New England Conservatory of Music - Neume Yearbook (Boston, MA)

 - Class of 1906

Page 1 of 144

 

New England Conservatory of Music - Neume Yearbook (Boston, MA) online yearbook collection, 1906 Edition, Cover
Cover



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Text from Pages 1 - 144 of the 1906 volume:

'iii-AA-LA,.L fxxb fl-,,,fQ,S-J, Q.Q:."0Q,, THE QM, VOLUME II CO RV- ibf, - , QR. O nv" uf f FNS A? Cx - QQ" 93N U16 L C :S G if ' H1 X13 jaingmcffgif N18539 Cl7I'X'RI1Ill'I', NlNl':'rr-11-iN lIL'Nmucn ANI: Nix, uv 'rm-1 Nlwmnlz lhmlum Nygwgfl-,.3,.lN HVNUR PUBLISHED BY THE CLASS OF NINETEEN HUNDRED AND SIX WQGA YP: OUR TEACHER COUNSELLOR F R 1 E N D XVALLACE GOODRICII IA - ' 'Q lv A Y . 4 K, if W LU' Mn CLASS mf 1906 ..1-.-.1- ,,: ,X ii 9, WALLACE GOODRICI-I, Acting Director 1905-1906 lgneteen Hundred and Six T H E N E U M E Prelude TIMULATED by the success of Tins Nlillklli '05, the Class of I906,tl1l'OLlgll its Board of Editors, presents its first contribution to English literature and art. Though our task has been arduous, it has been lightened by the hearty co-operation of students, alumni and friends. To all who have in any way aided us we extend sincerest thanks. If there shall be aroused a more vital interest in tl1e welfare of the Con- servatory, our recompense will be sullieient. May none who find themselves in the following pages in the lime- light of publicity take offense: our spirit is ever kindly. After all, are not our foibles your fun, then, why not your foibles our fun? So 6072 voyage, NICUME 'o6l Tim Envrons. 3 T H E N E U M E Nineteen Hundred and Six New England Conservatory Calendar l906-1907 FIRST SESSION begins Tlnlrsclzly, September 20, 1906, :Incl closes WVeclnes- clay, February 6, 1907. SECOND SESSION begins TlIIIrsclzIy, February 7, 1907, and closes Wfeclnes- clay, June 26, 1907. L:llRIS'l'MAS VAc,vI'ION Qone weelcj, December 23 to 29, inclusive. EAS'rIsn VACATION Qten cluysj, blzrrcb 29 to April 7, inclusive. All tCZlCl1illg'ZllNl business in the Cormservzltory is suspenclecl On legal holiclays. The First Session of I9o7-I9oS begins September I9, 1907. 4 Nineteen Hundred and Six - T H E NE U M E Corporation BOARD OF TRUSTEES CHARLES P. Jfxcon P. BATES XVH.r.1AM A. L. BAzrcI.1cY ALANSDN B1cHs1.ow wVII.I.IAM S'1'URms Busrcnow, M.D. JOHN O. Brsnol- NVILLIAM P. BLAKE CHARLES II. IgOND Col.. A. PARKER l3RowNlc G1coRcHz D. BURRAGIQ FREDERICK B. CARPIQNWQR SAMUEL CARR Glifllifili VV. QIIIADXVICK DR. X'VAI.'l.'EIl CHANNINH Glifllifili O. G. COALE HON. PIENRY E. Colm FRIQDRRICK S. CONVERSR RICIIAIRIH H. DANA IEDXVARD S. IDODGE Ali'l'lILTli F. Es'rAnRooR RAI.I'Il L. .FLANDERS EDWARD VV. FORRRS RALPH E. Forums CQARDINIQR, Presicient DR. IEDXVARD G. CQARDIN Ml'JSlES B. 1. GKJIDIJAIRIJ IIENRY L. I-IIGGINSON C1.1aM1aNT S. I'IOUGlI'l'0N ERRN D. JORDAN ARDDN W'. KEIQNE DR. S. NV. LANGMAID I'I1cRmaR'r LYMAN JOHN P. LYMAN FRANCIS E. P1sAnoDx' REV. GISCJIQCSIE L. PERIN, CHARLES G. SAUNDERS IQOHEIRT G. SIIAXV AI.I.liN XV. SXVAN S. LOTIIROP VIXIIORNDIKE EVIiRlET'l' E. TliLTIi'l"l'lE HAR1.1ss ' 1 RR .N C XVx F REV. NV. F. XVARRIQN, D D , I JOHN B. NVILLIS DR. AI.l!lEll'l' E. XVINSIIU FRANK NVKJCJI7 JOHN G. XVRIGIIT S T H E N E U M E Nineteen Hundred and Six ana-agement DIRECTCRY COMMITTEE Clmlulcs P. fjARIJINlER JAMES C. D. 1',xnK14:R fiEORGE W. Crmmvzcx R.xI.vn L. F1..xN1mns Ii,-XI.l'll L. Frnxwnlclas, fllamzgcr FRIEDERICK L. '1'ROXVl!RIDG.E, .flIa2zq.Q'cr,s flSSl'SflllZf QDSSIAN E. MILLS, Casllier and .flccozmiczvzl E1.1z.xmf:'r1l C. AI.I.1aN, Corrcsj5omiz'1zg Secrelafgf M,xn'r11.x l'1emuNs, lfegzklz-af' ISENJAMIN CU'l"l'TEli, Curator qfLz'6rrwy WVILLIAIKI F. NV1Q1.1.MAN, vS7LfL'7'Z.7ZfGlZ!l,L'lZf qfdbzsic Sfore Preceptresses IELLEN M. WVIIEELOCK ,XDELINE C. FERGUSON M.x1usAnE'1' WV. Avmw SARA11 A. PERKINS 6 1 DIRECTORY CCDMMITTEE W5 24 it Q T H E N EU M E Nineteen Hundred and Slx Charles Perkins Gardiner R. GARDINER was horn in Boston in 1836. IIe springs from one of the oldest families in this country, a family that includes mcrcliants, doctors, lawyers, and ministers of note. Beginning in private schools he advanced to the Boston Latin School, and later entered Lawrence Scientific School, where he made a special study of chemistry. After a year spent in travel in Europe he returned to Boston, entered the law oflice of l1is father, and has ever since heen connected with legal affairs. In 1865 he was elected a trustee of St. I'aul's School, Concord, N. II., and the following year was made treasurer, a position which he has held until his resignation in January, 1906. He is also a trustee of the Perkins Institute forthe Blind. He was elected to the Board of Trustees of the New England Conservatory in 1895. The following year he hecaine Vice President, and in May, 1898, he was honored with the Presidency. Since he hecanie President the institution has made more rapid strides than ever hefore, until now it is the largest and hest equipped Conservatory of Music in the world. 8 gzwifff l"r1-,v I T H E N E U M E Nineteen Hundred and Six George Whitefield Chadwick R. CIIADNVICK isanother product of old American stock. Born in Lowell, l1is musical studies were hegun with his older hrother, and continued at the New England Conservatory. ln 1877 he went to Leipsic, where he hegan his lirst thorough study of Composition under Reinecke and Jadassohn. Then came the study of conducting with Ahel, and a more advanced course of general Composition and Organ under Rheinherger. The dominating influence of Rheinherger on the modern American school is due greatly to Mr. Chadwick, for he was the first American to study with the German master, therehy iuliuencing a large numher of young American musicians to hecome his pupils. In 1880 he returned to Boston and hecame a teacher at the Conservatory. Elected to the position of Director in 1897, Nlr. Chadwick immediately proceeded to put the Con- servatory curriculum upon Europcan lines. Under his Vligllflltl' more thorough work and a higher standard of artistic Hnish are demanded. Moreover, the excellent teaching force of the institution l1as hecome known to the general puhlic as never heforc. As a teacher he has had under his guidance such prominent musicians as Horatio YV. Parker, Arthur NVhiting, YVallace Goodrich, and Henry K. Hadley. He has heen conductor of the Boston Orchestral Cluh, Spring- tield Musical Festivals, NVorcester Festivals, and is now the conductor of the Conservatory Orchestra and Chorus. As a composer he stands in the front rank of American musicians, and is even regarded hy some as the greatest living Anglo-American writer. IO 1 flhz 21 nge r T H E N E U M E Nineteen Hundred and Six 4 James Cutler Dunn Parker R. PARKER was horn in Boston in 1828, and comes of one of tl1e oldest families. Although educated forthe law, his interest in music led him to decide upon that as his life Work, and took him ahroad for further study USS!-IS54j at Leipsic, under Moseheles, Plaidy, Ilanptmann, Rietz, Richter and others. On his return he was for t-liirty-five years organist at several Boston churches-for twenty-seven years at Trinity Church. hir. Parker has written much music, almost exclusively of a religious character. Ile was the first great American composer of large choral works, of which the most important are two sacred cantatas, "The Re- demption Hymn," and 4' St. John": a secular cantata, 4' The Blind King," and an oratorio, HLife of hffanf' As a teacher his influence has heen widespread and profound. In the early seventies he was the leading instructor at the New England Conservatory of Nlusic, and his pupils always excelled. For fifteen years he has heen the esteemed Class Inspector at the same institution. Mention should also he made of his scholarly translations from several different languages, of various songs and of works on the theory and practice of music. I2 1 lnsjiarlor TH E NEUME Nineteen Hundred and Six Ralph L. Flanders R. FLANDERS was born in Carroll, Nfaine. Ile comes of good old New England stock, both branches of his family running back to Revolutionary times. Entering business as a bookkeeper when nineteen years of age, he won rapid promotion, and in two years was taken into the firm, later becoming the head of the concern. Mr. Flanders came to the Conservatory as Assistant 1NIanager in July, 1899. His exceptional experience in business had given him excellent training for the position. Immediately his agreeable personality and genu- ine business ability were felt in the management, and gradually there 'spread abroad a knowledge of a change in Conservatory affairs. ln January, 1904, he was elected Manager--one of the youngest men ever entrusted with tl1e responsibility of so large an institution. It is a recognized fact in the Board of Trustees that to Mr. Flander's wise administration is due the present excellent financial condition of the school, also the increase in pupils and income in the past two years. ln the able Manager the student body finds a true friend. Approach- able always, sympathetic, ever ready to respond to the need of advice or material help, lVIr. Flanders has won a powerful hold on the esteem and affection of the students. I4 i 1 x f x n l1lfllllltL"l?l' I K wr-v4 -JN A-Vjxfi' WP 0 'qmilengpf 'X kff wi: ff 4. Rmlmwgief W5 Vw f KVM dm mmf? ui. 'usd' ' 35" f5 4 , Qdiajy 0, ' ff! bas' If . ' ., ,.,7'1'- , film F A11 ,. , ' ' ' L ' 'wb ---- 2 4. 6, , II 1 mi LI: -..,, .fl ' h 'FL , .'.111:f-" -- I ,fr X ', .- - isqilf HL'--V Nineteen Hundred and Six THE NEUME 1XN'l'OlNE'l"l'E Sz UMOXVSKA-LADAMOXVSKA, B ' ' Lublin, near Warsaw, Poland. Her early om Ill study of music was pursued at the XVarsaw Conserva- Y " f Pia fzoforie. tory with Professor Strobl and Alex Michalonslu, a ter- d 'th Paderewski' has had an extensive concert war s wi . , career in this country and abroad, member of the famous Adamowski Trio. CARI. 'l3A1fnMANN, Pia uqfbv-lc. Born in Munich. Pupil of Wanner and Wohlmuth, later of Liszt, studied Composition with Lachner. inted instructor in Munich Conservatory, hut Was appo ' decided to settlein Boston, where he came in ISSI. He has toured extensively as a concert pianist, and is 11 ES'I'.lEl.l.li J. JXNDRENVS, 1'1':zuqfw-le, Born in Baltimore, Md. Graduate of the Peabody In- stitute Conservatory of Music, Baltimore, Md.g pupil of Carl Faclten and Helen llopekirk, Boston, teacher of international reputation. IDAVID B1.AN1'11sD, 1'f'auqfo1-tc and Theory. Born in Galena, Ohio. Pupil of William A tl - George Whitinff, J. C. D, Pl -k h , imp' Han-l'yWhceler.b 'U cr' Jo n O NUI and I7 T H E N E U M E Nineteen Hundred and Six LUCY DEAN, l'z'cmqforte. Born in Illinois. Graduated from the New England Conservatory in ISQIQ pupil of Dr. Maas, Mrs. Maas and Carl Faelten of Bostong Leschetizky in Weimarg and Buonamici in Florence. Noted accompanist. l C11,xm.las DIQNNIEIQ, 1,L'!Z72lff07'fC and I'iamy"ortc Szgfb! 1'fzzyz'14.Q'. Born in Oswego, N. Y. Studied Piano with A. D. Turner and Madame Schiller, Ilarmony and Composi- tion with Stephen Emeryg special study ot Beethoven with von Biilow during his last trip to Amerieag has toured extensively as a concert pianist, appearing in over one thousand reeitals and concerts previous to 1895- Teacher at the Conservatory since 1883. A composer of note. ' A1.1vnED Dis Vcrro, 17l'lZ7ZQf'07'fB. Born in Boston. Graduated from the New England Conservatory in 1898 under Charles.Dennee. Member of the Municipal Music Commission of Boston since . 1898. Pianist of the Longy Club of the Boston Sym- phony Orchestra Ilas toured the country several times as soloist with the Boston Festival Orchestra. FI. AI.l!lill'I' Jlclflflsltv, Piczfzqforle. Born in Plymouth, England. Educated at the Leipsie Conservatory under Reinecke, Wenzel, Richter and jadassohng studied in Paris with Ferdinand Praeger: Organ and Church Choir Work in London with Roland -Rogers, Sir George Martin of St. Paul's Cathedral, and Luard Selby of Rochester Cathedral. llas written piano compositions of merit. 18 Nineteen Hundred and Six T H E N E U M E Enwlx KI.fXHlll5, 1,Z.!l71Qf07'f6. F Born in New jersey. Studied under O. Klahreg later pupil of Liszt, Lebert and joseffy in Pianog Composi- tion, with Schulze in YVeimar, Bruckner and Goetschius in Stuttgartg Violin, with Scharwenka. FREDERICK F. IAINCOLN, Piaazqforle. Born in Massachusetts. Graduated from the New England Conservatory in ISSI g studied underj. C. D. Parker, A. D. Turner, Carl Baermann, Carl Faelten and Stephen Emery. . Anmscm Polwlalc, l'z'amy'or!eg Su15erz'1z!e1zd- cut qf l'z'a1zqfof'!c 1Vow11af Dcjmrtznent. Born at Dixmont, Maine. Graduated from the New England Conservatory in ISS4, after a tive years' course with A. D. Turner, Stephen Emery and George XV. Chadwick: studied in Leipsic with Hofmann and Freitagg has published a large number of compositions. Glfoncsls XV. l'uoc'rolc 11127710 ortc. 7 Born in Boston. Graduated from the New England Conservatory in 1892: pupil of Leschetizky in viemmg studied Composition with Nawratil and Mandyczcwzki q has had an extensive career as concert pianist. . I9 T H E N E U M E Nineteen Hundred and Six EUSTACE B. RICIE, Pzkznqforlc and Soybggio. Born in Wayland, Mass. Studied Piano, principally under Edwin Klahre and Carl Baermanng Organ, under George E. Whiting and I-lenry M. Dunhamg Harmony and Composition, under George E. Whiting and Dr. Percy Goetschiusg Theory. under Stephen A. Emery ami Louis C. Elsong Solfcggio, under Samuel NV. Cole. CARI. STASNY, Pizmqforie. Born in Mainz. Pupil of Ignaz Briill, Vicnnag Prof. NVilhelm Kriiger, Stuttgart: Franz Liszt. NVei1narg . extensive career as concert pianist in Europe and America. ANNA M. S'1'ovA1.1., Pz'fzmj'orte. Born in Mississippi. Attended Columbus Collegeg graduated from New England Conservatory in 1895 under Carl Stasnyg toured as concert pianistg Mr. Stasny's-assistant for nine years. NIAIKIIE E. TnEA'r, Piavzqforlc. Born in Ohio. Graduated from the New England Con- servatory in 19005 pupil of Charles Dennee. -r V4 34' sm'-ftp' M" Gai-l',w"y,1 A lam? i. ktjf f gf :wir at.. -.z nvv-T 4: . ,Q 1. 13-I fp I Q If - . J ly, I 'lfillig ,4 ' " ,.xiZf.i' ., , ' is .hw 1 , i Q 20 Nineteen Hundred and Six T H E N E U M E ll. S. XV11.mfa, I'z'czmy'orle. Born in XVorcester, Mass. Studied Piano with B. D. Allen, B. J. Lang and A. K. Virgilg Organ, Voice and Ilarmony, with other teachers of note. Has written songs, church music, etc., conducted choruses, and has had as pupils many well-known pianists and teachers. Iloxn li L Hum mari , Olgftlll. Illexnv M. Duxnaxr, Ozjgmz. Born in Brockton, Mass. Studied Organ at the New England Conservatory under XVhitingg Counterpoint, principally with K. Paine. A well-known composer in vocal and instrumental formsg church organist of wide reputation. ' BOII1 at Yalmouth, Maine. Received early musical education under E. A. Blanchard of Yarmouthg later studied Organ with XVallace Goodrich: Composition with G. XV. Chadwick: Piano with Alfred De Voto. Graduated from the New England Conservatory in the years IQOI and 1902. IXIITIIUR Dwicslrr B.-xlscoch lfozw Born in Dudley, Mass. Studad at SID Diego, C11 and was graduated from the New England Conserva- tory in IQO3, under Mr. Charles A. NVh'ite. 21 T H E N E U M E Nineteen Hundred and Six XVlI,l.mM lliclclsiclvl' lluxlmxl, lfbl'CC. Born in Brockton, Mass. Pupil of Augusto Rotoli and Dr. Guilmette, Bostong Shakespeare, London: Van- nuccini, Floreneeg Koenig and Sbriglia, Parisg Co- togni, Romcg Benvenuti, Milan. Xlnmxn lumix, lfozccg tS'7cjJe1'z'1zte1z1ie7zlQf Vocal JVormaZ flcjiczrfwlcfzi. Born in Oxford, Mass., Graduated from the New Eng- land Conservatory in 1895, under XVm. L. Whitney. Studied also with Vannuccini, Florence. NIADAMI l im ll km xlc, Voice. 1 lelccx' F. 1luN'r, lfbfce. Born in Foxboro, Mass. Graduated from the New England Conservatory in 1S9S, under William I-I. Dun- hamg studied with Vannuecini, Florence, and Bonhy, Paris. Bom in Maiqnette, Mich. She has lived most of the time since she was fourteen years of age in foreign countries, in Italy, Cuba and France, received her musical instruction from Mr. Fidele Koenig, Chzj du Chan! of the Grand Opera of Paris, whom she married laterg continues her studies during the summers with the modern French composers, and teaches at the New England Conservatory during the winters. 22 4 Nineteen Hundred and Six T H E N E U M E CLAIM 'fotin-1121s-Nicnsox, Voice. Born in Rhode Island. Graduated from the New Eng- land Conservatory: studied Voice with Augusto Rotoli, Mr. and Mrs. john O'Neil and Sarah Fishery Opera School work with Samuel J. Kelleyg also pupil of G. NV. Chadwick and A. D. Tu1'ner. CI..-XR.-X if.X'l'llI.liliN fig.-XRXI ll, I mc 1 ns, in c Born in Cheltenham, England. Educated in Leipsie Conservatory: Piano, under Moschclcs and Plaidy: Voice, with Professor Goetzcg studied Piano in Rerlin under You Blilow: Voice, under Frau Ziminerman q also studied Voice in Italy under San Giovannig has pub- lished hoth vocal and instrumental music. CLA1:1sNc1s B. Si111:1.if:Y, lbice. Born in Lynn, Mass. Pupil of Charles A. XVhite3 also of Duhulle in Parisg has traveled extensively as solo- ist in the Eastern statesg is one ofthe leading oratorio and concert tenors of New England. Amen M..x1u4:1, S'l'.'XNAlV,-XX, Io e Born in California. Graduated from Universitv of Nevadag graduated also from the New England Con- servatory in 1898: pupil of Augusto Rotoli and Charles A. XVhite, Boston: Dubulle. Parisg studied in Opera School under Oreste liimhoni. 33 T H E N E U M E Nineteen Hundred and Six F. Monsic WVIEMPLE, lfbice. - Born in Albany, N. Y. Studied Voice with Charles A. White of Boston, and Dubulle of Parisg Baritone Solo- istg well known as church and concert singerg makes a specialty of recital programs, in which he is emi- nently successful. Cimumcs A. XfVlll'l'li, Voice. Born in Troy, N. Y., where he studied Piano and Sing- ing: went abroad in 18793 entered Lcipsic Conserva- tory, where he studied under Rebling and Grill: 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 1896. . l 'los Elf' IXDAMOXVSK I , Violovzcello. Born in Warsaw, Poland. Educated in Warsaw Con- servatoryg studied in Moscow under Fitzenhagen and N. Rubinsteing graduated with honors, diploma and medal. Member Boston Symphony Orchestra. ELTlilENI+2 C,ililVlCNlll+IIiG, Vi0fi1z,' S74A7507'l.7lfClZfl?87Zf of Vz'oIz'n .Normal Dej1ar'l11zc1zl. Born in Lemberg, Galicia. Pupil at Vienna Conserva- tory, of Heissler, Violing Bruckner and Dessoff, Com- positiong and llellmesberger, Chamber and Orchestra Music. llas played for the last twenty-live years under the world's greatest conductors. 24 Nineteen Hundred and Six T H E N E U M E MAX O. KUNZE, Donble Bass. Born in Dresden. Graduate of Royal Conservatory of Musieg played as Principal Bass in the Warsaw Sym- phony Orehestrag later was a member ot von Blilow's Orchestra, with which he came to America: engaged by Emil Paur of Boston Symphony Orchestra in 1S94g has taught at the New England Conservatory since 1899. E A1 1 1. M Aim , lfofizz. Began his study of Violin with Joachim in Berlin m IS70Q played as one of the First Violins in the Wagner Festival at Bayreuth in 18763 spent several years in London as solo violinist and eonduetorg came to the New England Conservatory in XSS7. CARI. PEIRCE, Violfrz. Born in Taunton, Mass. Studied six years with Lean- dro Campanari: organized Municipal String tluartet of the City of Boston in ISQSQ at present a member of the Peirce-Van Vliet String Q.l1ll'tCt. FIELIX Wlxricnxrrz, 170 Graduated from Vienna Conservatory under Griin, in the same class with Kreislerg winner of a gold medalg came to America and played two years with Boston Symphony Orchestra before touring the United States as soloistg has been a member of the Conservatory Facility since 1S99. 25 IJANJII I VI uw tum , Fizzle. A T H E N E U M E Nineteen Hundred and Six .Xlvrlrun ,l3ROOKE, Ffzaffr. Born at Gomeral, England. Studied under Packer of the Scotch Orehestrag came to America in 18SSg played First Flute with the Buffalo Symphony Orchestra, and joined the Boston Symphony Orchestra in 1S96. Bonn in Brussels, Belgium. When nine years old, began musical education under his father and well- known musicians: studied three years at the Paris Conservatory with the celebrated Monsieur S. Caffanelg graduated and won first prize in 1S96g for three years First Flute at the Lyric Theatre in Parisg soloist with Mme. Nevada during her American tour. Member of Boston Symphony Orchestra. Lis Rov S. KicN1+'1,la1.n, 75-omboue. Born in Belchertown, Mass. Toured extensively with opera eompaniesg two seasons with the Stetson Opera Companyg three seasons with the Boston Ideal Opera Companyg two seasons with the Emma Juch Opera Companyg now member of the Boston Symphony Orchestra.: OUIS Iv Ol 1 1 I I C01 ne! and Trumpet. Born in Thuringia. Has appeared as soloist in all the principal cities of Europe, and held important positions in Court orchestras, in 1891 he was engaged hy Dam- rosch as First Trumpet in New York Symphony Oi'- chestra: he was tendered position of First Trumpet at Court Opera House, Berlin, butehose to accept position in Boston Smphony Orchestra. 26 I Nineteen Hundred and Six T H E N E U M E Fmclmnlcx Scnouxmxx, Emzzck llorfz. Born in Cassel. Germany. Pupil of A. Schormanng First Horn player of the Royal Theatre in Cassel. Since coming to this country Mr. Schormann has been associated with many of the best orchestras, including the Boston Symphony Orchestra. I'llilNRlCIi SCIIUICCKISR, Ilalp l Born in Vienna. Studied with his father , gl tduatttl from Vienna,Conservatory in 1884, under Professor Zamara: hecamc a member of the Boston Svmphonv Orchestra in 1SS6g has won reputation as one of the two great harpists of the world. -owls C. Er.soN, Theory. Born in Boston, Mass. Studied Piano with August Hamann of Bostong Voice with August Kreissman: and Composition with Carl Gloggner-Castelli of Leip- sicq acelebrated lecturer and writer on musical sub- jectsg one of Boston's best-known music critics. lilcxyxxlrx Cu'1"l'11:lt, lla:-molly and Cozzzjroszlzmz. Born in XVOhurn, Mass. Studied under G. F. Such julius Eichbcrg and Stephen Emery in Boston: Violiri with Singer, Harmony with Goetschius, and Instru- mentation with Max Seifriz in Stuttgart: has written several standard text-booksg composed extensively, especially for strings. 