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

Text from Pages 1 - 190 of the 1910 volume:

Txe NEUME VOLUME VI PUBLISHED BY THE CLASS OF NINETEEN HUNDRED AND TEN THE NEUME VOLUME VI DO PUBLISHED BY THE CLASS OF NINETEEN HUNDRED AND TEN RALPH L. FLANDERS Ealpl) Jf lanbers! jHanager of tfte iSeto Cnglanb €on£ferbatorp of Mn it lopal, siincere anti eber reabp to abbance tfte mteresJt£i of tf)e f)i9t) S ' t in musiital art, tf)is( bolume isJ grate- fuUp bebicateb. Ralph L. Flanders R. FLANDERS was born in Carroll, Me. He comes of good old New England stock, both branches of his family running back to Revolutionary times. Entering business as a bookkeeper when nineteen years of age he won rapid promotion, and in two years was taken into the firm, later becoming the head of the concern. Mr. Flanders came to the Conservatory as Assistant Manager in July, 1899. His exceptional experience in business had given him excellent training for the position. Immediately his agreeable personality and genuine business ability were felt in the management, and graduallv there spread abroad a knowledge of a change in Conservatory affairs. In January, 1904, he was elected Manager — one of the youngest men ever entrusted with the responsibility of so large an institution. It is a recog- nized fact in the Board of Trustees that to Mr. Flanders ' wise administra- tion is due the present excellent financial condition of the school ; also the increase in pupils and income in the past two years. In the able Manager the student body finds a true friend. Approach- able always, sympathetic, ever ready to respond to the need of advice or material help, Mr. Flanders has won a powerful hold on the esteem and affection of the students. KuUt of Contents PAGE Above the Land, Beside the Sea 110 Alumni Association, The 82 American Music Society Ill Athletics 103 Class of 1909 78 Concerts Given by Senior Class , . . 63 Dedication 5 Editorials 121 Editorial Board 9 Faculty .............. 15 Flanders, Ralph L 6 Fraternities : — Alpha Chi Omega Sorority .......... 92 Alpha Chi Omega History ........... 94 Beta Chapter Mu Phi Epsilon Sorority ........ 98 Mu Phi Epsilon History 100 Eta Chapter Phi Mu Gamma Society ........ 95 Festivities ............. 101 In Memoriam ............ 97 Phi Mu Gamma ............ 95 Sinfonia ............. 88 Grand Opera in Boston 116 Greetings 11 Jokes 125 Junior Class: — Officers 73 Class Roll 74 History ............. 76 N. E. C 56 Management 14 Senior Class : — Officers 26 Members 27 History ............. 57 Sheaf of Lyrics 106 Significance of the Study of language 108 The Solo Violinist . 120 Advertisements 165 Board of Editors Editor-in-Chief Lee M. Pattison Associate Editor U. Holmes Bishop Viva G. Head Barbara Bates Ella Dyer Assistant Editors Adele Walther Edith Chapman Harold Simoxds Business Manager Ray VVingate Assistant Business Manager John Sxyder (greetings! Co all ttjfjo teab tfje coming Imesi, — 0nv teacljersi, situbents anb our frienbsi; Slnb if a tDorb ht founb at timesi ?H3f)icf) gibes; offence, toe ' b make amenb£(. ©nv clas(s( fjasi siougtt a stanbarb f)ist) Co altoapg be more tftan to ' 5eem Co libe up to ibealsi toe trp — Co libe anb act, not libe anb bream. £acf) member in our clasis besiireb Clje i eume iBoarb to enbeabor tfjen Co tfjanfe all ttjosie toftosie aib inspireb feurcegsi to us; of 1910. Jas. C. D. Parker Ralph L. Flanders (greetings My cordial greetings to the Class of 1910. now going forth into the world; each one with the aim and hope of making his mark in his chosen profession and of taking his share in the work which shall uplift and advance the cause of music. Eben D. Jordan. With the assurance of work faithfully done the coming examinations should be only a pleasure, and the festivities of Commencement a delight. With even.- good wish for success. G. W. Chadwick. Greetings to the Class of 1910. and best wishes for the health and success of even. ' member, from Wallace Goodrich. As vou go out from vour Alma Mater vou carr - with vou the great esteem of its officers and a proportion of the responsibilit - of its future development. I feel that this responsibility.- could not be in better hands. With kindest regards. Always your friend. Ralph L. Flanders. My kind greetings to the members of the Class of 1910. and best wishes for their future success and happiness. I ' ve enjoyed the playing of several of them and am sure that they will become useful members of the musical profession. Sincerely. Jas. CD. Parker. Management Ralph L. Flanders, Manager. Frederick L. Trowbridge, Manager ' s Assistant. OssiAN E. Mills, Cashier and Accountant. Elizabeth C. Allen, Corresponding Secretary. Martha Perkins, Registrar. Benjamin Cutter, Curator of Library. William Driscoll, Superintendent of Music Store. John McLean, Superintendent of Building. Preceptresses Ellen M. Wheelock Margaret W. Avery Adeline C. Ferguson 16 artjp iSeume 1910 PIANOFORTE Charles Anthony. Born in Providence, R. I. Studied five seasons with Leschetizky in Vienna. Played four seasons in public recital and with New York Philharmonic Orchestra, Kneisel Quartet, etc. Toured in 1906-7 with Madame Nordica. Member of the Faculty since 1908. EsTELLE T. Andrews. Born in Baltimore, Md. Graduate of Peabody Conservatory of Music, Baltimore. Pupil of Carl Faelten and Helen Hopekirk, Boston. Carl Baermann. Born in Munich. Pupil of Wanner, Wohlmuth and Liszt. Studied composition with Lachner. Taught in Munich Conservatory ; came to America and settled in Boston in 1881. A concert pianist and teacher of international reputation. David S. Blanpied. Born in Gallina, Ohio, Graduate of the New England Conservatory and of the Music Department of Boston University, receiving the degree of Mus. Bac. Studied with J. C. D. Parker, S. A. Emery, George E. Whiting; composition with William Apthorp and John K. Paine. Lucy Dean. Born in Illinois. Graduated from the New England Conservatory in 1891. Studied with Dr. Maas, Mrs. Maas and Carl Faelten of Boston ; Leschetizky in Vienna and Buonomici in Florence. Floyd Dean. Born in Richville, N. Y. Pupil of Adrien Sabourin. Graduate of the New- England Conservatory. Member of the Conservatory Orchestra. Charles Dennee. Born in Oswego, N. Y. Studied piano with A. D. Turner and Madame Schiller. Special study of Beethoven with von Biilow during his last trip to America. Composition with Stephen A. Emery. Teacher at the Conservatory since 1883. Alfred De Voto. Born in Boston. Graduated from the New England Conservatory in 1898 under Charles Dennee. Member of the Municipal Music Commission of Boston since 1898. Pianist of the Longy Club of Boston. 1910 2Ct)e J5eume 17 Jane M. Foretier. Born in France. Graduated from the New England Conservatory in 1898. Member of the Faculty since 1907. Henry Goodrich. Born in Haverhill, Mass. Studied with Edward MacDowell in Boston, 1889 to 1896. Member of the Faculty since 1908. J. Albert Jeffery. Born in Plymouth, England. Studied at the Leipsic Conservatory under Reinecke, Richter and Jadassohn ; studied in Paris with Ferdinand Praeger ; organ and church choir work in London with Roland Rogers, Sir George Martin and Luard Selby. Edwin Klahre. Born in New Jersey. Studied under O. Klahre, Liszt, Lebert and Joseffy ; com- position with Schulze in Weimar, Bruckner and Goetchius in Stuttgart. Frederick L. Lincoln. Born in Massachusetts. Graduated from the New England Conservatory in 1881 ; studied with J. C. D. Parker, A. D. Turner, Carl Baermann, Carl Faelten and Stephen Emery. Anna Stovall Lothian. Born in Mississippi. Graduated from the New England Conservatory in 1895 under Carl Stasny. Assistant teacher with Mr. Stasny. F. Addison Porter. Born in Dixmont, Me. Graduated from the New England Conservatory under A. D. Turner, Stephen Emery and George W. Chadwick. Studied with Hoff- man and Freitag in Leipsic. Head of the Pianoforte Normal Department. George W. Proctor. Born in Boston, Graduated from the New England Conservatory in 1892. Studied with Leschetizky in Vienna ; composition with Nawratil and Mandyczewzki, Eustace B. Rice. Born in Wayland, Mass. Studied piano and organ with Edwin C. Rowley in Hudson, N. Y.; piano with Edwin Klahre and Carl Baermann of Boston ; organ with George E. Whiting and Henry Dunham ; composition with Goetchius. 18 Cfje iSeume 1910 Carl Stasny. Born in Mainz. Studied with Ignaz Briiii, Vienna ; Prof. Wilhelm Kriiger, Stuttgart ; Franz Liszt, Weimar. Richard E. Stevens. Born in California. Graduated from the New England Conservatory in 1904 under Charles Dennee. Studied with Buonomici in Florence and Moskowski in Paris. Marie E. Treat. Born in Ohio. Graduated from the New England Conservatory in 1900 under Charles Dennee. Frank Watson. Born in Rhode Island. Graduated from the New England Conservatory in 1905. Pupil of Dr. JefJery and Edwin Klahre ; composition with Chadwick. H. S. Wilder. Born in Worcester, Mass. Studied Piano with B. D. Allen, B. J. Lang and A. K. Virgil. VOICE Arthur D. Babcock. Born in Dudley, Mass. Studied in San Diego, Cal. Graduated from the New England Conservatory in 1903 under Charles A. White. Studied with Madame Ratcliffe-Caperton. Mabel Stanaway-Briggs. Born in California. Graduated from New England Conservatory in 1898 ; pupil of Augusto Rotoli, Charles A. White and Oreste Bimboni. Studied with Dubulle in Paris. William H. Dunham. Born in Brockton, Mass. Pupil of Augusto Rotoli and Dr. Guilmet of Boston ; Shakespeare of London ; Vannuccini of Florence ; Koenig and Sbriglia of Paris ; Cotogni of Rome ; Benevenuti of Milan. Armand Fortin. Born in Oxford, Mass. Graduated from the New England Conser ' atory in 1895 under William L. Whitney. Studied with Vannuccini in Florence. Head of the Vocal Normal Department. 1910 STfje jSeume 19 Percy F. Hunt. Born in Foxboro, Mass. Graduated from the New England Conservatory under William H. Dunham. Studied with Vannuccini, Florence, and Bouhy, Paris. Clara Tourjee-Nelson. Born in Rhode Island. Graduated from the New England Conservatory. Studied with Augusto Rotoli, Mr. and Mrs. John O ' Neil and Sarah Fisher; opera school work with Samuel J. Kelley. Clara K. Rogers. Born in Cheltenham, England. Studied in Leipsic Conservatory; Piano under Moscheles and Plaidy ; Voice with Professor Goetze ; studied Piano in Berlin under Von Bulow% Voice under Frau Zimmerman ; studied Voice in Italy under San Giovanni. Sullivan Sargent. Born in Boston, Mass. Studied with George L. Osgood, Charles R. Adams, George J. Parker, Myron W. Whitney and Charles A. White; Composition with G. W. Chadwick. Became a member of the Faculty in 1908. Clarence B. Shirley. Born in Lynn, Mass. Studied with Charles A. White, Boston, and Dubulle in Paris. One of the leading concert and oratorio tenors in New England. PlETRO VaLLINI. Born in Florence, Italy. Studied Piano with his father; Harmony and Counter- point with Magi ; Composition with Mabellini and Scantrino. A successful operatic conductor. F. Morse Wemple. Born in Albany, N. Y. Studied with Charles A. White ; Dubulle in Paris and Henry Russell. A well-known church and concert singer. Charles A. White. Born in Troy, N. Y. Studied under Rebling and Grill at the Leipsic Conserva- tory ; continued Voice study with Lamperti. Organized and directed the Troy Choral Club until called to the New England Conservatory in 1896. ORGAN Henry M. Dunham. Born in Brockton, Mass. Studied at the New England Conservatory under Whiting; Composition under J. K. Paine. Well-known church organist and composer. 20 Cfte iSeume i9io Wallace Goodrich. Born in Xewton, Mass. Studied at the New England Conservatory under Henn - M. Dunham ; with Rheinberger in Munich and Widor in Paris. Musical Di- rector of the Boston Opera Company and of the Cecilia Society. Organist of Boston Symphony Orchestra. Homer C. Humphrey. Born at Yarmouth, Me. Graduated from the New England Conservator} ' in 1901-2. Studied Organ with Wallace Goodrich ; Composition with G. W. Chadwick. STRINGED INSTRUMENTS TiMOTHEE AdAMOWSKI, Violin. Born in Warsaw, Poland. Studied in Warsaw Conser ' atory under Kontski and in Paris Conser aton,- under Massart. Second concert master of Boston Svmphony Orchestra until 1907. Member of Adamowski Trio. Joined the Faculty in 1907. Josef Adamowski, Violoncello and Ensemble Classes. Born in Warsaw, Poland. Studied at Warsaw Conservatory and at the Imperial Conservator} ' , Moscow, under Fitzenhagen, X. Rubinstem and P. Tschaikowsky. Degree of B.A. Joined Faculty in 1903. Eugene Gruexberg, Violin and Viola. Born in Lemberg, Galicia. Studied Violin at Vienna Conser ' atory with Heissler ; Composition with Bruckner and Dessoff ; Chamber and Orchestra Music with Hellmesberger. Head of Violin Xormal Department. Max O. Kunze, Contrabass. Born in Dresden. Graduate of the Royal Conservator} ' of Music. Came to America with von Billow ' s Orchestra. Member of Boston Symphony Orchestra. Joined the Facult} ' in 1899. Emil Mahr, Violin and Viola. Studied with Joachim in Berlin. Member of Wagner Festival Orchestra in Bayreuth. Joined the Faculty in 1887. Carl Peirce, Violin. Born in Taunton, Mass. Studied with Leandro Campanari. For nine years in charge of the Violin Department of the Boston Conservatory. Member of the New England Conser ator} ' Facult}- since 1902. 1910 21 Felix Wixtermtz. flo in. Graduated from Vienna Conservatory under Griin, in same class with Kreisler. Plaved two years with Boston Symphony Orchestra before touring the United States as soloist. Joined the Faculty in 1899. WIND AND OTHER INSTRUMENTS Arthur Brooke, F ute. Born in Gomeral, England. Studied under Packer of the Scotch Orchestra. Played First Flute in the Buffalo Symphony Orchestra. Joined the Boston Symphony Orchestra in 1896. Rudolph Toll, Clarinet. Born in Davenport, la. Studied Composition with G. W. Chadwick : Clarinet with Leon Pourtau and Alexander Selmer of the Paris Conservatory ; later with Georges Longy. For three years a member of the Pittsburg Symphony Orchestra ; now First Clarinet of the Boston Opera Orchestra. Member of the Facultv since 1909. Louis Post, Bassoon. Born in Pommerania, Germany. Studied Violin and Bassoon with his brother. Herman Post ; later with Gasgisch of Berlin and Schwarz of Cologne. Member of the Boston Symphony Orchestra for thirteen years. Albert Hackebarth, French Horn. Born in Berlin, Germany. Studied French Horn under August Riedel and Prof. Carl Schunke of the Konigliche Hoch Schule in Berlin. For twenty-two years a member of the Boston Symphony Orchestra, Joined the Facult) ' in 1908. Louis Kloepfel, Trumpet and Cornet. Born in Thuringia. Engaged by Damrosch as First Trumpet in New York Symphony Orchestra in 1891. Now a member of Boston Symphony Orchestra. A. J. Smith, Cornet. Born in Cambridge, Mass. Studied at the New England Conser ' atory : also under Arthur Monson, E. X. Lafrician, Louis Kloepfel. Member of the Facultv since 1908. Le Roy S. Kenfield, Trombone. Born in Belchertown, Mass. Member of Boston Symphony Orchestra. 22 3rf)0 iSeume 1910 Harriet Shaw, Harp. Studied with Carl Ziech of the Royal Dresden Opera House, Adolph Lockwood of the Royal Munich Opera, John Thomas of the Royal Academy, London, Signor Lorenzi of Florence, Alphonse Hasselmans of Paris ; Harmony and Coun- terpoint with Hermann Kotzschmar, G. W. Marston, F. F. Bullard and Signor Tacchanardi. Carl F. Ludwig, Tympani and Drums. Born in Dresden, Germany. Studied with C. R. Ludwig. Member of the Boston Symphony Orchestra, Boston Festival Orchestra and Municipal Band. THEORETICAL Louis C. Elson, Theory. Born in Boston, Mass. Studied Piano with August Hamann of Boston ; Voice with August Kreissman ; Composition with Carl Cloggner-Castelli of Leipsic. Celebrated lecturer and writer on musical subjects ; one of Boston ' s best-known critics. G. W. Chadwick, Counterpoint and Composition. Born in Lowell, Mass. Studied at the New England Conservatory ; at Leipsic under Reinecke and Jadassohn, at the Royal School of Music under Rheinberger and Abel. Teacher at the Conservatory since 1880; director since 1897. A composer of international reputation Benjamin Cutter, Harmony and Composition. Born in Woburn, Mass. Studied under G. F. Such, Julius Eichberg and Stephen Emery in Boston ; Violin with Singer ; Harmony with Goetschius and Instrumenta- tion with Max Seifriz in Stuttgart. Composer and author of standard text-books. Harry N. Redman, Harmony and Composition. Born in Mt. Carmel, 111. Pupil of G. W. Chadwick. Has composed much for Voice, Piano and Strings. Arthur She PERD, Harmony and Composition. Born in Paris, Idaho. Graduated from the New England Conservatory in 1897 under Charles Dennee. Studied with Carl Faelten ; Composition and Counter- point with Goetschius and Chadwick. Taught in Salt Lake City where he con- ducted Symphony Orchestra until 1908, when he became a member of the Faculty. SIGHT READING Samuel W. Cole, Solfeggio and Public School Music. Born in Meriden, N. H. Studied at the New England Conservatory, and under S. B. Whitney and John V. Tufts. Director of Music in Public Schools of Brookline since 1884. Author of musical text-books. IN MEMORIAM BENJAMIN CUTTER 1857-1910 HE WAS LOVED BY EVERY STUDENT AND FELLOW TEACHER 1910 f}t i?eume 23 Charles H. Doersam, Pianoforte Sight Reading. Born in Scranton. Pa. Studied with August Spanuth and Samuel P. Warren in New York, with Karl Beving and Gustave Schreck in Leipsic. Graduated from the New England Conservator} ' of Music in 1909. David H. Sequeira, Pianoforte Sight Reading. Born in Granada, Nicaragua. Graduated from the New England Conservator} in 190-4-6. Became member of the Facult}- in 1908. Clemont Lenom, Solfeggio and Oboe. Born in Gilly, Belgium. First prize in Oboe and Superior Solfeggio. Brussels Conser ' ator} ' . Studied with Massenet. Conducted orchestra at Geneva, Rouen, Aix les Bains. Member of Boston Symphony Orchestra. LANGUAGES Mme. Augusto Rotoli, Italian. Born in Rome. Early education in a convent and French school in Rome, Studied singing with Signor Rotoli, with whom she came to America in 1885. Camille Thurwaxger, French. Born and educated in Paris. Studied principally Fine Arts and Voice. Came to Boston in 1884, where he has given his time to teaching French. An authorit}- on phonetics and French diction. Georg Van Wierex, German. Born in Eddigehausen. near Gottingen, Germany. Graduated from Universit} ' of Gottingen in 1877 with the degree of Candidate of Theology, and from the Teachers ' Seminar}- in Hanover in 1899. Instructor in German at Boston Universit} ' . Joined the Faculty in 1901. TUNING Oliver C. Faust, Principal of Tuning Department. Born in Pennsylvania. Entered the New England Conser -ator}- in 1881. Studied Piano with J. C. D. Parker; Organ with Henr}- M. Dunham; Harmony with S. A. Emer} ' ; Voice with A. W. Keene, and Tuning with Frank W. Hale. Author of text-book on tuning. George L. Gardxer, Examiner and Instructor in Regulating and Polishing. Born in Oswego, N. V. Graduated from the New England Conservator} ' in 1890, and has been connected with the institution since that time. 24 3ri)e iSeume 1910 MISCELLANEOUS STUDIES E. Charlton Black, Lecturer on English and American Literature. Born in Liddlesdale Parish, Scotland, near the Old Manse of Sir Walter Scott. Graduated from Edinburgh University in same class with J. M. Barrie; received LL.D. from Glasgow University; now Professor of English in Boston University. Elizabeth I. Samuel, Rhetoric, English and History. Born in Bennington, 111. Graduate of Mt. Holyoke ; took a medical degree; special work at Boston University. Clayton D. Gilbert, Dramatic Action, Stage Deportment and Pantomime. Born in Wisconsin. First studied under Mrs. Scott Siddons ; afterwards in Chicago, New York and Paris. On the stage with several companies. Studied Concert Deportment under Messrs. Miller and Adams, Chicago. Instructor of Acting and Pantomime at Emerson College of Orator}-. Joined the Faculty in 1904. Francis A. Henay, Hand Culture. Born in Boston. Studied Physical Culture with Dr. D. A. Sargent of Cambridge and Baron Nils Posse of Boston. Assistant in Pianoforte Normal Department. Joined the Faculty in 1889. George W. Bemis, Guitar and Mandolin. Born in Boston. Studied with his father. Teacher at the New England Con- servatory for the past twenty years. 26 3Cj)e iSeume 1910 Senior Class Officers Harold Braley Simonds Ella Bonita Dyer Ray Winthrop Wingate Edith June Chapman U. Holmes Bishop . Herbert J. Jenny President Vice President Recording Secretary Corresponding Secretary Treasurer Assistant Treasurer JilottO : Not how much, but how ! Colors;: Red and gold. JflOtuer: Red rose. Clasis; gcll : Rah ! Rah ! Rah ! For 1910. Rah! Rah! Rah! Again, again. Rah! Rah! Rah! Who are we ? We ' re 1910 Of N. E. C! 1910 2Cf)e iSeume 27 Harold Braley Simonds. 35 Walker Street, Marlborough, Mass. rd rather be right than be President. ' ' Entered February-, 1907. Graduate in Organ under Wallace Goodrich. President of class in both Junior and Senior years ; Corresponding Secretary of Alpha Chapter, Sinfonia; Organist and Choir Master of Church of the Messiah, Boston. Ella Bonita Dyer. Salt Lake City, Utah. ' ' The cautious seldom err. ' ' ' Entered September, 1907. Graduate in Piano under Alfred De Voto. Vice President of class in both Junior and Senior years ; Member of the Neume Board ; Chair- man of Class Day Committee ; President of the N. E. C. Tennis Club. 28 STfje i?cume 1910 Ray Winthrop Wingate. 8 Fulton Street, Lawrence, Mass. hear a hollouu sound ; Who rapped my skull Entered September, 1906. Graduate in Voice under Percy F. Hunt. Secretary of class in both Junior and Senior years ; Member of Entertainment Committee in both Junior and Senior years ; Business Manager of Neume Board ; Bass Soloist in High Street Episcopal Church, Brookline. Edith June Chapman. Centralia, Wash. ' ' There is mischief in this girl. ' ' Entered September, 1906. Graduate in Piano under Alfred De Voto. Corresponding Secretary in both Junior and Senior years ; Member of Neume Board ; Member of Class Day Committee ; Secretarj- of N. E. C. Tennis Club ; Soprano in Brookline Baptist Church. 1910 3Df)e iSeume 29 U. Holmes Bishop. Orange, Cal. For you and I are past our dancing days. ' Entered September, 1906. Graduate in Voice under Percy F. Hunt. Treasurer of class in Senior year ; Chariman o Neume Committee in Junior year ; Associate Editor of Neume, 1910; Member of Class Day Committee ; Bass Soloist in First Universalist Church, Norwood, Mass., and Church of the Higher Life, Boston. Herbert J. Jenny. 