OUR YTO2IA2PS PAFBB, THURSDAY, MAY 14, 1896
If
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VOICE CULTURE, ,
Bohmer Studio, 205 Washington Ave.,
Opposite Court llouw,
SCRANTON, PA.
Specialist for alt voice defects.
WOMEN VIOLINISTS.
"Gently beneath her perfect, rounded chin
The Instrument U cluspud. as mothers
Across1 their breasts a much-loved
child, to fol.l
It from a world of misery and sin.
She draws the bow across the strlncs te
To life the tones, now soft, now strong
and bold, . . ..
. . , . . Ul -- rii nil truth 11 n-
That dormant lies within the violin."
Twenty years ago the Hat of woman
violinists would have occupied very
little spaoe.biit today, the difficulty lies
in doing Justice to the vast number of
eminent soloists in the columns of a
newspaper. In bygone years, it was
considered decidedly risque for a girl
to play a violin, even in private, and the
masculine; element was wont to argue
she was physically incapacitated fur so
difficult an Instrument. It Is not neces
sary to enumerate the reasons why a
woman is physically and Intellectually
bettor adapted to the violin tuan to the
piano. All that is required la to visit
the concert-room and listen to the soul
ful, poetic playing of a graceful woman
to realize how lHJtont Is her sway over
bow and strings.
- To Camilla Urso, the first great wo
man violinist, be all honor! She was
the first to take her place, side by side
with the famous men of her prof-'SfUon
and today she dwells anions us. a iivuib
example of w hPt a woman ran achieve
over obstacles fortunately, belonging to
the pact. To her we owe the oiKmlng of
the J'arls i-onservatory to women and
the countless throng of ghia who have
studied there should call her blessed.
When as a tiny child a wonder child
she sought admission to Its classes, she
was refused on account of her sex,
though It was acknowledged that her
ability was far beyond that of the boys
who applied at the same time and were
permitted to enter. Nothing daunted
she tried again and again until Anally
genius won the victory over prejudice
and the little Italian girl threw open
the doors of the great conservatory for
all time.
Camilla Urso In to violin playing what
Rosa Ronheur is to painting, and the
women who follow her, owe her much
for her careful, rigid upholding of the
standard of violin playing.
Among the younger women violinists,
every nationality is represented;
Moravia tins two, Sady Hallt (Norman
Nenida the friend of Joachim and his
coadjutor In his London seasons, mid
Marianne Elssler, who Is a popular
favorite in England, as well as a pet
of Royalty. Gulii'leUe Wlrtrouetz Is
Austrian by birth: twice winner of the
Mendelssohn-Uurtholdy prize, her
career has been most successful. lion
mark is proud of her famous daughter,
I lie ueauuiui i' nua rtooua, wnose mar
velously lovely tone and broad interpre
tation ploee her in the front rank. She
has the distinction of playing regularly
at the Rich tor concerts In Vienna and
lias appeared also at the Lamcnnux con
certs in Paris. The famous schools of
Belgium have many distinguished wo
men among their pupils, one of the best
known being Juliette Folvlllo, of Sleje,
who Is not only an accomplished violin
ist but a composer of a successful
opera and a symphony of great merit.
As I have said, the list Is endless, but
we naturally turn with more interest to
THE AMERICAN GIRLS.
Who are wlnnlnir fame with their
violins. Maud Powell's clever, piquante
face Is well known throughout the
United States and her strong, virile in
terpretation of such masters as
Brahms, Tschalkofsky and Bruch, is
most admirable. She is genuine and solid
In Tier work and carefully avoids any
thing akin to clap-trap. She does not
confine herself to solo work and her
string quartette is recognized for Its
muslclanly playing. Geraldine Morgan
has not been before the public so long
as Maud Powell, but she Is growing
rapidly into favor. She was the favorite
pupil of her master, Joachim and was
brought out by him in London at the)
Crystal Palace. She has also the great
honor of playing with Joachim the
Bruch Double Concerto for two violins.
Unquestionably, the most talented of
the younger generation is Leonora Von
Stosch, the Washington violinist, who
unfortunately for art, has abandoned
her career, since her marriaae. She Is
a fine exponent of the Franco- Belgian
schools (founded by De Berlot) and
both Morswlck and Ysaye declare her a
genius. Possessed of a superb physique,
her tone is magnificently broad and her
playing is marked by great individual
ity, with a vim and esprit fascinating
in the extreme.
Nettle Carpenter is another wHo en
Joyed a scries of triumphs, only to retire
after a very brief career. Revered by
many who recognize a brilliant artist.
In New York, no one is better known
than Jeanne Franko, while Dora
Becker, Winifred Rogers. Martina
laboring faithfully and well for art. Per
"haps no better proof of the strides
nullum Hrv IIIUIWHK can VU LUUJIU. mull
the string orchestra recently organised
there; composed wholly of women ar
tists. Such an organization would not
have been possible a few years since,
hut with such material, and Camilla
Urso at its head, who can doubt Us suc
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WOMEN IN MUSIC
A FEW THREADS OF HISTORY.
