accounts illustrating the wonderful gift of men like Hans von Biilow and similar giants to
meet any mishap on the platform with superior calmness and triumphant certainty of
victory. But we shall see that " there are others," who, although belonging to the species
of the dii minorum gentium, have, too, accomplished heroic deeds which at least deserve the
epithet of clever originality.
The H Rosenthal," Leipsic's vast and wonderful park grounds, contains a quite inter-
esting zoo connected with a restaurant in which are given very enjoyable and highly popular
open air concerts by the band of the 107th Infantry Regiment, one of the best military
bands for rather orchestrasj in existence. One evening the " Magic Flute " overture was
on the program. It was a glorious, majestic night, intoxicating and inspiring by its
fragrance, its starlights, its silence-yes, its silence! It was as if nobody would dare to
speak among those imposing, venerable old trees. The intermission was over, and now a
general raving, an anticipation of Mozart's divine revelation. The overture begins. Those
sacred three chords-indeed a revelation! And what a mysterious charm in that interval
.of silence following l
But, listen, what is this? Don't you hear? An outburst of some unearthly voice
coming from another world, but filling air and ear with ringing, threatening, penetrating
sound! By Jove! what may it be? Well, well, well, I declare! why, sure enough, it is the
big lion of the zoo, residing near by, who most probably was disturbed in his sleep,by the
opening chords of the "Magic Flute," and who did not hesitate to express his royal
indignation in that thoroughly dignified manner. The conductor, Mr. G. Walther, was
holding his baton in the air all that time, waiting patiently and with artistic conviction
until his majesty had finished his solo tfor roaring ad libituml, after which he, as a matter
of course and most naturally, continued and brought to its end the overture. Bravo, Mr.
As a contribution to the character of the spirit and discipline reigning in all parts of the
German army, I beg the permission to report a little episode which I personally experienced
'with the same band mentioned above. Rehearsing for a students' festival, I had to study a
quick-step of my own fabric, dedicated to the " Arion," one of the two leading' students
choral societies. Toward the end of the piece there was to be played an important Db both
in the second oboe and in the second trumpet, but none of them were heard. I had already
stopped several times and begged for that Db, but in vain. At last I asked the wind
players alone to play the chord. " And exactly the same wayq it must sound one octave
lower in the brass," I said, " so let me hear it, please." But there was no Db in the brass.
" For gracious sake," I hollered, enraged, "why don't you play that Db in the second
trumpet?" No answer. " Who plays the second trumpet?" No answer. Helpless and
near desperation, I am looking around, and-perchance-catching the eye of one of the
soldiers, I emphatically address him, "My dear friend, will you please tell me where
.the second trumpet player is? " Standing upon his feet, quick as lightning and with the
correct attitude of an orderly facing his superior, he reports, " Very well, sir, he is absent."
" But for anything in the world, why didn't you tell me that before? " " Well, sir, you
didn't ask me before I" Tableau! I believe they would have let me rehearse that chord
.up to this day before daring to open their mouths without being asked. What discipline!
l905 THE NEUME 97
Very often I have been confronted with the question, Who is the greatest conductor?
able, at least more difficult to answer than many other
hard questions, e. g., I-Iow is your liver? I should say, great is the conductor who is able
to make-with ease and comfort-the orchestra do exactly what he wants, supposing he
himself wants the right kind of thingsg but this is another great question. Mr. A may be
fond of champagneg Mr. B of lemonade, Mr. C of cod liver oily Mr. D is perhaps burning
and dying to witness an eruption of Vesuvius, standing close to the crater: while, as I am
pretty sure, Mr- E gives preference to the poetry of a moonshine scene in Venice, for which
Ido not blame him a bitg and Mr. F's inclinations would tend toward atotally different
direction, say for instance, to witness the picturesque ceremonies of a colored Baptist
This question seems to me unanswer
wedding in Virginia.
We know of many features of greatness, but also of as many forms of imperfection in a
conductor, for what mortal being could be perfect?
Johann Holbeck 11831-77D was as great a conductor as I personally can imagine a man
could possibly be, and what may have been lacking in him I really do not see. His was an
absolute command in regard to technic, ideal ease, gracefulness, dignity, manly power, fire,
swing, temperament, magnetism-all and everything which we admire in a conductor-last
but not least, a most appealing appearance. However, there was unfortunately one great
shortcoming about him, he was mortal and had to die!
Hans von Biilow, too, may be called very great: but he was too academical, too
logical, too much reflecting, too cruel in pathological dissection always and every time, even
if it broke one's heart. Otto Dessoff 11835-92D was very much the same,
Now, what do I care for the greatest greatness if the results are not positively gratifying?
Often I might prefer an artist, even should the muses of Apollo not have kissed him on the
forehead but-say-on the shoulder only. Look, for instance, at Bilse in Berlin. Hardly
anyone has ever considered him to be a genius, a great conductor, or even an extraordinary
musician, but he was an ideal master of drilling, and how much he has accomplished was
gratefully acknowledged by all. That speaks volumes- There are real great ones who
may not accomplish anything in the realm of conducting, fuzde, e. g., Anton Bruckner, the
Wagner of the Symphony, a most dreamy, helpless, and, alas! caricature-cut quantity on
the platform. The same thing can be said of Brahms, who, great as he may be, was
awfully clumsy and the opposite of magnetic when wielding his club, fvulgo baton, and not
less of Rubinstein, like Liszt, a man with a golden heart, a musical Titan, who deserved
to be worshiped on our knees as long as he played the piano, but who became well nigh
indigestible, as soon as he started to conduct, particularly in rehearsals, owing to his ugliness,
violence, rudeness, and lack of true ability for conducting.
Richter Thomas and Seidl have always been called great, and it certainly is not my
intention to attack such men. But it does not seem unfair to me, in matters of art, to make
Our investigations and statements as exact and to seek the pole of truth as regardlessly of
tradition and fashion, as may be.
Hans Richter was and is undoubtedly an extraordinary musiciang and in a certain
sense he ma be a ver remarkable conductor, but I had alwa s the im ression that he was
Y Y Y P
more eclectic than spontaneous or impulsive, more intellectual than emotional, and this, I
confess, represents to me one of the strongest imperfections in a great conductor.
As to Theodore Thomas, I was not fortunate enough to see him often in activity.
But so much I found out at once, that he had a most wonderful control over his men, which
means very very muchindeed. His appearance, too, was extremely noble, dignified and
imposing, but his nearly motionless, marble-like attitude during the performance caused a
98 THE NEUME 1905
very strange and, honestly, chilling influence upon me as a listener and looker-on, and, I
am afraid, also upon the players- By any means, however, Thomas was a great musician,
to whom we all are highly indebted for the incalculably great impetus he gave to the
development of the musical art in America.
with Anton Seidl Iwas very well acquainted since about 1880, and I can say that I
had every desirable chance to study his aims, his ambitions, and his qualities, both as a man
and as an artist. He was a very kindhearted fellow, but could be terribly harsh at times.
Exactly the same he was as a musician- It was an open secret among the musicians abroad
that, although he was a thorough musician, an exceilent " routinierf' he was not a musician
who would seem to care particularly for finely graded nuances, and in fact the orchestra
under his baton was hardly often given a chance to excel in nuances of a delicate sort of
shadingg such glorious things as piano, diminuendo, pianissimo, etc., it seems were simply
not existing in his musical vocabulary. i
But Wagner's personal interest and protection was mighty and weighty enough to
furnish an equivalent more than enough to make such shortcomings perfectly unobjection-
able. As the old saying goes, " Wer den Pabrt zum Vetter hat kann Cardinal lcicht
'LU67'dt'7l.H CFree translation: " With the Pope for a cousin, Cardinal's job is easy."J
Still, it must be said that Seidl has accomplished a great deal of good and useful work,
especially in the line of popularizing Wagner's music dramas in many quarters here and
Great, or at least celebrated were also a few other conductors. But most of them,
although excellent masters, would not be successful nafw, owing to their most conservative
views, particularly in regard to tempo and rhythm. Our present generation does not believe
any more in the metronome, but in the rubato. Besides, all those men are either dead or
retired, and, I fear, will not appeal to my readers any more, than did the fate of Hecuba
appeal to the actor in the second act of Hamlet.