637 Mitchell Street, Milwaukee, Wis. ' ' There is a probability of succeeding about that felloe that is mighty prcvoking. Entered September, 1909. Graduate in Organ under Wallace Goodrich. Assistant Treasurer of class in Senior year. 30 3C()e iSeume 1910 Ethel Louise Allen. Westfield, Mass. ' ' Indeed, I shall ne ' ver be satisfied. Entered September, 1907. Graduate in Piano under Charles P. Anthony. Member of Entertainment Committee in Junior year ; Member of M $ E Sorority. Rebecca Andrews. Orchard Street, Gloucester, Mass. ' ' A merry heart maketh a cheerful countenance. ' ' Entered September, 1907. Graduate in Voice under William H. Dunham. Chairman of Entertainment Committee in Junior year. 1910 Cfje i eume 31 Harriette Marie Arnold. 535 Main Street, Maiden, Mass. ' No one knons -cvhat he can do until he tries. ' ' Entered September. 1905. Graduate in Piano under Charles Dennee. Mrs. Genevieve Baker. Nicholson. Pa. ' She is charming to talk to, full of -Lvisdom, ripe in judgment, rich in information. ' ' Entered September. 1907. Graduate in Piano under Alfred De Voto. Member of Class Day Committee ; Accompanist of the N. E. C. Choral Club. 32 (Clje iSeume 1910 Barbara Bates. 270 Main Street, Athol, Mass. A little timid, but straig itforivard and upright. ' ' Entered September, 1906. Graduate in Piano under Carl Stasny. Member of Neume Board; Member of A X Sorority. Vivian Beers. 419 Broadway, Somerville, Mass. Phcehus! isjhat a name. ' Entered September, 1905. Graduate in Piano under Dr. Jeffery. 1910 VL )t iSeume 33 Ada M. Brigham. 46 Church Street, Hudson, Mass. ' S ie has a far-a-jjay expression in her eyes. ' ' ' ' Entered September, 1905. Graduate in Piano under F. F. Lincoln. Cynthia Brigham. Westboro, Mass. 4las, ' what bitter toil and straining. Entered September, 1906. Graduate in Organ under Wallace Goodrich. Member of Emblem Committee in Junior year ; Organist at Boylston Street Congregational Church, Jamaica Plain. 34 etc Beume 1910 George Allyn Brown. 120 Washington Street, Gloucester, Mass. J jolly Hello ' and a merry smile for every- body. Entered September, 1906. Graduate in Organ under Henr ' M. Dunham. Member of Entertainment Committee in both Junior and Senior years ; Organist at First Baptist Church, Manchester, Mass. Julius L. Chaloff. 22 Oakley Street, Dorchester, Mass. ' There be many Casars ere such another Julius. Entered September, 1904. Graduate in Piano under Alfred De Voto. Member of Emblem Committee in Senior year. Winner of Mason c Hamlin prize. 1910 35 Sam Charles. 63 Dove Street. Albany. X. Y. And at his touch honjs ild and =u;eird the melodies arise. ' ' Entered September. 1907. Graduate in Piano under George Proctor. Member of Entertainment Committee in Junior year ; Member of Class Day Committee Senior Year. 36 tlfje iSeume 1910 Ruth Winifred Coburn. 949 Main Street, Woburn, Mass. A gentle minde by gentle deeds is knoivne. Entered September, 1906. Graduate in Piano under Dr. Jeffery. Stella B. Crane. 19a Burroughs Street, Jamaica Plain, Mass. am the master of my fate. Entered September, 1907. Graduate in Voice under Armand Fortin. Member of Neume Committee in Junior year; Soprano in Ames Memorial Church, North Easton, Mass. 1910 STfje i?eume 37 Edna May Crothers. 501 South Market Street. Johnstown, N. Y. hate a thing done by halves. ' ' ' ' Entered September. 1908, Graduate in Piano under Carl Stasny. LiLLIE I. CULLEX. 112 Washington Street, Peabody. Mass. ' ' As a shado-cj that flits on the -cia l. Entered September, 1905. Graduate in Piano under Charles Dennee. 38 tCfje i?eume 1910 Bessie M. Eadie. Blackinton, Mass. ui:ere better to be eaten to death ivitk rust Than to be scoured to nothing ivith perpetual motion. ' Entered September, 1905. Graduate in Violin under Carl Peirce. Chairman of Emblem Committee in both Junior and Senior years. Alice Gushing Faunce. 525 Chestnut Street, Carnegie, Pa. ' ' She lived in peace ucith all mankind, In friendship she ivas true. ' Entered September, 1906. Graduate in Organ under Wallace Goodrich. Member of Entertainment Committee in Senior year. Member of the A X Sorority. 1910 3Cf)e iSeuntE 39 LiLIA G. FORDERER. 1212 Regent Street, Alameda, Cal. ' ' There uoere giants on the earth in those days. ' ' Entered September, 1907. Graduate in Organ under Homer C. Humphrey. Ethola Frost. Belfast, Me. Nothing great -zcas ever achie-ved ' ithout enthusiasm . ' Entered September, 1907. Graduate in Piano under F. F. Lincoln. 40 STfje iSeume 1910 Lois G. Gibson. 1109 Koenigstein Avenue, Norfolk, Neb. The beautiful is as useful as the useful. Entered September, 1907. Graduate in Piano under Carl Baermann. Member of Emblem Committee in Junior year; Member of Entertainment Committee in Senior year. Alma A. Louise Green. 704 South Jackson Street, Green Bay, Wis. ' ' JVe ix-ill take the good -ivill for the deed. ' ' Entered September, 1908. Graduate in Piano under Carl Baermann. 1910 Cfte i?eume 41 Marie Griffin. 35 West Pond Street, Cochituate, Mass. ' True as steel. ' ' Entered September. 1907. Graduate in Voice under William H. Dunham. Member of Entertainment Committee in Junior year ; Contralto Soloist in First Universalist Church, Norwood. Mass.. and Church of the Higher Life. Boston. Annie Haigh. 506 4th Street. Dubois. Penna. Entered September, 1906. Graduate in Violin under Eusrene Gruenbersr. 42 STfje iSeume 1910 Jessie Laura Hawley. Brattleboro, Vt, Tis good to be merry and icise ; tis good to be honest and true. Entered September, 1904. Graduate in Piano under Carl Stasny. Anna M. Hearn. Hudson, N. Y. Sober, steadfast and demure. . Entered September, 1907. Graduate in Piano under Carl Baermann. 1910 Cte i eume 43 Viva Grace Head. Prescott. Ariz. ' Hang sorrow; care ' II kill a cat. Entered September. 19l 6. Graduate in Voice under Clarence B. Shirley; Assistant Treasurer in Junior year : Member of Entertainment Comminee in Senior year : member of the Xelme Board. Marie C. Hille. Hopkinsville, Ky. ' ' There never yet a murmur fell from that be- guiling tongue. Entered September. 1905. Graduate in Piano under Charles F. Dennee. 44 Cf)e iSeume 1910 Beatrice N. Knight. 65 Washington Street, Hudson, Mass. ' The sweetest little thing that ever greiu. ' ' Entered September, 19C5. Graduate in Piano under F. Addison Porter. 1910 3rf)e jSeume 45 Bessie M. Mitchell. Charleston, VV. Va. ' ' Brei ' ity is the soul of ujit. ' ' Entered September, 1906. Graduate in Piano under Charles Dennee. 46 3r()e eume 1910 M. Belle Moore. Garrett, Wyo. am nothing if not studious. Entered September, 1903. Graduate in Voice under Clarence B. Shirley. Member of Entertainment Committee in Senior year. Mary A. Murray. Homestead, Pa. ' ' One vast, substantial smile. ' Entered September, 1905. Graduate in Piano under Carl Baermann. 1910 dCfje iSeume 47 Emma Novotny. 3410 Second Street, San Diego, Cal. S iveet y sedate, but serious. Entered 1907. Graduate in Piano under Edwin Klahre. Member of Emblem Committee in Junior year. Carrie Ormerod. 41 East Strand, Kingston, N. Y. Lef s do it in the high Roman fashion. ' ' Entered September, 1907. Graduate in Voice under Clarence B. Shirley. Member of Neume Committee in Junior year and Entertainment Committee in Senior year ; member of Hallet Davis Quartet of Boston ; Member of A X 2 Sorority. 48 3rf)e iSeume 1910 Lee Marian Pattison. 1330 27th Street, Des Moines, la. f ' very foot has music in it as he comes up the stairs. ' ' Entered September, 1908. Graduate in Piano under Carl Baermann. Editor in Chief of The Neume of 1910. Member of Alpha Chapter, Sinfonia ; Member of Class Day Committee. Ida Lucile Pierce. 1210 Cedar Street, San Diego, Cal. People have prejudices against a nation in uahich they haue no acquaintances . Entered September, 1906. Graduate in Voice under Charles A. White. Member of Entertainment Committee in Junior year; Soprano Soloist at St. John ' s Methodist Church, South Boston. 1910 W )t iSeume 49 Walter Scott, Jr. Canton Junction, Mass. All great men are dying, And I feel quite ill. ' ' Entered September, 1905. Graduate in Piano under Charles Dennee. Member of Alpha Chapter Sinfonia. Lottie Pearl Seiler. 30 East Lincoln Street, Shamokin, Pa. ' And still I seem to tread on classic ground. Entered September, 1907. Graduate in Piano under Carl Baermann. Member of Emblem Committee in Senior year; member of Class Day Committee. 50 3rf)E iSeum? 1910 John K. Snyder. 328 North Fifth Street, Reading, Pa. ' ' Little bits of ' baccy, Great, big clouds of smoke. Make a fellonji ' happy, E-ven though he ' s broke. Entered September, 1906. Graduate in Organ under Henrj M. Dunham. Member of Emblem Committee in Senior year ; Assistant Business Manager of The Neume, 1910. Aline DeLand Tarbell. 2 Main Street, Hudson, Mass. ' ' Looks that speak. Entered September, 1905. Graduate in Piano under F. Addison Porter. Member of Entertainment Committee in Senior year ; Member of Class Day Committee ; Or- ganist and Choir Director of Universalist Church, Marlborough. 1910 arje iSeume 51 Adele G. Walther 1515 Termon Avenue, Pittsburg, Pa. There are some silent people nvho are more in- teresting than the best talkers Entered September, 1906. Graduate in Piano under Carl Baermann. Member of Neume Board; Member of the t M F Sorority. 52 Cfje iSeume 1910 Margaret Kerr Webb. 2 Vauxhall Flats, Nashville, Tenn. Z)o you knotu a young and beautiful girl u ho is not nvilling to flirt— just a little : Entered September, 1908. Graduate in Piano under George Proctor. Chairman of Entertainment Committee in Senior year ; Member of A X 12 Sorority. Fredericka Weissbach. 1214 Forest Avenue, Bond Hill, Cincinnati, Ohio. ' Long, continuous , and increasing. Entered September, 1906. Graduate in Piano under Edwin Klahre. 1910 2Cf)e iSeume 53 Hazel B. Wing. Holland, Mich. She ' s a daisy, she ' s a ducky, she ' s a lamb. Entered September, 1908. Graduate in Piano under Carl Stasny. Member of Entertainment Committee in Senior year ; Member of the A X J] Sorority. Cf)e i?eume i9io Alice M. Wiswell. La Junta, Col. ' ' The sense of duty pursues us. Entered September, 1906. Graduate in Voice under Charles A. White and Mabel Stanaway-Briggs. Soloist in L ' niversalist Church, Marlborough. Mass.; Member of Xeume Committee in Junior vear. Anna E. Smith. Bellport. Long Island. ' Fve lived and looted. ' ' Entered September. 1905. Graduate in Piano under Edwin C. Klahre. 1910 3rf)e iSeume 55 J. Bayard Currie. 907 Massachusetts Avenue, Cambridge, Mass. The cutest little man you e ver sanj u. ' Entered September, 1904. Graduate in Organ under Henry M. Dunham. 56 3ri)E iSeume 1910 N. E. C. Old N. E. C. on Atlantic ' s shore, We love thy dear, dear name. Thy work for art since days of yore Has ever been the same. Thy echoing halls full many a note Of the greatest w orks have heard, And many a trill from singer ' s throat Like the voice of a woodland bird. Thy corridors long have oft the ring Of a master ' s step coming through ; And many a throbbing fiddle string Has told that tale so true — How life is short and art is long. But for love of music we Are filled with hopes, ambitions strong, And lovaltv to N. E. C. 1910 JKfje iSeume 57 Class History IN September, 1908, Mr. Chadwick, after the usual order, started us, a well-organized class, on our way toward the graduation goal. It is not necessary to relate the events of our Junior year, as they are recorded for the most part in The Neume of 1909. On June 1st we gave a spread and dance in honor of the departing Seniors. Toasts were given by the Presidents of the Classes of 1908, 1909 and 1910, and also by the President of the Alumni Association. SPREAD . 1 9 1 TO 1 909 June 1, 1909 COLLATION Chicken Salad Salad Rolls Sandwiches Coffee Ice Creams Strawberry Harlequin Orange Sherbet Assorted Cakes Fruit Punch TOASTS Mr. Moss, The Class of 1909 Mr. Burrell, The Alumni Association Mr. Trowbridge, Ad Libitum Toastmaster, Mr. Simonds 58 2rf)e iSeume 1910 June 16th was the date of our Junior Concert in Jordan Hall, given by members of the class. We are happy to recall that it proved a success. The program is given below : — Junior Class Concert June 16, 1909, 8.15 p. m. program Bach, Prelude in A minor, Organ MISS CYNTHIA M. BRIGHAM Spohr, Aria from Jessonda MR. HARLOWE F. dean Chopin, Scherzo in C minor for Pianoforte MR. WALTER SCOTT Sarasate, Les Adieux, for Violin MISS BESSIE EADIE WiDOR, Moderato Cantabile, from 8th Symphony, for Organ MR. FRANK S. ADAMS Chadwick, The Danza Thou art so like a flower Mrs. Beach, I send my heart up to thee MISS STELLA B. CRANE • Liszt, Gondoliera Etude de Concert in D b MISS BARBARA BATES Lalo, Serenade Mlynarski, Mazurka MISS ANNIE L. HAIGH Saint-Saens, Concerto in G minor for Pianoforte II. Allegro scherzando III. Presto MR. SAM CHARLES Second Pianoforte, Mr. George Proctor, of the Faculty 1910 Ki}t i9eume 59 During the first week of June the dreaded Senior Entrance Exams, came. One by one we conquered them, and realized our long-desired hope of being Seniors. Our unsophisticated Junior days, with their fun and freedom, quickly became only fond memories in our Senior hearts. At our first Senior Class meeting, held in October, 1909, it was clear that Harold Simonds, who had been such a successful President of our Junior Class, still stood high in favor, and was elected unanimously to con- tinue his leadership. It was decided that our regular business meetings should be hel d on the first Wednesday of each month, as before. To all of these meetings we were supposed to carry a quarter to drop into our Treasurer ' s hand, in order that class expenses might be met without difficulty. The object of our first social event was to establish a friendly acquaint- ance with our fellow Juniors. In order to accomplish this, an informal re- ception was given in Recital Hall. Friendly relations were established, and we feel confident that the coming Senior Class will prove itself worthy of even filling the vacancy caused by the departure of the Class of 1910. The members of the Sinfonia Fraternity gave a concert, to which we were invited to attend in a body. An informal dance followed. It is hardly necessary to say that all present spent a most enjoyable evening. Each month we have kept up class spirit by having some informal doing. One month we had a Domino Party, and another a little dancing party was given. Class interest was shown best when it was sug- gested by the management that the idea of The Neume should be given up, on the ground that it would take so much time from our work ; but the pride of the Seniors rose with the occasion, and each made it under- stood that he would do all in his power to make it a success without neglecting his studies. The Class of 1910 has been honored as no previous class has been, by an offer from the Mason and Hamlin Company to give a grand piano to our best pianist. The contest will take place in Jordan Hall on the evening of April the 22d. Mr. Max Fiedler, Mr. Charles Martin Loeffler and Mr. Chadwick are to be the judges. When we leave behind the happy days spent in the New England Conservatory, and enter upon our work, we hope to put in practice what we have learned from our Alma Mater. Our warmest interest will always be shown in the school that has given ' us our musical training. May our Alma Mater continue to prosper in the years that are to come ! V. H. 60 2r()e i9eume 1910 CLASS SONG. L. M. P. I ( —I 1. We are heap big lu-juns; 2. Our camp ' U soon be bro-ken; -A ! -2? _J • Tempo di marcia. -J_J. 5 I 1 — — Z -iSEJ ! — 1 — 1— ■ jrj-= 1 p -1 -1 -f -j Bows ani ar-rows Te - pees tak - en ( strong. Scalps of ex - iown. New tribes with s _ — L _d am - i - na - tions trange tongues spo - ken Will r-J =1 7n = H - = — 1 d a t-— i : — — 1 -—1- -•- — h 1 ■] ■ 1 — i- j- ■ .-«. •- III 1 -A- ' -A — ' L. ..... . .. Hang our belts a - long, have this tent - ing ground. — h h- We ' ve o ' er We are come the ju - nior pale -face, leav - ing here our big chief, 1910 Cfje i?eume 61 CLASS SONG. i Seu - ior en - trance won. Medi- cine men and squaws, Lone and wea - rv is the bi? race But Mav the tribe that corues as we leave O - 25 Choru? now ' tis al - most done, bev their mi ht - v laws. Yip ki yil yip ki yi: 9 - JC E3 id • 9 • 9 — • - i- - TZ y -A m- J 7 — 1-  ✓ ' Yip - pi ki yi ki yay! We ' ll be-stride our po - nies and will INN • s- 62 tCfje iSeume 1910 CLASS SONG. -V- H- — t - Yip - pi ki yi ki yee! Man - y hunt-ing grounds we ' ll vis-it but — r -I — 5«- -9 -| • T 1 yii L none like N. E. C. none like N. E. C. 1910 3Cf)e iSeume 63 Concerts -JUL PIANOFORTE Ethel L. Allen 1 December 19, ' 08. 1 March 27, ' 09. 1 May 29, ' 09. Haydn — Theme and Variations in F minor. Grieg — 3 Humoresken. Raff— La.nd er in E flat. Harriette M. Arnold 1 January 22, ' 10. 1 February 5, ' 10. Mozart— Trio in G (II), K. 496. Schumann — Valse Noble. Mrs. Genevieve B. Baker 1 October 17, ' 08. 2 October 31, ' 08. 2 May 19, ' 09. 1-3 November 20, ' 09. January 18, ' 10. 1-3 February 19, ' 10. 2 February 23, ' 10. Liszi — Ballade in B minor. Liszi — Ballade in B minor, ( Chopin — Etude in C minor. { Arensky — Etude in F sharp. Beetho ' ven — Trio in B flat (I). Accompaniments in Chorus Concert. Brahms — Trio in C minor (I), Opus 101. ( Glinka-Balakireff— ' ' The Lark. Chopin — Etude in E flat. ' fFagner-Brassin — Feuerzauber. Barbara Bates 1-3 November 13, ' 09. 1 February 5, ' 10. Mozart— Tno in B flat (I), K. 254. Chopin — Impromptu in F sharp. Vivian Beers 1 February 5, ' 10. 1 March 5, ' 10 Mendelssohn—Tx ' xo in C minor (I) Schubert— Tuo (III), Opus 100. Ada M. Brigham 1 October 16, ' 09. 1-3 November 20, ' 09. 1 February 12, ' 10. Bach — Prelude and Fugue in F minor. Mozart— Tr o No. 4 {Peters) (I). MacDoivell — Improvisation in F. Perpetual Motion in A flat. George Allyn Browne 1-3 January 15, ' 10. Mozart— Tv o in C (Finale), K. 548. 64 3rt)e iSeume 1910 Julius L. Chaloff 1 March 13, ' 09. 1 April 3, ' 09. 2 October 20, ' 09. 1 November 20, ' 09. 2 November 18, ' 09. 1-3 February 12, ' 10. Chopin — Preludes in C, G, B minor, C sharp minor, F minor. Liszt — 12th Rhapsody. Bach-Busoni — Chaconne in D Minor. Rubinstein — Concerto in D minor (I). Rubinstein — Concerto in D minor (l). Dvorak — Dumky Trio. 1 March 6, ' 09. 1 May 22, ' 09. 1 June 12, ' 09. 1 October 16, ' 09. 1 November 27, ' 09. 1 December 4, ' 09. 1 January 29, ' 10. Edith J. Chapman Schumann — Novelette in F. Sgambati — Vox Populi, Opus 23, No. 3. Beetho ' ven — Sonata (I), Opus 13. Padereivski — Cracovienne Fantastique in B. Bach — Allegro Animato from Italian Concerto. Beetho ' ven — Trio No. 3 (Peters) (last movement) Schumann — Concertstuck in G, Opus 92. 2 November 4, ' 08. 4 April 2, ' 09. 2 September 24, ' 09. 4 March 16, ' 10. Samuel B. Charles f Pugno — Tintements de Clochettes. t Chaminade — Scherzo. Schumann — Concerto in A minor (I), j Debussy — Prelude. I Mac ' JJo ell — Valse triste. Etude in F sharp. Liszt — Concerto in E flat. 1 May 8, ' 09. Lena M. Christie j Baermann — Etude in C. Liszt — Waldesrauschen. 1 November 27, ' 09. 1 December 18, ' 09. Ruth Winifred Coburn Chopin — Polonaise in C sharp minor. Grieg — Praeludium in G. Nellie W. Coolidge 1-3 December 4, ' 09. Mozart— Tno No. 2 {Peters) (II) Edna May Crothers 2 January 22, ' 10. Mendelssohn- Liszt — Auf Fliigeln des Gesanges. 1 December 11, ' 09. LiLLIE J. CULLEN Schumann — Romance in F sharp. 1910 SCfje iSeume 65 Ella B, Dyer 1 March 27, ' 09. 1 June 12, ' 09. 1 October 23, ' 09. 1 December 18, ' 09. 2 February 23, ' 10. 1 March 19, ' 10. Liszt — Cantique d ' Amour. Beethoven — Sonata (I), Opus 26. j Glazounoiv — Prelude in D flat. I Chopin — Nocturne in F sharp. Chopin — Ballade in A flat. C ;o ); — Ballade in A flat. Schumann — Concerto in A minor (I) 1 November 6, ' 09. 1 October 23, ' 09. 1 December 4, ' 09. Ethola W. Frost Chopin — Impromptu in F sharp. MacDoujell — Improvisation — Perpetual Motion. Raff — Valse Caprice in C. 1 January 15, ' 10. Chopin- Lois G. Gibson -Etude in C sharp minor. Tarantelle in A flat. 1-3 January 5, ' 10. 1 February 26, ' 10. Alma A. Louise Green Mozart— Tno in C (II), K. 548. Mendelssohn — Capriccio brilliant in B minor. 1 November 13, ' 09. 1-3 December 11, ' 09. Jessie L. Hawley Schubert — Sonata in A minor (I) . Beethoven — Trio in B flat (II), Opus 11, 1 February 12, ' 10. Charles P. Jochem Chopin— Vxt xdt in D flat. Etude in F minor. 1 May 15, ' 09. 1 October 16, ' 09 1-3 December 11, ' 09. 1 January 15, ' 10. Beatrice N. Knight Chopin — Preludes — C, C sharp minor, B minor, G minor. Rheinberger — Capriccio for left hand alone. H. W. Parker — Menuet from Suite in E. Liszt — Consolation. 1 October 23, ' 09. 1 December 18, ' 09. 1-3 March 12, ' 10. Nettie E. Lentz Tschaikovjsky — Meditation in D. MacDozvell — Etude in F sharp. Mendelssohn — Trio in D minor (III) 1 January 15, ' ]0. Bessie M. Mitchell Schumann — Faschingsschvvank (II and III) 66 3Ef)e iSeume 1910 Emma J. Novotny 1-3 November 20, ' 09. Mozart— Tno No. 2 (Peters) (I) 2 January 22, ' 09. 2 October 20, ' 09. 1-3 November 13, ' 09. 4 November 19, ' 09. Lee M. Pattison Bach — Fantasie in C minor. Chopin — Etudes in A flat, C minor. Rheinberger — Variations in D minor. Mendelssohn — Trio in D minor (I) . Schumann — Concerto in A minor (I) 1 December 5, ' 08. 1-3 December 19, ' 08. 1-3 March 20, ' 09. 2 September 24, ' 09. 3 October 30, ' 09. 2 November 18, ' 09. 2 March 22, ' 10. Walter Scott, Jr. Schubert — Sonata in A minor (1). Beethoi ' en — Scherzo from Trio, Opus 1. Beethoven — Trio in B flat (I), Opus 97. Brahms — Rhapsodie in E flat. Mendelssohn — Trio in C minor (scherzo), Opus 66. Liszt — Polonaise in E. Liszt — Polonaise in E, Lottie Pearl Seiler 1-3 February 13. ' 09. 1 May 22, ' 09. 2 January 18, ' 10. Beethoven — Temacon variazioni from Pianoforte, Trio, Opus ll. Handel — Fugue in E minor. Bach — Suite in E minor (English). Anna E. Smith 1 December 12, ' 08. 1 January 15, ' 10. 1 January 29, ' 10. 1-3 February 12, ' 10. fVagner-Brasiin — Feuerzauber {Die Walkiire) . MacDonvell — Polonaise. Beethoven — Allegretto from Sonata, Opus 31, No. 3. Haydn— Tno in No. 6 (Peters) (I). Aline DeLand Tarbell 1 October 30, ' 09. 1 March 5, ' 10. Mendelssohn — Capriccio Brilliant, Opus 22. Beethoven — Sonata, Opus 27, No. 2. Jennie W. Tibbetts 1 February 20, ' 09. 1 May 22, ' 09. 1 June 5, ' 09. 