27 T H E N E U M E Nineteen Hundred and Six llixlnu' N. liIEDMAN, Pl'd7lQf07'f0, fI!lI'llZ07l.j'tZ11li Composfliou. Born at Mt. Carmel, Illinois. Pupil of George W. Chadwick: has composed a large amount of piano music and songsg nlso, several violin sonatns and two string quartets. l S.-xmucl. VV. Come, .S'off'qggz'o and .lhzsic in l'1c6fz'c Schools. Born in Meriden, N. Il. Pupil of S. B. Whitney and john XV. Tufts at the New England Conservatory. Author of musical text-hooks. Conductor of People's Choral Union of Boston. l Cl.l+2Bll4IX'l' Llcxoxi, Soffqggio ami Oboe. Born in Gilly, Belgium. First prize in Oboe and Su- perior Solfeggio, Brussels Conservutoryg studied with Mnsscnet: taught Solfeggio in the Normal School of Music in Purisg conducted orchestras at Geneva, Rouen :ind Aix les Bninsg estuhlished this year :lt the New England Conservatory :1 course in French Solfeggio, which is prnetiexllly new in America. M,xn,xxnc Aucsusro iiU'l'Ul.l, Ita!z'o1z.' Born in Rome, and received curly edueution partly in :L convent in that eity :ind partly in at French school. She was zi pupil of Signor Rotoli, with whom she stud- ied singiug. She eanne to America with her hushalnd in ISS5, I1 few weeks utter her m:u'ri:1ge, and has lived in Boston since that time. :S Nineteen Hundred and Six THE NEUME L,AIXllLI.li TllURw,'xNmf:u, French Language and ziz'c!z'o1z. Born and educated in Paris, where he resided until he came to Boston in 1SS4g thc first part of his life was mainly devoted to Fine Arts and vocal music as an ac- complishmentg after his arrival in Boston he gave his time to teaching French. He has madea long and deep s ud of the ihonetics and musical pronunciation and t .Y 1 articulation, generally included in the word " Diction"g is an authority on this subject. EI.IZfXl3lQ'l'1l I. SAMUEI., lMeto1'z'c, Efzglfsb mm' fffx to 131 . Born in Bennington, Ill. Graduate of Mt. llolyokeg took a medical degree: special work at Boston Uni- versity. E. f.:IIARI.'l'0N BLACK, Lz'icrzz!urc Lcciurem Born in Liddlesdale Parish, Scotland, near the Old Mansc of Sir XValter Scottg graduated from Edin- burgh University in the same class with M. Barricg received LL.D. from Glasgow Universityq now Profes- sor of English Literature in Boston University. Glifllllili XV. Bmus, Guilar and J1ltl7ZCl0!l.lZ. Born in Boston. Studied with his fatherg teacher at New England Conservatory for the past twenty years. 29 T H E N E U M E Nineteen Hundred and Six Omvlcn C. FAUST, Pizzzzqforle and 0lg'll?l Yiw- ing. Born in Pennsylvania. Entered the New England Conservatory in ISSIQ studied Piano under J. C. D. Parker: Organ, Ilenry M. Dunham q llarmony, Stephen Emery, Voice, A. WV. Keencg and Tuning, Frank W. Haley author of the text-books, The Pizmqfbrfc Tuuer's Pocl-cl C0llIj5!llIl.07l and A Trmlziw on Mc C0lI.Yfl'llFfI'07l, ll,t?f7lII'I'I.Il..Q' um! Ylilllllllg offflc Orga 11. Glcouulc L. fiARllNlER, Ylnzfng. Born in Oswego, N. Y. Graduated from the New'IEng- land Conservatory in 1890 and has been connected with the institution since that time. C1.Av'roN D. f3lI.IiEll'l', Cl07lCL'7'f Deporfmevzi. Fimxcics A. IlENAY, flame? Culture. Born in Boston. Studied Physical Culture with Dr. D. A. Sargent of Cambridge, and Baron Nils Posse of Boston 5 has taught in New England Conservatory since ISS9. c,fl'IORG Vox XVIERICN, German. Born in Eddigehausen, near Goettingen, Germany. Graduated from University of Goettingen 1877, with degree of Candidate of Theology: from the Teachers' Seminary in llanover 1899, with certilicate of Supervisor of Public Schools: con- nected with thc Conservatory since 1901 g makes a specialty of scientific German. AL NVALLACIE Goonnleli, 07Qgfd7Z, A7Zd0lSl..V, fIlZI'71Z07l'j' and C0llIZ50SZ'fl'07Z. Born in Newton, Mass. Studied at the New England Conservatory under I-lenry M. Dunham, Organg George W. Chadwick, Compositiong and Louis C. Elson, Theoryg has also studied with Josef Rheinberger, Munich, and C. M. Widor, Paris. Founder and conductor of Choral Art Society of Bostong organist at concerts of Boston Symphony Orchestra: organist at Trinity Church: author of various essays on musical subjects, and compositions for chorus and orchestra, and for orchestrag translator ot many valuable works from the French. 30 1 Nineteen Hundred and Slx T H E N E U M E I Il+:1.14:N Illcmzlmnw I Board of Editors Ed1'i111' in C!P1'qf Ilrcxm' FAY Loma Asyocinfc Editors Lxcsmsvr sIOSEl'lllNl'I 1'lmm, .FIKINCNI CLAIM IPRANCICS MA1.l.om' Ar! lfziflor ICm'l'll XVICLLS lim' b'11s1'1zess .flffzzzager Fnovn leI,xzr.lf:'r'r ,li0CKXYlEI.l. Asszkfmzt b,7l.Vl.7ZL'.K'.S' .llirzmger XVl1.x1o'r I.lf3.uox'r 31 C. F. BIALLORY W. LEMOXT H. D. DAGGETT H. F. Loox J. P. E. XV. BLY FR1-.1-:MAX F. H. RUCKWELL t 1 I , Y I -HA M .. ni... .... -....:,.,. ,-,T ,.. ' all -Q A -Y ,,.,.-f.- --- -'- -W ,.-,- ,.,,-- .--- Q 1 1 C ' ',,,t..,,.. ,Y ---, .-i- ' ,I,lf:'r" rr" WWW" 5 1 ' ' l ' I l,,i,,',., 1 , .ff-X ..-f...,. ,f..yw,i5ll'ifll ff-, s ffm fig 'if XZ ,ff l lyiirxll' Q 'i t f :..,gnT-- w 1 1 I FQQL.-+1-fi , ry .UR -,, N173 5? - . . , YSL PM 'H ' e K M524 f-3277 1 si We- 12 5 I I PWM, lie:-. ..:. r -, ' I .lil-M W , ef, Ev 5 A -.sf . l li 19,35 1-1'-3' ' ' pigs l I-.vz w Hcf - x' g'---..- " Vi, , ' , l l iliimidlw 'wsu l' f - e f' i l 1 3P ' ,1?5 , , l """"1 'H q ' , 1" -, A ,-f-' ' ' ' 'K "' .X 'l . ffijig l 2 'ff' ' xt 5' -so t a l M--s it 1 ,f X f f , I -' A ' , l I l , bn 1 '- ---M-U-N-NY' 1 . f...p.,.ITii:- if 4- 5 2 l 2 f e l l HE feeling that students in professional music schools underrate, and to a degree are ignorant of, the kind and value of the work done in music in the Collegiate Institutions, prompted an investi- gation of this subject. Our aim was to ascertain the standing of music among the liberal arts in the institutions of learning of the United States, and to compare academic methods with those of professional schools. To that end the following list of questions was sent to twenty-live of the leading colleges and universities 1- 1. Are courses in music on par with the regular elect- ives Qcounting toward a degree-J P 2. Are students in the Music Department only, enrolled as regular students of the institution? 3. Does the Music Department receive the support of the general faculty? 4. WVhat means are employed to interest the students- lectures, concerts, recitals, etc.? '1'wenty-three out of the twenty-five responded, therehy giving us authoritative information from which our deductions have heen made. YVe take up the questions in order. 'lfhree universities-Princeton, Brown, and the University of Virginia- reported no Music Departments, and no instruction in music. Leland Stanford and X'Villiams have no Music Departments: the former provides 33 T H E N E U M E Nineteen Hundred and Six for lectures and illustrations by the university organist, but no credit is allowed for the same, and the latter includes lectures on Musical History in the Department of History of Arts and Civilization. The colleges that give theoretical courses in music which are on a par with other electives counting toward the degree of Bachelor of Arts are seventeen in number: Amherst, Boston University, University of Cali- fornia, University of Chicago, Colorado College, Columbia, Cornell, Da1'tmouth, Harvard, lVIount Holyoke, University of Michigan, North- western, Oberlin, Smith, Vassar, WVellesley, Yale. Such studies as Har- mony, Theory, History of Mlisic, Counterpoint, Analysis, Composition, and Instrumentation are tl1e theoretical studies for which credit is given. A much smaller number of this representative group of colleges allows practical work, that is, the actual playing or singing, when combined with theoretical studies, to count toward the degree of AJS. Smith College stands alone in allowing music to be offered as an en- trance requirement, either Harmony, or practical work with a slight knowl- edge of Harmony, being accepted. Yale admits students to two practical courses, those in singing and violoncello playing, without requiring accom- panying theoretical studies. The University of Pennsylvania requires not only a knowledge of the rudiments of music and English, but also the ability to play on some instrument, preferably the organ or piano. Har- vard and Smith offer graduate courses in music leading to the degree of A.M. The degree of Doctor of Music is not given at these institutions, but'at Harvard its full equivalent, Ph.D., may be taken in music as in any other departments of the University. Yale and the University of Pennsyl- vania confer the degree of Bachelor of Music. WVe find that Yale, Oberlin, University of Michigan, University of Pennsylvania, and Northwestern have Music Departments organized inde- pendently, each under its own head or deang Yale and tl1e University of Pennsylvania are the only ones that give a music degree, the others simply granting diplomas for proficiency in music. All of the colleges are uniform in demanding full college entrance re- quirements for those who desire to study music. None of the institutions except those having independently organized departments are desirous of receiving students to specialize in music. They are about evenly divided in their rating of such students, some re- garding them as regular college students, while others class them as specials in music. 34 Nineteen Hundred and Six T H E N E U M E The attitude of the Faculties in general is that of co-operation toward advancing the standard of theoretical courses in music. At Columbia there is a strong sentiment toward allowing advanced practical work to be placed on the same basis with theoretical work. The general sentiment among college presidents is greatly in advance of a few years ago, in allowing the admission of music into regular elective courses. As to the means employed in arousing and maintaining interest among students, we find a great diversity. Most of the colleges are supplied with well equipped modern organs, so that organ recitals are frequently given. Miscellaneous concerts and recitals by the students, at which original com- positions are played, recitals by noted artists, and, in many instances, pres- entation of choral works by student choruses,-all these are popular forms. From one of the colleges came the interesting fact that "Creation is in preparation." Instrumental music ranges from full orchestra to '4fEolian Orchestrellef' WVithout exception the colleges have glee Qmany, also, banjo and manclolinj clubs from the student body, under student management- an organization which even some professional schools of high standing seem unable to support. Note should be made of the rather unique course in Practical fEsthetics at Vassar, by Professor Gowg of the excellent plant at WVellcsley, which includes two music halls and two large organs, and also of the vested choir of Mount Holyoke, the largest vested choir in America, if not in the world, comprising one hundred and eighty students. WVC would also mention the reciprocal relation between Harvard and the New England Conservatory of Music. As to a comparison of the courses in the academic and professional schools, we quote a few pertinent remarks from Professor Nlacdougall, of NVellesley: U A college gives a broad education, and a conservatory gives a musical education .... For study in Nlusical Theory or History there is great respect, and that it has a place in the college curriculum is freely admitted. There seems to be in college an invincible prejudice against doing things in favor of talking about things .... It must be added that the musician is too often a very one-sided individual 5 he ca1'es as little for the interests of general education as the one-sided college instructor does for the interests of musical education .... lf you wish to be a virtuoso, do not go to college, the colleges by their somewhat irrational demands on their students, make it almost impossible for a person gifted musically to get both a H liberal education" and a virtuoso's musical education. But if you desire to be a good, all-round musician, by all means go to college." 35 T H E N E U M E Nineteen Hundred and Six VVhile we recognize the truth of Professor Macdougall's statement, we believe that nowhere can there he a greater opportunity for broad culture along general lines, and for thorough work in music, both theoretical and practical, than in our own New England Conservatory: for by the recip- rocal relation now in vogue hetween Harvard University and the New England Conservatory of Music, properly qualified students of the Con- servatory have the privilege of attending certain courses in Harvard, among which are those in English, French, and German Literature, Physics, Fine Arts, etc. On the other hand, properly qualihed students of the Harvard Music Department are admitted to the Conservatory orchestra and chorus, and courses in ensemble, choir training, and liturgical music. Another avenue of culture open to Conservatory students who desire to develop themselves in lines other than music is afforded by the alliance of the Conservatory with Emerson School of Oratory, the largest and most inHu- ential school of expression in America. Under these conditions is not there offered the hest of opportunities for hoth a liheral and a virtuoso's musical education at the New England Con- servatory of lVIusic? i ri S. . .Q .W Rv .0 'N' lt! ny N. .6 X islgnajqz I Z' rw 1l7f" 36 1 T H E N E U M E Nineteen Hundred and Slx The Alumni Association F. Anmsox l'on'rmi Pre.s'z'dem' I-IENRY T. WVADE Fz'1'st Vice Preszdcuf PERCY J. BURRELI. Second Vice Preszlicvzl Mus. CLARA '1'oUnJl21a-Nicr.soN lrecol-ding Sec:-elariy CLARENCE E. RIEICD Fz'9za1zc1'aI sS'CC1'CfCH1j' Eusricra B. IQICE 79-easurer Arminco Drs Vo'ro Audiior What has the New England Conservatory of Music done for its Alumni? What have they done for the Art of Music in America? What have they done for the Conservatory? I IIE New England Conservatory is without douht the hest known school of music on this continent, and its influence is felt from ocean to ocean. From the 1'Cl1l0tC towns Qwhere nothing hetter than Fisher's Ilornpipe 01' Clayton's Grand Nlarch has been heardj as well as from the larger cities throughout the land, it has drawn to itself those who, although they possessed the requisite talent and ambition for a musi- cal career, were entirely ignorant of just what course to follow. It is here, at this critical turning point in their life, that the Conservatory hegins its great work in attracting them to a musical center like Boston, where every advantage is to he had, and in starting them on the right course. Many an earnest student has felt the thrill of satisfaction at finding himself at last within the walls of the school of which he has dreamed per- haps for months, or even years. He goes to his first lesson with much interest, mingled with more or less curiosity and dread, and he soon learns that while the instructor would gladly help him in every way possible, still there is much that he alone must do, and he has his first glimpse of the Parnassus to he climhed. Ile begins to realize for the first time the hroad course of study which the Conservatory has prepared for him, and his amhition is stimulated to meet every difiiculty which may present itself. 38 Nineteen Hundred and Six T H E N E U M E That tl1e Conservatory has ever surrounded its pupils with a musical atmosphere pregnant with the best thoughts of the great masters, cannot be questioned for a moment. Nothing but the best class of music has ever been taught within its walls, and the pupils, whether in class room, prac- tice room, or concert hall, live in this musical atmosphere. They are taught to analyze, to play, to listen intelligently to, and to app1'eciate the best works of, the classic, romantic, and modern schools. Unconsciously the taste of the students is being developed, and they are growing into quite different beings, thinking different thoughts, and storing up within themselves forces which, if used aright, will make their life work a pleasure to themselves, and a benefit to all with whom they come in contact. 4 To be sure, the greater number of musical students in America are young women, but let us realize what a musical education means to a young womang it makes her independent and self-supporting, more intel- lectual and refined, an ornament in society, and a pleasure to l1er family and friends. Let us compare this musical education from a practical standpoint with tl1e college course, which many young women take in order to be able to teach, should they ever need to do so. flt is understood that every young woman should Hnish l1er high school course before giving her whole attention to her music.j It is not necessary to draw upon the imagination for this comparison. Take, for example, one of many cases that have come to our notice re- cently. As it is natural to expect, the young woman is married between the age of twenty and thirty. Her husband is usually able to supply the necessities of life, and many of the luxuries. She has only to think of her home, her social engagements, or perhaps she has the care of a small family. This may go on smoothly for eight or ten years, but before the husband has had time to save for the future he is suddenly taken away, and when his affairs are settled the wife and mother finds that there is nothing left, and that she must in some way earn enough to support herself and children. The young woman who through her college education was fitted to take a position as teacher eight or ten years before, is wholly out of line for such a position now. She has had no incentive to keep up her studies, While the one with the musical education has found it a pleasure to herself, her husband, and her friends, to keep up her music, and the concerts which 39 T H E N E U M E Nineteen Hundred and Six l1e1' taste has naturally led her to attend have kept her up with the times, so that she is able to take a position in a school, or to start a private class, and as a rule she can earn 1no1'e than the average school-teacher. VVhen we realize these facts, and think of the l'llll1Lll'CilS of young women the Conservatory has educated and sent out to all parts of this vast country ready to help, entertain, and through their art to elevate tl1e tastes of all those about them, to take the refining influence of music into the home, and to earn the necessities of life, if need be,.we can but wonder that men and women of means still look upon all this as a luxury 5 and whilethey leave money for all kinds of schools and colleges, never think of leaving a dollar for this great Conservatory of Niusic, where money is so much needed, and would do so much good. YVhile speaking of what the Conservatory has done for its alumni, we would not forget the many young men and women for whom it has ob- tained, through the Bureau, positions as teachers in the best schools and colleges, and for whom it stands, with its up-to-date methods, as a tower of strength and support. AL The question, WVhat have the alumni done for themselves, or what are they doing for the art of music, is a diiiicult one to answer, as it must cover such a wide range. WVhile tl1e writer could give the names of those filling important positions, yet for fear that some who deserve most hono1'- orable mention may be forgotten, let us just 1'ecall some of the Work being done and some of the positions being filled by members of tl1e alumni. Let us begin with Grand Opera, where we can point with the utmost pride to those who have attained to the most eminent rank as singers. As Composers many are'well known, while as Orchestral and Choral Conductors as Well as members of the best orchestras, including the Boston Symphony Orchestra, they have made ma1'ked success. YVe find them occupying the Chair of Music in various colleges, and as members of tl1e Faculty of the larger schools all over the country, in- cluding our own Conservatory. XfVe find them in tl1e public schoolsg we rind them as private teachers, doing their best in all grades of the work, as organists, choir masters, and church singers, we find them in nearly every town and city of any size in the land. NVho can estimate the value of their infiuence in the home? Think for a moment how many of our great masters owe their ultimate success to the inspiration and early training of their mothers. 