There appeared not long since In the
"Atlantic" an article, "Is the musical
Idea masculine?" In which it endeav
ored to prove that because of her sex
woman on both physiological and pys
chologlcal grounds Is incapable of
originating musical Ideas. Following
this Is the statement from no less an
artist than Madame Lilian Nordlca.
that "it is a noteworthy fact that wo
men thus far have accomplished prac
tically nothing as composers of musical
work." She, however, gives as the rea
son for this the fact that nowhere has
woman been given the opportunity to
perfect herself in that branch of mus
ical art. In view of all that has been
done in the pant by women composers
and of the :luce she Is taking in fore
most rank of modern music, these
statements so sweeping and so unjust
ARE EASILY REFUTED.
Mrs. Theodore C. Sutro has taken the
trouble to draw up a list of musical
works of women composers, from IG75
until the present time, and has succeed
ed In compiling a catalogue of more
than 1,400 dramatic, lyrical and other
compositions by French, German, Ital
ian, English, Spanish and Russian com
posers. I'p to the present time, how
ever, few women have attempted to
write symphonies or operas. They have
been far more ready to lend their talent
to rungs of sentiment. We are indebt
ed to women for some of our most cher
ished ballads. It was Lady Jane Scott
who gave the wor!d"Annlo Laurie,"and
Lady Scott Catty who wrote "Douglas,
Tender and True," while "Maryland,
My Maryland," owes Its spirited mar
tial ring to a woman. The musical
pathos of "Auld Robin Grey" originat
ed in the brain of Lady Anne- Lindsay,
and Lady Nairno wrote the stirring old
"UampbeJlj Are Coming." These and
many other songs of later clays will live
liiT, If not forever.
FANNY MENDELSSOHN.
It would, perhaps, be unfair to men
tion the lovely songs which bear the
name of Mendelssohn with these sim
pler melodies, and yet some of the most
charming of these beautiful songs were
written by Fanny MendelSFohn. Public
prejudice was even stronger then than
today .and those gems of songwere pub
lished under lief brother's name, LCcause
her irieiuls wore1 so scandalized by her
unwomanly immodesty in wishing to
publish music under her own name.
Alas! that In this day of progress wo
men should still consider the Incognito
necessary for a Just criticism.
A FEW WHO HAVE WON FAME.
A notable Instance is Miss E. M.
Smyth who, among other line works,
has composed a nobis mass in D, which
in substantial dignity and breadth of
thought and treatment, is equal to any
modern work of its clasp, and yet Miss
Smyth refrains from indicating herself
on the title page; nothing but the in
itials appear. This mass would attract
Attention coming from the hand of any
living composer and han been rendered
by suecinl desire of the Queen under
the direction cf Sir Joseph Uurnby. The
work of women In music as In all things
else. Is broadening rapidly, until we
(Ind a woman's ojera given at tne
Grand Opera In Paris. Miss Augusta
Holmes Is the first woman to achieve
that distinction, and It Is said it is as
easy for the proverbial "camel to pass
thro' the eye of a needle," as for a
woman's work to reach the Grand Salle,
but Miss Holmes wrote, read and won.
Like Wagner she writes her own
libretto, sketches her scenery and
superintends all rehearsals. The suc
cess that has attended the performance
of her ciiera "La Montague Noire" is
certainly a great triumph. Her "Ode
Trltimphale" written for the Paris Ex
position established her claim to gen
ius of a high order. A theatre was
built after her own design capable of
seating twenty-five thousand people,
that she might represent muslo and
poetry at the exposition. She wrote
the poem and music for a heroic repre
sentation of "Work, War and Play for
all countries" and personally trained
l.lne hundred people to represent it. It
is certainly a great achievement for a
woman, single handed, to have done
so splendid a thing. Another little wo
man who is
MUCH MORE AT HOME,
and who has done great things in a
musical way, Is Mrs. H. II. A. Beach,
of Boston, the wife of a prominent phy
sician, a graduate of , ellesley College,
whose school days are not yet far be
hind her. The highest critics of that
critical city pronounce her "a most
gifted composer possessing; positive
genius which will command the world's
recognition." She Is as well a brilliant
pianist and the writer of many lovely
songs and dainty things for plana
Among her more serious compositions
is a n. las in E Hat which has been given
in Music Hall, Boston by the Handel
and Haydn society. This fully round
ed and noble composition made evident
the canacity of woman's brain to plan
and execute a work combining great
seriousness with unquestionable beauty
Possibly M'lle Chaminade, of Paris, Is
the first favorite today among the more
succsfful women composers, although
her music shows no trace of her sex.