1 March 12, ' 10, Beethoven — Sonata (Adagio cantabile-Rondo) , Opus 13. Chopin — Nocturne in E minor. W r— Freischutz Study, Opus 127, No. 2. Schumann — Nachtstiicke. Fredericka W. Weissbach 1 December 4, ' 09. 1 December 11, ' 09. Chopin— Nocturne in F, Opus 15, No. 1. Chopin — Etude in C, Opus 10, No. 7. A ' . Rubinstein — Valse in A flat. Opus 16. 1910 3Ct)e iSeume 67 1-3 February 12, ' 10 1 1 October 3, ' 08. 2 January 22, ' 09. 1 January 22, ' 10. 1-3 January 22, ' 10. 1 March 19, ' 10. 2 February 26, ' 09. 2 January 18, ' 10. 2 February 23, ' 10. 2 January 22, ' 09. 4 October 20, ' 09. 2 February 1, ' 10. 2 March 22, ' 10. 1 February 6, ' 09. 1 November 6, ' 09. 1 February 26, ' 10 2 November 4, ' 08. Bertha L. White Mozart— Trio in C (I), K. 548. Raff — Suite in E minor (Prelude — Minuet — Toccata). Hazel B. Wing Sinding — Scherzo in D minor. Sinding — Scherzo. Margaret K. Webb Mendelssohn — Capriccio in B minor, Opus 22. Mozart— Tno in G (III) , K. 496. Beethonjen — Concerto in C minor (I). Cynthia Mary Brigham Bach — Toccata and Fugue in D minor. Accompaniments in Chorus Concert. Bach — Passacaglia for Organ. J. Bayard Currie Guilmant — Adagio and Scherzo from Sonata No. 5, C minor. Tombelle — Prelude in C. Handel — Concerto in F, No. 5. Widor — Symphony Gothique (I, II). Alice C. Faunce Bach—Y x xt in C {Peters) (Vol. II). Lillie G. Forderer Rheinberger — Fantasie Sonata in B (I). Bach — Prelude in C minor. Harold B. Simonds Rheinberger — Sonata in B (I). Bach — Toccata and Fugue in D minor. John K. Snyder 1 March 6, ' 09. April 5, ' 09. 2 May 5, ' 09. Guilmant — Sonata in C minor. No- 3 (I). Part in Pantomime, Mina. Merkel — Sonata in D minor for two performers. 68 3rf)e iSeume 1910 VOICE Rebecca Andrews 1 January 16, ' 09. 1-2 April 3, ' 09. 1 June 5, ' 09. Hildach— ' Forgetfulness. Mozart — Voi che sapete (Figaro) Godard — La Tosca. November IT, ' 09. 1-3 February 6, ' 09 1 March 13, ' 09. April 5, ' 09. 2 November 26, ' 09. 1 March 12, ' 10. U. Holmes Bishop f Leonca-vallo — Scene from Pagliacci (with action). (. Hope Temple — Pabolo (with action) . Rossini — Gratias (Trio) {ixom Messa Solenne) . Schubert— ' ' My Abode. Solomon — Singing Part 2, Mrs. Bardell ' s Proposal. Schwhert — Friihlingsglaube — Trock ' ne B lumen — Muth. S Widor— ' ' Soupir. ) Holmes— ' Noel d ' Irlande. 2 November 4, 1 November 7, 1 April 3, ' 09. 3 June 9, ' 09. 3 June 9, ' 09. 1 December 4, ' 08. ' 08. ' 09. 1 January 16, ' 09. 1 May 1, ' 09. 2 March 22, ' 09. 1 October 17, ' 08. 1 November 21, ' 08. 1 November 6, ' 09. Stella B. Crane Massenet — II est doux, il est bon {Herodiade) . Gounod — Duet, Angiol che vesti [Romeo et Juliette) Vannuccini — Notturno-Stornello (Trio) . Verdi — Quartet from Manzoni Requiem. Gounod — Jewel Song, from Faust. Brahms — Wie melodien sieht as mir. Schumann — Widmung. Marie Griffin Schubert — Der Neugierige. Henschel — Morning Hymn. Strauss — Zueignung. Henschel — Morgen Hymne. Viva G. Head Saint-Saens — Amour viens aider [Samson et Delila) Gounod — O Divine Redeemer. Saint-Saens — Mon coeur s ' ouvre {Samson et Delila) . Carrie Ormerod 1 December 12, ' 08 Ponchielli—Voctd Donn?L [Gioconda) 1 October 3, ' 08 1 March 6, ' 09 1 June 5, ' 09. 1 November 13, ' 09. 4 November 19, ' 09. 2 January 18, ' 09. 2 January 18, ' 10. Ida L. Pierce Haydn— Wix. Verdure Clad {Creation). Mozart — Deh vieni [Figaro). Faure — Apres un Reve. Gounod — Envoi de Fleurs. Rossini — Aria, Una voce poco fa {Barbiere) . flj w— Recitative, O Welcome Now (Seasons) Rossini — Aria, Una voce poco fa {Barbiere). Solos in Choral Concert. 1910 2rfte iSeume 69 Ray W. Wingate 1 March 5, ' 10. Grieg— ' The Old Mother. MacDo-xvell— ' ' The Sea. Alice M. Wiswell 1 May 15, ' 09. 1 March 12, ' 10. Schubert — Gretchen am Splnnrade. Mozart — Deh vieni (Figaro). VIOLIN Annie L. Haigh 1 November 14, ' 08. ) TfnagUa-An ' I leiixtemps — L Orage. 1-3 January 10, ' 09. Beethoven — Pianoforte Trio in C minor (I). 1-3 January 30, ' 09. Beethoven— S,on2it?i in D (I). Opus 12, No. 1. 2 April 3 ' 09 [ Spohr — Concertante in A for two Violins. ' ■ Maurer — Concertante in A for four Violins. 1-3 April 24, ' 09. Beethoven — Pianoforte Trio No. 3 (Menuetto). 1-3 May 29, ' 09. H. Parker— Suite in E (Menuetto). 1-3 June 12, ' 09. Mozart — Trio No. 6 (allegro assai) . 1 November 6, ' 09. ' o ) ' r— Elfenreigen. 1-3 January 22, ' 10. .Uo ar — Pianoforte Trio in G (III), K. 496. 1 February 5, ' 10. ] Simon-- Berceuse - I I leiixtemps — 1 arantelia. 1-3 February 12, ' 10. .Uozar — Pianoforte Trio in C (I), K. 548. 1-3 March 5, ' IC. Chadv:ick — String Quartet in D minor. No. 5. Bessie M. Eadie 1 November 7, ' 08. C. N.Allen — Fete champetre (four violins) . 1 April 3, ' 09. Sarasate— ' ' ' Lei Adxeux. ' ' The following notes will explain the hst cf compositions performed by members of the Senior Class, forwarded herewith : — The numbers at the extreme left refer to the kind of concert at which the selection was performed. No. 1 refers to a Saturday recital ; No. 2 to a concert of advanced students ; No. 3 to a concert exclusively of ensemble music ; No. 4 to a selection played with orches- tral accompaniment in a public concert. Nos. 1-3 indicates an ensemble composition played in a Saturday recital. No account is taken in the list of compositions performed in concerts given by classes, societies or other organizations. The list is complete of compositions rendered by members of the present graduating class, beginning with the opening of school in September, 1908, and closing with the concert of March 22, 1910. Where compositions are designated as trios, quartets, etc., it is understood that the pupil, to whom such performances are credited, played the pianoforte part in such compositions; except in the case of Miss Annie L. Haigh, who played the violin part. A Roman numeral in brackets after the name of a composition indicates which movement of the composition was played. The letter K., followed by a number, refers to the designation of the composition in the Koechel catalogue of Mozart ' s works. Major keys of compositions are designated by letter only. Wallace Goodrich, Dean of the Faculty. 1910 STfje Mtnmt 73 Class Organization Guy Eliot McLean . Lesley La Beaume Emma Rempfer . Glena Pritchard Cliftox Wetherbee Hadley Charlotte E. Maxson President Vice President Recording Secretary Corresponding Secretary Treasurer Assistant Treasurer Advisory Committee George. W. Chadwick Ralph L. Flanders Wallace Goodrich Entertainment Committee Wanda Wardell, Chairman Lydia Brown Sarah Davis TwoNETTE Nutter Edward Grant Finance Committee Clifton W. Hadley, Chairman Charlotte Maxson Wesley Howard Emma Rempfer Lesley La Beaume Florence Moody Emily Chandler Neume Committee Guy E. McLean, Chairman Susan Downing Fannie Dubois Florence Moody Charlotte Maxson Emblem Committee Sarah Davis, Chairman Fannie Dubois Lydia Brown 74 (CjjE iSeume i9io Junior Class Roll lano forte Bertha Cecilia Bau Florence May Bishop . Calla Alzada Brewster Ethelinde French Bridgham Lydia Herrick Brown . John Thomas Cathey . Emily Nourse Chandler Sarah Josephine Davis, m $ E Fannie Ernestine Dubois, $ M r Louise Evangeline Foster Alta Fern Freeman Louise Arnold Gilbert, $ M Edward Joseph Grant Mary Elizabeth Holmes Mary Winifred Howard, A X 1} Mary Perkins Howe Winifred Rose Ingraham Lesley La Beaume, A X n Irene McWilliams Florence Helen Moody Grace Forest Murphy Francis Charles Nelson Grace Bertha Nicholson Cora Margaret North Lela Opdenweyer Ethel Hall Pierce Gladys Pitcher . Mary Louise Seymour . Rachel Louise Seigrist Bessie Toher Blanche Ellen Wagner Wanda Evelyn Wardell Barre, Vt. Wheeling, W. Va. Lake Placid, N. Y. Dexter, Me. Newton, Mass. Gadsden, Ala. Leominster, Mass. Gloversville, N. Y. Oklahoma City, Okla. Boston, Mass. Le Mars, la. New Haven, Conn. Taunton, Mass. Everett, Mass. Gowanda, N. Y. South Weymouth, Mass. Worcester, Mass. St. Louis, Mo. Scottsdale, Pa. Gardiner, Me. Everett, Mass. Cambridge, Mass. East Orange, N. J. Atlantic City, N. J. Prairieville, La. Wakefield, Mass. Belfast, Me. Plympton, Mass. Green Bay, Wis. Oneida, N. Y. Bangor, Pa. Roxbury, Mass. 1910 artje iSeume 75 oice Rosalie Hutchins Wheelock Florence White . Gladys Elaine Woodbury Theresa Young Maria del Carmen Zamudio Rachel Frost Andem, m $ E Pauline Isabel Curley . Annie Sara Drand LuTA Lena Grimes Wesley William Howard Ethel Louise Jones ViNiE C. Jones, M $ E . Jeanette E. Lamping, $ M r Guy Eliot McLean, Sinfonia TwoNETTE Nutter Cleo Eva Parmalee, M E Vivian Peavey Glenna Pritchard, $ m r Emma Rem peer Victoria Olive Sardoni Helen N. Tietjen Organ Laura Eliza Brown Mildred Rose Day Susan Adelaide Downing, AX n . Clifton Wetherbee Hadley, Sinfonia Carrie Esther Randall Carl Marston Safford Malcolm Willis Sears Ralph Edward Williamson . . Roslindale, Mass. Butler, N. J. Natick, Mass. Edna, Texas Matamoras, Tamps, Mexico North Grosvenordale, Conn. . Fall River, Mass. Boston, Mass. Waynesburg, Pa. Clark ' s Corner, Conn, . Worcester, Mass. Victoria, Texas . St. Joseph, Mich. . Roslindale, Mass. . Martinsville, Ind. . Gilroy, Cal. Washington, D. C. Dayton, Ky. Parkston, S. Dak. . Wilkes-Barre, Pa. Boston, Mass. Plymouth, Mass. Winchendon, Mass. Jamaica Plain, Mass. Leominster, Mass. Canton, Mass. Waltham, Mass. . Mattapan, Mass. . Lockport, N. Y. Viol in Charlotte Evelyn Maxson ..... Westerly, R. L 76 Cfje iSeume 1910 The Junior Class IT IS INDEED a difficult task to write anything that will fittingly portray the status of the Class of 1911 ; and I ' m sure if some illustrious writer could have been present at our Junior Party on February 17, 1910, sat i n that merry circle and looked into those faces, so correctly described in the old proverb as a joy forever, ere the sun again dispelled the darkness of that night, the world would possess a masterpiece of prose, or some poem that would move even adamant. Perhaps to more clearlv understand the present situation a resume of the Junior Class movement would be advisable. Coming events cast their shadows before them, thus the root of the idea started with the Class of 1904, when a brilliant mind conceived the idea of a Class Dav for the New England Conservatory. The next year the Class of 1905 was made immortal by the first issue of The Neume, but in October, 1905, occurred the event that must have been accompanied by violent earthquakes or some other astronomical disturbances, namely, the birth of the Junior Class. The individual triumphs of the succeeding classes have been ably told each year in The Neume. What has been the result ? Does it justify future efifort ? Most decidedly, yes ! All successful movements are inaugurated and maintained bv enthusiasm until the experimental period becomes experience, and then real progress begins. We of the Class of 1911 think we are at or near the high-water mark of enthusiasm, and that the second stage in Conservatory Alma Mater spirit is about to begin. The policv of the class is twofold, the glorv of 1911 and the culti- vating of a strong spirit of loyaltv to our Alma Mater, the result of which should be the best that 1911 could do toward a strong Alumni Association. The first step in that line, of course, has been getting acquainted. On account of unavoidable circumstances, organization was delayed until late, and the Christmas vacation was upon us before we were many weeks old. However, those few who could not go home and those who lived near, gathered at the Conservatory in the middle of vacation, and enjoyed a very pleasant evening in the form of a chafing-dish party, with the gentlemen as cooks. (Nobody injured.) 1910 3Cf)e iSeume 77 In January the class was represented in one of the feature dances at the Costume Carnival. On February 17th one of the most successful class parties in many years was held in Recital Hall. The games were so interesting that the refreshments were almost forgotten. The Entertain- ment Committee have planned the next social for March 17th, and, if present indications are not misleading, a better time is in store. We expect on that evening (March 17th) outsiders and seniors will be green with envy. The Committee are doing their best to help the policy of the Class, and with that in mind have adopted the slogan, get acquainted. We look back with a degree of satisfaction, not untinged with a little pride, at the accomplishments of the few months of our existence, and forward with great expectancy to what the future has in store for us. Thus the Class of 1911 makes its initial bow to readers of The Neume with colors flying and expectation high, heralded in the heavens by the Halley comet, and even named ( ' 11) to rhyme with that condition which is the epitome of bliss. Guy Eliot McLean, President. 78 iSeume 1910 Class of 1909 Habor omnia bincit Officers Thomas Moss . . . . . . President Elinor Markey .... Vice President Ella Marion Potter .... Secretary William Bartlett Tyler . . . Treasurer Florence D. Richey . . . Assistant Treasurer IT is my province to write here those things which will be of interest to every student at the dear old Con., as pertains to the closing days of the Class of 1909. But I modestly assert I could write a book about the doings of the 1909 Neume Board alone. The very word Neume recalls a whiff of invigorating salt air on one of our pleasure trips down the harbor; or an appetizing taste on a jaunt to Nahant for a fish dinner; or again, perhaps, one of those joy rides to the suburbs in an electric ; and when it was all over we asked ourselves, What ' s the Neume without a Doersam ? And so, with our class socials and dancing parties we were brought altogether too quickly, it seemed, to Class Day and Commencement. Our happenings for Commencement week were : — Friday, June 18 Concert by Members of the Graduating Class in Jordan Hall 8.15 p.m. Saturday, June 19 Senior Reception in Recital Hall ..... 8.00 p. m. Monday, June 21 Class Day Exercises in Jordan Hall .... 2.30 p. m. Class Dinner at Hotel Brunswick . . . . 8.00 p. m. Tuesday, June 22 Commencement Exercises in Jordan Hall . . . 2.30 p. m. Alumni Reunion and Reception at the Tuileries , . 8.00 p. m. 1910 2r()e iSeume 79 The Class Concert, which reflected much credit on all the performers was as follows : — Dvorak, Dumky Trio, Op. 90 MISS ELIZABETH M. HAIRE Newport, R. I. MISS CARRIE L. AITON St. Paul, Minn. MISS VIRGINIA STICKNEY Medford, Mass. Chopin, Nocturne in F major. Pianoforte Brahms, Rhapsodic in G min or, Op. 79, No. 2, Pianoforte MISS CONSTANCE FREEMAN Yarmouth, Me. Puccini, Aria, Che gelida manina, from La Boheme MR. LLOYD G. KERR Corsicana, Texas LisZT, Etude de Concert in D Pianoforte MISS FAY HOSTETTER Denver, Colo. Bach, Toccata in F major for Organ MISS EULA MAI BOGLE Nashville, Tenn. Chopin, Nocturne in Ci minor. Pianoforte PoLDiNi, Faunes, Pianoforte miss belle PATTERSON Rochelie, 111. Smart, Trio, Down in the dewy dell MISS LILA G. BYRNE MISS FLORENCE D. COUGHLAN New Britain, Conn, Roxbury, Mass. HuBAY, Hejre Kati, Violin MISS ANTOINETTE VAN CLEVE Ypsilanti, Mich. MISS ELINOR MARKEY Frederick, Md. Reinecke, Sonata in G major, two Pianofortes Dedicated to G. W. Chadwick MISS MILDRED V, SHURTLEFF West Stewartstown, N. H. MISS LILA E. REED Woodstock, Vt. 80 STJe iSeume 1910 Our Class Day exercises were an innovation at the Conservatory. Those who heard our Ivy Orator will never forget what he had to say. The speech was delivered very dramatically, and in a brilliant, yet dignified, way (sitting down). Occasionally he forgot, and as occa- sionally called on Boscoe, who was cheer leader, to help him out. But Boscoe was very heartless that day, and would not help him. Our next number was a genuine surprise, both to the recipient and everyone in the hall, except class members. It was the most pleasing number of all, and one over which we felt justly proud. I refer to the presentation of a loving cup to our most respected friend and director, Mr. George W. Chadwick. What shall I say next ? (I was asking myself and others on the stage that afternoon, many times, this self-same question.) Never before (so Percy J. Belasco tells me, under whose direction A Close Call was produced) in the history of the Boston stage was such a galaxy of stars presented at one performance. Here they are. Look ' em over. Count ' em. There ' s seven of ' em. If you don ' t believe me get a souvenir program of that memorable performance — Julia Marlowe, Anna Held, Maude Adams, Adele Richey, Lillian Russell, Robert Mantell and Beerbohm Tree. The last number was the spirited singing of the Class Song, words and music by Mildred V. Shurtlefi and Charles H. Doersam : — Oh! Alma Mater, we are here To say farewell to you, so dear. As an assembled class we stand, A strong, courageous, hopeful band. Our life with you has been so sweet, Tho ' mixed with vict ' ry and defeat. But you have led us on our way Until we ' ve reached the parting day. Chorus Oh ! Alma Mater, now we sing Our parting song to you. Farewell, farewell, Old N. E. C, For ' 09 bids adieu. On the same evening our Class Dinner was held at the Hotel Bruns- wick. Our honored guests were : Mr. Chadwick, Mr. Flanders and Mr. Goodrich. The party broke up about eleven o ' clock, and a most interesting and successful Class Day was brought to a close. A glance at the Commencement program will be enough to convince one of the merits of that performance. Jordan Hall was filled, as it always is at Commencement, by an appreciative audience. The stage was artis- tically decorated, and with the orchestra and class members, presented a most agreeable picture. 1910 81 COMMENCEMENT Program June 22, 1909 The Acc ompaniments are Played by the Conservatory Orchestra Mr. G. W. Chadwick, Conductor Mozart, Overture to The Magic Fluie orchestra Mozart, Concert in E ? major for Oboe II. Romanze III. Rondo LAURENCE WHITCOMB Bangor, Me. Gounod, Aria from The lueen of Sheba, Plus grand dans son obscurite MARY LORENE HARE Altoona, Pa. Bruch, Concerto in D minor for Violin, No. 2 I. Adagio ma non troppo CARRIE LOUISE AITON St. Paul, Minn. Chopin, Concerto in E minor for Pianoforte I. Allegro maestoso MRS. MABEL METCALF HOLMES Brookline, Mass. Schumann, Concerto in A minor for Violoncello I. Nicht zu schnell VIRGINIA STICKNEY Medford, Mass. Bruch, Aria from Odysseus, Penelope ' s Mourning FLORENCE MINNIE JEPPERSON Provo City, Utah Schumann, Introduction and Allegro Appassionato, Op. 92, for Pianoforte VAN DENMAN THOMPSON Wilmot Flat, N. H. Chadwick, Theme and Variations for Organ and Orchestra CHARLES HENRY DOERSAM Scranton, Pa. ADDRESS TO THE GRADUATING ClASS by the director Presentation of diplomas The Annual Reunion and Reception of the Alumni Association was held at the Tuileries the same evening, and brought a number of life mem- berships into the Association. It showed that ' 09 was still going to be alive, and help to keep strong and unbreakable that most valuable link for the graduate — The Alumni Association. Thomas Moss, President. 82 3Cl)e i eume 1910 The Alumni Association Every student a graduate; every graduate an alumnus ON the 18th of June, 1879, a small company of Conservatory grad- uates met in one of the rooms in the famous old Music Building. They had been called together through the influence of the founder of the institution, Dr. Eben Tourjee. They believed that as grad- uates of the Conservatory they owed duties to their Alma Mater, to one another, and to the cause of art, which could be most properly performed by a union of individual efforts in an organization to be known as the Alumni Association of the New England Conser- vatory of Music. When the meeting was over everyone went forth with cer- tain resolves in mind, namely : to per- petuate and intensify their fidelity to the Alma Mater; to bind themselves together in a spirit of true friendship and mutual helpfulness ; to assist worthy students by the establishment of a loan fund, free scholarships and prizes, and by aiding in the endowment of profes- sorships when those helps should be- come practicable; and, in general, to aid Percy Jewett Burrell, ' 96 the Conservatory, assist one another, President of the Alumni progress of art, The little company had shown wisdom in choosing for their president. Mrs. Sarah Fisher-Wellington, ' 70, and from that day to this no alumnus has lived up to the principles set down above with more devotion and generosity. To state that the Alumni Association has attained all of its worthy objects would be untrue. The founders set up the highest ideal, and time alone will tell of attainment. Perseverance and progression are the watch- words of the present Board of Directors. What is the inspiration of the present, and what the hope for the future ? They proceed out of the delights of success and the lessons learned from failures. The future 1910 83 alumnus has a right and ought to know something of the character and the worth of what enHsts his sympathy, support and activitv. To dwell upon what the Association has not done would be unwelcome, inappropriate and unnecessary. To answer the question, What has it done? will meet with a willing and cheerful response. Friendships, lifelong and loval to one another and to the old Con- servatory, have been made, fostered and cherished. For the enrichment of the mind manv books have been placed upon the shelves of the Conservatory Library. To honor and perpetuate the memory of the good and great founder of the New England Conservatory, Eben Tourjee, a large bronze bust and tablet have been set up in the building. To bid godspeed to the graduating classes, an annual June reunion and reception have been held for the past thirty years. To arouse Conservatory spirit and enthusiasm, class organizations and fraternities have been urged, encouraged and aided. The Annual Costume Carnivals were inaugurated with the generous co-operation of the management, and have been maintained from year to year, thereby promoting a fine feeling among the students, giving to the Conserv atory an enviable reputation, and insuring to it in the days to come a more and more loval Alumni body. From all parts of the world members of the Association have sent their hundreds of pupils and friends to study at their Alma Mater. Indeed, this is no unworthy record, and vet it might have been longer and better. This is what the Directors purpose to make it in the years before us. Doubtless all will be interested to learn of the plans on which they are working and hope ere long to bring