Fortunately, we have most illustrious names in the list of contemporaneous conductorsg
think only fin alphabetical order, if you pleasej of the following ones: Mahler, Mottl,
Nlikisch, Paur, Strauss, and Weingartner! I am sure your first question will be: Whom
do you consider the greatest P As for that, I must say-unfortunatelyfPD-the friendly
relation between each of them and myself is such that you will kindly excuse me if I refrain
from the tempting pleasure of answering your question to-day. I deliberately postpone that
answer until two weeks after, my death, or else I might have to die at a date much earlier
than officially expected.
But speaking in general, not personally, we may say the greatest conductor is the one
who is the right man in the right place. He must not be too Draconic for he will be
hatedg and not too lenient, for his authority will not be believed in, nor will he be respected.
Before all, he must knofw hir bzuiness, namely his art, or he does not beginito be possible.
After all, nobody in the world has a finer scent, a better instinct and judgment in
regard to the value and standard of a conductor, than his own players- Therefore: lf in
doubl, ark the orrhestra.
I905 THE NEUME 99
The Correlation of Music and Literature
HAT music is intimately correlated with literature has been one
of the cardinal doctrines of the Conservatory from the very foun-
dation. Dr. Tourjce gave evidence of his belief in this tenet by
providing years ago an opportunity for Conservatory students to take literary
studies in connection with their musicg and by making certain attainments
requisite for graduation. From that time to the present, persistent efforts
have been made by his successors to impress on students the value of a lit-
erary course as a preliminary to the serious study of music.
The present Director, Mr. Chadwick, has firmly held that the students
who bring the most in the way of a literary education to the study of music
not only gain the most from their work, but reduce, in a marked degree,
the time necessary to cover given ground. He has, also, been untiring in
his efforts to bring the colleges to realize that music has its rightful place in
an academic course. And an era of reciprocity seemed to have dawned
when, last year, the Conservatory conferred a diploma on a graduate of
Smith Collegeg and Smith, under new rules for admission, gave credit to a
Conservatory student for music as one of her entrance examinations.
But doctrines, however strongly held, need to be re-enforced by experi-
ence before they can come to general acceptance. To the Senior Class has
been given the happy privilege of such demonstration, for the Conservatory
has never sent out a class whose literary assets have equaled those of the
present Senior Classy nor has it sent out one that has had so many names
on its roll of honor. That the highest record honor goes to a graduate of
Mount Holyoke College is significant. These facts gain in weight when
it is remembered that the demands made by the Conservatory course are
more strenuous and the difficulty of obtaining honors greater than at any
other time in the history of the institution.
Not only has the doctrine so long held by the Conservatory been vin-
dicated, not only has an era of reciprocity between the Conservatory and
the colleges dawnedg but the time has come when the Conservatory can
point with increasing pride to graduates who, thus doubly equipped, can go
out to take positions in collegesjwhere they themselves will be illustrations
of the worth and worthiness of a musical education.
Hail, Class of 1905! ELIZABETH I. SAMUEL.
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1905 THE NEUME lOl
The Class of Nineteen Five,
Oh, may it always thrive,
And keep itself alive
- Till Nineteen Eighty-five,-
Is the wish of the Class Inspector,
Jas. C. D. PARKER.
MONG the musicians I have met I recall one, of noble birth,
who might have been well known as a composer but for his high
position, which forbade a musician's career. I was in Anger-
mann's, the old Bohemian hostelry in Bayreuth, just after the first perform-
ance of "The Mastersingers 5' at the Wagner Opera House. Angermann's
could hold fifty people comfortably. That night it held fifteen hundred-
uncomfortably. All the chairs had long been pre-empted. Mr. Gericke,
Mr. Kneisel and I managed to get a plank, which we set up on two kegs,
making an improvised but somewhat splintery Seat. Lassen managed to
secure a few inches of the seat-not the splinters.
A well dressed and very near-sighted gentleman came in to this republic
of music too late for anything but "standing room." I managed to squeeze
out a few inches of my end of the plank, and offered him the hospitalities
of the occasion. I found the newcomer a most intelligent Wagnerian, a
man who knew every line and every measure of the great master's work by
heart. We chatted gaily on the festival, the artists, Cosima Wagner, and
what not. Finally he asked me, "With whom have I the honor of
Speaking?" I gave him my card, and he sought in vain for one of his
own, evidently having come without his card-case. Flushing slightly he
apologized, saying, "I am Prince Alexander of Hesse." I thought that
this was poor jesting, and longed to state that I was the Duke of Dedham,
but refrained. Perhaps it was as well that I did so, for the next night I
met him at Madarne Wagner's reception at Villa Wahnfried, when he gave
me the missing card, and resumed the Wagnerian conversation. I have
met many great professionals, but never so cultivated an amateur in music,
particularly in the newer school of the art, as Prince Alexander von Hesse.
Louis C. ELsoN.
I02 THE NEUME 1905
AMONG the many pleasant experiences while visiting the musical studios
of some of the great European voice masters, Mr. W. H. Dunham
mentions delightful hours passed with Sig. Antonio Cotogni in Rome. This
most remarkable baritone of his day lives in an old palace, and has evidently
been one of the artists sagacious enough to arrange a luxurious home for
his declining years. He sang in all the large cities of Europe, and said the
only quarrel after twenty years with Patti was when he refused to go with
her company to the States, so we do not know him here.
A slight, elderly man, quite the usual Italian type, vivacious, enthusias-
tic, still called one of the best masters for operatic preparation. He takes
now no women as pupils, saying, "When Iscold and shake them they
weep!" but grants an occasional criticism on a woman's voice. At this
point he differs from the famous Florentine master, Vannuccini, who has
so many names of famous women singers among his pupils: and in whose
genial presence Mr. Dunham passed several months listening to the work of
many of his scholars.
In the main studio hangs Signor Cotogni's most cherished possession,
a large laurel wreath wrought in solid silver, each leaf bearing the title of
one of his roles and the donor's name. This was given at his last appear-
ance at Petersburg. At one side of the wreath hangs a portrait of .lean
de Reszke fwhom Mr. Dunham soon knew so agreeably in Parisj, and on
the other side a photograph of Mme. Sembrich, and many more famous
pupils of this great teacher, who was also a lifelong friend and comrade of
our dear Signor Rotoli.
The Maestro spoke rapidly in French, as Italian was not then so
familiar to his guest, but his enthusiasm over the tenor songs made the
translating a pleasant task. One morning the strangers were escorted by
Signor Cotogni to the Santa Cecilia Conservatory. The hall is attractive,
but the class rooms seem small and inadequate. The library is remarkable,
and contains many rare manuscripts and original editions from presses all
over the musical world. The genial man is himself quite up to date, and
interested in all that is new, delighting, like all his race, in melody, and
expresses himself greatly pleased with a packet of songs by American writ-
ers, sent over to him as souvenirs of and appreciation for many happy hours
in many pleasant weeks.
1905 THE NEUME 103
QIIN " Villa Wahnfried," the house of Richard Wagner at Bayreuth, every
Thursday evening in July and August of 1876, the performers of the
Niebelungen ring used to meet their friends who by special recommenda-
tion were cordially invited by Frau Cosima. At one of these reception
nights August Wilhelmj had promised to play a quartet with some mem-
bers of the Niebelungen orchestra, Emil Mahr fviolinl, B. Thomas fviolaj
and Leopold Grtiizmacher f'celloj. Richard Wagner was in the best
mood, chatting with everybodyg nothing seemed to vex him. Wilhelmj
and his associates played the A minor quartet, op. 132, Beethoven, of
which Wagner remarked that it was his favorite, but that he liked the
scherzo exchanged with the one of Beethoven's E minor quartet, op. 59.
Everything went all right, but shortly before the tempo di marcla in the
last movement, Wagner said, "Now Wait a moment, gentlemen." He
Went out and returned with an ordinary Bavarian sabre, which he had
girded about himself. He drew the sword, and taking a pose like a statue
of a victorious field marshal he exclaimed, "Now play, gentlemen! the
tempo di marcia." It was not very often the case in Wagner's life that
the great master felt disposed to such a kind of buffoonery.