Her piano compositions are capricious
but authoritative and essentially mod
ern, but for positive knowledge not
one would suspect the composer of
"Plerette" and the "Scarf Dance," of
being a woman. The songs from her
gifted pen are full of strength, poetry,
r'eep emotion ard sympathy. They are
found on all the best concert pro
grammes of the day, which is proof that
all artists are quick to recognize their
realm.
It is impossible, in the space of a
short article, to do Justice or even men
tion the many writers whose songs are
delighting many lands, such women as
Mrs. Dana, Virginia Gabriel, Madame
Salnton-Dolhy and the members of the
New York Manuscript club, more than
a dozen honored members and such wo
men across the water as Hope Temple,
f?rtmlo Grlswold, Helen Hopekirk,
Edith Dlch, the Countess Tolstoi. As
we write the names of worthy women
crowd upon us, too numerous to men
tion. That so many clever women are
FORGING TO THE FRONT RANKS,
surely establishes woman's claim to
originating musical Ideas. She has
reached this coal quietly, in her own
way, and by her own merits. I have
spoken of her only as composer, not
touching at all uixm her high mnstery
of any Instrument she may choose to
select, nor of her ns loader of fine or
chestras, composed wholly of women
artists, as mistress of the grand pipe
organ, but havo tried to prove that the
musical idea is not wholly masculine.
There is a story In London about a wo
man aaostle who harangued a crowd
on th woman question, and a voice re
HUSICAL PAOE
plied "La! Yes, we know we're women
but we don't 'owl about it; we works."
That is what our women are doing to
day in music.
FRANCES B. DIMMICK.
MUSICAL LIFE IN VIENNA.
The adjective qualifying the substan
tive In the title of this article stands for
a vast difference. If I were to write of
"Life in Vienna," it would be in very
dlaercnt terms from what I shall use
In a short description of the life of the
musical students in this city. Life in
Vienna may be fairly summed up In
one word amusement Cafe houses,
theatres, Volks garden, beginning next
noon the same idle. Jolly, for as they
say. "lusty" life over again, never find
ing it flavorless, never becoming sated
with its ephemeral delights. But the
musical life that is it "was anderes"
that is quite another th ng. So differ
ent la it from any other life of its kind
that I know anything of, that one is In
clined to say before. It, the deluge; after
it, nothing! So unique, so thoroughly
desirable Is it. There is a large conser
vatory here which sends forth yearly
its quota of musical people, who make
their own circle, do plain work of more
or less merit, and that Is oil. On the
other hand, out In Warding College sits
one little old man with an unpronounce
able name, an unspeakable temper, but
with a secret of power which over rides
all objections, and answers all ques
tions, whose house Is a centre and home
of that beautiful, that mysterious, that
enchanting thing modern, dramatic
piano-playing. Of course, there are not
wanting people who have a different
name for all this; people who call It a
fad, who say that Leschetizky is fam
ous mostly among Americans, or ad
mitting that his fame Is world-wide,
say that it is an accident. There are
many answers to such expressions, one
of which is,
SUCH ACCIDENTS DO NOT HAP
PEN. A few years ago he gave a specially
interesting soiree even for him to give,
which Is saying a good deal, and among
the dozen or so picked pupils who were
oaked to play, were four Russians,
three Austrians, one German, one Eng
lishman, and the rest Americans, the
ones having tho highest position on the
programme being the two Russians,
Mark Hamburb and Mr. Gabtielovltoh,
of whom you will soon here great things
in America.
But what is the secret of his power,
what are his methods of working, you
will ask. The first great demand, sup
posing one to have musical ability
enough to be accepted as his pupil, Is
to cet the hand in order. A certain
amount of strength not only in the
hand but in the lingers themselves, a
certain amount and a certain kind of
technique are an absolute necessity,
without which Leschetlzky will simply
have nothing whatever to do with you.
If you do not possess this technique
and this strength you must get it, and
you must have patience till you do get
It. Many players have come here sup
posing they had a perfectly competent
technique, only to find they had next to
nothing that would serve them here,
nothing that would produce the great,
round, telling tone one hears from all
his pupils, or that will stand the strain
of going out with intelligence and dra
matic power musical literature of any
kind. To say that getting this sort of
technique taxes one's patience and for
titude to the utmost, is to put it very
mildly. Nothing but mingling freely
with other pupils who have passed
through the process and came out on
the farther side, keeps the courage up;
nothing but hearing in his Wednesday
afternoon classes, where only the best
pupils play, this same clear, masterly,
telling tone, the tone that makes every
other tone insipid and dull, holds one to
the hard task, and makes him feel that
he wants nothing so much as to dis
cover what is for him on the other side
of the barrier. He says to himself, "It
may be hard to get, but it Is life from
the dead, and I must have It." But
having at last got it, what then? You
must use it well or the master will have
none of you. Many a one has struggled
bravely through with the preparatory
teacher, and has had the first lesson
very successfully with Leschetizky, and
haB fondly imagined the worst was
over, only to find a host of fresh trou
bles awaiting him.
