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

Text from Pages 1 - 214 of the 1908 volume:

President of Board of Trustees ■ THE NEUME VOLUME IV PUBLISHED BY THE CLASS OF 1908 Cfjarles! jerkins; (flarbiner WH)osit con£ cientiousJ enbealjor for tfje betterment of our alma mater fjas toon ftisi toap into tfje fjearts of tfje gtubent bobp, anb fjas; placeb tfje i eto Cnglanb Consierbatorp upon a gtanbing far fjigfter tfjan it eber before )a occupieb, tbisi book is; gratefuUp bcbicateb ! MDCCCCVIII — NEUME H PUBLISHED BY THE SENIOR CLASS OF THE i NEW ENGLAND CONSERVATORY OF MUSIC €i itor-in=Ci)ief DARDEN FORD sfgoctate Cbitor KARL EDMOND RACKLE ggt£ftant €bttor£f GRACE WITTER FIELD CHARLENA FREEMAN JESSIE MIRIAM SWARTZ MABEL LOUISE WILCOX F. OTIS DRAYTON ISABEL CLARKE FIELD KATHERINE JESTER Jguginegs ifWanager LOUIS LEBER CHAMBERLIN LLEWELYN EVANS 5f iS5l 0m fi I Dedication Gi ' eetings . Caletidar . Directory Committee Corporation Executive Committee . Alanagejnent Faculty Charles P. Gardiner . Senior junior Freshmen . Fraternities Alumni Association Carnival . Class of I go J Hints on the Study of Shakesp Music and Literature . The Exchange of Courses Twenty-five Tears a Teache) Edward MacDowell . Letters from De Pachman Requirements as to Theoretica Some Visiting Artists . Boston Opera Company Old Times at the Conservato? Concerts and Recitals . His Call at the Dormitories Terse Senior Tells Grinds Advertisements Studi Page 2 7 8 9 lO II 12 13 30 3 57 67 75 86 8p 99 1 10 117 120 126 128 129 131 J35 139 H3 156 158 162 16:: 193 rHE NEUME Board of 1 908 for the Senior Class presents this — the fourth volume of THE NEUME. We hope that the hook is mirror to reflect the life of N. E. C, particularly the Senior, as a bright ray of sunshine in the years to come. And to you — faculty, students, and all who are reflected in the grinds — attribute any distortion you ma find to a slight convexity of the mirror at this point, and try a grin. Finally , we thank every person who has helped us to make this book less uniDorthy of N. E. C. THE BOARD OF EDITORS. THE N E U M E 908 New England Conservatory of Music CALENDAR 1908-1909 First Session begins Thursday, September 7, 1908, and closes Wednesday, February 3, 1909. Second Session begins Thursday, February 4, 1909, and closes Wednesday, June 23, 1909. Christmas Vacation (one week), December 20 to 27 inclusive. Easter Vacation (ten days), April 9 to 18 inclusive. All teaching and business in the Conservatory is suspended on legal holidays. The first session of 1 909-1 910 begins September 16, 1909. 10 THE N E U M E 1908 Corporation BOARD OF TRUSTEES Joseph Balch John O. Bishop William P. Blake Charles H. Bond Col. A. Parker Brown Hon. George B. Cortelyou Francis E. Peabody S. LoTHROP Thorndike Charles C. Waller Rev. W. F.Warren, D.D.,LL.D. John G. Wright Richard H. Dana Edward W. Forbes Charles P. Gardiner Henry L. Higginson Dr. S. W. Langmaid John B. Willis Dr. Albert E. Winship Jacob P. Bates William Sturgis Bigelow, M.D. George D. Burrage Samuel Carr George O. G. Cole Frederick S. Converse Edward S. Dodge Ralph E. Forbes Herbert Lyman Charles G. Saunders Charles Warren Dr. Walter Channing Joseph Mitchell Chappel Arthur F. Estabrook Clement S. Houghton Eben D. Jordan John P. Lyman Rev. George L. Perin, D.D. Allen W. Swan Frank Wood Geo. W. Chadwick Ralph L. Flanders William A. Bazeley F. Addison Porter 1908 THENEUME 11 Executive Committee OF THE BOARD OF TRUSTEES Charles P. Gardiner, President Eben D. Jordan Vice-President Arthur F. Estabrook S. LoTHROP Thorndike George W. Chadwick Director William A. L. Bazeley Treasurer Ralph L. Flanders Manager Frederick S. Converse Edward S. Dodge John P. Lyman Frank Wood John G. Wright 12 THE N E U M E 908 Management Ralph L. Flanders Manager Frederick L. Trowbridge . . Manager s Assistant Elizabeth C. Allen . . . Corresponding Secretary Business Departments OssiAN E. Mills . . . . Cashier and Accountant Martha Perkins Registrar Benjamin Cutter Curator of Library H. William Driscoll . Superintendent of Music Store Ellen M. Margaret Preceptresses Wheelock Adeline C. Ferguson W. Avery Sarah A. Perkins 1908 THE N E U M E FAC Ul HEADS OF THE NORMAL DEPARTMENTS Vocal .... Armand Fortin Piano . . F. Addison Porter Violin . . Eugene Guenburg THE N E U M E 1908 Arthur D wight Babcock, roice. Born in Dudley, Mass. Studied at San Diego, Cal., and was graduated from the New England Conservatory in 1903, under Mr. Charles A. White. Studied with Mme. RatclifFe Caperton. William Herbert Dunham, roice. Born in Brockton, Mass. Pupil of Augusto Rotoli and Dr. Guilmette, Boston; Shakespeare, London; an- nuccini, Florence; Koenig and Sbriglia, Paris; Cotogni, Rome; Benevenuti, Milan. Arm AND f oRTiN, roice, Normal Department. Born in Oxford, Mass. Superintendent of Vocal Graduated from the New England Conservatory in i ider William L. Whitney. Studied also with Vannuccini, Florence. Percy F. Hunt, J ' oice. Born in Foxboro, Mass. Graduated from the New England Conservatory of Music under William H. Dunham. Lived abroad three years, studying two years under Vannuccini in Florence and one year with Bouhy in Paris. Made a concert tour through the United States. 15 Clara Tourjee-Nelson, IVtce. Born in Rhode Island. Graduated from the New England Conservatory of Music; studied voice with Augusto Rotoli, Mr. and Mrs. John O ' Neil and Sarah Fisher; Opera School work with Samuel J. Kelley; also pupil of G. W. Chadwick and A. D. Turner. Clara Kathleen (Harnett) Rogers, roice. Born in Cheltenham, England. Educated in Leipsic Conservatory; Piano, under Moschelles and Plaidy; oice, with Professor Goetze; studied Piano in Berlin under von Bulow; Voice under Frau Zimmerman; also studied oice in Italy under San Giovanni; has published both vocal and instrumental music. Clarence B. Shirley, f oice. Born in Lynn, Mass. Pupil of Charles A. White; also of Dubulle in Paris; has traveled extensivelv as soloist in the eastern states; is one of the leading oratorio and concert tenors of New England. Alice Mabel Stan a way, Foice. Born in California. Graduated from University of Nevada; graduated also from the New England Con- servatory in 1898; pupil of Augusto Rotoli and Charles A. White, Boston; Dubulle, Paris; studied in Opera School under Oreste Bimboni. THE N E U M E 1908 F. Morse Wemple, roice. Born in Albany, N. Y. Studied Voice with Charles A. White of Boston, and Dubulle of Paris; Baritone Soloist; well known as church and concert singer; makes a specialty of recital programs, in which he is eminently successful. PiETRO Vallini, Foice and Director of the Opera School. Born in Florence, Italy, Oct. 25, 1859, where he pur- sued his early musical education, studying pianoforte with his father, and harmony and counterpoint with Magi. First studied Composition with Mabellini, later with Scontrino at Milan. Has had a successful career as conductor, teacher and composer. Charles A. White, Voice. Born in Troy, N. Y., where he studied Piano and Singing; went abroad in 1879; entered Leipsic Con- servatory, w here he studied under Rebling and Grill; continued Voice Study with Lamperti; 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. Estelle J. Andrews, Pianoforte. Born in Baltimore, Md. Graduate of the Peabody Institute Conservatory of Music, Baltimore, Md. ; pupil of Carl Faelten and Helen Hopekirk, Boston. 1908 THE N E U M E 17 David Blampied, Pianoforte and Theory. Born in Galena, Ohio. Pupil of William Apthorp, George Whiting, J. C. D. Parker, John O ' Neil, Harry Wheeler and J. K. Paine. Lucy Dean, Pianoforte. Born in Illinois. Graduated from the New England Conservatory in 1891; pupil of Dr. Maas, Mrs. Maas and Carl Faelten ot Boston; Leschetizkv in ienna, and Buonamici in Florence. Charles Dennee, Pianoforte and Pianoforte Sight Playing. Born in Oswego, N. Y. Studied Piano with A. D. Turner and Madame Schiller, Harmony and Composi- tion with Stephen Emery; special studv of Beethoven with von Bulow during his last trip to America; has toured extensively as a concert pianist, appearing in over one thousand recitals and concerts previous to 1895. Teacher at the Conservatory since 1883. A composer of note. Alfred De Voto, Pianoforte. Born in Boston. Graduated from the New England Conservatory in i 898 under Charles Dennee. Member of the Municipal Music Commission of Boston since 1898. Pianist of the Longy Club of the Boston Svm- phonv Orchestra. Has toured the countrv in recitals and as soloist with the Boston Festival Orchestra. THE N E U M E 1908 Jane M. Foretier, Piano. Born in France. Graduated from the New England Conservatory of Music in 1898; became a member of the faculty in 1907; began teaching piano in connec- tion with post-graduate work. J. Albert Jeffery, Pianoforte. Born in Plymouth, England. Educated at the Leipsic Conservatory under Reinecke, Wensel, Richter and jadassohn; 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 Selbv of Rochester Cathedral. Has written piano compositions of merit. Edwin Klahre, Pianoforte. Born in New Jersey. Studied under O. Klahre; later pupil of Liszt, Lebert and fosefFv in Piano; Composition wnth Schulze in Weimar, Bruckner and Goetschius in Stuttgart; Violin with Scharwenka. Frederick F. Lincoln, Pianoforte. Born in Massachusetts. Graduated from the New Eng- land Conservatory in 1881; studied under J. C. D. Parker, A. D. Turner, Carl Baermann, Carl Faelten and Stephen Emery. 908 THE N E U M E 19 F. Addison Porter, Pianoforte ; Superintendent of Pianoforte Normal Department. Born at Dixmont, Maine. Graduated from the New England Conservatory in 1884, after a five years ' course with A. D. Turner, Stephen Emery and George W. Chadwick; studied in Leipsicwith Hoffman and Freitag; has published a large number of compositions. George W. Proctor, Pianoforte. Born in Boston. Graduated from the New England Conservatory in i 892; pupil of Leschetizky in Vienna; studied Composition with Nawratil and Mandvczewzki; has had an extensive career as a concert pianist. Harry N. Redman, Pianoforte., Harmony and Composition. Born at Mt. Carmel, Illinois. Pupil of George W. Chadwick; has composed a large amount of piano music and songs; also several violin sonatas, two string quartets and a quintette for piano and strings. Eustace B. Rice, Pianoforte and Solfeggio. Born in Wayland, Mass. Afterward lived in Hudson, N.Y., where he studied Piano and Organ with Edwin C. Rowlev, a Leipsic student. Studied Piano principailv under Edwin Klahre and Carl Baermann; Organ under George E. Whiting and Henry M. Dunham; Harmon v and Composition under George E. Whiting and Dr. Percy Goetschius; Theory under Stephen A. Emery and Louis C. Elson; Solfeggio under Samuel W. Cole. 20 THE N E U M E 1908 31 Carl Stasnv, Pianofoj-te. Born in Mainz. Pupil of Ignaz Brull, Menna; Prof. Wilhelm Kruger, Stuttgart; Franz Liszt, Weimar; ex- tensive career as concert pianist in Europe and America. Anna M. Sto all, Pianoforte. Born in Mississippi. Attended Columbus College; graduated from New England Conservatory in 1895, under Carl Stasnv; toured as concert pianist; Mr. Stasnv ' s assistant for ten vears. Marie E. Treat, Pianoforte. Born in Ohio. Graduated from the New England Conservatory in 1900; pupil of Charles Dennee. H. S. Wilder, Pianoforte. Born in Worcester, Mass. Studied Piano with B. D. Allen, B. j. Lang and A. K. A ' irgil; Organ, oice, and Harmony, with other teachers of note. Has written songs, church music, etc., conducted choruses, and has had as pupils many well-known pianists and teachers. THE N E U M E 21 Henry M. Dunham, Organ. Born in Brockton, Mass. Studied Organ at the New England Conservatory under Whiting; Counterpoint, principally with J. K. Paine. A well-known composer in vocal and instrumental forms; church organist of wide reputation. Homer C. Humphrey, Organ. Born at Yarmouth, Maine. Received early musical education under E. A. Blanchard of Yarmouth; later studied Organ with Wallace Goodrich ; Composition vith G. W. Chadwick; graduated from the New Eng- land Conservatory in the vears 1901 and 1902. Josef Adamowski, Violoncell o Ensemble artet Classes. Born in Warsaw, Poland. Educated in Warsaw Conservatory, and at the Imperial Conservatory in Moscow under Fitzenhagen, N. Rubinstein and P. Tschaikowsky. There he pursued his college studies and graduated with diploma, a silver medal, and the degree of Bachelor of Arts. Member of the Con- servatory Faculty since 1903. Eugene Gruenberg, Violin; Superintendent of Violin Normal Department. Born in Lemberg, Galicia. Pupil at Menna Conserva- tory, of Heissler, Violin; Bruckner and DessofF, Com- position; and Hellmesberger, Chamber and Orchestra Music. Has played for the last twenty-five years under the world ' s greatest conductors. 1908 Emil Mahr, Violin. Began his study of Violin with Joachim in Berlin in 1870; played as one of the first violins in the Wagner Festival at Bayreuth in 1876; spent several years in London as solo violinist and conductor; came to the New England Conservatory in i 8 8 - . Carl Peirce Violin. Born in Taunton, Mass. Studied six years with Leandro Campanari; organized Municipal String Quartet of the city of Boston in 1898; at present a member of the Peirce- Van Vliet String Quartet. Eelix Winternitz, Violin. Graduated from Vienna Conservatory under Grun, in the same class with Kreisler; winner of a gold medal; came to America and played two years with Boston Symphony Orchestra before touring the United States as soloist; has been a member of the Conservatory Faculty since i 899. Max O. Kunze, Double Bass. Born in Dresden. Graduate of Roval Conservatory ot Music; played as principal bass in the Warsaw Sym- phony Orchestra; later was a member of von Bulow ' s Orchestra, with which he came to America; engaged by Emil Paur of Boston Symphony Orchestra in i 894; has taught at the New England Conservatory ' since 1899. THE N E U M E 23 Arthur Brooke, Flute. Born at Gomeral, England. Studied under Packer of the Scotch Orchestra; came to America in i 888; played first Flute with the Buffalo Symphony Orchestra, and joined the Boston Symphony Orchestra in 1896. Le Roy S. Kenfield, Trombone. Born in Belchertown, Mass. Toured extensively with opera companies; two seasons with the Stetson Opera Company; three seasons with the Boston Ideal Opera Company; two seasons with the Emma Juch Opera Company; now member of the Boston Symphony Or- chestra. Louis Kloepfel, Cornet 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 by Dam- rosch as first Trumpet in New York Symphony Or- chestra; he was tendered position of first Trumpet at Court Opera House, Berlin, but chose to accept position in Boston Symphony Orchestra. Clemont Lenom, Solfeggio and Oboe. Born in Gilly, Belgium. First prize in Oboe and Supe- rior Solfeggio, Brussels Conservatory; studied with Massenet; taught Solfeggio in the Normal School of Music in Paris; conducted orchestra at Geneva, Rouen and Aix les Bains; established last year at the New England Conservatory, a course in French Solfeggio, which is practically new in America. THE N E U M E 1908 Carl F. Ludwig, Tyfupani and Drums. Born in Dresden, Germany. Studied with C. R. Ludwig. Came to America in i 890. Member of the Boston Symphony Orchestra for three years. Also member of Boston Festival Orchestra and Municipal Band. Daniel Maquarre, Flute. Born in Brussels, Belgium. When nine years old, began musical education under his father and well known musi- cians; studied three years at the Paris Conservatory with the celebrated Monsieur S. CalFanel; graduated and won first prize in 1896; for three years first Flute at the Lyric Theatre, in Paris; soloist with Mme. Nevada during her American tour. Member of Boston Sym- phony Orchestra. Louis Post, Bassoon. Born in Pommerania, Germany. At an early age re- ceived instruction in violin and bassoon playing from Herman Post, his brother, a musical director of note. Later studied with Gasgisch of Berlin and Schwarz of Cologne. Came to America in 1878 and has played thirteen years in the Boston Symphony Orchestra. Frederick Schormann, French Horn. Born in Cassel, Germany. Pupil of A. Schormann. first Horn player of the Royal Theatre in Cassel. Since coming to this country Mr. Schormann has been associ- ated with many of the best orchestras, including the Boston Symphony Orchestra. THE N E U M E Heinrich Schuecker, Harp. Born in Menna. Studied with his father; graduated from Menna Conservatory in 1884 under Processor Zamara; became a member of the Boston Symphony Orchestra in 1886; has won reputation as one ot the two great harpists ot the world. A. anninni, Clarinet and Foice. Born in Pescia, Italy. Began study of music at the age of eight years; when fifteen years old studied clarinet and voice at ' enice, where he graduated from the Con- servatory in 1892 with the highest honors. Travelled over Europe and South America with prominent opera companies. Settled in Boston in 1896, giving private vocal lessons. Member of Boston Symphony Orchestra since 1900. Samuel W. Cole, Solfeggio and Music in Public Schools. Born in Meriden, N. H. Pupil of S. B. ' hitney and John W. Tufts and at the New England Conservatory. Author of musical text-books. Conductor of People ' s Choral Union of Boston. Director of Music in the pub- lic schools of Brookline since 1884. Benjamin Cutter, Harmony and Composition. Born in Woburn, Mass. Studied under G. F. Such, Julius Eichberg and Stephen Emery in Boston; iolin with Singer, Harmony with Goetschius, and Instru- mentation with Max Seifriz in Stuttgart; has written several standard text-books; composed extensivelv, especialh ' for strings. THE N E U M E 1908 Louis C. Elson, Theory. Born in Boston, Mass. Studied piano with August Hamann of Boston; Voice with August Kreissman; and Composition with Carl Gloggner-Castelli of Leipsic; a celebrated lecturer and writer on musical subjects; one of Boston ' s best-known critics. Madame Augusto Rotoli, Italian. Born in Rome, and received early education partly in a convent in that city and partly in a French school. She was a pupil of Signor Rotoli, with w hom she studied singing. She came to America with her husband in 1885, a few weeks after her marriage, and has lived in Boston since that time. Elizabeth I. Samuel, Rhetoric English and History. Born in Bennington, 111. Graduate of Mt. Holyoke; took a medical degree; special work at Boston Uni- versity, Camille Thurwanger, French Language and diction. Born and educated in Paris, where he resided until he came to Boston in 1884; the first part of his life was mainly devoted to Fine Arts and vocal music as an ac- complishment; after his arrival in Boston he gave his time to teaching French. He has made a long and deep study of the phonetics and musical pronunciation and articulation, generally included in the word ' Diction ' ' ; is an authority on this subject. 27 George an ' Wieren, German. Born in Eddigehausen, near Gottingen, Germany. Graduated from University of Gottingen in 1877, with degree of Candidate of Theology; and from the Teachers Seminary in Hanover in 1899; Instructor of German at Boston University; connected with Conservatorv since 1901 . E. Charlton Black, Literature Lectures. Born in Liddlesdale Parish, Scotland, near the Old Manse of Sir Walter Scott; graduated from Edinburgh University in the same class with J. M. Barrie; re- ceived LL.D. from Glasgow University; now Professor of English Literature in Boston University. Clayton D. Gilbert, Concert Deportment. Born in Wisconsin. First studied under Mrs. Scott Siddons, afterwards in Chicago, New York, and Paris. On the stage with several companies. Studied con- cert deportment under Messrs. Miller and Adams, Chi- cago. Instructor in acting and pantomime at Emerson College of Oratory. For four years a member of the Faculty of the New England Conservatory of Music. Oliver C. Faust, Pianoforte and Organ Tuning. Born in Pennsylvania. Entered the New England Conservatory in 1881; studied Piano under J. C. D. Parker; Organ, Henry M. Dunham; Harmony, Stephen Emery; oice, A. W. Keene; and Tuning, Frank W. Hale; author of the text-books, The Pianoforte Tuner ' s Pocket Companion and A Treatise on the Construction, Repairing and Tuning of the Organ. THE N E U M E 1908 George W. Bemis, Guitar and Manddin. Born in Boston. Studied with his father; teacher at the New England Conservatory for the past twenty Ti.MOTHEUs Adamowski, J iol ' ui. Born in Warsaw, Poland, 1858. Studied in Warsaw Conserv atory with Kontski, then in Paris Conservatory with Massart. Travelled from 1879 1884 through the United States. In 1884 joined Boston Symphonv Orchestra. Second Concert-meister till 1907. Played as soloist with London Philharmonic Society in London in 1 900, also with Colonne Orchestra in Paris, 1 90 1 , besides as soloist in Poland and England. Joined New England Conservatory in 190 . Member of the Adamowski Trio. Carl Baermann, Piajioforte. Born in Munich. Pupil of Wanner and Wohlmuth, later of Liszt ; studied Composition with Lachner. as appointed instructor in Munich Conser ' atory, but de- cided to settle in Boston, where he came in i 88 1 . He has toured extensively as a concert pianist, and is a teacher of international reputation. 1908 THENEUME 29 George Whitefield Chadwick, Conipositioyi and Orchestration. Born in Lowell, Mass. Studied at the New England Conser vatory, and in 1877 went to Leipsic, where he began his first thorough study of Composition under Reinecke and Jadassohn; in 1879 he went to Dresden and entered the Royal School of Music and became one of the first American pupils of Rheinberger, there studying Conducting with Abel; returned to Boston in 1880, became teacher at the New England Con- servatory in the same rear, and Director in 1897; Conductor of the Conservatory Orchestra and Chorus. In all lines a composer of international reputation. Wallace Goodrich, Organ Analysis Harmons and Compoiit ' ion. Born in Xewton, Mass. Studied at the New England Conservatory under Henry M. Dunham, Organ; George Chadwick, Composition; and Louis C. Elson, Theorv; has also studied with Josef Rheinberger, Munich, and C. L Widor, Paris. Founder of Choral Art Society of Boston, whose conductorship he has re- cently resigned, in accepting that of the Cecilia Society. Conductor of the Worcester County Musical Association (ch oral works) . Founder and conductor of the Jordan Hall Orchestral Concerts. Organist at concerts of Boston Svmphony Orchestra; organist of Trinity Church; author of various essays on musical subjects, and com- positions for chorus and orchestra, and for orchestra; translator of valuable works from the French. RiCCARDO LUCCHESI, J o ' lCC. Born in Italy. Graduated from the Conservatorv of Bologna. Thirty vears of experience teaching the art of Bel Canto. Well known as a vocal teacher and com- poser. Became member of the Faculty in 1907. Frances A. Henav, Hand Culture. Born in Boston. Studied Physical Culture with Dr. D. A. Sargent of Cambridge, and Baron Nils Posse of Boston; has taught in New England Conservatorv since 1889. George L. Gardner, Tuning. Born in Oswego, N. Y. Graduated from the New England Conservatory in 1890 and has been connected with the institution since that time. 30 THENEUME 1908 Charles P. Gardiner Born in Boston in 1836, Mr. Gardiner is descended from one of the oldest families of this country ; a family which has included noted men in all professions. He secured his early education in private schools until he entered the Boston Latin School and later the Lawrence Scientific School, where he made chemistry a special study. Leaving the latter institution, he spent a year in travelling abroad. He came back to Boston and entered his father ' s law office. He was elected a trustee of St. Paul ' s School, Concord, N. H., in 1865, and in the following year was made treasurer. He held this position until his resignation two years ago. He is also a trustee of the Perkins Institute for the Blind. In 1895, elected a trustee of the Conservatory, the next year becoming vice president, and finally in May, 1898, president of the board of trustees. The conservatory is fortunate in having him for presi- dent and under his administration it has made greater advancement than ever before. 32 THE N E U M E 1908 || 1908 j w Clagg oem w 1908 H Classmates ! the time has come when we At last must part ; But let us cherish N. E. C. Within our heart. With Alma Mater now, our course is done, And where we stand, the future greets our past ; But joys and hopes that here have bound us fast. Shall ever hold us true and strong as one. ' Tis sadness now that, like a clotid, hangs o ' er us. The future like the past will soon take wing. Yet in our hearts we feel the past shall ring Through dullest years — a memory-laden chorus. This fateful time for us, our strange life ways Part right and left, oh. Alma Mater dear ; Must we drift further each succeeding year. And never meet through all the coming days ? Oh Music ! blessed to the longing heart. Bring back Conser ' atorv memories dear ; Oh Music ! blessed to the listening ear. The voice of friends, whom time has forced apart. All hail then. Alma Mater dear, to thee ! Thine art, thy work, thv kindly patient care And noble teaching, make the future fair. We shall remember all, in days to be. Classmates ! the time has come when we At last must part ; But let us cherish N. E. C. Within our heart. F. Otis Drayton. 908 THE N E U M E 33 Senior Class Officers Frank Otis Drayton Jessie Miriam Swartz Grace Witter Field Lewis Leber Chamberlin Mabel Louise Wilcox President . I ice-President Secretary Treasurer Assistant Treasurer Motto : r£J longa, bita brebisi Colors : Dark green and gold Flowers : Buttercup and fern Class Yell : E - I - G - H - T; E - I - G - H - T; E - I - G - H - T; Nineteen Eight, Rah ! Rah ! Rah ! Boom ! ! ! Ought Eight Rah ' Rah ' Rah ' 34 The Class of ' 08 Frank Otis Drayton. ' Pres. ' ' 142 Hemenway Street, Boston, Mass. Entered N. E. C. September, 1904. Graduated in full vocal course under Armand Fortin. infonian — President of ' 08, Junior and Senior years, chairman ot Junior spread committee, as- sistant editor of Neume, chairman of committees for first Junior class concert, and first Senior class play, chairman of Neume subscription committee, mem- ber of class day committees, etc. F. Otis is a natural born leader of men, for not only did he lead us to victory as Juniors, but also through the mazy paths of Senior politics. ' He certainly likes to keep everybody moving. The worst that we can sav about him is — He is ambitious. Jessie Miriam Swartz. ' -.o-. 187 South Pearl Street, Albany, New York. Entered N. E. C. September, 1905. Graduate in full vocal course under Chas. A. White. Member of AXO Sorority, vice-president of ' 08 during Senior year, treasurer of ' 08 during Junior year, member of Neume board, chairman of ' 08 class day committee, chairman of emblem committee. Sweet thing — nobody ???? but Marceau can do the subject justice. Open for engagements as dra- matic prima-donna, assistant conductor, triangle virtuoso — and cook ( Please get just one more plate O ) When Jess was told the above would appear in print she answered, You pill, that ' s a ' pippin ' on me. Don ' t you think so yourself, now ? 35 Grace Witter Field. IVity Denver, Colorado. Entered X. E. C. September, 1904. Graduate in tull vocal course under C. B. Shirley. Secretary of ' 08, member of Neume board, sub- chairman of Junior spread committee and of Senior play committee, member of class day committee. Grace really does not want to admit it, but she would rather visit Mr. L., the printer, any time than go to keyboard harmony. Those visits are a great help to ' 08, just the same. Louis Leber Chamberlin. ' ' Leivey. ' ' ictoria, B. C. Entered N. E. C. September, 1905. Graduate in organ under Homer Humphrey. Treasurer of ' 08 during Senior year, assistant treas- urer during Junior year, business manager of ' 08 Xeume, chairman of financial committee, assistant chairman of Senior class play committee. Chamberlin ' s cautious character shows itself outside of financial matters in his shrewdness in joining the Junior class to make sure of graduation, sometime. Mabel Louise Wilcox. 5 . Solwa} ' , New York. Entered N. E. C. September, 1905. Graduate in piano under Charles Dennee. Assistant treasurer of ' 08 Senior year, member of Neume board, member of class play committee, sub- chairman of financial committee. Mabel has been too good a class worker for us to roast her in these columns. She came to the res- cue in getting ads for the Neume, and did manv other thankless tasks. ' 08 fully appreciates her excellent class spirit. THE N E U M E 1908 Florence Elizabeth Adams. Jdam ' ' 716 E. High Street, Hamilton, Ohio. Entered N. E. C. September, 1905. Graduate in voice under William H. Dunham. Wildly enthusiastic class member! Has anyone ever seen her at a class meeting this year r Alberta Harriet Amstein. Allie ' ' Shelburne Falls, Mass. Entered N. E. C. September, 1903. Graduate in piano under Carl Stasny. Allie is a girl of keen discernment, hence it is not hard to see why, after graduating with the class of ' 06, she cast her lot with us. Warren Anstock. y w« V. Bloomsburg, Pennsylvania. Entered N. E. C. September, 1907 . Graduate in tuning under Mr. Faust. Annie is a mighty nice fellow. He made a hit with the Neume board pretty soon after thev got things going. On one occasion he presented each member with a new necktie, and on another invited them to go hunting with him. So they think Annie is O. K. 1908 THE N E U M E 37 Marion Estelle Barns. Majy Ann. ' ' 54 Elm Street, Westerly, Rhode Island. Entered N. E. C. September, 1904. Graduate in piano under F. F. Lincoln. Let it be known far and wide that ' Mary Ann ' zvill not, under any circumstances, make a proposal to ' any man, ' even if it is leap year. (Leap year party philosophy. ) Tip. Edgar Tipton Beard. Entered N. E. C. September, 1907. Graduate in tuning under Oliver C. Faust. Assistant instructor of the tuning department. Beard came from Nebraska, but we mustn ' t condemn him for that. He soon forgot his country ways and developed into a very fine tuner, finally becoming Mr. Faust ' s assistant ? ? ? ? Nellie Brushingham. Brushy. ' 839 Judson Avenue, Evanston, Illinois. Entered N. E. C. September, 1905. Graduate in voice under Charles A. White. Member of the AXO Sorority. Senior class historian. ' Nellie is a lady, ' tis true, but she is also the most trustworthy confidant ' ' (especially with lovers) of every girl who knows her. She ' s the little girl with the big appetite for lobster Newburg. THE N E U M E Thomas Francis Burke. Tom. ' ' Brockton, Mass. Entered N. E. C. September, 1905. Graduate in piano under H. S. Wilder. Tom, we hear, is making good in the shoe city, and why shouldn ' t he? He is a composer of wide repute around Boston, Lynn and Revere Beach, especially in the Targer forms — trios, quintettes, etc., etc., etc., etc. Frank Cooper. Big Frank ' ' Huntingdon, Pennsylvania. Entered N. E. C. January 7, 1908. Graduate in tuning under Mr. Faust. Big Frank is making him a case to carry his rifle and tuning tools in together. He says when tuning runs short he will stop and hunt a while. None of the tuners remember a recitation at which Frank did not have something to say about guns. Viva Dale Crommett. Viva has no nickname. 