I RECALL an incident of my intimacy with Mr. Henry K. Hadley,
which occurred a few summers ago when four of us occupied a cot-
tage on the shore of Saranac Lake in the Adirondacks. Mr. Hadley was
working hard at the third movement of his symphony, "The Four Seasons."
He had secured his principal theme, and had partially elaborated it, but was
at a loss for a second theme, which he desired to be an Indian melody of
contrasting character. We sympathized deeply with him in his predic-
ament, and even contributed some composite efforts of our own, which,
strangely enough, he sarcastically referred to as triple distillation of
One frosty night as I was returning g
distance a faint sound of weird melody, and as I entered I perceived Mr.
Hadley at the piano garbed in an Indian blanket, and smoking his Indian
pipe Qpresumably to secure local colorj. Shivering with cold he turned to
me and related with enthusiasm how after an evening of harassing labor he
had given it up almost in despair, and had gone to bedg but as he slept he
to the cotta e I heard in the
View or FENWAY FROM DORBIITORIES
i905 u THE NEUME l05p
dreamed that he was still at work, and had come upon the very thing he
had been looking for so long. It awoke him suddenly, and strongly im-
pressed by what he had dreamt he went to the piano and worked out the
beautiful melody I had heard.
There was no light in the room except the glimmer of his pipe, and
I proceeded to awaken the other two, so just as dawn was outlining the
mountain tops across the lake a ghostly party assembled to admire and
Christen the child of his imagination. Naturally a work favored by such
auspicious spiritual influences could not help but succeed, and in fact this
Symphony secured the first prize in the Paderewski competition.
ALFRED DE VoTo.
QINOTHING in my own experience that will be of interest to others
comes to my mind at this time, so the best I can do is to note that
which happened to someone else.
During the Wagner Festival, which Theodore Thomas gave in Boston,
together with several other students, I joined the chorus. The night o
the concert came, and Thomas came to the desk amid great applause,
rapped on the desk for attention, and waited. Over among the basses a
member Qwhose personal appearance was much like the men who drive beer
Wagonsj was wandering around to find a seat. Thomas waited a little, and
said, "Sit down." The man kept on looking for a seat, and everyone's.
attention was centered upon him. Thomas said again, much louder, " Sit
down! " and the reply came back in tones to be heard.throughout the hall,
"Hain't got nothin' ter set on."
A pupil of mine, while teaching in the South, gave a pupils' recital.
One whose musical taste led her to practice cake walks and the like at
every spare moment was to appear on the program. At the last she came
to the teacher in terror and said that she was so afraid that she would
forget her polonaise. "Never mind," her teacher consoled her, if you do,
play 'Whistling Rufus! " Her turn came,
When, to their astonishment, the pupil actually was playing that popular
e and finished with the last
F. ADD1soN PORTER.
and all went well for a while,
air. A little later she thought of her polonais
part of it.
VANNUCCINI with all the other qualities and attributes of a great
qi teacher, has a good sense of humor, which is continually cropping out
during his lessons. I have an instance in mind when on one occasion I
IO6 THE NEUME l905
was present at the lesson of a fellow pupil who ordinarily sang unusually
well, but who on this particular day was very much out of voice.
He was singing the part of Marcello in " Les Huguenotsf' and man-
aged to get along after a fashion until he came to the phrase, "6 I'ultima
ora " fit is the last hourj, which ends on a low note, and which, try as he
might, he could not reach. After several ineffectual efforts, which only
resulted in a queer wheezy sound, the old master who had been fixedly
watching him over the rim of his glasses, turned to the piano with a gesture
of resignation, saying, "My son, one can plainly see that this is not the last
hour, let us proceed with the lesson." ARMAND FORTIN.
qIN 1878, Hans von Biilow came to Leipzig to give a concert in aid of
the Wagner Verein, of which he was a powerful patron and supporter.
His program consisted of the last five sonatas of Beethoven, which he played
with tremendous power and convincing effect. At the end of the concert
he received a most enthusiastic ovation, to which he responded with great
good humor, and finally made a short speech, explaining that he had to
take a train for Berlin that evening and begged the audience to excuse him.
The Conservatory boys and girls then crowded about the door of his
dressing-room, which was just across the corridor from the hall. Then
appeared old Professor Wenzel, the senior pianoforte teacher of the Con-
servatory, and erstwhile lover of Clara Wieck, who married Robert Schu-
mann. He thumped vigorously on the door of the dressing-room and
shouted, " Hans, Hans, open the door-it is the old Wenzel l " Presently
the door was flung wide open, disclosing the distinguished doctor minus
his collar, coat, waistcoat and some other garments, While various toilet
articles were scattered about the room. The ladies were somewhat con-
fused, but Wenzel rushed into the room and embraced Biilow, and after
a while a considerate janitor slammed the door. And so I think I saw
more of Hans von Biilow than has fallen to the lot of most students.
V GEORGE WHITEFIELD CHADWICK.
qIHERR VON BULOW was here on his first visit to America, and the
occasion was a "Peck Benefit." Mr. Peck was the manager of Music
Hall, and each year a benefit was tendered him by his friends, than which
no musical event was more popular with the general public. One incident
of this concert which I have never seen in print is worth relating. The
attractions on the program were the Theodore Thomas Orchestra, Herr
1905 THE NEUME 107
von Biilow, a soprano and an alto singer, both of them deservedly famous
throu hout the United States. The soprano won an encore with her first
number on the program and responded to it. Evidently the encore selection
had not been rehearsed, for as she neared the end of it she partly turned
and laid her hand on the shoulder of the accompanist as a signal to him to
wait while she threw into the piece some "skyrockets" in the way of a
cadenza. Then the concert proceeded in the usual way until the second
number for the so rano was due, when there was a delay of some minutes.
Finally Mr. Thomas came upon the platform and went among his first violin
players and selected a very young man, scarcely more than a boy, with a
wealth of jet black hair. The two of them retired to the green room, an
soon the soprano appeared and sang her song with the aforesaid young man
' ' h d b n
as accompanist. It was easy to surmise that the accompanist a ee
offended at the action of the soprano, and had refused to play for her in the
the truth of my surmises by both the
Years after I was able to prove
regular accompanist and the young man with the black hair. The former
has been for years the director of one of the most popular opera companies,
the latter is now one of the most successful orchestra and chorus con uc ors
in this country. I leave the reader to guess their names.
SAMUEL W. COLE.
qll HAD the good fortune to know Prof. Theodore Leschetizky very
intimately, and as I have been asked to relate some incident connected
with him, I tell the following: Leschetizky when a young man was once
asked to teach the daughter of a rich merchant. The father, being wholly
Commercial in tastes and no judge of music, required that the master should
Play something. Leschetizky played him the etude of Chopin on the black
keys, and the merchant, on the alert for anything which might be called
"shady," remarked that the teacher only used the black keys, and wished
to know if he could not make a reduction in the price of the lessons if his
daughter were not to be taught to use white ones. Leschetizky said he
could make no difference as he had only one price, and offered to play him
Something else, which he did, etude No. 1, opus 10, which is princi-
Pally On the white keys. The father seemed nonplussed for a few sec-
' ' ' not some swindle connected
onds, doubtless trying to discover if there were
with it. He finally gave it up and with a sigh said to Leschetizky, "Well,
108 THE NEUME I905
I know nothing about your business, but I'll take the riskg go ahead and
teach my daughter to play all the ways and I will pay the full price."