Dlllettantism, want of rhythm,
and above all, Inability to im
itate quickly what he shows you, are
likely to provoke a storm which the
pupil feels must overwhelm him. But
let it not be supposed that such things
are the vagaries of a nervous man. Im
patient of dilettante playing There is
a sturdy vein for honesty in It all that
is life-giving. No earnestness, no mus
ical enthusiasm, nothing will save you
from merciless criticism, but it does not
end there. Tho great master, or his
preparatory teacher, will show you the
broad open highway to a sure goal.
If your faults are laid bare with re
morseless severity the hand that does
it guides to a great deliverance. Instead
of being sugared with compliments, you
are led, nay. thrust, into a new life. It
was my privilege years ago to be In one
of the Liszt classes, and it is no dis
paragement to tho great master who
was so adored by the plano-playlng
world, to say that every Wednesday
one heard far better playing In the
Leschetizky classes than was common
ly heard In the Liszt classes. And It Is
simply because a certain standard of
excellence is absolutely demanded and
inexorably maintained.
GREAT CONCERTS AND OPERA.
To say that the musical student has
abundance of the best concerts here In
Vienna Is only to state a perfectly well
known fact. D'Albert Sauer, Adole
Aus der Ohe. Grieg and RefnecUe have
given delightful concerts in Vienna this
winter, not to mention many lesser
lights. But I must add one word about
tho opera. One day a German said to
me, "You Americans care nothing for
opera; you only want to hear some
great singer whom you fondly call tho
best" I had no very good weapons of
defence against that thrust, and had to
confess sadly enough that for a great
music drama, as a work, we do not care
enough. Here it is different. There
are no superlatively great stars, but a
splendid array of thoroughly good sing
ers, a superb orchestra directed by that
most accomplished conductor, Richter,
and from September to Juno, you can
go night after night and hear all the
groat operas given In orchestra. In
chorus, in chief roles, in' stage setting,
thoroughly well. You can have, not
one or two hearings, but you can know
the grjat operas. I have been night
after night, and have seldom seen nn
empty seat, so Integral a part of life
here is tho opera. In closing I can only
relteen te what I said ir. the beginnings
musical life in Vienna Is (musically
speaking) life from the dead. -
STELLA At. SEYMOUR.
170LES1LE DE1LER 111 R0OFIN8 SINE. BUM!
hi EkmI lcaa. Dsata for NortbBstera Perasjlicli
, 1
We have this season received the largest consignment of im
plements in our history, among which are the well-known Oliver
Chilled Plows, S. L. Allen at Co.'s Planet. Jr.. Hand and Horse t ools,
the Black Diamond Harrows and Cultivators, Huckcye Mowers.
Keapcrs. Hay Kakes. Horse Cultivators. Seed Drills, etc We are
also agents for D. M. Ferry's New American Sulky Harrow, Cultlva
tor. Grass, Grain and Fertilizer Sower. Orders for Slate by the
carload.
WgHhnnci nnd Of fire.
15 Lackawanna Ave.
VOICE.
"There Is much music, excellent
voice in this little organ; cannot you
make It speak ?"In accepting your invi
tation to express my views on voice 1
beg to say there Is nothing so dlfllcult
to write about as the voice in practical
use and the actual results we obtain in
practice, hence we never hear of a per
son who has learned to sing beautifully
by reading, talking or thinking; about
the voice.
The study of the voice in all Its as
pects offers the most varied, profitable
and delightful field for the earnest stu
dent to engage in. An Instrument so
superior to every other In its grandeur
of expression and marvellous resources
it Is practically inexhaustible.
Its power what is there that exerts
a greater Influence in the tide of human
affairs; Its construction what strong
er exponent of charao er. Let any er
former make the most sympathetic tone
possible on his Instrument and its
beauty Impels us to exclaim, "It sounds
like a human voice."
A good voice is a great gift for which
the possessor has reason to be devoutly
thankful and for the proper develop
ment and use of which he is to con
sider himself responsible.
If we can keep our voices from be
ing unduly forced, we shall always be
ready to Improve the quality and pro
duce resonant tones. It Is a great mis
fortune, to put it mildly, to have once
Btrained tho expressiveness out of the
voice. The voice, of course, responds
for a long time to a great strain and
springs back Into repose but there
comes a time when the freshness and
expressiveness of It is gone.
The voice Is certain to express some
thing to a careful listener, but Is it not
too often a high nerve tentlon that we
hear Instead of an expressive note, and
many times the embarrassment of not
knowing how to control the breath?
Many speaking voices are unquestion
ably tense and hard from unnecessary
strain and truly we can say the same
of the singing voice. The cause is
probably the same, a desire tor
power. Teachers are driven to every
expedient to lead pupils to look for a
higher ldoal and to teach them a higher
sense of tone.