to pass. They are : — To continue all the estimable ivork of the past endeavoring always to promote the welfare of the Kew England Conservatory. To publish a biography of Dr. Tourjee, the founder. Emphasis is laid on the educational value of a book that will interest both student and public in the genesis and history of a great musical institution. Again, to read of the truly wonderful career of our founder will help to increase and preserve devotion and lovaltv to the Conservator} on the part of both Alumni and present and future student body. The honest, ambitious worker, wherever found, who reads Eben Tourjee ' s life is bound to catch 84 5Cf)e iSeume 1910 a new inspiration of hope and courage, and set up for himself a higher ideal. Dr. Louis C. Elson has been engaged to write this biography. It is hoped that it will be on sale on or before the first of next year. An edition de luxe at $2 a copy will be published, the size depending entirely upon the advance subscriptions, which are already being received. The regular price will be $1.50. The net proceeds from the sale will be placed in the Alumni Scholarship Fund. The Directors would like to see this book in the libraries of all past and present students. The chairman of this committee is Mr. Henry M. Dunham, ' 73. To establish one or more free scholarships. The Alumni feel that they should find some way to help those who cannot help themselves sufficiently. Mrs. Wellington encouraged this purpose by awarding a scholarship for the year 1909-10, which is known as the Alumni Association Scholarship. In December, 1909, an attractive entertainment was given in Jordan Hall, which netted several hundred dollars as the basis of a permanent scholarship fund. An aggressive campaign is being planned by the Committee, of which Mr. Frank Morse, ' 80, is the chairman. To have hanging on the walls of the home of each living graduate the Association s engraved certificate of life membership. Every life membership fee, five dollars, received means that a certain proportion of it goes toward the increase of our scholarship fund. What an efifective and powerful body we should have for the upbuilding of our Alma Mater if every gradu- ate would become enrolled as a life member! Miss Jane Foretier, ' 97, is the Committee ' s chairman. To make a donation of books each year to the Conservatory Library. The librarian states that there is an increasing demand for books on musical subjects. The Committee desires contributions of books or money from the Alumni and friends of the school. It would be a fine thing if each graduating class would make a gift of books to the school. The chairman of the Library Committee is Mr. Charles H. Doersam, ' 09. To make the annual June reunions of more interest greater significance and larger attendance. Mr. Frank Morse is chairman of the 1910 reunion. To do all in the Association s power to create a wholesome Conservatory spirit among the students that they as such may learn to love the school and go forth as Alumni increasingly loyal in their devotion to their Alma Mater. The most rational aim of any institution of learning is to send forth 1910 Wi}t iSeume 85 graduates that will be an honor, and likewise loyal, to the school. The graduate to be such must possess culture as a result of musical training, and enthusiasm as a result of social activity. Nothing so happily and positively forecasts a forceful and loyal Alumni body as the visible proof in the esprit de corps of such a class as 1910. For is not the Association as wholly dependent to-day upon graduates for growth and perpetuity as it was upon them for birth in 1879 ? They are our bone, our blood, our brain. Without such as they we should not be. Members of the Senior Class — you are soon to become Alumni of that Conservatory which has, in your estimation, possessed sufficient prestige and worth to have you devote to it the most critical years of your life, those of apprenticeship in your profession. This should cause you to feel a new and justifiable pride as you emerge from the relation of undergraduates to that of Alumni of the New England Conservatory of Music. You are to be privileged to look upon your Alma Mater, and you have every right to rejoice. Next to the mother of the physical life — in the order of man ' s spirit of reverence — there stand the goddesses of the intellectual and the artistic life. Before that institution which puts into your outstretched hands the keys of knowledge and wisdom, and which has sought to foster in you an honest resolve to know the best and do the truest throughout life — each new Conservatory graduate should kneel in thankful reverence and humbly speak the words, Te Amo, Alma Mater. The best wish of the Alumni Association to the Class of 1910 is that all of its members may reflect more credit on themselves and greater luster on their Alma Mater than any of the classes gone before, and that health, prosperity and happiness may attend each one in the years to come. You can help to make all this so by starting out right — as a Life Member of the Alumni Association of the New England Conservatory of Music. Percy Jewett Burrell, President. pp mutual tonfibence anb mutual aib (great beebsf are bone anb great bis coberiesi mabe. ' 88 JTfje eume 1910 Sinfonia Musical Fraternity of America CHAPTER ROLL Alpha New England Consen aton- of Music Boston, Mass. Beta Broad Street Conservators- of Music . Philadelphia, Pa. Gamma Detroit Conser aton - of Music .... Detroit, Mich. Delta Ithaca Conser atorv of Music .... Ithaca, X. Y. Epsilon University School of Music .... . Ann Arbor, Mich. Zeta University- of Missouri ..... Columbia, Mo. Eta Cincinnati College of Music .... Cincinnati, Ohio Theta Sy racuse University ...... Syracuse, N. Y. Grand Supreme President (Honorary) OssLW E. Mills. Alpha NATIONAL OFFICERS Percy Jewett Burrell. Alpha ...... Supreme President Edward F. Delaney, Eta ....... Supreme Vice President Harold S. Willlams, Zeta Supreme Secretary Archibald NL Gardner. Alpha ...... Supreme Treasurer Wilson H. Pile. Beta . Historian ALPHA CHAPTER Active Members Harry C. Barnes Vaughn Hamilton Harold B. Simonds Percy J. Burrell Harvey Hewitt Raymond Simonds Harlow F. Dean Guy E. McLean Walter Scott Charles H. Doersam Ossian E. Mills William B. Tyler F. Otis Drayton Lee M. Pattison George A. Webster Clifton W. Hadley Elisha P. Perry Frank J. Weed Louis Besserer 90 3Cl)e iSeume 1910 Sinf onia Officers of Alpha Chapter Charles H. Doersam Guy E. McLean C. W. Hadley F. Otis Drayton H. B. SiMONDS O. E. Mills . Walter Scott, Jr. President First Vice-President Second Vice-President Secretary Corresponding Secretary Treasurer Librarian and Warden Alpha started the current year with a few gaps in its ranks, with Cole off to teach in Decatur, Fitzroy in Texas, Tyler in Berlin and Whitehouse in Topeka (brothers we have missed a thousand times). Alpha felt its losses keenly, and although not with us in body, our absent brothers ' influ- ences linger and will always permeate our thoughts and acts. All up for these brothers ! Barnes, Besserer, Hewitt, R. Simonds and Weed are the infants for this year, and interesting they have been. Thompson Stone, a former active brother, is back with us again. Early in October, 1909, the Entertainment Committee, under Brother Webster ' s direction, arranged the following program for the year. Alpha Chapter Sinfonia, Calendar 1909-1910 Tuesday, October 4, Saturday, October 30, Thursday, November 4, Wednesday, November 10, Tuesday, December 21, Wednesday, December 22, Monday, January 10, Tuesday, January 18, Monday, January 24, Tuesday, February 8, Tuesday, February 15, Tuesday, March 1, Tuesday, March 22, Tuesday, April 5. Tuesday, April 26, Tuesday, May 10, Tuesday, May 31, Tuesday, June 7, Reception to Conservatory Men. Recital by M. Charles Anthony. Reception to Hon. George B. Cortelyou. Song Recital by Mr. F. Morse Wemple. Sinfonia Concert and Dance for Senior and Junior Classes. Christmas Tree and Ladies ' Night in Sinfonia Rooms. Sleigh Ride and Dance. Ladies ' Night. Annual Sinfonia Banquet at Hotel Vendome. Musical and Ladies ' Night. Evening with Mr. Chadwick in Sinfonia Rooms. An Evening with Mr. Humphrey and String Quartet. Musical and Ladies ' Night. Fireside Conference Upon a Vital Topic. Annual Sinfonia Show in Jordan Hall Musical and Ladies ' Night. Deep Sea Fishing and Clam Bake Expedition. Eighth Annual Sinfonia Assembly. 1910 Cfje iSeume 91 At this writing Alpha is very much alive. Hope Valley, a Rural Drama in three acts by Percy J. Burrell, with original Rustic Melodies by members of the Chapter, is being rehearsed to be given April the 4th, 1910, in Jordan Hall, the proceeds to go toward paving off the indebtedness in- curred by the renovation of our Chapter rooms. Alpha will send a strong delegation to Ithaca, May 4, 1910, the date of the Annual National Sinfonia Convention. The spirit of Sinfonia is filling not only the lives of those fortunate to be with us as members, but also many others outside the portals with whom the brothers are brought into contact. Sinfonia stands for the real things of this life, and is characterized by a spirit of breadth and svmpathv that attracts wherever it enters. May $ M A always be remembered as standing firmly with the outstretched hand of true friendship for all men. 92 3Cf)e iSeume 1910 Alpha Beta Gamma Delta Epsilon Zeta Theta Iota Kappa Lambda Mu Nu Xi Omicron Pi Alpha Chi Omega Sorority Colors : Scarlet and olive green Flower : Scarlet carnation and smilauc DIRECTORY OF ACTIVE CHAPTERS De Pauw University Albion College .... Northwestern University . Allegheny College .... College of Music, Univ. of So. California New England Conservatory- of Music University of Michigan University of Illinois University of Wisconsin University of Syracuse Simpson College University of Colorado University of Nebraska Baker University University of California ALUMN t CHAPTERS Alpha Alpha . Beta Beta Gamma Gamma Chicago, 111. Indianapolis, Ind. New York, N. Y. Delta Delta Epsilon Epsilon Zeta Zeta 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. Baldwin, Kansas Berkeley, Cal. Los Angeles, Cal. Detroit, Mich. Boston, Mass. Carrie Alton Barbara Bates Lorena Beard Edna Boicourt Blanche Brockelbank Annie May Cook Olive Cutler Sue Downing ZETA CHAPTER Active Members Josephine Durrell Hortense Drummond Mary Thankful Everett Alice Faunce Josephine Freeman Mabel Howard Lesley La Baume Marian Oakleaf ZETA ZETA CHAPTER Miss May Allinson Miss Evangeline Bridge Mrs. Estelle McFarlane Dunkle Mrs. H. H. A. Beach Mme. Maria Decca Mme. Helen Hopekirk Mme. Julia Rive-King Miss Margaret Ruthven Lang Mrs. Henry Howe Savin Alumna Members Honorary Members Carrie Ormerod Helen Parkhurst Leila Preston Myra Splane Carlotta Splane Ellen Stites Margaret Webb Hazel Wing Miss Catherine Montgomery Miss Gladys Olmstead Miss Blanche Ripley Mme. Adele Aus der Ohe Miss Maude Powell Miss Neally Stevens Mme. Antoinette Szumowska Miss Adele Verne Miss Ellen Beach Yaw Mme. Fanny Bloomfield-Zeisler Mrs. Pauline Woltman-Brandt Mrs. Mabel Stanaway-Briggs Mrs. Ralph L. Flanders Associate Members Mrs. Charles White Mrs. Clara Tourjee-Nelson Miss Sarah Maud Thomas ALPHA CHI OMEGA SORORITY 94 W t iSeume 1910 Alpha Chi Omega History LPHA CHI OMEGA was founded October 15, 1885, by James L. Howe, Dean of De Pauw University, Greencastle, Ind. The fraternity was primarily for musical students only, but later literary qualifications were made requirements. It has grown rapidly, and at present the active chapters number fifteen, and the alumnae chapters six. The former are all in schools of collegiate rank, Zeta having the distinction of being the only chapter in a purely musical school. On the 16th of December, 1895, the charter of Zeta Chapter was granted bv Alpha Chi Omega to seven students of the New England Conservatory of Music. Together with their many tasks and duties, Zeta girls have had innumerable good times. The Musicale and Reception each spring has become a permanent event in our Conservatory life. An annual luncheon affords us the pleasant opportunity of meeting some of our honorary, associate and alumnae members. One of the most unique and profitable events in the history of Zeta Chapter was The County Fair, last April, which enabled the chapter to start a MacDowell Fund. Plans are being made for the erection of an Alpha Chi studio at Peterboro, N. H., the home of the late Edward MacDowell. This will be a quiet, secluded spot in a beautiful New England town, where Alpha Chi ' s may find inspiration for the pursuit and perfection of their chosen art. Zeta is proud to have her share in the promotion of this noble object, and soon expects to endow a studio in the MacDowell House in New York City. There have been successes and failures in our career, but our aim has ever been to uphold the standards of our beloved fraternity. The open motto, Together let us seek the heights, is one which uplifts and inspires the heart of every Alpha Chi. 1910 Tjje i?eume 95 Phi Mu Gamma Sorority Organized 1898 Chartered 1902 ACTIVE CHAPTERS Grand Council, Phi Mu Gamma, Gainesville, Ga. Alpha Hollins Institute Hollins, Va. Beta Miss Graham ' s School ...... New York, X. Y. Gamma Brenan College ....... Gainesville, Ga. Delta Miss Vellin ' s School New York, X. Y. Zeta Potter College ....... Bowling Green, Ky. Eta Xew England Conser ' ator} ' of Music . . . Boston, Mass. Theta Judson College Marion, Ala. Iota Emerson College of Oraton.- ..... Boston, Mass. Kappa Centenan,- College ....... Cleveland. Tenn. OFFICERS OF ETA CHAPTER N. E. C. Louise A. Gilbert Mildred V. Shurtleff Fannie E. Dubois . Josephine Smith Edna M. Hoffman . Jennette Lamping . Mar} ' W. Boisseau Hazel Closterhouse Gladys Booth Dollof? Fannie E. Dubois Louise A. Gilbert Grace Griffin Active Members Agnes Hallinan Edna Hoffman Jennette Lamping Hallie Manning Glena Pritchard Ethel M. Schreiner President rice President ' ' R ecording Secretary- Corresponding Secretary T reasurer Warden Mildred V. Shurtleff Josephine Smith Adele Walther Augusta Waldenmeier Leon a Warner Paula Young I9I0 3C{)e iSeume 97 In Memoriam IN January, last, the Phi Mu Gamma Sorority was called upon to surrender, at the summons of death ' s dark angel, one of her most loyal and best-loved members, Julia Mary Parker. Julia Parker was born in La Crosse, Wis., in 1885, and began her school life there. In the fall of 1906 she went to Carleton College, at Northfield, Minn., to study music. Her extraordinary talent was early realized, and her student life was one success after another. She completed with honors her studies at Carleton, and in 1908 she entered the New England Con- servatory of Music. Here she specialized for concert work and compo- sition, and again won the hearty praise of her teachers and her fellow students. Not alone with her Sorority sisters was Julia Parker a favorite, for her grace and charm won the hearts of all with whom she came in con- tact. To know her was to love her. She had onlv begun her second year at New England Conservatory when the dreaded disease, appendicitis seized her, and blotted out what promised to be a phenomenal career. All efforts to save the young life were of no avail, and on January 12, 1910, Julia Parker left her earthly friends and entered the Silent Land. We, her sisters in Phi Mu Gamma, would say with the poet : — To breathe our loss is more than fame, To utter love, more sweet than praise. t 98 STfje iSeume 1910 Beta Chapter of Mu Phi Epsilon Sorority FOUNDED METROPOUTAN COLLEGE OF MUSIC, CINCINNATI, OHIO, NOVEMBER 13, 1903 Colors : Purple and white Flower : Violet DIRECTORY OF ACTIVE CHAPTERS Alpha Metropolitan College of Music . Cincinnati, Ohio Beta New England Conser ' ator}- of Music Boston, Mass. Gamma University School of Music . Ann Arbor, Mich. Delta Detroit Conser ' atory of Music . Detroit, Mich. Epsilon Toledo Conservatory of Music . Toledo, Ohio Zeta De Pauw University Greencastle, Ind. Eta Syracuse University .... Syracuse, N. Y. Theta Viroegu School of Music . St. Louis, Mo, Iota Chicago Conservatory of Music Chicago, 111. Kappa Metropolitan School of Music . . Indianapolis, Ind. Lambda Ithaca Conservator} ' of Music . Ithaca, N. Y. BETA CHAPTER Acti ' ve Members Ethel Allen Viola Floershein Eleanor Sargent Rachel Andem Addie Helms Bula Ray Schull Alice Davis Marguerite Hinman Sue Southwick Beth Davis Vernie Jones Hazel Spaide Sarah Davis Veronica Kirby Beatrice Thomas Louise Estabrook Grayce Malcolm Florence Trefry Cecil Fisher Cleo Parmelee Ethel Williams Georgia Ross HONORARY MEMBERS OF MU PHI EPSILON SORORITY Lenora Jackson Mrs. Chas. H. Clements Madame Ragna Linne Mrs. Louise Unsworth Cragg Madame Shuman Heinck Miss Elizabeth Johnson Germaine Schnitzer Miss Alice Nielson Blanche Schnitzer Mrs. L. Belle Knovvlton 100 CJe iSeume 1910 Mu Phi Epsilon History HE Mu Phi Epsilon Sorority was founded in Cincinnati, Ohio, ■ J November 13, 1903. There are now eleven chapters established in some of the best musical schools and Conservatories in the United States. The Beta Chapter of Mu Phi Epsilon existed in the New England Conservatory of Music up to about five years ago, but owing to the fact that all of its members either left or graduated at that time, no one remained to carry on the work. In September of last year four Mu Phi girls came to study in Boston, and decided to try to reinstate the Beta Chapter. Their plan was successful, and on November 4, 1909, the Charter was granted and the Beta Chapter reinstalled. The prosperity and progress of our chapter will depend upon the united efforts of our individual members. Our first social affair in the name of Mu Phi Epsilon was an informal dance given in Recital Hall, November 5th, in honor of the Supreme President and Supreme Vice President of the Sorority, who were here for the installment. When our honorary sister, Schuman Heinck, gave her recital in Symphony Hall, we took advantage of the opportunity offered and attended in a body. Our Sorority has its serious side also. We aim to improve our work of the preceding year, not being content to ' Met well enough, but to go onward and upward to the goal of our ambition, which is Excellence. 1910 STfje i?eume 101 Festivities Costume Carnival of 1910 ON the eve of January 25, 1910, happened the most important e vent in the calendar of social life at the Conservatory. On that evening we cast aside all thoughts of lessons, and entered into the spirit of the Costume Carnival, held in Symphony Hall, and given annually by the Alumni Association to the students. For weeks we were busy preparing the difierent fancv dances, which were to be the special features of the e,vening. The entertainment was opened bv a Japanese dance given by girls from Frost, Dana and Gardiner Halls, costumed in the soft garb of the Orient. Next came the dances of the Seasons. Members of the Alpha Chi Omega and Sinfonia Fraternities, dressed in sailor costume, glided across the floor in a long canoe. When thev reached the stage the canoe was abandoned, and all took part in the dance of Summer. The Mu Phi Epsilon and Sinfonia Fraternities took part in the ' Autumn dance, and were dressed in hunting costume. The season of Winter was enthusiastically presented bv eight scarlet-clad voung ladies of the Phi Alu Gamma Sorority. Ye olde English Alav Dance followed, portraying Spring. The dancers, who were shepherdesses, carrving garlands of roses, wound in and out around the pole. After these dances the fovers were rapidlv filled bv people gailv dressed in everv imaginable costume, from dignified Queen Elizabeth to the happv little Yama-Yama man. Jewels glistened, and swords clashed, and soon the Grand March, a most brilliant spectacle of eight hundred or more people, was in progress. In the balconies much enthusiasm was displaved. Prizes, in the form of small loving cups, were awarded to C. B. Smythe as Pickwick and Miss Hazel Closterhouse as Elsa for the most historical costumes. Miss Grace Griffin, who represented Texas, and Mrs. Percy Hunt as a Rose Girl, were awarded prizes for the most original costumes. Mr. and Mrs, E. M. Ho won the prize for the most artistic costumes, which were Chinese. 