40 Nineteen Hundred and Six T H E N E U M E An important point not to be overlooked is tl1e value of the presence and influence of alumni in making up a musical audience. Before the greater works of art can he given with success, there must be an l.lZfE1fI:g'67Zl4 musical cmdiefzce to listen to them. Consider some of the masters, WVagner for instance, waiting forty years for an audience to listen to and appreciate some of his greatest works. If we are to become zz fzzusicfzl mziiorz fand I have not the slightest doubt that we arej there is much work yet to be done in educating the masses. In the last half century the New England Conservatory of M11giC has without doubt done more, through its alumni and special students, to develop and elevate the musical taste of the people throughout this nation than any other force or agency. The Almlzm' A.s'socfalz'on of the New England Conservatory of Music was organized through the influence of the founder of the Conservatory, Dr. Eben Tourjee, in 1880. The lirst president was Miss Sarah Fisher, now Mrs. Austin C. VVellington, and her successors have been Mr. Alfred D. Turner, Mr. Henry M. Dunham, Miss Clara S. Ludlow, Mr. Frank E. Morse, Mr. John D. Buckingham, Mr. Charles I-I. Morse, Mr. Everett E. Truette, and Mr. F. Addison Porter. The aims of the Association are to perpetuate and intensify in its members fidelity to their Alma Mater, and to bind them together in a spirit of true friendship and mutual helpfulness, to assist worthy students by the establishment of a loan fund, free scholar- ships, and prizes, and by aiding in the endowment of professorships when these helps shall become practicable, and in general, to aid the Conser- vatory, assist each other, and further the true progress of art. The names enrolled on the books as members of tl1e Association up to June, 1905, number six hundred. I am sorry to record the fact that the Association in the past has been something like a sieve, many members have come in but have dropped out through a hole the size of a titty cent piece, which is the amount of the annual dues. The reader must not tl1ink for a moment that it was to save the titty cents that caused them to drop out. On tl1e contrary, we believe that had the dues been a larger and more convenient sum to send, many would still have been members of good standing. This difliculty, we believe, l1as been obviated by the establishment of a Life Membership fkB5j, which I am glad to say has met witl1 the most cor- dial approval, and we Zll1'C2lCly have a good list of life members, among them being many of tl1e old members who had dropped out. 41 T H E N E U M E Nineteen Hundred and Six NVhile the Conservatory is, as I have said, a sustaining force back of each alumnus, a united alumni is a tremendous force back of the Conserv- atory, and we should each realize our duty to our Alma Matter by taking a deep interest in all things that are for the good of the school. The united influence of the alumni has made itself felt for the good of the Conservatory in the past, and we trust that it will in the future. It is unfortunate that we are unable to lend financial aid the same as the alumni of Harvard and other colleges, but that is hardly possible, for, although musicians we believe get more out of life than thc man who gives his time to making money, they rarely become wealthy. However, this does not mean that the alumni are doing nothing for the school. Every member who goes out from it takes its message to all those with Whom he comes in contact, and a careful canvass has shown that over ninety-eight per cent of the pupils from a distance are here through the influence of those who have been here before them. The average pupil sent here is able to remain from two to three years only, and it is easy to see that the better he is prepared before coming, the higher rank he can attain in that time. Therefore, the efficient training gained by those who take the Normal Course in Voice, Violin, or Piano- forte enables them to go out as experienced teachers, and their work will, in the future, do more to elevate the standard of excellence in the New England Conservatory of Music than anything else. I The familiar quotation, 4' A prophet is not without honor save in his own country," does not hold true in regard to the Conservatory, for over two thirds of the students reside in Nlassachusetts. The Class of 1904 has the honor of establishing Class Day. The Class of 1905 brought to life rlwllli NEUMIQ, with all its wisdom, jokes, and grinds, while the Class of 1906 is doing even more than its predecessors to develop and maintain class spirit among its members. Three more talented and enthusiastic classes have never graduated from the Conservatory. NVho can forctell the iniluence they are to exert forthe advancement of the art of music in America, forthe good of the Conservato1'y, and for the life and usefulness of the Alumni Association? I strongly hope they will realize that, while each may exert an influ- ence for the good of his art individually, much greater results can be reached by uniting with a force tending in the same direction, like our Alumni Association, and this is quite i11 line with the spirit of progress in the present century. A brilliant career to the Class of 1906 I B0St0r1. Mfly. 1906- F. AD1J1soN Po1:'rEu. 42 4 43a'4V-s 'T?f""'46'f'-v mf' vw ii-,ff . q'g'E!3'.4- J..f.,...,,, . - 1 f--,R-,,::,-L-.5 'W 'J' ' 1--uf-3 .5.v.1. . Q.-:M .-,, I.. ax 4,- ,-w.:'f?.fe-V 1 'I E. - ,J I . - J 4- -4.3 .' gk -' Aarf.Lg"3-zu.. .- 1-. 5, :fa ,-.. .. ,... .. ijji- v' ' 7 , ,,-' ' " .' I, 3 :,- pl. -ff' -5. A - 2 in 4 .. , I , -H' 'H --- 4-5 m+aw?Tv-g?2.n ' 'f""'1' '. 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X-.'-'M 1 - - , -.l A ,f - -Q-t-'4 ,- - - - A v - 2 . - 1 -Yi +. H. , . - 1 , - 1 . ul" ' QQ Q. Nineteen Hundred and Six THE NEUME Class Roll LIENRY FAY Loox ANNINA MCCIQIDIKY OFFICERS Prcszdcu! Vice Presirlezzi SoI'IIYA VVILIIICLMINA FREDERIUA LINS ROC0l'dl.7Zg' Secrclarjf JENNIE VVILISIER MCCRILLIS C0f7'6Sf0Ildl'lZg'5i8C7'0fll7'-jf CI.ALVIJlE ERNEST I'IACKlCI.'l'0N Y3'ea.vurer IREDELL IDA BAXTER Asszlvfam' 75'easurer PIANOFORTE. IREDELL IDA BAx'I'ER ..... Moncton, N. B, EDl'l'lI WVELLS BLY . . . ISO5 E. Main St., New Albany, Intl, IALLIAN IIELEN CECILIA CARI.soN . . . 9 Albion St., Roxbury ANNIE NIAY Coox . . AIIIIIE GlI.I.I2'l"1'lC DAv . lEVELYN IIELEN DllI.I.tJI"l" JosE1'IIINE PEARL FREEMAN CLARA IELDRIEDGE FRos'r ANNIE MAY CJIREENE . CLAUDE ERNlES'I' IIAcIcEL'I'oN NYRA VVA'rsoN IAIARTIIIAN LESLIE S'I'EARNs I'IENliV . GliNICX"A DIQLI. IIODGDON IQEAII JENNICSS . . ELIzAIsE'I'II FLY KlllKI'A'l'll1CK MIClIAIiI. JAMES LALLY . IVIAYE IEVANGICLINE LAWVRENC BAIINARD LEVIN . . SoI'IIYA WVILIIIELMINA FREDERICA LI CLARA FRANCES IVIALLORY ANNINA McCRoRY . . ANNA IAOUISIE MCLAUGIIIJN LAVERNE AlJlES'l'Ii NIORRIS SARA IDA 1'AEIf1f' . . J'osEI-II SIIEL'I'oN POLLICN 327 Pearl St., Cambridge . . Lakeville, Conn, - . . Gardiner, Nic. . IIoo Madison St., Le Mars, Iowa . 227 Franklin St., Cambridge . . Sycamore St., Waverly SSS Huntington Ave., Iiosmn S99 Cambridge St., Allston IS WValnut St., Taunton . 73 Rogers Ave., Somerville - . Deseronto, Ont, . McComb, Miss. - . . Clyde St., .Brookline 70 University Ave., Delaware, Ohio . 349 Blue Hill Ave., Roxbury NS, ZIQ E. Franklin St. Kenton, Ohio - - . NVest I'l2lI'tfOI'il, Conn, H The Senate," Altoona, Pa. 27 Partridge Ave., Somerville . ' . La Porte, Texas - . 43 Portlancl St., Boston . 192+ I2tll St., XVashington, D. C, 45 T H E N E U M E Nineteen Hundred and Six PIANOFORTE QContinuedJ BLANc11E Rli13liCCA R11'1,EY ..... North Grafton FLORENCE BEA'rR1cE SM1'1'11 . . Pueblo, Mexico RLl'I'l'I EUoEN1A TUCKIEIK . . Ingleside, NVinthrop FRANK VIGNERDN NVEAVER . 218 North St., New Bedford JESSIE WELLER . . .... Sigourney, Iowa .BESSIE KNOX NVOODARD . . II3 YV. Martin St., Raleigh, N. C. ORGAN A1.RER'rA I'IARRI.E'1' AMs'rE1N ITARRISON IJJSNIIAM LE .BARON VV11.Mo'1' LE1v1oN'1' . . IIENRY FAY Look . . CLARA FRANCES M1Xl.I.llllY JENNIE W11.11E11 NICCRILLIS FLORENCE ,BEA'1'R1cE SM1'1'11 . . Shelburne Falls 46 Ilill St., New Bedford . Fredericton, N. B. . Vineyard Haven . NVest Hartford, Conn. 40 Maple St., Hyde Park . . Pueblo, Mexico VOICE. FLORENCE EI.IZAlili'I'II AIDANIS . . . . Pittsfield, N. H. CHARLES YIENRY ANl1XlJfJN . . . 53 Thomas Park St., Boston CARo1.1NE E1.1zARE'1'11 ED1v1oND . +51 Chestnut Ave., Trenton, N. IEVA MARCII . . . ft The Hamilton," Norristown, Pa. LYD1A BRYsoN .NICCORINIICK . . . Fairchance, Pa. IIILDA SNVARTZ . . . 187 So. Pearl St., Albany, N. Y. TNIENIA IIov'1' NVANZER . . . 28 Thetford Ave., Dorchester ' v1oL1N TIELEN DEAREDRN DAG1sE'1"1' . 27 Dorchester St., South Lawrence SAMUEL INBON GOliCJDli'l'ZKY . . 92 Leverett St., ,Boston MfXUD NIEDLAR . . 203 Huntington Ave., Boston ERNEST NICLELLAN SIIELDUN . . 383 Cherry St., WVest Newton TUNING IQALPII NVARREN CADNVELI. LEONARD P1ERcE CQOULDING JONES Bovn TCAUFFMAN . FLOYD LEON KENYDN GEORGE W. B. KRIESS I'IERBER'l' LAw'1'oN . . FLOYD I-IAz1.E'1"1' RC5CKXVE1.I. GRANT AI.VIN SPEER . HERMAN WVALKER WVooD n a 46 . Valparaiso, Ind. South Sudbury . Mimintown, Pa. . McClure, N. Y. Chambersburg, Pa. . 8 Brooks St., Nlaynard ., Bradshaw, Neh. McKees Rocks, Pa. . Milledgeville, Ga. Nineteen Hundred and Six T H E N E U M E Review UR class can claim the honor of being the first to organize as Jun- iors during the year previous to graduation. wVllIlC this organi- zation took place only in June, and was incomplete in many respects, still it was a step in the right direction. Some of those on the Junior Class roll changed their minds before fall about the wisdom of attempting such a feat as the graduating examinations from the New Eng- land Conservatory. Othe1's, again, must have received inspiration or addi- tion of nerve in some way during the hot summer months. Certain it is that the -176730717261 of the class in September, 1905, differed materially from that of the Iuniors of a few months previous. not until after the Senior entrance examinations, which took It was place in October, that we had any definite idea whom we could count upon as Seniors. This examination was an innovation in itselfg one of those thrilling surprises which students at the New England Conservatory are ever and anon encountering, and yet wlnch never grow old or lose their effectg namely, to send our hearts down to our boots with a thud and the cold shivers up our spines. But, like many another afiiiction, it proved 11 blessing in disguise, for it enabled us to ascertain that we had a class gf fifty-seven eligible for graduation. This, perhaps, is not a great deal to know, but it was such a vast im- provement on former conditions that many of us were bold enough to ven- ture to our first meeting in October, at which the Acting Director gave us an encouraging and inspiring talk. A little later the ofiicers forthe year WC1'C elected. Then followed the discussion of such interesting thincrg as class color, motto, pin and tl1e like. After many noble efforts on the patrt of the long-suffering pin committee, the class was finally satisfied with a design. Shortly aft-er Christmas we had the lyre to appear with our '06 in full view. The Llass of 1905 had left us a splendid example,-not to mention 2, bulletin board,-and we determined not to fall below the standard set, but if possible to go.a little beyond it. The first step toward this end seemed to be the necessity of getting acquainted: our work here is so individual, the courses so distinct, that there were many belonging to the Class Vvllo were total strangers to each other. g A committee was appointed touplan a social affair of some kind. The Wj,ft lK'fgy,l wllueh we yvere requested to attend in cos- - . . ,' ,' x Y . ' - acquainted with 1201316 one, liado cliiiicglio Cliugltest Way Ot hecolmng clothes. However when we had Lll1l11'?7'k l mol-inlfimg m their Orilmary that had groaned at us from the de Jthsb fel mlm' fliiovered who It was and realizted that seine of our ofiiceiis xi ci' a'W1it1c Meet and pillowcase, Clowns with creat Succeqs We did fgclve e capa ale of taking the part of This led to miilny such meelinffs of one hmlnie lit mme with each Other' ductive of much enthusiasm Zin l -- mitflm another' which were pro- - -. . c c ass spirit among those who attended. 47 T H E N E U M E Nineteen Hundred and Six I .wx TV 'MS' f f -f , of I 'ix f f if f ' L f X, f 1 ,X ff W g li ' Q 1 X I I 1" X , 2 l l ' . if 'P , I 71 f ' I ' l If . X , y' if fify X A J " x 1,6 X, " 'g ',, 'f VX 0 . In , U 'I here were always some who 7' 7' failed to avail themselves of ' ' "K their privileges, and in so do- c C lj ing caused loss to hoth sides. XX X, At one of the regular , 'MX N " meetings shortly after the EA I--.5 ld Christmas vacation the class ff-'Xpff-""X 'ffm decided to undertake the y ,l jj ' 11 K work of publishing Vllllli a 2 3: " ' NEUME 1906. A board of ff' 'X XX 3347, 'X Ag editors was elected, and ar- l -x !KJ'H7" , , rangements were made so 'X XX K Q X that the book could he pub- -'QN x .Q lished earlier than that of X P ' ' ' ' - 4 last year. ff SN? f VVe feel that the early or- 5 if il fl", V' ganization of the class has y 'Q , xl . added ffreatly to the enjoy- Nhnf I, I . y y P' f ,I Q. ment of the year, and hope , N the time may come when tl1e ,ty Pj il junior Class will he as well lyf x Qi' ' f defined as the Senior now is. X , an Certainly two years of as- ,fx fy ' . sociation in struggles and x . -- 4 ' -' ' "' . . , , -v.,, , fm If trlumphs must 1l1CI'C2lSC the W' -:ff+L:K1V "" feeling of fellowship,-for fl ,.- even misery likes company, "F V' -and develop the class spirit of loyalty to each other and our Alma Mater, which is the goal of our endeavors. Iluznlcnl. BAXTIQR. A SENIOIPS DREAM v 1-,K H Za fm ' H , X NI NXL: lm TX ' if "' KM f 1 W1 5 , ,1.., 's-if :fx I Am- fs,-Y pas t Q , Q ' 'W A H Q1 kliiw Tlfwflq K ,fx who , XX K :gg ,fag- 14 221 ni ff ,K A Z? My . ., . W gi q 4 4 44 , ff 7 f, 4 Z THE NEUME Nineteen Hundred and Six Junior Officers RAY L. IIA1z'rI.lsY I,Ucll.r.lc IVJUNN Vive EI,lf:ANol: Rlfzuclc II1cnnl4:le'1' IQINNIQR .131-:ssm l',xlmlcN'l'lm fl,.S'.S'l.Sf!7llf P1'cs1'zfc11f I ,l'USl'lfL'7lf Secrcta ry 7y'L'!ZS7H'!3l' 7il'L'0.S'lN'Cl' Nineteen Hundred and Six T H E N E U M E T is with a great deal of pleasure that the Juniors present them- selves to Tins NEUME and its readers for the first time. lt is also with great pleasure and a sense of satisfaction that we look back upon this our first year of organized existence. YVhen the Seniors of last year asked the undergraduates to get to- gether to help them in a Class Day celebration, a seed was sown which took deep root in the minds of some of us, and grew into a healthy, full grown Junior Class. And when last fall this same body of undergrad- uates separated into two classes, Senior and Junior, there was ushered into our school life a new and very valuable addition. Since that time there has existed a kind of school spirit and friendship between the students which was a much felt want in our Conservatory life, and which we hope will continue to exist in years to come. The Juniors organized last October, and one of the most enthusiastic workers in this new movement for a school president. Very soon a reception was given the juniors became acquainted, and learned they had not before. From that time on social affair once a month. lVe also had a spirit, hir. Cole, was elected in the gymnasium, at which to know each other in a way we have held some kind of class meeting once a month- perhaps. The November social was held at the home of some of the boys, and we all had a most enjoyable time playing hearts-some on the tables and some on the stairs. After cards came dancing. NVe have also had two theatre parties during the year. The first of February brought around another election of oHieers. In this month we held a whist party with dancing in the gym. At least we can say that we have been of some help in bringing about an esjirif de corps which existed as never before in the history of the school. WVe hope that this new movement will be taken up by our suc- cessors, and that next year the1'e may be a more enthusiastic Junior Class than we have had. VVe feel that we have accomplished tl1at which we set out to dog namely, 4' to promote good fellowship among our classmates, and loyalty to Alma Materf, ' RAY L. I'IAa'l'r.lcY. Sl , I 'lg ffqhll' E'A I , 1 mm f f +1 "f "'3 E 2 nam. f fi W v, 'ff 5 r, ' 4-rl 1' if .f ' , 7 ,flh ff 5 "Inf 'f I f U ' 0" gum 'nr H1 .rfjlp f f W HW W Nw f 5 Q finer E15 if Qggwg 5 Z1 " "Q 'ff' 'Wd Wi' "ff ru api A'?:7,:J,?"ds5 Y Y I 'ff- 'IEW' , - -'.4,-..: ..,- 1-- --,L . .,. - tif' ,vl ...LM ' Qu. ' .f'- rl - -- - "W, -- gif- vm N ,'.....X 1. 'i:j,..-....--' OW' --'El ff! 'Z' .24 ZITPIQM M- "J 'ET ' "M fi, 2 ,ff -f" ' .. .- ,., --:,:?.. 'M Y WQ5A',1"' WV WZ " . X 'Sli SQ " -if D-ww. Q NNN- 11 'fzbi' "yi X 'QLSTQ5 S xx' "Ml WJLHEIQ I X -- . I -.L A-N . ..,. . g. xi, , 1, , Il v 1 .,,-5 g.'sv.A1ym ,I 415 ,, ,ll vi! f fi-T' ,,, Niwwnmif' " 1. A I "' Vm '?x I KZMU Xi N ,,,, N ,. 5? xx f ,, .VL Y-XQAQ x W I 9 W- I 1 W-f . Xilbx ,K. T .,,' x U E 1 Iii a X ,QR ly 1 N lsxii, N 723 N 555 V ,f lm ' W .l k 'Ib X i gf I X ii 1 5 'l MM A I 3 I lf: 1 g I M Sl xg , Z ' , f?.,h-'41 ' I n ""' 'vwzixm AQ 'gp 1 f 414 1 F f f XY F 5 2 fi Q , X Mix 'Q I Vf Xi 4 EX Q. Q41 whlmyl f" X . ff 1 l?, ,x I' J N., ,wx Lf ' ' J'fn,ff 51 . f ' 'B H -E".:F2'1-5 V f 1? 'al' -c-.fn . i THE NEUME Nineteen Hundred and Six Freshmen Officers UD VVILLIAM DRISCOLL . . . GRAND ZIIOG UL ILLDE A. NVITHERELL . COIVFIDEUVTIAL AD VISER MARIE E. GEIGER SAMUEL VV. COLE OSSIAN E. MILLS JOHN MCLEAN . . . ALTERNATE AD VISEI? LECTURER PLENIPO TENTIAR2' . FLVANCIAL EAIBAIUQA SSER . . CHIEF FACTOTUJV 'Sl zzz Ji Xia ff! 'W EW, .0 xemw' Z' 1,,f 3 A S4 Iv " 'I , Ng ,jgAI', .iii L' ff-5 If ' I, L 5. I 'mf 4- .a- 4' T? .:" - I ,, -- qs- 49 'I'l'IQ"I'YI ,, HMQ ravi" . Q Q -L -AQ I L g I . I I'-'lf-1' IG I :TW ..-, ff Q- :L II, uv lf ' s I 'I - -I 1 L I Q ,Q GN I .W II -I IH Iqn fg , I ,I I ,. ,I U .I E ,Q I I Q 'I .egg NI , I' I II I l I ,II I .E -' .IA I I .. I I I iffy A ff' 4 I' 3 I Q II' I E I ' A 1 , I ,IIIU IIII'5g'4j II 5' ' E' II I Q 'I Eiilf I f- , I X ,I I I , I 2, ' III I I ,L 0 6 I II I Q-,Iv 'r'a'!9. I , I ' ig -If I I I ' I T I :II ? I II h Q " I l : Cu ' -We - 7 I 711' "' QSQII I Q' 'III II Ei' II I ' 3355- . . I ,,..J A . VS I 6 5' 'V '53 fs' 'ZZ II' VIII I A' ' T :ffm I :III 13' - f 3: A A f A 1 4-N --.123-5-5 .3-g,:: -r 9 Q.:-egg 4::i?1,,.-C-jigs.: ,-, f-N fx 7. ,L.7T?-"""'-N ' 'ESX '-NN fx A . , - ZX 'N ,iii ax I 3- 'fix Ig!" ,f?55-EL--17:-'if - 'X ,,-'-"':.'1.--- - .:"'J:'-7'-ff-' - fag... "','..--? , ,I -,,.,.. -., -,-:' ff?"- Nineteen Hundred and Six THE NEUME Sinfonia Es'rAnr.rsnEn AT Nlsw ENGLAND CoNsERvATo1xY AI.PII A ISETA CQAMMA DIEI.'l'A IQ Psi LoN IETA 'l'Inc'rA IIORACIQ XKVIIITIEIIOUSIC AI,lllili'l' IIALE . . NVILSON T. Moor: IIAROLD A. Coma KJSSIAN E. IVIILLS IQAY L. InTAu'1'I.icv TI. FAX' Looli . . r OF Music, Bosrox, OCTOBER 20, 1898 CHAPTER ROLL New England Conscrvzltory of Music Boston, Mass, liroucistrcct Conscrx'zitory of Music . . Detroit C0llSCl'X'lltIJl'3" of Music . Ithaca Conscwzltory of Music . UnivC1'sity School of Nlusic Cincinnati College of Nlusic Syracuse University . 1' CLI lflfo nn CAM l'ls1+:LL AUGUSTUS A. Nom, S1nnLicY F. S'l'Ul'l' IiAI.l'lI IJYFORD Picncv J. l3UluclsLL NVILLIS C. IIUNTILR Glconcns H. CAMPH HiN'roN II. jomcs Glcomzlz Gisonolc HYIICIRA X'VlI.l.IANI T. DAVIS EnN1cs'1' XDIVIAN FLOYD B. IDEAN TF Pliiladclpliiu, Pal. Detroit, Mich. . lthucu, N. Y. Ann Arhor, Mich, . Cincinnati, Ohio . Syracuse, N. Y. ALPHA CHAPTER IE LI. P. CII.-X'I"l'ICliI.I+lX' 57 1JI'6.S'Z'til?7lf and Cozmcifmazz . . Vice 1'1'0Sz'defzf Second Vice Presiafem' . . - Sl3Cl'l?ffl7ij' Treasurer I'I"?Z7'lI?L'7l . . Lz'6rczr1'1zfz Asxocirzic 15071701- AI.liliIi'I' LI. S'l'lil'llENS EI.lSlIA P. lhcizm' J. 1'IIQRBER'l' Donnie STANLIQY E. FULLIQR ARTIIUR 1NfIOUI.'I'ON TFADANORI r1'0G1 LIII.'l'0N A. NVoonnUm' F. LYMAN NV1nc1s1.laic FRANK V. XVIQAVIQR Amrnnc M. LSARIJNIQR ERNl4:s'l' SIIELDON F. 1'icnc1x'AL IJEXVIS I ,f 41, -f 1 b " J ,JN .,,. gm: 'Za ', ga N' LF-ff rd v ,w 7 1 V- - Q .fu . . U ,shy 1. , '.4 .':, . - 'f' -, cw- wi 1 M X94 W' if '-, ' -, J: V . Y v ' , 442 Maj w. 1 UIQ? IA ' wwn, -V1-4. A of y Nineteen Hundred and Six T H E N E U M E lpha Chi Omega Sorority FOUNIJEIJ AT DE PAUW UNIVERSITY, GREENcAsTLE, IND., OCTOIIER 15, IS85. DIRECTORY OF ACTIVE CHAPTERS ALPIIA Dc Pauw University .... Greencastle, Ind. BETA Albion College . . . Alhion, Mich, GAMMA Northwestern University .... Evanston, Ill. DELTA Allegheny College ..... Meadville, Pa. EPS1I.ON College of Music, University of Southern California .... Los Angeles, Cal. ZETA New England Conservatory of Music . Boston, Mass, TIIETA University of Michigan . . . Ann Arhor, Mich. Io'rA University of Illinois . . Champaign, Ill. ICAPPA University of Wisconsin .N . . . Madison, NVis. ALUMNAE CHAPTERS Chicago, Indianapolis, Detroit, and Boston. EI.IZAliE'I'II BATES EDl'I'Il BLY IEVANGELINE ISRIDGE WVINIFIIEIJ BYIID ISLANCIIE CRAFTS GIi1i'l'lLUDl5 DAMON LOUISE DANIEL CLXROLINE EDMOND ZETA CHAPTER ACTIVE MEMBERS IDA ICIIIKPATIIICK FLORENCE LAHAIIEE ALMA MAIITI SARA MoRToN RACIIEI. Osooon INIABEI. PAUTOT MERI.Ii R1iYNOI.DS CAnoI.INE SCIIMIIJT FANNY JoIINsoN EI.1zAnE'rII KIllK1'A'l'lllCK IVIIQS. MBIE. Miss Mrss MM E . Miss Mus. Mus. H. I-I. A. BEACII HELEN I'IOI'EKlRK MARGARET IRUTIIVEN LANG MAUD POXVELL HILDA SXVARTZ IIIMA WVATsoN HONORARY MEMBERS Miss MME. MME. MME. FANNY BI.ooM1fIEI.D-Z1 JULIA IEIVI-I-IQING ADELIE Aus DEI: OIIE IELLEN BEACI-I YAW iISLER fXN'I'0INE'1"I'E SZUMOXVSKA MME. NIARIA DECCA ASSOCIATE MEMBERS MABEI. STAN-'UVAY Mus. CLARA 'Il0UllJII'Ii-NIEI.S0'N PAULINE NVALTMANN-BRANDT Mus. IQALPII L. IPLANDERS CHARLES A- VV1'II'I'E MISS SARAII IVIAUD T1IoM1'soN 59 1 Nineteen Hundred and Six T H E N E U M E Al.1'lI1X l31a'rA CQAMMA DELTA E1-sl1.oN ADAM CASKEY E'r11EL CCDNIJON JAN1c1s G1u1fF1N E1.1zA1ns'1'11 Mmccv 'Bucknell University . . New England Conservatory . . lvliss Gorclon's School . 'Barnard College . . Maryland College . . Pi Phi CHAPTER ROLL liuckncll, Pa Boston, Nlnss . Pl1ilu1.lelpl1i:1, Pa Qliztrnurcl, N. Y Suthcrvillc, Mal BETA CHAPTER ACTIVE MEMBERS FRANCES PEAnoDY MAIIIIE 'l'noMAS MARY Al.lCli WA1.I.1su EA'llI.Y W'1LsoN 61 1 Nineteen Hundred and Six T H E N E U M E ANNA ALLEN E'r1uc1.wvN Clcmclmm IIIQLIQN Cnosnv IIELIQN DACiC9li'I"l' C1lAlu.o'r'1'ls DANr1cr.s GRACE FIELD EI.1zAma'r11 Ilovl-me BIQLM: Momma Beta Tau Pi ACTIVE MEMBERS , 'fibs H xqgf' 63 1 fx x f rL -Y N A' wi Nl ..,, nm -saw! EDNA NAILI, LAURA CYIQANE PAULINE 0,IiANlE SUE SM1'ru IJAGMAR SORENSEN A'l'IllENIE S'rEm.1Nu IRENIQ S'1'mu.1Nc: IiA'I'IIERINlE Qbrrmm' r 1 Nineteen Hundred and Six Kappa Phi ANNE M. BURKE N. Amon IIICNDIERSON Clacu. M. Osmmx 'Ge .O gl!! 5384 --2 33 N, .U . x rd , it fu 65 W as ., , 3, , uW:u.:.w A. "'. m1x..JfP' .4iQt,g.gjf11Q 1'?"'.'.I' f W!