QIWHEN Giuseppe Campanari made his first visit to America over twenty
years ago for the purpose of filling the position of 'cellist in his brotherls
string quartet, it was my good fortune and pleasure to be present with his
brother Leandro, at that time my instructor, upon his arrival. Two weeks
later I saw him again at his first appearance in this country, at Melrose,
The Campanari quartette played before a crowded audience that
evening. The people were reluctantly leaving the hall, which was'scarcely
half emptied, when suddenly everyone turned at the sound of a powerful
I had noticed Giuseppe standing at one side of the stage with his
overcoat unbuttoned, his hands thrust into his pockets, and his hat set
carelessly on the back of his head. He had been looking eagerly toward
the piano, and glancing impatiently at the swaying crowd moving gradually
out from the hall. Unable to wait until all had gone he had walked quickly
to the piano, and without even removing his hat began to sing some operatic
selections. Everyone gazed in astonishment at Giuseppe Campanari the
.'cellist, as they knew him. So spirited was the singer that it took some
minutes of earnest protestation, almost pleading, on the part of his brother
to convince him that they must leave for home. But then the last train
had gone, and our party was obliged to return by carriage in the midst of a
severe storm. A
The large number who lingered that night were most gratefully sur-
prised to have heard the first notes in America of the famous baritone,
.BIN the life of every musician there is sure to be some experience which
is written indelibly on his memory. Such was my first interview with
Liszt, whose house I approached with a letter of introduction from Xaver
Scharwenka. I sent up my card and in due course was ushered into the
presence of the great master, who was busy writing at his desk. In a
moment he arose, welcomed me with both hands extended, took my letter
i9os THE NEUME I09
of introduction and dropped it into the waste basket, saying, as he pointed
to the grand piano: "This is your introduction. Now let us hear you
His first instructions were in regard to playing the melody, and after
I had played my piece he told me that I was too much absorbed in it, that
I must not play to the people who had paid three thalers and were seated
in the first three rows, but to those who had paid a small price and were in
At the end of the lesson I was in a state of great embarrassment, as I
had been warned not to mention money, when to my great surprise Liszt
himself opened the subject by saying that I could join his class, and asking,
"How about the money?" I was thrown into confusion by this direct
question, but was soon reassured when Liszt patted me on the back and
remarked, "Oh, you don't have to pay me for the lessons, but I cannot
look out for the board!"
qWI-IILE studying counterpoint and fugue with the well known .Iohn
Knowles Paine, one particularly clever member of the class brought in
what he thought a unique production, but what appeared to the professor,
at first sight, as worthless. It was a fugue with a subject nothing more
than the popular street song, "lVIulligen's Guards. " Paine, apparently un-
moved by such commonplace material, criticised the pupil for not bringing
in more serious work, and proceeded to look for the counter subject. This
he found to be another equally popular tune of the day, and he continued
to pour forth his criticisms. In a moment it all occurred to him what the
pupil had doneg that the material had been well worked out, and a good
fugue ingeniously made from material in itself practically worthless.
HENRY M. DUNHAM.
qTI'IE fallibility, or the infallibility, as you will, of the human ear as to
pitch has more than once been the subject of discussion. Many a
wager has been won by him who has trusted to his accuracy of sense, and
many a one lost. Many are the stories told, strange to say, stories as to
a sense apparently more easy to exercise with precision. Mistakes happen
here. That they happen, composers who pen one thing and hear another,
know best. That a great authority may err is shown by the following :-
IIO THE NEUME l905
Toward the close of his career, in the height of his fame, his senses
undimmed, Meyerbeer was called to a prominent court theatre in southern
Germany to conduct the first night of his' operas. In the general rehear-
sal, in a number accompanied by an obligato clarinet, the Maestro paused.
"What clarinet have you there?" "B flat, Meister." "Oblige me and
take the A clarinet. Iwant the peculiar tone color of that instrument."
The player bent over his rack, rattled his clarinets on the upright pegs on
which they stood at his feet, and warmed and tuned an instrument ostenta-
tiously. "Ready, Meister." "Ah, meine Herrenl There you have it!
That's the tone of the A clarinet that I had in mind all the time."
Actually, it was the same B flat clarinet on which Winternitz, past
master of his art, had long played all solo parts, no matter what the trans-
position-the clarinet whose tone everyone knew. The rehearsal went
quietly on to its end, but the men in the orchestra had found something
over which they made merry, even twenty and more years later, when an
old, old 'cello player told it with a queer kind of satisfaction to the writer
of these lines. BENJAMIN CUTTER.
QIMR. CAMILLE THURWANGER was born in Paris, in the heart of
the Latin Quarter, where he resided until he came to America,
intending only to visit some relatives of his, and although he visits his old
home every summer, invariably returns to Boston in the autumn.
He belongs to a family of artists, his first name " Camille " was given
him by his godfather, who was the great and celebrated French landscape
painter, C. Corot. It was Mr. Thurwanger's good fortune to have spent
the largest part of his life in the very atmosphere of Parisian art, and among
the most famous artists.
His parents' home in Paris was the rendezvous of great painters like
Eugene Delacroix, who was the teacher of Mr. Thurwanger's mother,
who, although well advanced in the eighties, is a most brilliant portrait
Among other great painters who gathered in this home were Dau-
bigny, Th. Rousseau, Diaz, Francois Millet. Among the sculptors were
Carpeaux, Etex, and Maindson. Among the many musicians who joined
in the gathering were Lebebure-Wely, and Gounod.
qIMR. CARL STASNY, when requested to write some personal remi-
niscences of the many famous artists and composers he has known
eplied that he could not do so. On being urged, he laughingly remarked:
I905 THE NEUME III
"Well then, I will tell you of some of my friends. Ishould not dare to
write in my English."
It was Joachim Raff who persuaded my father-himself a musician-
to give me a musical education, and it was due to his advice that I was
sent to Vienna, where I studied three years under the excellent composer
and pianist, Ignaz Briill. It was here that I first met Brahms. He and
Dr. Hanslick, the famous critic, were two of the jurors at the Conserva-
tory competition, where I was awarded unanimously the first prize. Brahms
said some very encouraging things to me, and a few days after I called on
him to thank him for his kind interest. He received me very cordially, and
repeatedly asked me to have a seat. I was much embarrassed, as every
chair and sofa, even the piano and tables, were piled high with music.
Finally he noticed my predicament, and laughingly remarked that the floor
seemed to be the only place left.
It was the same year that I met Rubinstein. He was to give a
recital, and about fifteen minutes before he was to play my teacher took
me into the green room to see him. As soon as he saw Briill enter he
rushed toward him, exclaiming, " Play me the last movement of the Appas-
sionata Sonata !"' Briill, astonished, sat right down and played it, and
Rubinstein thanked him many times for coming in as he did. For the
moment he simply could not remember a certain passage.
In 1875, Briill, knowing that the price fren gulden for the cheapest
seatsj was prohibitive for me, presented me with a ticket to a concert given
by Liszt in aid of an orphans' home. Of course I was deeply impressed
with his playing, and I marvel now at the assurance with which I planned
t0 speak with the great virtuoso and ask his advice in regard to my own
playing. I might have had letters of introduction, but armed only with the
Hungarian Fantasie I went boldly to the house where I knew he was
Staying and Sent in my card. His valet showed me into a large par or, an
I must admit my nerve was shaken when I found myself all alone. How-
. . h
ever, a few minutes later when Liszt entered he spoke to me in suc a
friendly manner I recovered my courage, and told him that I was to play
his fantasie in a few weeks, and begged for his advice. He gave me a
long lesson on it-my first experience of the unfailing kindness and gen-
' ' Il k b k
erosity which I received from him in later years, and which oo ac
Up0n as the most valuable and most beautiful experience of my life.
H2 THE NEUME I905
Saint Saens and I once visited the great Cathedral in Mainz together.
After we had been there some time Saint Saens expressed a desire to play on
the great organ. The sexton said it was impossible, as absolutely no one
was ever allowed to play on it except the regular organist. By dint of
much persuasion and a well aimed thaler, we arranged it with him, agreeing
to assume all responsibility for any injury to the great instrument. Saint
Saiins improvised for more than half an hour, and when he finally left off,
the sexton, realizing that he had "entertained an angel unawares," brought
me back my thaler, and seemed utterly unable to express his admiration and
I met Wagner the first time when I was two years old, in Venice.
My father, conductor of the Austrian Military Band Can orchestra of eighty
menj, played for the first time in Italy the Overture to Tannhauser in the
public concert on the Plaza of St. Mark's. To his great surprise Wagner
rushed through the crowd and the orchestra to the conductor's stand and
embraced him. This was the beginning of a friendship which Wagner
showed in many ways for my father as long as he lived. In 1882 I went
with my father by special invitation from Wagner to Bayreuth to the first
performance of Parsifal. He treated my father with special consideration,
and on being reminded that I was the baby that he used to give horseback
rides on his knee, expressed his satisfaction that no such feat would be
expected of him now. I think one of the most interesting hours I have
ever spent was listening to them as they exchanged reminiscences of the
old days in Venice.