105 Gainsboro Street, Boston, Mass. Entered N. E. C. September, 1904. Graduate in voice under Charles A. White. Yes, Miss Crommett, we know last years ' s class didn ' t have individual photographs, but that ' s no reason why we shouldn ' t be a little original. Miss C. gradu- ated last year in getting ads for the Neume. THE N E U M E 39 Mabel Christine Dams. ' • Dave ' ' Mentor Avenue, Norwood, Cincinnati, Ohio. Entered N. E. C. September, 1904. Graduate in piano under Charles Dennee. Member of the AXQ Sorority. ' Dave ' s motto on the man question : ariety is the spice of life. In more wavs than in class matters she is an ' excellent worker. Regina Marie-Louise Denault. ueenie ' ' Lowell, Mass. Entered N. E. C. September, 1904. Graduate in piano under Charles Dennee. The only member of the class who was able (at the first of the year) to get S2.25 in a lump sum and present it to our treasurer. She was lucks. Slump in the monev market followed. Roland Warren Dunham. R. IF: 92 Beech Street, Melrose, Mass. Entered N. E. C. September, 1905. Graduate in piano under Edwin Klahre. Our treasurer often had to Dun-ham, but with little or no effect, until recently, when ' R. W. learned his past conduct would appear in these pages. THE N E U M E CoRALiE Frances Eastwood. Coda. ' Baltimore, Ontario, Canada. Entered N. E. C. September, 1904. Graduate in voice under Charles A. White. Wood Miss Eastwood sell tickets for the Senior play ? No ! Miss Miss Eastwood woodn ' t ! Wood Miss Eastwood usher at the Senior play ? No ! No ! Miss Eastwood woodn ' t ! Wood you know Miss Eastwood was a Senior at all ? No ! No ! No I You woodn ' t ! ! Llewellyn MacLean Evans. Mac. ' ' 24 Webster Street, Hyde Park, Mass. Entered N. E. C. September, 1903. Studied organ under Henry M. Dunham. Assistant business manager of the Neume. Several slams on Mac follow. Be on the look- out ! Suffice to say here that, being a MacLean, it is necessary for him to be on duty at N. E. C. most all the time. Cleora Luraine Farr. Cleopatra. ' De Kalb Junction, New York. Entered N. E. C. September, 1904. Graduate in piano under F. F. Lincoln. The Senior class has never been able to get ?iear Cleo, because she is so Farr. What? Pay $1.25 to have wy picture in the Neume ? Not much ! THE N E U M E 41 Isabel Clarke Field. Billy. ' ' ' ' 46 Green Street, ' orcester, Mass. Entered N. E. C. September, 1904. Graduate in piano under Carl Stasny. Art editor for ' 08 Xeume. ' ' Billy is an artist to the linger tips, as all the I. C. F ' s indicate. Besides, she hits the keys rather lively, and between her Conservatory duties and her interest in engineering (a la Technology), she ' s kept right busy. In short, she has such a ' drawing wav with her it is no wonder she Is-a-bel. Darden Ford. Ford ' ' Homer, Louisiana. Entered X. E. C. September, 1905. Graduate in voice under Percy Hunt. Editor-in-chief of ' 08 Neume. Darden ' s true calling was the ministry, but we side- tracked him to figure as editor-in-chief for our ' ol Xeume. He takes a long time to say things, but it is worth waiting for — if I understand it rightly. X ' ow the question arises, what will we do with him next ? Be on hand class dav and behold Darden as the whole cheese. Charlena Freeman. Ted. Amherst, X ' ova Scotia. Entered X. E. C. September, 1904. Graduate in voice under Charles A. hite. Member of Xeume board. Chairman of entertain- ment committee part of Senior vear, etc. A prettv good all round fellow. When we meet her (like the other Teddy) we are, of course, i -lighted. Motto: I stand up for my own convictions ! For a combination star vocalist and tickler of the worries she has ' em all stung. She will twinkle in a firmament all her own. 42 Lillian Goulston. Lillian ' s got a nick-name but she won ' t tell us what it is. 49 Stanwood Street, Roxburv, Mass. Entered N. E. C. September, 1904. G raduate in piano under Carl Stasny. Member of the AXQ Sororitv. bob up ! She ' s Little, but oh. my ! And didn ' t she serenely in the Beneficent Fund Show ' ' a star performer at Recitals, and tripper of the light fantastic. Thomas Gradv. Tonie. ' ' Entered N. E. C, September, 1907. Graduate in tuning under Oliver C. Faust. ' Tonie ' ' is very popular with the young (r) ladies, but we guess from the looks of things that he is in no hurrv to venture into the final stages — matrimonv. Ariel Frederica Gross. Fred ' ' Naples, New York. Entered N. E. C. September, 1905. Graduate in piano under Carl Baermann. Chairman of entertainment committee first part of Senior year, etc. This social life is killing me ! The ex-chair- man of our entertainment committee, tor Duty called her on. 908 THE N E U M E 43 May Good Hall. Goody. ' Brandon, Manitoba, Canada. Entered N. E. C. September, 1904. Graduate in voice under Charles A. White. Member of the AXQ Sorority, chairman of the co-operative committee, etc. She has an accent all her own, and it ' s mighty catchy, too. Her arduous duties as chairman of the co-operative committee have weighed heavilv upon her. Frank Herbert Harrington. Harrigan ' ' Entered N. E. C. September, 1907. Graduate in tuning under Oliver C. Faust. H — A — double R — ington spells Harrington It ' s the name that work Never has been connected with. Harrington That ' S me. (To the air of Harrigan. ) The above verse, written bv Warren Anstock, was sung with great effect bv John Strong at an afternoon tea given by Miss Therese Johns. LiLLL- N Alicia Herbert. Clara. ' ' Middletown, Conn. Entered N. E. C. September, 1904. Graduate in voice under Armand Fortin. Clara is certainly clever on the stage. She blos- somed out as a gardener in the Senior play, and later as unwieldv Hansel. 44 THE N E U M E 1908 Katherine Louise Jester. Kate ' ' I I 2 Cobb Street, Athens, Georgia. Entered N. E. C. September, 1905. Graduate in piano under Charles F. Dennee. Member of the Neume board o8. Kate is a good girl, and has picked out the right class after a trial or so. She is a beautiful card- player and a fiend at dancing, so she doesn ' t deserve to be roasted. Therese Johns. John. ' Entered N. E. C. September, 1907. Graduate in tuning under Oliver C. Faust. At the first of the year there were some complaints that the boys in the tuning department were letting their practice slide and taking in the shows down town. But, after Miss Johns came, all was changed, and it became impossible to drive the boys away while she was in the building. When Miss Johns goes back to Hermon, N. Y., she will carry with her the best wishes of the whole tuning depart- ment. Mary Wheeler Karlmann. Terry. ' Terryville, Connecticut. Entered N. E. C. September, 1904. Graduate in organ under Homer Humphrey. Mary denies the report that she is the most scien- tific bridge-whister in Frost. She does admit, however, that Mr. Humphrey has initiated her into the art of holding hands. THE N E U M E Emma Waller Kerr. ' Bow- f Vow. ' ' 232 Cornell Street, Roslindale, Mass. Entered N. E. C. September, 1904. Graduate in piano under F. F. Lincoln. Who is this lit-tle girl. She is the small-est in the Senior Class. Is she not af-raid to play with oth-er big-ger girls. Oh no, she knows they will nei-ther bark nor bite at her. Harold Kneeland. Hattie. ' 126 Dudley Street, Boston, Mass. Entered N. E. C. October 24, 1907. Graduate in tuning under Mr. Faust. Hattie is afraid to go home in the dark. There- tore, he always has company, good company, gentle company, peachy company. That ' s Hattie. Florence F ' ern Larrabee. FloT Petersburg, Virginia. Entered N. E. C. September, 1905. Graduate in piano under Carl Stasny. Member of the AXO Sorority. Fern is a part of our class flower scheme. She likes Boston very well, for since her arrival, has gained several pounds. Numerically — well, never mind that, but pianistically, quite a ways up in three figures. 46 THE N E U M E 1908 Selv a Enriqueta Larramendi. Selva ' s nickname is in Spanish, so you wouldn ' t understand it, anyway. Ponce, Porto Rico. Entered N. E. C. September, 1904. Graduate in piano under F. F. Lincoln. Although she is Spanish, she has given no exhibi- tion of fandango, or castanets, as yet. My ! but how she can tear it off on the piano! Si, si, signor ! i J Mildred Louise Levi. Mild-RedT 45 Chester Street, Newton Highlands, Mass. Entered N. E. C. September, 1904. Graduate in piano under Edwin Klahre. Her distinguishing feature — the ballet, in the Senior play. She ' s a stunner in her new Gains- borough. Charlotte Nason. Teacher Talcottville, Connecticut. Entered N. E. C. September, 1905. Graduate in piano under Miss Anna M. Stovall. Chairman of Neume committee. Multo in parvo. She ' s ' o8 ' s little harmony teacher, and a little girl whom the Senior class looks up to. THENEUME 47 f RANCEs Dorr Peabodv. Frajik. ' ' 2616 on Borries Avenue, Louisville, Kentuckv. Entered X. E. C. September, 1904. Graduate in voice under Charles A. White. Frank is a long, broad, tennis player. She talks, hears, thinks, sees, smells, feels and tastes love-games and courting. Her drawings, how- ever, for Neume posters, etc., will count toward class honors for her, we feel sure. Lucy Kavanaugh Peery. Just plain ' -Lucy. ' ' Albany, Missouri. Entered N. E. C. September, 1904. Graduate in voice under William H. Dunham. Member of the AXQ Sorority. Old-maid is the last thing we would have ap- pHed to Lucy, though she did plav that part realisti- callv in the pantomime fan. :51st. It tickled us to death. Charlemagne Pol Plancon. Poiy Boston, Mass. Entered N. E. C. September, 1904. Graduate in voice under Armand Fortin. ' Pol is a howling success in gr-r-r-r-rand opera. Song recitals a specialty (free to Seniors only). To a composer hunting for a ' true love motif, Pol and Laurie are a living inspiration. THE N E U M E Karl Edmund Rackle. Franz. ' Canton, Ohio. Entered N. E. C. September, 1907. Graduate in piano under Carl Stasny. Associate editor of the Neume. Karl is making a Gross-Racket with his one vear record, but no matter how startling his piano numbers maybe, we will never forget Franz in the Senior play. Victor Redewill. 7r f. Phoenix, Arizona. Entered N. E. C. September, 1907. Graduate in tuning under Oliver C. Faust. Vic is a terror when it comes to motor-cycling. Get him started on the subject, and there ' s no time for lessons, practice, or anv other thing ot importance. Mary Helen Ruffin. j ' - Hope, Arkansas. Entered N. E. C. September, 1904. Graduate in voice under F. Morse Wemple. From Hope, wherever that is, but she comes and stays and goes so quietly that no one has ever been able to find out much about her. Still, we have hope. THE N E U M E 49 Edwin Leroy Shaw. Bosh. ' Brockton, Mass. Entered N. E. C. September, 1905. Graduate in pi ano under H. S. Wilder. Bosh has been with us such a short time that we feel we cannot do him justice. We might compliment his level-headedness in joining ' 08, however, tor he had more than one choice as regards the matter. Alice Mabel Shepard. Allied 228 Townsend Street, Roxburv, Mass. Entered N. E. C. September, 1902. Re-entered September, 1906. Graduate in organ under Henrv M. Dunham. Allie is of an inquiring turn of mind, but isn ' t al va ■s able to see just whv. ' hv, Alice, where art thou, when the reasons are handed out : Anna Josephine Simpson. AnnT 521 Barrows Street, Dedham, Mass. Entered X. E. C. September, 190:5. Graduate in violin under Eugene Gruenberg. ' Scare I Dedham ! ! Boston ! ! I Simpsie actu- ally at class meeting April 1st. Rather foolish thing for her to do, wasn ' t it ? Alas and alack, she is ' o8 ' s one lone fiddler. THE N E U M E Harry Milton Snow. Snnu. ' San Diego, California. Entered N. E. C. September, 1904. Graduate in voice under Charles A. White. Here is engraved the physog of one of the most honest and frankest fellows of ' 08. If a true, unpreju- diced opinion is wanted, hunt up Snow. He is right there with the goods, with all responsibilities which are thrown upon him. Violet Laura Straub. Stranbley I 5 Market Street, Bethlehem, Pa. Entered N. E. C. September, 1905. Graduate in piano under F. F. Lincoln. Chairman of entertainment committee. We, the class of ' 08, have the Star of Bethle- hem in our midst. The Juniors couldn ' t have Straubie in their class, so they chose violet ' for their class flower. ' 08 finalh got her picture, however. John Strong. Johnnie on the Spot. 973 Spring Street, Memphis, Tenn. Entered N. E. C. December 1907. Graduate in tuning under Mr. Faust. Spot comes from a salubrious climate, we judge from his size and complexion. He likes music, too, which is a rare thing among Con. grads. 51 Mary Madeline Thompson. May ' ' Gallipolis, Ohio. Entered N. E. C. September, 1905. Graduate in voice under Charles A. White. May ' s our landlady. It took her to keep Clara and Franz on the move in the Senior play. She ' s a mighty good class worker, in the bargain, therefore we will quit roasting her here. Pauline Marie Edith Tranfaglia. My nickname will appear in the ' 09 Neume. 328 Hanover Street, Boston, Mass. Entered N. E. C. (regular course) September, 1904. Graduate in piano under F. Addison Porter. Chairman of the Neume committee. Pauline very wisely shunned ' 07 and became one of us last June. Possessing a dignified personal ap- pearance, she has often been taken for a member of the faculty ; but truly, she is not nearly as bad as all that. Charles John Whire. Charlie Entered N. E. C. September, 1907. Graduate in tuning under Oliver C. Faust. The Georgia Rose. When he first came north he was a little wilted, but now he is in full bloom again. Charlie, like all Southerners, has an angelic temper, which, together with his manly carriage, makes him a great favorite with the fair sex. 52 THE N E U M E 1908 Edward Wolfenbarger. Lincoln, Nebraska. Entered N. E. C. September, 1907. Graduate under Mr. Faust. Wolfenbarger is great on breaking his neck to see the shows in the hall, or climbing out on top of the Con. to see the ball game — whence, they say. Father McLean has made him hike more than once. He has a girl in Everett, and a passion for neckties ; also he is a cane chair virtuoso, according to the So- liloquv. Ralph Bennet. R. D. 31, Beloit, Wis. Entered N. E. C. September, 1907. Graduate in tuning under Mr. Faust. Ben had had considerable experience as a piano tuner and fixer before he came to our temple of learning, so we let him off early. He is noted among his classmates as a specialist in handling old maids, also for his deliberate manner of speaking, Helen Jearldine Gallagher. Let her go. ' ' W ilkes Barre, Pennsylvania. Entered N. E. C. September, 1904. Graduate in voice under Charles A. W hite. The color of her hair is Skinneateles, about forty miles from Auburn — with a warm temperament to match. Clarence B. Hill. Cladr Entered N. E. C. September, 1907. Graduate in tuning under Oliver C. Faust. One of the faithful workers of the tuning department. The only recreation he ever took was the day he attended Buffalo Bill ' s i]d West Show. Lillian Natalie Pike. Midget. ' ' 32 Lowell Street, Andover, Mass. Entered N. E. C, September, 1904. Graduate in voice under Charles A. White. Our only real Senior hustler. Poor little thing, she wzs so shy, she didn ' t even dare to have her picture in the Neume. As the big fish in our class then, she deserves to get the hook. Bessie Sherman. Bess. 534 Broadwav, South Boston, Mass. Entered X. E. C. September, 1902. Graduate in voice under Charles A. White. Conspicuous by her absence from class affairs. Unlike her illustrious ancestor, she exhibits no war-like characteristics. ♦ 1908 THENEUME 53 Senior History The history of the Seniors is best and briefest told by relating in a straightforward manner, the great and glorious deeds of the class of ' 08, a class which has many a time wept because there were no more worlds to conquer. As our History up to May 1907, appears in the ' 07 Neume, there is hardly need of repetition. One or two of our Junior events after that, however, are worthy ot mention. The first I believe still remains fresh in our memories, and possibly not totally forgotten by our classmates of ' 07. This event w as the Junior Spread. Be- lieving it proper not to allow our Grads to leave us without the Juniors good- wishes, we gave this affair in their honor on June 14, 1907. Following is an exact reproduction of the line of march ! ' SPREAD ' 08 TO ' 07 6 - U - ' 07 Collation SALAD SANDWICHES STRAWBERRIES COFFEE ICE CREAMS VANILLA STRAWBERRY CHOCOLATE HARLEQUIN ICES ASSORTED CAKES FRUIT PUNCH Coasits( Mr. cole Greetings from ' 07 Mr. porter Words from the Alumni Mr. CHADWICK Side Remarks Toastmaster, Mr. Drayton Dancing concluded the evening ' s fun, and it is sufficient to say that manv of our ' 07 friends admitted that the best times they had had during their entire senior year, was when they were entertained by the Juniors at this Spread, and at the Poverty Party, which occurred the first part of the season. 54 THE N E U M E 908 A second achievement which ' o8-ers may be justly proud of, is the Junior Class Concert, given in Jordan Hall, June lo, 1907. This was the first program of its kind ever given by a Junior Class, and we hope the custom may not die out for it gives proper recognition, not only to certain members, but to the class as a whole, in the true light of public performance. Following is the complete program of this concert. Concert by Members of the Junior Class, 1908 Monday evening, June 10, 1907, in Jordan Hall ORGAN SOLO VOCAL SOLO PIANOFORTE SOLO VIOLIN SOLO VOCAL SOLO PIANOFORTE SOLO VOCAL SOLO PIANOFORTE SOLO ORGAN SOLO Andante from Second Symphony Mr. Lewis L, Chamberlain a. ' Der Tod und das Madchen b. ' Wiegenlied ..... c. Joy of Youth Miss Nellie Brushingham Sonata in F minor (first movement) . Miss Anna E. White Schubert Brahms Van der Stucken . Schumann . M jnarski Mazur in G major ...... Miss Annie L. Haigh a. Thou art so like a flower ..... Chadivick b. Before the dawn ...... Chad ' wick Mr. F. Otis Drayton Valse Caprice (Andante sostenuto — Tempo di Valse animato), von Wilm Miss Vivian Beers Dr. J. Albert Jeffery at the second pianoforte a. Nur wer die Sehnsucht konnt . . . Tschaikoivsky b. The maid and the butterfly ..... Chadivick c. Morning Hymn ...... Henschel Miss Jessie Miriam Swartz First movement of F minor Concerto .... Chopin Miss Annie Merle Reynolds Mr. George Proctor at the second pianoforte Finale (Grand Chorus in E flat) ..... Guilmant Miss Mary Karlman So, as Juniors we came out with flying colors and first time records of a junior Class Concert, Junior Class Spread and final adoption of our ' 08 Class pin, colors, motto, etc. Beginning our Senior career, the first thing encountered was Exams. How much easier it will be for the class of ' 09 to take their Senior Exams, at the end of this year (for such is the excellent arrangement about to be adopted, thus making everything a certainty at the end of their Junior year). ' 09 should have their class organized and in good working order the first week of the new school year. Our Senior Exams, passed, we re-organized o8, and the first Wednesday of October began our regular monthly business meetings. We listened (drinking in every word) to what our director had to say to us at this meeting, for several wer e his kindly 1908 THE X E L ' M E 55 hints, re-assurances and bits of advice. Now, we were off, launched into a good hard vear ' s work and backed up with a Junior Year of good organization and doings. Beginning with our business meetings first, we may say that these have been ex- ceptionally well attended and, what ' s more, they have by no means been tame. ' Members at these meetings were not afraid to speak up and say how matters appeared to them, thus carrving out the old adage where there ' s lite there ' s hope. Our social events began with a chafing dish part) in the reception rooms, fol- lowed by a card | art) ' , informal good time, leap year j art -, etc. The crowning feature of our social life as Seniors, thus tar, was the plays we gave in Jordan Hall, January- 31, under the direction of Mr. Clayton D. Gilben. Tlus was another first time record, for such had never before been attempted by a Senior Class. As a result of this play the financial condition of our class is the best possible, and although much time was spent on the productions, the conunendation received from both faculty and students made the undertaking well worth while. Did space permit we would enter into detail with picture as well as print regarding this entertainment, tor many amus- ing incidents happened in connection with it, but we must hasten on. For a complete program of this event look under article on • Jordan Hall Programs. The Xeume, we believe, will speak tor itself and if it comes up to our fullest ex- pectations will be the best of late. ' ' We invited and assisted the Juniors to make a good showing in this year ' s Xevme, a point which hitherto had been entirely over- looked. Right here, however, we advise 1909 to co-operate and publish next year ' s Neume with the class of 1910. Appoint the board of editors fi-om both classes and have it a publication by ' 09 and ' 10. Thus you will find time for more earnest application to your study during the last few months of school, which at X. E. C. are not the easiest. Thereafter, possibly the Junior Class could publish this annual alone, as is the rule in other large schools where like books are supported. Such, in brief, is the histor - and achievements of 1908 to date. ( We have already made application for a portion of the ' 09 Xeume 10 chronicle future events which happen after this volume goes to press. ) As members of one body we have worked together, suffered together, and throughout our class career have maintained enthusiasm and harmonv in the true sense of the word. As a class our enthusiasm and team work has many times received rec ig- nition ftom those higher up than our immediate circle of fellow sufferer? . As alunmi we will try to keep these same characteiiscics, not droppir immediately upon graduation. So, wherever we go and whatever thii : : r . offer, we shall alwavs do our best to further the interests of our Alma Mater. O. D. THE N E U M E 908 Toast to ' 08 Nineteen nine, oh come let ' s gather, To nineteen eight a toast to sing. Let every heart be light and merry, A right good cheer, now let it ring. Come one and all, vour friends and teachers. We want each one to join our ranks. For all the kindnesses they ' ve shown us, We wish to giv e ' 08 our thanks. Success and fortune to the Seniors ; They ' re right good fellows, every one. Old N. E. C. is proud to claim them. Three cheers for ' 08 ! They ' ve nobly won. J. E. L. 1908 THE E U M E 59 Junior Class Officers Thomas Moss Clarenxe J. Hawkins Marv L. Hare Joseph H. Williams Floren ' ce D. Ritchie President . fict-President Secretary Treasurer . -Iss ' .staut Treasurer Motto : Labor omnia vincit Colors : Roval purple and gold Flower : ' iolet Class Yell : N - I - X - E ' Rah X . I . X . E ' Rah X - I - X - E • Rah Rah Rah Rah xixE, xixE, xtxe: Rah • Rah : Rah ' 1908 THE N E U M E 61 Class Roll Daisy M. Arnold Harriet M. Arnold Birdie Austine Anita K. Bagge Bertha Bauman Vivian Beers Ada M. Brighan Mary R. Brogi . Maud E. Brown Viola T. Brown . Marguerite L. Burtt Lewis L. Chamberlin . Ruth W. Coburn Nellie W. Coolidge Bertha A. Dow Edmund G. Downs George W. Fitzroy Constance Freeman Elizabeth H. Gillette Elizabeth M. Haire . Lillian G. Healy . W. Harvey Hewitt . Sarah Horblit Charles P. Jochem Beatrice N. Knight Josephine E. Logan . Gertrude L. Martin Edith M. McDuffee Agnes K. McLean Seviah a. Meloon Ruth H. Nourse . John E. O ' Brien Eva W. Osborne . PIANO Wickford, R. L 535 Main St., Maiden, Mass. ii6 Amanda Ave., Joplin, Mo. Atherton St., Milton, Mass. 720 Lyon St., New Orleans, La. 419 Broadway, Somerville. Hudson, Mass. 16 Winthrop Ave., Beachmont, Mass. 49 Main St., St. Johnsbury, Vt. Bristol, R. L Keeseville, N. Y. 86 Menzies St., Victoria, B. C. 949 Main St., Woburn, Mass. 26 Lynde St., Boston, Mass. 17 Putnam Ave., Cambridge, Mass. 711 No. 4th Av., Atchison, Kansas. 66 Fairview St., Fitchburg, Mass. Yarmouth, Maine. Sharon, Ct. 52 Division St., Newport, R. L Valley City, North Dakota. South Royalton, Vt. 49 Juniper St., Roxbury, Mass. 1 109 Vermont St., Quincy, 111. 65 Washington St., Hudson, Mass. 66 W. Britannia St., Taunton, Mass. Wilton, N. H. 9 Lynde St., Maiden Mass. I Willow Place, Roslindale, Mass. 75 Quincy St., Medford, Mass. James St., Barre, Mass. Ansonia, Conn. 181 Allen Ave., Lynn, Mass. 62 Belle Paterson - Hazel C. Phillips Ella M. Potter LiLA E. Reed Teodulo Sanchez Mildred Shurtleff Harriet M. Sweett Aline De L. Tarbell Mary E. Verba Amy L. Ward James M. Weddell . Elizabeth L. Weed Joseph H. Williams Lloyd Winsor Thomas Moss . William B. Tyler Carrie L. Aiton Antoinette Van Clive Clarence J. Hawkins LiLA G. Burne Florence D. Coughlan Ida M. Edenburn Mary L. Hare Leta J. Haskell . Florence Jepperson Lloyd G. Kerr . Howard W. Lyman Elinor Markey . M. Belle Moore . Gladys Olmstead Florence D. Richey Rochelle, 111. 90 Bowman St., Laconia, N. H. 62 Starr St., Norwich, Ct. Woodstock, Vt. Cienfuegos, Cuba. W. Stuartstown, N. H. 250 Broadway, Everett, Mass. Hudson, Mass. Watertown, Ct. Buckland, Mass. New Wilmington, Pa. West Barrington, R. L 24 West St., Fitchburg, Mass. 409 Maiden Ave., Seattle, W ash. ORGAN 83 Farnham St., Lawrence, Mass. 55 Summer St., Boston, Mass. VIOLIN CLARINET Belfield, Virginia. Ypsilanti, Michigan. Nephi, Utah, VOICE 60 Beaver St., New Britain, Conn. 82 Fenwood Rd, Roxbury, Mass. Columbus, Indiana. Altoona, Penna. 23 Greenlief St., Augusta, Me. Provo, Utah. Corsicana, Texas. 26 Boardman St., Rochester, N. Y. Frederick, Md. Garrett, Wyoming. 7 Ivy St., Boston, Mass. Monticello, Indiana. 64 THENEUME 1908 Junior Class History OWARD the latter part of October last, a swarm ot hopefuls made our way to Recital Hall, where we had been invited bv our Director for the purpose of organizing ourselves into the Junior Class. Of course we were ready to hear this class was a better equipped class than many that had preceded us. This meant, that with one or two exceptions, we had finished the theoretical work required, and thus could take up our Junior work unencumbered bv conditions. Our Director also advised us to try the examinations for advanced stand- ing. A number of us did this, and we succeeded in passing those studies that were taken, thus saving a vear ' s time and monev, in some cases. The class was duly organized, the different committees ap- pointed, and everything was prepared for a busy but enjovable year. Along the latter part of November, a get acquainted social was held in the Reception Room. This took the form of a card partv, after which we sat down to a delightful lunch. A theatre partv at the Hollis street followed earlv in the vear. In Februarv our first dance was given, of which it was said bv one who knows, that it was one of the most successful parties of its kind ever held bv a Junior class. The spirit shown at this dance was something new ; and this spirit is the reason for the success that our class is having in evervthing it undertakes. It is not mv province to discuss here class spirit. The Junior class has it, and so will the next one it we can help them. A social to the Seniors is planned for shortly, and in June, we hope, the Junior Prom, will take place. We also have done our mite for a successful publication of The Neume, which to mv mind is the best ever. The Junior sec- tion allotted us bv the ' 08 Neume board illustrates the work the Junior Neume Committee has been doing. The class appreciates their labor, and also that of the Entertainment Committee which has contributed so much to the social successes of the class. 1908 THENEUME 65 It is a refreshing fact to learn, that with the advent of the class of I 909 it has set for itself a task to accomplish. This task is to trv and get enough money through entertainments, dances, etc., throu2:hout the rest ot our conservatory life, to furnish some needy and worthy student a scholarship in one study We may not be able to do this, but if the following class will take up this work, which I trust they will, the class of 1909 will be willing to hand over to them the money collected for that purpose. If we can do something atter this manner, I feel that a step will have been taken in the right direction, where real spirit and an object such as the one described above will make the ideal class. Class of 1910, w ' e shall get acquainted with you early, and give you help and sug- gestions for the carrying on of a successful class. And now a word to all prospective graduates of our school. How many ot us realize that when we leave here our work has just commenced Graduation from this or any other school does not necessarily mean success. It simply means that our teachers have provided us with the instruments ot success, have given us broader ideas, and have raised us to the level where we can appreciate our life ' s work to the best advantage, so that we may be better able to apply our instruments in moulding tor ourselves a successful career. So let us all acquire, by serious and earnest study here, that which will reflect to the honor and praise ot our dear Alma Mater. Thomas Moss, President. 68 THE N E U M E 1908 A Pipe Dream of Freshmen Spirit The Freshman Class of N. E. C. Is just as fresh as fresh can be, And is so full of life and spirit, That Juniors, surely, are not in it. At the last class meeting of oughtv-nine The Juniors met a fierce combine. For Freshies on the scene appeared And Juniors run; their lives thev feared. ' Twas then, two harmless o — 9 lads (Who some fine day, might have been Grads ) Were kidnapped, and to Frat rooms taken Where their poor souls ne ' er will awaken. I wonder why these two braves fell ? Whv wouldn ' t others, done as well ? But now, I see as plain as day Thev both had parts in the Junior play. And so it goes, trom first, to last The fresh men stand the strongest blast. For never do they leave the strife Till Senior year, then, simple life. f. o. d. 1908 THE E L ' M E 69 Freshman Class Officers Bruce Reynolds Olive Whitelev Edith Blv . Richard Stevens Richard Tobin President . f iCc-President Secretary Treasurer - -Is si St a tit 1 reasurer Motto : Gi e place to vour betters Colors : Grass green and skv blue Flower : Cabbage and blue-bell Class Yell : Razzle Dazzle ' Boo-h( Boo-hoo Juniors ' Juniors ' Vhere are vou : 70 THE N E U M E 908 Extract from The Chronicles of the Innocents a. A suburb of Chelsea. b. The fresh- men c. Dormitories andColumbus Ave. board- ing-houses. d. With some exceptions. c. N. E. C. f. Faculty. g. Practising, studying, cut- ting, etc. h. N. E. C. gymn. Seniors j. Doubtful k. More or less. CHAPTER r Darling Innocents arrive and are much impressed by the strange peo- ple and their customs and manner of worshipping at the temple. 1. Now on the nineteenth day of the ninth month of the vear nineteen hundred and seven it came to pass that there ap- peared in the land ot the chosen people of Boston ' a mighty host of Innocents ' who were vet to be trained in worldly ways. 2. And thev dwelt therein ' ' . 3. Every day did they take their wav into a certain wonder- ful temple , where thev did worship at the shrines of the high priests of wisdom - . 