This comes perhaps ns much from
friends who have little or no sense ot
expressiveness of the voice or the time
required to perfect it. and Who enly
applaud the power. They want to end
at the beginning of Art. The process of
developing the voice is one of slow and
natural growth and cannot be hurried,
but if wo carefully adjust our forces
our possibilities widen gradually and
we come to a better understanding ot
quality and resonance of the voice,
which are akin. Resonance may
best be defined as the reinforcing or
strengthening of sound. Resonance
ot the voice would mean then the rein
forcing of the tones produced by the
vibrations of the vocal chords. Notice
the word re-ln-forclng not forcing, the
voloe cannot have quality without re
sonance (not tremolo) or resonance
without quality. The one with proper
cultivation will bring out the other in
voices capable of both. The diaphragm
on account of its relation with respira
tion is of the utmost importance In
vocal training.
The use ot the vocal organs depends
upon the use of breathing; and voice
culture based upon anything except
breathing Is of little value to the stu
dent. BREATHING.
We hear much on breathing but the
one thing most essential is the con
trol of the out going breath, hith
erto almost entirely neglected In sing
ing. Forcing the voice Is fruitful only
of harm; reinforcing In a proper way Is
essential; tn fact la the secret of obtain
ing ths best results from the voice.
Teachers of volos culture are of course
glad te have the attention of men and
women turned to this subject, because
we now there ars but few who cannot
derive muoh good from the proper
study of singing. Every one should
follow a regular course of deep and sys
tematic breathing. Nature has but
one way and when we find that way
It should unhesitatingly he followed.
Students must receive a definite and
pure conception of the end they are
striving to reach. There Is hardly a
power of the mind or a muscle of the
body tbat Is not more or less called into
action In artlstlo singing, hence the
greatest attention to even the minutest
detail is certainly Indispensable In this
as In every other field of research. The
mere going through a given vocil exer
cise without intelligent thought as to
why and how, la mere drudgery, and
not likely to be productive of the best
results. The study however can be so
directed as to be a source of enjoyment
as well as profit to the student whether
ot small average or unusual Intelli
gence. The relation of teacher and
pupil Is of such that he who under
stands the Influence of mind over mind
the power to transfer thought, can ac
complish more work In a given number
of lessons than can anyone else, and
will reach results quicker and the re
sults will abundantly reward his pa
tience and perseveiancj. Time spent in
the study of voice culture Is not wasted.
There is both mental and soul devel
opment, therefore I urge a more general
study of this beautiful art in order that
song with its Joy and helpfulness may
enter more fully Into lives of our people,
people.
1t may be noticed that no attempt
Is made to present anything new espec
ially, but only in a meager way to ask
singers to reflect carefully on the mat
ter of repose in singing and forget en
tirely that It is not forced power but
perfect adjustment that is needed, and
it Is not possible to learn this careful
adjustment of all forces used In sing
ing except under the guidance of nn ex
perienced teacher. The more we study
the more we feel the need of study.
KATHARINE ELIZABETH WILCOX
HAWAIIAN MUSIC.
Only a little love lilt of Hawaii, sung
by a native quintette in Honolulu, and
yet It lingers in my memory fresh and
clear, and brings back one of the most
delightful experiences of my life. Pic
turo to yourself an Immense lanai, or
piazza, fifty feet long and seventy in
length, stretching out to the very edge
of the beautiful Pacific, the whole cov
ered with a trellis work which support
ed the branches of tw6 or three enor
mous haw trees. Peoplo dancing to the
quaint little Hawaiian melodies sung
and played by the quintette of natives;
the picturesque palm and cocoanut
trees waving In the distance, and the
most perfect moonlight lending its
glory, to the whole scene; and Imagine
what a halo of romance seamed east
J. L. HULL.
FRANCE5 B. DIMMICK,
Editor.
about It to the visitors from our prosaic
country. The music for most of tho
small dances and entertainments Is fur
nished by this native quintette, and
while the people ot Honolulu sigh for
more civilized music, to me there was
a great charm in the plaintive little
hules with their endless verses and
same refrain sung over and over again
while tho dnnoiniT was going on. The
natives have very soft, plensant voices,
and a great love ot music. A minor
strain seems to run through most of
their meles, or songs, but some are very
bright and lively, while In others we
caught familiar notes of some of our
own songs, introduced probably by the
missionaries long ago and woven Into
their own airs by the natives. The
hula Is a very objectionable dance
which Is now suppressed by the au
thorities on account of its Immoral
tendencies; but the hula-hula, which Is
a modified form of it, is very graceful
and pretty. Is usually danced by men,
and always accompanied by singing;
the one seeming to be Inseparable from
the other. The
DISTINCTIVE HAWAIIAN INSTRU
MENTS are the ukule and the taw-patch. The
former, a tiny little thing about eighteen
inches long, and shaped like a guitar.