It was my good fortune to be present one memorable evening when
Liszt played at sight with Rubinstein a fantasie for two pianofortes, which
the latter had recently composed. Liszt, who was always interested in a
new composition, had made an appointment with Rubinstein to try it over
with him at the palace of Prihce Hohenlohe. The pianos were arranged
so the players were facing each other, and the guests were divided about
evenly near the two performers. By the time they had finished everyone
in the room was crowded right up by Liszt's piano, not only amazed at
such a marvelous exhibition of sight reading, but electrified at the incom-
parable artistry with which he had interpreted his part, while Rubinstein
rushed about exclaiming to everyone, "Incredible, incredible! "
In the latter part of the thirties, last century, Liszt went to Russia on
a concert trip, and when he arrived in St. Petersburg Nicholas I. heard of
i905 THE NEUME II3
him and asked him to come and play. Liszt went to the palace and found
a large, aristocratic audience, having been introduced to the Czar, he took
his place at the piano.
The Czar with his adjutant sat near the stage when Liszt played and
loud. Liszt turned and looked at his majesty, but the
Czar did not stop talking. Finally Liszt stopped playing, the Czar arose
and expressed surprise, whereupon Liszt remarked, "Your majesty, it is only
courtesy on my part. When the Czar speaks everything has to be silent. '
The ruler left and the adjutant returned to command Liszt to leave the
city within twelve hours. Liszt could never be induced to go to Russia
again, but later the Czar met him in Vienna and apologized to the artist.
began conversation a
At a dinner party Liszt, who was accompanied by his favorite pupil,
Carl Tausig, was asked to play. Liszt, who never liked to play under such
circumstances, quietly said to Tausig, "Carl, try that piano for me." Tau-
si , then in his prime, understanding what was required of him, acquiesced
immediately, and in five minutes the strings, if not the heart of the piano,
were broken. It was a complete wreck, and Liszt expressed his regret that
the piano was in no condition for further use.
Biilow was a man of very uncertain temper, one never knewjust what
to expect from him. One day when a guest at a dinner in Berlin, his host-
ess smilingly requested him to play some little piece, as there were a few
minutes left before dinner would be served. Biilow consented with sus-
picious readiness, Went to the piano and played the entire sonata of Bee-
Of course the lady had not
thoven, op. 106, which lasted fifty minutes.
expected such a long "little piece," and much to her chagrin the dinner!
was completely ruined.
It is told of him that on one occasion he met on the promenade at
Baden-Baden a gentleman from the committee of the Symphony Concerts.
in Frankfort, who approaching him said, "Doctor, I bet you don't remem-
" ur bet " and walked
ber me.'l Biilow laconically answered, You've won yo ,
Biilow, who was conducting a rehearsal of Rubinstein's symphonies
at Hamburg, remarked, "Long hair, short ideas." On hearing of this,
' ' ' ' l h ir
Rubinstein said, "I don't see why von Bulow should criticise my ong a g
I never said anything about his long ears! " .
II4 THE NEUME 1905
HE system of dots now used by many of the blind is named after
its inventor, Braille. I have said, by many of the blind, to draw
attention to the fact that Braille is not the only raised system,
and therefore is not universal.
It is thought by perhaps a large majority of people that Braille is
extremely complicated and thus diflicult to grasp, but this is not true,
however, for I know of several cases where people possessing their eyesight
have learned in a few hours both to read and write with accuracy. One
does not easily forget the system after once thoroughly learning it.
For individual writing a tablet is used consisting of a metal ruler about
fourteen inches long containing four lines of oblong cells, with about thirty
on a line. Each cell has six notches, three on a side, numbering on the
right 1, 2, 3, on the left 4, 5, 63 1 and 4 are at the top. The ruler is
movable so that when four lines have been completed it can be moved
down ready for the next four lines and so on until the page is finished.
Under the ruler is a metal bottom containing grooves running the full width
of the tablet, with three under each line of cells. The paper is placed over
this metal, and the dots are made with a stiletto through the cells of the
ruler with the notches to guide the point. This system is read from left to
right, and since the dots are pressed down into the paper, it can easily be
seen that the writing would have to be done from right to left, then the
paper is turned for reading.
A more substantial way of writing is by the stereotype machine, which
has six of these stilettos, cach controlled by a key. But instead of putting
dots on paper directly, brass plates are used. The paper is then placed
between the brass plate and a sheet of rubberg then all are rolled through a
wringer, leaving the dots on the paper. The dots stand indefinitely on the
brass, so that as many copies as are desired can be had.
I905 THE NEUME IIS
In this system there is no staff, but each note has its sign made by
different combinations of the dots. The whereabouts of a note is deter-
mined by octave signs placed before the note, that is to say, all the notes in
the contra octave are in the first octave 3 all the notes in the great octave are
in the second octave, and so on to the eighth octave. The value of a note
is determined by the position of an extra dot added to the regular sign for
that noteg for instance, C an eighth, is represented by dots 1, 4, and 53
C a quarter, has number 6 dot added, making 1, 4, 5, and 6 in the
When a composition is written it is carefully divided into sections of
perhaps twenty or thirty measures each. Then a section of the right hand
is written, followed by the left hand part for that same section, and so on
through the composition.
In learning a composition the left hand reads the right hand part, and
wire versa. Of course it can be committed away from the piano.
Perkins Institution for the Blind and the Illinois Institution for the
Blind are constantly at work on the musical library, and there is now con-
siderable Braille music in circulation, both vocal and instrumental.
The accompanying specimen of Braille music is Chopin Prelude, Op.
28, No. 20.
FRANK VIGNERON WEAVER.
'Agn K ,yd '
.LL M , A-
II6 THE NEUME 1905
Partial Notes of the Writer's Experiences
in a German Opera House
RRIVED in town early in November: was fortunate in obtaining
introduction to theatre. Asked my object in coming, replied, "to
gain experiencef' By doing what ? Anything no one else wanted
to do themselves. Found field of work in this respect unlimited. Did I
know operatic music? Yes, all Wagner. "Waffenschmied ? " No, never
heard of it. "Ah, I thought so, just like all the rest. Never mind, you'll
soon learnf' ,
First duty, chorus rehearsal on "Trompeter von Siikkingenf' Chorus
knew work by heart, I had never seen it. Chorus discovered fact in fifty
seconds. Operatic chorus are less human than machinery in their singing,
but more keen, moreover, they are sympathetic.
Spent two weeks learning that I must introduce myself to all my
superiors, could not get used to it. In final struggle presented myself
three times to the same actor, who looked to me like all his companions.
He invited me cheerfully to try again next day.
First important duty, to conduct stage noise in "Joan of Arc "-mur-
muring of the populace, ah ! ah ! etc. Also large military band in distance
Csix men in the green room with the door shutl. Next arranged march
on stage in "Faust " for eight men, with allowance for the risk of absence
of two. Utility is important in a theatre.
Made incidental music for an Ibsen play, and incidental enemies of
players thus called upon to desert their firesides, and otherwise free evening.
Third flutist, however, become stanch friend when I gave his part to a
clarinet. Stage manager gasped when I asked for contra bass tuba to play
a low F if which never would have reached the footlights. Scene of play
in Orient in an early century. I wrote for ecclesiastical chorus and
chromatic harp. Both misfits. Play had eleven acts, and occupied two
evenings. Eventually reduced to five and one, audience made still further
reduction to four.
1905 THE NEUME II7
Now permitted to play organ on stage. Practiced an hour on church
scene from "Faust," nearly exhausted blower boy, learned next day that
church scene hadn't been given for years.
Next responsibility to lie down behind a stage rock for three quarters of
an hour to give important notes to "L'Africaine." Made great success,
and realized beginning of my vocal career. Later sat on top of stepladder
with forest bird, and conducted him-her rather.
Joined in general search for pet stage
cat 3 learning that propenty man had invited
friends the previous evening to a hare sup-
per, further search was deemed futile.
Scored Schubert's waltzes for orches-
tra for anniversary of composer's birthday,
thereby got opportunity to conduct them.
Incidental music again. This time
for "Die Versunkene Glockef' Chief
worry to reproduce the "Glocke"g finally
discarded real bells, and employed five men to strike tam-tams of various
sizes under the stage, while the carpenter held down low D on the organ.