102 tCfje i5eume 1910 Special prizes were given Mrs. Stovall-Lothian as a Dutch girl and B. J. Whittemore as a Moor. At two A. M. the last waltz was played, and the Costume Carnival of 1910 was over. All those who attended pronounced it a most brilliant success, and will long cherish it as a most pleasant memory. Annual Picnic Another important event at the Conservatory is the Annual Picnic held on Founder ' s Dav, which comes during the first of June. On this day the management charters a boat to Nantasket, and everyone starts off for a day of pleasure. The boat leaves about 10.30 A. M. from Rowe ' s Wharf, and the sail to Nantasket is about an hour long. Nearly all of the amusements are open to the students — such as the roller coaster, flving horses and the bump the bumps. An orchestra of several pieces furnishes music all day, and those who wish can dance, while others climb over the rocks and spend their time taking kodak pictures. Luncheon time brings a happv throng of teachers and students to- gether, each clamoring for his bag of lunch (for it is served in paper bags !). Two or three sandwiches, some cookies and a banana suffice, then we are readv to renew our wanderings. The first boat home leaves at 4.40, and a great many leave then, although some stay later. Those who have never been to one of our Con picnics should most certainly try to attend this year, for it is one of the best things of the year. 1910 3tt)e iSeume 103 N. E. C. Tennis Club Ella B. Dyer ...... President Edith J. Chapman ..... Secretary Augusta Waldemeier .... Treasurer HE 30th of May marked the opening of the third annual tennis tournament, an event never to be forgotten by the dormitory girls. Amid the cheers of the spectators each contestant fought as bravely and gallantly for her hall as any knight of old. After a hard- fought battle Miss Mary Sebolt won the honors in the singles for Frost, Miss Lesley La Beaume played for Dana and Miss Edith Katzenberg for Gardiner. It was a glorious victory, but an equally glorious defeat. The doubles were then played by the Misses Sebolt and Florence Richey of Frost, La Beaume and Charlotte Maxson of Dana, and Katzen- berg and Kate Waumel of Gardiner. This time Dana was the victorious hall. The Flanders cup was awarded to Frost, — until another hall shall prove her supremacy, — and the Dennee cup to Miss Sebolt. Cups were presented to Miss La Beaume and Miss Maxson by the members of the club. To Mr. Flanders and to the umpires — Messrs. Dennee, Babcock, Hunt and Fortier — the club wishes to extend its heartiest thanks and appre- ciation for the kindly interest they have shown in the growth and develop- ment of the association, and to assure them that every effort will be turned toward a greater success each succeeding year. Xiterarp department 106 3ri)c igeume 1910 Sheaf of Lyrics By DR. BLACK What Are We Doing What are we doing here by day and night? — We that were left so much to guard and do? — Helping as best we can to clear the right? — To help the true? Ah me ! we waste our days in greed and spite ; We make God ' s air reverberate with our jars, And, mad with life ' s new wine, we curse and fight Beneath God ' s stars ! Or if, with finer sense, we seek to shew Within these rags a soul of things divine. Like those of Dalmanutha long ago, We ask a sign ! Right Heartily We Laughed and Talked Right heartily we laughed and talked. And took our youth together; And far and firm of foot we walked Through wet and windy weather. But as we paced a twilight glade, Where leaves were hanging yellow, Death shot an arrow from the shade, And slew my trusty fellow. And now I walk a lonely world, By the dim feeling haunted — That, when the grisly shaft was hurled, Mine was the life it wanted! I Lay upon the Lonely Height I lay upon the lonely height That overhangs the bay; I saw the triumph of the night Over the dying day. Above the darkened bay at last The stars shone silently, And far within my being passed The pathos of the sea. 1910 3Cf)e iSeume 107 Life Tenure No unclaimed land lies in this world we live in, No tract of ground that is debatable; All is the property of Him of heaven, Or of the lord of hell. May-hap you deem your acres but of poor land. Where rich crops cannot grow, nor sleek kine graze; But loamy meadows and wild, rocky moorland A just Judge will appraise. We work the land we have for worse or better; But when o ' the reckoning we hear the knell — Say, would you be to Him of heaven the debtor. Or to the lord of hell? Alone with the Wind and the Night Alone with the wind and the night, On the cold hill-top I stand. Dreaming of life, and love and light, In an undiscovered land. It Is the Depth and Not the Length It is the depth, and not the length. Time drives his silent plough, That drawing on the inner strength. Furrows the cheek and brow. 108 3rf)e iSeume 1910 The Significance of the Study of Language By ELIZABETH I. SAMUEL What do you read, my lord ? Words, words, words. — Hamlet. ' HE fact that the power of speech is the common possession of the ■ j race is so familiar that it often loses significance ; and the truth r that the use of language in its highest and best forms is a fine art, is far too seldom recognized. The student of language soon finds that his task is not an easy one. He must master grammar, acquire a vocabulary, and do a certain amount of reading before he can lay claim to any real knowledge of a language. This necessary work, however, serves not merely technical ends ; for each step has, in its own way, a significant bearing on the intellectual development of the student. The study of language naturally begins with the study of grammar ; for words, out of relation, are only signs of ideas. Words must be grouped according to fundamental laws ; that is, must be formed into sentences before any true process of thought is possible. Grammar compels attention to detail, and thus trains and disciplines the mind as few other studies have power to do. As a noted teacher said recently, Grammar is a fine mental tonic. Here, as elsewhere, the student has something more than his own good to consider ; for a certain obligation attaches itself to the use of words, especially to the correct use of the grammar of a tongue. This appears in the fact that the speech of any person inevitably affects, for good or for ill, those who listen to his words. Even one who, by training or by habit, is grounded in correct usage, must be continuallv on his guard in order to maintain his standard. But one who regards correct speech as a matter of slight importance, easily acquires incorrect forms. Such a one fails not onlv in his duty to himself, but fails also in his duty to those about him, especially to the children who may come under his influence. Many a man, though he may have striven hard to overcome faulty habits of speech, has felt almost humiliated when his tongue has betrayed him into some illiterate expression acquired in childhood. The study of grammar is a means to an end ; but the study of vocab- 1910 Wi t iSeume 109 ularv is, to no small extent, an end in itself. Words are current coin in the realm of thought ; the greater the vocabulary the greater is the mental wealth. One may, it is true, live with small possessions in words, but he lives in corresponding poverty of thought. More than this, lack of imag- inative power, a fruitful source of mental ills, is largely due to lack of materials with which imagination may work. Ever word added to the vocabulary adds to the stock of material at the command of the imagination. Words bring with them not only their simple meaning or denotation, but bring also suggestions and associations, connotations, that may be the source of great mental pleasure. Who can hear the word June, and think only that it is the name of the sixth month of the calendar year ? Though the language of any civilized people has practically inexhaust- ible resources, the study of other languages is essential to a proper appre- ciation of one ' s own. Translation involves a search for the right word, and the search adds many treasures to the vocabulary, thus enlarging the mental horizon. Attitude of thought varies, also, as the structure of language varies. A voice student, in answer to the question whether she had noted any change of feeling when she sang a certain song in different languages, answered: Yes, indeed. I see a different picture. An eminent philologist expressed a similar idea when he said, The study of foreign languages increases the repertoire of thought. Reward for careful study of grammar and vocabulary comes when the student is able to read the literature of the language. This reward is found not only in the thought, but also in the artistry with which the thought is expressed. The possibilities of tone-color that lie in the sounds of the letters of our own English alphabet are worthy of comparison with tone-color in music. Only the poets have truly learned the secret of these marvelous combinations ; but enjoyment of their work lies within the reach of any student that will yield himself to the charm of a writer like Tennyson, who uses tone-color with consummate skill. And, in prose, the cadences that linger in the sentences of Ruskin or Carlyle bring hardly less of delight to the ear that is tuned to them than do the cadences that so charm the ear of the musician. The significance of the study of language is to be found, then, in the fact that it is possible to lose the meaning of a sentence, because one does not understand its structure ; it is possible to fall far short of gaining the 110 STfje iSeume 1910 thought, because one has a limited vocabulary ; and it is possible to miss the beauty of a sentence, because one has never learned to enjoy artistic expression. To lose these things means always more than loss to the individual. It may be, even as a recent writer has suggested, that the reason that greater books are not being written in our own time, is that the demand of readers is too low. A taste for second-rate books is certainly as inimical to the progress of literature as a taste for second-rate music is to the progress of music. Only as great things are demanded, in any art, are they ever realized. The writer of a book needs, first of all, the stimulus and impulse of a high demand, in order to reach his highest achievement. Above the Sand, Beside the Sea Above the sand, beside the sea, They delve the sailor ' s grave; Around it sounds eternally The requiem of the wave. But deep within a moorland grave The shepherd sleeps his sleep, Above his head the grasses wave, And clustering mosses creep. The sailor rests beside the sea. Above the gleaming sand; The shepherd sleeps beneath the tree, Beside the pasture land. The sea-mew wails above the sand, The grey sea breaks below; The plover calls along the land. Where the long grasses grow. — e . c. b. Know ye the stream of weary souls That flows by rocks of grey, That never sings and never smiles. Is never glad nor gay? ' Tis calm, the stream of weary souls, And mutely makes its way; ' Neath tall dark trees it slowly flows In shrouds of misty grey. ' Tis peace, the stream of weary souls, Deep peace and slow sad rest, Forever gliding mournfully With calm unheaving breast. — L. L. B. 1910 111 The American Music Society By ARTHUR FARWELL, Founder and President of the National Organization HE American Music Society, which now numbers some fifteen Centers in prominent cities of the United States, represents the bringing to a focus of the manv aspects of the movement for American music which has been accumulating impetus in the last decade. The immediate cause of the organization was a talk which I had the pleasure of giving for the Twentieth Centur ' Club, in Boston, upon manv observations of musical conditions in America, and of the most serious work bv American composers, during a series of journeys of exploration in this field throughout the United States. The underlying and real cause of the birth of the society was the need of the country for such a national movement at the present time — a need which had been developing for a long time, and which had at last become a compelling and immediate issue. The timeliness of the move- ment will become more plain when its historical position in American music is realized. Although notable personalities had arisen in the field of American composition, the countn ' as a whole had been in an assimilative condition as regards music up to five or ten years ago. Special instances of creative impulse aside, the country had previously been given to absorbing the results of the world ' s musical civilization — to learning all that could be learned about music both from without and from within. For many years American young men and women had gone abroad to study, as well as having studied in the American conser ' atories, and had assimilated thor- oughly all that was to be taught in the European schools : not only in those of Germany, but later in France and other countries. As far as Europe is concerned, there is hardly anything that it has to teach that has not been learned and brought back to America bv our own people. As to the many musical styles of the present, America has shown a greater hospitality to them than any countn ' in the world. There is no national prejudice. Americans have nothing against music because it is Russian or because it is French. America, as Rossini did, regards music as 112 Wf)t iSeume 1910 of two kinds, good and bad — the greater the variety of national or individual styles the better. Thus, America has absorbed the world ' s music from without. Ofifsetting this, since Dvorak ' s day in America, the question of primi- tive forms of music on American soil has been, as it were, formally and officially raised, and after a big series of battles between researchers, students and critics, has been brought to its conclusions. The one great result of it all is, that whereas practically nothing was known about this vast subject before, now practically everything is known about it ; so that, at a period culminating about five years ago, thinking musical America had absorbed the music of the world external and internal. The period of a predomi- nating assimilation was over. For the future, America must turn from this epoch of taking-in to the epoch of giving-out. Through education and study, in all the ways indicated, America was now ready to begin to express herself. Thus there came a great vitalization of the national effort in compo- sition. American composers were now equipped with the widest possible range of technique and material, and were placed in a position where self- expression was the only step forward. Much new work, of widely differing styles, due to the various existing influences, now appeared. But in awak- ening to self-consciousness as a composer, the American also aw akened to a knowledge that the whole system of his musical life, of the various ways of giving the people their music, was based upon the musical art, and the interests of the musical art, of Europe. But whereas the American had awakened to the creative in his own spirit, he had in no general sense, as regards the American public, arrived at credit for having done so — that remained to be won. Artists were unwilling to place new and especially American, names upon their programs. Some singers, even among the greatest, show ed a willingness to tuck away clever or graceful little American songs in some corner of their programs, or to use them as encores ; but no willingness was manifested to take the strongest and most imaginative work of Americans and give it its due place upon programs in an honest fashion. It is to be remembered that these remarks apply to the country at large, and not to any special locality, as Boston, which has reared within itself a musical civilization vastly different from that which prevails throughout the country. 1910 2Cf)e iSeume 113 Orchestral conductors were taxed to the utmost by the double neces- sity of providing a sufficient number of the great classics, and at the same time a sufficient number of the important European novelties. There is no section of the country w here conductors of symphony orchestras are not so greatly crowded by this double necessity that they have practically no program space to devote to American works. And the conductors have little will to force space on their programs for unknown or little known American works, in view of the fact that thev would carry no prestige with them. In short, the American composer must win standing room in his own countrv. He had, however, been fighting single-handed long enough, and now needed some intelligent co-operation from his own people. The time for a wild primeval growth of creative musical art in America was past, and the time had arrived when America must take its rank with civilized nations in respect of giving some general and more or less svstematized attention and response to the musical art growing up within its borders. Here again custom, inertia, and ignorance have had to be met and com- bated — the custom of accepting seriously only what was European, the inertia due to a necessarilv long period of exclusively European music in America, and ignorance as to what part the formal national recognition of musical composition has played in the upbuilding of the great schools of composition which exist in Europe to-dav. The conditions were entirely ripe for the coming to birth of such a movement as the American Music Society. Nothing could have proved this more conclusively than the rapidity w ith which the idea spread, and the eagerness with which it was accepted in all quarters. Since the organiza- tion of the society in Boston, some fourteen or fifteen Centers, as has been said, have come into existence, many of them in the principal cities, and with large and influential memberships. These cities include Boston, New York, St. Louis, San Francisco, Los Angeles, Seattle, Salt Lake City, Colorado Springs, San Diego and other cities. With the forming of the New York Center two years ago, the nature of the organization changed, and a national organization was effected, distinct from and embracing all the separate centers. The American Music Society, of Boston, became the Boston center of the society. The work of the centers is to present American compositions in meetings and concerts. One public concert each year is required from 114 Wt}t iSeume 1910 each center. Beyond that the centers have other activities, in some cases giving several such pubHc concerts, and in others holding members ' meet- ings, at which programs of American works are given. The one great difference between the American Music Society and other organizations which have existed in the interests of American music is that the American Music Society is absolutely national in its scope, sympathy, and knowledge. One of the greatest dangers in any such organ- ization is that its branches will be conducted too much for local interests. The American Music Society exists in the interest of no particular group of persons, but in the interests of an Idea, and it will be powerful in pro- portion as that idea is upheld. In the making of programs, therefore, it is the purpose of the society to make them representative of the best work which American composers have produced from coast to coast, so that the work of one center, while giving fair representation to its local group, shall represent in the main the very choicest of all American music, and thus stand, in each of its centers, for the national idea. Since orchestras are among the most difficult of all musical institutions to support, and since the issue of the American composer hinges now more and more upon his orchestral work, one of the great accomplishments before the society at the present time is to gain the interest and affiliation of the symphony orchestras of America, in order that there shall be some means of adequate presentation of American orchestral works. In one aspect, particularly, it will be seen what a great impulse to American music maybe given through the American Music Society. This is in the opportunity which, as the centers develop, the composer will have to speak to his countrymen throughout the land within a short space of time. In Europe, when a chamber music or orchestral work is given for the first time, it may be seen by a reference to the German musical papers that it is performed within a space of a few months in almost every city of conse- quence in Germany. Absolutely no such possibility for the American composer exists. Where, by influence or extraordinary effort he can bring about a single hearing of such a work, the matter ends with his having accomplished it. There is nobody who feels it his artistic or moral duty to produce the work elsewhere. Its career ends where it began, and the composer has no opportunity of estimating the value of a truly national response, or of giving his work a fair chance to prevail. 1910 dfje iSeume 115 The greatest achievement of the society thus far has been the orches- tral concert, given bv the New York Center at Carnegie Hall, in April, 1909. At this concert the following program was given with great success : — Prelude to the The Hamadryads . . William J. McCoy people ' s symphony orchestra Franz X. Arens, Conductor Four Songs, with Viola Obligato . . . Charles Martin Loeffler DAVID BISPHAM MR. KOVARIK, Viola Concerto in D minor, Op. 23 . . Ediuard MacDouaell Piano and Orchestra AUGUSTA COTTLOW Ballad for baritone solo and orchestra . . George W. Chadujick Lochinvar from Scott ' s Marmion Conducted by the composer DAVID BISPHAM Dawn, a fantasy for orchestra . Arthur Faravell people ' s symphony orchestra Conducted by the composer Melodrama, recitation to music The Raven (Edgar Allen Poe) Arthur Bergh Conducted by the composer DAVID BISPHAM Orchestra Dances, Creole Days . , Harry Roive Shelley THE people ' s symphony ORCHESTRA Conducted by the composer The membership fee in the society is adjusted according to the desire of each center, a certain amount per capita going to the treasury of the national societv. Information concerning the society, and literature pertaining to it may be had upon application to the Secretary, Arthur Bergh, 132 West 47th Street, New York City. 116 tCfje i5eume 1910 Grand Opera in Boston An Event in the History of Operatic Art in the United States By CHARLES A. WHITE eRAND OPERA, being the most elaborate and expensive form of musical art, the presentation of which, even in the centers of Europe, has always been dependent upon subsidies granted by royalty or the government, in addition to the receipts from the general public, it is not to be wondered that its advent in this democratic country should have been tardy, and its development slow and uncertain. To review the various attempts that have been made from time to time to establish this form of art here under private management, would be, for the most part, to recount financial struggles and failures. Therefore, its success here on a grand scale could not be reasonably looked for until, in lieu of the subsidies granted in Europe, it should receive financial support from some interested wealthy patrons, who would be willing to make up what- ever deficit might occur. It was quite natural that grand opera in this country should have first found this support in New York. With the growth of grand opera in New York, including periodical visits to other cities by the two great organizations — the Metropolitan and Manhattan Companies — and the productions in recent years by the Henry W. Savage and the San Carlo companies, there has awakened throughout the country an interest in grand opera, and especially in those cities which have been favored by the performances of these companies. The idea, how- ever, of grand opera on a large scale and on a permanent basis, in any city other than New York, was held to be visionary unless, as in the case of New York, some wealthy citizen or citizens should offer the necessary financial aid. Fortunately for Boston, Mr. Eben D. Jordan, always a magnanimous patron of art, became interested, through Mr. Henry Russell, former director of the San Carlo Company, in the project to establish a company for regular grand opera in Boston ; and with the assistance of Mr. Ralph L. Flanders, Business Manager of the New England Conservatory of Music, a plan of organization was formulated. A board of trustees was drawn from among the prominent professional and business men of Boston, and this board very properly conferred official authority