4. The mighty host of Innocents was very ignorant of the ways of the world . 5. And great was their awe at all the magnificent things ' ' which they saw and heard in the great city. 6. Especiallv were they fearful of the host of Philistines ' who worshipped- at higher shrines in the same temple. 7. For these Philistines considered themselves of great im- portance and looked down upon the host of the Innocents as if from a high place. 8. For lo, had they not worshipped at the temple for many years ? These notes have been collaborated by Heavy Thinkers. 1908 THE E U M E 71 CHAPTER II Concerning what the Innocents thought of their Priests. 1. Now the Innocents were from all parts ot the land, but thev had never before worshipped with such priests as they did now. 2. Behold, there was one priest who led them to the shrine of despair . J. And he was a bold, bad priest ' ' . 4. For did he not command to, take awav that which they hath and return them that which he hath not. And another priest ' taught at the shrine ot despair, but he also tau2:ht hope. He loved all grood thing s ' , and it one ot the Innocents talked of these good things, the priest ' s reports were in turn groo ' d of them ' . 6. There was also a priest who taught to overcome the effect of the tower of Babel for he taught some- ' of the Innocents to speak a strange languag e . 7. He also was a source ot jov ' , tor he was verv wittv and humorous, althougrh he did nor Intend to be so. 8. There also was a priest who was much set up over his own importance ' . For he had written a book ; vea, and he had writ- ten a second book ' also, both of which he thought needed no explanation ' . 9. And so at each time of meeting he would assign a pag e or two of this second book to be read and declare the next lesson explained. 10. And this same priest taught the historv of our art. But his tongue was so switt that the Innocents were confused and re- membered not what he said. Ti. Thus the Innocents derived much benefit and amuse- ment from their priests and contrived to thus make their worship bearable, even unto the time of affliction . 72 CHAPTER III Male members of the Innocents assemble. Above a cer- tain age. b. S infon ia Chapter Room. c. These had forgotten to renew their life insurance policies. J. D i recto r Chadwick. e. Perry. . Ask Doer- sam, Meyers, or Brown. g. Next year ' s Neume. 1. It came to pass on a certain evening of the tenth month of the year nineteen hundred and seven, that all male Innocents were requested to assemble in a certain great shrine ' ' of the temple. 2. And manv came ; though some were sore afraid and dare not come ' ' . 3. All fears vanished from those who ventured in, when for the second time a certain great priest of wide experience in the wavs ot the world, addressed them and told them what thev should do. 4. Another great high priest-, with well pruned beard, warbled for these Innocents; and following him one played on an instru- ment of some four strings. 5. The Innocents were filled with delight at all these happen- ings. But, alas for them, in what followed I ! ! 6 Howbeit it was decreed that the evening was a success, and there was great rejoicing among the Host of Male Innocents. 7. Now the rest of the acts of the Innocents which they did will be written in the book of Chronicles at another time . D. 1908 THENEUME 73 A Letter to the Management FROM -THE WILDS TwiNKLETOXETOWN, CaNADA, Sept. II, I9O7. New England Conservatory of Music: Dear Sii ' : This letter is from me, the mother of the girl what gives vou it, and mv name I will si n after I get through writing. I am sending mv girl to vou to get some piano lessons and I ' m send- ing, too, the money along with her, so please don ' t charge it. If the ten dollars ain ' t enough just write to me and I ' ll send vou five dol- lars more along. Don ' t write to mv man for he is death down on the whole idea. Oh, I ' most forgot to tell vou mv girl ' s name, it ' s Elvira; yes, she ' s named after a half sister of an uncle of mine and that ' s funnv too, this same half sister was a fine pianoist and organist. Whv, she could plav the big organ in the church that has twelve stops as well as the one in the vestrv what has six, and then plav them both as well as she plavs her own piano to home. Mv, but she used to plav awfuUv sweet music when thev passed the contri- bution hat around for offerings, ves, and everv time she plaved I think I used to put 5 cents extra in. What seems strange to me though is, that once I was talkin ' with a woman from New York or Boston or somewhere down vour wav, I just torget where now, and she told me she had studied piano two or three vears or more with one ot those chaps that has the long names, but come to find out she couldn ' t plav the organ at all. She tried to tell me about a lot ot pipes and other things on vour organs, but I just broke her short and said that nothin ' like that ever happened in Twinkle- town except after thev had a town meetin ' in the church and some no-nothin ' s had left their old T.D ' s on the organ. But I do think it was strange she couldn ' t plav the organ, for there ' s uncle ' s half sister what onlv took two quarters on the piano and she ' s the finest organist tor manv a mile. I was just tellin ' vou this for I didn ' t want you to make the same mistake with our Elvira. Don ' t vou dare either to leave anv old pipes around where she can see them. 74 Besides, I knew Elvira would be too bashful to tell vou herself. Yes, 1 think my daughter can make a fine pianoist, for we ' ve been having her take almost 2 quarters already from one of Sam Bus- by ' s girls and do you know I think she plavs mighty fine already, and the faster the piece is the better she likes to play it, too. Elvira has a fine voice besides ; she used to sit next to Bill Tuck- er ' s wite in the choir once and maybe you ' ve heard what a big bass voice Bill ' s wife had. Well, anyway, it ' s as true as I ' m writing this letter, that everybody liked my girl ' s voice best, because she sung up the highest and you could hear her all over the church. That tellar what used to set next to Elvira was a cousin of mine and he ' s got a kind ot alto voice. I was just speakin ' a little bit about Elvira ' s voice to show you what an all-round musicaullv girl she is and I also thought that you might throw in a few singing les- sons if you got the chance. I wish you could teach Elvira to play any old piece she happens to pick up, for that ' s just where Mary Ann Tattan (she ' s the girl what plavs in church now) is lackin ' . Why uncle ' s dear old half sister could rattle those hymn tunes off, one after another, as easy as wink, but Mary Ann has to take the Hymns home and practice them for a long time betore she teels sure of herself. How I happened to send my girl to your place w as that I saw a Boston paper for September here a few days ago, and happened to read a piece that was written by a tellar named Ralph Flanders, Mgr. I suppose he used to be a student there, didn ' t he. And did he get his degree there also? Well, he spoke about it bein ' the finest in this world and all this and that, so I thought I ' d let Elvira go and kind of finish up you know. So I want you to do your best with her, and be sure she don ' t get home- sick, and you ' ll have the very kindest teelin ' s trom her ma. Mrs. Evaxgeline Mixerva Judkixs. P. S. — Don ' t forget I ' ll send an extra five or six dollars if necessary. Mrs. E. M. J. ' mfonia JPfji jWu (gamma Ipfja Cfji ©mega 1908 THE N E U M E 77 MUSICAL FRATERNITY OF AMERICA Established at the New England Conservatory of Music, Boston, October 20, 1898 Incorporated 1904 CHAPTER ROLL Alpha New England Conser atory of Music Beta Broad Street Conservatory of Music Gamma Detroit Conservatory of Music Delta Ithaca Conservatory of Music Epsilon L niversity School of Music Zeta L ' niversity of Missouri Eta Cincinnati College of Music Theta Syracuse L niversitv Grand Suprenie President {Honor ar ) Os.siAN E. Mills, Alpha . Boston, Mass. Philadelphia, Pa. . Detroit, Mich. . Ithaca, N. Y. Ann Arbor, Mich. Columbia, Mo. Cincinnati, Ohio Syracuse, N. Y. NATIONAL OFFICERS Percy Jewett Burrell, Alpha Frederic F. Snow, Theta . Arthur W. Leet, Epsilon . James G. Shaw, Delta Wilson H. Pile, Beta Supreme President Supreme J ice-President Supreme Secretary Supreme Treasurer Historian Percy J. Burrell Harold W. Cheney Harold A. Cole Floyd B. Dean Harlow Dean Charles H. Doersam F. Otis Drayton George Fitzroy ALPHA CHAPTER Active Me nbers Archie M. Gardner Elisha P. Perry Vauc HN Hamilton Harold Simonds Clarence J. Hawkins Sten Algar Strobeck Lloyd Kerr William B. Tyler James F. McGrath, Jr. George ieira Guy E. McLean Horace Whitehouse OssiAN E. Mills Thomas Moss Honorary Hon. Geor(;e B. Cortelyou Mr. Henry Russell Members IVashington D. C. London England 908 THE N E U M E 79 OFFICERS OF Horace Whitehouse Vaughn Hamilton Thomas Moss Guy E. McLean Harold A. Cole OssiAN E. Mills George Vieira ALPHA CHAPTER President and Councihnan . rice-Presidetit . Second J ice-President Recording Secretary Corresponding Secretary Treasurer . IVarden - Blest be the tie that binds is a thought which finds expression in the hearts of a company of men who are known as Sinfonians in our own Ahna Mater, and Hlcewise in schools of mu- sic studv throughout the country. A national, lawfully incor- porated fraternity, being distinctly musical it is fast coming to the front rank, and now holds a unique position in the world of fra- ternities. Alpha Chapter, located in the New England Conserya- torv, has come to be an integral part of its social life. We trust that it has been and is still a help to many of the past and present men students. In keeping with the spirit of the Neume, ' 08, which it is ex- pected will be the most complete yet published, it will be nec- essary to have a review of the Sinfonia year just passed. If according to the well known axiom the whole is greater than any of its parts, and is equal to the sum of all its parts, it then follows that the whole is not complete with one part missing. Sinfonia is a part of New England Conservatory life. Start- ing off its year with a national convention here, Alpha Chapter was honored by the election of Bro. Percy J. Burrell to the office of supreme president. To him as an officer of the Conservatory alunmi much ot the success of the costume carnival held in Sym- phony Hall during January, ' 08, was due. The year has been a busy one, what with increa sing our members and holding numerous receptions, notably the one to new men in the fall and again to the 80 THENEUME 1908 members of the San Carlos Grand Opera Company during the Christmas hoHdays. At this time the manager of the company, Mr. Henry C. Russell, was presented with the shingle that made him the second honorary member of the fraternity throug h Alpha Chapter. The first being Hon. George B. Cortelyou, Secretary of the U. S. Treasury, who at one time was a student at the Con- servatory. We were kindly assisted at this reception by Mrs. Eben D. Jordan and Mrs. George W. Chadwick, and young ladies of the Conservatory. On May i, 1908, our sixth annual assembly was held in Copley Hall, attended by several hundred of our friends, and all who attended went away praising Sinfonia. It is the desire and purpose of x- lpha Chapter, strongly sec- onded by Brother George W. Chadwick and Brother R. L. Flanders, to get in closer touch with the student body, and plans for the fall of ' 08 to this end are already under way. A SiNFONIAN. On Vlay 8, 1908, twelve men go to Philadelphia to attend the eighth national convention at that place, headed by Brother Ossian E. Mills, Father of the Sinfonia. Such in brief is the review of the year which has been memorable in the history ot Sintonia. 908 THE N E U M E 81 Phi Mu Gamma Organized 1898. Chartered 1902 Colors : Turquoise blue and black. Flower : Forget-me-not Grand Council Phi Mu Gamma Alpha Chapter . Beta Chapter Gamma Chapter Delta Chapter . Epsilon Chapter Zeta Chapter Eta Chapter Theta Chapter . Iota Chapter Phi Mu Gamma Concla e, 1908, New . Hollins, Va. Hollins, Va. New York, N. Y. Gainesville, Ga. New York, N. Y. Sweet Briar, Va. Dan ille, Ky. Boston, Mass. . Marion, Ala. Boston, Mass. ork City w w w TO PHI MU GAMMA Here ' s a health to Phi Mu Gamma ! Pass it on with might and main Every member loyal, earnest, Echo now the loved refrain : — Turquoise blue and black her colors; True as steel, and tried, our hearts; ' Forget-me-not, ' her flower ' s message; Her shield protects from evil ' s darts. Then here ' s to Mr! Mr great and true! Here ' s to each and every wearer Of the black and turquoise blue ! May we always be victorious. As we have in days gone by, — Then here ' s to )Mr ! Mr never die !! 908 THE E U M E 83 Eta Chapter Phi Mu Gamma Sorority A f U Eugiand Conservatory of Alusic SORORES Mary Montgomery Theo Patterson Della MacFarland Glena Pritchard . Lillian Tim.mer.mel ter Edna WAL H Elizabeth Val h . M. Priscilla Rolls Marion Frances Wright Mildred Schurtleff AvNELT BrRN Texas PennsvK ania Kentuckv Ohio New York New York New York New York N ' eu Hampshire Alabama 84 THE N E U M E 908 Alpha Chi Omega Sorority Founded at De Pauw University, Greencastle, Ind., October 15, 1885. DIRECTORY OF ACTIVE CHAPTERS Alpha Beta Gamma Delta Epsilon Zeta Theta Iota Kappa Lamda Mu Nu Xi De Pauw University Albion College Northwestern University Allegheny College College of Music, Univ. of So. California New England Conservatorv of Music University of Michigan University of Illinois University of Wisconsin University of Syracuse Simpson College University of Colorado University of Nebraska Greencastle, Ind. Albion, Mich. . Evanston, 111. Meadville, Penn. Los Angeles, Cal. Boston, Mass. Ann Arbor, Mich. Champaign, 111. Madison, Wis. Syracuse, N. Y. Indianola, Iowa Boulder, Col. Lincoln, Neb. Alumni Chapters : Chicago, Indianapolis and Detroit Carrie Aiton Eugenia Baker Edith Bly Evangeline Bridge Nellie Brushingham Annie May Cook Mayme Cutler Nelle Cutler Olive Cutter Louise Daniel ZETA CHAPTER Active Members Mabel Davis Josephine Durrell Hazel Fogg Lillian Goulston May Good Hall Edith Johnson Jean Knappenberger Florence Larrabee Sallie Lee Masterson Brenda Newton Gladys Olmstead Lucy Peery Merle Reynolds Elizabeth Schartzel Louise Stone Jessie Swartz Ruth Tucker Edna Whitehouse Honorary Mrs. H. H. A. Beach Mme. Helen Hopekirk Miss Margaret Ruthven Lang Miss Maud Powel Mme. Antoinette Szumowska Members Mme. Fannie Bloomfield-Zeisler Mme. Julia Rive-King Mme. Adele Aus der Ohe Miss Ellen Beach Yaw Mme. Maria Decca Associate Members Miss Mabel Stanaway Mrs. Clara Tourjee-Nelson Mrs. Pauline Woltman-Brandt Mrs. Ralph L. Flanders Mrs. Charles A. White Miss Sarah Maud Thomas 86 THE N E U M E 1908 The Alumni Association HE Alumni Association of the New England Con- servatory of Music was organized through the influence of the founder of the Conservatory, Dr. Eben Tourjee, in 1880. The aims of the Asso- ciation are to perpetuate and intensify in its members fidelity to their Alma Mater, and to bind them together in the spirit of true friendship and mutual helpfulness; to assist worthy students by the estab- lishment of a loan fund, free scholarships, and prizes, and by aiding in the endowment of professorships, when these helps shall become practicable; and in general to aid the Conservatory, assist one another and further the true progress of art. During its life of twenty-eight years the Association has car- ried out the foregoing ideas embodied in its constitution, as far as possible, and through its reunions it has kept alive the friendships formed bv its members in student days. Its influence has always been felt for the good of the school, but I believe it has never meant more than it does todav, not only to its members, but to its Alma Mater and the student-body as a whole. For the benefit of those who are not yet acquainted with the Association, let me dwell for a moment on a few facts in regard to it. The bronze tablet in memory of Dr. Tourjee which was erected by the A. A. may be seen in the Conservatory on the wall opposite the library. Within the library is a case devoted to books presented by the A. A. which already contains many valua- ble scores and books of reference, and it is hoped that this collec- tion will grow steadily in the future. Much careful thought and labor have been expended in making successful the annual reunions held at the close of each school year. Last year a notable event was the mid-winter reunion, in which every class from the first to graduate from the school was represented, and the event was known as Thirty-Seven Years in One. 1908 THENEUME 87 This year a new departure was made, the Costume Carnival, which was given by the Alumni Association for the benefit of the present student body of the school. That occasion was a great success from every standpoint, and it has been voted to hold a carnival of a similar nature next vear. The Alumni Association has a large membership, and a few years ago a life-membership was established for a fee of five dollars. There has been a steady growth in the number of applications for this, and the results of the plan have been most satisfactory. We have now a very attractive, nicely engraved certificate ready to be sent to each life member. An active relationship is maintained between the Associaton and the managing body of the school by the election of one or more of its members to places on the board of trustees. The life of Dr. Tourjee is at present being carefully written up, and the book will soon be published by the Alumni as a memorial to the founder of our Conservatory. I am also glad to announce that the Alumni Directory, includ- ing the names of all graduates whose addresses have been obtaina- ble, will be published within a few weeks, and a copy will be mailed to each member of the Association. Our organization is on a firmer foundation, and in a more pros- perous condition than ever before, and the field of work which opens up betore it is constantly growing larger and more interest- ing. The influence of the Association should increase in propor- tion, and be of more and more value to the school and to its members. It is to be hoped that in the near future some publication will be issued by the Conservatory, either quarterly, semi-annually, or annually, to be sent to each member of the Association, keeping them in touch with all that concerns their Alma Mater and their classmates throughout the country. We very much regret that the graduating classes of the last three or four years, though exhibiting so much class spirit during their stay at the school, should allow their enthusiasm to die out with their graduation. While members of each class have been elected to the board of directors, with few exceptions, those classes have been entirely without representation at either directors ' meetings or the annual business meeting. Compare this with the 88 THENEUME 1908 loyalty and interest manifested by those who do the active work of the Association today, many of whom were among the first graduates of the school. We feel very sure that nothing will be found lacking in this respect in the class of ' 08, whom we hope to welcome as among our most active and enthusiastic members. F. Addison Porter, President. 89 A Midwinter Morning Adventure of Two Male Music Students A Symphonic Sketch of a Costume Carnival BY PERCY JEWETT BURRELL Chairman Carnhal Committee H, shucks I how I wish I had gone I This wail, coming from a window partly raised, was heard by two male music students walking on Gainsborough street, on the morninor of January, the twentv-ninth, nineteen hundred and eight. Hello, girls, wasn ' t it just hne and dandv last night I This exclamation was caught on the same ears of the same male music students as thev passed along the same street on the same morning. Good morning I Didn ' t we have a perfectly great time last night r This greeting startled the same ears of the same male music students on the same street on the same morning. It came from two girls, with what appeared to be two heavy bundles under their arms and four heavy eves under as many heavy evelids. Pardon us, but you have the advantage. May we ask what you are talking about r Why, of course, you know what took place last night What I weren ' t vou there Really, ladies, there is surely some mistake. We only ar- rived in Boston this morning and are now on our way to the Con- servatory to see Mr. Flanders and register. We beg your pardon, we really do, though we could have sworn you were the Devil and Napoleon we danced with last night. Elsie danced the barn dance with Napoleon and I with the Devil. 90 THENEUME 1908 My, but it was warm ! Come, now, honor bright, weren ' t you the Devil last night and vou Bonaparte? — No? You will excuse us, won ' t you, gentlemen, for making such a perfectly hor- rible blunder. Really, we ' re very sorry, but you see we ' re only just about half awake and haven ' t got over the excitement yet. Pardon the question, but did we understand vou to say vou were going to see Mr. Flanders ? — Yes ? Well, really, we don ' t believe he ' s there yet. You know he led the Grand March, and he lives out of town and registration opened yesterday and he had a pretty strenuous day, and he must be all tired out, and really — Oh, Madge, my bundle! — Oh, thank you, Mr. — Mr. — Mr. Waggonner is my name. Permit me to introduce my friend, Mr. Beemoven. I am happy to meet you. Miss — Miss — Miss Kostoom — My friend, Miss Karnefal. I am sure we are very glad to meet you. Russian ladies? Oh, no — half Russian only. Oh ! Elsie, there goes my box ! Let me carry that for you. Miss Karnefal. Thank you, ' Mr. — Mr. — Beemoven, if you please. Mr. Beemoven. And yours. Miss Kostoom ? You are very kind, Mr. — Mr. — Mr. Wagon — My name is Waggonner, Waggonner — W-a-g-g-o-n-n-e-r, W aggonner ; Oh, German gentlemen? Yes — partially. Now, shall we not walk together to Huntington avenue, ladies ? Yes, indeed, we should be pleased to. Wait a minute. Miss Kostoom, don ' t cross now, I hear a sleigh coming ! Ha, ha, ha ! I guess the sleigh ' s under your arm ! What? You see you ' re carrying my costume I wore last night and it ' s all covered with little bells and you hear them a-jingling! I was Folly, you know. So let ' s cross. Come on, Madge, and Mr. Beemoven, before this Worcester car comes along. 1908 THENEUME 91 You didn ' t do this box up very well, did you, Miss Kar- nefal ? Here ' s something sticking out. I was Cleopatra last night — Oh, that ' s only — OH! Look out for that machine, Mr. Beemoven ! Let ' s go over to Putnam ' s here and get another string. You ' re on your way to return these costumes, aren ' t you ? Yes, we have lessons all the rest of the dav and we promised to return the costumes todav, so we thought we ' d do it right after breakfast. You say that you don ' t think the manager has come in yet, so we should be verv glad to go down town with you, if we may have that pleasure. Thank you, gentlemen, it ' s so good of you. Why, certainly, we should be pleased to have you go along with us. Here comes a subway car, Madge I Oh, let ' s not take it. Let ' s walk, Elsie, and tell Mr. Wag- gonner and Mr. Beemoven all about the Carnival. All right, let ' s walk. You are not too tired to walk, are you, gentlemen No, indeed, we should rather prefer to do so, if you would like to. You see we came from Stockbridge over the B. and A. and we have been having a rest for some days. You begin, Elsie, to tell about it. No, you, Madge. Oh, no, now Mr. Perry called for you early, Elsie, and so you saw a little more of the Carnival than I did. And, you, Madge stayed later than I did. All Mr. Moss had to do after he took you to the dorms ' was to scamper through the Fenway to the Somerset where he had a room for the night, but Mr. Perry had to catch his last car to Everett. You saw just as much as I did, Madge I Well, girls, why don ' t you start in together, and see who can remember the most and last the longest? All right, Madge, that ' s a go. Let ' s begin ! There ' s where the Carnival was held, over there in Sym- phony Hall. It ' s the finest hall in Boston and every seat was taken, more than twelve hundred people in the two balconies and nearly a thousand on the floor in costume and dancing. Twenty dances ! The orchestra was perfectly divine ! And then before 92 THENEUME 1908 we danced, Mr. Chadwick and his orchestra played. You ought to have heard Mendelssohn ' s Wedding March. Oh, Madge, how I wished that EUy and I were only — Come, Elsie, you ' re off the key. Never mind sentiment. Well, there was a solo by Pol Plan on, and the sextet from Lucia was sung by Stella Crane, Miss Keach and Mr. Lyman — who were those other fellows in it. ' Oh, yes, the president of the Senior class, Mr. Drayton, Pol Plan9on again, and Mr. Mogan. They did right well, too. That Grand March ! Did you ever see anything like it Think of it, boys, four hundred couples in costume, everything and everybody of everytime from everywhere — soldiers and sailors, maidens, clowns, dolls, flowers and plants, gypsies, Japs, Indians, Mexicans, school-bovs, country-girls, peas- ant girls, colonial gentlemen, court ladies, valentines, queens of the night, cowboys, farmers, Italian, Polish, Spanish, Dutch and Greek, Irish and Syrian girls, matadors and folly dancers, nuns, devils, monks, dancing girls, hussars, courtiers, daughters of the regiment, nurses, summer men, Napoleons, Puritans, Carmens, cardinals. Uncle Sam, Egyptians, dunces, Dolly Vardens, chimney-sweeps, bellboys, pages, Hindoos, porters, waiters, jesters, crusaders, Rough Riders, ranch girls. Little Red Riding Hood, Little Bo Peep, Queen Elizabeth, Cleopatra, Roose — Girls, here ' s a nice drug store. Let ' s go in and have a cool drink. Thank you. Now you remember, Elsie, just where we left off. That was perfectly delicious! Thank you so much, Mr. Beemoven. Don ' t forget my costume there, Mr. Waggonner. Roosevelt, Peck ' s Bad Boy, Martha Washingtons, snow girls, living whist girls and Quakers, chauffeurs, witches, pierrettes, harlequins, Romeos, Juliets, Marguerites, Chinese mandarins, John Aldens, Priscillas and soubrettes. Pilgrims, musketeers, gondoliers, cavaliers, charioteers, musicians, dominos, Scotch lassies and highlanders, jockeys, fortune-tellers and Heidelberg students, and Arab sheiks, and the Boston Herald girl who tor- got to shave, and — Pardon the interruption, but what is that big building across the street? Oh, that ' s Mechanics ' Building — the largest hall in town. We may have to go there next year, you know, for everyone who 1908 didn ' t go this vear will be just perfectly crazv to go next year. That Grand March I Didn ' t they look simply too gorgeous for anything leading in from the two big doors ? Mr. and Mrs. Por- ter — he ' s president of the Alumni Association. They had on Goldsmith Guild court costumes of the sixteenth century, and they looked perfectly dandy. Wouldn ' t Mr. Porter haye made a dandy Shakespeare ? Mr. and Mrs. Flanders led in from the other door. I hardly knew him — such a perfectly corking make-up. Yes, I had a dance with him, perfectly divine waltzer, and Mrs. Flanders, didn ' t she look superb r I met her for the first time, and such a charming lady, too. Mr. Burrell and Gussie Gantz — they came in behind IMr. Porter. I must say she did look right keen, didn ' t she, Madge r Yes, he was chiet marshal and he only danced a part of an encore with me. His feet ? Yes, he told me they troubled him — those long leather high top-boots — number fives he said, and he wears 1 two of the Sinfonia fellows and himself to pull them on and two more to pull them off for him. Dr. Webster? No, 1 don ' t know him, but he looked swell all right, and Mrs. Nelson — she went as queen of the night — clever creation wasn ' t it, Elsie r Yes, she ' s the daughter of Eben Tourjee, the founder of the Conservatory. iVIr. and Mrs. Dennee — she sure did look perfectly stunning in that red gown of hers, and Mr. Dennee I officer of the English horse guards. He was chiet of aids. You just bet he made those in the balcony not in costume keep off the floor. Madge, did you see that fine college chap — looked like a Harvard man I met at the Sinfonia Assembly last year — going May first? — come down stairs in a dress suit and start to dance with one of the Carmen girls? Well, he didn ' t even get his arm around her before back to the balcony for him. That suit of Mr. Den- nee ' s had seen real service, and did I tell vou, Elsie, that I met a Mr. Ham — Ham — yell, Ham something; anyway he was a per- fectly dear dancer, and he wore a Greek costume made specially for that famous Bradlev-Martin Ball in New York some ten years ago, and oh, Madge 1 did I tell vou that I danced with a fellow who said that the rig he had on used to belong to Perugini, Lillian Russell ' s third husband I M. Thurwanger I Did vou see him? Didn ' t he look simply grand as Cardinal Richelieu? I bet he ' d rather teach French night and day than work as he did dividing those couples all in twos, and fours and eights. And Mr. Trow- 1908 bridge at the other end of the hall didn ' t have any easv time either, did he ? He looked pretty slick, too. Well, he ' s all right anvwav, no matter what he wears. Now, who came next? Oh, Mr. Per- rv I Is he anv relation of vour partner ? Third cousin? Well, nice jolly fellows, both of them, full of life, good principles. Do vou know I like them both, I do I What was her name, Elsie? Oh, Miss Cross, Gardiner hall girl. Sweet pretty costume she had on, wasn ' t it? Mr. Fortin I Now, didn ' t he look just perfectly dear — like some old Rembrandt come back to life. That ' s all I could think of. And that 2;irl with him. Miss Handlan, wasn ' t she a a pertect peach. Thev made a pertectlv lovelv pair. And Mr. Chenev and Mabel Stanawav. That was a mightv ori2;inal costume she had on. It was all black, vou remember, with staff and notes all in white. She did it herself and spent a lot of time on it. Harold Cheney was one of the Heidelberg students. Say, Madge, the Sin- fonia bovs looked perfectlv corking, didn ' t thev? Prettv niftv bunch of fellows — those Heidelberg suits — and mv, wasn ' t that a per- fectlv dandv frat sons thev sung I You saw Horace Whitehouse lead the Conservatory Orchestra for the first three dances, didn ' t you? Well— Interpolation of male voices — What ' s that building over there? O, that ' s the Public Library. Did you hear, Elsie, about one of the alumni members, a Mr. Kugler, I think his name is, spend- ing six hours there looking up the historical accuracv of a William Penn costume. Lots ot people spent loads of time looking things up to make sure that their costume was just riy ht. Did vou see that box of Qiiaker Oats he lug ged around all the evening ? Pertectlv killing, wasn ' t it ? Let ' s see now — Oh, Horace Whitehouse I Didn ' t he do well, though? Perfectly dandy fellow, isn ' t he? Yes, he ' s president of the chapter. I alwavs did like his looks. What? Oh, no, really, I don ' t know whether he is or not? Why, did you hear it was so? Well perfectlv corking tellow, anvhow, Madge. Coming down old Svmphonv Hall sixteen abreast I Aunt Lottie said she never saw anvthing like it and she ' s been about everv- where. She thought it was perfectlv magnificent, and what do vou think, she never left until after one o ' clock 1 Percy told me that he got a letter from a chap here in Boston that takes in all the per- fectlv swell affairs and he said the Carnival was the talk ot evervone. 