It has four strings. Is tuned like a banjo,
and is played by drawing the fingers
across all the strings at once, some
times with a sharp, quick motion, and
again with a slow, waving movement of
the hand. The taw-patch Is several
sizes larger, has five strings, and is
played more like a guitar. They are
both very sweet-toned Instruments, and
more music enn be drawn from them
than one would Imagine, judging from
their size. There Is a fine band In Hono
lulu which plays almost every day;
sometimes In the grounds of the Gov
ernment Building, sometimes In front
of tho Royal Hawaiian Hotel, or In one
of the public parks, and all Honolulu
turns out to listen tn the sweet muslo.
Every concert ends with
THE NATIONAL ANTHEM,
"Hawaii Ponol" ("Hawaii Forever"),
the tune of which is almost Identical
with our national hymn. In the days
of royalty every one stood while this
anthem was being played, but this
pretty custom has now been abandoned,
except by the royalists.
Like the fragrance of a flower, a
familiar refrain recalls to one's mem
ory the delight of days gone by, and as
these weird little chants recur to mo,
my heart goes out with longing to beau
tiful Hawaii, so rightfully named "The
Paradise of the Pacific." Aloha!
KATHERINE CHAMBERS,
MRS. ANNIE L. CARY RAYMOND.
(A word from and of the famous singer.)
The Editor of the Muslo Page has re
ceived a pleasant little note from Mrs.
Annie Louise Cary Raymond, in answer
to a request for an article for Our Wo
man's Paper," in which the world fa
mous cantatrice says that she has never
written anything for publication. But
we feel at liberty to quote her words:
"I am entirely out of the musical world,
but I am glad to have been there and
Of musical people." There Is no music
tan or muslo lover whom this paper will
reach but will be glad for any word
from Mrs. Raymond and for her glad
remembrance of all her musical friend
ships and of having been herself a part
of the world of music. How splendid
her career was during the few years
she devoted to the concert platform first
and then the operatio stage, (both with
Christine Nllsson,) will always be re
membered in the annals of music.
By permission of the author, since we
have no article from Mrs. Raymond, we
re-publlsh a little chanson from an old
number of the Boston Traveler. It was
addressed to a musical friend of ths
author:
WITH PORTRAITS OF CART AMD
NILSSON.
Missing ths Summer's wealth of song;
the glancing
Of bird wings through ths leaves,
When winter earth bereaves,
Take these in place of them. Keund
each one cluster
Such memories of airs from music's
clime,
Breathed o'er the shores ef Time,
That more of gladness than from sun
rays dancing
Trough forest dell where Mrda and
waters chime
Shall fill the winter night
Their pictured smile makes bright
With all ot noontide June's rssplsndsnt
lustre,
As, dreaming o'er the keys,
Your touch wakes harmonies
That made for us the summer nights
divine.
While the late moon delayed,
And clustering hills in shade
Shut in the gleaming river's silvery line.
Wild winds shall die to silence as you
hear
Faint echoes the familiar strains pro
long, And so shall past and present, far and
near,
Be linked by thoughts of music,
dreams of song.
SUSAN E. DICKINSON.
THE DIGNITY OF CHURCH SIN0IN0.
When tho elaborate ritual of the He
brews was planned, all the duties con
nected with religious services were as
signed to one privileged class, the
priesthood. The salient features of
their services seem to have been similar
to ours, consisting In the reading of
Scripture, an exposition based upon it,
and music. No distinction was made
between those engaged in the literary
part of the exercises and those who
sang. Around all was the halo caused
by their being sot apart for holy offices
in connection with tho temple, nnd none
thought tho duty of priestly singer less
essential than that of reader and ex
horter. Music was indeed the hand
maiden of religion, nnd as such the Jew
ish liturgy' provided for It.
The early Christian Church no less
appreciated the solemnity and dignity
of sacred muslo in the worship of the
sanctuary. The hymns of the earliest
centuries that have come down to us
bear 'testimony to this, as does the
glorious music belonging to the chants
of tho Church. To some extent sacred
muslo changed Its character in the
hands of Pope Gregory at one time and
tho famous Palstrlna at another.
When the days of the Reformation came
Luther's grand chorals carried the tra
dition of the Church of all ages Into the
Trotestant churches of Germany. When
the Puritans arose in England, and
came to power In Cromwell's days they
largely did away with muslo as a
means of worship; and this prejudice
came with them to the shores of Amer
ica, although Rev. John Cotton Mather
wrote la favor ot muslo as worship, ana
PMOSaiORGMS
"WHERE ARE WE AT?"
J. LAWRENCE STELLE,
303 SPRUCE STREET, SCRAMTOS.
SHAW PIANO.
EIRSON PIANO.
ARE THE
Medium Grade instruments at Lower Prices.
J. ALFRED PENNINGTON,
Organist of Elm Purk Church,
Will BaociT Pupils la
no m a mm
at hia new studio to b opraed
September 1st
Corner ot
Uadlson Avenue and Linden Street,
. (Opposite Elia t'ark I'anonagc).