upon these three men, who had shown so much interest and ability in advancing the whole project. Thus, the Boston Opera Company was organized, with Mr. Eben D. Jordan elected President ; Mr. Ralph L. Flanders, General Manager, and Mr. Henry Russell, Director. It was proposed to build a thoroughly up-to-date Opera House, equipped with every modern device for the pro- duction of opera, and to form a company in every way worthy of the new 1910 117 ediiice. When the prospectus was issued, and the call sent out for sub- scriptions of stock, there was prompt and generous response from the public. It was this, together with the liberal financial support given bv Mr. Jordan, that made the realization of this great scheme possible, and to-dav Boston is proud of its beautiful Opera House and its efficient companv. The advent of Grand Opera in Boston, under such favorable auspices, cannot but be regarded as an event in the history of operatic art in the United States. Chicago is to follow Boston ' s lead, and next vear will in- augurate grand opera bv a home companv. Thus the movement grows, and it will be but a matter of a few vears when other large cities will do likewise. With the permanent establishment of opera in various centers, it will be possible and probable that the managements will arrange to exchange 118 aClje iSeume 1910 leading artists. The desirable repertoire of opera being somewhat limited, there must of necessity be more or less frequent repetitions. A mutual arrangement between managers for the exchange of artists would not only tend to sustain the interest of the public, but would work for the benefit of the singers as well. It is feared by some that such a proceeding would open the way for the forming of an Opera Trust, which would be in a position to tyrannize over the artists. This might be so if the directors were the sole owners, but as long as these organizations are constituted like the Metropolitan and Boston companies there will be little danger. There are other questions, however, which will come up, and an important one will be in regard to the use of English in the presentations. On this point there has already been considerable discussion, but the time is not yet ripe for forcing this issue. At present the exclusive use of English in our grand opera is not feasible. It is necessary that our new operatic forces should be organized and recruited by those who know how, and this must be done mainly by foreigners — those who have had experience in the older opera houses of Europe. Therefore the discussion as to the use of English will not be settled until opera in this country is more fully developed. Undoubt- edly this question will form an issue later on, but it will probably be settled as it was settled in the countries of Europe. Opera originated in Italy, and was carried to other parts of Europe. At first the court operas of Europe were Italian, and for some time it was the only language in which opera was given. As soon as native librettists and composers brought forth works of sufficient importance a beginning was made, but it was many years before the struggle for the supremacy of the vernacular was won. Those who advocate opera in English in this country to the exclusion of other languages are extremists, though they have some reasonable argu- ment to uphold their contention. They say that opera in a tongue which is understood only by a few of the auditors is not only ridiculous, but an intellectual crime. On the other hand, their opponents hold that dignified opera in English is unthinkable, and that it cannot be done. To these, however, it can be said that it has been done, and well done. Parsifal was given a most impressive and dignified interpretation in English by the Henry W. Savage Company, which proves that when translations are made by competent and conscientious interpreters there is no cause for contempt of the use of English. Opera in Enghsh must come, thoughilet us hope, not to the exclusion of other languages. It should be our prvilege to hear the best works of each nation in the language in which they are composed, and thereby cul- tivate a broad eclectic taste. The establishment of regular opera in Boston having become an accomplished fact, and the first year ' s performances having been of a standard higher than in many of the older opera houses of 1910 2rf)e iSeume 119 Europe, there is good reason for congratulation on the success thus far attained, and for the promise of still better things next year. What the future development of opera in this country will mean for the advancement of our singers, composers and conductors cannot easilv be imagined. A new avenue of musical art will be opened, whose influence on our native talent will be incalculable. Alreadv manv American singers have won positions of importance in the leading opera houses of Europe, and we may look for their return to us, first as interpreters in the great roles in which they have gained renown abroad, and finallv to join the movement alreadv begun in the interest of home opera. The recent production bv the Metropolitan Companv in New York of the original English opera, The Pipe of Desire, by Fred. S. Converse, (libretto by Geo. E. Barton), is of more than passing significance. It is the first opera in English ever given by that company, and this presentation marks the beginning of American Grand Opera. The North wind cried to the little stream As she danced her way along, Turn now, and flow the other way For the way you flow, is wrong. The little stream was much disturbed Her grief w as sad to view, For that which one has never done Is very hard to do! -L. B. 120 3rt)E eume 1910 The Solo Violinist BY LOUIS C, ELSON I am a violinist Of great renown and fame, Where ' er I draw my fiddle bow The people all, by thousands go, Attracted by my name. It is not all by playing I gain the loud encore; I know the public ear to fix By many little catchy tricks They have not heard before. Whene ' er I play a solo My brows I fiercely knit, My head in all positions throw, My body wildly wriggle — so, As if I had a fit. I end the composition, — Whatever it may be. By giving out a tone so light That people try it with all their might To hear the p p p. They cannot hear the echo; In fact, there is no sound; I cease to play; but move the bow With great empressement, very slow, To spread an awe around. Some time I keep it going. And much enjoy the fun. When with a slight sforzando bang, A little pizzicato twang. — Presto — the piece is done. And then the silent public Burst forth in mightv ' roars. They love the music fricasseed; Composers ' thoughts I do not need, To win their loud encores. Clever is our artist kind With His ready pen and ink In his Even, ' sketch we find Talent of great Note, we think. Hearty thanks — Ere we forget — For his posters — the finest Yet. To be successful in the truest sense, to find in our chosen profession something more than a means of piHng up dollars, it is necessary to possess something more than ability. Everyone admits how essential this quality is in any profession, but many are too ready to think that it is all that is necessary. But a musicia n ' s life is devoted so largely to the public, either through teaching or performing, that he is bound to impress people personally. This is particularly true of those teaching, or holding church positions. It is necessary then to possess personal agreeableness. It seems that some are born with this quality; it is true that all can attain it. It grows until it becomes a habit, and there is an excellent opportunity to cultivate it here in Conservatorv life. Then when you go out into the world it will prove its value bv making things come vour way. How few of the many students of the Conservatory take advantage of the Saturday afternoon recitals ! A stranger attending one could hardlv refrain from asking, ' ' Where is the musical spirit? or, ' T thought this was a Conservatorv of music, yet here, at a recital, are only a handful of students ! Where are the othe rs ? It is true that these recitals are weeklv events, and for that reason are likelv to become monotonous to some. It is also true that thev are not 122 3rt)e iSeume 1910 given as exhibitions, but merely as exercises in public performing. Yet these two things should not deter us from showing, if not our school spirit, at least our musical spirit. There is not one of us so rich in wis- dom that we cannot gain a little more by an average attendance at these recitals. If they are not finished performances, what of that ? We at least can profit by the mistakes of others. Each earnest and sincere student of music should feel it his duty and privilege to attend these recitals. And to attend them, not only because a friend or chum is going to appear, but to attend them resolved to get as much benefit from them as possible, to show a true, music-loving spirit, and to gain the knowledge of a wide variety of composers, compositions and interpretations. We do not half appreciate the advantages of a large school, the people we meet and the friends we make. Students come from every state in the Union, and thus we have the opportunity to study character- istic types from the various sections of the country. ' Tis more blessed to give than to receive, is a good motto for us all to follow. What a grand thing it is to give one ' s self for one ' s fellow beings ! We make our friends by being true and thoughtful of others. In other words we must be a friend in order to have a friend. Try always to be sincere, give the best you have to give, be sympathetic and trust your friends absolutely, and by so doing you will find them faithful. We little realize what it means to us to have friends until we are in great trouble, or some sorrow befalls us. Our school friends are the ones we can trust, and in days when we are separated we will think many times of the happy days we spent together. A FAMILIAR figure at the Conservatory is that of a certain quiet, unassuming man, whose manner is ever gracious, and whose interest in the students of the New England Conservatory is unbounded. His office on the first floor, with its door always open, is the mecca of hundreds of care- laden students, to each one of which he gives his undivided attention and good advice. His daily trials are numerous and ofttimes petty and trivial, but all are borne with unflagging cheerfulness and apparent pleasure, for his kind face never betrays in the least any feeling of the impatience or weariness which he must experience at times. 1910 Cfte i?eume 123 The Class of 1910, especially the Xeume Board, which has learned to know him as the interesting, broad-minded man that he reallv is, wish to extend their heartv thanks to him, their counselor and friend — Mr. Trowbridge. What would the Dormitories be without the Fenwav ? It is alwavs restful and beautiful at all times of the year. When tired of practicing or studying, whichever the case may be, a good, swift walk in the Fenway is a sure cure for all troubles. The Hall girls are certainly grateful for the location of their homes. In a city one does not expect to find the trees, the brooks and the birds as we find them at our country homes, but we are agreeably surprised to find all of these in a beautifully cultivated way right here within a stone ' s throw of the apartments. There are pleasant walks which wind in and out among the bushes and trees along the river. It is impossible to work without some outdoor exercise. How unat- tractive and uninteresting it would be if we had to walk on cobble-stone pavements up and down the noisv streets! The girls of the Dorms are certainly fortunate to be at such a short distance from nature with all of her sublime beauty, and there is not one of them who is not grateful that the apartments have such an ideal and convenient location. It is said that men of great talents, whether poets or historians, seldom escape the attacks of those who, without ever favoring the world with any production of their own, take delight in criticising the works of others. I wonder how many of us realize that so often our criticism is really unreasonable and uncalled for, and that when it is given vent to, is found to be the root of underlying jealousy which is the magnifier of all trifles. It is all well enough to criticise when, musically speaking, the object of one ' s censure is under the mistaken impression that he is the marv el of the age; but when fault is found with even- detail in either the works of an intelligent composer, or in a performance rendered by an earnest musi- cian, and when this is ' ' picked to pieces, and that is picked to pieces, the idea presents a different aspect. None of us are infallible. So, if we find ourselves saving unkind 124 3Ct)e iSeume 1910 things which would be better left unsaid, let us remember that were we in the place of the person criticised, we would probably not do half so well, for we are all of us prone to make mistakes, and especially if we have an over-critical audience to deal with. Comparatively few music students realize how much can be accom- plished in a seemingly short space of time if the work is done carefully and thoughtfully. We are too prone to reckon quality by quantity. We hear a student say, I practice ten hours every day, and we say to ourselves, He must be a magnificent player. Not at all, unless he keeps his mind on what he is doing, and one can hardly say that a person ' s mind will be clear for ten hours ' hard practice. So much is expected of the young musician nowadays that it does not pay to do heedless work. Virtuosity and musicianship are becoming more brilliant, more tremendous and, there- fore, more difficult to attain every day. A great deal is expected of the artist to-day, more will be expected of him to-morrow, and we are the musicians — the artists of to-morrow. Then let us make each moment count, and remember that a few minutes of well-applied thought (and that not always at the instrument) are worth hours of aimless practicing. With the close of the school year a large number of Seniors will go out into the world to aid in the upbuilding of the musical art, and to reflect credit upon their Alma Mater. There is no need to dwell upon the merit of the Conservatory, as the success of her graduates has proven this long since. Each Alumnus may well be proud to claim the endorse- ment of such an institution. Not only to the institution but to the indi- vidual teachers is a vote of thanks due. They have labored long and faithfully to attain an end now in view. Their interest has been sincere. Class of 1910 ! You are about to join the ranks of the Alumni Association. Shall your name be obscured in the annals of the organiza- tion, or shall it stand out as a precedent to your successors ? IVE it the laugh — if the joke ' s on you, For we ' ve slammed each the same. J ISK a smile if it isn t true, And so come on — be game. JF everybody should get sore At a jolly played on him, j ICE world, this — oh ! what a bore, How gloomy, sad and grim. jj ON ' T please get a ' ' mad on us, For ' twon ' t do any good ; gENIORS are too old to fuss. So take it as you should. 126 tEfje iSeume 1910 Name. Nickname Usually Noted For Allen. Ethel. In Earnest. Fur Coat. Andrews. Arnold. Baker. Bates. Beers. Bishop. Brigham. Brigham. Brown. Chaloff. Chapman. Becky. Harriett. Genevieve. Bobby. Viv. Bish. Ada. Cynthie. Brownie. Jul. Fed. Happy. Troubled. Bright. On Time. Sweet. Rehearsing. Going Shopping. Unconcerned. Good Natured. Talking. Smiling. Loquaciousness. Grieved Expression. High Marks. Calmness. Good Looks. Dimple. Music Bag. Looking financially ahead. Smile. Monologues. Barn Dancing. Charles. Bussy. Dreaming. Dishevelled Hair. Christie. Coburn. Crothers. Cullen. Currv. Crane. Dyer. Dean. Eadie. Lene. Ruth. Edna. Lil. J. Bavard. Stella. Ella B. Harlie. Alaska. Lean. In Reception Room. In Brown. Meditating. On Program. Busy. Serious. In Haste. Seen, not Heard. Leanness. Meekness. Stiffness. Telephone Calls. Norfolk Coat. Primness. Serenity. Absentmindedness. Size. Frost. Faunce. Forderer. Green. Thola. Fauncy. Mephistopheles. Alma. Embroidering. Organ-izing. Studving. With White. Class Interest (?) . Good Taste. Grecian Nose. Industry. Gibson. Lois. Thinking of Nebraska. Brown Eyes. Griffin. Hawley. Ree. Jess. With Bish. Present. Curly Hair. Congeniality. 1910 tCfje i eume 127 Favorite Saying Greatest Need. ' ' I think we should do Ensemble, this. Didn ' t we have fun! Never says anything. I think so, too. Yes,-uh-huh. I can ' t go home alone Now I think. What-yer-call-it. 1) Candv Heart. A Voice. Time. A Ruffling. An Escort. Dues. Potted Beef at the Spa. We had better reckon Confidence in the Neume the cost. ! Board. Oh, I ' m feeling fine! ' An Auditor. Wait! Listen! ! Calm Nerves. It ' s just peachy ! Jokes for the Neume. A Comb. Scott ' s Emulsion. Nerve Tonic. Pitch Pipe. Regular Lesson Hour. Manager. Sociability. A Romp. Hare (hair) Stron2;er Voice. I was too busy to come. Well, I get nervous. I can ' t do that. Um. I can ' t read it. Well. I haven ' t time. Well, don ' t you think? I ' ll try to be there. ' ' The Class Pins are readv. Sav, Girls! Well, now! Uh-Huh. I ' d come to Class Meetings, but, — I don ' t know what to do. ' T love California. Helloo. Enthusiasm. Organ in Her Room. Pupils. Knowledge of Class Officers. Future Occupation. Fancy Dancer. Fisher Maiden. Clairvoyant. Accompanying. Ragtime Player. Modiste. Financier. Matron at Harvard. Business Woman. Running Foot Races. Telephoning to Scott. Assistant in Normal Depart- ment. Writing Augmented Ninth Chords. Arctic Explorer. (Tri) Angular Player. Vaudeville Star (Jigger). Acrobat. Cherub. German Teacher. A DeVot(o)ed Pupil. Being Mar ' ' s Lamb. Lonely Fiddler. Hairdresser. Artist ' s Model. Teaching Harmony. Philosopher. Housewife. Raising Oranges. Catching Cars. Repertoire. Kid Curlers. An Auto. 128 2ri)e iSeume 1910 Name Nickname Usually Noted For Hearn. Hille Head. Ann. Marie Veev. Going to the Doctor ' s. Frifrhtened All £ 11 L 1 1 U • Reddy. Constraint. VolubiHtv C ) Small Shoes. Jochem. Jenny. Knight. Lentz. Charlie. Jennie. Bee. Nettie. Prim. Mum. With Ahne. A Rainbow. Apparent Haste. Mumness. Bright Eyes. Her Hats. Mitchell. Murray. Moore. Novotnv Omerod. Pattison. Bess. Mary. Belle. Em. Carrie. Pat. Reticent. Conversing. Taking a Lesson. Late. Primping. At Gardiner Hall. Amiability. Tooth Ache. Stick-to-it-iveness. Black Hair. Frigidity. Artistic Hands. Pierce. Scott. Kiddie. Scotty. Singing. Lecturing. Falling in Love. Novel Ancestor. Seller. Smith.- Simonds. Pearl. Ann. Simmie. The Same. Absent. In Love. Good Nature. Fur Hat. Rosy Cheeks. Snyder. Tarbell. Jack. Aline. Smoking. Running for Trains. Pipe. Unchangeableness. Tibbetts Walther. Webb. f 1 Q Q n 5 p n White. Wing. Wiswell. Jenny. Del. Mud. Freddv Bertha L. Mrs. Wing. Sweet Alice. Reserved. Silent. Worrying. AsWincT OuP ' Sfions X O IV 111 cL V- V- ' O L 1 J 1 1 o • With Green. Borrowing. Occupied. Normal. Dreamy Eyes. Southern Accent. Lenp ' th. Placidity. Her Walk. Constant Smile. Wingate. Ray. Glad to See You. Carnations. 1910 STlje iSeume 129 Favorite Saying That makes it nice. I can ' t play it, Mr. A. Oh, I don ' t care,— the bills all go home ! I ' m scared to death. • It makes me so cross. I haven ' t seen you for a long time. Yes. Well, do you know. The Devil! ! I have no time. Oh, my dear! As I was about to say when I was so rudely interrupted. How are you? I must confess. Greatest Need Megaphone. Nerve. A Maid. Metronome. A Razor. A Ladder. Dye. Self Assurance. Longer Days. A Horse. Alarm Clock. Strong Glasses. Non-Squeaking Shoes. The Little Minister. A Portable Piano. Future Occupation Lecturing. Teacher of Ensemble. Cook. Orchestra Director. Mummy. Buzzing. Milliner. Tutor. Dentist. Preceptress. Organ Grinder, Pianola Agent. Ballet Dancer. Missionary. Answering Jul ' s Phone Call. Bach Interpreter. Actress. Fussing. Orator. A Course at Tufts. Miss Henay, the Second. Suflragette. Society Leader. Normal Teacher. Singing Illustrated Songs. Heart Breaker. Studying Medicine. Impressario. Come over to see me. Mac, come back. Now, we want to do the right thing. Yes, that ' s alright. Oh, that ' s just great ! Fingers 1-i-f-t. Let me think! O ' tis for me! O-h-l I had to practice. I was just livid ! Oh, let me tell you something. Shake. Class Spirit. Mac-Intosh. A Ticket to Chicago. Candy Shop. Ability to find her own propertv. A Scuffle. ' Confidence. Love for the Yankees. A New Name. Social Spirit. Height. Sleep. Advertisements. 