1908 THENEUME 95 and that it was the most unique afFair ever pulled off in Beantown up to the present writing and that that was going some. And just to think it was all free — the Alumni x ssociation gav e it compli- mentarv to the Con students. They must have a lot of monev. Well, I shouldn ' t be surprised, Elsie, it the Conservatorv and Alumni sort of worked together, tor vou know it was a pertectlv great ad for the Con. The poor judges I They did have a hard time of it, didn ' t they : What is this big church we ' re passing now, mav we ask ? It ' s Trinitv Church. Phillips Brooks preached there. Right down that street by the open lot is Copley Hall, where they planned to have the Carnival first, and had to give it up a few davs before the dance on account of the big crowd that was coming. Those judges worked until midnight betore thev could decide. Thev knew their business, all right. W ell, they ought to, three of the best known artists in town — Mr. Howard Walker, Mr. Frederic P. Vinton and Miss Laura Hills. Mv, but wasn ' t I rig ht on tip- toe when Mr. Walker read off the awards. Miss Edwards, the flower girl, got a perfectlv dainty dear little fan — hand-painted vou know, — she showed it to me — for the most artistic costume. Wasn ' t it perfectlv funnv to think she had the last ticket given out for the Carnival. And Mr. Seron, who had on some Greek eighteenth centurv rig, won a photogravure called, The Chorus. It was really exquisite, Madge. W ' hat ! didn ' t vou see it ? Oh, that ' s too bad. It was a perfect gem I Mr. Knowlton, dressed up like Hans Holbein, got a dandy brass book-rack for the most effective histor- ical costume; and who was the girl that won the prize in that class? Oh, Miss Emilv Locke — awav from Mexico, Mo. — as Sarah Sid- dons. She got two perfectlv lovelv old-fashioned brass candle sticks. Didn ' t that costume of Mr. Audet ' s look for all the world like a real Dickens character. Prettv original I thought. How I did want that perfectly exquisite decorated Japanese lantern thev orave him ! And Gladvs Harrv as Kundrvl Do vou know, Madi e, if the judges hadn ' t awarded her a prize, I ' d gone rigrht up and told them just what I thought of them, I would. Did vou ever see anvthing; like those leopard skins she had on? Didn ' t she look perfectlv grand ? She ' s got that hanging brass basket she won right up over her cosv corner. It looks like tinv bamboo sticks when vou o et close to it. 96 Pardon us, but what is that park over there? That ' s the Public Garden. In the summer thev hav e swans and swan boats there. Do you mind if we go over? Your box is gett ing undone again, and I want to fix it on one of those seats over there by the statue. I ' m so sorrv, Mr. Beemoven. It ' s only a trifle, Miss Karnefal. Keep right on telling us about last night. Then, you know, they gave two special prizes. Really, I didn ' t know but what I might get one of them. It ' s all over now and I don ' t care. Everyone seemed so satisfied about everything. El- sie, did you see that pig skin travelling portfolio that Miss Green got as the Daughter of the Regiment? It was perfectly dandy. I hope she travels a lot. And Mr. Peirce, the negro minstrel ! Did you ever! You know I just felt that either he. Dr. Jefi- ' ery or Mr. Wemple ought to get something. Mr. Peirce and Mr. Wemple 908 THENEUME 97 weren ' t thev the perfectlv funniest things you ever did see I Didn ' t Dr. Jefferv most take your breath away ? Wasn ' t he the perfect dandv in that German officer ' s uniform ? I wish he ' d danced instead of eating ice cream all the time. I bet Lew Dockstader, Rogers Brothers and ' Hoch der Kaiser ' would all have been perfectly furi- ous with jealousv if they could have seen them. I asked Mr, Peirce if there was anv monev in his pig skin bank-bill book and he said, Not vet, but soon ! ' I guess he was so perfectly tickled and sur- prised over his winning that prize that he couldn ' t think of anvthing original to sav. Oh, Mr. Beemoven, pardon us, all fixed again now? All right, then we ' ll cross over here to Boylston Street again. When Poole ' s orchestra — oh, it was perfectlv scrumptious music! plaved the ' Steel King ' two step, and all the prize winners marched up the hall, and everybody in the balconies applauded and we all clapped, too, and shouted, do you know, Madge, I was so fright- fullv excited that — well — it was mightv luckv the ice cream came next so we could all cool off some. Did you see Bruce Revnolds, big Simple Simon, walk across the stage dragging the little tov horse behind him? Madge, I was really sorry for that horse. I wish he ' d been alive for he ' d had to have had a Duchess with me! Oh, dear, my feet are so tired, Elsie! Here ' s the Colonial Theater now. Where did vou hire vour costume, Madge? Why, at Raymond ' s, right down this little alley here. Proba- bly they call it some avenue here in Boston. No, wait a minute, let ' s see. No, I got one at Raymond ' s first and then took it back because one of the Frost Hall girls told me the skirt was too short. Then I went to — what was the name of that place — Wolff, — Wolff, Fording ' s. Let me see, did I get it there? No, I don ' t think so. And from there, the next day I came down, I spent the morning at Curtis and Weld ' s, and the next afternoon, that perfectlv beastlv rainy day, I went up on Tremont Street somewhere — to Hayden ' s, I think. Pshaw! I don ' t know where I got the darn thing! Can ' t you remember, Elsie ? No, Madge, Em not sure at all. 1 think it was at Hayden ' s. Anyway you got something there — your shoes, wasn ' t it? And you know vou got that special kind of a veil vou were so perfectly crazy about at Curtis and Weld ' s, and then one day you went back to Wolff, Fording ' s for something — a buckle or armlets or neck- lace or some old thing. Why, you perfect little goose, why don ' t you look on your box and see where it ' s from? 98 THENEUME 1908 Lewando ' s! It ' s mv laundry box I Can ' t vou really remember, Madge? No, I can ' t, Elsie, and do you think I would stand out here on this windiest corner east of Chicago and talk about it if I could remember? Helen brought it back to the forms ' with her stuff, and anyway I can ' t remember anything today. Oh, my poor feet! Well, Madge, let ' s ' phone up to Dana. Come, Mr. Waggon- ner and Mr. Beemoven, let ' s step into the Touraine just across the street. Yes, it ' s one of our fine and dandy hotels. Pardon us, while we ' phone won ' t you? You please be seated until we find out where we ' re going. Say Beemoven, old man, we mustn ' t forget to register as soon as we get back. Perfectly corking girls, aren ' t they ? Folly and Cleopatra! Whizz! Are you going to register for anything besides Solfeggio, Harmony, Counterpoint, Theory, Violin, Piano, Voice, Musical History, English Horn and Concert Deportment? You bet! Costume Carnival, 1909. 1908 THENEUME 99 Class of 1907 ' ' Res non Verba CLASS OFFICERS Harold Arthur Cole President Bessie Caroline Parmenter Vice-Presidefit Eleanor Catherine Reier. Secretary William Amos Holland... Treasurer Dorothy Charlotte Lewis Assistant Treasurer Boomalacka, Boomalacka — Yes, it ' s ' 07 again. You can ' t keep them quiet. And they think they were unsurpassed by any previous class in ability, enthusiasm, and team work ! ! (Shock absorbers are to be obtained at the music store.) Having leased a portion of this volume in which to chronicle the doings of ' 07, since the going to press of the ' 07 Neume, we will proceed without further delay. In the last few months before Commencement events follow each other swiftly. ' Tis then that we really get to know each other in our class, and we sympathize in examinations, congratulate at their successful termination, and get very much excited at the mark of A-j- in the Normal. Why our orator even debated the desirabilitv of having for our class motto, We should all strive to get A plus. ' Res non verba — Deeds not words was the motto finally selected. With the examinations over, and the larger part of the Neumes disposed of, we were in a happy frame of mind at the reception tendered the Graduating Class by Director and Mrs. Chadwick. Closely following, came the trip by special cars and barges to the home or President Gardiner, of the Board of Trustees, in Brookline, where ' 07 was again shown the deep interest felt by the Director and President in its welfare. On June 12, 1907 the Conservatory closed its offices, and some six hundred of the faculty — officers and pupils — made an excursion to Nantasket Beach. It was the most successful excursion of recent years — an ideal dav, a jollv crowd, and plentv to amuse. ' 07 ' s were there in abundance, as the panoramographic view of the excursionists shows. 100 THE N E U M E 1908 On the eve of June 14th the Juniors gave ' 07 a very bountiful Spread, which afforded us exceedingly great pleasure. Speeches were made by our Director, by Mr. F. Addison Porter, and others, concluding with an original poem read by President Drayton, entitled Some Gentle Knocks. If gentle -ness as well as knocks was perceptible, we will leave the reader to judge. SOME GENTLE KNOCKS It always seems to be a pleasure To knock our Seniors just once more ; For you know, they soon will leave us. Then we ' ' II get the knocks, galore. As a starter, let me ask you, (This applies to either class.) If vou ' d thought you ever knew. Our smartest Senior lad and lass ? Now before you solve the problem Think back o ' er Solfeggio ' s day ; What two names adorn the cover Of Melodia, by the way r ' Cole and Lewis ? ' Why, of course ! They ' re the smartest lad and lass That e ' er joined a Senior class. What two other heads that ' s here Could write a work that ' s held so dear ? Tho ' not the highest in her class Miss Parmenter ' s the sort. She never pays her bills, alas — How can she when she is so short. Of course you know as grand Y . P. She takes the chair when Cole ' s o ' er due. But tell me how they can agree Upon a chair that fits the two. But Olive Whiteley is the winner Of the Senior Class, this year ; Count the boys that ' s grown thinner Since she started fiddling here. There is one young miss, that ' s called dear By all the young men, far and near ; But have not a fear, I ' ll tell you right here. That this maiden ' s name ' s — Eleanor Reier. THE N E U M E Away with such rhyme, quoth Miss Field, It is not artistic, ' it all is a sell. And though your opinions been passed on Miss Reier You cannot say, she Is — a — bel. But Frank S. Mason, as one sees. Stands aloof — and without saying. Everybody knows that he ' s A genius — at viola playing. One night, about the hour of ten. It was my luck to pass Frost Hall, I knew the time, because the men Came out in numbers, great and small. There was o?ie of these gents I knew. And as he passed he spoke this line, Jester ' is her name, ' tis true. But she ' ll ne ' er jest ' her ' Valentine. ' There is one person in o — 7 That rivals Schubert making song. Why, on some days, she writes eleven Then skips six days to ' fix what ' s wrong. She ' s with us here this eve, to sup. But next to eating, she ' ll enjoy That game of — Jenkin ' s says thumbs upy — With Liz, our elevator boy. But what is so rare as a day in June, Then, if ever, come perfect days. For Perry, at the Dorms, gets things ' in tune, Makes dates with the girls and sings soft lays. Now what do you think of a maid like this Because she ' s a Senior, spoke up and said, Why, I didn ' t know that those Juniors Had the cash to give us a Spread, ' ' Gently, gently Maude, I whispered, Trouble leads from foolish prattles ; Just because you are a marshal ' You don ' t need to fight our battles. ' Tis said friend Holland loves the Fens. Is it in fun, or is it malice ? But truly now, he ' s there almost As much, as Mrs. Jack Gardiner ' s palace. 102 THENEUME 1908 Now just suppose the price of coal Should start up quickly, on the run ; In zvealthy the Senior Class could roll By selling Harold, by the ton. Now G. A. B. and George A. Burdick Are the same, so we ' ve been told. Well, it takes both gab and Burdick ' Fore the Neumes have all been sold. But now, my friends, my leave I ' ll take If you ' ll excuse this rhyming talk. It was not for a poem ' s sake. But, gentle Seniors, just a knock. F. Otis Drayton. 6 — 14 — ' 07. The evening ' s jollity, long to be remembered by both ' 07 and ' 08, ended with dancing ' till the wee small hours . Our annual Graduating Class Concert was given June 18, 1907, at 8.15 P. M., with the following program : GUILMANT .... Finale from Organ Sonata in D minor Mr. Robert Valentine (Dorchester) RAFF Marchen, Pianoforte Miss Elizabeth Jones (Guntersville, Ala.) MEYERBEYER . . . 0 che adore from Roberto il Diavolo Miss Margaret Leeds (Pittsburg, Pa.) CHOPIN Nocturne in C minor LISTZ Etude in F minor l Pianoforte Miss Alice Newhall (Lynn) CHOPIN Ballade in A flat. Pianoforte Miss Rhea Jenness (Deseronto, Canada) SCHUMANN . . . ' Intermezzo Leit Ich Ihn geschen Isongs Fruhlingsnacht ' ' I Miss Ruth Whitman (Winthrop) WIDOR Finale from Organ Symphony in G major VI. Mr. Harrison Le Baron, 1906 (New Bedford) 103 Our class picnic called out a loyal few who proceeded to collect all the daisies in Dorchester and bring them to Jordan Hall for Class Day decorations. Notwith- standing the small attendance we had a jolly time, and the famous snapshot of A Bunch of Daisies will be treasured by each one present as a reminder of ' 07 happy days. On Monday, June 24, we commenced early to decorate and to make the daisv chain. It was a day full of excitement and bustle for the class of ' 07, and especially for the Class Day Committee. In preparing the Daisy Chain drill we had the val- uable assistance of Mr. Clayton D. Gilbert, and his interest in the success of our Class Dav was thoroughly appreciated. In the afternoon of Class Day a large crowd awaited the opening of the doors of Jordan Hall, and before 3 P. M. every seat was taken. The Juniors and Alumni kept the air hot with yells until the stage doors opened and ' o marched upon Jordan Hall stage to the fine-toothed strains of the Lohengrin wedding march, played upon combs with a piano obligato by Editor Mason. The Conser ' atorv Song was then sung bv the class, an address ot welcome read bv the President, and the show was on. The Burial of Studies in the green-swarded opening at one side of the stage was provocative of much laughter, especially when term bills, piano rent, ex- aminations and the famous Music Bag, were lowered gentlv into the stage coffin. The audience never knew what it escaped having thrust upon it in the song by ' High C Soloist and the Class. A falsetto voice, weird and terrible, gave out under the strain of Class Dav rehearsals, and Miss Margaret Seeds, at a late hour, was given the stunt to perform, which she did most creditably. The words of the song were as follows : There ' s a class that will be graduated, Wednesday if you please. The like ot which has never yet been seen ! For we all are sure of nothing less than unexampled high success, ' Tis really quite remarkable, I wean. Just you wait a year, or two, or three, and see what you will see. You will surely be astonished at the sight. For seventy such musicians there ' ll be scores of fine positions And the folks at home will say with fond delight : Choru:. Money, money, money, monev, evervwhere. Enough and to spare, ' rwill relieve all care. So you ' d better call around While in wealth we do abound. There ' ll be money, monev evervwhere. There wOl be Recitals, Concert Tours, Conducting now and then, And at teaching we are stars bevond a doubt For we ' ve had training in the Normal, by a method strict and formal, And we ' ve all developed brains both tall and stout. 104 1908 So when the paper ' s full of us, with pictures, ' puffs and such. You will surely say, We knew it all the time. For Noughty -seven, that ' s the class, that never, never let the grass Grow up beneath its feet, and you will chime : Chorus. The Class History in rhyme was then read by Miss Eleanor Reier, tbllowing which Odessa Sterling delivered the oration of the day. It is given here in hill. CLASS DAY ORATION ODESSA D. STERLING Friends J Countrymen and Lovers : If you have ears prepare to stop them now. This being my first appearance in this capacity, there is naturally some anxiety as to the result, and I wish vou to know in the beginning that I was never so affrighted, save once, and that was when I appeared before our director, with fear and trembling, and subjected myself to the ordeal of the final examination. Still I have a feeHng of profound pride and pom- posity in standing before you to deliver this oration. It is indeed enviable, it is incomparably sweet to be taken from the grinds of solfeggio, from the terrors accom- panying sight playing, fi-om the cutting threats of harmonic analysis and the bonds of concert deportment, and to be placed along side of John Temple Graves, that chivalrous Southern orator, of Newell D wight Hillis, whose words remind us of Schubert melodies and Raphael tints, and of the great Bryan from the far away regions of the lazy and reluctant Platte. I am not unmindful of your patience in listening to my humble efforts. I appreciate the honor the class has done me, knowing thev wish one to stand here whose normal examination has reached the soaring heights of an A Plus ; and if there is anything an orator should know thoroughly it is psychol- ogy and hand-culture, — hand-culture as exemplified in the teachings of one who is the greatest manicurist that we have ever known. Every great orator, fi-om Demosthenes down to myself, has been the necessity of a certain time, and as the hemi-demi-semi-quavers of my eloquent voice nestle re- posingly in the skylight of this room, you are persuaded that 1 may be speaking in a broken but not a common time. Time has changed since the pebblv-mouthed Demosthenes stood on the capitol steps at Washington and hurled defiance at the rabble throng. Today, the orator enters the halls of music, and in the words of Ingersoll we hear, Strike, oh weird musician, on thy harp stnmg with Apollo ' s golden hair. Fill the vast cathedral aisles with symphonies sweet and dim, deft touches of the organ ' s keys. Blow, bugler, blow, until thy silvery notes do touch and kiss the moonlit waves and charm the lovers wandering mid the vine-clad hills. An oration is like music, in that it has the element of repetition. It may be a two-dix-ision song form with partial return, or, better still, a second-rondo form with the principal theme coming round ever and again, like defeat to the Boston American base ball players. The theme of this oration is evident, but lost words are like lost chords, such as that doublv augmented six-four-three of Sullivan ' s. And let me add 908 THENEUME 105 right here that if Sir Arthur SuIUvan had had the course in solfeggio that we have had, and the examinations that are included, he need not have spent eons and eternities waiting to hear again the sound of that great Amen. Still all these things come to light in the quiet, and the other night while sitting in my room with the myriad stars of heaven above me, and the mournful crying of two fighting cats beneath, with my pipe wafting ceilingward those spreading rings through which there smiled to me, in fancy, enchanting faces of conservatory girls ; it was in such a halo of glory as this that these thoughts were born. The tempo of an oration is in the minor mode. It may be taken in a largando style with the lifting and dropping of calendos here and there. It may be taken slowly and with condolore, like the running of thick ' grave when spilt upon the kitchen floor. But there is one tempo that cannot be kept up. Beware of the presi- tissi-issi-issimo. This is used only in the grand final, so draw your long breaths, for that is what I am approaching now. A year ago there walked across this platform a little band who received their diplomas and passed into that mysterious country of grad- uation, from whose bourne it is hoped none of us are to return. They planted here an ivy vine. They expected it to creep and climb, I want you to note ' ' the rhyme. They expected it to cover the organ and mute its tone. They expected it to fairly burst old Jordan Hall from centre to circumference. They expected to leave its fruit as a heritage to all that followed in their wake. Today we drop another curtain upon the past. We rend in twain another veil in the temple of the future. And today we draw the covering from this vine of 1 906 to see whether the fruit be sweet or sour. (At this point the screen was removed, showing lemons growing on the ' 06 ivy vine.) The class then sang the Ivy song, which evoked dissenting cries from the chagrinned ' 06 rooters, who evidently regretted their planting of a fake ivy vine at the previous class-day in 1906. The song was as follows : To my fond imagination At a Class Day celebration Naughty-six did think to plant an ivy vine. In its shade they thought to wander And some inspiration ponder When it grew to be quite tall and fine. Being new to stunts of this sort Fate their visions all did distort And their ivy took a most alarming turn ! For in manner unexpected Lemons fine it soon projected Consequently they have lemons to burn! Chorus Will someone kindly tell them ? Will someone answer why ? To them it is a riddle, and will be till they die. Lots of other folks have planted ivy, yet they are wild to know When their ivy vine is full of lemons like this. Where ivy was supposed to grow. THE E U M E 1908 Though no man perfection reaches Yet this little lesson teaches That ' tis vcTx well to look before you leap So ' s to know an ivy vine From a lemon every time, And so keep Irom feeling ver -, very cheap. For you now are sitting daily Tr ing hard to chaner gaily ' Bout this ivy vine of forty lemon power. One you do not care a bit for For the only thing it ' s fit for Is to make your temper very, very sour. Had we the manuscript we would like to quote from the Class Prophecy and so, too, would enumerate some of the gifts presented by Miss Parmenter, but rime and space compel us to curtail the remarks and to leave out many quotations of interest. The Daisy Chain song was well adapted to its purpose, and the march by the class across the stage, down the aisles, and the massing in the outer corridor, where the various class yells were given, ended our most successftJ class-day exercises. The tiill program is herewith given. CLASS DAY y ne 2 , igoj, at j P. M. PROGRAMME MUSIC HATH charms ....... ClaSS WELCOME . . - Wide if not TaU Harold A. Cole ONE LAST SAD LOOK AND THEN — FAREWELL (Burial of the Studies) ML SIC Weird and otherwise — mosdy weird High C Soloist ( ? Iargaret Seeds i and Class HISTORY Secretary Rear Eleanor Reier j ORATION . . -A Plus Odessa Sterling UVY SONG Class CLASS PLANTING Everlasting Plant j PROPHECY Mlle. Thumbs Up ( Minne i Jenkins THE MACS — Character Song ....... Class WHAT ' S IN THE TANK: Class Gifts Apron-Seller . Bessie i Pa-Meant-Her DAISY CHAIN— March Song Class (Words and M usic by Rhea Jenness ) Words and music by Bessie Parmenter t Parody on A Lemon in the Garden of Love, by Bessie Parmenter. 906 THENEUME 107 The Class Day committee was composed of Dorothy Lewis, Chairman, Leila C. Brown, William Holland, Frank Mason, Marguerite Fox, Minne Jenkins, Odessa M. Sterling, Bessie E. Futrell, Elizabeth G. Jones and Eleanor C. Reier. The last name reminds us of a knock the Secretary (E. C. Reier) gave the President in her history of the class. The President being an ex-officio member of every committee, was nearly always on hand — and talkative, too — so much so that he received this gentle jolt in the historic poem : Harold Cole ' s a man of might But really it ' s a pity That he should always butt right in And boss the whole committee. We must take leave of Class Day history, and will do so with two of our class yells. Here they are. Hear them? Boom-a-lacka Boom-a-lacka Bow wow wow Chicka-a-lacka Chick-a-lacka Chow Chow Chow Rickety Rackety Sis Boom Bah Noughtv-Seven Noughty-Seven Rah Rah Rah Zip Rap Boom Hoo ray for the Neume Read the Poster on the Wall Noughty Seven ' s sold ' em all Still the people call for more Never heard the like before Boom a lacka Neume a lacka Neume At eight-thirty of the same day we gathered at the Parker House for our Class Banquet. Director Chadwick and Manager Flanders were the guests of honor, and responded with interesting speeches, in which humor and good advice were combined in a manner that held the closest attention of the class. Vice-President Bessie C. Par- menter, our valiant worker for class spirit, co-editor, and a working one, honor grad- uate in piano and organ courses, writer of songs — well, there are other things that she deserves credit for — responded to the toast How it feels to be vice-president. Editor Mason told us how the Neume was put together, and Orator Sterling gave us a short dissertation on We should all strive to get A Plus. ' It reads : My Dear Friends : I have been wondering why this subject was given to me, since all of you, including the toastmaster, are aware that this is a subject upon which I have to be urged to speak. It is an A number one subject, and I am fully persuaded that I was in a normal state of mind when this miracle of miracles happened. The 08 THE N E U M E 908 dough for this toast was mixed in the gymnasium. It was badly needed. Still, if I had been one of the tender sex and it had not been so well kneaded, I fear that it would have given place to salt rising tears. Of course it must be bred in one to get A plus, but I was afraid that by the time this bread had been toasted it would be like some of the toast we get in the student restaurants of Boston, which in turn is like life as it became to Hamlet — weary, stale and unprofitable. There are two reasons why this is an embarrassing subject for me. One is that this A plus stands out among my other grades, especially solfeggio, like the Northern Star. The other reason is that the timidity and modesty so characteristic of my nature is just a little strained. Elbert Hubbard tells us that we can choose our friends but may the Lord deliver us from our relatives. We are all closely related in that we have a common mother — our Alma Mater, the New England Conservatory of Music. Some of us may be great, some of us may be small ; some of us may be great and think we are small and some of us may be small and think we are great ; but whether we are great or whether we are small ; or whether we are small and think we are great ; or whether we are great and think we are small, I am sure that our common mother loves us all and that the love is fiillv reciprocated. O. D. Sterling ( Plus). Songs and class yells brought to a close a day long to be remembered, and we felt that it was w orth all the time and trouble, for it took much time and thought to bring about the successful results obtained by the class. Our reception was a very enjoyable affair, with a large attendance and with Jordan Hall stage transformed into a very inviting reception hall. Mr. and Mrs. Flanders, with the class officers, received the guests of the evening. The Commencement program will give you all that need be printed. Suffice it to say that the hall was filled with an enthusiastic audience, the stage set for the or- chestra and class presented an agreeable picture, and every number went without a hitch. COMMENCEMENT PROGRAMME June 26 y igojy J p. M. The accompaniments are played by the Conservatory Orchestra Mr. G. W. Chadwick, Conductor BACH . . . Passacaglia for Organ Elizabeth Caroline Parmenter (Antrim, N. H,) DONIZETTI . . Aria from Elisir d ' Amor, Una furtiva lagrima Richard Tobix (Mrginia City, Nevada) BRUCH . . . Concerto in G minor for Violin Allegro moderato Adagio Allegro energico Olive Llewelyn Whiteley (Kansas City, Missouri) 1908 THE N E U M E 109 THIELE . BIZET SCHUMANN Chromatische Fantaisie for Organ AxME Woods McLeary (Farmington, Maine) Aria trom Carmen Je dis que rien ne m ' epouvante LiDA May Munro (Bridgetown, Nova Scotia) Concerto in A minor for Pianoforte I. Allegro aiFettuoso Rhea Ienness (Deseronto, Ontario) II. Intermezzo Allegro vivace Frank: Stuart Mason (Boston, Mass.) BEETHOVEN Overture, Egmont ADDRESS TO THE GRADUATING CLASS BY THE PRESIDENT PRESENTATION OF DIPLOMAS BY THE DIRECTOR The reception by the Alumni Association in the evening of Commencement Dav completed the events of a well filled Commencement. Were there space, we would give the location and occupation of our class mem- bers after graduating. ' e hope the success of the Neume will be such that future volumes can contain more and more of the items of vital interest to the classes who have graduated, thus making the Neumes of still greater value to the Alumni of the Conservatory. Mth the best wishes of ' o for the success of ' 08 and its enterprises I remain, Respecthilly yours, Harold A. Cole, ' o . 110 THENEUME 1908 Hints on the Study of Shakespeare Extracts from a Familiar Lecture BY W. J. ROLFE President of Emerson College of Oratory [It is assumed that the student has some annotated edition of the plavs he reads, and has access to one of the larger English dictionaries.] 1. Begin by reading the play through, without referring to any notes or comments upon it. It is well, however, for future refer- ence to mark Hghtly with pencil any words, phrases, or sentences that are obscure or unintelligible. 