-"9 " 1 ffxf :iff ' ' W-':U,'f' iG:'Q:': r 1 .'6L,1. . , ,22 '.".Wf, . ' . N lx. Joram KN Nineteen Hundred and Six T H E N E U M E An Appreciation BEN D. JORDAN, son of the late Eben D. Jordan who was one of the mainstays of the Conservatory in its early growth, was born in Boston. He was graduated from Harvard in the Class of 1880, and received in addition a line musical education. Prompted by his own inclination in musical tastes and inliuenced by the respect and affec- tion for his father, M1'. Jordan has taken a most active and most practical interest in the work of the New England Conservatory of Mirsic. WVe take this opportunity to acknowledge publicly the deep gratitude which the Senior Class feels toward this generous patron of the institution. The question is often asked, "To what is the phenomenal growth of the Conse1'vatory in the last few years due?" VVe believe we speak truthfully when we say to no one thing as much as to M1'. Jordarfs munificent gifts. WVC are not at liberty to speak of the large donations made privately : we touch upon only one gift, that of Jordan Hall and its magnificent organ. Did tl1e donor even realize the extent of the value of such a gift? From the material side, the yearly income fromrentals of the Hall has been, and wil1be,a continual source of financial strength. From the artistic side, jordan Hall affords the most favorable conditions for the presentation of musical works of all kinds, solo or ensemble. It makes a most suitable home forthe chorus and orchestral rehearsals and concerts. NVere it not for its spacious stage area our combined orchestra and chorus concerts would be impossible. Mo1'eover, through jordan Hall the world's greatest artists are brought right within our doors. Can any other institution of music in America boast of such a high grade of musical atmosphere within its own walls? NVC reiterate that all these favorable conditions which we enjoy, and of which we are justly proud, are made possible through Mr. Jordan's gen- erosityg hence these few words of genuine appreciation. 67 mumx IIALI, URUAN Nineteen Hundred and Six T H E N E U M E Specifications of the Jordan Hall Organ x Compass of Mzmuals, C to C4 Compass of Peclnle, C to gr GREAT ORGAN Diapason . . . 16 feet Flute 4 feet First Diupason . . . S feet Octave . 4 feet Second Diupzison . . . S feet Twelfth . -feet Flute QGross Flotejf . . 8 feet Fifteenth . 2 feet Gemsliorn ..... S feet Vlvlixture . 4 melts Gzlmlm ffor solo workj . S feet Trumpet AS feet - SWELL ORGAN liourclon . . I6 feet Flute Cl1Zll'll10lllC tt feet Diapuson . . S feet Violin . . . 4, feet Bourclon . . S feet Dolce Cornet . 4 ranks Viola . . . 8 feet Trumpet . 16 feet Aeoline .... . S feet Cornopezui . 8 feet Gamba tfor solo usej . S feet Oboe . . . 8 feet Qhlll1t2lClCl'l2l ..... S feet Vox liumanzl . S feet Voix Celestes, 8 feet Q2 rzmksj ' CHOIR ORGAN Un Separate Swell-box, Dulcizmn . . . . 16 feet Flute fROl11'3 . 4 feet Diapuson . . 8 feet Piccolo . . . 2 feet Bourclon . . S feet Fzigott . . . 16 feet Szilicionnl . . . 8 feet I Euplione- tfree reecl very Dulcizum . . . h . 8 feet liglitj . . . 16 feet Flute c'lll'2lX-'CYSCD . . . S feet Clarinet . S feet PEDAL ORGAN fAugmentedj liourclon . . . 32 feet Violoncello . 8 -feet Dizlpzison . . I6 feet Flute . . S feet Violone . . 16 feet liourclon 5 -feet Duleiunn . . I6 feet Octave . 4 -feet Bourclon . . . 16 feet Tromlmone . 16 feet Soft Bourclon . . . . 16 feet Trumpet . . 8 feet ""1'he quulilientions in parentheses do not appear upon the register-knohsg they are igi-ven lierc for purposes of informzilion, 69 T H E N E U M E I Nineteen Hundred and Six Specifications of the Jordan Hall Organ CContinuecD COUPLER5 fOperated by Tilting Tablets Over Swell-keyboardj Swell to Great Unison Swell to Swell at Octaves Swell to Choir Unison Swell to Great at Octaves Choir to Great Unison Swell to Swell at Suh-octaves Swell to Pedale Unison Swell to Great at Suh-octaves Great to Pedale Unison Choir to Great at Sub-octaves Choir to Pedale Unison COMBINATION PISTONS 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 COMBINATION PEDAL5 Four and Release partially duplicating Swell Pistons Four and Release partially duplicating Great Pistons fOperated hy foot-pistons on pedal framej General Release Full Choir Four' Collective Pedals, affecting entire organ Crescendo Pedal, with indicator at keyboard, showing exact position at all times Sforzando Pedal MECHANICAL PEDAL MOVEMENTS Great to Pedale, reversible Balanced Pedals for Swell and Choir hoxes Tremulants for Swell and Choir Action Elcctro-pneumatic throughout, except connections with swell-hoxes Pedal keyboard, radiating and concave Action extended to keyboard in front of the stage Nlanual-key action provided with device for restoring modified touch of track-organ 70 SIGNOR ORESTIE BIMBONI Nineteen Hundred and Six T H E N E U M E Tribute N attempting to write an appreciation of what Sig. Bimhoni achieved with tl1e Opera Scl1ool, I can hegi11 i11 no hetter way, it seems to me, than hy hriefiy sketching his career as conductor of opera, which extended over a period of thirty years or more. During this time l1e directed in liCZll'ly all the important opera houses of the world, and was identified withlthe dehut of great singers i11 new roles as well as with tl1e initial performances of successful operas. Sig. Oreste Bimho11i was l3Ol'll i11 Florence, Septemher 11, IS46, of a musical family, his father heing one of tl1e violinists at the Pergola. llis early t1'aining l'lCg'1lll in l1is native city u11der tl1e direction of Dechamps, Mahellini, Cortesi a11d Vannuccini. He was master of chorus under the last two, wl1o were at that time noted operatic conductors in Italy. Ile studied later with Tauhert in l3Cl'lill. At the age of eighteen he made his first appearance as director in Bastia Corsica. Ile re1nai11ed in Italy for two years, meeting witl1 success in different cities, and then went to Berlin in 1867, where he was under tl1e management of Pollini for a year. From that time he directed with g'l'C2lt success i11, among other European cities, Moscow, Vienna, St. I,,CtCl'Sl3llI'g', Naples, Milan, Lishon, Ilamhurg, l.on- don, and in all tl1e large cities of North a11d South America: dividing tl1e honors with such celehrated singers as Patti, Nordica, Melha, Calve, Lucca, Nevada, Gerster, Maurel, illlfi witl1 others of lesser IIOYC. Ile also devoted some of his time to composition, his chief works heing tl1e operas La Mo- della, Haiducul and Santuzza, first produced i11 Berli11, Bucha1'est and Palermo respectively. Twice he interrupted his musical life to follow tl1e fortunes of Gari- haldi, of XYl10lll l1e was a11 llffllfllt admirer. Ile made his last appearance in America witl1 the Imperial Opera Company in 1896, when he created a furore in ,Boston and New York hy l1is masterly conducting. Soon after tl1is l1e retired, with the llltClltl0l'l of leadi11g a quiet life in Florence. This life of il'l1lCtl0I1 palled on o11e of his temperament, ilOXYCX'Cl', and when i11 IQOI l1e was offered the directorship of the prospective opera school l1e accepted, and soon after arrived in Boston full of e11thusiasm llllll impatient to hegin his duties. Not only e11thusiasm, llllt confidence llllil courage were necessary for tl1e task tllilt lay hefore himg for up to tl1e time of his 2lCiVCllt opera schools were a theory rather tl1a11 a fact. Attempts had 73 TH E N E U M E Nineteen Hundred and Six been made from time to time to establish such schools, but the results, as shown in public performance, did not indicate a systematic and thorough training such as the operatic stage demands. Bimboni, besides possessing personal magnetism, fiery temperament, keen perceptions, indomitable will and great musical intelligence, was by long years of training peculiarly qualified for the position. Ile could coach his pupils in the action and in the voice part of all the roles, and he knew the misc an scene of the operas even to the smallest detail. He could, moreover, directing the orchestra himself, produce on very professional lines whatever scenes had been studied in the school. The first public performance, given in the Boston Theatre after the first six months of study, showed what he could accomplish with purely amateur material, when, before an audience that half expected the usual crude and oftentimes amusing exhibition, he surprised the best friends of the school with results that called forth the warmest praise from all the critics. The effect of his triumph was felt all over the country, and through its influence opera schools were established in all musically important cities. The work of the school under his direction is so generally well known that a detailed account seems unnecessary. For four years he gave to it all the splendid energy and ability that he possessed, and the progress of his pupils bore ample testimony to the fact. Tl1e public performances of increasing difliculty that were given from time to time were a replica of the first in point of excellence. Under his guidance and instruction pupils gained experience that has since proven of inestimable value to them. Many who are now successfully appearing in public can testify to this. He gave his best to the very end, and at his last public appearance he conducted, with his accustomed ene1'gy and autho1'ity, the most ambitious performance the school had yet attempted. His untimely death has taken from the Opera School a broad-minded man, intensely interested in the Conservatory, wl1o tried at every oppor- tunity to further its interest here and abroad, and whose great loss is best realized by those who were associated with him in his work. ARMAND Foirrlx.. 74 1 Nineteen Hundred and Six T H E N E U M E Smwmi RRR Jordan Hall Recitals l 905- l 906 Recital by Advanced Students. OCT'l'tllllER Organ Recital by Mr. Homer Humphrey. Oc'1'o1mR Song Recital by Mr. F. Morse Wemple, assisted by Mrs. Charles A XVhite. NON'EAlliER Pianofortc Recital by Mr. Edwin Klahrc. NOVIQMIHLR Pianofortc Recital by Mr. XVilliam Dietrich Strong. Novennnm Recital by Advanced Students. NOVlCMliER Concert bythe Conservatory Orchestra and Advanced Students, con ducted by Mr. Wallace Goodrich. IJECEAIIHER Concert by the Conservatory Chorus, assisted by Mr. Clarence B Shirley and by Advanced Students and the Conservatory Orches tra. Mr. XVallacc Goodrich, Conductor. JANUARY Recital by Advanced Students. JANUARY Organ Recital hy Mr. Henry M. Dunham. JANUARY Pianofortc Recital by Mr. Frank Watson, Class of 1905. JANUARY Concert by Students of the Pianofortc and Vocal Departments assisted by Members of thc Conducting Class and by the Con servatory Orchestra. Mr. XValIace Goodrich, Conductor. l"EliRUAR Y Pianofortc Recital by Mr. George Proctor. FEBRUARY Pianofortc Recital by Mr. William Dietrich Strong. FEBRUARY Pianofortc Recital by Mr. Carl Baermann. FRURUARY Concert by the Conservatory Chorus, assisted by Advanced Stu dents and by the String Orchestra. Mr. XVallace Goodrich Conductor. MARUH Concert by the Conservatory Orchestra, assisted by Advanced Stu dents. Mr. Wallace Goodrich, Conductor. NIARCII Third Annual Recital of Zeta Chapter of Alpha Chi Omega. MARCH Recital by Advanced Students. MARCH Concert by the Conservatory Orchestra, assisted by Advanced Stu dents. Mr. Wallace Goodrich, Conductor. MARCH Pianofortc Recital by Miss Edith YVells Bly. APRIL Organ Recital by Mr. Ilomer I'Inmphrey. Al'liII. Pianofortc Recital by Mr. Richard E. Stevens, Class of 1904. APRH. Concert by Advanced Students and Conservatory Orchestra. as 4+ -no +V -if -Ili if it 4+ 41- ia- or 4, JUNE 4. Senior Class Concert. 75 T H E N E U M E Nineteen Hundred and Six Taste in rt and in Life A Few Aesthetic Considerations EUGENE GRUENBERG fliy requestj HE instinct. for beauty is universal. All human beings endeavor to beautify their existence by improving life's surroundings, and by securing every possible satisfaction to their five senses. They succeed more or less, according to the development of their :esthetic judgment, which we call "taste," and which depends upon their moral state, their religion and their culture, as well as upon social and climatic conditions. It seems easy to agree that beauty is not only the purpose of art, but the aim of life. We speak, indeed, of a beautiful life, beautiful characters, beautiful deeds, even of a beautiful death. Beauty is not a " matter of taste," but a matter of highly puri- lied taste. XVe should, therefore, attempt to improve the latter unceasingly. and to bring it as near perfection as may be. There can be only one Insta, strictly speaking, as there can be only one trulh. A creation of art is either beautiful, or it is not. There ought to bc a code of fundamen- tal rulcs for the science of zcsthetics. Unfortunately we do not know them well enough, and consequently there has been constant war between the foremost critics of art, ever since Aristotle undertook the establishing of an evangelism of beauty. If a man has a bad taste in his mouth, he feels it, and hc knows it. But many have a bad taste in their eye, in their ear, in their mind, and do not know it. Only study, con- sideration, comparison, insight and good will can cure that kind of disorder. Some great men, to be sure, have been very narrow in their understanding of art. Witness Goethe, who thought so much of Meyerbeer and so little of Beethoven and Schubertg also Shopenhauer, who, after having received from Wagner-his ardent follower-a copy of the Nl'b6l1lllKJ,Vl!ll, with the author's dedication, said to one of Wagner's admir- ers: 'WVhy, that wretch may be a great poet, but he is no musician at all. I still adhere to Rossini and Mozart! " I-low ferociously XVagner was attacked and con- demned by Count Tolstoi, is well known. Bismarck had absolutely no sense for music, but he had the courage and honesty openly to confess it. But great men can afford to err, where others who are not great should by all means try to improve. .Quad !l'CCf,10Ul., non lim! bllllll. There is yet an immense amount of barbarism and misunderstanding prevailing in the realms of taste and beauty. " Taste" must not be confounded with " style," nor " beautiful" with "interesting" The style will change, but not the taste. The beautiful appeals more to our eye four ear, in musicj, the interesting to our intel- lect. Both qualities may, but uccduol be combined. In the majority of cases they are not. When our beloved music teacher, speaking of some new, and for him too radical composition, said, " Very interesting," we knew at once that he did not like it. 76 Nineteen Hundred and Six T H E N E U M E NVe would have known it even if he had not rolled his eyes and twisted one end of his martial moustache in a most terrifying manner. XVe have in art the classic Cor anticj, the romantic and the modern styles, each governed by generally accepted principles. The difference lies in their purpose and object, as well as in details of shape, line and color, that is, in artistic conception, But the form of beauty remains the same, viz., idealization without violating the eternal laws of beauty, as taught by nature itself. Necessarily there will be, from time to time, an elemental revolution, caused by some extraordinary genius, which makes the world of art tremble as by an earthquake, destroying old beliefs and substituting new ones. Such a genius is welcome. But nowadays we sec arise so many Messinljg and destroyers that we perforce lose our confidence in their divine messages. What shall we think, for example, of the proposition to combine the arts of paint- ing and sculpture? The greatest factor in appreciating and enjoying a piece of nrt is our imagination. This wonderful faculty has to camjflnle what art only SllgL7'l?.TfS, We see a landscape or a scene at the waterfront: it is only an illusion, but our lilllllli' rye is inspired to a glorious vision of real meadows, woods, mountains, brooks, of big vessels, huge waves, the majestic ocean, the infinite sky. llow ridiculous would be the attempt to place within a picture's frame real trees, brooks, mountains, vessels, and ponds, all in miniature! Would it not be as far from reality, as from idealiza- tion? And imagine the statue of Venus of Milo painted over! NVhat artist could ever hope to give to her colors producing that dream of beauty which only our imagination is able to see? A painted Venus is possible only on a canvas, for then our imagina- tion is given the opportunity of rom'c1'm'11gjflaslzrally the perfect form of that ever fascinating goddess. The combination of poetry and music, as we find it in opera and oratorio, is no argument against the aforesaid. The elements of poetry are not strange to the art of musieg in fact, all the arts are permeated with poetry. And experience tenghes that the imagination of the listener is not checked, but, on the contrary, aroused by musico- dramatic performances. Still, a good deal has been said against the union of poetry and music, some going so far as to call the opera an utter insanity, and the adoption of music as an accompanying feature nothing more nor less than a sacrilege, involving the degradation of a noble art to the humiliating role ofa servant. To settle this par- ticular question definitely will probably remain the task for some future time. In the kingdom of music we have arrived at a critical point. Melody or harmony, the war cry which has excited and infiamed generation after generation, seems now to have lost its significance. After all, melody has hitherto held its own, and so has harmony, only in various shapes, qualities and doses at different times. Melody received its true meaning through harmony, and the latter found in the former its reason for existence. WVithout harmony there is no melody, and wha versa, Bm in music one axiom has always been considered vital,-the unify of harmony. Now the foundation wall of that old stronghold is being jostled by the extremists! If these men are right, then good-by to harmony: a new era dawnsg enter-cacophony and discord. Men cannot exist without innovations. After many fanatic struggles and gt,-ik- ing evolutions in which rhythm, melody, harmony, counterpoint and polyphony, in turn, were worshiped in intoxicating orgies, it was rather difficult to find a new golden 77 T H E N E U M E Nineteen Hundred and Six calf. But one was found, and its priests claim to have solved the question of music for all time. May beg but if the new theory is correct, it is not for the reason of being new. The new grows old, and the old grows newg in other words, there is nothing new under the sun. V , It is hard to satisfy a modern Ucber Genie Cover-gcniusj. Anything which smells like ordinary or conservative stutf is banished with contempt. 'Consecutive fifths are antiquated spice already, and scales without semitones are the least thing expected from a man who desires to pass for a modern and " original" writer. But in order to shine among the select " ultras " one must, mind you, understand how to compose in two different keys at the same timeg an opus so manufactured is sure to be the jlibcc de rdszisiance in any modern concert program. The most dreary, shock- ing, dismal subjects will no longer satisfy our present creators of operas and sym- phonic poems. Should a libretto deserve the honorary title " modern," it must beat by a hundred miles the imagination of such fellows as Poe, Ibsen and Belot in fright- fulness, distastefulness and morbid perversity. Where we are driving to only the Lord knows. There are modern compositions in which nothing will remind you of the leading key but the signature, and, possibly, the last measure. How can we speak at all of a key in such cases? Suppose a painter is color blind and paints all his grass and leaves purple, will you accept it for green? Or an author publishes a book under the title In Ilabf, and you find it a description of Ireland. Would you not call it a farce, or consider the writer crazy? From the sublime to the ridiculous is only a stepg is it only a step back again? We hope so, for therein would lie the great consolation that, sooner or later, the true principles of beauty may be legitimate again, and good taste in art, a new Phenix, arise to lasting glory and sovereignty. Amen ! The contrast of beauty is caricatureg the caricature of good taste is poor taste. Also in life! In our school days we read that the old Hellens enjoyed " a beautiful lifef' especially during the times of Perieles and Aspasia. The question arises, What is beauty in life? what zlv a beautiful life? One fool can ask more questions than a thousand wise can answer. For instance, why was the world created? why is the zebra striped? why must we pay bills? why are there triangles? why was Beethoven born? But, returning to our own question, it is gratifying to see the best thinkers agreeing that not so much the features satisfying eye and ear, and not alone comfort, wealth and material success make life happy and beautiful, but, incomparably more, all that which appeals to our imzor senses, to our intellect. What do we admire in a man? what do we call beautiful in him? Above all, the high standard of his mind and conduct, his ethical value, not his appearance or abilities, fascinating and brilliant as these may be. In life, beautiful is identical with good, noble, true and pure. Many have ventured to outline the rules for beauty of life. But it is hard to appreciate written laws of an aesthetic nature, especially with reference to life. Serious observa- tion, contemplation and experience will do us infinitely more good than all the dry books on good taste and behavior on sale in every bookstore under such titles as, " Do!" and Don't! " The best advice we can think of is, be as fair to others as to yourself. Bc, and you will have your reward. The lack of fairness results not neces- sarily from a mean disposition, but sometimes from a lack of discrimination and dis- cretion, as well as from misunderstanding one's social standing. 