.f ig. 1- '1' ,3'- 1 ,. ., 4'
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Having been given up as an exponent of the aforesaid "Waffenschmied,"
was given task more to my liking-teaching Giitterdiimmerung to new
singers, incidentally making a Briinhilde out of Erda. Was forbidden to
play accompaniment as written, "nur kein Klavierspiel" was the order
Finally opportunity came to conduct ballet-a sort of Mother Goose
with modern music. Played for twenty-four full stage rehearsals, thereby
able to have the score in my head rather than my head in the score. At
first performance curtain went down before I expected it-had no idea
of sacrificing beautiful music accompanying apotheosis-and continued with
great expression to end, despite concert meister's frantic efforts to hurry.
He was a good friend, but I didn't know it then. Stage manager: "But
my dear young friend, why drawl out your old music when the curtain is
long since down? People come to the theatre to hear music, not pauses
and restsg they're hungry :' let them go home." The ballet survived some
nine performancesg after each one there was a special rehearsal to make
new cuts, so that after number nine there was nothing left to play again.
lI8 THE NEUME l905
The above are but hints at the varied character of such work. To be
serious, it is an invaluable education, particularly as teaching that nothing is
too small to be of some value as experienceg that all work is worthy and
dignified when done seriously. And not the least pleasant memory of the
winter is the universal kindness of all those under whom and with whom I
worked, and the generosity with which they provided the opportunity for
experience so much desired, and thanks to them so fully received.
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When earth's last piano is broken
And the strings are rusted and gone,
And every fiddle has vanished,
Forgotten each opera and song,
We shall rest and so will the others
Who have listened so long to our art,
Till Gabriel with his trumpet
Shall set us anew at a part.
Then pianos will all be made wireless,
Each violin always in tune,
And everyone's voice be like Melba's,
And organ pipes reach to the moon.
Then no one will speak of motifs,
And no one will mention themes,
And if you will analyze Wagner,
Each chord will be just what it seems
Then each of this wise class of Seniors
In things either written or sung,
Will show to the rest of creation
How they really ought to be done.
120 THE NEUME l905
Heard in Lesson Hour
"Will you p-l-e-a-s-e wait ?"
" Sorry to keep you waiting."
"I'm just a little late, can you come to-morrow?
"If you kindly please."
"Ach ! Attitudes! ! Attitudes l ! l"
"This marking is an invention of my own."
"You must use Faber's."
" Got anything to-day Mr. --?
"That's the best I can do for you."
"That's a fine rod."
"Excuse you l I'
"Weill I don't want to hear you play, only practice. Understand?
"Those are peachy tones."
"Hold your horses."
"It's up to you.'l
"As it were-so to speak."
"Good luck to you, little girlf'
"You're a little late this morning."
l' How many have done three hours ? "
"I think that's right, but I'm not quite suref'
"It would be too much for an unwashed chorus."
"The organ is nothing if not rhythmicalf'
An N. E. C. BULLETIN NOTICE.
"Imperative that every student shall attend this recital fthe program
given belowl, for the benefit derived, 'or in other words,' 'as it were,' to
see what hand culture can achieve."
New England Conservatory of Music
By an Assistant of the Normal Planoforte Department
HENAY-Song without words
" As It were "
HENAY-H I've Got a White Man Working for Me "
PROCTOR-'H Teasing "
DENNEE--H Good Old Summer Time"
JEFFE RY-" Last I-Iope "
PARKER-" Snoring "
CHADWICK-H Please Go 'Way and Let Me Sleep."
1905 THE NEUME IZI
NEW ENGLAND CONSERVATORY,
uv T1 ' rv' ---
llwm l lt U WN BOSTON, MAss.
Ia DEAR MAMMA:
'NVE-+"i: if I was glad to receive your letter
cw" 1 . last week. I am well and very
fifzf 'N W If happy in my work at the Conser-
Og , vatory. I like all my teachers and
A -,E W all m studies ver much.
H ' I I hyave told youilabout some of my
N' studies in my other letters and so
this one shall be devoted to my
l, X fb favorite study, Concert Deportment.
I wonder if you know what Con-
ga Klw cert Deportment means. I thought
r 1 ,iii 1 did before 1 began taking if, but
I have found it so much nicer and
I W A I more interesting than I ever dreamed
it could be.
Everyone has to take it for one year, but all the students like it so
well that its time limit is not compulsory. p
I think that most of the Class of 1905 will come back next year for
post-graduate work in it. I hope you will let me come. It will be money
well invested, I can assure you, for all my future life I shall keep seeing the
benefit I derived from the study of Concert Deportment.
Now I will tell you a little about it. Its aim is to fit us to take our
place on the concert stage or anywhere else with ease and grace.
The first lesson we had to relax and let ourselves fall upon the floor.
This is a fine exercise and very helpful to music students, for it makes strong
wrists and graceful bodies. Then we learn the functions of the different
parts of the body, such as the hand, arm, shoulder, back and limbs. Then
we have to do exercises something like gymnastics, only much more diffi-
cult and beautiful. I
We learn to make bows, too-bows for entering and leaving the
stage and for all other occasions. And we learn how to handle the trains
to our dresses if they get in our way.
l22 THE NEUME 1905
Then we do pantomimes, which are very interesting and helpful. In
our last class some of the pantomimes were washing dishes, sweeping, tak-
ing pictures, saddling a pony, and lots of other good ones. These are to
help us to be more graceful and easy in all our actions, and especially in
playing or singing.
Now good-by. Next time I'll tell you about two of my other stud-
ies, Theory and Harmony. They are interesting, too, in a way, but not so
nice or so valuable to us as Concert Deportment.
With love, I am
' YOUR DAUGHTER.
P. S. I forgot to tell you that you must always walk in a line, for we
learn in Concert Deportment that it is only common people who do not
walk in a line.
N. E. C. Athletics '
BASEBALL ....... ! ! ! I !
BOXING "' . "
BASKET BALL . ?
TENNIS . 5
FOOTBALL . .
Why is Ralph Lyford like William Penn? Because he refuses to take
off his hat even to the king.
SOLFEGGIO TEACHER Qsomewhat excitedj-"What do you think
the object of this course is, anyway?"
"Well, well, is this you? Were you to come to me at this time?
Just be seated, I have to go down stairs for just one minute." Two
hours later: "Well, did you get tired waiting? What time can you come
to meg to-night at eight promptly? Good-by for the time. "
905 THE NEUME
The Prima Donna to the Tenor
You are an awkward, boorish wretch,
Of you I'm sick and tiredg
Though by the female audience
You're awfully admired.
Could you but warble half the "airs "
That you put on so finely,
You might deserve the puffs you buy,
And come to sing "divinely."
I know the world in general
Thinks that, with love, I'm sighing-
Each night, through four melodious acts,
For you with grief I'm dying.
Torn from you by a bitter fate,
Or by some Basso scowling,
Before my canvas prison gate
You out' of tune are howling.
But when you kiss my ruby lips,
Please let it be a "dummy",
I wouldn't kiss you for the world,
You dismal, wrinkled mummy.
When in the third act we embrace,
And I with pity soften,
I think you might in decency
Eat garlic-much less often.
In our duets, you sing too loud,
You think you're the attraction.
Please recollect I'm number one,
You, but a vulgar fraction.
You star it on your high chest Cp
Bought criticisms inflate you. A
I'll hire a clique to hiss you yetg
You howling fiend-I hate you !
L. C. ELsoN.
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Inversion of the
124 THE NEUMAE 1905
More Truth than Fiction
The distinction between serious and comic in their extreme is very
slight, so we are told. I certainly found it so in my first public appearance.
Iwas to sing at a funeral. For two whole days I was on the verge of
When the moment came I arose, shivering with fear. A profound
hush filled the church, broken only by the sobs of the mourners. Suddenly
there flashed into my mind the conversation with the deceased's daughter,
who hired me for the occasion, and an overwhelming desire to laugh seized
me. The young lady requested me to sing, "With Verdure Clad." Mis-
taking my surprised expression, she hastened to add, "Well,I think we ought
to have some music 5 a funeral is so tame without music, don't you think ? l'
Struggling with the thought as to whether or not I was saving the
-service from tameness, I stumbled through my song, to be met at the close
of the service by a good deacon of the church, who grasped my hand, and
exclaimed: "You sang beautifully, but then I don't know anything about
music. I can't tell the Doxology from America. "
Dictionary of Musical Terms
fron INFANT MINDSD
Ann Dante.-A celebrated composer. Daughter of the poet.