130 JTfje iSeume i9io The Midnight Reception CHE bell of the clock in the great tower near the Conservatory Building was just chiming the last stroke of twelve when a strange event took place in the hallway of the Conservatory. The statue of Mr. Beethoven seemed suddenly to make motions as though that honored gentleman were awakening from a long and deep slumber. Yes, Mr. Beethoven at twelve o ' clock was actually rubbing his eyes, and stretching his cramped limbs, — for he had been asleep a long, long time. The dim light which had barely revealed the classic outlines of the hall now suddenly grew brighter and brighter until Mr. Beethoven was able to discern that he was in the same position in which he had fallen asleep so many years before. Then, as his eyes became accustomed to the unusual brilliancy, and he was wondering what had awakened him, a group of strange looking people seemed all at once to take shape and to advance toward him. And a few seemed to be talking as they came. The leader of the band — he was a hermit {not a silent one) whose chief industry was to use the telephone — came up to Mr. Beethoven with outstretched hand. Come down, friend, he said, and join us in our glad reunion. We are the brilliant Class of 1910, and wherever we go, the stars of our effulgence cast their brilliancy before us to light our way, and leave a radiance behind to guide the classes that follow us. Come and let me make you acquainted with the Class of 1910. ' ' ' ' So saying, he assisted Mr. Beethoven from his pedestal, and led him first of all to a rosy-cheeked young man. This is our president, ' ' he explained as they drew near. He appears a little sad to-night because he was unable to buy a ticket to Chicago as he had planned to do. But do not question him about it. Then the hermit made Mr. Beethoven acquainted with ever) member of the class, each time giving voluble explanations beforehand. Our financier, ' ' he whispered, as they approached a troubled looking youth, with the dews {dues) of a whole year upon his shoulders. Then came a bevy of maidens — a society leader with a missionary, a normal teacher and her assistant, a philosopheress, a teacher of harmony and I9I0 Cf)E i eume 131 a milliner, an accompanist, a German teacher, a preceptress, a ?r ; interpreter a teacher of ensemble and a singer of illustrated songs. As he was being introduced to an orator and a mummy, Mr. Beethoven heard a timid bleating at his side, and was told that it was none other than Mary ' s lamb, who was lonesome without his one-time companion, — a hare. fVait I Listen. ' continued th? hermit, and vou shall hear a buzzing from our Bee who is usuallv seen with a Tuf {t) companion. And that voung ladv with the music bag is a matron at Harvard. And do vou hear that cunous squeaking? It is our ballet dancer ' s shoes. He is about to say some- thing when he is rudely interrupted bv that voung man with a comb in his hand, who savs that he has the augmented ninth chords down Pat. ' ' And there is a fellow who carries a piano around with him in his pocket. It is a newlv invented machine which can be folded up to the size of a thimble. Perhaps that jolly voung man over there will give vou a carnation, — he is never seen without one in his buttonhole . But vou must now meet our cook, who is alwavs ' y v with the fudge. She has a serious devot(o)ed pupil, — but oh, do listen to the suffragette, — she hasn ' t ceased talking since she went into the business. Here are a pianola agent and a ragtime player, and right behind them is the only fiddler in our class — she is called the lonely fiddler. That modiste and the artist ' s model are also anxious to meet vou, Mr. ' Beethoven. Here comes a little girl who is alwavs just livid. We have our business noman, too, who can save us all from financial embarrassment because she reckons the cost so carefullv. Some one is saving hello to vou Mr. Beethoven, — it is the young ladv who owns the auto that is waiting outside. And that curly hatred maiden raises oranges in California ; her companion is a voung ladv who needs sleep so much that she can hardlv keep her eyes open. She intends to study medicine when she isn ' t otherwise occupied. Then Mr. Beethoven met also a fancy dancer with a fishermaiden, a clairvoyant , an Arctic explorer, a {tri) angular player, a vaudeville star — {jigger) — a cherub in a Xorfolk coat, a hairdresser, an acrobat, a housewife, a runner of foot races, a lecturer, an orchestra director, a tutor, a dentist, an organ grinder and an actress. Last, but not least, he met Miss Henay, the second, — who had just returned from Egypt, where she had been excavating in the endeavor to find new finger joints and muscles. Bv the time the hermit had given his last explanation, his voice failed 132 aCfje iSeume • 1910 him and he was unable to utter another word. This calamity being so unlooked for, the radiance from the stars of the Class of 1910, from sheer amazement, grew dimmer and dimmer, until Mr. Beethoven was suddenly left in utter darkness just as he had found himself in a blaze of light a short time previous. He felt helpless and alone, and called for some one to aid him to his pedestal, but there was no reply. So he groped his way through the darkness back to his former stand. At the first step upon it a complete languor came over him, and his eyes grew heavy with sleep. So, without more ado, he assumed his familiar posture, and was soon once more in the land of dreams, where he will be content to remain until a more penetrating (f ?) light, can wake him from his slumbers. A. G. W. 1910 Cf)e i?eume 133 Alice ' s Adventures in Conservatory-Land LICE had been dozing over a book for some time. The words began to grow dimmer and dimmer and the clock ticked louder and louder. Suddenly she found herself standing in front of a large, grav stone building. It was an impressive looking structure, and manv girls and bovs were going in and out of the doors — but mostly there were more girls and bovs. Alice noticed that all carried books of some kind under their arms. She tried to read their titles and managed to make out that the words on some said, Stasnv ' s Technic, on others Chadwick ' s Harmonv. but most of them said Elson s Dictionary Manv strange sounds floated out to Alice from the open windows. It sounded like music but as Alice thought to herself, either it was awfully out of tune or else it was the queerest music she had ever heard. Or perhaps, ' ' she decided at length, they use a different scale in this country. She dimly remembered that she had read somewhere (mavbe it was in the Etude — ves, she believed it was in the Etude) about different countries using different scales. She finally decided to investigate for herself so she stepped inside. My, — such a humming to and fro. One little man rushed bv with his watch in his hand muttering to himself, O, Theor ' , Theon I ' m sure I ' m late. Alice hurried along, too, and unconsciously followed him. ' T wonder, she mused, who Theon ' is. It sounds awfully romantic. And she was just deciding that she would name her newest doll Angelina Theory, when plump I she had followed the little man into a room full of people. In the midst of a circle of voung folks fand mostly here, too, there were more girls than bovs ) sat a tall, tall man with black rimmed spectacles and a long, long coat. As Alice came into the room she heard him sav, Now if any of vou need a coach just go to Mr. : ' but at that moment he spied the late comer, pulled out his watch, examined it minutely and cried out. Ah, vou are late — three minutes late. I fear greatly for the exams. — I fear greatly. ' Alice began to tremble for she saw his eves turn in her direction. Have you a card or a pass? ' 134 1910 Alice began to back out of the room. O, you must get a pass, — I never allow — Alice slipped clear out and the door closed in her face, but through it she could hear, You must get a card or a pass, the exam, the exam — I fear greatly. She wandered down the hall saying over to herself, A card or a pass, — a card or a pass. She felt rather dazed and ran into several people. One round little personage, who was humming to himself like a perfect bee, she nearly knocked over, but he smiled at her and went on humming as if nothing had happened. How lovely, thought Alice, I wonder if he has a card or a pass — or perhaps he is going for a coach. She was just wondering what sort of a coach it would be when she felt a tug at her arm and a girl ' s voice in her ear saying, Are you going to Solfeggio? I don ' t know how to solfeggio, said Alice ; but she went along with her guide and found herself in another room and with a number of other people seated in front of a short, old man with white whiskers. He struck two notes on the piano and called out, What is that? Some of the class said too, some said me, some said mel, some said mon. All wrong, he said, what do you say it is? (pointing to Alice). O, I must go, she said, and began to edge toward the door. Go, did you sav ? Yes, that ' s it — go, Go, Go. With the last go, he had raised his voice considerably, and Alice was so frightened that she fairly flew out of the room. I guess if he does want me to go so badly he needn ' t be so rude about it anyhow, she scolded away to herself. What awful manners these people have. She found herself in the hall again. From an open door nearby she heard a piano and a violin and a ' cello playing together beautifully. Alice loved good music, and slipped in unnoticed and sat down. All around the room sat students. Some had their violins, some had their ' cellos and some had just their music. All looked frightened to death, but those who were playing looked more frightened than any of the rest. The cause of their 1910 3Ct)e eume 135 fright was the one in the center who beat the time. In one hand he held the stick and the other hand was in a shng. Alice could not make out why he had his arm in a sling, for every now and then he would slip it out and clasping his hands to his head w ould exclaim, O, it is useless, it is useless! Finally he spied Alice. Come, ' ' he said, and Alice involuntarily obeyed and sat down at the piano. O, what will he make me do, she thought to herself. I wish I had practiced my half hour at home this morning. Now, all ready, blay. ' ' The other instruments began, but Alice couldn ' t plav a note. He looked down at her. Now, what de madder wid you? Blay, blav, blav, he screamed in her ear. Alice was so frightened she couldn ' t move. The piano, the man with the stick and the violins and ' cellos all began to grow larger and larger and then faded away altogether and — Alice woke up. 136 1910 Why the Faculty Was Conditioned Mr. Parker. — For missing one Saturday Recital. Mr. Elson. — For wearing a tinv, green felt hat. Mr. J. Adamowski. — For speaking too low (?) in ensemble. Mr. Babcock. — For Fletcherizing. Mr. Cole. — For requiring to-ma-toes as a regular diet. Dr. Black. — For sending his wife to lecture in his stead. Mr. Denxee. — For demanding the constant care of a surgeon. Mr. DeVoto. — For ha ' ing too many rehearsals and concerts a dav. Mr. V. Dunham. — For humming in the corridor. Mr. Gilbert. — For advising his pupils to roll down stone stairs. Mr. Fortin. — For not attending the Carnival. Mr. Gruexberg. — For being a frequent host of his pupils at the Spa. Mr. Shirley. — For being fond of society. Mr. Klahre. — For breaking the glass in his door. Mr. Lenonl — For ha ' ing such a happv disposition. Mr. Peirce. — For his vouthful appearance. Mr. Porter. — For giving a normal exam on an ab-normal da)r. Mme. Rotoli. — For permitting her pupils to talk fashions during class hours. Miss Samuel. — For administering few obstreperous animadversions to her indolent pupils. Mr. Redman. — For expecting his pupils to grasp the cryptic intricacies of Harmonv in his miniature Art Museum. Miss Stanaway. — For surprising her pupils bv changing her name. Mr. Stasny. — For ha nng an assistant who gives nothing but technique. Mr. Sequeira. — For being so jolly. Mr, Thurwanger. — For not recognizing his name as pronounced bv a new student. Mr. Watson. — For pla nng for a tripper of the light fantastic. Mr. Wemple. — For smoking in the corridor. 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C w: a, .B ' u u c 3 OJ _c ' u a. c 3 a, PS JZ 140 (Cfje iSeume 1910 A is for ability possessed by our class ; B is for Beers a most charming lass, ar ar ar The Seniors are a noble class In piano, organ, voice, And when one takes them as a mass It ' s hard to make your choice. In it we have a first-class Baker — A wonderful dame is she ; I know at pies she is no fakir — Just try one and you ' ll see. And if you ' re fond of different Beers, Of dark or light Brown color. Just put away those foolish fears Of temperance — have another. Of classy artists we have two — Gibson, Christy are their names. And as for birds how will these do, A Hearn, a long-necked Crane? A poet true (Sir Walter Scott), A noble Knight created. Another poet we have got — Can we be Moore elated? Wise Bach when played in concert Most always gets a Frost. It is hard luck we can ' t convert The people ' s taste — long lost. Now if your clothes you would have White, Just to the Dyer go. And if your soul you would make light. You ' ll find the Bishop none too slow. 1910 tCfje iSeume 141 We have no spider to weave a Webb To catch the poor fly ' s Wing; But yet, I ' ve heard it often said Miss Head to do that need but sing. And if perchance you need a man Your horse to clean and Currie, We have one ever here at hand Who ' s always in a hurry. You might go up a Hille road, Or Pierce through forests Green, Whene ' er you stop for your abode A Senior may be seen. I have to say but one thing more, Please pardon if too long — If ne ' er you ' ve heard old Patti sing, At least hear Patti-son. — J. S. Miss Bates is a bonnie wee lass, To her there ' s considerable class ; But the fellows she spurns For they ' re not her concerns. Though I ' m sure she could have them en masse. It ' s she that ' s just learning to sing — I mean, of course, Miss Hazel Wing. We were bored day and night Till we all took to flight. Now ain ' t that a deuce of a thing. 1910 tCfte iSeume 143 C is for Chaloff, for Charles, and for Carrie. D is for Class Dues, of which we are wary. a ar ar Applied Quotations Registration. — As tedious as a twice-told tale. Theory. — Not to know me argues yourself unknown. Sight-Playing. — ' ' One omnipresent, damned eternal noise. Solfeggio. — Too much of a good thing. French. — Cut and come again. Pianoforte Normal. — Experience makes us wise. Harmony. — Facts are stubborn things. Faculty — Judge not by the name. Vocal Normal Lecture. — It was a gruesome tale. Ensemble. — You frighten me out of my seven senses. Neume Board. — Life is one dem ' d horrid grind. Hand Culture. — Nobody loves me, nobody does. Concert Deportment. — Nature has framed strange fellows in her time. Mr. F. Dean. — He stayed not long, but left in wondrous haste. What ' s in a Name? Mr. Simonds (at the Symphony Hall ticket office): Is Mr. Fiedler in? Ticket Agent (taking down the telephone receiver): Is that you, Mr. Fiedler? (Turning to Mr. Simonds) Name, please. Mr. Simonds gives his name. Ticket Agent (through the ' phone): Mr. Simonds wishes to see you. Ticket Agent (to Mr. S. ): He is not in to-day. 144 1910 First Girl (on the way down town): Let ' s have a hot chocolate at Huvler ' s. Second Girl: ' ' Shall we have it going down or coming up? There ' s a brilliant Senior in our class, Whose hai r is ever in a mass ; With charming skill he plays Debussy, But thinks poor Bach was quite a ' goosie. Chaloff. Say, Sam, how does Mr. Proctor teach scales? Charles. Pshaw! I don ' t know anything about scales. I ' m too emotional to play those things. JdLck- Lets study t ms c C ikk. of no e r. 146 Kf)t iSeume 1910 E is for Eadie, who saws with a bow. F is for Fauncy, whose voice is so low. ar ar ar Scraps from a Freshman ' s Diary September 11, 1909, Saturday. — I got into Boston this morning. The governor saw me off yesterday, gave me a pile of money and said, Now son, you ' ve got a chance to show what you ' re made of. Good-by, and then he piked off. Gee! I guess I ' m in for a good time now all right. September 12, Sunday. — Didn ' t sleep much last night — guess 1 was too tired. I ' m kind of feelin ' homesick to-day, anyhow. September 13, Monday. — Sort of gettin ' over my homesick feelin ' now, and feelin ' fine. September 14, Tuesday. — I went over to the Con. to-day. I had to register and put down everything I wanted to study and all the teachers I was to have and where I roomed and boarded and who my people were, etc., etc. I wonder if they skipped anything? (No not even my telephone number.) Seems as if they ' re pretty inquisitive. Besides that I had to shell out about half the cash dad gave me. Guess I can ' t blow in much if it ' s goin ' at that rate. September 15, Wednesday. — Nothing much happened to-day. September 16, Thursday. — N. E. C. opens. As soon as I could eat my grub this noon, I went over to Jordan Hall, and the man on the platform told all we newcomers what a deuce of a fine town this really was, and all its manifold advantages, etc. He seemed like a nice fellow and I liked him, and he told all of us to come and see him any time we wanted to. I ' m goin ' soon. I suppose he ' s a big man in this place. jj jji X October 20, Wednesday. — Went to a recital in J. Hall. My, but those young people did well! Maybe they weren ' t so young as they looked. One fellow especially played well, with long hair. Hope I won ' t have to act like he did, when I get goin ' . 1910 Clje i5eume 147 G is for Gibson and al so for Green. H is for Harold, our president keen. ac 3C 7 November li, Sunday. — Went to church. November 15, Mondav — Saw some fellows beino; initiated into a fraternity. Don ' t thev act foolish! Wonder if I ' ll be asked to join. November 20, Saturday. — Saw the Harvard and Yale game on a board in Jordan Hall. It was fine. November 30, Tuesdav — Went down town last night to see a show called Dare Devil Dorothv. ' ' It cost me fortv cents altogether. I ' ll have to charge that up to ' ' Miscellaneous. Miscellaneous ' covers a multitude of sins on mv bank account. December 14, Tuesday. — Went to a dance the other night and met a lot of nice girls from Cambridge and Brookline, two cities near here. I met one especially nice girl, I had seen her before. I went home with her, and — well, to make a long storv short — I ' ve got an awful case on her. Her name is Miss Lucille Simonds. January 1, 1910, Saturday. — This writing a diarv is too much work. I ' m going to cut it out. There isn ' t much doing now anyway. I saw Lucille to-day. February 3, Thursday. — Forgot to say before that mv piano studying is coming along fine. Went to a show with Lucille to-night. March 2, Wednesday. — Saw a great show at the opera to-night. First time I ' d ever been to opera. Took Lucille. 148 3rf)E iSeume 1910 I is for Ida, who sings like a bird. J is for Jenny, who seldom is heard. ar ar ar April 1, Friday. — Well, here it is the first of April. The Con. is certainly a great place. I hope the governor will leave me here for good next year. Next thing is the Hope Valley Show. Caruso Within these walls there is a man Whose name we need not say, Is famed thro ' out most every land And ' twill live for ever and aye. But to some of us who know him well His name indeed sounds tame, We greater things of him can tell. And besides, what ' s in a name? Times without number in Jordan Hall As an artist we ' ve seen him pose, And draw the dust from the carpet and wall With pneumatic machine and a hose. But this was simple, — he now does more. Each one he tries to please ; He carries us all from floor to floor, And does so with greatest ease. Now can you guess of whom we speak? Of course we know you can. But for the sake of those whose minds are weak, ' Tis Caruso — the el ' vator man. 1910 Wf)t iSeumc 149 K is for Knowledge, of which we have much. Li is for Lena, who works Hke the Dutch. ar ar Don ' ts — For Dormitory Girls 1. Don ' t dream of arising at the first buzz in the morning — the maids enjoy serving late breakfasts. 2. Don ' t annoy Romeo by coming in quietly after 10 P. M. Laugh and talk as loudly as you please, and drive away his care and loneliness. 3. Don ' t avoid fires at night by blowing out your candle when you leave your room. Let your light so shine that the fire-laddies may profit thereby. 4. Don ' t in vite three callers for the same night. There are only two parlors at your disposal. 5. Don ' t lend anything unless you can cheerfully bid it Good-bye forever. 6. Don ' t wear your rubbers on rainy days. The nurse dislikes idleness. 7. Don ' t try to get to your lessons on time. Mr. Elson is the only teacher that expects you to do so. She sits among many, But is one of a few Who to Orchestral rehearsals Brings knitting to do. — R. Andrews. I love its gentle babble, Its long continuous fiow ; I love to wind my mouth up. And listen to it go. — J. Chaloff. SiMMIE AT THE REHEARSAL OF THE CoSTUME CARNIVAL 150 3rf)e iSeume 1910 M is for Mitchell, for Moore, and for Murray. N is for Nettie, who walks in a hurry. PHI MU ALPHA Opus 142 (from Suite 4) T. Teck Theme : Alpha Chapter Variations I. Andante. Harry C. Barnes. — Little ' Dimple ' darling. How about to-night? Shall we go to opera, Or to something ' light ' ? Variations II. Cantabile. Louis Besserer, Jr. — There ' s no place like ' Gardiner, To get ' the first degree ' ; Both Frost Hall and Dana Were FOES — to all like me. Variations III. Un poco piu mosso. George B. Bridenbaugh. — Bride fell ofif the water wagon — he ' s after the coin again. Variations IV. Piu sostenuto. Percy J. Burrell. — I ' ve been called ' Dave Belasco ' in punning, ' Cause my ' Hope Vallev ' play was so cunning, ' Twas the scream of the season ; But it ' s all out of reason To imagine — that ' Dave ' s ' in the running. Variation s V. Any old time. Harlow F. Dean. — Harlow hasn ' t any more Hare now than he had a year ago. 1910 l)t i?eume 151 O is for Opera to which we all go. P is for Putnam, who takes all our dough. ar ar Variations VI. Andante espressivo non troppo lento. Charles H. Doerson. — Charlie went a fishin ' , For to catch a ' Wale. J}c 5}c Now he seems so happv, Never sick — nor pale. Variation VII. Pomposo. F. Otis Drayton. — ' ' I shun the ladies, all! The fair sex, I abhor ! (Presto e agitato) Look fellows, quick! Who ' s that swell dame A comin ' in the door? Variations VIII. Non troppo legato. Clifton W. Hadley. — Oh, poor Clifton Hadley, Began to feel badly. When doctor said, sadlv, Don ' t smoke quite so madly. Variations IX. Tranquillo. Vaughn Hamilton. — ' La, la, la, la, la, la, la, la, la, la, la. La, la, la, la, la, la, la, la, la. Second verse (The same — a little softer). Variations X. Con Spirito. W. Harvey Hewitt. — There was a young fellow named Hewitt, Who said to himself, I will do it, I ' ll practice Rheinberger, While eating limburger. Now WHY should mv good neighbors rue it? 152 2ri)e iSeume 1910 Q is for Queer ones — of those we have none. R is for Rebecca, who has so much fun. ar ar ar Variations XL Rapido. Guy E. McLean.— Guy shy? Oh, my! Pass by, Let it die. Variations XIL Grave (minore). Ossian E. Mills. — Just settle your bills, Or good Father Mills Will give you a dose Of PAPER-made pills! Variations XIIL Lamblike. Thomas Moss. — Alpha has a little Mary, Whose Moss is red as brick. And everywhere that Mary goes. The girls are clustered thick. Variations XIV. Con molto sentimento. Lee M. Pattison. — Now here is this fellow called Pat, Who once had a dear pussv cat ; Getting sick of her though. He straightway did go And use pussy ' s fur for a hat. Variations XV. Marcato. ' Lish Perry. — Why! I ' ve opened one of Mrs. Perry ' s letters; for Conscience sake ! Variations XVI. Con noto. Walter Scott, Jr.— We ' ve Patti and Scotti, And Lord knows what notti. 