78 Nineteen Hundred and Six T H E N E U M E The terms "equality " and " liberty " are often misconstrued. Only a political, a national meaning is allowable to these expressions, not one of individual authority and calibre. Let there be no mistake about it-there is great variety of rank and standing depending on the outer and inner qualities and value of the individuals. Gold is better than dirt, the lion belongs to a higher order of mammalia than the pig or jackass, and an American Beauty's fragrance is sweeter than the odor of gm-lic, The President of the United States could fill most any ofiice to perfection, but how many would be able to be President only for five minutes? Would you not say that merit, age and knowledge should be approached with respect and deference? Yet there are some incurable duffers who do not seem to think so, because they boast in "equality," Such people have no idea of fairness and modesty. Aconspieuoug mem- ber of this large family is the gentleman who busies himself with worshiping his own dear self and magnitude. I-Ie will tell you scores of interesting little incidents con- nected with somc very great and famous persons, and he will manage to appear him- self as the most conspicuous ligure in every story. " Homer and Shakespeare, the two greatest poets of the world, spoke so little of themselves in all their works that their very existence became a matter of doubt." This little aphorism is quite to the point. Courtesy, regard and modesty are graces which go far to embellish life. Ilow little this is recognized can be seen from the shocking forms of greeting still common among young people. Many a time we have seen a young man enter a private room without removing his hat. The forms of greeting have always and everywhere been considered indispensable marks of esteem and respect. They have been strictly adhered to just as all other conventions. Style and form of greeting differ very much among the nations of our globe. The old Greeks and Romans used simply the spoken word in salutation, as chairc, ave, vale, salve, etc. The Turks cross arms in front of their chest, while making a low bow, the Arabs place the left hand on the chest, kiss- ing the friend's cheeks and their own right hand, the Kalmucks snuflie at each other and rub their noses together, the Thibetans stick out their tongue, gnash their teeth, and scratch their ears, and so forth. We do not feel inclined to recommend anv of these variants of greeting, but some style of homage must be accepted also by us. M AS a matter of fact the raising of the hat has been agreed upon as the proper form of greeting in civilized countries since about the beginning of the seventeenth century. To violate this rule is, therefore, an offense. Exaggeration is, of course, never desirable, and exceptions are quite possible. To decide in such cases we must depend on tact and discrimination. WVhen in the court room, in the presence of the judge, you will remove your hat, even a cowboy must, little used though he may be to eti. his ranch. On the street. in public places like depots, museums and oflices, excepting such ofa private character, we are not expected to remain bareheaded for quette at any length of time, not even while conversing with a lady. On the other hand, it is not clear why we should not pay to a man we respect the same tribute of courtesy which we pay to a lady, so long as we agree that everything has its time, even such things as politeness, ceremony and etiquette. C'esl le tau, guifaft Za musiquc! In distinguishing the demands of the case we display our taste. It is quite different, whether one enters the White I-louse or a circus, a stable or a conservatory of art. Even cannibals must learn to comprehend this. 79 T H E N E U M E Nineteen Hundred and Six " The end justifies the means." This motto of the Jesuits has been often harshly criticisedhyet is admissible at times. A physician may prescribe a dose of poison in order to save a life, while, if he shocks a patient by forecasting the approach of his death, " within a year or so,'i he is guilty of criminal brutality. To put it mildly, that physician does not show very good taste. Nor do those friends of yours who will, nine times out of ten, tell you, " Why, you don't look at all well to-day! " Ilow in the world can it give any comfort to a man to hear that he is looking sick? This is not the way to express one's sympathy, and it can have only one effect, viz., to make a man--sick. The life is so short, and brings so many gloomy experiences, that we should mutually endeavor to make it as rosy and cheerful to each other as possible. Opinions may differ in certain matters, and every individual should be at liberty to live up to his own gusto. But this freedom-even in a free country-cannot go so far as to annoy in any degree one's neighbor, else the latter may feel disposed to get even with him who dares disturb the peace of his life by extravagant behavior. We may suffer by a terrible necktieg it may be beyond our comprehension how a man can be fond of the smell of Limbergcr cheese, or of the taste of castor oilg but such things are, after all, individual. For instance, an acknowledged French expert on neckties who, by the way, happens also to be one of the greatest living actors, recently declared any trace of symmetry to be positively destructive to the beauty of a necktie, and that accordingly we should fold our neckties in darkness. Would it not, by the way, be well for modern composers, painters and sculptors, to do their composing, painting and sculptoring in pitch darkness, so as to avoid any trace of harmony and symmetry? As long as our senses are not offended painfully, a good deal can be tol- erated. Unfortunately certain people do not seem to realize the meaning of humanity, decency, dignity and form. Form is too often treated with neglect. not to say con- tempt. But, is not art itself erected on the two pillars, conlculs andfbrmP V Bad manners have always been a source of indignation and disgust, challenging the keenest protest of the refined. We do not refer to the professional rutlian, but to such otherwise honorable individuals as, owing to some missing link in education or disposition, exhibit habits which must be called rustic and repulsive. The bearing of certain scientists and artists, for example, is simply unendurable. Buried in their books and dens they lose all interest in gentility, form and society, expecting the whole world to make allowances for their grotesque peculiarities. Then, again, there are those who will indulge in all sorts of doings which cause one physical pain or dis- gust. They will drive you to despair by pounding the piano in a summer hotel, hack- neying for hours the most vulgar ragtime, or perpetrating infernal noises of every description,detrimental to all who came for rest and recovery. Men who are not ashamed to expectorate in the presence of-others, ladies who visit theatres and concert halls crowned with mammoth hats, autoists 'who constantly and recklessly endanger the unprotected life of unsuspecting pedestrians,-all these qualify themselves as nui- sances, and whoever is a nuisance shows decidedly a lack of good taste. Not any less annoying are those table companions who, evidently not acquainted with the purpose of the fork, shovel big wagon loads of food into their mouths with Il lvnwr. The meal over, they chew their beloved toothpick in your presence-one of the most disgusting habits to be thought of. Can you imagine the old Greeks hanging round with tooth- picks in their mouths? So Nineteen Hundred and Six T H E N E U M E Now, we have seen that taste rules the world. The quality of taste displays itself in all our doings, but most particularly in control of ourselves, in our ability to abstract ourselves from all prejudices, and preserve our own judgment intact from the infiuences of the mode and its caprioles. Times may change, but the sterling quality of taste, beauty and morals, never. Are not the Ten Commandments holding good 515 the basis of all humanity, and is not the beauty of Venus and Helen liable to cause ch mischief now as it did in times of yore? There was hardly ever a common- wealth which considered such habits and faults as sarcasm, bragging, fault-finding, lamenting, domineering, stubbornness, stinginess, dissipation, jealousy, gossiping, etc., to be means of temporal prosperity and elevation. To be happy one must, before all, learn to content 0ne's self with one's lot, and unlearn the longing forthe nmlt. tainable. He who is unable to appreciate what he has, who looks with a grudge at his neighbor's happiness, is a crank, neither offering nor deserving sympathy. I-Ie will feel sour all his life long, and the glory and grandeur of nature and art will for- ever be a secret to him. WVhat he lacks is-humor. Truly happy are those mortals who are blessed with that incomparable treasure, that unique, heavenly element, would life be without it? Humor is the incarnation of life. It IIS mil called humor. What inspires invigorates, fructifies, purifies, lashes, tries, condemns, liberates, consoles, 7 rewards. It is the supreme judge in all questions of taste, and marks the pinnacle ot artistic creativeness. Without humor there would be no Shakespeare. The innnence of humor upon the intellectual and ethical development of the human race is immeas- urable. A man of humor cannot help being happy. And it he ever should feel " blue," his humor will enable him to have recourse to his beloved work, that sweetest of all medicines in life. People of great activity have little time for spells of depression and discourage- ment although they need not be prevented from finding time to enjoy all the noble 7 i pleasures of life. Think only of Shakespeare, Goethe, Voltaire, Bach, Beethoven, Mo- zart, Schubert, WVagner, Raphael, Duerer, Rubens, Canova, Thorwaldsen, Stradivarius! You are astonished that a single author's works should bc so numerous as to fill a spacious bookcase, or more. But a simple arithmetical example will explain hoyv ' . . ' ri I much can be accomplished by legulal ity and industry Suppose an aut ior produces for thirty years, writing say four pages fprintj a day, that would give in two months a volume of two hundred and forty pages, in one year six, and in thirty vears one hundred and eighty volumes. Alexandre Dumas wrote about every two weeks one volume of two hundred and sixteen pages. This would make twenty-four volumes in one and seven hundred and twenty in thirty years. Raphael died at thirty years of I ave, and his works number more than three hundred. Lope de Vega wrote about tive D hundred dramas of different sizes. Wonders of artistic productiveness were accom- plished by Mozart, Schubert and other great masters who have died young. Of course, not even the greatest artists could do much without l'usj5z'miz'on. Ins iration they must have, though it be nothing but the vision of the publisher-'S or P manager's check. We cannot find, therefore, anything better for the conclusion of this article, than to offer to all the young artists in .vjie of the New England Conserva- tory of Music our warmest wishes for a continuous and prosperous inspiration. All have probably heard of old King Midas, famous for his ass's ears, and for his ability to turn, whatever he touched, into gold. Let us hope, then, you may all find idgggl 81 T H E N E U M E Nineteen Hundred and Six publishers and managers resembling Midas, not necessarily as to his ears, but in that other qualitication. And now, as a final suggestion, may we be permitted to recommend to all our young friends of either sex to consider what has been said above as tothe sublime mas- ters' industry, and the fact that the latter proved to be a divine source of infinite hap- piness and satisfaction, not only to themselves, but to the rest of the world. Let us all join in admiration of genius and of the ideal. May we succeed in tinding therein inspiration for unceasing work, improvement of intellect, and elevation of laslc inarl and in Iyc J Qld , I-15' fiQ'i my 6 'EOMQYE' ll Q4 'lr It I -.e,UV'4gv' ' A' . b e Q, ' if 4 4 N Q Nineteen Hundred and Six T H E N E U M E Interlude ERIIAPS I did look like an eavesdropperg anyway, I was one. I went in to speak to hlr. Flanders, and linding him with l1is usual leis11re QPJ, I took a chair in the corner hy lVIr. Trowhridge's desk and resigned myself to any diversions that might come alo11g. I had not long to wait. A modestly dressed, pleasant-faced woman approached Mr. Trow- hridge witl1 a smile. W I want a lady singer witl1 a good voice and a great deal of 4 chic ' to sing a group of French songsg can you furnish me with one? She must l1ave artistic finish, and her pronunciation must he excel- lent, for it will he a critical audience." tt NVhy, yes, madameg we l1ave a soloist who will satisfy yo11, I am sure. Ilow much do you pay? " H WVCII -er-I can only pay one dollar"-rapidly-U hut this is an afternoon of 1'eadi11gs to he given at a Back Bay home, a11d, you know, if tl1e singer were liked sl1e might he called 11po11 for an engagement where there would he more pay. I am the reader, and yo11 know it means a great deal to appear hefore suck an audience." Shades of Jupiter, a finished artist, a I'arisian, for one dollarl The next on the scene was o11r popular NIiss Sour. 't Yes, I sang 411 that church in tl1e 'Island VVard,' as you call it, for a month, hut I got through yesterday. The organist simply eouldnit keep within shouting distance of me. Miss Frances, who went there when I did, you know, played all right, hut the COll1ll1lttCC told her two weeks ago that the new choir Qmostly young girlsj would not agree to sing unless they co11ld have a nice-looking young 1112111 for an organist and director. I think the chair- man felt a little cheap ahout it, after having told Miss Frances how pleased they were witl1 l1er work, for she said, 'VVell, you see they're young, and a yo11ng man appeals to them ! ' 'i This incident re1ninded me of the story of the old maid and the owl : tt Oh, I don't care who, so long as it's a man I " lNIiss Sour had just finished filing l1er application for another position when a de1nand came for a soprano. ft VVe've a small, struggling society in M--," the gentleman explained, ff and are just starting a cl1oir. NVQ want a soprano of fair quality and strength of tone to lead tl1e choir. She'd have to come out to rehearsal Saturday night and two services Sunday." tt You pay?" ft VVell, we can give a dollar and a half a week." tt And car fares?,' 'fNVhy, no. I thought students NVOl.llll jump at tl1e oppor- S3 T H E N E U M E Nineteen Hundred and Six tunity for the practice and advertising." Travel sixty miles, pay sixty cents in car fares, be the mainstay of the choir, and receive ninety cents for the work l Surely music is a remunerative profession, thought I. Q'I'his posi- tion is still open to applicants.j Just then the telephone bell rang. "Good pianist? Yesg oh, yesg orchestral expe1'ience.-Violinist? Several of them.-In a restaurant? Three hours a day--Oh, yes, they've had a great deal of experience, and are first-class players-You pay? 1VIeals only! l-No sir, apply to the Italian street band." Good for hir. Trowbridge, I said Qmentally though, for I was apparently watching the Friday afternoon rusl1e1's gather at Symphony Hall Q . Driving rapidly toward the Conservatory I saw a swell turnout,-silver mountings, liveried coaehman, footman, etc. A lady alighted, and in a few minutes came into the oflice. She was stunningly dressed, big pic- ture hat, furs, diamond ear-rings, and a diamond sunhurst. At last, thought I, we've got out of poverty zone. IIere's an engagement worth while. 'fl am Mrs. X. I have charge of the music at tl1e entertainment of our club. I want a young lady to play some piano solos. 1 want a first-class artist, for we've had some of the best players in the city, and I want my program to excel all others. I want to hear her play lirst for there will be a b1'illiant audience, and I don't want any selections that wou't please." 4' XVell, madame, I'm sure we have several young ladies that would satisfy you. You are willing to pay?" UOh! I can't pay anything, our club never pays anythingg and it's such a brilliant audience ---." VVell, really, madame, our players usually make their own selections when they play for charityf' "Charityl charity, sir!! This is no! for cha1'1'!y,' this is for the Gossiping Gadders Club! lli' 'Twas too much for me. Even the hardened manager stared blanldy in front of him. I tled precipitately. Q My , A TAF- A ZZ 5,31 if Q, .3 -is , . 'N 'W ,W X .' x y- Q., l' S4 Nineteen Hundred and Six 'I' H E N E U M E Reminiscences of Grand Opera Singers IIERE is nothing so disconcerting to the young aspirant after fame as to he overcome with stage fright, just when a kindly providence has given tl1e lirst opportunity to show a new talent to an admiring world. Yet there should he nothing discouraging in this, for all, or nearly all, great artists either suffer permanently from stage fright, or at least have felt it at more than one period of their artistic career. In- deed, .I think that no great musician ever approaches the moment of his or her appearance in puhlic without a certain amount of trepidation, a sinking of the heart, or a heightened nervous tension. Highly strung nerves are part of the artist's equipment, empowering him to feel his role acutely, to throw himself completely into the personality of the part he is taking, and they naturally hring also sufferings that coarser natures escape. I have known many whose names are known the world over, and for the encour- agement of those of you who are as yet only striving after fame I will tell you what l. know of their feelings when ahout to appear on the stage, either concert or operatic. Let us hegin with Madame Patti. Several times I have been hehind the scenes when she was to sing one of her famous roles. She was ner- vous, excited, irritahle to an intense degree, in fact she suffered from stage fright. Of course it does not take the same form in all persons. For instance, Jean de Reszke shuts himself up in a room and speaks to no one the day he is to sing. The puhlic are told that he is studying l1is part, but it is only another form of extreme nervous tension. Ilis hrother, Edouard de Reszke, on the contrary, is apparently not at all affected, and pursues his ordinary avocations with, at least outwardly, calm and steady nerves. One day when the hrothers were lunching with us my little daughter hrought in her kittens at the close of the meal. There were live tiny, hlack Huff halls, and with childish impetuosity she put them all live on Edouard de Reszke's shoulders. Ile laughed gayly and was pleasedg for according to his helief hlack cats hrought luck, and live must surely mean a great suc- cess. lle was to sing that night, and declared it would he a great night for him in his famous role of Mephistopheles. Campanari does not appear nervous, hut he insists upon cooking his own dinner the day of his appearance in puhlic. This is simply a sort of Ss T H E N E U M E Nineteen Hundred and Six nervous restlessness very hard to control, and I have often wondered if he ever got over it, or what would happen if he could not follow out his own queer wishes. Probably he would simply find something else to do. lNIadame Sembricht is very restlessg moves from place to place and changes her occupation without any apparent reason. Not even her favorite books can hold her attention for many minutes at a time. Madame Calve, for all her apparent sarzg-froid, is almost as timid now as at her lirst appearance. I remember one day some years ago when Madame Melba was singing Lucia, which was to be followed by Madame Calve in Cavalleria Rusticana, I was talking to Nladamc Calve behind the scenes while waiting for my husband, it was in Mechanics Hall, and the house was crowded. After a tremendous burst of applause I said .to her, ff Isn't it lovely to see so many people who came just to hear you sing? " The applause for Lucia burst out again, and Madame Calve turned to me almost crossly saying, H Oh, they did not all come to hear me l " Again Madame Calve was singing Mignon in the opera of that name. She was extremely nervous, as it was her first appearance in that part. As the opera progressed this feeling was heightened by the apprehension that the role did not suit her at all, and that she somehow failed to identify herself with Mignon. This so worked upon her already overwrought nerves that she fainted dead away, and could of course not sing any more that evening. She never attempted the part again either, though the general public was told that IVIadame Calve had been taken suddenly ill. At one time Madame Patti and Madame Scalchi sang together in many operas. Now Madame Patti has always been inclined to order people about, and Madame Scalchi was gaining ground and had many friends and admirers, so that at times she was inclined to resent the somewhat dicta- torial tone of her great rival. One day at Mechanics Hall, where the dressing rooms were but hastily boa1'ded up partitions, Madame Scalchi, not knowing that Nladame Patti was near, began to relieve her mind by saying just exactly what she thought of her. Her tirade over, what was her surprise and chagrin to hear the prima donna remark in a cold, calm voice coming from just the other side of the partition, 'tGood evening, Sophia." Nothing further was said, but they never sang together again. Madame Melba, with her colder nature, is of course less accessible to nervousness of any kind, and therefore makes no difference in the disposition of her time the day she sings in public. Madame Nordica and Madame Eames are both very nervous. I have been behind the scenes many times 86 I 1 Nineteen Hundred and Six T H E N E U M E with Signor Rotoli, and have often remarked that when the evening was happily over they appeared to feel as though some weight had been removed from their minds, though surely there was no question of their success, great artists as they both are. Signor Rotoli, despite the many, many times he had sung in public, never approached a concert calmly. His nervousness was so intense that it affected those surrounding him to a very marked deg1'ee. Many times I have been almost ill with a sort of sick fear, and would have liked to leave the concert room so great was my dread that he would break down-a very unfounded fear, for he became perfectly calm and self-confident once on the platfo1'm. It was only the thought of singing that made Signor Rotoli nervous, the actual singing was always aqdelight. I think perhaps one great secret of tl1e success of these artists lies in the fact that the greater the artist on the stage, the simpler and happier their lives a1'e apt to be in private. They seem to throw off all care, all thought of the tragic parts