2. Go through the play more deliberately, referring to the notes for light on difficulties and obscurities. It should be under- stood that notes are intended to help when help is needed for un- derstanding the text and to give other information which may be of interest or value in illustrating the text. They often obviate the necessity of consulting dictionaries, encyclopaedias, and other books of reference. Teachers sometimes foolishly object to notes because they save time and labor in this way. It is better, they say, that the student should be compelled to go to these reference books for the help he needs. But in most cases there is no mental discipline in such work; it merely wastes time that might be better employed. The student will have enough to do in consulting books of comment or criticism, aside from what he finds in any annotated edition of the play. He should, nevertheless, run his eve over all the notes, in order to be sure that he reallv understands what he thinks he does. The chances are that he will find he has omitted to mark some words, etc., which do not mean what he supposed thev did. 3. Versification. A knowledge of the main facts in Shake- speare ' s versification is essential to an appreciation of the wonderful music of his poetry. Hardlv one person in three, even among well-educated people, including the college-bred, can read Shake- 1908 T H E S E U M E 111 speare ' s verse correctly. I am surprised to find how many teachers in school and college do not possess the rhytfvnical ear. If a line has anv peculiarity of accent or syllabication they almost invariably take the music out of it. A final ed that should be made a sep- arate syllable, contrary to ordinary usage las in the line It is enthroned in the hearts of kings ), will not be so pronounced. A word like revenue y which in two lines of the first scene of the Mid- summer Xis ht ' s Dream has x so different accents (revenue and revenue) will eet the same accent in both places. Proper names are often wrongrlv pronounced. I have heard a college professor of English, reading in a Shakespeare club, give tour syllables in- stead of three to Philostrate lin the same scene of the Dream ) and accent the hrst syllable o Ezeus instead of the second. The mechanism of Shakespeare ' s verse, with the more impor- tant variations in it, can be explained in a few sentences. The first line of the Merchant is an example of the normal form of the verse: In sooth, I know not why I am so sad. It is a line of ten syllables with the accent on the even ones — the second, fourth, sixth, etc. In this example the am is naturally accented because the context shows that Antonio ' s friends have been asking him why he is so sad, or sober. In the third line ( But how I caught it, found it or came bv It ) we have an extra unaccented syllable at the end, making an eleven-syllable line, or female line, as it is sometimes called ( I don ' t know why, but somebody may wickedly suggest that it is because the woman will have the last syllable). Such lines are more frequent in the later than in the earlier plays. In the eighteenth line ( Plucking the grass, to know where sits the wind ) as also in the next line ( Peering in maps, etc.), the accent at the beginn ing is shifted from an even to an odd syl- lable. This may occur in any part of the line, though very rarely at the end and seldom in the fourth syllable. Obviously it cannot occur often in any one line ; nor can it occur in two successive pairs of syllables (or feet, as these pairs are technically termed). The eigrhth line ( Your mind is tossing on the ocean ) seems at first to be imperfect, having only nine syllables instead of the normal ten; but ocean is to be pronounced as a trisyllable. This lengthening of words ending with syllables containing e or ' followed bv another vowel is common in Shakespeare and other 112 T H E N E U M E 1908 poets of the same or earlier times. In this same scene we find opinion both as three syllables (line 91) and four (line 102). The name Portia is generally two syllables but sometimes three (as in line 43 of scene 2, act ii.: For princes to come view fair Portia ; and again in line 4 7. 4. Language. Shakespeare ' s language needs special studv — both his vocabulary and his g rammar. A recent writer expresses the opinion that the dramatist is losing his hold upon us be- cause we do not understand his English and that the day may come when he will be laid on the shelf, like Chaucer, except by critical students. I do not fully agree with this: but it is certain that Shakespeare is often misunderstood or not understood from ignorance of the precise meaning of a word he uses — often a word familiar to us in another sense. Editors and critics have actually altered the text of Shakespeare and his contemporaries because of this ignorance, perverting the sense instead of elucidating it. I can take space here tor only one or two illustrations. The wrecked ship in the first scene of the Merchant is described as Vailing her high-top lower than her ribs. f ai here is an ob- solete word, having no connection whatev er with veil (which is substituted for it in this and other passages in some editions of Shakespeare), but meaning to lo-zver or et fall. The ship on the sandbank turns over on her beam-ends, so that her masthead is lower than her hull. Hamlet ' s vailed lids are downcast eyes, not veiled or covered. Scott uses this obsolete ' cail in Mar- mion (iii. 234), And proudest princes vail their eyes Before their meanest slave. ' ' Many w ords have become weakened in meaning. Naughty ( Merchant, iii. 3. 9, and v. i. 91) is a good example. In Shakespeare ' s time it meant bad in a strong sense, or wicked; no w it is limited to the petty offenses of children, or applied only in a playful way to their elders. Regan, the worst woman Shakespeare has drawn, is addressed as Naughty lady I by Gloster, when she is about to have his eyes plucked out ( Lear, iii. 7. 37). The villain Borachio ( Much Ado, v. i. 306) is called this naughty man, etc. Compare Proverbs, vi. 12: A naughty person, a wicked man, etc. Many other examples might be given if my limits permitted. Words that have become strengthened in mean- ing are less common. 113 Certain words had onlv begun to have an opprobrious sense in Shakespeare ' s dav : as wench, which ori nallv meant simplv girl, or voung woman, and knave, which meant bov and servant before it got the sense of rascal. Illustrations of this use of both words (and others that have undergone a similar change) will be readilv found in the plavs, as well as ot the bad sense. It is curious that companion, which was formerly used contemptuouslv (as fellow still is) has now lost this sense, of which there are more than a dozen examples in Shakespeare; as in 2 Henry IV. (ii. 4. 132): I scorn you, scurvy companion I etc. Some words that formerly differed only in spelling have become differentiated in meaning; like jnetal and mettle, travel and travail, curtsy and courtesy, human and humane, antique and antic, etc., which are used interchangeablv in the early editions of Shakespeare. Occasionallv words have changed in respect to grammatical gender or number. Lover in its familiar sense ot a person in love was formed V teminine as well as masculine. Shakespeare ' s poem, A Lover ' s Complaint, is the lament of a woman, not a man; in Measure for Measure (i. 4. 40) your brother and his lover refers to a pair of lovers, as we still say, though we cannot call the ladv herself a lover. Nuptial occurs as a noun, but nuptials is more common; and funerals sometimes refers to a single funeral, as the plural obsequies is now used. Hilts is found more frequentlv than hilt when but one sword is meant. Sometimes the difference between the old and the modern use is verv curious and interesting. For instance, in the Merchant (ii. 8. 30) we read of a vessel richly fraught (freighted, laden); and in Twelfth Night (v. i. 64) the fraught (cargo) of a vessel is mentioned. Xow we can ms, fraught only in a figurative sense; fraught with danger, etc. One must note these things in order to avoid ridiculous mis- takes concerning words in Shakespeare. Like other writers of the time, he often uses black in the sense of dark-complexioned, as of a woman whom we should call a brunette. In a classified anthology- of Quotations from Shakespeare, published some twenty-five vears a o, the line in the Two Gentlemen of Verona (v. 2. 12), Black men are pearls in beauteous ladies ' eyes, is put under the headinor Xez oes! Of the weightier matters — style, characterization, dramatic art, etc., it would be impossible to add anything here. 114 THENEUME Music and Literature BY E. CHARLTOX BLACK, LL.D. HE importance of the study of literature to students of music and to musicians has been the subject of much interesting and sugg estive discussion in Amer- can and European educational and professional magazines. It is a significant sign of the times that, while critics are ready to admit that music and liter- ature are inter-related in a close and remarkable way, there is a strong; under-current of opinion that for a student of music to make a systematic study of literature is perilously akin to a waste of time and opportunity. This criticism is neither unnatural nor unusual. It is but an expression of what has again and again in recent years cropped up in educational circles, and is now making itself felt everywhere from the elementary schools to the great universities — a tendency to study only those subjects which have a visible, direct and im- mediate influence upon the daily work of life. It is an inevitable outcome of the tremendous pressure of competition in these mod- ern days and as such has what truth there may be in the general principle upon which such arguments are based, twisted and crushed beyond all recognition. On all hands we hear such questions asked as, What need is there for education that is not technical and commercial ? Knowledge is business, and why acquire any knowl- edge that is not going to be useful for bread- winning; purposes. Or, if we may bring the question into line with our present subject, Why should literature be studied by musicians who are not going to write books or go in for literature in some way as a profession. Leaving alone such a general answer to these questions as is involved in the tremendous truth that in that knowledg e which consists in the cultivation ot the sympathies and imagination and in the enlargement of the moral vision, there is business too and busi- ness of a very practical kind, we may here draw attention to a few special reasons why musicians should not merely have a g eneral 1908 THENEUME 115 knowledge of literature but should make some systematic study of the world ' s great books. If we grant that music is the deepest and subtlest of the arts, embodying the inward feelings of which the other fine arts but exhibit the effect, it is for that very reason too emotional for an exclusive artistic food. Here it is that the importance of literature in a musical education first makes itself felt. Intellect, the clarify- ing and positive principle, enters into literature more than into any of the other arts, and it is for this reason that literature must be studied by everyone who aspires to be educated, to be cultured, to be in anything an artist worthy of the name. The greatest music voices with irresistible power the indescribable essence of life — the hidden core and center of all intellectual activity. Literature, on the other hand, deals with the different situations of life and gives perfect expression to perceptions and impressions. In this way it is a kind of corrective to the too vague and emotional tendencies of an exclusive study of music. Again, one art cannot be properly and worthily appreciated apart from other arts, and literature is of all the arts, that of which laymen will most readily acquire a knowledge. More than this, it is the art which appeals to the largest audience, and a knowledge of literature will bring musicians into sympathy with all persons of artistic perceptions. That love of literature which comes from a knowledge of literature is the common ground upon which all artists can find fellowship. Here are no petty jealousies, heart- burnings or annoyances of any kind. How can these things exist in an atmosphere of righteousness, wisdom and beauty, where all history is enrolled and the great and good of all the past give of their knowledge and their wit and graceful words to all who will but listen. Here as nowhere else is to be had the blessed com- panionship of wise thought and right feeling. This is what makes literature one of the instruments, and one of the most potent in- struments, for forming character, for giving the world men and women armed with reason, braced by knowledge, clothed with steadfastness and courage, and inspired by that public spirit and public virtue which are the brightest ornaments of the mind of man. The very atmosphere of a true liberal education is the ability to appreciate those masterpieces of literature where moral truth and human passion are treated with largeness, sanity and 16 THENEUME 1908 beauty of expression. In the proper study of The Faerie ueene Hamlet The Tempest Bacon ' s Essays Lycidas, The Prelude, Pippa Passes, In Memoriam, The Vision of Sir Launfal, are the two ele- ments of all great education, systematic training for the imagination and the development of a genial moral sensibility. Only in high, pure literature can these elements be had; and what glorious results they give in the permanent work of the world, enriching the spir- itual blood, furnishing a solid preparation for the practical duties and honors of life, diffusing the while infinite charm and solace, deepening the capacity for worthy enjoyment and strengthening the power to endure ! Coming down from these wider generalisations as to the impor- tance, nav the necessity, of a knowledge of literature to a musician or anyone who aspires to be an artist, let us glance at a simple, ob- vious and practical application of the same truth. Literature is the vast storehouse from which the great creative artists will always draw inspiration, and subjects for inspiration and a study of literature will enable a composer to find his way easily and readily to what will serve his purpose as suggestive themes. In this connection refer- ences may be made to the way in which the Bible and Apocrypha have inspired oratorio and passion-music, the plays of Shakespeare, opera and concerto, and the Arthurian legends and the Nibelun- gen Lied, the creations of Wagner. Wagner is a magnificent ex- ample of one who is a creator both in the realm of music and in that of high literature. Germany has had few more skilled men of letters than Wagner and there is little question that, had he given nothing to the world but the libretti of Tannhauser, Lohengrin and Parsifal, he would have been recognized as a poet worthy of a place beside Goethe, Schiller and Heine. The masterpieces of literature have ever and again in the past inspired great musicians ; these mas- terpieces will inspire the great musicians of the coming days. When we think of what is laid up in old ballads and folk-tales, in the works of Chaucer, Spenser, the Elizabethans, and Milton, or to take names nearer our own time, in the poetry of Keats, Shelley and Wordsworth, or that of Coleridge, Scott, Tennyson, Lowell, Longfellow and Browning — all representing a field as yet unhar- vested, virtually untouched, by the musical composer, we may well be thrilled at the possibilities for those whose genius for musical composition and whose appreciation of noble literature will give them the right to put in the sickle and reap. 908 THE S E L M E 117 The Exchange of Courses Between Harvard and New England Conservatory ot Music AR ' ARD UX1 ' ER ITY has always believed : T heory and practice should go hand in hand in I ?ranches of learning . This rrinciple is particu- .ir!v apphcable to music wr.-:: u ed as an educational : r iect, for abstract acquaintance with musical lit- er. irure has constantly to be supplemented bv the i:: jal playing and hearing of the music itself, and in theoretical work whatever is written by the student mus: oe oiirwardly performed before the real object of musical composition is gained. Above all in writing for the orchestra it is of the greatest advantage to have the written score submitted to the actual test of performance, for in no branch of composition is there greater danger of miscalculation in regard to combinations of tone- color which sound well on paper ' but which, when performed, are unconvincing or often absolutely ineffective. It is also true that there is great danger of too much specialization for students in a professional school of music. Such men often become well trained musicians at the cost of a general education and a broad culture. The musician of today must be familiar with the standard literature of the leading nations — the English, the German, the French and the Italian, must have a working knowledge of histor ' and should be aware of some of the great discoveries and problems in modern science and philosophy. Some four years ago, as students of Harvard had often been playing in the Conservator) orchestra in an informal manner simply for the practice, it was felt by those in charge at the two institutions — Mr. Paine, Mr. Chadwick, Mr. Converse and Mr. Spalding — that this custom might be systematized bv a definite exchange of the advantages peculiar to each institutior.. The following prop- osition was therefore made to the Han ari Facultv and was dulv 18 THENEUME 1908 ratified bv them ; — that regular students in Harvard University who are studying advanced composition or the theory of orchestra- tion, may be allowed to play in the Conservatory orchestra and mav count such work as equivalent to a half course toward the A. B. degree. In return for this advantage Harvard will receive students from the Conservatory into certain courses in Eng lish, French and German and in Public Speaking, — courses which Harvard feels that no student of music who wishes to be a man of broad culti- vation can afford to be without. It only remains to be said that this arrangement has worked very well as far as Harvard is concerned, as each year several stu- dents have supplemented their theoretical work at Harvard with the practical advantages of the Conservatory orchestra. How much benefit the students of the Conservatory shall derive from this exchange naturally rests with them. The aim of the depart- ment of music at Harvard is to produce students who are good musicians only in so far as they are not narrow or one-sided. They must be well trained in music, but also acquire a broad general equipment. Harvard will welcome to her justly celebrated courses in the subjects specified above all Conservatory students who sub- scribe to this ideal of the aspiring and really thoughtful musician of our times. 20 THE N E U M E 1908 1883-1908 Twent}--ti e Years a Teacher in the New England Conservatory of Music EPTEMBER, 1882, the New England Conserva- tory of music was moved from the Old Music Hall Building to the St. James Hotel, on Franklin Square. Any one who can remember the past forty vears in Boston can easily recall the time when Franklin Square was one of the finest residential situations in the city. On one side of it Oliver Ditson lived, and on the other in a very handsome Drown stone front building, lived Mr. Davis, of the firm of Hallett Davis, who were at that time among the leading piano manu- facturers in New Eng land. And it easilv follows that the St. James Hotel, located in that quiet residential quarter, was one of the finest, if not the finest hotel in the citv. But as the Back Bav district developed, that quarter of the citv began to decay, and in process of time the St. James Hotel was closed as a hotel and the building advertised For Sale. This is one end of the storv. Some time in the later ' 6o ' s Dr. Tourjee arrived in Boston, earnestly intent on establishing a music school on the conservatory plan. The country at large first learned ot this great ors;anizing genius in connection with the Gilmore Jubilee of 1869. This mam- moth undertaking, so characteristically American, involved a thou- sand details, not the least of which was the organizing of a chorus of five thousand voices, to be recruited from all parts of the coun- try. Into the hands of Dr. Tourjee was committed this important task, and well did he acquit himself in the performance of it. From that time, until the day of his death, his name was one to conjure bv in matters musical throughout the country. Hav- ing been a member of that great chorus, I can personally testifv to 1908 THE X E U M E 121 the consummate manner in which all the details connected with the gathering of this great body of singers, were handled. Not only must they be drilled in the music which was to be sung; not only must they be brought there on time and assigned to their proper places in the chorus seats, but each one must be also prov ided with a place to stav, etc., etc. But everv thing seemed to move like clock-work, and the impression gained bv the public generallv of the ability and reliability of this eminent man must have been of verv ' great assistance to him in the carrving out of his pet idea. At any rate, the New England Conser ' atory of Music has been from that dav to this the most imposing title among the ever in- creasing number ot musical institutions of this reat nation. As the school grew, it became more and more necessarv ror Dr. Tourjee to find a living place which should be under his own personal control for the hundreds of voung women whose parents were anxious to send them to this modern Athens, but hesitated to do so unless the doctor himself could agrree to become personally responsible for their safety . This was the condition of affairs when the St. James Hotel building came into the market. Here the two ends of the stor ' come together. A great need on the one hand, and the opportu- nity to supply that need on the other. Thus it was that in Sep- tember, 1882, the New England Conser ator - of Music opened its doors on Franklin Square, where its honorable histor - could be continued under more favorable circumstances. I became a pupil of the Conservator) ' in 1874, and was a mem- ber of the institution a laro e part of the time until i8 7, when I had an opportunity to begin my professional career in Portsmouth, X. H., where I remained five years. In May, 1882, 1 a ain became a resident of Boston and assumed the position of organist at the Clarendon Street Baptist Church, at that time the leading Baptist congre tion of the city. I estab- lished myself as a teacher in the Lawrence building, 149 A, Tre- mont Street, and well do I remember the afternoon on which Mr. H. E. Holt, then the leading Supervisor of Music in the public schools of Boston, and a teacher of sight singing at the New Eng- land Conservatorv of Music, came into mv room and asked me if I would relieve him of his Conserv atory work, for the time being, as he was so over-worked that he felt that he must, for the present 122 THENEUME 1908 at least, put it into other hands. Needless to say, I was only too glad to accept his invitation. This occurred early in the spring term of 1883, and I taught out the year as a substitute for Mr. Holt. I must haye had pretty good success, because, at the opening of the Fall term in September, 1883, when I presented myself to the Registrar, inquiring if there would be any more work for me there and was referred to Dr. Tourjee for an answer, I was gratified to find that answer in the aflirmatiye. Solteggio was then a term unknown in the institution, the de- partment was that of Sight Singing and Public School Music, and it was small enough. A very few of the pupils were intel- ligent enough to come to the institution for the purpose of study- ing sight singing, a few more to study to prepare themselves to teach music in the public schools. The remainder of my classes consisted of those pupils from the vocal department whose ears were so dull that their vocal teachers found it impossible, or nearly so, to pound a melody into their heads on the piano. But despite the unfavorable conditions, the number of pupils gradually increased so that when, on account of his failing health. Dr. Tourjee was compelled to retire trom the Directorship, I had a very satisfactory amount of business. When Mr. Faelton became Director, he made it his business to investigate, personally, the Sight Smging Department, which investigation ended in his inviting me to take charge of the Solfeg- gio Department, which he proposed to inaugurate at the opening of the next school year. Most of that summer was spent in com- piling the solfeggio books w-hich are so well known to all my pupils past and present. They were first published in three volumes ; later they were published in the present form, in one volume. At that time the classes were very large, some of them number- ing as many as fifty, and the tu ition was $2.00 a term, the terms then being half as long as at the present time. Many who read these lines will recall Arthur, the very self- possessed youth whose duty it was to come into the classes at each lesson and call the roll. One, I am sure, will remember that for one entire term she answered to the name of Miss Mumm, which mistake was not discovered until well on into the second term. 1908 THE X E i ' M E 123 It was at the opening of this particular term that the first reg- ular course in musical dictation was given in the New England Conservator ' of Iusic, and the fact was verv soon established be- vond the possibility ' of a doubt that, while there were many who could to a greater or lesser extent hear with their eyes, there were few indeed who possessed the ability to see with their ears. It seems remarkable that an institution like the Conserv atory could live for twenrv vears or more without a Solfeggio Depart- ment, so called. It seems all the more strange when one recalls the tact that that well-known institution, the Singing School, had its birth in New England, in which it was well understood that a person, in order to be an acceptable member of such a school, must possess a fair voice and a correct ear. The onlv solution ot the mvsterv I have ever been able to find is in the tact that the prev- alence of instruments of the kev-board class, such as the seraphine, the melodeon, cabinet organ and finallv the piano, had given rise to the belief that an ear was no longer necessan ' to the intelligent studv of music. Strange to sav this opinion still prevails, and I am afraid if it were not for the insistance on solfeggio by the New Eng- land Conservatory of Music and other kindred institutions, the students of music would be comparatively few and far between who would include solfeggio in their studv ot music. The Solfeg o Department has seen changes in its form. Some- times the classes were reduced to as few as six in a class, again as many will remember, the number was increased to ten and each pupil was furnished, in my recitation room, with a cabinet or- gan on which to play the elements of key-board harmony and transposition. But in spite of all changes and all hindrances, sol- feggio as a part of the curriculum of the N ew England Conserva- tory of Music has grown and prospered. But it will take many years yet, before the country at large will realize that a good ear is as important to the musician as a good eye for color is to the artist. Twenty-five years, — a quarter of a cenuin , — have I put in as a teacher of this branch of music study. It has been my specialty, my aim; to it I have given more time and more thought, perhaps, than any other man now before the public. I 4sited Europe with the purpose, as my principle aim, of making myself thoroughly ac- quainted, at first hand, with the Solfeggio methods and practices in the European schools of music. To manv in the music profession. 124 THENEUME 1908 twenty-five years at such a task would be distressing indeed. It has not been so with me. I have realized the necessity for musical development along this line in my native land, and I recall with unalloyed pleasure the many earnest young men and women to whom I have had the privilege of teaching this important branch. I have enjoyed the young people; I like them, and the hours so spent I count among the pleasantest of my life. Those who have studied with an honest purpose to improve, have become so fixed in my memory that I cannot forget them. I remember the first class of such pupils I had during my first year in the institution. Two of the class have never lost sight of me, nor I of them, and it is needless to say that they both occupy positions of honor in their profession. Even those of the butterfly variety have not been altogether without interest to me ; their very youth fascinates me. And when I meet some of them, as frequently I do, as wives and mothers, I reflect that in their case, as in my own, there has been a divinity to shape our ends. Twentv-five years of earnest endeavor to raise the standard of musical intelligence and appreciation in this country. I am thank- ful to have had the opportunity and the privilege to devote my strength, time and little ability to so good a cause. I am thankful that some, at least, of my pupils have caught my spirit, if nothing more, and in their turn, and in their appointed places are endeav- oring to carry on this much needed work of development. May their number grow more and more, their enthusiasm greater and greater, until it can be said of America, as it is now said of Conti- nental Europe, that it is not the aristocracy, but the masses, the common people, who settle the fate of a musical composition. Samuel W. Cole. ji Piercing Tone Tick — — ii k — — — — — — — iick ' ' Hear the music of my metronome ! ! Singing songs of shining dollars Glittering bright like the State House dome. Tick — l — lick — r — r — r — r — r — r — tick ! I Sweetest music of the soul alone, When I pla with such an accompaniment I have a thrilling, piercing tone. 126 THE N E U M E 908 Edward MacDowell DWARD MacDOWELL resided in Boston from 1889 to 1897. His first pianoforte concerto and some of his earlier pianoforte pieces had already been played there, and his reputation had already begun to grow. He was warmly welcomed by the Boston musicians and at once took his place among them as a leading virtuoso and teacher. In the latter capacity his influence is felt to this day, and though his sojourn was not long it will always be a grateful memory to those who enjoyed the privilege of his friendship. From this period date some of his finest and most characteristic works. The poetic Sonata Tragica, the Indian Suite, and some of his most beauti- ful songs were composed at this time. The second concerto and that bijou masterpiece, the Suite in A minor, opus 42, belong to a some- what earlier period. The latter composition was first performed at the Worcester Festival of i 8 — under the direction of Carl Zerrahn, and the writer still remembers the delight of the musicians and the audience which was created by its striking rhythmic vitality and unique instrumentation. The Indian Suite was first performed by the Boston Symphony Orchestra, under the direction of Emil Paur to whom it was dedicated. Repeated hearings have only confirmed the impression then made of its power, beauty and originality. For this is no mere piece of shopworn ballet music torturing the noble red man ' s simple melo- dies into a sophisticated contrapuntal fabric, and decorated with orchestral spangles and tinsel ; rather, it is organic, elemental, sane, pervaded by a large dignity and eloquence, by a noble melancholy — the melancholy of the woods and mountains at twilight, and yet it suggests with striking vividness the fury of the tempest, and the ferocity of war. Many other performances of MacDowell ' s com- positions took place during his residence in Boston, among which were his Hamlet and Ophelia, Launcelot and Elaine, and a mem- orable performance of the second concerto by Teressa Carreno. 