Mr. Pennington Is a pur.ll of Turner
and Dunham, Boston; Quilmant and
Hbriglia, Paris; I'.hrlich, Haupt,
Becker and Keimann, Berlin.
Terms, etc, furnished on applica
tion to 439 Wyoming Avenue.
Orcran pupils will receive lessons at
the Elm Park Church. Orgau prac
tice will be furnished on a twa
manual organ ut the studio.
gradually public opinion came over to
his side. William Billings, a New Eng
land music teacher, laid ths foundations
of American music.
There are few ersens who today
undervalue the importance of church
muslo. It was for years the only
American music and from it has come
the American school of music. The
inevitable secularizing of church music
resulting from the close union of sacred
and worldly music has for some time
past been deplored by true musicians
and discriminating worshippers alike.
The strong desire of the present time
to return to the ideal of the Jewish and
early-Christian churches is making It
self felt in all the leading musical and
ecclesiastical circles. Skilled musicians
are new engaged, and music committees
are demanding in return for good salar
ies, well Interpreted churchly music
quite distinct from secular In tone.
The 'Influence which a church singer
may have over a congregation Is second
only to that of the minister; for music.
Intensifying and deepening the meaning
of the sacred words, has often reached
the heart which remained closed to
spoken words. The dignity and import
ance of church music Increases as its
object praise, worship and prayer is
understood. Demands are beginning to
be made of a singer which are similar
to those made of a minister, that he or
she exemplify upon six days of the
week, the words ffcng upon the seventh.
History shows that no revival of
music has occurred except as an attend
ant of a religious awakening, and that
reform in church music has always pre
ceded progress in secular music. The
present deepenlefr of musical Ideals
augurs well for the near future of
American tone composition. LUELLA
FOLLANSBEE PENNINGTON.
MUSIC IN SCRANTON'S INFANCY,
For Our Woman' Paper.
You ask me to write of the "Music of
Scranton forty years ago." You might
almost as well ask me to write of the
snakes in Ireland, only there are no
snakes In Ireland, and there were muslo
lovers and, consequently, musicians,
tho' modeBt In their attainments here,
even then. Ohl for "the pen of a
ready writer" to attempt a description
of our little town In the woods. There
are a few still left of the "oldest in
habitants" and they can remember
when the only musio we had was fur
nished by the choir of the First Pres
byterian church, augmented by no in
strument. There were some lovely
voices there and those who could not
sing made "melody In their hearts."
It has often occurred to me In these
later days that it would be a good idea
for more people to confine themselves
to making melody in Just that way.
Concerts, of course.could not be given,
from the fact of there being no suitable
hall or room. Great was the Joy when
Mr. Schlager finished the third lloor of
his building (late Monies & Pushes')
for that purpose, and it soon became
noised abroad among travelling troupes
that our people were hungry for music,
and each one did its share in satisfy
ing that hunger. However, Scranton
was growing so rapidly there were all
sorts of tastes to gratify, and each
troupe went away feeling satisfied with
having had an appreciative audience.
The company that was always greeted
by a crowded house and wild applause
was composed of five gentlemen calling
themselves"The Continentals." Dressed
in continental costume they were at
tractive In appearance, and to our "un
tutored ears" their singing was delight-
f ul and will always be a pleasant mem
ory. The first musican convention
ever held here was conducted by Wil
liam B. Bradbury, of church musio
fame In the First Presbyterian church,
a three days' convention, enjoyed by all
who attended It, ending with a "grand
concert," and pronounced by all a gront
success. Of our own singers, how few
are left! Our honored friend, Mr. E. P.
Kingsbury, was then, as now, an en
thusiast In music, and to the able man
ner In which he conducted the choir nf
the First Tresbyterlan church for many
years, were we indebted for the good
music all enjoyed. His love for, nnd
knowledge of, muslo have always given
him a prominent plnce among the mus
icians of Scranton. Can any one who
ever heard the beautiful singing of
Mrs. Mary Nash ever forgot It? Her
lovely voice, charming personality, and
readiness to glvo her friends pleasure
are not to ho easily forgotten. I rffust
beware of the garrulousnoss of old asre,
but muBt not close without mentioning
Mr. Ferdinand Burger, our first band
master. He organized and skillfully
conducted a band whose "fame went
abroad," and whose soul-sttrrlng
music was greeted with wildest en
thusiasm. He was followed to tho
grave by thousands who listened to the
snd music of one of his own beautiful
dirges, with truly sorrowful hearts.
Among our young people were many
singers ns well as players upon Instru
ments. Our first violin virtuosi were
Dr. Allen and his youthful friend, E. IT.
Hippie. Together they evoked such
sweet sounds that all who heard were
charmed; thotr fingers have not yet lost
their magic touch. It was an unfailing
source of pleasure to some of these
young people to serenade their friends.