they assume, to forget the tremendous emotions that have convulsed them, and to become at once just natural, one might almost say, ordinary people. I have spent many pleasant hours with them, and remember in particular one New Year's Eve in New York. Madame Sem- brieh entertained us all in her beautiful apartment. About twenty-live of us sat down to dinner. Several of the operatic singers were present, Mr. Damrosch and his charming wife, Signer Rotoli and myself. The evening remains as one of my plcasantest memories. Gay stories were told and toasts giveng we laughed as gayly as though concerts and operas, did not exist. After dinner our hostess and her husband danced a quaint Polish dance with the grace and abandon of two happy children. And so in closing 1 say to you, Have courage. To be nervous is per- fectly natural, and does not imply failure at all. There is no way of either avoiding or curing this feeling of Ustage frightf' Try to live simply, to know thoroughly the part or song or piece of music you are to perform, and instead of anticipating failure do not think of the end of the concert at all. Keep your mind on the present, and remember for your greater con- solation that all great artists suffer more or less, and that therefore when you are very nervous you are suffering in very good company. MADAMIE AUGusTo R0'l'CDI.I. 37 T H E N E U M E Nineteen Hundred and Six acle b Hand OTHING is of greater interest to the composer of music than the traces of individuality and personal characteristics which are to be found in the hand-writing, and especially in the musical manu- scripts, of other composers. And when these composers happen to be the greatest masters of the musical art, it is little wonder that their manuscripts should have acquired a monetary worth out of all proportion to the original valuation of the works themselves. In fact, it is safe to say that an authen- tic manuscript of Bach, Beethoven or Mozart is now literally worth its weight in gold. There are many collections of these priceless things scattered through Europe, besides those in the public libraries. In the Royal Library at Munich Qwhere I was once locked in-but that is another storyj there are many works by Orlando Lasso and the early contrapuntal composersg at Nlilan a remarkable collection of operas bythe early Italian composers, even back to Pe1'i and Monteverdig in the Vatican at Rome, much interesting church music, and in Berlin, in tl1e Royal Library, reams upon reams of the works of Bach, as well as many things by Beethoven, Schubert, Nfozart and others. Mlllly private collectors also possess interesting specimens, and among them Prof. Siegfried Ochs, of Berlin, is perhaps tl1e most fortunate. To spend a morning with this cultured and delightful gentleman in his library is a pleasure to be remembered for many a long day. Not only are his specimens in most cases beautifully clear and well-preserved writings, but many of them are well-known and complete masterpieces of the great composers. Professor Ochs is well known as an authority on the works of Bach, and of this master he possesses the manuscripts of a complete church cantata. VVith his large family of hungry little Bachs, it was necessary for the "father of music" to economize in his music paper, which he often ruled himself. In this piece the three or four lines not required for the score of the cantata are used for the score part of another piece. The notes are so crowded that they almost touch each other, but everything is beau- tifully clear, and without corrections of any kind. And here is a large portion of one of tl1e early Italian operas by Han- del,--the only manuscript by him in Germany. The great black masculine notes still glisten with the sand, which in those days took the place of blot- ting paper, and it reflects the light like gems, if one examines it closely. Of Beethoven, Professor Ochs possesses many examples, both in musical SS 1 Nineteen Hundred and Six T H E N E U M E manuscripts and letters. Some of the latter are full of hoisterous humor, written familiarly t hastily scrihhled the horns and violins at the heginning of the Ninth Sym- phony. It extends only as far as the forte where the first theme is an- nounced. ln all prohahility this interesting fragment is the original germ of the first movement of this greatest of symphonies. Beethovenis fondness for practical joking is shown in the manuscript of tl1e so-called 4'Flea" Song from Goethe's Faust. At the end of the song there is this passage,- instance on record of an original fingering hv Beethoven, o his friends. There is also a small scrap on which is prolzthly the only 111 'lg ,N 11 7 111 J. .r pp ' p. v -1 El- it - e s.- , 0 O' . O to he played with one fhllillbf lt gives a realistic picture of the pursuit, capture, and final extinction of the wicked flea. Perhaps the most complete of Professor Ochs' treasures is the entire cycle of the Miillerlieder hy Schuhert. A very special interest attaches to this manuscript. lt is in two parts: the first full of corrections, alterations and interlineations of every kind, the second carefully written ina clear, professional hand, without any changes whatever. 'l'his shows that the second part must have heen copied out from an original sketch, while the first Qwhich hears an earlier datej is the original sketch itself. Among the other treasures are songs hy Schumann, including the heau- tiful Aufschwung, which contains one chord not in any of the printed cop- ies, also an entire sonata hy Chopin, so delicately and fastidiously written that one might almost helieve that every note was tried on the piano as soon as it was put on the paper. There is a scrap of discarded paper on which XVagner had written the heginning of the Pilgrims' Chorus in 'l'annhaiiser, not in the melodic form with which we are familiar, hut with a cheap little triplet interposed in the seventh measure. And on the wall in a handsome frame hangs a mat containing phrases from tl1e Flying Dutchman, the Bridal Chorus in Lohengrin, and the Prize Song from the lvleistersinger, written hy NVagner and signed with his own hand. This specimen was repro- duced and presented to the suhscrihers to the Zurich Festival during NVag- ner's exile in Switzerland in 1848. ln examining the handicraft of these great men, one almost feels that he has come into personal contact with them, taken them hy the hand, heard them speak, and gazed into their faces. Nlay their henign intiuence never cease l G. WV. CIIADXYICK. S9 ACCIDENTS 1 V w 1 1 . ' L J ,' !5 Y - IJ 'I 1 V 1-" h In ' , fix , -lr 'WI' ! I -L 'A ' 5- I r f ,I 'f If f V , VY xl' I W I 5 A I H 1 1417! gr! " ' ' ' "'e1H:1r 71 1 9 f H 'E-s H5 1 fn 5 1 W1 'Ll, 1 5 N ' f '- gi l 'zlfx Emil y ?' . 1' N, 3 "' l vaii. 4 11,2 ri MI i I :iiff rl fm M , - ' W 2' 5 vm. fu 51 , : 1 wi xv! YQ' fi SW U! 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Avi, ""' ,,.... ..... .. ,,..- ...- Y.,-' ,QM --TI:'- Lui -i ,S- L Nineteen Hundred and Six T I-I E N E U M E "'The Damnation of Faust" By the Conservatory Orchestra, Assisted by His Satanic Majesty, March 9, l906 You will make a loud noise in the musical world, And crowds of line people will comeg You'll play with an orchestra of fame and renown- The instrument will be the bass drum. --S1'byllz'1l0 Book. The Sandman must have been responsible for what l saw. He was on the program just before. Faust entered bravely and started the music. All was quiet and serene for a few minutes. This did not last, for the Fiend soon put in his appear- ance. Ile viewed the scene from afar, and then withdrew. 1 suppose those who do not believe in the Sandman did not attach any importance to those few vigorous drum beats near the beginning of the piece. If they had believed, they would have known them as the welcome accorded their patron by the tyros of the drum and cymbals. Faust saw and comprehended, quieting them with a wave of the hand. Peace had been restored but a moment when the musicians became agitated. Suddenly the Fiend jumped to the stage from between the organ pipes. Crash! Bang! l The whole orchestra felt his presence. Faust waved his arms to and fro to keep the players within bounds. The Fiend approached him and began a slow dance accompanied by his neophytes on the drum and cymbols. Faust, resisting his incantation, beckoned to the sinners on the back row to have done. But they did not see him. NVith eyes fastened on the cloven hoofs of their patron, they followed his every move with a clash and bang. The Fiend quiekened his pace. Faster and faster he danced. Faust tried to resist. He directed all his attention to the rear of the stage, but it was useless. So fast had the Fiend's motions become that the drummer, unable to follow each individual movement, doubled up behind his rack and set to work in dead earnest. The cymbals, not to be outdone, whacked fortis- simo, prestissimo! WVith a few frantic gestures of appeal Faust gave up the unequal contest. The Fiend, seeing his victory, disappeared with a final deafening bang. I awoke. There was the conductor bowing and smiling like the hero of the play who, having been killed on one side of the curtain, comes to the other side to show that in spite of the arch fiend he is still alive. I looked toward the back row of the orchestra. lt was vacant i N. B.-Green room gossip has it that the conductor said that the German band was a little off in spots.-lQEn.j N. B.-His Satanic Majesty was not present at the second Damnation.--fEn.j 91 ' T H E N E U M E Nineteen Hundred and Six A Musical Love Story V A young conductor loved a maid, And her he did adore so, That he grew thin as Romeog Not only so, but morceau. But she did not return his love, The haughty little queen, IIer station higher was than his, With many " bars" between. Yet without "measure " still he sighed, And murmured with a H quaver,', " A fugue good years may make me rich, And then I'm bound to have her." But still she spurned the tender " chord, Which every nature hallows, And said to him, " Be off! Now 'march You'rc fit to deck the ' galops.' " This " c1ef"-ed him to the very heart,- To sneer at his condition! And then a fierce and wild despair Entered his " composition." lle took to drink, to drown his woe, And said, in H tones " laconic, " To those who have been crossed in love, Beer is a 'dire tonic! " Hc'd often to thc " counter-point " XVhere beer was sold by measure, And say: "It is my 'Dominant ' And only ruling pleasure. " I never thought to find repose Upon this mundane sphere, But this 'composer ' stills my griefg I do ad-' Meyer-beer! " The maid, the H tenor" of her way Kept on, with purpose haughty: She's punished for her 'i base"-ness now, She's still a maid-andforle. 92 H C. Ecsox Nineteen Hundred and Six T H E N E U M E 11 Hints to New Pupils i lf you anticipate studying harmony, take plenty of tonic hefore you I. hegin. -. Better not try sliding down tl1e hanisters-they'll come out I 3. If you think 44 Mac" can't do a sprint, try to slip in to a concert. 4. Begin now to think up something hideous to cultivate as one of your distinguishing characteristics. 5. Materials for the study of harmony--hook, pencil, paper, and ear- wads. 4 ' Y 4 - i ' 1 7 w i , . .. - . 6. W hen you go to .1 recital dont comment on the piogiamg wait until you get home where nohody can hear you, then consult a pro- nouncing dictionary. . P--Ask Miss Perkins. 7. S. If you are cultivating positive pitch, stay out of sight-playing. 9. Cheer up! If you can't ride in an automohile you can ride in the next thing to it-the elevator. 10. Don't expect to he a favorite hy smiling at teacher-work l ' 9 A Feather in Stasny s Cap CHORD ANALYSIS CLASS 'FIQACIIICR : H Now, what is the hasis of all music, anyhowPU 111 Uppressive silence, deep thinking. fl'icAc111in: 4'Can't anyone in the class tell me what the fundamental of all music is?" Silence againq then, with triumphant voice, Stasny pupil : H Funda- ental Technic l 'i i ULTRA MODERN HARMONY CLASS .l.,Ul'll.2 'L Last year's class regarded those as hidden lifths and octaves." MA1+:s'r1zo : if Well l This class is modern, not antiquatcdfi 93 Q D T QQlXLEl3BI DLEDBJZMLH Q HV A i u fi we I I ,f 035 Wx 1 ' N f !'lfX 5 'Hr l 6 .jf lk Q QVUAW '3..i1,7:,,i. , " l ,- " - '17 .--.l3f?"'L llmuu l Z 1 , . d W... , ---' f ,ff , Jiffy? ff' Y LQ my f RMI! N XQNX . fl, X n b f dye - 4 . Uf f ff-T--qV?4 1ii.Xy!"W17:2i?,W?!n-itii ZF M ,tqxqiwvvxxxxxx f f,f:E?5,i?1 "M M J??X4CmZf'!'-'f '!"" 'V M " Y -I.--Q-Q 1 7 Nineteen Hundred and Six T H E N E U M E DEAR JACK :- You've got an entirely wrong idea of the work of the Concert Deportment Class, I know Lucy Ramrod made light of the class when she was at home Christmas vaca- tion, and said all the sarcastic things she could about dish-washing, kneading bread, acrobatic and gymnastic feats, etc. But then, Lucy is so stil? and awkward I d0n't wonder at her remarks. She is really not the most sylph-like being I've ever met! The object of the class is to train the student to be at ease before the public, You'd think there wouldn't be any need for such a course at the Con., but if you'd attended the concerts regularly as I have, you would realize the need of some kind of work in this direction. Why, I've seen girl after girl walk across the stage and do up her hair right in front of the audience. I wouldn't be afraid to bet ten dollars that every one of them had spent two hours before the mirror before coming to the hall, so it wasn't from lack of preparationg it was simply self-consciousness. Now, the teacher in Concert Deportment dwells on these awkward acts until their ridiculous- ness is impressed on the memory of the pupil. Then again, I saw one person keep the whole orchestra waiting while she jiggled the piano stool up, then downg then she dusted the piano keys, wiped her face and hands on her handkerchief, carefully placed the choice fabric on the piano rack, and we all thought she was ready to begin, But no! oh, no! There was a hasty spring from the piano stool, a few more twistings, more tlouncing of the skirts, another grab at the handkerchief, and at last the compo- sition was allowed to begin. If that girl was in the deportment class, I wonder what the teacher said to her, next lesson? Then I 've seen young ladies, when presented with bouquets, make a grab at the t Boston baked beans. As forthe fellows, heavens, tlowers like a hungry tramp a jack don't ask mel The organists all run down to the console as though they were 1 shot out of a cannon. Other fellows I've seen stalk across the platform with one hand up to the nose. When it comes to bowing-well, I've been uncertain many times whether students were bowing, or whether they had been seized with sudden pain internally and doubled up like a jack-knife. Still, even this is better than the way some do-turn their backs to the audience and walk off the stage with no more recog- nition of the applause than as though the people were so many sticks. Such behavigr always makes me swearing mad. I guess I've run on enough. When you come on to Commencement you won't see ani ot the things I've spoken about, for all who take part that day are Seniors, Y hence have long since outgrown such uncouthness. Don't you think, Jack, Iwe learned something besides music since coming to Boston? Guess I'd better sign myself, Yours for lectures on manners, morals, etc., Bon, BOSTON, April, x9o6. 95 'I' H E N E U M E Nineteen Hundred and Six Prize Competition WVishing to stimulate the efforts of young American composers, and desiring to awaken an interest in the higher branches of art, the editor of the NEUME has come to the conclusion to offer as a prize to he competed for hy native talent zz seven ocizwe hand ozgfan, in a heautiful rosewood case, with carved legs. The classes of compositions which may he attempted are :- I. A one-voiced fugue, either free or strict. It may he in "canon" form, hut must not he 44 ritled" from any other composer. 2. A slumher song for Calliope. 3. A serenade for cymhals and hass drum. 4. A ft pop" song, with some original allusions to 44 mother." 5. A sacred song, with some novel 'fcrystal stair," Hpearly gate," and tt golden harp " effects. 6. A concerto for hand organ and street hand. Easy French Lessons-5 la Ollendorf FOR CONSERVATCRY STUDENTS Docs the handsome fjoliej miss take lessons of the good music teacher? Oh, yes, the handsome miss takes lessons Qlegofzsj of the good music teacher. The hours of the good music teacher are very short. Are the hills of the music teacher also short? Neg the bills of the music teacher are very long. Do you know of other teachers besides the teacher of your sisteris friend? Oh, yesg I know that of the son of the gardener. WVhat is the matter fgrfrz-Z-ilj with the music teacher? Has he shame fa-t-il bofziej? No, he is not ashamedg he is jealous. Has the sister of the haker talent? No, she has not talent, hut she has the ttNIaiden's Prayer." Has the grocerls hrother the line sonata? Ile has not the fine sonata, hut he has HIII2lW21tl1il.H Can you hear the soft tone of the great violinist? No, I cannot hear the tone of the great violin- ist: that is why I applaud. Has the lady in the hlue silk pain? No, she has not pain, hut she is,singing Calle ckanfej g her hearers have pain. Is the cat in trouhle? No, the cat is not in trouhle, hut my cousin is practic- ing on his violin. VVill he play some more? Yes, he is very studious. L. C. El.s 1 N. 96 I Nineteen Hundred and Six T H E N E U M E The Neume Business Manager He's busy in the morning, I-Ie's busier at nightg He is the busiest person That ever came in sight. , l'Ie's hunting ads or hunting girls, He's busy all the timeg As for piano tuning, That's merely a side line. Should you meet him he'd say to you : H Excuse me, I must passg I'm in an 'awful' hurry Because I have a class." Now gentle reader, listen,- 'Tis enough to shock a preacher,- The library is the class room, And " Punker" is the teacher. Lian f will remember that two years ago, after the completion of the D second organ at 'l'rinity Church, a special evensong was given. At thc close Mi'. Goodrich was to play several numbers, and the attendants were supplied with programs. It was later found that many people did not profit greatly by them. The last number was a Bach prelude and fugue, while the one just before it was of a more subdued and quiet nature. At its conclusion the occupants of one pew took their departure, and their neighbors, evidently did likewise. Soon very few were left in thinkinff everything was over, D the church, and seeing the situation, Mr. Goodrich closed the organ and withdrew also. At this point the following conversation was overheard :- Yr0UNG MAN.-44 NVhy, heNdidn't play that last number, did hc?" YoUNG WVOMAN.-H Yes, he must haveg they are all leaving." YOUNG MAN.-4' VVas that last piece a fugueP WVhat is a fugue, anyway? " YOUNG NVOMAN.--H Oh, something you play with your feet." 97 T H E N E U M E Nineteen Hundred and Six Converse's Counterpoint Class ln counterpoint we have to 1'ead Four clcfs at once, and also heed The things we must and mustn't do- Not only that, but play it, tool Each sits and shakes and hopes by chance That he to-day H my way won't glance," Or that 4' he doesn't know my name," Or that U he sees my wrist is lame." A pianist or not, it's all the szune. A fiddler hasn't any elaimq NVe t1'y our very best to 4' hear it," And just when we think we're near it, The sound of wailing from a liddle Breaks in and makes it all a riddle. XVe watch the notes-they seem to dance, And tl1en the clefs begin to prance. NVC calm our nerves and take .good aim 3 Alas l what sounds! it's just a shamel Our fingers are not long enough, Our brains won't work, we make a bluff, WVhen suddenly there comes a l1ifCl1- Our bluff is o'er, we're in the ditch l One thinks, 4' My courage is mighty Weak But happy thought, I'l1 take a sneak." Another, as he begins to mop His brow, U I'll let this study drop." 4+ an we are ur at Insane with grief that we have done VVith counterpoint Cit's lots of funj, It breaks our hearts to realize We'll no more o'er it agonize. FLORENLL B .S-M1111 98 Nineteen Hundred and Six T H E N E U M E f:fll?. . Heard in Counterpoint A - lx ,W s 1 Class l'L..,U?i' e I 't as . if l , l W W 1,UP1L, struggling with four-clcf exercise: "l'd rather do almost ' 5, anything else than play the plane. SYMPATIIIETIC TEACIITEII : H 1'd almost rather you would." -,........- lVIemhers of the Composition Class were proudly submitting to the teacher their iirst attempts at hymn tunes. Their contented smiles sud- denly turned to looks of dismay as Mr. Noelte handed over lns hrst sym- phony in full score. Seven pupils have not been seen or heard of since. ,-,.,.-.L--- Style Who says " The Con" is without style? Well, no one does, or I should smile. Style is displayed at every turn : Why, money's nothingq let it burn. We find the styles in every class, And dodge the styles on many a lass: But in the lecture hall ne'er stir, For we can't see 'round Sue's new fur. We have a check room, strong and sound, But style in there is never foundg For it it were, we could not say, H Why, what a pretty boa on May l " So, if you are at all in doubt Regarding things we've " spoke " about, Just peek at us some lesson hour, While dodging feather, plume and tiower. 99 T H E N E U M E Nineteen Hundred and Six Found in class room in Tuning Department : Each student will tune a Virgil Clavier for a test. EASY NIARKS MAIIKS REMARKS PICKERING 66 1-I --I -- - it all anyway! GUINNB: 10045 Tee-hee. "Well, I'm a Hum-bingerf' ROCKYVELL 5 S6 H O girls, how's that now? " Woon I 001,15 " Ain't I it? " Well, may be. IIOLLENUECK on "Pm dreaming of thee." ' GOULDING QI "Gee! I'm hungry. Let's eat." WARE 95 " Come on boys. I'll lead, you can follow." ,By order of O11 Sala FAUST. That Cornetist Down Below To the men of all vocations There is due a bit of praise, But there's one whose dire creations Oftcntimes my angers raise. WVhen his faithfulness to study Causes him to toot and blow, Waking me from peaceful slumbers- Blank eonnetist down below- As he toots on his horn From midnight until morn, Intermissions seem to give him inspiration: And there's often in that blast, Which I pray may be the last, Something that doth savor of a deep damnation. Now those nightly admonitions, With my shoe upon the tloor, Wereunheeded premonitions Of a crepe upon a door, In that I continued knocking All the harder with my shoe, While the vile cornetist mocking With his toots the harder blew. And he tootcd his horn 'Till his lungs were all torng Of a sudden he was stopped by something bursting! 