1908 MacDowell enjoved one great adv antage which was denied to most of the other American composers. He had acquired his technical training early in life. At the age of 1 6 and 17 he was in Paris, delving at counterpoint and fugues, and that, too, at 6 o ' clock in the morning. His long resi- dence in Europe at that susceptible period of his life tended to develop his individuality, and he thus became a master of his own style while still a very voung man. Unpatriotic as it mav appear, America did not offer, at that time, a favorable environment for the student of musical composition, although it has since greatly improved in that respect. There were excellent teachers here, but none of the schools could then give students the opportunities we now have in some places in our own country to experiment with an orchestra, either as composer or conductor. Little wonder then that many of the voung Americans went to Munich, Leipzig, or Berlm, where they could at least have occasional opportunity for hearing their own works. Fortunate, too, was MacDowell in his association with Raff. Although a strict disciplmarian (he adhered to the strenger satz in his teaching) Raff was no pedant. His inclination toward the romantic school, and his own consummate technique as a modern orchestral colorist, made him quick to recognize and encourage the poetic and imaginative side of his young pupil, and their relations to one another soon grew into a close and lasting friendship, which lasted until Raff ' s death. MacDowell always spoke of Raff with the greatest enthusiasm, and it was evident that he loved him as much as a man as he respected him as a musician. MacDowell ' s remov al to New York in 1896, when he was ap- pointed to the chair of music at Columbia University, left a void which is still felt in Boston, and his untimely death was not less a loss to the whole country. G. W. Chadwick. ( By permission from The American Dictionary and Cyclopedia of Music.) 128 THE N E U M E 1908 Mr. DARDEN EORD, Editor of ITeume ITew England Conservatory of Music, Boston Mass. My dear Sir: --You ask me to write a few words for the ' ' ixFeume. ' ' I am delighted to do so, as it gives me one more opportunity of saying good-loye to my friends in Boston. I shall always treasure in grateful remem- hrance the concerts I have given in Boston, for I felt that genuine sympathy and musical comprehension of a higher order, which is an inspiration to an artist. ] rew York may spend more money for music than Boston, and yet I consider Boston much more musical and more capa ble of discrimi- nating between an artist who lives for his art, and an artist who lives for what he can get out of his art. And what applies to Boston audiences applies with equal force to the Boston musi- cal critics. I have the greatest admiration for them, for they judge an artist solely by what he plays and how he plays, and judge him fairly-- justly , in the true sense of the word. I cannot say that much of the ITew York critics . Although I have no intentions of ever returning to the United States again, I am frank to say that the opportunity of playing in Boston once more might he a temptation for me to cross the ocean, as much as I dread it. Sincerely yours, 908 THENEUME 129 Requirements as to Theoretical Studies I am glad to act upon a suggestion of the Director, and to ex- plain briefly the requirements as to theoretical studies imposed upon candidates for the Junior and Senior examinations. Last fall these requirements appeared for the first time in the year-book. Since they consist only of a given number of sessions of various studies, and the choice of these studies is left to the pupil, I am sure that the Class of 1908 will allow me a brief space in which to express some ideas which can now be of but little use to its mem- bers who are upon the threshold of their graduation, but which, I am sure, they will not be unwilling to leave for the help of their younger brothers and sisters in the School. The reason for such requirements must be obvious ; thev were formulated not only with the desire to ensure a certain preparation in general musical knowledge upon the part of candidates for the examinations, but particularly to guard against too much theoreti- cal work being left by these candidates to be done during their last two years in the School. From this standpoint, then, it may be well to point out the most advantageous succession of studies in such preparation, from the student ' s as well as the teacher ' s point of view. Those students who presented several terms of Solfeggio, Har- mony and Theory, were particularly tortunate ; tor these studies are, after all, the foundation stones of the structure subsequently to be erected by the teacher of an instrument or of the voice. The various lecture courses may be taken somewhat later, although they are no less essential to the ultimate object of the Conservatory ' s curriculum, which is to send out its graduates equipped not only with complete technical knowledge, but as well with the broad musical culture and artistic taste which are demanded of all musi- cians today. As the Vocal Course already clearly defines the succession of secondary studies, the full course in other principal studies may also be so arranged as to cover the greater part of the secondary work 1908 before the last year. This will leave the senior year free for ad- vanced work in the principal study and for the enjoyment of the unusual ensemble privileges which the Conservatory offers, and which are among the greatest advantages of the Conservatory system. May 1 here extend a most cordial invitation to students who contemplate entering the regular course at any time, to confer with me regarding their preparatory courses at the earliest possible moment. Individual needs will always require special advice, and thus can the office of the Dean of the Faculty, created for the assistance of students and faculty alike, attain its greatest usefulness. Wallace Goodrich. w w (« TATIE LYRICS, No. HL Brightly shine thou star above, Brightly shine on my fair love ; Tell her sweetly, bid her see, Things I oft have told to thee. Whisper softly in her ear, Loving words of tender cheer; E ' er faithful ' igil keep. Lull her spirit to sweet sleep. Send thy rays in beauteous beams To adorn her peaceful dreams. Castles grand and visions rare Shape and build thou for mv fair. Watch unseen thou star above Where by day my fair may rove. Thou her guardian angel be Till she safe returns to me. G. E. M. 1908 THE E i ' A E 131 Some isiting; Artists O the music lover omnivorouslv inclined and gifted with the necessary time and monev, the season ' s musical feast has been exceptionally attractiye, tor, beside the unusual number of minor artists, we have been favored by many of the very greatest, some ot whom have given several recitals, permit- : ::g us to become well acquainted with their peculiar styles. T::c ea on opened October 8th with a concert oiven bv Mac- Millan, the voung American violinist, who rendered a proeram that displayed his command and technic, rather than his ability as a musician. He was followed by Mme. Calve, giving an interest- ing recital that included some of the old familiar Calve numbers : David ' s Mvsoli (sung this time with violin instead of the flute,) and the Habanera from Carmen without which no Calve pro- gram would be complete. Most important among the musical events was the visir of Padereweski to Boston. He introduced us to a new stvle of piano playing in a recital that more than filled Symphony Hall. The first number was his Variations and Fugue, that taxed the en- durance of the piano to the utmost ; in tact during the performance Paderewski showed himselt to be, literally, the world ' s greatest piano pounder, in his attempt to work up an orchestral climax on the instrument. The program, however, was evidently too short tor the insatiable appetites of many in the audience, for they demanded five encores on the last number, and it was only when the movers came and took awav the piano, that the crowd ceased their bravos and other demonstrations and appreciation, and departed. Paderewski also played with the Symphony Orchestra, when he exhibited the wonderful resources of his technic and interpreta- tion in the Rubinstein D minor concerto. On this occasion, the usually staid Saturday evening symphony goers unbent their dignity and insisted upon an encore, and actually got one, in Chopin B flat minor Scherzo. 132 1908 Closelv toiiowing Paderewski came Madame Sembrich in a verv enjoyable program ranging from songs by the older composers, such as Handel and Scarlatti, to compositions bv the most modern writers. ' ery pleasing were three songs written by native com- posers which held their own in the approval of the audience. Probably the most enjoyable series of recitals for the year were those given by Fritz Kreisler in Jordan Hall. Although a master of technic, his programs were made up largely of simple pieces from seventeenth and eighteenth century writers, which charmed even ' - one by their dainty, unassuming musical beauty. As the world ' s greatest violinist, one naturallv expects to see in Kreisler an eccen- tric, long-haired individual, but one is agreeably disappointed, for there is none of the freak in his makeup. In his music and his appearance he is dignified, a man who has none of the conventional marks of Genius about him. For sheer musician-ship, he as- suredly has no equal among the violinists of today. And although he has command ot everv technical artifice known, he never endeavors to excite the audience by a dazzling display of virtuoso pvrotechnics, interesting onlv because of their difficu!t Quite a contrast in appearance was De Pachmann, who is giving a Farewell Tour of America. ( We sincerely hope not.) In addition to a musical program, this e;reat artist treats his audience to an almost continuous vaudeville performance, that to some, at least, greatly mars the artistic enjoyment of his inimitable renderings of classic and modern composers. Under his aa ile fingers familiar compositions, almost worn threadbare by constant use, assume new guises — here a bit of original harmony, there a handful of notes thrown in to help the composer out. And vet vou pardon him in his transgressions, although some ot the liberties he takes would spell ruin for any other virtuoso, but he weaves a spell around the hearer that silences the disapproving critic, until suddenlv comes a grimace, an ejaculation to the audience, or some exaggerated move- ment of the hand, arm or body, the front row laughs audibly, and the charm is broken. Yet you applaud to the echo and demand encore after encore. Other pianists have visited us, men of international repute, who generallv plav to crowded houses, but this season owing to the performances of the two great masters, Paderewski and De Pach- mann, thev have left but a fleeting impression. To name them 1908 will be sufficient: — Rudolph Ganz, Harold Bauer, Mark Hani- bourCT, Richard Beuhlig and the American composer-pianist, Ernest Schelling. Madame Carreno deserves special mention ; besides playing with the orchestra and giving a v ery pleasing recital in Jordan Hall, she has had a remarkable career, aside from her wondertul ability as a pianist. Born in Venezuela, she appeared as a child wonder at the ag e ot nine, and since then has been betore the pub- lic as an opera singer as well as a pianist. She has conducted opera in Venezuela and wrote the national hymn of that country. She has been married three times, to Emil Sauret, the violinist, Eugene D ' Albert, the pianist, and Tagliapatri, the baritone. Most successful was the appearance of Miss Geraldine Farrar, assisted bv Miss Olive Whitely and Gebhard, the pianist. She sang to one ot the largest audiences that has ever crowded Sym- phony Hall. Most of the stage was used for seats and all the available standing room was taken up. That Miss Farrar did not diappoint her audience was shown by the number of encores she received, several of which she sang to her own accompaniment. This recital was doubly interesting to students of the Conservatory owing to the fact that Miss Whitely made her formal debut as a virtuoso on the violin, and nobly did she sustain the reputation of the institution from which she graduated last year, receiving a generous share of the applause. This year the San Carlo Opera Company paid us a three weeks ' visit. Through the management of the Conservatory they ob- tained Jordan and Recital Halls for rehearsals, and in this way we were enabled to see opera in the preparation and gret acquainted with Sig nor Constantino, xAlice Nielson and Victor Slaurel in their street clothes. Victor Maurel gave a short song recital, compli- mentary to the students, that was thoroughly enjoved by every one present. There are few of us who were present who will ever forget The Keys of Heaven, as it was sung by the artist. An attractive series of Sunday afternoon concerts, at Popular Prices, was given by the management of Symphony Hall this sea- son as an experiment. They were fairly well attended but the experiment must have been a failure, for the concerts were soon discontinued. Among those who appeared vyere Bispham, Cam- panari and Fritz Kreisler. 134 THE N E U M E Other artists such as Kubelik, Schumann-Heink, Gadski, Gorgoza, who were with us again this year, need only a passing mention as thev are all familiar to Boston audiences. Nor would it be possible to go into the details of When, Where and How of all the recitals given by all of the artists who have sung or plaved for us since September, in a short article of this nature. We have had a season with more than the average number of good things, musically, and as a consequence, some who ordinarily would had full houses, have been obliged to face empty seats. But on the other hand, rarely have halls been so crowded or audiences more enthusiastic, proving that while the musical profession, especially in the growing artist class, is becoming more and more overcrowded, there is still room on top for those who combine with their tech- nical dexterity, that intangible something known to a musician as temperament and to the layman as soul. w w w TATIE LYRICS, No. VII. Sing ve birds with exultation, Bubb ' ling o ' er with ecstasy, Chase away my sad depression With your sparkling melodv. Dance ye, waves upon the water, On the bosom of the lake, Break upon its stony border, All thy share of pleasure take. Swing ye trees, upon the breezes, Bend and sway upon the wind, Squirrels frisk among the branches, All a rare enjoyment find. I alone, in quiet sadness, Wander on this distant strand Dreaming of the welcoming gladness, And the touch of tender hand. G. E. M. 1908 THENEUME 135 THE BOSTON OPERA HOUSE The Boston Opera Company Conservatory students are especially interested in the new opera house to be built in the near future ; for it seems to promise not onlv the opportunity of hearing grand opera, but also of participating, when prepared, in its performance as well. Q quote from the prospectus of the Boston Opera Company as follows: There is at the present time an opportunity to secure for Boston permanent grand opera in a thoroughly equipped modern opera house. ' In view of the fact that Boston has had to depend for its opera upon traveling companies and the occasional short visits of the Metropolitan Opera Company of New York, which visits may at any time be given up, it would seem that the lovers of opera in and about Boston would be only too anxious to give the present plan the material support necessary to ensure its success. If this plan can be carried out, the Boston Opera Company will take its place among the artistic and educational institutions, such as the Art Museum, the Boston Symphony Orchestra, and the Public Library, of which Boston is justly proud. A citizen of Boston has offered to build an opera house on Huntington avenue. 136 THENEUME 1908 near Gainsborough street and Svmphonv Hall, and to give what verv careful estimates show to be an ample guaranty of the expe nses of the performances of opera for three years. Mr. Henry Russell will be engaged as the managing director, with full power in all matters of production, engagement of artists, etc. The business management will be under the control of the directors through a business manager appointed by them. It will be the policy of the management to maintain a high standard of performance in every detail, and to present an excellent ejisemble rather than to exploit star singers at the expense of every other feature of the production. The best available artists will be engaged, but at all times with a view to the adequate participation in the general ex- cellence of the cast, rather than to their individual prominence. In this spirit only can a truly artistic presentation of opera be made, and it is believed that this will be the first instance in which this principle has been recognized in an American opera house, although it is the basic idea of all continental operatic institutions in which high stan- dards of opera are maintained. Another important feature of the enterprise will be its educational value. Native talent, both executive and creative, will be fostered and encouraged as far as is consis- tent with the best production of opera. An opera school under the best auspices will be established, and native singers of talent will be systematically trained for positions in the Company, thus giving a great stimulus to artistic study in Boston, and, indeed, in the whole country, for native talent will be sought out in all cities, and students who now are obliged to go abroad for practical training and experience, may, in the future, obtain it here. ' It is felt that such an institution once established should prove a model for similar institutions all over the country. The plan is to give a season of fifteen weeks of opera in Boston, divided into two or three periods. Plans are being made for the Company to play for five weeks in other cities under guaranties. During the entire season of twenty weeks (fifteen in Boston), it is proposed that a repertoire of about fifteen operas be presented ; that there shall be four performances a week, three evenings and one afternoon, in all sixty per- formances in the Boston season. It is planned that the price of seats for single performances shall be from three dollars down to seventy-five cents. Thus we see bright days ahead for the Conservatory. Boston may rival New York in the matter of grand opera ; and that is what an institution of our kind needs. The point that seems so important for us, is, that our school will then be in po- sition to train thoroughlv grand opera singers ; its opera school will be one of the great features ; and at last America will be able to claim an institution that can do all for her musicians that thev have heretofore had to seek abroad. THE N E U M E 137 TATIE LYRICS, No. V. Oh, tell me where that I may find The sweetest little flowers, That fondly lean on nature ' s arm And thrive amid the showers. Whose tender roots and velvet leaves And gentle smiling face. Unite and join unto one form Such beauty, charm and grace. Or guide me to the sacred spot Where these fair blossoms shine. In all their simple elegance And daintiness sublime. And I will show you this same spot. From strife and danger free. The place of all the whole wide earth That ' s likest Heaven to me. G. E. M. -TATIE LYRICS, No. VIII. A WORTHY WISH Oh would it were a gift of mine To shape into some noble rhyme, A lofty impulse that would change One life ' s supreme direction. To plant in a yet darkened heart A single seed, that soon would start And lead from out its lonely past To life ' s divine conception. That I might vididly portray To check a soul on life ' s lone way. And launch it full on the calm sea Of human conservation. That I might here unveil His face, Who died to save this broken race And changing its vile sin, to grace And holy consecration. G. E. M. Founder of the New England Conservatory of Music 1908 THENEUME 139 Old Times at the Conservatory Some time durin g the year 1868, a rumor reached the little town in Maine which had been my home for about eighteen years, to the effect that a great organ had been erected in Boston, the yolume of tone of which was so great, that, when it was first played upon, it caused the water of the har- bor to recede, and when it rolled back into place, it submerged the wharyes, and did much damage. About the same time, another rumor which inter- ested me rather more than the first, reached us, that the Conseryatory of Music had offered free courses of study to young people of decided musical talent, who were without means of paying for instruction. I knew I be- longed to the second class, and my friends thought me included in the first, and all considered this opportunity too good to be lost. So after much consultation and deliberation among the members of my family, it was de- cided that I should go to Boston and see what it meant. Up to that time my musical instruction had been limited to a few lessons on the melodeon from a country teacher, preceded by a few terms of country singing school. My fingers were wholly unacquainted with piano-keys, and I had acquired a certain ability at playing jigs upon the fiddle. Indeed my father, who had the old-time, often-met prejudice against the country fiddler, once remarked that if I showed as much ability with the hoe, as I did with the bow, he w ould ha e some hope of me. Right here I will say that in after years he saw that his estimate of music and musicians was wrong, and frankly ac- knowledged the error. On my mother ' s side, howe er, there was no opposition, for her soul was full of song, and whateyer talent I did possess, came from her. Among my earliest recollections is the weekly sing, when all vyho possessed yoices, or thought they did, met and practised the old-time hymns and an- thems — among these my mother was a leader, playing the bass ' iol, and singing counter. She was ready to make any sacrifice, in order that her boy might learn music. At last the paternal consent was giyen, and in December ' 68 I left my home, for the great city and music. N ' ever haying been fifty miles from home before, the journey was fraught with the greatest interest, and I well remember my impressions as we coyered mile after mile of the way. When we arri ' ed at Lynn, which was to be my abiding place for awhile, and being, in the ernacular of Wall street, long of muscle, and short of cash as well as pride, I shouldered my small trunk and followed my guide to the house where I vyas to liye. After a day or two I went 140 THENEUME 1908 into Boston. The Boston of my dreams was reached at last. Naturally it was somewhat bewildering to eyes and ears wholly unaccustomed to city sights and sounds — my guide led me through Portland and Sudbury streets, to Scollay square, up Tremont street to Winter, with frequent lookings back in order to fix certain landmarks in my mind, to assist me in the return to the station. Down Winter street to the old Music Hall entrance we went, and the Conseryatory, the goal of my desires, was reached at last. Up the wide winding stairway to the office, and I was face to face with the founder and guiding-spirit of the institution, Mr. Eben Tourjee, (he was not then musical director). His pleasant face and genial manner were well calculated to put at ease the most diffident country-boy, and his cordial greeting was like that of an old friend. My errand, and the object of my yisit were soon stated, but I was informed to my great disappointment, that I was barred out of the free scholarship by the age limit, which was, I think, fourteen years, while I was seyeral years older. After a careful examination into my natural musical abilty, Mr. Tourjee made me a generous offisr which I accepted, and was enrolled as a pupil at the Conservatory. The institution at that time, had none of its present magnificence ; and I think it might do some of its present attendants good, could they see the place as we saw it then. It was built in tiers of rooms, on the west side of the old Music Hall. The rooms were bare and unattractive, even to dinginess, seven chairs and a piano constituted the furniture, and the evi- dences of the lack of money were on every side. The redeeming features were the sterling qualities of some of its teachers, and the steady, quiet, in- domitable spirit of its founder, and his evident ambition and determination to make it the greatest of its kind in the country. How well he succeeded, the elegant new home on Huntington avenue will attest. Few know, or can ever know, the heart-breaking periods of discouragement which now and then appeared, nor the hard work which he gave to it. I happened to be in the west during one of his lecturing tours, and listened unknown to him, to one of his earnest pleas for music and its elevation in his country to its proper place. At its close he sang a simple, unaccompanied song, which brought tears to the eyes of many present. It was e ident that his religion and his love for the Conservatory went hand in hand, and there was no doubt of the sincerity of either. After my regis- tration as a pupil, I was sent to Mr. George L. Osgood to receive my first lesson in singing. Mr. Osgood was then a lively young Harxard man, a graduate I think, and evidently quite popular with the class of young men into which I was introduced. I stood up and sang a few tones. Your tongue sticks up in your mouth like a huge piece of beef, go home and get it down. This constituted my first lesson, when I went for the second, Mr. Osgood had gone to Europe. I was then given to a man whom we will call Blank, an elderly man who could explode a high-tone startling 141 ettect, but who did not seem to me to he a competent teacher. After a tew lessons I was informed that Mr. Blank had been discharged for incompetence and self-conceit. I then went under a Signor Alfredo Tannotta, who had been, I believe, a french horn plaver in some orchestra. He was doubtless a good horn plaver. He soon went west. I was then sent to Mr. John O ' Neill, and put in a class of voung ladies. This was an embarrassing situation for me, as I had alwavs been a shamefaced and diffident vouth, I did not mind the bovs much, but the girls However, I remained with them until the end of mv Conservaton ' studv, with now and then a male creature to share mv miserv. Young men vocal students were scarce evidentlv. Of Mr. O ' Xeill I can onlv sav that he was ever a conscientious and painstaking teacher, alwavs giving his best to his pupils. I found however, that I often came out short in mv allotted time, for with six in a class, the ten-minute period was quicklv past, and before the teacher realized the flight of time, the next period would be encroached upon. As I was generallv called up last, I frequentlv found mvself with not much time for a lesson. Meantime I had been studving the piano with arious teachers, and end- ing up Stephen A. Emerv, who was also mv teacher in Harmon v. Those of us who were fortunate enough to come into contact with Mr. Emerv, know well his sterling qualities as a man and a musician. He was a thorough gentleman, college-educated, with ad antages of tra el and studv abroad, he was worthv the regard and respect which I am sure all his puplis felt for him. When I hrst entered the Conservatorv, there was no par- tition between the rooms on the upper floor and the upper balconv o f the Music Hall, and manv a time I eluded the watchful eve of the usher, and slipped into some entertainment which might ha e been going on in the hall — manv a stolen Svmphonv Concert did I enjov thus surreptiouslv. But flnallv the managers of the hall erected a high iron fence, along the corridor, the scaling of which was a somewhat dangerous, though not impossible feat, onlv the ad enturous bovs ever attempted it. The girls, alas, were barred out. I might relate manv an anecdote of those old davs, but time and space forbid. After mv three vears of studv it was mv fortune to be se- lected as one to make up a respectablv-sized class for graduation. I suppose that inasmuch as the Conser atorv was a voune institution, material was scarce, and perhaps I was the best male vocal-material ax ailable. At least, I was the onlv graduating male vocalist, if I remember right. The selection I perpetrated was Handel ' s Deeper and Deeper Still and Waft her Angels ; of the performance, I do not remember much, and perhaps it is as well so. I do remember that I was not conscious of anv support to mv bodv while singing it. I suppose I must ha e walked on and ofl- ' the stage, however. It was a great occasion, probablv the greatest I shall e er assist at — at least it seemed so then. The diploma which I recei ' ed also 142 THE N E U M E 1908 had its weight, for some years afterward, while teaching in the west, a fond parent brought his daughter in, and after closing the bargain for lessons, pointing to the diploma which was hanging on the wall duly framed, said, Now you must work hard and become a good player, for he — naminti me — has been there, he knows it all. I cannot refrain from indulging in the regret that my life of study at the Conservatory is not just beginning, instead of ha ing passed so many years ago — surely it is only we who were with it in those days, those darkest days in its history, who can fully appreciate the changes that haye taken place in its surroudings, its requirements and advantages, and we may easily be par- doned, if we feel a little en ' ious of those who are so favored today. The Conservatory has at last a firm hold upon life, and a great and never-ending work before it. James Carroll Bartlett. Class of 18 I 1908 THE N E U M E 143 Conservatory Concerts and Recitals IN JORDAN HALL A quarter of a century ago the Bostonian was content to pose as a critic — a non- performing critic — and was content to listen to the best. But, owing mainly to the influence of the Boston Symphony men as teachers and the increasingly high standard of the New England Conservatory, the present generation of local students of music have carried their studies to such an advanced degree that they themselves essay to do what they see and hear the greatest professionals do, and are not content, as were their parents, to simply sit and listen. The students ' musical atmosphere, peculiar to the Conservatory alone, pictures itself in the following paragraphs and programs of concerts, recitals, etc. On Tuesday afternoons our Conservatory Orchestra meets for rehearsal under the conductorship of Director Chadwick; and the Conservatory student, no matter in what department he may be studying, misses the best opportunity to be had in America to obtain a broader musical understanding, if he fails to be present at these rehearsals a?id pay close attention to the criticisms of the conductor. The most distinguished visitor to these rehearsals the past year was Paderewski. On this occasion Miss Florence Larrabee, ' 08, played the master ' s own piano concerto with orchestra. Suffice to say that both Miss Larrabee and our orchestra received the very warmest compliments from this world-famed artist. Now we come to the complete list ot programs for concerts, recitals, etc., which have occurred during the vear 1907-08, up to the time this volume goes to press. Hitherto, simplv a list of such events has appeared in our Neume, but this year we are incHned to enter into detail with this brilliant array of musical treats. Especially proud is ' 08 of members of her own class who have appeared so successfullv in the following progra ms: SEPTEMBER 30, 1907 Concert by Advanced