1910 2rf)e iSeume 153 S is for Snyder and his long ' seegar. T is for Tarbell, who runs for her car. ;ir Variations XVII. Dolce e grazioso. Harold B. Simonds. — (Variation XVII. will be found at the end of this ' composition. It is a gem. Com- plete in itself. FuLL of pathos, etc., etc. Look at it now. It is in the form of a cadenza, more or less.) Variations XVIII. Appassionato. Raymond A. Simonds. — If Raymond would, would, Wood? Variations XIX. Parlando. Thompson Stone. — ' Wie geht ' s mit Ihnen ? Variations XX. Vivace. William B. Tyler. — Isn ' t it silly. To call Tyler Billy, When all of his teachers Called WiUiam Willy. Variations XXI. Doloroso e a tempo. George A. Webster. — Well fellows — I ' m married and I know! Variations XXII. Tempo rubato. Frank J. Weed. — Now lastly, that fellow named Weed, Who thinks such a lot of his feed. He is growing so stout, That he can ' t move about, So now, all good people take heed ! P. S. — This is that XVII. Variation. A genuine Reinecke cadenza, and it is lovingly dedicated by that master to Brother Harold Bravley Simonds of Marlboro, Mass. 154 )t iSeume 1910 U is for Us, the most Brilliant Bunch. V is for Viva, who misses her lunch. ar ar ar Little note from Lucille Filled with grains of sand, And our mighty Harold, Thought to beat the band. Sand! ' way from Chicago, Spruced up Harold ' s love, Till THIS earth to Lucille Seemed like Heaven above. Note. — Say, ask Harold about this and he ' ll tell you that he didn ' t tumble until he got into bed that night. 1910 3Cf)e iSeume 155 W is for Wiswell, Walther and Wingate. X is for Xercises, which we all hate. ar ar ar One on Lena Miss Christie went a play to see. Hard luck, she did not know That Hamlet was a tragedy, A wierd and wild and gloomy show. And so when Hamlet scorns the Queen, Poor Lena ' s eyes dilated. A murder, too, is in that scene, And Queenie ' s plans frustrated. Now Lena ' s tears flowed fast in streams, As wildly she gazed on it ; Her anger rises, up she screams, Go it, Sal, ril hold your bonnet. — J. S. Try These on Your Piano My wife ' s gone to the country It ' s nice to have a sweetheart There ' s just one girl I ' ve got rings on my fingers She ' s my Tiger Lilly Take me back to Dixie The girl from the golden West Sweet Marie, come to me The Dancing Doll Please go away and let me sleep National Hymn of ' Wales ' Sympathy . G. E. McLean V. Jones W. W. Howard L. C. Elson L. G. Kerr ( ' 09) F. O. Drayton L. M. Pattison U. H. Bishop H. B. Wing, Jr. E. Downs c. h. doersam The Neume Board 156 Ki}t iSeume 1910 Y is for You, who are reading this book. Z is for Zulu, ' tis like one you look. ar ar ar At Neume Board Meeting Miss Walther (reading quotations): Swans sing before they die. It were better did some folks die before they sing. Chorus: That ' s for Mr. Pattison — ha-ha! Miss Bates (seriously to Mr. P.): But does anybody know you sing? Editor (to Miss Dyer): Have you a street address at home? Miss D.: Yes, I think I have— but I don ' t know what it is. Teacher ' s Application Blank Please read sicologicully and answer in a clear, concise manner New England Conservatory Bureau APPLICATION PAPER Name in full. — (Miss) Barbara Marie Rebecca Wing-Wang Wingate Walther Wiswell Webb. Permanent address. — Rue de Tail, Halley ' s Comet. Present address. — Bedlam Apartments, Hemenway Street, Boston. Office hours. — Wednesday, 3 to 4 p. m., Recital Hall. How LONG HAVE YOU BEEN AT THE CONSERVATORY? — Since the day I came. Who have been your teachers. — Agitato Adamowski, Tranquillo Babcock, Sotto Voce DeVoto, Largo assai Dean, Scherzando Cutter, Cantabile Cole, Pesante Elson, Coda Jeffery, and Chinc- churlaja Porter. See Elson ' s Dictionary. 1910 157 In the following list star nothing, once ; star twice, everything vou haven ' t studied ; thrice, things you should have studied, and four times, everything you couldn ' t possibly study. Ambition. Borrowology. Fudgism. Hysterics. ' ' Guv ' s Treatise on Buzzing in the Corridor. ' ' Hadlev ' s Foot-notes on Tan Sandals. Dravton ' s Ponderings on Securing Perfect Webbs. Economizing. Darning. ' ' ' Elson ' s Dictionan ' . Moonlight Walks in the Fenwav. Harold B. Simonds ' Lecture Course on Entrancing Blushes. ' ' Opera Glass Visions, bv H. Barnes. ' ' Revised version of Tom Thumb, bv Lillv Forderer. Treatise on Vocal Art, bv L. M. Pattison. Age. — Forgotten. Size of shoe. — Don ' t know. Do YOU wear false hair? — Impertinent ! (The answers to these questions will be held confidential.) Are you tangled in a love affair? — Just at present only a half dozen. What do you prefer to teach? — Nothing. Do YOU EV ER drill A CHOIR? — I Do,-er,-sam ! 158 3Cl)e iSeume 1910 Could you give lectures? If so, on what subjects? — On the Journeys of the Flexor Profundis and SubHmus to the Various Joints of the Fingers. Do YOU WHISTLE? — Like a bird. Do YOU INSIST ON ANY PARTICULAR LOCALITY? If SO, WHERE? — On earth. Could you play ragtime on the contra bass? — No, but on the French horn. What is the least salary you would accept? — $5,000 a year and a maid, season tickets to the opera, symphony and the soda fountain. Name three of your most advanced pieces which you can play or sing well? — Has anybody here seen Kelly? by Liszt. Dance of the Fairies, by Porter. Tarantelle Fantastique, Op. 13, for pianforte and orchestra, by Charles Dennee. 1910 2Cj)e iSeume 159 Simmie ' s Dream of an Ideal Wife A countrv lass, tho ' not too Green, With Crane-like throat and Head serene, Whose voice would Pierce the darkest Knight, And Chal-oft dispel my Dyer fright When of her pies I take a bite. Our Hfe a Webb of joy shall ' ' Bee, With Moore glad days at N. E. C. The finest Beers we ' ll have to drink, Our Baker will be White — I think. My plans I have down ' ' Pat in ink ! He-nee ! He-nee ! She naps at three. When at Normal Meetings we take note, Oh, see ! Do see! we cry in glee, ' ' Miss Henav ' s in her Slumber Boat ! Wanted An easy running wheelbarrow to carry an extraordinarily heavy green bag. — Editor of the Neume. Calm nerves for final examinations. — Senior Class. A larger attendance. — Class Meetings. Leniency. — Grinds. A Campus. — Students. Cool weather. — Commencement. A cure for weak knees. — H. B. S. An Old Favorite Deac Hadley (apologetically in ' 11 Junior class meetings): I ' d just like to say that if anybody has anv money any time which they don ' t want for anything, I ' d be glad to have them pay their class dues. 160 3Cf)E iSeume 1910 Miss Webb (busily dressing for a morning at the Con ): Well, you know, it ' s just like this ! When you ' re so talented and so good- looking — One ' s quite bored to death playing concertos and things. Who Tempo-Presto Assai Seeing a certain Senior approaching in the Con corridor, I endeavored to escape unnoticed into the elevator, but failed to do so, and the next instant I was besieged with, — Why, good morning! How are you? Going for a lesson with Mr. ? This is such a fine morning for practicing, but have to remain in here all day! How are you progressing with your Trio for Ensemble? I worked seven hours on mine yesterday and yet I can ' t play it at all! I — Oh, yes— No, I can ' t! I wrote in all the fingering and pedal marks coming in on the car the other morning, but still I just can ' t play it ! I do wish Mr. A. would give me something nicer to work on ! I get so nervous when I get up to play — I must go on to my — Wait just a moment ! Have you memorized that Rubinstein concerto yet? Oh, yes, you have ! It ' s a dandy, but say, it is mighty simple compared to my Tschaikowsky one ! The first movement of it is seventy- two pajges long, and, oh, some of the chords are fierce! I can scarcely — Goodbye! Come back here! I want to ask you something! Were you nervous when you played in recital last week? You didn ' t look it ! Don ' t you ever get nervous, really? do every time I play in public ! Am always so afraid I ' ll forget something ! How do you memorize? Do you see every note as clearly as though the music was before you, or do you memorize more by ear? Now, I believe — Will see you later — You ' re always in such a hurry! I never get a chance to say two words to you ! Were you at the concert last night? Good wasn ' t it? thought — But at this thought, I turned and fled up the stairs and discovered that my morning greeting had consumed fifteen perfectly good minutes ! 1910 Efte iSeume 16t Advice to Anxious Sweethearts (Excerpt from Hearst ' s Boston American) Boston, February 29, 1910. Dear Miss Fairfax: — I am a male student at the New England Conservatory of Music and am considered quite good looking by my friends. Although not of a boastful nature, I feel compelled to say that I can crack jokes to beat three of a kind. Last year I had a girl, and I swore that I couldn ' t live without her (anybody can tell you that), but this year a beautiful young ladv (her first year at the Con) has entered my Eden and my thoughts are all of her. She is a belle. 1 am well built, strong and in my gym suit am a figure well suited to excite feminine admiration. Much to my grief, I am so bald that I have to comb my hair with a sponge. I think that she loves me, as one evening, a few days ago, she let me sit with her at a recital. Do you think she really loves me, or is she only joshin ' me? I anxiously await a reply. Remaining Yours truly, Harlowe F. Dean. Now there ' s our good friend Guy McLean, Who seems to be sober and sane, But he often has said. How he ' d soon like to wed. Now wouldn ' t that give you a pain ! There was a young fellow named Doersam Who considered all damsels quite boresome, The eyes he could make, Just made them all quake. Oh my! what a feeling so awesome ! Oh, woe be to those Who with Simmy are hit, For he never topples. Hasn ' t as yit ! 162 1910 O-nine had a fusser that caused quite a stir, — I ' ll wager the girls know to whom I refer. With him fuss was chronic, He needed nerve tonic, That furious, fanciful fusser — Lloyd Kerr. Now this little Miss Edna Power, Was caught one dark night in a shower; But she didn ' t care. For SOME ONE was there. So how could her temper get sour? Little John Snyder, Was drinking some cider At an eating house over the way. He stuck in his spoon And pulled out a prune. And said, What an unlucky day. Hey diddle ! diddle ! A maid and her fiddle Made a visit to room 59 ; The examiner laughed. To hear her play, And said, Next year is due time. There is a certain Frank E. Weed, Who when he sallies forth. Turns not to South or East or West, But always toward the North. As the bee clings to the flower Throughout all the earth ' s glad day. So through every fleeting hour, Tommy clings to Venie J. Romeo, Romeo, wherefore art thou, Romeo? 1910 163 Familiar Quotations You take points well, Your acting ' s good, too, I have manv things in mind For vou to do. — Gilbert. It is not hard, You just as well be mern ' , But you must beat ze rhvzm, It is necessary ! — Lenom. Not a sign of a cadence You ' re all awr ! Well! Well! But here it comes back, Just as clear as a bell ! — Elson. You must sound it more front, I ' ve told vou o ' er and o ' er, And I ' ll throw vou out the window If vou don ' t articulate more! — Thurwaxger. Normal Teacher: What is a chord? Brilliant Pupil: A chord is a triad, a triad is a combination, a combi- nation is a union, a union is an annovance, an annovance is a noise, a noise is a racket, a racket is a bat, a bat is a bird, a bird is a fowl, a ' foul ' is a miss, a miss is a girl, and a girl is a welcome sight at the ' Con ' . Teacher: Psvchologicallv, vou are correct! ADVERTISEMENTS New England Conservatory OF MUSIC GEORGE W. CHADWICK, Director The School Year 1910-11 BEGINS SEPTEMBER 15th. For Particulars and Year Book Address RALPH L. FLANDERS, Manager Huntington Avenue, Boston, Mass. ADVERTISEMENTS The first is in the Key of C, the second in the Key of D, and the instruments they use are always 5. COOKE DONALDSON are not a musical comedy but are up-to-date Specialists for the feet and alive to the needs of their patrons. CORNS, INGROW- ING NAILS, BUNIONS, and JILL DISEASES OF THE FEET TREATED WITHOUT PAIN. antcure 74 BOYLSTON, corner TREMONT STREET SUITE 9 and 10 TELEPHONE, 21629 Back Bay trj)e t. Potolpi) Cafe 350 MASSACHUSETTS AVENUE, corner ST. BOTOLPH STREET, BOSTON i N Finest Appointed Cafe r ' c-zzri in tl e Back Bay. Its Cuisine appeals to the most fastidious Epicurean. a Open from 7 a.m. to 10 p.m. Discount Tickets Special to Students. Your patronage Solicited. G. S. TEVRIZ COMPANY Dieses Clust If we made it, it ' s right Class Pins CUPS MEDALS FOR PRESENTATION OR PRIZES You ' ve oft heard me speak of Miss Speck, Who asked for most things by the peck; Thus she ordered ice-cream, And I thought I would scream, When she said, That ' s not much — Titus Teck, 47 Winter Street 129 Tremont Street BOSTON ADVERTISEMENTS Seven Convincing Reasons Why You Should Do Your Shopping in this Great Store I. In addition to being Boston ' s best store for new and novel articles, this house is undeniably the best store for staple goods of all kinds. Through our perfected system of merchandising you will find here every week in the year plentiful assortments of every kind of merchandise we carry. II. We send thirty buyers to Europe each year to obtain the latest ideas from foreign marts and fashion centers — a larger number than sent by all the other Boston stores combined — more in fact than sent by any other house in the United States. III. You can read our advertisements, knowing that dependence can be placed in the goods offered. Exaggeration is something never allowed, and every article must be put up to the required high standard or it would not be permitted in our stock — much less advertised. IV. OUR STOCKS ARE ALWAYS THE LARGEST. On account of the enormous volume of our business — it being larger than that of any three other New England stores — our assortments in each and every department are more than twice as large and complete as those shown elsewhere. V. OUR STANDARD IS ALWAYS THE HIGHEST. Mer- chandise that is of questionable quality has no place in this store. We draw upon the markets of the entire world in assembling these vast assortments, but always with a firm insistence that only such goods as are absolutely trustworthy shall gain entrance to our stock. VI. OUR PRICES ARE ABSOLUTELY THE LOWEST. We are never undersold. We guarantee the price of every- thing we sell to be as low as, or lower than, the same article can be bought elsewhere in New England. VII. OUR GUARANTEE. Every article bought here— no matter how low the price may be, carries our guarantee of satisfaction to the purchaser. JORDAN MARSH COMPANY ADVERTISEMENTS MEYER JONASSON CO. TREMONT and BOYLSTON STREETS Save twenty-five per cent, of the money you intend to spend for your spring clothes, trade direct with the manufacturers SPECIAL SUIT VALUES AT $25.00 and $32.50 LADIES AND MISSES SIZES Cmergon College of (i ratorp WILUAM J. ROLFE. A. M.. UTT. D. President Emeritus HENRY LAWRENCE SOUTHWICK President IT HE largest school of Oratory, Literature, Physical Culture, Dramatic Art and Pedagogy in America. It aims to develop in the student a knowledge of his own powers in expression, whether as a creative thinker or an interpreter. Summer sessions. Teachers in demand. 30th year opens Tuesday, September 27th. Send for catalogue. Now there is Elizabeth Wood, Who tries hard as time to be good. She is surely the rage Since she ' s been on the stage, — rd be just the same — if I could. HARRY SEYMOUR ROSS, Dean CHICKERING HALL HUNTINGTON AVENUE BOSTON, MASS. ADVERTISEMENTS STIEFF PIANOS The evolution of the STIEFF PIAJNO since 1842, through three generations of piano builders, has produced an Art Product of unsur- passed merit, which has been recognized by the highest awards at both European and American Expositions. THE STIEFF COLLEGE PIANO embodies the greatest achievements in piano science, and the selection and exclusive use of the instrument in many of the leading educa- tional institutions in the country is established proof of its superior qualities. CHARLES M. STIEFF 9 No. Liberty Street, Baltimore, Md. 12!2 Boylstoii St., Boston, Mass. , Branch ADVERTISEMENTS A. J. JACKSON CO. Pianos and THINGS PHOTOGRAPHIC EVERYTHING FOR THE AMATEUR BOSTON, MASS. Bring your films and plates to us to be 111 1 1 1 properly developed and printed. T ianos to re nt HUBBELL McGOWAN SPECIAL RATES TO STUDENTS THE RELIABLE DRUGGISTS TELEPHONE, OXFORD 246 Opposite Symphony Hall BRIGHT HOWES INCORPORATED ll 1 It 1 M W Helen Parkhurst! ! ! I wouldn ' t have thought it of YOU. Cleansing House French Cleansing Garments Wraps Evening Gowns Suits Waists Skirts CAPLAN Successor to FINE. THE FLORIST Gloves left before 1 0.30 A.M. ready for delivery Floral Designs Fresh Violets three times a day. Wholesale and Retail same day 5 P.M. All lengths, 10 cents Offices 64 HUNTINGTON AVE. 1341a BEACON ST. 144 Massachusetts Avenue BOSTON BOSTON BROOKLINE Works: ALLSTON Telephone, 3276-5 Back Bay Call, Telephone or Write for Price List DISCOUNTS TO STUDENTS ADVERTISEMENTS ACKNOWLEDGED THE BEST Established 1846 TRADE MARK CREAM AND ALL DAIRY PRODUCTS CERTIFIED MILK, HOOD FARM MILK, BUTTERMILK MODIFIED MILK FOR BABIES There is no other staple that is so fundamental to the physical well-being of every community. It begins with the life of the child and upon its quality largely depends what that life shall be in its earlier stages. Boston Evening Transcript, The Largest Independent Dairy Company in New England 494 RUTHERFORD AVENUE, BOSTON, MASSACHUSETTS Daily Delivery in Greater Boston and North Shore Resorts. Also Lawrence, Mass., and Manchester, New Hampshire ADVERTISEMENTS THE BOSTON MUSIC CO., (G.Schirmer.Inc.) Music Publishers, Dealers and Importers 26-28 WEST STREET. BOSTON, MASS. Where everyone sends for his music 1 APPROVED BY ALL COLLEGE GIRLS LOMBARD BLOUSES and OUTING SHIRTS SEND FOR ILLUSTRATED BOOKLET HENRY S. LOMBARD YACHTING UNIFORMS 22 to 26 Merchants Row, Boston, Mnss. At Marceau ' s. Mr.S.: Has Miss Moore sat for her picture? Miss Berlow: No. we have no record of her sittins: on our books. A Dana Hall girl, whose complexion was not of the best, asked the matron to recommend a skin food. A friend suggested bologna. Noah ' s Ark was the first bank. At any rate, that is where currency is first mentioned. The duck had a bill, the lamb had four quarters, the frog a green back, and the skunk a scent. MoNS. Thl ' RWANGER (after the third recitation in an enthusiastic French class): If I go crazy, you will have that on your minds all your lives. Telephone, Oxford 217-2 GLOVES MADE TO ORDER TOURAINE GLOVE CO. Manufacturers and Retailers of Kasan Cape, Mocha, and Fine Kid Gloves 7 Temple Place, Room 25 BOSTON, MASS. Up one flight. Take elevator. S. HELPERN. Proprietor Factory and Salesroom, 45 LaGrange Street Telephone, Oxford 1451-2 ADVERTISEMENTS PUTNAM ' S Nearly opp. Boston Opera House. 0pp. New England Conservatory of Music 282-286 Huntington Avenue Corner Gainsboro Street EIGHTY FURNISHED ROOMS. SPECIAL RATES to PERMANENT PARTIES Special Opera Dinner, 5 P.M. until after the Opera. Broiled Live Lobster, Ice-Cream and Fancy Ices. Daily morning trips from the Putnam Dairy Farm, Lexington, Mass. Fresh Eggs, Milk, Butter and Veg- etables served at the table — Sold at the counter. CATERING A SPECIALTY for Weddings, Parties, Receptions, etc. STUDENTS SPA (Putnam ' s Cafe) 282 HUNTINGTON AVENUE Putnam ' s Sl in Health Cold Cream, lOc, 15c., 25c., 50c., 75c. Sizes. Used and recommended by leading artists everywhere. Post Office ' telegraph Office Drugs, Soda and Cigars, Manicure Goods and Toilet Articles, Periodicals and Stationery. PRESCRIPTIONS A SPECI- ALTY. Registered Pharmacists in attendance. CONSERVATORY DRUG STORE (Putnam ' s Pharmacy) 286 HUNTINGTON AVENUE Teleph one F. H. PUTNAM Back Baa 177 ADVERTISEMENTS 7 COVPL ' MSTNTS OF Complimenls of Dr. M. J. FENTON Dentist 921 BOYLSTON STREET. BOSTON, MASS. H. BARNES A. SIMONDS Professors of Astromony Accurate Observation of Stars bv Means of Opera Glasses Absolutely Guaranteed Specialty — Dormitory Stars Special Prices for Order of T)ances, Visiting Cards and Stationery M. T. BIRD COMPANY FINE STATIONERS, ENGRAVERS and PRINTERS 5 and 7 WEST STREET, BOSTON ADVERTISEMENTS MARCEAU 1 60 ' Fremont Street, Boston, Mass. Official Photographer, 1910, N.E. C A D ' E R T 1 S E M E N T S When you want the choicest roses that will last the longest, asl vour florist for those grown at the WABAN ROSE CONSERVATORIES, N A TICK, MASS. VeUpbone, 3842-4 ack BaS E. J. Marsh MILLINERY 248 HU. TI. GTO AVENUE Opposite Symphony Hall, Back Ba , Boston T. E. MOSELEY CO. SHOES IN ALL SHAPES AND MATERIALS Especially Designed for all Occasions to S7.00 160 Treiiiont and 33 Mason Sts. B. KABATZNICK Oil Paintings, Water Colors Etchings, Engravings SPECIAL POSTERS FOR STUDENT ROOMS Designer a nd Maker of ARTISTIC PICTURE FRAMES Telephone. 2026-3 ack ay 484 Boylston Street, Boston, Massachusetts Special Discounts to Conservatory Students NEAREST AND BEST PLACE FOR PlCTLTiES and FR.AMING. SOLA EMRS OF AI_L SORTS. WHIST and BRIDGE PRIZES ADVERTISEMENTS Telephone. 3839-2 Back Bay L. MARKS Jlair J3rts5mg parlor ELECTRO FACIAL MASSAGE 234 MASSACHUSETTS AX ENUE BOSTON WORK CKDNE AT OLR RESIDENCE For those of our members who live at any distance in the west, south or north, we take pleasure in suggesting a call upon the Beekman Tourist Company. 336 W ashington Street. This company, representing all railroad and steamship lines, is in position to secure accom- modations and sell tickets at the lowest possible rates and over the most attractive lines. To combine a pleasure trip with the trip home, or to plan any vacation is their strongest feature, and they are always willing to make up special trips and plan any journey, long or short. Telephone. Main 3288-9 FRANK J. WEED Teacher of Dancing Rythmical and Graceful Dancing, Etc. F. CARL GORMAN Teacher of the Correct Military Jf ' alk (Ten Years ' Experience in a Cadet Band) It is surprising how cheap some people will work I In a book store the other day, I saw a sign reading, Charles Dickens ' Works this week for Hve dollars. Don ' t you think it ' s bad enough to work for such small pay without advertising it? Moss. Thlrwanger (after a disgustingly poor lesson): There is one thing sure to happen if this keeps up. I will kill you, ever ' one of you. or I will kill mvself. Music hath charms to soothe the savage beast. That is the reason they put a brass band around a do2: ' s neck. Miss Moore and Miss Holland HIGH-CLASS SPECIALTY ' SHOP 421-423 Boylston Street, Warren Chambers BOSTON ADVERTISEMENTS