'Twas blood-vessels and a jaw. Peace be to thee-au I'8'U0l.f. One more H Gabriel " is there now among the thirsting. 100 Wow I Nineteen Hundred and Six T H E N E U M E ll! 1 f ' Ze ,Z l h ll Q ,V q ,,g--- f ' g V fffm- , A f-f l f Q 1 ll rf' l l l l - l ll 1 sl l L. l l E' ' ' fgltzflifi 1 x .X J . . f ,gf lf Xa The King of Coles x ffl? 4-lg!--I I ll fx Ola' King Cole Nl: N Jx I .- fx li Was Z1 slow old soul, f - ' ' ' ff' And didn't have ll 1 .. ,-f'7f,- " ,l 4 l M I , ff i X 'wif up k"! ff liff But our King Cole I -N Is a merry old soul- , WM-T We ARE 5TqJ1iyi Taq Acqunints us if I5 V lx! . With Solfeggio. 1' If - 4 "TZ Know .nlll'V?l1uUll'EliE l' fl l Old King Cole xx 9' 5l79"' 4 Soul' X f' X llnd n pipe and a bowl, J K-XULMMY xwvlfm 'ff X X And sometimes R XL l 'li-7 -- L- ' l Fiddlers threeg N ' J in ,f - 4 But Samuel Cole lx ll all l ll T Xl X JJ Puts body and soul ix '- Into lecture 7 X X W xl Courses-free. -fx! X Sill X.,.ll 1 Xlvj With " three hours' work" f ll if-3 -. To class we go, rl 'l Which is our Kingis X ll J: One wishg I 'Q' ,af 1 , ' glghile theretwe sing .fl :ff ff ' ' V "' '31 ,. . H o-m:t- 0 "-- Q! ff ffl 1-."' Our good King's X, -"' " , " N A Favorite dish. X491-f 1,-"L,-' Q Now while to you X X f f xr X! fff , "-"iFi? lt might seem fun ,ff if 1' ' To speak. of in kg? 1 ' ' LW These things so, ' A' """ ff 'H' F11 warrant they If ff' A.. -. - -1 -...'-H--Am'-----. .... , Y ' ..,., . -H f Who've been there know Things happen At Solfeggio. KOI T H E N E U M E Nineteen Hundred and Six Extravagant Sympathy The volunteer choir had assembled for the regular Saturday night rehearsal, and an alto reported to the organist, who was also the director, that their leading soprano was ve1'y ill,-in fact not expected to live. Be- fore the morning service Mr. Organist was told that the faithful soprano had passed away. Now M1'. Organist was of a gentle, thoughtful disposition, and won- dered what could he done to show proper respect. The evening service made evident the evolutions of his hrain. All the hymns and anthems were of a most solemn nature, the voluntary, offertory, and postlude were all in minor keysg and to make everything complete, a heautiful wreath of white fiowers was fastened to the vacant chair. Monday morning came a note from the soprano, ft I have almost recov- eredg will he on hand next Sunday." The organist wept-the fiorist's hill l PEGGY.--'40 Jess, are you going to hear the Fifth Symphony to- night?" - JESS.-4' You hetg and say, don't let meiforget my opera glasses, will you?" One windy day Mr. Gr--li-rg met iVIr. L--gy, who appeared rather muddy and dishevelled, and remarked, 4' NVhat is the matter, the wind?" ft No, the wood-'wind I " Pol..-tt My mother was a wonderful vocalist. NVhy, I have known her to hold her audience for hours H- CI.,xnENcE.-tf Get out l " Pol..-'tAfter which she would lay it in the cradle and rock it to sleepf' IO2 1 Nineteen Hundred and Six T H E N E U M E I an 3 M Y 1 it .1 HlQfEE:Li1l-nw-i F-Fla' 47, Fig. Q l MIYDIO Q' . A I ' l il " , I ,, l Passionate Scale A major loved a maiden so His warlike heart grew soft as "Def, Ile oft to her would sweetly say, H To me you are a sunlight fIi'e.' H WVithout you life would wretched beg My dearest angel, Hy with '1ll2'.' H My sweet, you are my guiding star, I love thee, whether near or fFa., H 'l'here's none so fair from pole to poleg You are the idol of my fSo!.," The maiden blushed and said, 4' Oh, 'Lez,' Yon'd better go and ask papa." Then he arose from bended knee And went her father for to USL" They married shortly after that, And now are happy in 'QA Hat." -Louis C. E1.soN. A VERY 'l'1sluunLls PuN1s11MJsN'r. The editor in chief was doing nobly in imitating Richard Strauss in a last rehearsal for a concert. A few care- less, giggling girls sang through a rest, about which he had warned them particularly. Hearing they mistake, he raised his right foot two feet and brought down the same, saying in his most severe tone, 4' WVe've drilled for four rehearsals on that one thing, and the concert comes to-morrow night. Now every father's son or mother's son or daughter's son, whoever does it then--will 6a spoiled! " 103 THE NEUME Nineteen Hundred and Six i'r:",7illil'l i XXX: Kam! Q xxx Wm his X NT ll I ,I I 6 V2 'i I , X i ' 1Ll1f5,f , cy. xxx X157 ,Q S QV f-gf i y , i V l l l x ill 1. Y. - wwf: H792 X J , 1.1, X 5' :g,.4-ig V 'luv'-f A HIGH SOPRANO She plays sweet tunes on her piano: Her organ touch is not too hadg The notes she sings are high soprano, Like those high bank notes coaxed from dad. AL You thought you had music burned into your soul, But you never were destined to reach such a goal g Better leave your air castles and come down to earth,- lt's time you did something of a little more worth. -QV, Five years as a starving musician you'll spendg No pupils, no income, hut troubles no end. At last leaving music you'll come to your senses, And work in a hakeshop to pay your expenses. -AL OUR POPULAR GIRL Three cheers for a girl who knows more than one thing, YVho likes to he useful as well as to sing. There are plenty of people who know only their hooks : WVC can do without some things, but not with- out cooks. 104 Nineteen Hundred and Six THE NEUME Personal Press Puffs MR. FLANDERS There's a pleasant pe1'son yonder Whose great task it is to ponder How to make linancial wheels go smoothly on It would need much meditation, And prove a great vexation, And drive right near distraction An ordinary one. But our Business Manager's keen, And he always can he seen At his post, in the thickest of t And as well as keen he's kind, A true friend the students find, An adviser of wise mind,- The inspirer of this lay. MR. TRONVB RIDGE Do you want a situation For the year or through vacation? Simply go He will give a listening ear, And helll do And your trouhles all will vanish, yor MRS. ALLEN If a matter is perplexing, as well as !2ea1', And it needs some careful lixing, Ask Mrs. Alleng For she knows how things are run, And her inHuence gets things done : See Mrs. Allen. If you seek a kindly mind To which all the Con's inclined, Find lNIrs. Allen: Wliat she sets about she'll do- The manager says that's true- Our Mrs. Allen. 105 he fray. and tell your tale to Mr. T. 1 will see THE N EUME Nineteen Hundred and Six MISS NVOOD , In aspect really quite petite, Ilas dignity and ffr ' g ace. A kindly face, a kinder heart- ci00lltl'lil1U" ' ' gs in little space. MISS PERKINS XVe go to her for good advice Ne'er failing to receive, And many people would better fare If by it they would live. MISS MARTHA PERKINS Always pleasant, day by day, NIaking the best of things, her way, Gaining and keeping her friends, they say, 'I'hat is Martha P. MR. MILLS There is a man who fear instills Because he must collect the bills,- To pay them all it nearly kills- He even figures down to Mills. MISS ACKER If our pet organ A is out of re J 1' , 1 z ir just tell Miss Acker your tale, You'1l find her so pleasant you'll cease to be cross: She'll mal'e ' ' ' t it all right without fail. MISS KEITH Miss K., who's i l n t ie counting house A-counting out the money, Is noted for her pleasant way And disposit' ' 1011 sunny. 106 THE NEUME Nineteen Hundred and Six MISS BAKER Are your funds down rather low As around the Con. you go? Do not try to he a fakir, Better go and sec lVIiss Baker. EDDIE BERRY If you want an errand done in shape, Eddicls the one for youg It-le will grasp what you want and start off at once, And get hack the same day, too. MlSS NVITHERELL Shds not the kind of cfifzgivzg 'vine Of whom the poets tell : That her opinions are her own ls a fact we know full well. MISS GEIGER Miss G. is the one you want to see If you wish to ask a questiong She's yrom t and kind and ou'll surcl find 1 P a Y Y She won't begrudgc you attention. MR. MCLEAN GUY A rising vote of thanks Weill give To our good friend well known, For Nineteen Six appreciates The kindness he has shown. MCLEAN A new department will arise- 'Twill he a great attraction: For Guy, whose skill is known to all, WVill teach dramatic action. lO7 THE N E U M E Nineteen Hundred and Six r RUSSELL KENDALI, If you'vc no organ card in your door Yon'tl hotter start anal hustle, For someone's coming clown the hall X'Vho goes hy the name of Russell. ' .IOIIN o'1s1uEN Though -lack may have his ups and clowns, Ilis clispositiolfs steacly: XVhen in his ear you wish to ride You'll always final him ready. l'I IE G REN I IAM SISTERS Josie or Flossie, it matters not, Every clay tl1Cy,l'C on the spot, To till up all the cloakroom nooks XVith hats, coats, umbrellas, hooks. Ligllt-llairecl Lizzie, always husy, Doing what he can : lIe's the one that slams the floor- Thc elevator man. IOS Nineteen Hundred and Six THE NEUME P. f l N x ,ff ,I -- me X lililiv ig., ,.,. , ,I ,QIM I H A,-X fl ll .-'sim 'fit -"WM . i. , . lids -fi-'f '- 1 i s ZX-lisa liihfilljpwi I. l fs, Q, X' f ,v xb ,f A f, ls- ,Q-sz, : X te., 1 fl ig, yi-bb? Ill. ,J Dru giiulilllil. .li IE' ' 'ie 'r'f' 2 . if-, 6. ' g,h' mffi Isa., X Ng 'ff .A up 'WM I ,r ,aj 4 D VI -,mil l, l :ff .. f me-, If i ff! 'QQ . I llllrf .- ll !l,l.,5, , 4111 ... 1 , 3 ,, Y fl V i ML" 'ii 'Wi ' X f ' uu4L..lL-ef Mini- 'Y Agllt - flap llhazfs X M pl ff . .H 'ji' ,LA K h 1 ' fi -lf.-ae an X -V 5 ll 1 'M ,RxvL,: f W X f I .-1- ,i -girzlfk l l" X l 5' " i 7:-51 - ,sv :Q v W 4 'ii -7 W- ,f 745 it WERE" f'H5 ll. Might haw -Q Cultura: '5- Violin teacher to ounv' hopeful : H VVhat is the difference between C D P 4' About an inch." and Y is I! 4' NVhy do you sit in that po a bird, but you look like a ill1JPOPOtZll1lllS.,, sition to play 'cello? You may playglike A 'fond aunt was interested in her nieee's music, and questioned her as to her progress. "Yes, I.'m getting along pretty well. .l used to be a measure behind, and now I'm a measure ahead.', ' A young man, graduate of Brown University, was teaching Latin a11d History in a private school in New Orleans, where one of our graduates was laboring. Not claiming to be a professional musician, said young man was really a splendid clarinet player, and won quite a reputation by several public performances. Ile happened to be particularly pleased with Miss X.'s accompanying, and in fact refused to play with a substitute at the nano. I One day Mr. Y. promised to appear in a concert a 'few weeks later, and as the time approached he was reminded of his promise. M1'. Y. was particularly busy, and it hardly seemed as if he could keep his engagement. Therefore he addressed the man who accosted him something like this, f'YVell, I will play because I said 1 would, but l assure you not without misgivings." And then to his surprise the man replied, H011 yes, play with .flhiss Gz'w'n,g's or any accompanist you like l " ' 109 T H E N E U M E , Nineteen Hundred and Six IMPERTINENT REMARKS Feels good on the back-l3Ax'1'lm. Five QFJ years in the wood-XfVooD. Never scratched yet-SPIQER. The smile that won't come off-ADAMS. Guaranteed l12l1'lUlCSS-C30ULIHNG. Little yellow 21l1gCl!-1--CIARLSON AND FREIQMAN. Goes on like a coat-fliib andj TUCKER. He won't be happy till be gets it-RfJCKXX'l5I.l,. Best for babies-DAY. LTllC0llil+CCllJK. DECEPTIVE RESOLUTIONS Mlsslcs G. AND XV.--To exclude all gentlemen from the Information Oiiiee. MR. RlJCKlN'lEl.I.-.I. will not l1old any more otiiee hours in tbe reception room. . Miss wVIIl'l'liI.X'-NCX'Cf to wear that black bow again. Miss WAc1lNmNsKI-To part with my well-earned reputation as pro- fessional lobbyist. Miss SwAu'rz-1 will attend class meetings. Tins Umor: CI.zXSS1XfVC will stoa llflllffillff around the feet of Mr. P1 11 Beethoven and go to Solfeggio. Miss SWEE1'-I will put up my hzlgb soprano voice for safe keeping and use mezzo for the present. S1sNIoRs-W'e will attend Ensemble Class regularly. Miss Bm' AND Miss LARADEE-NVe will not break any more piano strings in Room 48. lIO Nineteen Hundred and Six T H E N E U M A SALESMAN To get that importance Cl1'lVCl1 out of your head, Plenty of bad luck and hard knocks youill needg Though when you get humble and down to hard work, WVe'll see what is in you and know you'll succeed. Fnzsw' S'l'UDEN'l' : H They say Noelte is going to graduate in I9o7." Slseolvn S'l'UD1iN'I' : 4' WVhat in?" F1us'l' S'1'UnEN'r: U Advanced music co J ine' I guess." 11, B DOUBTFUL SCENE, Editor's sanctum. Mr. L. was concluding an oratorical effort, ranging from the sublime to the ridiculous, when he noticed a puzzled expression on the face of one member of the staff and said, "Miss B. doesu't quite know whether I am crazy or not." H But I decided that long ago,', was the reply. XfVe learn in organ tuning that to repair a bellows it is necessary to crawl inside. Rather diliicult to imagine Mr. ll. C. as an organ tuner, isn't it? 4' Doctor " is always lateg a11d he doesn't curl his hair either. The greatest achievement i11 the world of science that we can imagine would be the discovery of a preventive for the clattering of one's knees and teeth when about to appear in a concert. WVe had the good fortune to hear lNIr. H. C., the organist of Unity Church, practicing H Bedeliai' on Jordan Hall organ. E. P. TO 1905 Glm-DUATJQ : H How long have you been studying here, Miss --P " H Three years." 44 Wfhy, I've been here seveng but then 1 had a beautiful voice when I came." III T H E N E U M E Nineteen Hundred and Six V..--1-...X ,,..N N r f' as 'A ' , - , ., , , 4 f '11 , , ' if fri! 1 74 , ' "1-Q ' ' l , I f ' ,,,f 52:4 . ,fi Y -ml, as . -' ... gieafg g 5, Lv: --" N -,, 5,gL.y,WfLSr3---3 Qy..7',r x -l. , r,,,: .f-,f-.pf -,.-f.--,fr ,-', I mm V -vw' .f .tqyffi ,Y I ,J f -' rr T- ' f"+:? 4' . . I ,. , 'r' vii ' r igjfi - .f,l. a n -.,ff1uf, vw:--' .ill -"' l "l,f,!" A1jp?'1:,.f'5F 1,-L Q-if.. q ff' 2' f 'Q j-, , ,,, .sl-, ps. X . l , , lf! -.-. . AW'-,I-32.551 qi-.K 1 - ln-" H .. .- , 'iid .'v,Qsix:1:.,. , ' -Il l I -.ffff if ,f f.Z""f'14f J '5'?f':,2ff- 2'6'12f"' 1'I '14 l , "'f77 ,5:f'f '.:.,.f , .flnfiofl tglilli -Z: 1,1574 ., , .Q ,R ,nivwy :rv-1 1 f' N, if .1 'f . ff lf 1 .4o. ,f'?"r .. ' ..-. - - W f 1- F75 -Jw.-':"?' 'X '1 , ,, A I. ., . A 1 , ., Mig-.1--ff - L f,, Jjggxv, : ',.l . ",'f'5f49'44,4 -"VZ ,' Z riff! 4, ,, f ffwy f g,.h,f7q,- , ,.,. ",.Jwz' f'ff.11',iWf If 771,17 ... 1 ' ,, ".,-.Gy ,'Z"f , " ,..s'3"' ," '9-""-ffzdv ,K H-" 41 ', J- Q: .fl ,y'f':,l- ff' I-jx V .45 1,1 11 ' p' - -ms- fr- 4,25 .W 1212? 'f . F'-41: " - 'f , ,g -fl,-Ze , ,. fiFfHi1.f' - "'L7.' -- . Y -215?'1 ':'3:-'fit' J "'1':"l " 1-"',........ - .,.r -.?- ,3 . 53:4 -, ,,,: : ' " ,.,-----A f--'7ff"?':- AL---1' .:':a-,zglf-fe-,suv--L" "-Y-' ' .Q--. i--lv:-A,-,:-- l- . - .,-- ,L ..., ,....., 2:J',".3-'A--.-N713-' 23........f:' -- "lllg.e.lif' midi?" lle vows that when he heard me play That rhapsocly by Brahms In jordan Hall, his heart gave way A captive to my charms. He said my runs were strings of pearls, Like drops of crystal hue, Excelling all the other girls- I wonder is it true? Ile vows that when I reached page ten, And played those mighty chords, I-lis feelings heavenward soared, and then They grew too deep for words. 1Ve1m :Zh an dcinc Augen sch' Beholding dceps of blue, To breathe is bliss, to live, a song- I wonder is it true? He vows that genius such as mine Was born the world to sway, And that it fills with lovc divine His loyal heart alway. As sunilowers east to west the sun With constant gaze pursue, He'll worship me till life is done- I wonder is it true? 112 Nineteen Hundred and Six T I-I E N E U M E A summer boarder who was particularly struck with apiece which tl1e orchestra l1ad just played wished to make known her appreciation to the conductor. H Oh, Mr. --," she said, Uthat is a charming bitg the ajnzzfk Crhythmj is simply delightful." 4'WVell, what have you brought for me to-day?" asked the organ teacher. "More Rink," said the pupil, Uthose Cl101'2lClCS Qchoralesj, you know." President of the class to Miss B., who had just made a motion, 'fVVhat did you have in mind?" Miss B., meekly, 4' I haven't any mind." VVhat is Just One Moore's favorite fruit? The Olive. MMIQ. xx--HXVOLII' daughter has improved wonderfully in her piano playing." lVIRs. Z.--4' I'm so glad to hear you say that-if you really mean it.', NIMH. Y.-4' WVl1y, I don't understand you I " Bins. Z.-'4VVell, you see we didn't know NVllCtl1C1' she was im- proving or whether we W61'C merely getting used to it." OLD, BUT Goon.-In a cemetery in France tl1e widow of a composer, l1ZlVlllU' Jlanted her husband ylaced the following beautiful thouffht on his 21 7 5 D tomb :-- I-le has gone to the only place Where his music can be excelled. Another widow saw, admired, and imitated it, but unfortunately her defunct husband was a pyrotechnistg so his epitaph read :- He has gone to the only place Where his fireworks can be excelled. 4' I would rather be noisy than crazy." II3 T H E N E U M E Nineteen Hundred and Six BACCALAUREATE To avoid any dissentions that might arise from sectarianism, in plan- ning for the Baccalaureate service we suggest that the Senior Class follow out the plans which 1905, because of the limited time, was not able to put into effect. H The gymnasium seems to be the best place for the service. A pulpit can be improvised from the parallel barsg the trapeze and rings which hang from the lofty ceiling can be draped back gracefullyg the rope ladders can be hidden by the class flowersg a few palms will hide the chest cxpanders and other machines upon the sides of the room. The class, fac- ulty, and immediate friends will occupy reserved seats on the Hoor, and the students who wish to attend will find ample room on the running t1'ack. Music will be furnished by the tuning departmentg other particulars to be announced later." rIl1iU1E1ANIJ VVIIERE Dm IT HAPPEN? TEACIfIER.-45 Sing that first note." X71C'I'lM.-HBIIT I don't know what it is." TEACI-nan.-'WVell, never mind, sing it." Many frequently Mink the following question, which was recently put orally by one of our faculty: 4' WVhy doesu't the elevator come up when I make the buzzer go buzz?" FIRST ADMIREIK.-fc Doesn't Miss VVhitely get a Hue, large tone? " SECOND ADMIRER.-"Yes, but I think she could get Moore if she resorted to the comet." A girl who was unusually fastidious about her appearance was quite annoyed by several small warts which suddenly came upon her hands. She went to a physician, who began a series of treatments by putting acid on the offending members, which, though not really a painful perform- ance, grew rather tiresome. One day she heard a Conservatory student praising Hand Culture, and asked eagerly, '4Wl1y, what is 'Hand Cul- ture' anyway? WVould it be good for "!,UtZ7'fS?,, ir., Nineteen Hundred and Six T H E N E U M E, VERY S1.ow Pnomufss. lNIRs. CbIEn111.oUs.-441,111 ve1'y much dissatisfied with my daughter's progress Lll1llC1' your teaching. X ou give her Concone exercises when she can read very diflicult IDLISIC and sing songs heautifully. And then her enunciation is no better than when she heganf, 'l'1mc11En.-44B11t, madame, how many lessons has your daughter had?" NIRS. Q,-'t Three already l " A young man had given a hoy at a settlement his first music lesson, and had tried to show him very plainly about the notes--the head, stem, and Hag. At the second lesson he undertook a review, and iinding the boy's memory faulty he tried to help him out. Finally, pointing to the boy's head, he said, f'Now, Chris, what is that?" Qhiick as a Hash came the answer H Me nuzffi' A well known singer of Boston, after having received l1er notice of dismissal from tl1e church choir, was given a solo to sing the following Sundav, the words of which ran thus 1-- " I'm a pilgrim, and I'm :1 stranger, I can tarry, I can tarry but a day. Do not detain me, tor I am going -- " She sang it, needless to say, with the deepest feeling. X K . .4 .. A X , rv ' ' in ra. ,-'W' X- Vw .,,, , 1 54 1. 'N If fr" fiingjjg-'v".::i V . Q I , f m i , ' il 'I ' ' 'I x Vi N1 . l 11' . ll " ' ' l l - ' 1 ' I ' ll , I S ly, 1 I I , . ' I . y ,iq SS1 Two PART soNG woruvi IIS T H E N E U M E Nineteen Hundred and Six Conservatory Athletics BASEBALL Late last spring the curtain of Con Athletics arose when the Tuners trimmed the Sinfonia to the tune of 44 to 43 Qmore or lessj . The feature of the game was the umpiring. '4Four strikes, lVlcLeang I guess you're out." After two innings the umpire was granted "leave of ahseneev in order to catch a train for Philadelphia to umpire a Boston-Philadelphia game the next day. The cheering of the 7lZ7lZlZ'f7HiE of Con girls helped Vivy put the ginger into it. Attendance, 4. N. B. H Instrumentalists are advised to play basehall, as it will give them a tiuent technic." BOVVLING Bowling is now occupying the center of the stage, as the Keeper of the Mass. Ave. alleys will tell you when he says, ff Good-day, hoysg come againg Qwe need your moneyjf' For line points on the game refer to Jones, who will shortly sail across the pond to teach the Englishman how to mow down the thin pins. The only thing Jones fears is that he might get a triple strike, and remind him of hasehall days. 4' Bind up your dead wood, Hartley,-not that in tl1e gutter, however, as the pin boy wants that." , Anemia.-ff Come and howl one string, Stuppf, STUP1' Qwiselyj.-H How many?" VVhocver desires an erlieient scorereeper kindly refer to Noelte Q7-I-S:1Sj. Noelte, 4' There can he modern arithmetic as well as modern music." QFor the latter refer to Ralph.j NVRESTLING F1us'1' FRESHMAN,-44 Have you tried wrestling yet?" Slzeoxn FRESHMAN.-ff Yes, indeed! with solfeggio." l CANOEING Canoeing is certainly popular at the Con, especially with the fair sex, who are very fond of Mr. Charles. GYMNASIUM Last, but not least, is our splendidly equipped gym. Fntsr JUNIOR.