Students Adagio and Finale, fi-om the Fourth Organ Sonata Miss Ethel May Judd (Jackson, Mich.) Pianoforte — Nocturne in D flat Etude in G flat Mrs. Mabel Metcalf Holmes (Brookline) Songs — Mai Le Poete au Calife Miss Mary Strickland (Brookline) Trio in D minor (first movement) Miss Katherine Jester, Pianoforte (Athens, Ga.) Mr. Vaughn Hamilton, Violin (Bangor, Me.) Miss Virginia Stickney, Violoncello (Medford) Mendelssohn Chopin Hahn Hue Mendelssohn ORGAN IN JORDAN HALL 1908 THENEUME 145 Wieniavvski ....Violin — Romanza from Concerto in D minor Volpe Mazurka Miss Olive Whiteley (Kansas City, Mo.) Brahms Songs — Sapphic Ode Chad wick I said to the wind Miss Jessie Swartz (Albany, N. Y.) Beethoven __ ...Pianoforte — Adagio and Finale, from Sonata, Op. 53 Miss Selva Larramendi (Ponce, Porto Rico) Leoncavallo Prologue to Pagliacci Mr. C. Pol Plancon (Danbury, Conn.) Guilmant Finale from Organ Sonata in D minor Mr. Horace Whitehouse (Lorain, Ohio) OCTOBER 23, 1907 Organ Recital by Mr. Homer Humphrey of the Faculty Ch. M. Widor Symphonic Gothique, Op. 70 I. Moderate II. Andante sostenuto IV. Moderate — Allegro — Moderate — Allegro Handel . Concerto in D minor (Transcribed from the original score by Alexandre Guilmant) I. Andante quasi allegretto II. Adagio III. Allegro A. Guilmant Lamentation, Op. 45 Louis Vierne Scherzo Cesar Franck .. Cantabile Homer Humphrey Finale in C major (MS. First time) OCTOBER 30, 1907 Concert by Advanced Students Bach Prelude in E minor for Organ Miss Alice M. Shepard (Roxbury) Sibelius ...Pianoforte — Romanze Liszt..... Etude, Gnomenreigen Miss Pauline Tranfaglia ( Boston) Haydn Aria, Del mio core, from Orfeo Miss Marion J. Henderson (Chelsea) Spohr ._ Concerto for Violin (Gesangscene). Andante and Allegro Master Maurice Warner (Brooklyn, N. Y.) Schubert- Liszt . Pianoforte — On the wings of song ' ' Hark, hark, the lark Miss Edith Wells Ely, 1906 (New Albany, Ind.) Schubert Song — Die Allmacht iMiss Florence Jepperson (Provo City, Utah) 146 THENEUME 1908 Liszt Pianoforte — Consolation, in E Etude in D flat Mrs, Nyra W. Hartmann, 1906 (Allston) Massenet Song — Vision Fugitive Mr. Charles Amadon, 1906 (South Boston) NOVEMBER 8, 1907 Recital of Music for Two Pianofortes By Miss Edith Wells Bly, ' 06, a?id Miss Liliaji Goulston, ' 08 Saint-Saens Variations on a Theme by Beethoven Reinecke Impromptu, Op. 66 Schumann Andante and Variations Brull... ..Sonata, Op. 19. Allegro and Scherzo Saint-Saens _. Danse Macabre Lysberg Fantasie on Themes from Weber ' s Operas NOVEMBER 11, 1907 Pianoforte Recital by Mr. George Proctor of the Faculty Schumann Humoreske, Op. 20 Chopin Etude Berceuse Waltz in A flat Fantaisie in F minor Claude Debussy Toccata in C sharp Arensky Prelude, Op. 63, No. i C. W. Chadwick . ... Le Ruisseau Liszt _ Polonaise in E major NOVEMBER 13, 1907 Concert by the Conservatory Orchestra Assisted by Adva?iced Stude?its Mr. George W. Chadwick, Conductor Beethoven Overture, Coriolanus ' ' Weber... Concertstuck in F minor, for Pianoforte Miss Ariel Gross (LaCrosse, Wis.) Mackenzie a. Benedictus Pugnani (1732) b. Les Commeres (Louis XV.) Instrumentation by F. S. Mason Played by all the Violins (twenty players) Haydn Aria from The Creation, With verdure clad Miss Grace Field (Denver, Colo.) Mozart Symphony in C major (Jupiter) 1908 THENEUME 147 NOVEMBER 25, 1907 Concert of Compositions by Sig. Riccardo Lucchesi of the Vocal Faculty Assisting Artists Mrs. Frances Dunton Wood, Soprano Miss Anna Miller Wood, Alto Mr. Clarence B Shirley, Tenor Mr. John B. Whorisky. Baritone Mr. C. Pol Plancon, Baritone The Hoffman String Quartet Mr. Jaques Hoffman, First Violin Mr. Karl Rissland. Viola Mr. Adolf Bak, Second Violin Mr. Carl Earth, Violoncello Mr. Homer Humphrey. Organist Chorus — Miss Henderson. Miss Freeman. Miss Woodcock, Miss Schwartz, Miss Brushingham, Miss Cutler, Mr. Kerr, Mr. Dravton, Mr. Blatchford, Mr. Gould, Mr. Kimball, Mr. Fontaine PROGRAM I. a. Ritornera b. Duolo c. Rapture Mr. Whorisky II. a. Soave Melodia b. A Te c. The Flight d. The Rose Mrs. Wood III. Quintetto in C major. Op. 47, for Pianoforte and String Quartet Maestoso Scherzo Cantabile Rondo Finale (Composed in 1888) Signor Luchessi and Hoffman String Quartet IV. a. T ' Amo b. Serentella c. Unchanged d. The Question Mr. Shirley V. a. Recollection i b. Canto d ' Autunno c. Foglia Gialla d. Illusion Miss Wood VI. a. Gloria b. Benedictus (From Missa Brevis, Op. 85) Mrs. Wood, Miss Wood, Mr. Shirley, Mr. Plancon and a chorus of mixed voices ♦Written expressly for Mrs. Frances Dunton Wood tWritten expressly for Miss Anna Miller Wood DECEMBER 4, 1907 Recital by Victor Maurel Through the courtesy of .Mr. Henry Russell, Director of the San Carlo Opera Company Grieg ...Xa Jeune Princesse Massenet Marquise Verdi Quando ero ' paggio (FalstafF) Gounod Serenade de Mephistophele (Faust) Old English Song The keys of heaven ♦Students also had the exceptional opportunity of hearing this entire company rehearse at the Conservator} such operas as Faust, ' Aida, La Giaconda, 11 Trovatore, etc., previous to its engagements in Boston and other cities 148 THENEUME 1908 DECEMBER 10, 1907 Pianoforte Recital by Mr. Frank Watson Scarlatti Sonata in D major Beethoven Sonata in A flat major. Op. 26 Andante con variazioni Scherzo Marcia Funebre Allegro Schumann , Etudes Symphoniques, Op. i 3 Chopin Etudes, Op. lo, Nos. lo, 5, 7, 12 Wagner-Liszt. Isoldens Liebes-Tod ' agner-Tausig Der Ritt der Walkuren DECEMBER 20, 1907 Concert by the Conservatory Orchestra Assisted by Advanced Students Mr. George W . Chadivick . . Conductor Mendelssohn Overture, ' Ruy Bias Paderewski Concerto for Pianoforte (first movement) Miss Florence Larrabee (Petersburg, Va.) Haydn Symphony in E flat major. No. 3 Adagio vivace assai Adagio Menuetto (allegretto) Vivace Chadwick Prayer from Judith Miss Jessie Swartz (Albany, N. Y.) Liszt . Symphonic Poem, Les Preludes (After Lamartine) JANUARY 13, 1908 Pianoforte Recital by Miss Edith Wells Ely Beethoven . Six Variations in F major. Op. 34 Mendelssohn Song Without Words, E major Caprice in E minor Chopin Sonata in B minor Allegro maestoso JVIolto vivace Largo Presto non tanto Schubert- Liszt .. Auf dem asser zu singen Rafi « ' Mahrchen Liszi Rhapsody, No. 9 (Le Carneval de Pesth) JANUARY 15, 1908 Concert by Advanced Students Rheinberger Fantasie Sonate for Organ (first movement) Mr. Llewellyn Evans (Hyde Park) Meyerbeer . Aria, Roberto, O tu che adoro Miss Alice Pearse (Attleboro) 1908 THE N E U M E Schubert ..Pianoforte — Impromptu in G Schubert-Liszt : ' Erlkonig ' ' Miss Mary C. Eliot (Fargo, N. D.) Saint-Saens Introduction and Rondo Capriccioso for Violin Miss Josephine Durrell (Melrose) Bach Toccata in D minor for Organ Mr. Charles H. Doersam (Scranton, Pa.) Liadow . Pianoforte — Birioulki (Carneval) Miss Sarah Paeff (Boston) Massenet Aria from Le Cid, O souverain o juge o pere Mr. F. Otis Drayton (Boston) Chopin ..Pianoforte — Variations in B flat Miss Gertrude Urban (Dorchester) Liszt Songs — Du bist wie eine blume Chadwick ' O let night speak of me Brahms Vergebliches Standchen Mr. Lloyd G. Kerr (Corsicana, Texas) Guilmant . . . Sonate for Organ, No. 7 (first movement) Miss Alberta Amstein (Shelburne Falls) JANUARY 24, 1908 Concert by the Conservatory Orchestra Assisted by Advanced Students Mr. George W. Chadwick, Conductor G. Buonamici Concert Overture (First time in America) Wagner Aria from Tannhauser, ' Dich Theure Halle Miss Charlena Freeman (Amherst, N. S.) Saint-Saens Concerto in C minor for Pianoforte Allegro Andante Allegro Miss Mary Moore (Allston) Bemberg Arioso, Du Christ avec ardeur, (La Mort de Jeanne d ' Miss Nellie Brushingham (Chicago, 111.) Weber Concerto in F minor for Clarinet (first movement) Mr. Ralph Lick (Kenton, Ohio) Donizetti Sextet from Lucia di Lammermoor Miss Stella Crane (Concord, N. H.) Miss Ethel Keach (Boston) Mr. Howard W. Lyman (Rochester, N. Y Mr. F. Otis Drayton (Boston) Mr. C. Pol Plancon (Danbury, Ct.) Mr. John J. Mogan (Waltham) Rubinstein Ballet Music from Damon Moderate Allegro Conducted by Sig. Pietro Vallini 150 JANUARY 28, 1908 Ei ery student a graduate; e -ery graduate an alumnus ' ' ' The Alumni Association of the New England Conservaton- of Music COSTUME CARNIVAL Complimentan ' to Conservator)- Students Symphony Hall, Boston Concert by the Conservatory Orchestra Mr. George W. Chadwick, Conductor Mendelssohn Overture, Ruy Bias Mozart ..Aria from Marriage of Figaro, Non piu andrai Mr. C. Pol Plancon Gillet .....Entr ' Acte, Gavotte Donizetti ...Sextet from Lucia Miss Stella Crane Mr. F. Otis Drayton Miss Ethel Keach .Mr. C. Pol ' Plancon Mr. Howard W. Lyman .Mr. John J. Mogan Mendelssohn .. .Wedding March See article on Carnival by Mr. Percy Jewett Burrell JANUARY 31, 1908 Entertainment given by the Senior Class Under the direction of Mr. Clayton D. Gilbert I. The ' oice of Sakin. . From Told in the Gate, by Arlo Bates. This poem will be read by Dr. L. B. Fenderson, and the incidental songs, which have been set to music by Mr. George W. Chadwick, will be sung as follows: In mead where roses bloom Miss Lottie McLaughlin Sister, fairest, why art thou sighing? Miss Jessie Miriam Svvartz O let night speak of me Mr. C. Pol Plancon I said to the wind of the South Miss Swartz Selection bs Quartet II. Beethove.n. a dramatized episode from Beethoven ' s life, in one act. From the German of Dr. Hugo Muller, by Gustave Hein Ludwig Van Beethoven Louis Besserer, Jr. Frau Fadinger, his landlady Mar - Thompson Clara, his daughter Lillian Herbert Frau Sepherl, a washerwoman Frances Peabody Franz Lachner, a musician Karl Rackle Adelaide Jessie Miriam Swartz The piano used in the play, Beethoven, was made in Vienna about 1820, by Conrad Graf. It is exactly similar to one made by the same maker for Beethoven, and used by the composer during the last years of his life. It is the property of Messrs. Chickering Sc Sons, who have lent it for this occasion. — Mr. Dolmetsch. Selection Quartet 1908 THE N E U M E III. Pantomine, Pierrot ' s Pierrette. In one act. Written bv Mr. Gilbert. Music arranged by Mrs. Patten story in a garden of long ago. Told in pantomime or dumb shtrw ' Gardner Lillian Herbert Prim f Lucy Peer - Prude S Loretta ' s aunts Frances Peabody Precise J [ Mar ' Thompson Loretta, afterwards Pierrette Katherine Porter Pierrot Xellie Cassidy Pantaloon I ( Xina Gray Harlequin . , J Mabel Wilcox „ , , . t strolling nlavers . , . . , Columbine Katherine Quimbv Polinchella J [ Mildred Levi yt rr.ar. from the moor., the used to -as, IV ould come to the earth on some fine das And carry aivay a maid, forever and zye The dance has been specially originated by Mrs. Lilla Viles Wyman, and coached by Mrs. Patten. FEBRUARY 24, 1908 Pianoforte Recital by Miss Florence Fern Larrabee ' oS Tschaikowsky Theme Original et ariations, Op. 19, Xo. 6 Schubert Impromptu, Op. 90, Xo. 4 Beethoven Rondo a Capriccio, Op. 129 The rage over a lost penny Schumann Da ' idsbundlertanze, Op. 6 Rubinstein ... Barcarolle in G Moszkowski Etincelles ( Sparks ) Schubert- Liszt Wohin : Liszt ... Gnomenreigen Liszt Tarantella, ' enezia et Napoli THURSDAY. FEBRUARY 27. 1908. at 230 P.M. Violin Recital by Master Samuel Gardner Pupil of Mr. Fe.ix JVintt rr.it z Assisted b Miss Pcdrl Dillon, Soprano Miss Mansir, Accompanist Bruch Concerto in G minor, Xo. i Prelude Adagio Finale Wieniawski Scherzo and Tarantelle Mascagni Romanza e Scena, o lo sapete, Cavaileria Rusticana Wieniawski .. Airs Russes (Souvenirs de Moscow) Vieuxtemps Fantasia Appasionata 152 THE N E U M E 1908 FEBRUARY 27. 1908. at 8.15 P. M. The Fifth Anyiual Music ale by Alpha Chi Omega Liszt Sonate in H moll Miss Evangeline Rose Bridge Godard Adagio Pathetique Miss Carrie Aiton Whelplev - I know a hill Chadwick He loves me ' an der Smcken . Joys of youth Miss Xellie P. Brushingham Chopin Preludes, Nos. 6 and 23, Op. 28 Liszt Gnomenreigen ' ' Miss Annie Merle Reynolds Moszkowski Suite for two Violins II. Allegro moderato IV. Molto vivace Misses Aiton and Josephine Durrell Schubert An der Music ♦ Der Tod und das Madchen Brahms Standchen Rachmaninoff . Floods of Spring Miss Mabel Stanaway Saint-Saens Danse Macabre Misses Edith Blv and Lillian Goulston Schubert Slavjk .. . olkman ' erdi Goldmark FEBRUARY 28, 1908 Concert by the Co?iservatory Orchestra Assisted bs Advanced Students Mr. George W. Chadwick, Conductor Symphony in B minor (unfinished) Allegro moderato Andante con moto Concerto for Violin Instumentation by F. Stuart Mason Master Maurice Warner (New York Citv) Serenade in D minor for Moloncello Solo and String Orchestra Solo by Miss Virginia Stickney (Medfbrd) Aria, Eri tu, from Ballo in Maschera Mr. Leon R. Maxwell (Winchester) Overture, Sakuntala MARCH 6. 1908 Concert by Advanced Students Chopin Pianotbrte — Nocturne in A flat Scherzo in C sharp Mr. Karl E. Rackle (Canton, Ohio) 1908 THE X E L ' M E 133 Massene: Aria, II est bon il est doux, trom Herodiade Miss Theresa Mahonev (Lawrence I ' ienia v ki Airs Russes Miss Carrie Aiton iBelrield, Va. ) Eigar Two Partsongs tor Women ' s Chorus The Snow i . Flv, singing bird Conservator)- Choral Club Violin Obligatos, Misses Aiton and Josephine Durrell Moszkowski . Pianoforte — Barcarolle in G, Op. 2 Miss Alice M. Xewhall, ' o iLynn Saint-Saens.. Aria, Mon coeur s ' ouvre a ta voix, Samson and Delilah Miss Gladys M. Richey iLos Angeles. Cal.) Perilhon . Molin — Gigue Hure . Air Hubay Harlequin Mr. Louis Besserer (Roxbury) Dvorak Quartet from Requiem Mass Miss Marion ]. Henderson (Chelsea) Miss Florence AL [epperson (Provo, Urah Mr. Walter L. Boyd (North Cambridge) Mr. Frederick L. Huddy (Dorchester Chopin Pianoforte — Ballade II., Op. 3S Rubinstein Etude in C, Op. 23 Mr. Benedict |. Fitzgerald (Cambridge I Wagner . Spinning Chorus from The Flving Dutchman Conservatory Choral Club Cesar Franck . . Finale in B flat for Organ Miss Mary W. Karlmann ( Terry ville, Conn.) MARCH 19, 1908 Pianoforte Recital b Miss Max Belle Hage ion ' Raff ... . . . ..Giga con ariazioni Scarlatti Two Sonatas, G major and C major Beethoven . Ecossaissen Schumann . Wanim Traumes ' irren Fantasia, Op, i ( hrst movement) (Durchaus phantastich und leidenschaftlich vorzutragen) Chopin Ballade in A flat Etudes, Op. 25, Xos. -, 9 and 12 Liszt . Rhapsodic, Xo. 12 154 THENEUME 1908 MARCH 24, 1908 Pianoforte Recital by Mrs. Nyra Watson Hartman Beethoven ..Thirty-two ariations in C minor Mendelssohn.. Song without words, Op. 62 Spinning Song Schubert Minuet Schubert-Liszt Soirees de Menne, No. 6 Rubinstein Barcarolle in A minor Wagner-Brassin Feuer-Zauber from Die Walkure Schytte Over the Prairie Weber .Concertstuck Orchestral parts played on a second pianoforte by Miss Stovall MARCH 30, 1908 Dramatic Recital by Pupils in Lyric Action Under direction of Mr. Clayton D. Gilbert Miss Minnie M. Stratton, Accompanist I. Scene from Hansel and Gretel, bv Humperdinck Gertrude, the mother Miss Grace Field Hansel children M ss Lillian Herbert Gretel S Miss Josephine Gibbons II. Good-Night, Babette. A musical idyll Monsieur Vieuxbois Mr. Louis Besserer, Jr. Babette Miss Josephine Gibbons III. Paquerette (Le Manage aux Lanterns) Operetta in one act Babolet, a peasant Mr. L. G. Kerr Paquerette, a young orphan, his cousin Miss Edith Nickell Navette .,, ( Miss Lillian Herbert Bleuette J Miss Ida Pierce APRIL 1, 1 Pianoforte Recital by Miss Louise Daniel Beethoven Sonata, Op. 2, No. 3 Allegro con brio Adagio Scherzo Allegro assai Chopin Ballade in G minor Nocturne in C sharp minor Valse in D flat Scherzo, Op. 20 Faure Nocturne, Op. 33, No. i DavidofF-Vogrich At the Fountain Rubinstein ...Valse-Caprice 1908 THENEUME 155 APRIL 3, 1908 Pianoforte Recital by Mr, Edwin Klahre of the Faculty Cramer No. i. Allegro 7. Moderate con expressione 12. Lento 43. Andante maestoso et espressione Clementi (Gradus) No. 3. Allegro 7. Vivace non troppo 25. Molto allegro Czerny ..Op. 740 No. 28. Allegro vivace 17. Molto allegro 14. Allegro 7. Molto allegro Henselt Op. 2 No. i . Allegro molto agitato 2. Allegro moderato 6. Allegro Kullak ...Octave Studies No. i. Allegro 2. Allegro scherzando Chopin ...Op. 10 No. I. Allegro 2. Allegro 3. Lento, ma non troppo 4. Presto 5. Vivace 6. Andante 7. Vivace 8. Allegro 9. Allegro, molto agitato 10. Assai vivace II. Allegretto 12. Allegro con fuoco Rubinstein..... C major Liszt La Campanella APRIL 13, 1908 Pianoforte Recital by Miss Marjorie Church Bach Prelude and Fugue in A minor Gluck-Brahms Gavotte Beethoven Polonaise Schumann..... Carnaval, Op. 9 Chopin Nocturne, Op. 37, No. 2 Valse, Op. 34, No. i Chadwick The Gloaming -The Frogs MacDowell.. Witches ' Dance Liszt Etude de Concert in D flat Polonaise in E 56 THE N E U M E 1908 His Call at the Dormitory E met her at a picnic in his native town, in Maine, and she was going awav. He had been very nice to her during her vacation, and she said now vou will come and see me won ' t vou when vou come to the city. You come sometimes, don ' t your And he said he never had been to Boston, but was going soon and would be glad to call. Well, do come, she said, and I ' ll try and make it pleasant for vou. Take a Huntington Avenue Car, I live at the dormitory on Hemenwav Street. You can ' t help finding it — thank vou awfully for your kindness — don ' t fail to come — well, good-bye, and she was gone. He thought he would take her a bunch of pinks, and with them in his hand he sauntered up Gainsboro Street, and looking up saw before his eyes a large four story building, the front full of win- dows, and the windows tull ot girls, three or four to a window, and all looking at him. Some were waving handkerchiefs, some w re throwing kisses, but one and all gazing at him! His face bee an to turn red, he knew then for the first time in his life that his clothes didn ' t fit him; that his necktie was the wrong color; that his hat was out of style, and he knew he was as much out of place as a pair of cymbals in a church choir. He didn ' t dare go back, and was afraid to go on, but realizing that he must do some- thing, he marched up to the door and rang the bell, and was shown into the parlor. Would he send up his card: Card. he never owned a card in his life! no, just tell her ' twas Mr. Blank. Had he not made a mistake and gotten into an insane asylum instead of a dormitory? What were those yells and shrieks? Someone was being murdered, he was sure; and those other noises; seventeen pianos all banging out different tunes in different keys, a cornet over there, a clarinet up there, and the twang of a guitar down there. Heavens, he wished she would come, for he would go crazy himself soon. He hears a step, and a girl bounces in and says, 1908 THENEUME 157 beg pardon! and is out again. In a minute another comes in saving, Mary, where are vou? oh pardon me, and out s ie goes. Before his friend arrives fortv-three girls had been in, looked at him and begged his pardon, and everyone had glanced at his bunch of pinks and said, Oh, and he wished they were in the bottom of Charles River, and when his friend finally did appear he was so flustered that he forgot to give her the pinks, or ask her to go to the theatre as he intended, and he couldn ' t think of anything to say, and his trousers kept hitching up, and he wished he was home again, and the long call he intended to make was cut down to a few minutes. If he would only call she would make It pleasant for him! And she had, and he got up and said good- bye and disappeared up Gainsboro Street, and didn ' t look around to see the fluttering handkerchiefs and the faces at the window, and if he lives to be as old as Methuselah he will shun the dormitory on Hemenway Street as he would a pest house. THE N E U M E 1908 Verse TO A MOSQUITO The pilfering, pestering drunkard of blood, The scourge of the doorvard, the meadows and wood That ' s following alwavs wherever vou go Just aching to bite vou and hll you with woe. His poisoning gimlet so teeming with vice He brazenlv offers as if it were nice, With sulphurous glee he bids vou to choose The place of reception, and dares you refuse. With parental vigilance ' round you he hovers In that sweet devotion peculiar to lovers. Of the lingering type is his touching caress Tho ' the shortest too long, I frankly confess. And how strangelv we ' re wafted to rapture ere long, By the hum of his wings in melodious song And how vain the attention on him we ' d bestow. If his bartering spirit he never would show G. E. M. w It w THE SINGER ' S CURSE She warbled at eve, a mvstic tune, A strange, strange air sang she. And she sang it at morn, and she sang it at noon; It seemed like the song dogs sing at the moon ; And onward and on sang she. O maiden ! I asked, why warble so In the midst of the night and dav ? Whv thus doth unceasing your wailing flow? You ' re disturbing the neighborhood, vou know; Oh, cease for a moment thv lav. The look she ga e would a mummv freeze. And I saw her anger grow. As she said: You ' re too vulgar for arts like these ; I shall sing as loud and as long as I please, — I am learning Solfeggio ' Louis C. Elson. THE N E U M E ICONOCLASTIC HERESY THOUGHTS SUGGESTED BY SOME RECEXT SYMPHONY CONXERTS Oh I tor the lilt of a ripping good tune, With a sparkling rhythmical snap, To drive the blue de ils avvav to the moon. And give our black worries a nap. Bosh ' Reger and D ' Indv and that fellow Strauss, Awav with the whole cussed crew, Down with their fearful discordant rough-house, Polvphonous, cacaphonous stew. The Muses flv trembling, a terrified rout, Apollo long since smashed his lyre. When taking old |Richter and Stainer and Prout We chucked the whole bunch in the fire. Hadvn and Mozart must writhe ' neath the sod. Stirred up bv this nauseous sound. But Beethoven blessed bv a merciful God, With deaf ears sleeps under the ground. So here ' s to a tune that will lighten the heart. And tingle the blood all aglow. No more of this drv-as-dust, petrified Art. Give Herbert and Sousa a show. w w w THE CRITIC ' S SOLILOQUY What can I sav about Miss Squawk, The recent vocal comet? I ' ve got to write her concert up, And I was absent from it. I think I ' ll gi ' e a meed of praise. Just tinctured with formalities, And trv to find a refuge safe In glitt ' ring generalities. It ' s safe to sav She sang with grace And gave her friends much pleasure. I think I ' ll add, The audience Applauded without measure. 160 THENEUME 1908 I now must add a fault or two : The singer ' s intonation Was sometimes just a trifle flat, (To save mv reputation). But still her oice gi es promise great (These promises are easv), And in its upper register Is pearlv, sweet, and breezv. We hope to hear her soon again. There I nothing could be finer. She surely wnll be satisfied With such a fair ten-liner. Louis C. Elson, w w w OUR BAWL TEAM Oh ! see the high soprano. Shriek a mile abo e the staff; As she reaches up on tip-toe, Watch her climb another half. And still she keeps on soaring. Higher, higher in the air ; The critics sav, She ' s out of sight. Well ! she must be ' wav up there. Behold the long lank tenor, With a oice I ' d hate to own ; Whv did they make the insect. ' Old Xick knows this alone. Its wails, so weird and woful. Raise the hair right off vour head 0 that I had a gatling gun ' I ' d pump him full of lead. Now hear the noble basso. With his subterranean growl. How the walls and ceilings tremble; How the dogs out-doors do howl. Get the hook ! Sav, get a lemon ! Do we hear the gallerv scream r Take awav the vocal demon. Put him off our bass-bawl team. 908 THE N E U M E Eddy Berry Eddv Berrv ' s very cheerv When the rest of us are merry, But it puts him in a flurry, If vou call him in a hurry. And so you must give him leisure, If you want to give him pleasure. For he takes his time and dances, And he staggers and he prances And he makes those charming gestures Of his hands in rhvthmic measures. Showing how the music rises. In a manner that surprises. Also how it decrescendoes With those graceful ritardandoes. See those rhvthmic lingers mo ' ing See those circles, tender, loving ! Now a theme he is caressing. Now a full return is blessing ; Now a climax he is jamming Now a cymbal he is damming. Do but watch him go to pieces As the sound of music ceases. For he staggers and he prances. And he takes his time and dances ; And if you would give him pleasure. You must gix e him lots of leisure. Never call him in a hurr ' . Or you ' ll put him in a flurry. When the rest of us are merrv Eddv Berry ' s ery cheery. YE TUNERS If e ' er vou want to hnd A good jollv fellow. Go down in the subwav. Go down in the cellar. 162 THE N E U M E 1908 Senior Yells Count ) E-i-g-h-t ; Rah ! E-i-g-h-t ; Rah ! E-i-g-h-t ; Rah ! Nineteen Eight. Rah ! Rah ! Rah ! Boom ! ! ! Ought Eight. 2. Rah! Rah! Rah! Eight, (fast) Rah ! Rah ! Rah ! Rah ! Rah Rah! Rah! Rah! Eight. Rah 3- 6. 1—2—3—4—5—6—7 o — o — o — o — Eight. One-a-zipa! Two-a-zipa! Zipa — Zipa — Zam Seniors! ! Seniors! ! Beat ' em if you can. Boom-gig-Boom ! Boom-gig-Boom ! Boom-gigger-rigger-gigger-Boom ! Boom ! Boom ! Hee! Hee! Hee! Hah! Hah! Hah! Seniors — Seniors Rah! ! Rah! ! Rah! ! What ' s the matter with He ' s all right! Who ' s all right r Che Hee! Che Ha! Che Ha! Ha! Ha! Seniors ! Seniors ! Rah ! Rah ! Rah ! The Neume. 9. Rack-er-te-crack ! Boom! Boom! Seniors! ! 10. Sis — Boom — Bah! S-E-N-I-O-R Rah, Rah! ! Rah, Rah! ! The Neume. I I. Twiddle! Cow ink! Cowink! Cowink! We are the people, so we think! Halabaloo! Who are we ? (up) Seniors ! Seniors ! N. E. C. 12. Higar-higar-higar, Sis Boom Bah, Seniors! Seniors I Rah! Rah! Rah! Ought Eight ! 13. Boom-a-slicker ! Boom-a-slicker I Sis! Boom! Bah! ! Seniors! Seniors! Rah! Rah! Rah! 14. Hokey— Pokey ! Sis — Boom — Bah ! Ricketv — Rickety ! Rah— Rah— Rah! Razzle — Dazzle ! Ki— Yi— Yi! Juniors — Juniors! My! OH, My! 1 5 . Who are they r Can ' t you see ? Thev are Juniors Of N. E. C. Are they in it ? Guess they are! Junior — Juniors, Rah— Rah— Rah! Rah— Rah— Rah! Rah— Rah— Rah! Rah— Rah— Rah! Seniors! ! 16. N. E. C. rah, rah, rah! N. E. C. rah, rah, rah! N. E. C. rah, rah, rah! Seniors! ! 164 THENEUME 1908 Applied Quotations And still the rain keeps comin ' , and still he keeps a hummin ' . — If m, H. Dunham. There ' s manv a slip, ' twix the horn and the lip. — Chas. Cole. Who chooses me shall gain what manv men desire. — Pearl Dillofi. Thev stick together so thev cannot be sundered. — Misses Aiton and DurrelL Three is a crowd, and there were three, Dot, the parlor lamp and me Two is companv, and that, no doubt Is the verv reason the lamp went out. — H. JVh ' itehouse. Pandora ' something stung me. — Karl Rackle. An ill-favored thing, sir, but mine own — Hamilton ' s cigarette. Mv life is one dem ' d horrid grind. — Lingley. His voice Irregularlv deep and shrill bv hts; The two extremes appear like man and wife Coupled together for the sake of strife. — (The late) Harrx Pinkha?ii. Her oice was ever gentle, low and soft. An excellent thing in woman. — Xellie Brushingham. I awoke one morning and found mvself famous. — Louis Besserer (after the plav). She ' s a winsome wee thing She ' s a handsome wee thing She ' s a bonnv wee thing Beloved bv all. — J Knappenbejger. Thou art a lover, singer, I know it bv the thrill That quivers through thv piercing notes. So petulant and shrill. — Anna Field. Consider mine ememies, for thev are manv, and thev hate me with a cruel hatred. — Sol Feggio. Honors don ' t always change the man. — Dean Goodrich Mv age is as a lustv winter, frostv but kindly. — Mr. Parker. The long and the short of it. — Messrs. Shirley and Luchesi. 1908 THE E U M E 165 I am not in the roll of common men. — Kj wge Pr ct ' sr. IVe lived and loved. — P. H.:-mltm. Charms strike the sigh:, r : merit wins the soul. — L. Cbambertin. Thv modestv s a candle to thv merit. — Florence Larrabee. Those dimples win the gents. — Mabd fflkm. If I am not critical, I am nothing. — ff ' e iej William Hm.vard. What have I ever done to ye people, to cause such injuries to be inflicted upon me : — Darden F d. Hast any philosophy in thee, shepherd : — ' Alice M. The beginning of our end. — Graduation. I do but sing because I must. — Same. You ' d scarce expect one of my age To sing in public on the stage. — Lillian Herbert. ' Tis pleasant, sure, to see one ' s name in print. — ' T mi J Issi. ' Tis an old tale, and often told, ' 08, best chss vet. And both were voung, and one was beauti:_ . — Prfrr and Pearj. She sings like one immortal. — J ji Hare. All happiness bechance thee. — Graduates. The man that blushes is not quite a brute. — Harsld Simondi. Hail, horrors ! Hail — The Exams. Behold a wonder. — P9I Plancm. I do not denv that I have some talent. — Fhrancir Larrabee. Men mav come and men mav go. But I go on forever. — AFn Gcigcr. Admired, not feared. — Dean Gmdrich. Some of us will smart for it. — Applying these quotations. So wise so voung, they say, do ne ' er live long. — Tyler. He was a scholar, and a ripe 2md a good one. — Dr. Black. Who says in verse what others say in prose. — F. O. Lhrartm. Looks that speak. — Our Directmr. A hair on the head is worth three in the brush. — Air. Cutter. Eat drink and be merry, for tomorrow we flunk. — Seniitrs (last of May). Ye maiden foire upon ve streete Doth smile and saye, Oh, ain ' t he sweete. ' — Mabel Tflic§x. Think what and be advised, vou are but voung yet. — Tsm Alms. O, Watchman, what of the night : — Sten Str ebeck. I mean all right. — Harry Snmc. Tis strange that I remain so childish, But truth was e ' er more strange than fiction. — O r v JVbiteley. 66 More Quo tations FROM THE JL XIOR DEPARTMENT Habits : I have none. — Lxman. Brief is Hfe, but love is long. — Ker ?-. Her eves are homes of silent praver. Nor other thought her mind admits. — Burtt. I will know If there be anv faith in man. — Arnold. A Rosebud set with little wilful thorns And sweet as English air could make her. — Logan Some work of noble note mav vet be done. — JViUiams, I sketch and sketch the live-long dav, But never can I draw a crowd. — Jochefn High diddle, diddle. The cat and the fiddle fan Cleve. Was e er man so grandlv made as he : — Tyler. Let me not cast an endless shade. What is so wonderfullv made. — Hare. His sunnv hair clustered about his temples. — Moss Our ' 08 Strong Man From Caines College of Physical Culture. 