M.D.+Go for a doctor.
Leg.-Ballet music. '
m. 5.-Mess, a musical composition by a very young composer.
Ped.-Pedantic. In classical style.
Rall.-Rallying. Music played at a political rally.
Rit.-Ritualistic. High church music.
Ten.-A ten strike. Very heavy, with all the ten fingers.
Spiritasa.-Go out and "refresh"
Bar.-The place indicated by spiritoso.
Stacc. -A pile of compositions is called a stack.
Fine.-The opinion the composer has of his own works.
Grave.-The looks of the audience after hearing a dozen of them.
Lento.-Music for Lent. Also reminds the musician that what is
"lent " is "0" 'ed.
L. C. ELsoN.
THE NEUME 125
Dear friends, we give you greeting,
And a word of right good cheer,
For the time it is so fleeting
That we meet with friends so dear.
We will tell to you a story,
Not in prose, but in a rhyme.
'Tis not of fame and glory,
But of seconds, thirds, and prime.
The major scale is rent in twain,
And the fragments strewn around,
And we are driven most insane
To think of all its sound.
The Hrst we sing is Ma, Me, Ta,
And then go back on T03
We ring in Nel and Mel and Ga,
Till heads they do ache so.
Those seconds just elude our brain,
The thirds are just as bad,
The sixths we try but all in vain,
And sevenths drive us mad.
The name of all of this you ask,
And why these looks of woe?
It is the hopeless, endless task,
Of learning Solfeggio.
Miss KEITH and Miss ACKER--Ladies of note.
When in doubt ask Miss PERKINS.
TEACHER Cto pupil ini counterpointj-"You k,eep too near the home
What view do most people get of W. G.? BACH view.
l26 THE NAEUME I905
TEACHER-"Now, let me see, how many have we here-one, two,
three, four, five, six, seven-well, the last bell has just rung, so we'll wait a
little whilelongerf' fTwo minutes later Miss-rushes in, hair flying and
covered with confusion.j "Oh! here you are Miss --. You must try
to be a little more punctual, Miss --, a little more punctual, for if you
are not, I fear greatly for the exam, I fear greatly. You must be here
on time." After taking off his glasses and staring severely for a few seconds,
he resumes, "Now, before we begin, are there any questions?"
PUPIL-NI have some names I would like you to pronounce."
TEACHER-"Oh, yes, very good. I always like to have the students
bring in questions."
She hands him a list of names she has hunted up in a musical dic-
tionary along with a few of her own selection, such as Von Tilzer and
Ade. The teacher goes through them bravely, and retires from the field
-covered with glory and smiles.
TEACHER-"Now please draw up around the piano."
Seven out of the eight present make a frantic attempt to get directly
back of the teacher. A great deal of wild confusion results, but finally
everyone is seated, most of the students having an excellent view of their
neighbors' hats, but none whatever of the keyboard.
TEACHER-'ll think you were to bring in some modern music to-day."
Then follows a scholarly and exhaustive analysis of such modern
masterpieces as "Bedelia," "Bill Bailey," "Coax Me," "The Rill" and
"The Defender." One student hands a piece to the teacher in a hesitating
way. Opening it, he finds it to be "After the Ball."
TEACHER, reproachfully-"I said modern music, I think. Now, we
will take notes." fTen minute interval.l "That will be all. I hope
you are doing good work in the sub-classes. The sub-classes are very
Suppressed excitement prevails in the class, but the star pupil explains
that the sub-class is their only joy in life, and that they are commencing an
analysis of the "Melodia." The teacher explains that they are undertaking
a stupendous task, but with hard work it can be mastered. After this,
-class is dismissed-something which should have happened a whole page
FIRST GIRL--"Was that a concert deportment bow? How nervous
SECOND GIRL-ilDO6SH,t she pound? She plays that Berceuse like
After the concert, both girls at once--"Oh, Miss --, how beau-
tifully you played. We enjoyed it so much."
905 THE NEUME
ilieqnzrrarzni In Hare
iulgirh hrpartvh thin lifv
I28 THE NEUME 1905
"A TREATISE ON RECOGNITIONQ or, How to Make Friends and Keep
Them," by Sheehy and Whitely, authors of much experience and wide
"TEMPERAMENfI'," a valuable addition to the library of a musician, by
l'DELAYED SUSPENSIONS," an exhaustive treatment on the subject,
including Retardations, carefully discussed. Rights reserved by Albert J.
UTONE PRODUCTION AND ATTACK," by Elisha Perry. An invaluable-
work on this subject from an entirely new point of view.
' Answers to Correspondents
INQUIRING MIND.-No, it is not polite to talk during musical numbers.
MISS BLANK.-Yes, the Class of 1905 possesses one voice of a pecul-
iarly lyric quality.
WORTHY OBJECT.-Two officers of Class of 1904, unable to meet
expense of cuts for THE NEUME. Subscriptions hopefully solicited by H.
Whitehouse and Payson Porter.
' ilk' E 7
N lo ooo 'A n o 0 D
.Tl D 1 ., im
,- 'ww f
HN ELI E For 1Ju5HvE55 -
1905 THE NEUM12 I29
VVhat are you going to wear?
Where didi Miss Johnston get those nuts?
What tailor got the 5675 for Mr. Storer's coat?
Who was Mr. Steeves' Ballet Master?
Did Miss Morris ever cut?
Pin or bustC?D
Why is the Gym.?
Have you received a billet-doux from Mr. Dean?
Who ever heard of "Music is Truth " ?
How will Mr. Steeves extricate himself from several breach of promise
If a rehearsal of the Senior ,Class chorus, Ralph Lyford, director, is
appointed to begin at 6.45 P. M., and twenty members are present, at what
time does the rehearsal begin?
What is an irregular resolution ? A harmonic surprise party.
'V' p WJ
i it ill' lil'
Every girl wants a "Wheeler and f ,, yr, ,im
Wilsonfl but some prefer the "Singer.,' if-jf
N 1 . ',, ' ,
Now see here a minute!
J I i 1 U
fi l. fl
Az, ,V M f 'p
, fmfrlx if 1 fm
L, , Lg l N.
. il l 'wi
Good gracious! Where was Dugan 1 1 SX
wounded that he should be admitted to L2 ' ,Keg
1 ii-.g11":5f' fr " X A
the Soldiers' Home? ,fi . 'f-'QQQQ
. ' X A , yq?
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For further information apply to
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OUR ADVERTISERS 131
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APPIY to firm for its general information
GEIGER 85 WITHERELL
CURRY Sc PERKINS
B. B. 2205
CONSERVATORY ART LECTURE COURSE
Second lecture of the course, May 27,
1905. Subject: The Value of
Tonsorial Art, by 1- --
Patrons: Messrs. LYFORD, WATSON
and F. DEAN
This space reserved for
THE NEUME OF 1906
FLANDERS 8: TROWBRIDGE
An unlimited number of situations now
A teacher of long experience and un-
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Hutchings-Vote rgan S 0.
Builders of the Great Organ
in Jordan Hall, New England
Conservatory of Music 051
HE HUTCHINGS-VOTEY ORGAN CO. HAVE ALSO BUILT
ORGANS FOR THE FOLLOWING SCHOOLS and COLLEGES
Yale University, Woolsey Hall, New Haven, Conn.
Vassar College fChapelQ, Poughkeepsie, N. Y.
Brown University, Sayles Hall, Providence, R. l.
Mt. Holyoke College, Mary Lyon Chapel, Mt. Holy-
Wellesley College, Houghton Memorial Chapel,Wel
Chicago University, Mandel Hall, Chicago, lll.
Lasell Seminary, Auburndale, Mass.
Peabody Conservatory of Music, Baltimore, Md.
Colorado College, Colorado Springs, Col.
Harvard Divinity School, Chapel, Cambridge, Mass
Lafayette College, Easton, Pa.
Groton School, C-roton, Mass.
St. Paul's School, Concord, N. H.
Mt. Hermon School, Mt. Hermon, Mass.