--'4NVl1at do you think of our gym ? " SECOND jUN1ou.-HSp1endid for exercise. NVhy, three years ago 1 took a Eve mile run around it looking for 4 parallel bars! " FIRST Juitnon gust after harmony examj,-"Did you ever look for t parallel fifths in it. 116 1 Nineteen Hundred and Six T H E N E U ME li I li L4 H , ff I Jil.,- af 5-' ',... xv' ,ff r' ' .f PM 'f .-" Q 5 I . 5 2 WM " fi in g f , lm' ., .1 955 A fp iff' f yi , 31 . " V -- ,, A, .. sf ,-sa !fggi'f:.-4-g k f 4, 1- - - Tis Y lllfr : t 'rf . .eee X, , , ft ' ' ,Fi ,, f it "+vr,-,.- ,, -'f, ,,.s3:,Zf1Q f.',izg. ' - , 'S Suv- 4.y-- KQTZ, -K is - -f ' U ---- ""'- s- ' 47--- , Gin JAM! AN ODE Should you ask me whence this rhyming Whence these sounds of bitter wailing? I should answer, I should tell you, From the land of wit and learning, From the land of the O'Yankees, From the great school in the Northland, From the room of golden sunsets, Where doth sit the mighty Redman, The musician, the sweet singer! " If still further you should ask me, Wherefore, then, this lamentation ? " I should hasten to inform you A That this great chief of instruction, With his war paint and his weapons, Tortures to despair poor students, Tortures them along this fashion : Harmony on keyboards sounded, As expression of their beings, Music flowing from the fingers- Improvising," some folks call it. This," the Redman boldly tells us, P Ll x 1 1 117 You must do for graduation. You must harmonize these trehles, You must decorate these basses." Crouch before the rack these victims, Waiting for some inspiration, Waiting for their hearts to sing it, Fingers waiting to transmit it. Jewish harps in cruel bondage Easier sang than these poor Seniors. Many warnings had been given, Of Solfeggio, the cruel one, Who, with mighty sweep of weapon, Weeded thin the ranks of Seniors. Future classes, now, in pity, Of another foe we warn you,- Arm yourselves for Herccst battle, Always watching for his arrows, Till his octaves you have plunderedg Till his skipping you have conquered, Till subdued he lies before you,- Keyboard Harmony his name is. EVA MARCH T H E N E U M E Nineteen Hundred and Six AMONG THE AUTHORS The Art qt' Being Sqftj or, The Science qf Snsceptz'hz'Zz'ty. By A. A. Nolslfrlz. An invaluable work by a writer of much experience along his partiular line. For sale by the Swartz Sisters. -AL T3'eat1'se on jeltying. By Anemia M. GARDINER. Au original and brilliant work by this well known and accomplished writer. For copies, apply to Librarian of N. E. C. Library, from I to 5 P. M. dl, . Essay on Twentieth Centzuy Jlfanners. By RALPH LYFORD. The work of this genius is too well known to need any puffs. For sale by the author's roommate, Elisha Perry. J-L flow to A'eep Late Hoztrs. A novel. By NV. M. E. NVritten for the benefit of Frost I-Iall girls. A work of inestimable value. Bound copies, S55 net. For sale by the publishers. I .ue The Charms qfan Ensemble Existence. By BACON and BLY. db Ptanqforte .llethoaf By A. NoE1.'rE. AL How to Overcome Stage fhlght. By an authoress of wide experience, -'IXNNIE MAY Coolc. JL i ' A Comprehensive llistovy Q' the Class of 1906. In eight volumes. By SAMUEL GORODETZKY. 118 ,K ,,,,,... I ix if Y ,,.....- ,-,....- .T tl ZL- .,,....- ..--H - 5- I, , ! ff QT5Lbm9.1 I Q3 , fi 2 'vuxrl ,-,L M EA QLYL-,ff-531 K, j gI!!'i'gQ X AL wiki . . ff 4-F? ' ' A 1 , . -"f'-' 'fwlril J A?xyxY9?'f "' ' 4 QI' gf f 'T"" fklgvagw .96 Z x2 Sw I roi N x 0 Q 'fl' "' WIN f X 4 I f-Q' . fwN'z33,'Q 1? i 5 f fnnugym NXME, 5 E , :fag + x ' , f f Q A ' ' " Q' Yi ' X l r ,Q X ' f'1fWfvvrw11fffH"' Qllfm ix W W' W l Q F-:rf bf 'N - ,- 'ff-liiiiz, , 5' QQH- X -- ff if 1 "----f-.i- :-' f 'ffiigpsssf-f :fw- 'f-'ri' -'-""--.. ,, J J H V , --A--,-.-,-- -.-- - . ,... Q I f,,,-. 7,-,,..... 24, 7 Lf flfff' "Q: x f' V x Y' ma ,, Iii, PWD, ...Z -.,,...,. ADVERTISEMENTS 1 STUDENTS' SPA Lunches put up to take out Telephone orders promptly delivered Bakery, Fruit, Confectionery, Ice Cream, Groceries, Butter, Cheese and Eggs. Petit Lunch, home made served daily from 7 A. M. lo I2 P. M. SAMPLE SUPERIOR SUPPERS AT STUDENTS' SPA Conservatory f'P1jczrmczcy 286 HUNTING TON A VENUE POST OFFICE TELEGRAPH OFFICE GENERAL INFORMATION BUREAU Drugs, Soda and Cigars, Manicure Goods and Toilet Articles Periodicals and Stationery. Prescriptions our Specialty Registered Pharmacists always in attendance We want your patronage and solicit an early opening of your account. Respectfully, F. H. PUTNAM. ADVERTISEMENTS PUBLIC AUCTION NVC will offer, June Hrst, to the highest bidder, all our entire stock of WVinter Clothing, House- hold Decorations and other articles too numerous to mention COLE AND KINNER VVANTED A l3uIGII'I' Box' 'ro Do EIIIIANIIS FROM 9 A. M. 'ro 4 P. M. DAILY IS minutes allowed for lunch Apply on or before june IO, 1906 EnI'I'oIz IN CIIIIEIF olf' THE NEUME FOR SALE SMALL GI.Ass Bo'I"I'I.Iss Very convenient to those in need Price, two for a cent PICKERING AND DRESSLER TI-IE LATEST POPULAR MUSIC On the Banks of the Reservoir-Song Fenway Two-step-ing Brookline Echo Waltz Conservatory Schottische HARTLEY AND DUNN ADVERTISEMENTS 3 Cobb, Aldrich- St C91 W'l!"0f Pine tt 0193251 PW? 9 3 Grams zmh E 4 -1-LGI ntfnlph Eliza Reuters L, 350 Massachusetts Ave. 6 l Corner St. Botolph Street FINE WINES AND PURE BOSTGN LIQUORS M Washington and Kneeland Sts. Finestappo- t dcf - th B kB Y Md D y L h p ny Y It g BOSTON I ld PI-IOTOGRAPHIC PORTRAITS IN ALL NEWEST STYLES UKCOTMAN19 3 Park Street and 384 Boylston Street it Special rates to pupils of New England Conservatory of music 4 ADVERTISEMENTS INGENIOUS METHODS OF COM- BINLNG PIANO-TUNING AND ' LAURA B- IIUXTABLE NOTE-WVRITING . . . is lDl'C1Dlll'lllg' at new course in Full pzu'ticulzu's given and corre- HAND CULTURE spomlenec solicited. Porlnble edition soon to be publislmecl ELISIIA PERRY, INS'l'RUC'l'0R YOUR PALM READ OR YOUR 1"L0RlS'1' FORTUNE TOLD : Rosizs f5lYEN 'ro L,xmics - ' 1 - .' '1 n '-1 I1 urs .tnytln c, except .t 1 ea o 5 Free on Mondays only ELEANOR REIER VVILMOT LEMONT ADVERTISEMENTS 5 EL 0 ' M IC DICTIO ARY By LOUIS C. ELSON, Professor of Theory of Music at the New England Conservatory of Music Ever since Tinctor, about I475, wrote the first music dictionary, there has been an endless succession of books dealing with musical dehnitions. This is but natural and proper, since the musical art is constantly changing. A music dictionary, unless frequently revised, easily drops be ind the times. There are no obsolete terms in Elson's Music Dictionary, but every necessary word is included, with its pro- nunciation. By pronunciation is meant a phonetic spelling in the English language, not merely accent marks. This applies as well to composers' names, for instance, Rachmaninofl-Rachh-maIpn-nee-nQff, ln addition to 289 pages containing the definitions and pronunciations of all the terms and signs that are used in modern music, are the following: Rules for pronouncing Italian, German and French. A list of popular errors and doubtful terms in music. A list of prominent foreign composers, artists, etc., with their chief works, the pronunciation of their names, and the dates of their birth and death. - A short vocabulary of English musical terms with their Italian equivalents. The rules flair prionunciation will enable the student to pronounce not only the musical terms, but every word in either of tiet ree anguages. - Such terms as " Pitch," " Sonata," " Temperament," " Turn," " Scale," " Organ," " Notation," " Form," " Key," etc., are explained at length. In some cases from three to four pages are devoted to a single word. On impor- tant subjects full bibliographical references are given. . The book comprises 306 pages, and is bound in serviceable cloth covers. PRICE, POSTPAID, 35l.00 , i COPIES SENT FOR EXAMINATION OLIVER DITSON COMPANY, BOSTON C. H. DITSON E1 CO., NCW York LYON 8 HLALY, Chicago I. E. DITSON ff CO., Pllilndclpllia Order of your home dealer or the above houses PIANOS TO RE E furnish first-class pianos for students' use, and . lceep them in the best of condition without extra charge. Our prices are no greater than those charged elsewhere for cheap or worn-out pianos. We invite you to call and examine our stock :' ' -' eco. L. SCHIKMLR s co. 38 HUNTINGTON AVENUE. 6 ADVERTISEMENTS ESSAYS ON MUSICAL . SUBJECTS HAND MASSAGE Receive prompt attention FREE I'I0111'S 5 7-30 to 3-30 P- M- Hours by appointment. interviews by appointment only, Call at Lib,-in-y Alcovc. editors not excepted. LYDIA MCCORMICK BELLE MOORE CARD TO THE PUBLIC TOPOGRAPHICAL MAPS IIARLOXVE DEAN begs to announce of the Fenway, B1'00klil10a YOUYC to that he is not encnmberecl with any Rcscrvolnctc' Manyl30intS0fiut'3fCSt- . . P ' tl -1 .-r. entanghng alliances, Dame Rumor to new It owes the 00'1f"2'1'Y' VVHITELY AND MOORE ADVERTISEMENTS 7 HUTCHINGS-VOTEY GRGAN CO. CHUR CH AND CONCER T OR GANS Builders of the Organ in Jordan Hall, New England Conservatory of Music FACTORY: COR. ALBANY AND PACIFIC STS., CAMBRIDGE FRANK WOOD PRINTER Maker of Books, Magazines Catalogues, College Annuals and Advertising Literature of Every Description ova Printer of '05 and '06 Neume TELEPHONE 273 MAIN Ofice and Workshop, 352 W ash- LHHEBEA ll ll inglon Street, Boston, Massachusetts - 6? N. A dlzll ,a L S ADVERTISEMENTS LOST 1'I'1O'l'OGRAPIIERS FOR ' ' ' ' f 1 . C. '. Exslcmnlnc X'7l0I.lNlS'l' LLAbb OJ' W I L' Return to First sitting free. NIR- ADANIOXVSK1 MALLORY AND NIUCRURX XVILSON T. MOOG Rla'1'm1an Envrou BULLETIN FOR FENWAY AFFAIRS Past experience would make him valuable on the staff of a country news- TUE DORMITOMES paper. Jokes a specialty. ADVERT IS EMENTS 9 E are just a block away from New England Conservatory, and in the heart of Boston's Musical Centre. We have the finest stocked and most complete Prescription De- partment of any Drug Store in Bos- ton. Only Registered Clerks to put up your prescriptions 1: 1: :: :: HUBBELL AND MCGOWAN ...Qputbecarizs... OPPOSITE SYMPHONY HALL IF YOU MUST WEAR GLASSES fx Eg Don't wear those that disfgure you. We make a SPECIALTY of DESIGNING lenses and malce NO CHARGE to show you if yours can he made to fit better. ANBQ KDE JOHN w. SANBORN co. REFRACTING OPTICIANS 8 WINTER STREET OI'lOtlIQl1t Elevator Telephone Please present your Conservatory Term Card when you patronize us. BACK BAY FANCY BAKERY BREAD, CAKE, AND PASTRY. LUNCHEON SERVED Birthday and Wedding Cake a Specialty. Also manufacturers of Sherbets and Fancy lces 252 MASSACHUSETTS AVENUE, BOSTON, MASS. Telephone Connection, 21830 li-ack Bay A. UNDER, Prop 1 mi - ,XJ if EJ! L fr .llj.SlJcoslJa i i l i 'QEQTTESTIIUKFINTEUK 1 s J i fq CHTEKERDQA comrpcriomc rf X ,P 1, S382 N 1 211-2-raugggg,-1311: Aggggggrmomul 43? egg. ,Dy -'ew A ADVERTISEMENTS BAGGAGE '11l'fll1Sl:Cl'l'Cll to any part of thc city Prices reasonable LIOIINSON AND B RUNE R MEALS Any clay, all clay, to-clay Home Cooking Z1 Specialty MINNIE STRATTON HA NV A N T E D A copy of Slloivr CUT Tim SOLIWICGGIO " Author unknown OUGII THE GREATEST INVENTIC OF TIIE AGE! A IJATENT HAT-1.uf'rlcn J Guurzinteecl to work perfectly or money refunmlecl RALPH LYFORD, Soma Aon A NI ADVERTISEMENTS 11 BE T 81 BUSH Eletnelers TO THE NEW ENGLAND CONSERVATORY MAKERS OF THE SEAL AND THE CLASS '05 PIN College, Class, Club and Society Pins. Medals, Cups, Badges, Flags and Banners I5 SCHOOL STREET, BOSTON THE BUSINESS OF THE Boston Musical Bureau IS I. To Supply Colleges, Conservatories, Academies, and Seminaries with Teachers of Music, Elocution, etc. ll. To SuPPly Churches with Singers, Organists and Choir Directors. III. To SUPPIY Choral Societies, Musical Clubs, etc., with Soloists for Oratorios, Cantatas, etc. For full particulars- address HENRY C. LAHEE 218 Tremont Street :: Boston, Mass. Phone, Oxford 475-4- P. 5. Mr. Lahce was Secretary of the N. L. C. of Music from l89l to I899. Pliltlllllll lllllllll EXtlllllSllS oPUs 17 By F. ADDISON PORTER A new system of finger technique present- ing material for the development of A Good Hand-position Independence and Strength of Fingers Habits ot Concentration Habits of Phrasimi correctly Velocity Wrist Staccato Finder Staccato Octaves tPreparatoryD Developing the weaker tiners, etc. Special Exercises for the correction of various faults in movement and control of the fingers. For Sale by All Music Dealers ADVERTISEMENTS NVANTED--AN ORGAN POSITION I will play twice on Sunday, any number of rehearsals each week, and every Saint's Dayg also any extra work, with no vacation. Must lie in an Episcopal Church. I erms--experience only. HARRISON D. Lie BARON LECTURES Interesting and Instructive U fins CARI-: ov 'rim '1'1cic'rn" nv A ANNIE MAY COOK Hy X BENEFIT CONCERT NVill lie given for 'ITIIE NEUME BOARD villing to perform may leave names at Information Office their ADVERT IS EMENTS 13 TU f-ER-S! We will make a special reduction of IOW to Conservatory tuners on all outfits and tools. Our goods can be purchased at the Music Store, where a limited stock is carried. A catalogue free. Call and see our display. Look the lools over. :: :: No trouble TUNERS SUPPLY CO. ll EAST NEWTON ST. 22 BOSTON 'SM X T. iii. , - Ax. 23-' 1 y 15859 T we " ' J i.t'!Q!!llx xx xx ' ISMOOTHES THE cosmssromzs or LIFE" TllE SlVEI.L Slllili FOR GEILS Pumps, Newport Ties, Blucher and Button Oxfords made in our own factory and sold in our own stores SEE OUR PEERLESS LAST Price, S3050 and 5541.00 STYLISI-I COIVIFOICTIXBLE ITIIISVAISLE E. W. HURT 8 CO., Inc. Boston Store :: :: 410 West Street Tllibe Ziaznrp ,1f.AH1IiIIer Grand and Upright PIANOS The culmination of the skill and experience of nearly half a century. TONE, TOUCH AND DURABILITY ABSOLUTELY UNSURPASSED :: Henry F. Miller Sl Sons Piano Company 395 BOYLSTON STREET, BOSTON Stickney SL Smith 157 TREMONT STREET :: BOSTON ' I: Q-,g2:A:5Qiy?"1 , 27? . Nzglo-z'r1a::Q 1i--' bi" Q7 1 ,S' Q xiwf Allow ten per cent to teachers and pupils of the New Eng- land Conservatory of Music on Ladies' Street Suits, Skirts and Garments of all kinds, Waists and Furs OUR ONLY STORE 14 ADVERTISEMENTS f... . STIEFF PIANOS Used and endorsed by the New England Conservatory of Music and many other large Conservatories and colleges throughout the United States - x 'lflllll Sf . V I Ii ff fl ff ,, X29 S2 I W 2, Xl G. 4 X .K ' F 'A QQ? jyalj I S, .. I l I' llM" all In I lQ,i'vIII'll'.. 2 ......rr I -l Q f-A :gli , rip , -IIIIIIIIIJ , U I -,Q I-I U ,,. 5,.iq' 6 , w W- Klfj: gu lng r 'I' ,' -L. - Ii'f-1 rj ' ' i s 7 4 I-gd f L 'X 'fEjf?i'? ,. 4' s'rrLE Luuls xlv L0 " Proofs " and " From Popular Song to Grand Opera " furnished on request. The Stieff Piano stands alone in point of durability, action and tone quality CHARLES Nl. STIEFF PITTSBURG, PA. I-mnnlsauna, PA. M-- A eeee... . CHARLOTTE, N. c. ESTABLISHED IN 1842 MAIN OFFICE AND FACTORY wAsHlNe1'oN, D. c. BALTIMORE, MD. NORFOLK, VA. RICHMOND, VA. LYNCHBUFIG, VA. ADVERTISEMENTS The New England onservatory of Music G. W. CI-IADWICK e: :: :: :: :: DIRECTOR Q 'K 24' ' '25- 'ea u ' Q 1-Ill KAN.. NYM The School Year 1906-07 Begins September 20, Year Book sent on application. RALPH L. FLANDILRS, Manager :: :: Huntington Avenue and Gainsboro Street ADVERTISEMENTS- YOUR BEST FRIENDS OR YOUR YVORST ENE- 'MIES will rcccivc prompt and Slltl!-il:IlCtOl'-Ytl'C2ltl'l1Cllt if left in my tcnclcr cure. Extra clmrgc mzulc for mcmlmcrs of 1907 if taken in a crzullc. F. B. DEAN Rcfcrcncc: 'PHE NEUME BOARD THE CONSERVATORY MUSIC STORE has at grunt cull for books on the following sulwjccts : 'lfmc GIcN'rLn Am' ov CIIANIPINCI 'l.'1cAcImns Ilnw 'rn Blscmnz POPULAR A'r 'rma CoNslcm'A'rolcY AN INS'l'RUC'l'lVE Counsn IN .l3I.lv1f1f'1NG Ilow 'ro MAKE AN IMPRESSION AS CANIJIDATIQ vol: Pos1'r1oNs A Km' 'ro CnADw1cK's IIAIKMONY Persons of cxpcricncc will find large profit in writing on these lines. Particular terms maclc to 1907. ADVERTISEMENTS altbam harsh rgan antnrp E W LANE, Proprietor WALTHAM, MASS PIPF. QRGANS Besides the nine Pipe Organs built by us for the Conservatory, we refer to those in the following places :- Newport, R. l., First Presbyterian Church: Worcester, Mass., Park Congregational Church: Adams, Mass., Baptist Church: Beverly, Mass., Washington Street Con- gregational Church: Providence, R. l., North Congre- gational Church: Bangor, Me., First Congregational Church: Winsted, Ct., First Congregational Church: Southington, Ct., St. Paul's Church: Bridgeport, Ct., Park Street Congregational Church: Bridgeport, Ct., St. John's R. C. Church: North Attleboro, Mass., St. Mary's R. C. Church: North Attleboro, Mass., St. Mary's Chapel: Lawrence, Mass., United Congregational Church: Newton Centre, Mass., Trinity Church: Rock- land, Me., Congregational Church: Saco, Me., Unitarian Church: Searsport, Me., Congregational Church: Marl- boro, Mass., St. Mary's R. C. Church: Roxbury, Mass., Residence of John Ritchie, Jr.: Lewiston, Me., Masonic Hall: Attleboro, Mass., Masonic Hall: and many others Factory and Uffice: 1041 Main Street, WALTHAM, MASS 18 ADVERT ISEMENTS Established 1826 J. B. RIDDELL, President Davis, Chapin Co. Foreign and Domestic FRUITS Si PRODUCE 83 Sz 85 Faneuil Hall Market Cellar I5 South Sicle BUSTON, - MASS. Telephone, Richmond 777 ESTABLISHED l850 Shattuck 81 Jones Ucean, Lake Fresh Salmon and Trout Specialties No. l28 Faneuil Hall Market BOSTON Telephone, I437 Richmond EDWARD B. NEWTON C. R. Corwin Company Commission Merchants And Dealers in Butter, Eggs, Poultry, tiame Hotel and Restaurant Supplies Basement, 2 Quincy Market soon-i SIDE BOSTON, MASS. TELEPI-IONE. CONNECTION I-I. WILKINSON Beet, Pork, Lard S: Hams 77 81 79 Quincy Market BOSTON, MASS. Telephone, 80 Richmond 2 Hotel, Restaurant and Family Supplies ADVERTIS EMENTS 19 Salllllli, SIIIIIBS Xl till. mhnlezalr Mrnrrrn 55 Commercial Street 4 BOSTON if Distributors of Red Feather Coffee, Century Formosa Tea, Amrita Cey- lon Tea, Bridal Bell Canned Goods George H. Valpey Dealer In BUTTER CHEESE and EGGS a r NLUIL HALL MARKET A BOSTON A? Family Trade a Speczalty J. C. Walker Sl Son Chicago and N. Y. City- Dressed iieef grim My ,A-il-iv 36 NORTH STREET BOSTON :: :: MASSACHUSETTS COMPLIMENTS OF Jos. Middleby, Jr., Inc. Manufacturers of iBreserbes, Siellies, jfruit Ruins, ann the ICE CREAM POWDER, SELAW ff' We will be pleased to have you call at our store 201-203 STATE STREET BOSTON :: :: MASSACHUSETTS 20 ADVERTISEMENTS Prescriptions for all Financial ailments DR. RALPH L. FLANDERS LIFE INSURANCE VVITII THE BEST COMPANIES lnsurcs 1 ainst all injury from iiggccl muttings and rugs IIORACE NVIEIITEI IOUSE ACil+IN'I' FOUND NEW CoNsElu'A'l'o1n' LUNCH Former Reception Room 1 - P. M. rf ADVERTISEMENTS Y 'PIU ltgiv X4 Y ,Q A Q . . --x + .ggwsw T :NW 5-W3.'g"+ an 111 J Wir? whswgdll 1 S f q' 'x. 5 iw! BQQL5. N ? 'J Y. 1 . f 1 fl. vx.S9+Q4+ 1 ' "iw n sm 1 'H L55 A- NW' N6 A lat J"k.? v 5 A tv .n x any si ,LZ - 1 :5 + 'f1fJ v -3 has 'MJ . , I lat 'W 1 :f 4 Zh 614+ . as-mt-ww 0 1 :iss-'Jw-'ff Y as '15 WZ? I ' 'yall .Lily 4,3-axle: gag? K. +' Fl NW 'RQ 15 11111 , . J v is l R Q - ms- 'ww i M3 564 W' V44 tv , N5 I . . N If 111' 1 is ,4, x .1 TQ' " ,W .Sat W MW J 'LS 'ff m - f g QL J Xa A kwa 4 -it 1 192 if.-egg L z -4J'+ L tv , J seas 11 3 ' filib- ww .NL 3 x. 4 1 1 ? .Q . +'5vJTk. Nigga ra? 1 - N Lx 'k. Q'-r 47 M 1 2 :E-I-'af!Tk. "+ x. airy? i" nl am, AL- awgyww. I : N45 .. 'ow 9 In .. Qs w We ak 1 E M f wan B tqkds .f + x. iam 1 if W , . 9541 sw .. J.. , f 1 + cg-gk vm me THE LWIEIZUU CQQHIIIBII P I A N 0 during the musical season of l905-I906 is being played in the prin- cipal cities of the United States from Boston to San Francisco, in Recital, before Musical Clubs, leading Musical Organizations, and all the great Orchestras, by the greatest Pianists, among whom may be named the following: HAROLD BAUER ' Boston Symphony Orchestra, Wilhelm Gericke, Conductor. Pittsburg Orchestra, Emil Paur, Conductor. Indianapolis Orchestra, Hans Schneider, Conductor. New ,York Philharmonic Orchestra, Fritz Steinbach, Conductor. Kneisel Quartet. RUDOLPH GANZ Chicago Orchestra, Frederick Stock, Conductor. Boston Sym hony Orchestra, Wilhelm Gericke, Conductor. New York Symphony Orchestra, Felix Weingartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet. ANTOINETTE SZUMOWSKA Boston Symphon Orchestra, Wilhelm Gericke, Conductor. - New Haven Orchestra, Horatio W. Parker, Conductor. Chicago Orchestra, Frederick Stock, Conductor. Adamowski Trio. EMIL PAUR Pittsburg Orchestra. HEINRICH GEBHARD Boston Symphony Orchestra, Wilhelm Gericke, Conductor. Kneisel Quartet. VINCENT D'lNDY Kneisel Quartet. Longy Club. EDITH THOMPSON Kneisel Quartet. ALFRED DE VOTO Boston Orchestral Club, Georges Longy, Conductor.- Longy Club. 111 Pianists, 'Piano Students, and all those interested in the artistic intepretation of music should examine these notable instruments. Catalogues on application. p MASON 81 HAIVILIN CO. 492 BoYLsToN STREET 1. .. 11 BosToN Pestlude And now, our sense and nonsense WVC lay aside our pen, VVith all good wishes for next yea NVIICH they take it up again. 0,0l', l"s Clzlss


Suggestions in the New England Conservatory of Music - Neume Yearbook (Boston, MA) collection:

New England Conservatory of Music - Neume Yearbook (Boston, MA) online yearbook collection, 1905 Edition, Page 1

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New England Conservatory of Music - Neume Yearbook (Boston, MA) online yearbook collection, 1907 Edition, Page 1

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New England Conservatory of Music - Neume Yearbook (Boston, MA) online yearbook collection, 1908 Edition, Page 1

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New England Conservatory of Music - Neume Yearbook (Boston, MA) online yearbook collection, 1909 Edition, Page 1

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New England Conservatory of Music - Neume Yearbook (Boston, MA) online yearbook collection, 1910 Edition, Page 1

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New England Conservatory of Music - Neume Yearbook (Boston, MA) online yearbook collection, 1911 Edition, Page 1

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