1908 THE N E U M E 167 Squibs The Green-room was happy the night of the senior class play. It was in its proper atmosphere. Grease, paints and powder were spread in order on the make-up table. The little Pierrot and Pierrette of the pantomime, the sombre Beethoven and dignified Adelaide in black velvet, waited for the make-up man to start in. He seemed to spend hours on Mr. Besserer, as the make-up of Beethoven needed special care. Thev followed every shadow and every facial line of a standard Beethoven picture, which was lying on the table for copying. Each minute seemed to add a year to Besserer ' s age, as the shadows were put under his eves and the wrinkles round his mouth. The wig streaked with grav came next and made the make-up near perfection. The fina l touches were being put on, when little Kitty Quinby (who made a hit in the pantomime) came in. At all rehearsals she had called Mr. Besserer Father in play, and in that wav had found an excuse for quite a few affectionate interviews with Beethoven. She came in quickly in her little princess dress, short to her knees. After a hurried survey of the room looking for Father — she espied Besserer being made up. She looked at him a long time not recognizing him, and said, Jess, who ' s the old codger? Never mind, Kittie, said Adelaide come to Mother ' s nice lap. All right said Kittie. Then, suddenly, to Kittie ' s amazement, came a familiar voice from the old codger. Father has a nice lap, too, Kittie. Mr. Gilbert was particularly happy in his selection of Beethoven and Adelaide. Beethoven merely had to imagine the gross empti- ness of a twenty years ' absence to make his part most neat. This was the secret of his great success in portraying the character. Though in the end of the play they parted forever, this was merely a bit of tragic irony which the audience well understood, for it was not forever. They really pledged themselves to see each other at least two or three times a day, and they have kept their pledge very well. 168 THE N E U M E 1908 It was very untortunate tor Sten Stroebech, the night his face was battered in the Information Office Affair. It was hinted, as an outcome of this fracas however, that the management was to appoint two persons to take note of everv individual that en- tered the building. This appointment demanded somebodv who could stand in the hall most all dav (and part of the night, if nec- essary) and look at everybody that came in (and went out). The outcome was not at all surprising, for Llewellvn Evans re- ceived first appointment with Lloyd Kerr as his assistant. The opera school of X. E. C. intends to give Mignon we hear. If such be the case, Dr. Faust will be oblig ed to keep his studv in the basement, instead of Jordan Hall Stage (Thank Heaven!) for another vear. It is a g reat pitv that Dr. Faust does not lock up his studv during his trequent departures, _ or possiblv have certain rules and T f J ' t- P regulations enforced during his ab- sence, for the devil is certainlv let loose in that studv of his when he is not there. In a solfeggio class of Mr. Cole ' s there is but one lone man among a dozen or more girls. The other dav Mr. Cole gav e out duets to sing. Of course, the lone man had to fall to the portion of some fortunate or otherwise girl. After thev finished singing, Mr. Cole called Miss and said, Miss , you sing the next duet with Miss . Please, Mr. Cole, Td rather sing with Miss . I guess I ' m the match-maker in this class, said Mr. Cole. Well, if you are, thouahtlesslv murmured the girl who had sung with the lone man, You didn ' t do much for me. A voung ladv having; purchased an assortment of music at the X. E. C. Music Store, was returning to Dana Hall when sud- denly she recollected a piece which she had negrlected to buv. 1908 Returning immediately to the store she said to one of Driscoll ' s Mapper ' clerks, there is one thing more, which I had forgotten, and I wish vou would s ive it to me. Yes ' um, and what is that? replied the clerk. It is, ' One Kind Kiss Before We Part. ' The gav vouth instantly vaulted over the counter to the astonishment of the fair miss. Not long; ago, when our orchestra made its first trip to Law- rence, the concert mistress was asked bv a native if she had heard their great organist. How g reat is he r asked the ladv. Wall, he went ter a big; Boston perfesser, and he told him i? couldn ' t larn him nothin ' . We surely did leave N. E. C. because — but never mind that ; the point is, we can ' t help from still butting in pretty often to Recitals, Lectures, etc., even now. Pinkham and Schurmann. rst. Dana Hall Girl. — What are vou going to have for a spring hat? 2nd. Dana Hall Girl. — Don ' t talk to me about spring hats. Lm just starting; in to pav tor last winter ' s fur-coat. A party given the other evening; at which the ladies were asked to bring something for which they had no use, but which was too good to throw away, would have been a great success if nine of the eleven ladies present hadn ' t brouo[ht their husbands. Our Senior Classmate, Miss Davis, was once trying to explain to some folks at home, how certain parts of N. E. C. looked. Picturing Huntington Avenue entrance she said Upon entering from ' the avenue ' the first thing to meet the eye is a beautiful bronze statue of Beethoven, and the second thing is always — Mr. Evans. Preceptress : (to student diligently practising;) Really, Miss A — the morning study hours must not be interrupted by your ragtime. Student: (amazed). And this a Moszkowski Waltz !! ! 170 THE N E U M E 1908 Class in Tuning Instructor. — When tuning a piano what is the first thing to dor 1st pupil. — Remember that the front door-mat is placed there for a purpose. Instructor. — Good. What next? 2nd pupil. — To tactfully persuade the owner of the piano that you consider yourself competent to tune her piano even if she is as far awav as the next room. This is more difficult than might appear at first thought. Instructor. — I see the class is learning; — Bright pupil. — Sav! I heard the greatest joke down at the Lyceum last night. (With great suspense) — What was it? Well, vou know, there was — Instructor. — We ' ll hear that next time. Very soothingly from the next room comes floating in a selec- tion by the mixed quartet : Sailing, sailing o er the bright blue sea, etc. This quartet is quite orig inal in one respect, as the four base singers composing it are perfectly willing to sing soprano or alto by request. To the ear of a professional musician tor twenty-five years this refrain acts as an incentiv e to work. Instructor. — In using benzine on actions be caretul about any bright light. (Sidewise glances at various ties, hats, raincoats, etc.) (With inspiration) — Last night at the Lyceum — I wonder where Mr. X.is? — Oh I he went shooting, and mis- taking a sea-gull for a wild duck followed it up until suddenly he was reminded that the ocean has tides. The tide goes down about three o ' clock today, so I guess he ' ll be here tomorrow. One pupil to another. — Did you hear what Mr. Y. did? He has successfully demonstrated that oil and water will mix. Instructor (to himself). — This seems to be a class in general information rather than in the elevating art of Piano-tuning. Late arrival. — Sorry to be late, but I ' ve just bought a dozen ties and I wanted to stop and try them on to see how they looked. I ' d like to have a different one for every day in the week. 1908 THENEUME 171 Now, on the level, I ' d like to tell you about the Lyceum last — Long-suffering instructor. — How many hours a dav do vou spend in remembering what you have heard the night before ? With such a retentive mind you ought to be at the head of the class instead of serving as an example of misdirected energy. Class resumes lesson, and things go smoothly for a short time. Meanwhile somebodv unscrews Miss — — ' s hammer and practises tving knots with her coat-sleeve instead of with wire as directed. (Excited voices in hot discussion in next room) — I tell you four mutes is better than three and ... If vou move four times it ' s bound to take longer than three times. — No it isn ' t either. You can do it quicker anv time. — By gum, it stands to reason that three mutes are better and quicker than four mutes. — That ' s just what you said before. You don ' t know what you ' re talking about. (Third party.) — Let ' s change the subject. You argue about those mutes every day, and besides we are all willing to admit that lots of good things come out of Nebraska besides William Jennings Bryan. Instructor. — Well, I think the class may be dismissed now, and I hope that you all feel as if you had learned something worth remembering. And by the way, I trust that whoever turned the pictures in the classroom toward the wall will obligingly turn them over and allow us to look upon their faces again. For next lesson I would like to have you be prepared with an answer to this ques- tion: If C has 517 3-10 vibrations and its octave is tuned 1-32 of a beat sharp and the next octave is tuned 7-12 of a beat flat how many vibrations will there be in four-lined C. w w w STOP DAT KNOCKING Remember all our pluckv teams That in the past have fought ; How easy for them, victory seems, To win, it is their lot. Thev ' ve won on diamond and on track. Continue r ' cours e thev will. How can we help but cheer them still, In fancv, looking back. 172 THENEUME 1908 In Lighter Vein Applicant. Did vou adv ertise for a woman that was good at figures ? Driscoll. Yes. Are vou a bookkeeper Applicant. No, but I used to select chorus girls for a bur- lesque show. Prof. Elson ( to a pupil who hitherto has been coming late.) Good-morning, Miss J. I ' m glad to see you are early of late. You used to be behind before, but now vou are first at last I Mr. Rice. The fact that I am a good musican was the means of saving mv life during that flood in our town a few vears ago. Pupil. How was that ? Mr. Rice. When the water struck our house, my wife got on the folding-bed and floated down the str eam until she was rescued. Pupil. Mv ! And what did vou do P Mr. Rice. Well, I accompanied her on the piano. Sten. Say, did you know I was getting a hundred and fifty per from the management, for night watching. Eddie. Per what ? Sten. Per — haps! Miss Geiger. So her second husband is a tenor Miss Daly. Yes, she says her first was a bass deceiver ! First Junior. Was Mr. White ' s lecture clear to vou Second Junior. Clear as mud. First Junior. Well, that covers the ground. C. Pol. Whenever I sing, the dog howls. His wife. The instinct of imitation, my dear. Miss F. When did Jack London name his book Call of the Wild? Miss G. After a visit to N. E. C, having passed rooms 14 to 23, or Shrieker ' s Row, ( according to Elson). First P. G. Harold Cole is in love. Second P. G. With whom, do tell me ? First P. G. Himself! 1908 THENEUME 173 Variations Even the seats in Jordan Hall sigh, when you meander in late, to a concert. Although Miss Swartz liked Nolte very much, see likes Louis — Besserer. Mason is a daisy, but Daisy is not, as vet, a Mason. Miss Richev, assistant treasurer of the Junior Class, never shows up even at Treasurer Williams ' bidding. Sentimental Tommy Moss announces a scholarship fund — for all his old sweethearts. Lvman — tenor of the high C ' s ( seas ) ! 1908 is Leap Year, therefore there is a great scarcity of men in the Senior Class. Mr. Ford has recently joined the N. E. C. Bass Bawl Nine. He tells us the first game will be played May 30, against a picked team from the dormitorys. One thing that actually began on time — the tennis games at tournament last June. Why Smith left Home — To join the Coat Room Club. According to Miss Hall ' s own statement she has about ten on the string, already ! Llewellyn Evans — noted for airing those luscious, low feet tones of his. Mr. Hawkins of the Junior Class is a great spiritual ad- viser. What ' s a synonym for ' slowness ' this year at N. E. Cr Junior Class, as I remember. What is N. E. C. without a coatroom P — Ask Miss Coughlan. 174 Whv does Haskell study music ? For the ladies there is in it. And, in her turn, Daisv Arnold studies music for the gents there are in it. TO S. V. C, ROOM 33 Just hold your horses children, Thev ' re apt to run away. And if vou throw to-ma-toes. With us, vou cannot play. ANOTHER ONE I start out in this world of go As teacher of Solfeggio ; And if I have work as a motto, Whv, some hne dav, I ' ll ha e an auto. 1908 THENEUME 175 Echoes from mfonia. Burrell : Who Knows ? Blessings on him who inxented sleep, the mantle that covers all human thoughts. — Perry. JVhitehouse : What time is it . ' Simonds : Well fellows, I ' ll tell vou just what I think and that is — she ' s a sweet girl. I ' m a thinkin ' I ' ll ha e a prettv swell time tonight tellers. — Ham. GRAND ORDER OF P S. Whitehouse, Perry, Doersam, Dravton, Simonds, Moss. [Note. — Mr. Archie M. Gardner ' s recent application for life membership has been unanimously rejected by this immortal order.] Mr. George iera — the noisiest man in the frat. Who stole my pipe : — Doersam. Perry : Why ' Guy ' What are you doing with that tall step ladder this morning ? Guy : Been trying for a high note, Elisha. DECLARATION. — Apologize or Fight. APPEAL. — Don ' t forget to arbitrate. — Advhor Committee. Startling heading in the Boston American on April 2: — Archie Takes Whole School To The Circus. Guess this was the result of April I, wasn ' t it, Archie : Well, gentlemen, perhaps vou ' d like to hear a little music. — Gardener and Moss. Yes sah, but I ' m de man what stole it. — Homer Humphrey. Hawkins don ' t quite see through that game of hossenpesser, yet. THE MORNING AFTER ' (the costume Carnival.) Guess Kerr had a little of that fuss taken out of him, April i. Got those proofs yet r — Burrell. Let ' s have a little air. — Chairman of the House Committee. THREE CHEERS and A TIGER, for Sinfonia ' s new song book. On to Philadelphia. And here ' s to the health of the new fraternity at N. E. C. — l he Phi M.U Gamma. 176 THENEUME 1908 The Fussers ' Club Object. — The object of this Society is to promote Woman Suffering. (Petti-)Coat of Arms. — Donkey surmounted by a wreath of violets and a bottle of hair-oil. Club Flower. — Lady ' s slipper. Motto. — To us alone — now and always. Chief Fusser. LON. J. SMITH. Hare-Prcsumpthe to the Thrown. H. ROY HASKELL. Ejivoy-Extraord ' mars; to the Dormitories. HOMER OSSIAN MILLS. Committee on Embroidering Monograms. MissERs : LLOYD KERR , LIZZY STEPHENS and U. HOLMES BISHOP. On the Waiting List. HARLOWE DEAN and LLEWELLYN EVANS. Among those present : — J. B. Currie, Roland Dunham, Harry Pinkham, James Weddell, Miss ' d Her Harrington, George Brown, Baldy Crockett, Thomas Burke, Ray Wingate. FUSSERS ! N. B. ! ! The members of the Fussers ' Club would do well before going any further, to observe carefully the following bit of advice. THE FUSSER ' S LOVE-LETTER. ' Before ' tis sealed and sent away Sit down and calmly read it Your case is desperate today, And fervently you plead it, But ere the letter meets the glance Of your enchanting houri Think how t ' would sound if it by chance Were read before a jury. You call yourself her turtle-dove And her your priceless jewel ; You say your bosom flames and love You tell her is the fuel 5 Your lines are filled with adjectives, And in an ardent fashion You swear that nothing, while she lives, Can ever quench your passion. But look it over while the ink Upon the sheet is drying — Then send it to her if you think That, having done with sighing. You might sit calmly by and smile. Unmoved by shame or fury. In case you had to listen, while ' Twas read before a jury. Greatly reformed since April 1. THE N E U M E The fact that he came from Orange is no ac- cusation that he is an Orange Picker, neither does it infer that he is fond of oranges. However, he cannot help admitting that he has been taught a few stunts about reaping lemons, since he found his way across the conti- nent ; still he says he ' d rather pick them from the trees at home than to have them handed out bv the arms full, as thev do in Boston. He has a great faculty to Hunt for the girls as well as his A flat. Bishop, you ' re a regular Kerr. (( w w Have You? I Have! Have vou e ' er sought information At our office bv that name And waited for some prettv dame To tell a storv r — I have ! Have vou ever taught in Normal ( At first with awful fear) And waited for some pupil dear To take a lesson ? — I ha e ! Have vou ever sought Pa Flanders, Or Mr. Trowbridge wise And waited while a dozen guys Got some instructions ? — I ha e ! Have you waited at the check room To get your coat and hat, While Flossv has a little chat With her admirers r — I ha ' e ! Have you waited for a quorum At meetings of the class — While one by one each winsome lass Puts in appearance r — I have ! O. D. 178 THE N E U M E 1908 RECITAL HALL — THE HALL OF F(L)AME. The Dissipated Male Quartette. Whiskey Tenor Champagne Second . First Base Toper Deep Sea Sponge Doesn ' t Haupt play the hddle any more ? No, he ' s cat-gut sick. Ke rr Haskell Bishop Gould We hav e never yet heard a musical selection by ' Sentimental Tommy ' Moss. Is he a ' ocalist, pianist, organist or tuner ? A tuner, I believe, for he ' s always tripping down stairs. ' w w w THINGS THAT WE TRY TO BELIEVE. That tuition isn ' t much at N. E. C. That Besserer isn ' t in love. That Floyd Dean has nearly caught up with himself. That Herr van Wieren ' s writing is readable. That Haskell, Kerr and Smith don ' t like to fuss. That Supt. McLean won ' t get stung in the ' 08 Neume. That Cole published everything (? ) which was handed in for the ' 07 Neume. That we are going to have a hall some day where we can hold dances, etc. That, after a unanimous vote of the class, we will have ' ' cap and gown. That J. Adamowski doesn ' t deserve a grind. That Driscoll will give the Seniors more than 1-2 off. That Dr. Jeffery don ' t like gymnastics. The dorms are no place for men For even the lights wink at them. HAND CULTURE These exercises to strengthen the hand Are the very finest in all the land. Flexors and extensors both they teach The gentle art, the keys to reach. Freedom and control in the second joint. Is also another remarkable point. While the inhibitory power of the brain We do our best to properly train. The hand and arm and fingers too, Are all regarded with the view Of strength and dexterity on piano keys. So practice right faithfully if you please. Now try alternate movement with two and three And see how strong they ' re sure to be. 80 THENEUME 1908 A Soliloquy ON THE CHARACTERISTICS OF CERTAIN TUNEFUL GRADUATES OF THE NEW ENGLAND CONSERVATORY OF MUSIC Our great school of music so world- widely known, Is famed for its pupils from country and town. Also for its teachers (pianos to tune ! ) We ' ll now recommend to the commendable Neume The virtures and faults, we ' re about to relate, Of each tuneful senior ; then mark well each trait. We first shall begin with Annie Anstock ; For neckties and guns are his principle talk. A pretty nice fellow is Annie, we know, Our class musician and a wonder, too. Then Victor A. Redewill, for girls he ' s a mark ; With his automatic calls, he is safe in the park. And here is John Strong, the boy from the South, Who is famed for his music and wonderful growth. Theressa M. Johns so pretty and fat Is a gay violinist, a corker at that. For gymnastic training, a great advocate ; Unusual in girls, but a sensible trait. That little black pony way back in York state Will whinny and snort and stamp with his feet, When Theressa becomes a graduate. Ed. S. Wolfenbarger, known all over town, A mischievous teaser and fun loving clown. From Lincoln, Nebraska, this shy young man hails Making racket in school hours he seldom e ' er fails. Tattooing on cane chairs with ivory keys. Is his chiefest delight till school hours cease. Next there comes one whose heart pines for his home, Harrington, that ' s me, when in the check room. We ' re all going home to raise a beard just like pop. For of things of the Class, Beard comes out on top. Oh gee, it ' s just great; but please keep it shady — I love theatres and girls, savs red-headed Gradv. 908 THE N E U M E 181 Harold M. Kneeland, it ' s no use to swear, When you find that your name has been mentioned here. Just keep yourself cool and give up the weed, For we know now that that is your principle feed. And still comes another, the last on the list. Six-foot Frank Cooper and his powerful fist. To shoot at a turkey, his favorite stunt, Or to talk of a deer or a wild turkey hunt. The rifle makes music sweet to the ear, So declares Cooper when turkev is near. Our great school of music, so world-widely known, Is famed for its pupils from country and town ; Also for its teachers, (pianos to tune ! ) We ' ve now recommended to the commendable Neume The virtues and faults we had to relate. Of each tuneful senior, of each graduate. 182 A Few of the Most Painful Experiences undergone at N. E. C. by some members of the class of 1908 are worthy of record: Paying my class dues — R. W. Dunham. Eating frozen pudding — Miss Shepard. Getting my harmony lessons — Miss Swartz. Waiting for Miss Urban to stop talking and say something. — Karl Rackle. Drumming up dues — L. L. Chamberlin. Trying to feel warm during one of George W. P ' s smiles — Miss Davis. Keeping run of my dates — Miss Peery. Hearing my name pronounced by beginners — Miss Tranfaglia. Trying to keep cool during my Senior Exam — Miss Wilcox. Having my picture appear in the Neume — Miss Barnes. Subduing that laugh of mine — Miss Crommett. Simple counterpoint is easy enough but — L. Evans. Being often mistaken for the big Pol. — C. Pol. Plancon. Losing sleep over this very book — Darden Ford. (Writing those reports and) calling on the printer — Miss Grace Field. Making M. Thurwanger understand — Miss Freeman. Writing : A History ! Miss Brushingham. Being a gardener — Miss Herbert. Coming to class meetings — Miss Goulston. w (« w GUY, THE WONDER He never sings in vocal sounds, No, not a bit. Nor fiddle scrapes, nor piano pounds, Well, I guess nit. But yet in concerts, times galore. Recitals also, even more. He ' s made appearance, o ' er and o ' er. Just think of it. w w w TO FRESHMEN. We do advise all Freshmen at N. E. C. to keep off the grass, as the similarity of appearance would render them inconspicuous. For the pre- vention of colic, croup, measles, whooping-cough and sore gums among the Freshmen class, we advise them to have their milk bottles sterilized at least once a week. 1908 Are the athletics ot this school held in the gym? Whv the Conser ' aton ' has not yet established sports, either indoor or outdoor. You evidently refer to the place in the base- ment, where the N ormal children are e:::er:ained bv our onlv torm of athletics, finger gvmnastics. KeBR N ' lCKFX Boys, is the fudge made by the dormiton- girls really good : Well, we take their word for it, as that is the onlv evidence we have had. Will the youne ladv who inquired at the ticket otiice in regard to the requirements for entering Sinfonia please call at the trat room. Kerr persists in saying X is the hrs: ierrer of the alphabet. Miss R-h-ev. There is no dif- erence between talk and say in Mabriij) by Lantern French, is there r Mons — Certainly, (knowingly) a grea: many raik a good deal without saying anything. Sav, Linorley is a pretty good singer, is ' nt he? Naw, ' ee aint no singer, ' ees on ' v a bloomin ' male alro. Impecunious friend. Sav Dravton, can ' t vou let me have a liver : Prezzv. Sorrv old pal, all I have is a renor and I can ' t atford to break it. W CAUTION If e ' er vou find ourself in rh me. Just stop at once, and count up nine ; But should vou e ' er get out of time. Don ' t swear, but sav, Why that is fine, ril count from one to nine-nine-nine. 184 THENEUME 1908 Gritty Grinds SCARE ! An Exam, in Mathematics for Seniors and Juniors, June I, reported at N. E. C. Mabel Wilcox actually told Mr. Ford that she loved him, at the Leap Year Party, and still he handed her a lemon. Where was the man ' s heart? Class of 1909! Run a Leap Year Party before December 31, 1908. By so doing the spirit of the class will soon show itself and weaklings will fall by the wayside. Advisory Board. Why Miss Field ( Grace ) received the prize for most lemons at the Senior Leap Year Party nobody knows, for she made some of the best proposals of the evening — according to Doersam. During Flossy ' s absence from the coat-room, all her loved ones wander around like lost sheep. On her return, however, they sing the quaint old tunes: Gathering ' round thee. Flossy and Absence makes the heart grow fonder. Flossy joins in the chorus, making a grand climax. TO A JUNIOR There is no music in your soul, We ' ve told you, many a time ; And when you strike out for yourself, You will not earn a dime. ANTICIPATING What a stunning-gown she ' ll appear in, What a beautiful song she ' ll impart ; But which do you think it will teach us, Of fashion, or vocal art ? I 185 In rehearsal of Mignon, Mr. Sikes worrying about how he is going to carry Miss Stanaway from the burning castle — I don ' t know how to do this. Mr. Mogan — Why, Sikes, it ' s easy, I ' ll show vou how. Mr. Mogan picks Miss Stanaway up in his arms and following the actions of the opera carries her heroically from the castle. See, says Mogan between gasps, that was perfectly easy. Yes, very, ' ' sci s Mr. Sikes, but I notice you ' re puffing some. Preceptress, to girls walking leisurely down the street. See that poor little lost doggie in the road. He should be home studying his Solfeggio. Could this haye been a gentle hint. HOMER ' S ODD I SEE Our Homer ' s growing wan and thin, (He once was fat and lazy) But now he ' s down to bone and skin, And gone clean bughouse crazv. Oh I whvfore, wherefore shouldst this be ? A cause there is, ' twixt me and thee In heartless little Daisv. Homer ' s III I add. 186 THENEUME 1908 Wise Sayings from Vocal Normal The hour-r-r-s 1 spent with thee fond hear-r-r-t, Ar-r-r-e like a str-r-r-ing of pear-r-r-ls to me. That ' s like sidling along the street. One quality must run into another. Diaphragmatic, costal, thyroid, sirloin, confusion on confusion. Don ' t let your tones dribble and ooze out. Think down and sing up. Sing out into the room, ah — ! I don ' t want you to get muscles in vour head. Free the jaw. Always have plenty of hot air on hand. Teach the tongue to lie — still. w w w Limericks It is hard for thee to kick against the Limericks. ' ' There was a young student of Bach Who practised so much in the dark, That her chum and her steady And also the landlady Could not tell it from Hark, hark, the lark There was a voung lady named Lescaut Who was ask to define Tedesco She said Sausage and K ' li mmel Und heer und ach Himmel! Die Musik ist alles ' al fresco ' But the best was the Fraiilein from Dessau, Who had to explain L ' istesso. She thought over it first. Then said S ' ist mir Wurst Was she right ? Well, I should just guess so ! 1908 THE E L ' I E 187 Stings RELATING TO JUNIORS ONLY What a pleasure it is for the faculty to be able to sav, Go to the Dean. Soltesgio teacher to voung ladv who was unable to sing syn- copation. Miss H — e, why don ' t you go ofF and get married to syncopation : Pupil. I hayen ' t known him long enough. Student. What will we be likely to have in our exam ? Harmony Professor. No doubt you will have parallel octaves and fifths. Did you enjov the opera. Yes, very much. A gentleman, who sat near me, very kindly loaned me his ' allegretto As Miss E— d-e returned the orchestral parts to the librarian, she also handed him, O, Dry Those Tears. What can be the meaning of it : The tollowing verse is sung to the tune ot Tammanv. Harmony, Harmony, First you put dovrn one small note. Then you rub out what vou wrote. Harmony, Harmony. Sharps and flats, and tears and spats In Harmony. Extract trom ' oice Normal examination. Description of lar -nx. The larynx is a little round soft ball of flesh, hanging from the palate. When this touches the back of the tongrie a sound is produced. In Solfeggio class before the professor entered, one of the members was singing very low. Miss Ca— ther, where are vou going, down cellar : Yes, after Coky 188 THE E U M E 1908 Does Tom really have to cauh that three-twentv train on Wednesdays r Sharpen your wits And get after Fitz, Oh, Entenainment Committee. Student. Could you please tell me where Monsir Door- wagon ' s room is ? Astonished Professor. Whose r Student. The French teacher ' s. 1908 THE E i ' M E 189 We had a difficult time in selectino; our class flower. We finally decided on the violet, despite the tacr that our president was stronglv in tavor of a Daisv. There is a kind man and what do von think - He scribbles with nothing, but pens and red ink. Pens and red ink are the chief thing he carries, And sad are the lesson book o ' er which he tarries. A young lady entered the dormitories rather late this tall. The girls tried to be verv congenial, one of them asking her what she was oroingr to studv. Iusic, was the answer. How strange I Whv is Cole ' s Solfeggio like Anatomv : Because it deals with knees and toes. Preceptress. You must stop plavino; rag-time during studv hours. Miss S— r— 1-t. Whv, I am practicing mv Impromptu bv Dennee. For light reading m summer vacation — Oxford ' s Historv of Music — 6 volumes. Student, student, quite imprudent How does vour record srow. Vith Harmonv exams and Theorv crams. And lectures all in a row. Miss Freeman i at the junior dance, on being asked to stand in the receivino; line i. What I me whv, whv — 1 never — well, I suppose I must. The power ot thought is great, vea, even bevond limit. But it would do some people more good to come out to class meetings than to stav home to think r about it. Yes our elevator bov is losing his hair and getting quite wrin- kled in premature old age. Xo wonder, poor fellow; he has seen so much of the ups and downs of life alreadv. 190 THENEUME 1908 IN THE ORGAN CLASS Anxious student. What is a good registration for a wedding march. Bright professor. It all depends on the size of the wedding. If it is only a common wedding you can blaze away quite full, but tor a society affair you must use only the high-toned stops and be sure to have a strong pull on the great Swell coupler. Disgusted Senior. This Solfeggio class is a regular swindle. Dear Old Sammy. Not that bad, only a little con game. Crowd ot girls (planning a sleighing-party). But F — es, won ' t you go if we don ' t ask men: F — es. But, girls it would be so dreadfully cold! 1906 THENEUME 19 Final Touches The Neume has not much room for real funny stories this year, but if vou wish to hear some corkers — visit the tuners. May. Tell me, Lucy, who is the gentleman sitting directly opposite ? Lucv. Why, don ' t you know him ! That ' s Mr. Perry. May. Is that Mr. Perry ! About how old is he ? Lucy. Well, he told me, at the Frost Hall Dance, last February, that his birthday came on the 29th day of that month ; so, he said sadly, you see I am only ten or eleven. Shovel on more Cole — Miss Barns. The gentle art of sawing-wood has been applied to Solfeggio. Why not apply rail-splitting to Counterpoint ? Ques : Where is hand culture made most use of? Ans : On the dorm steps (Dana) most any evening after 10 P.M. Mr. Cole, president of ' 07, is still at work on his Childe Harold Symphony. Fitzgerald ' s (Benedict J.) idea of it : Never B sharp, seldom B natural, and always B flat. Louis Besserer has written a second version of Jessie-me-Bride. Nowhere in the vicinity is such enthusiasm displayed as at N. E. C. — after a tennis game. Miss R. Say Daisy, Frank ' s not only a Mason, but an odd fellow too, isn ' t he ? Miss B. No, he has severed all connection with the latter order, since I have known him. Extract from a letter — homeward bound — .... Yes Pa, the way we are flooded with social events, concerts, recitals, etc., here in Boston this year, reminds me of the story of the locusts in Egypt, for like them all these concerts, etc., eat up every green thing. Why was the Class of ' 07 r Because. There, little folks, don ' t cry ; We ' ve roasted you hard ' tis true With the laugh on you You feel quite blue But you ' ll look back, bye and bye And laugh — little folks, don ' t cry. 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