Wesleyan University, Middletown, Conn.
Rockford College, Rockford, lll.
Dana Hall School, Wellesley, Mass.
Williams College, Thompson Memorial Chapel
Has your Piano Improved with Age?
PERF ECTLY constructed piano, like a violin, will improve with age,
provided the piano workmanship is equal to the violin workmanship.
Q In such a piano the question of cost of manufacture dare not enter.
Q The instrument is artistic, and is made for musical artists'-those who know.
Q The instant the question arises, " How much? " the piano ceases to be" artistic "
and becomes " commercial." Q There is one piano factory in the United States
fthat of Mason and Hamlin Co., Cambridge, Mass., in which nothing is passed
over as " Good enough." Q Perfection of every detail is demanded under the
most exacting superintendence, until each individual piano is absolutely as good as
artistic skill and infinite care can make it. V
iiluann S4 liululin Qu.
manufacturers of ARTISTIC PIAN
492 BOYLSTON STREET, BOSTON
fopposite Institute of Technologyl
STICKNEY SL SMIT
. Allow ten per cent. discount to Teachers and Pupils
of the New England Conservatory of Music on
Ladies, Costumes, Sfreef, Walking Suits
Skirts and Garments of all kinds
. Waisis and Furs
33:3 I57 TREMONT STREET
STORE B O S T O N
Jbffeyer fonasson CS' Co.
Tremont and fBoylston Streets
Feliahle Outer Garments for Women
THE CONSERVATORY ANNOUNCES THE PUBLICATION OF A COMPREHENSIVE
COURSE IN SIGHT-SINGING CSOLFEGGIOJ ENTITLED
.. E LODIA ..
By SAMUEL W. COLE. in charge of the Sight-Singing Department at the Conservatory, and
LEO R. LEWIS, Professor of The History and Theory of Music at Tufts College.
This work is adapted for use by instructors of classes or of private pupils, as weII as by those who,
without instruction, desire to strengthen or cIeveIop ability to read at sight. There are eIeven series of exer-
cises, one-part and two-part, covering progressiveIy every grade of difticulty, from the most elementary to the
SAMPLE PAGES SENT FREE
The price is 81.50 net: at least fifty cents less than the ordinary cost of a
work of its size and style. It will be mailed to any address postpaid on re-
ceipt of 81.68, or may be ordered through any dealer.
THE NEW ENGLAND CONSERVATORY MUSIC STORE
HUNTINGTON AVENUE BOSTON, MASS.
The New England
Conservatory of Music
G. W. CHADWICK, Di t
The School Year 1905-6
Begins September 141, 1905
L. P. HOLLANDER 81 C0.
Owing to the extensive alterations throughout our entire establishment, which will, in
time, temporarily close our second and third Hoors, we have decided to hold an
DURING THE MONTH OF JUNE
Reductions of a most radical nature will he made in all departments, and especially in
the Dress Making, Suit, and Underwear Departments. Dress Goods and Silks, and
Misses' and Boys' Clothing.
Smit Qgvoob, qfrrinter
Cmafier of Qlgooits, mlagoginea, diatatoguea anb
Qtbbertising Literature of Every Qescription
witlj bffice anb 'bvortisliop 352 fwasfjington gt.
Qgoaton, Cmasnactjusetts Eefeptjone 273 mtain
Mr. Charles M. Stieff,
Boston, Mass .
The Stieff upright piano, which you sent
to the New England Conservatory of Music on trial
last October, has proved entirely satisfactory, and
on the strength of this trial, I have decided to
place an order with you for Twenty-five C255 Stieff
upright pianos, same style as sample submitted.
These pianos must be delivered at the
New England Conservatory of Music on or before
September lst, 1905.
Yours very truly,
Tone Quality and Durability are Absolutely Essential.
That is Why Our instruments are Used Exclusively in
Brenau College, Gainesville, Ga., Mansfield Female College, Mansfield, La.,
50 PIANOS. I0 PIANOS.
Converse College, Spartanburg, S. C., Hannah More Academy,Reisterstown, Md.,
36 PIANOS. I0 PIANOS.
Baptist Female Sieanigjairlgfxixllggxigh, N. C., Lousiana Femalegfglkiblgeatchie, La.,
National Park Seminary, Forest Glenn, Md., Maryland Collegiate Inst. Union Bridge, Md.
30 PIANOS. St. Mary's Star ofthe Sea School, Baltimore.
St. Josephis Academy' Emmitsburg, Md., St. Catllgflnels Normal -SCh00l, Baltln'l0re-
2 5 PIANOS, St. Martin s School, Baltimore, Md.
Mt. Vernon Senggagilyfalgngton, D. C., ig?3pi,3g:E?:34elYI1Sid.
K M C H H ' Md Immaculate Conception, Baltimore, Md.
ee ar 0 62:6 Pifrgggn' " St. Patriclfs, Baltimore, Md.
, ' And Many Others.
Elizabeth College, Charlotte, N. C., --
l 7 PIANOS- Write for Catalogue
CHARLES M. STIEFF, 91,fg,,',g1g,i,',fgjfgFe'
W. J. Simkins
16, UPTICIAN M
Repairing of all kinds of Watches,
Clocks and Jewelry. French Clocks
a Specialty. Special attention given
to Optical Prescriptions
282 Huntington Ave.
Near New England Conservatory
LADIES' AND GENTS' CAFE
Home Cooking a Specialty
Your Patronage Kindly Solicited
260 MASSACHUSETTS AVENUE
Mas. GALE, Paomziarnsss
The Senior Class Photographer of the
New England Conservatory of Music is
CHARLES WESLEY HEARN
394 BoYLsToN ST .... BOSTON
Special prices given to all students of the Conservatory, who
will please mention this advertisement
ON SALE AT
Conservatory MHQIC Store
PRICE . Sw 25
Ideal Silk Store
No. 29 Temple Place, Boston, Mass.
We make a specialty ot Dress Silks and Lining
Taffetas, and can save you from I0 to 25 '72, on these
goods. We invite you to call and inspect our values
and prices. Please note the following, as these are a
few of our leaders:
27 in. White Wash Silk, 45 c. reg. value, 50.59
27 " " " " 59 c. " " 0.69
27 " " " " 69 c. " " 0.79
23 " Colored Crepede Chine 75 c. " L00
2l "Black Taffeta, 65 c. " " 0.79
26 " " " 79 c. " l.00
35 " " " 3l.00 " 1.25
Samples will be .sent checyfully upon request.
H. E. Barton H. A. Eaton H. M. Nash
BENT 85 BUSH
NEXV ENGLAND CONSERVATORY
MAKERS OF 'HIE SEAL
AND THE CLASS '05 PIN
COLLEGE, CLASS. CLUB AND SOCIETY PINS
INIEDALS, CUPS, BADGES, FLAGS AND BANNERS
15 SCIIOOL STREET, BOSTON
The Business of the
Boston Musical Bureau
l. To supply
COLLEGES, CONSER VA TORIES,
,fICADEMIES, and SEMINARIES, wilb
. TEACHERS of MUSIC, ELOCUTION,
ll. To supply
CHURCHES with SINGERS. ORGAN-
IS TS and CHOIR DIRECTORS.
Ill. To supply
CHORAL SOCIETIES, MUSICAL
CLUBS, elc., with soloisls for ORATO-
RIOS, CANTATAS. etc.
For full particulars, address
HENRY C. LAHEE.
218 Tremont Street :: :: Boston, Mass.
PHONE, Oxlfoun 475-4
WORLD FAMOUS SHOE
Well dressed College Girls wear our exclusive styles
in Artistic Shapes. Newport Ties in Tan, Patent,
Dull Calfg Button Oxfords, in Patent Colt Flat Lastg
Blucher Oxfords in Cordovan, Patent, Tang Low
Pumps in Tan, Patent, Canvas. Lace and Button
Boots, every style possible. Pointed and Broad Toes,
all weights soles. College girls used to pay 57.00 for
their shoesg now they buy Knickerbockers, 53.50.
Mail orders filled carefully. 40 page catalogue.
Shoes delivered free in Boston. Call on us.
E. W. Burt :Sz Co. :: 40 West St., Boston
.-1 D ' VA ...
f 5 Mi? 5 "1
N M , D
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