I remember one party who, with vio
lins, guitars and some old sweet songs,
becoming so elated by the applause
their friends bestowed upon them, stole
through the dense woods that almost
surrounded the Wyoming house, and
serenaded the then famous and truly
charming cantatrice, Miss Carolina
Rtchlngs. Oh. tho presumption of
youth. But what fun they hadl
The Scranton of today is a large,
beautiful city, fast forging to the front
in musical matters, but the hearts of
the older Inhabitants are ofnn home
sick for the dear old Scranton and "the
days of Auld Lang Syne."
ONE WHO REMEMBERS,
J
CARPENTER ORGAN,
BEST.
OUR WOMEN ORGANISTS.
It seems qulle fittlnc thtt In a
"Woman's paper, written by womeu1
there should Liu a lew ii. cj cjiic m tig
woman Whom all who know, "delight
to honof.' FoV more thau a quarter of
ft century MI'ii Ktell.i M. Seymour went
in and out uniting va us a most faith
ful, palns-takinfv musician and teacher
and how many of our children can rise
up and bear witness to the earnest,
conscientious manlier In which all her
duties were discharged. Htr concep
tion of a music lesson was not Sixty
minutes spent by a pupil's Flic, at so
much per minute, but slio would Invar
iably say "I cannot leave my pupils
until I feel I have taught them some
thing." She never r.pared her time
nor strength where the advantage of a
pupil was to be considered, he t earnest.
conscientious work contrasting sharp
ly with those teadicrs who make a bril
liant showing upon very ruperfloial
knowledge.
Never satisfied with her own attain
ments, some years ar,o tlic went to the
fountain head of piano instruction In
Germany, remaining for several years
under the best masters, enjoying the
distinction of being taken as a pupil
to Liszt at Weimar, I y tho groat Count
pianist Pruokner of Stuttgart Upon
her return her pupils pave evidence o
having been taught by a master hand.
As the faithful eiilclent organist of the
First Prtsbyterlon c hurch for a quartet
of a century she will never be forgot
ten, her skillful touch brought forth
tones that touched the heart and for
how many of her former pupils has she
played the "Wedding! March" on th
"happiest ocction of rhclr lives." I am
sure that around the old organ many of
her tenderest memorlss win always
cling, snd perhaps porr of rr mad
dest Two years ago she again went
abroad whore :;lie is living an almost
Ideal life, each day full of enjoyment
and happiness. Loving her profession
as ardently as ever, her letter front
Vienna found in another column gives
a glimpse of her life as pupil of tho
teacher of Paderowsl-i. We bare our
heads In honor to her, who in middle
life studies a new method with all the
ardor and -vigor of first youth.
But not alone as a musician has she
made an Indelible mark in Scraffton.
Her noble Christian womanhood, her
place In church, charity and society,
her life as daughterand sister, are
such as make us proud to call her
friend.
Miss Florence Richmond has suc
ceeded Mls9 Seymour as organist of the
First Presbyterian church, bringing to
her work a long and successful exper
' lence at the Pcnn avenue Baptist
church, where she In turn succeeded
Miss Elizabeth Howell, who for many
years was the beloved and faitlfful
organist During that same time Miss
Nellie Griffin had charge of the organ
In St. Luke's church, winning her ut0
sarvedly hich reputation. Those were
the clays when Mr. and Mrs. bermant
evoked sweet strains In the choir, and
the music at St. Luke's was as great
an attraction as today. As we look ove
the choirs of the city we find many of
the orsan benches arft "manned" bn
women, Miss Nellie Griffin having beea
for the last five years organist at Dun
more Presbyterian church, (which for
all intents and purposes may be
counted in the city,) Miss Becker at th
Green RIdpe I'recbyterlan church; Miss
Jackson at the Providence Presbyter
ian church, and Miss Mlnshull at the
Church of the Good Shepherd, Green
Ridge, are all women of skill and abil
ity, gaining a deeper place in the hearts
of the church people each year. The
editors of a Woman's paper however,
might be led to the opinion that mod
esty is their most conspicuous char
acteristic, so impossible has It been t
draw them into print
: j
Place Aux Dames.
The Penn Mutual Life Insuranoe
Company, of Philadelphia, has been for
many years one of the tew institutions
that haB issued policieu of insuranoe,
life or endowment, upon trie lives of
women. Some companies deemed them
undesirable risks, limiting them to
small amounts, or to plans beyond their
reach, because of the sum required as
premium, while others denied their
right to insure at all. The constant
accession of women to the Army of
Bread Winners in Industrial pursuits
and the k'arned professions; their add
ed responsibilities; their greater self
reliance, and the Increasing monetary
value of woman's work all point un
mistakably to the paramount necessity
for that protection which Ilfo insurance
(and life Insurance alone) can afford
their owrnold ageor for offspring depend
ent upon their care. Appreciating the
vital Importance of this subject to tho
women of this country, tho Penn Mu
tual Life has boon Impelled to make a
radical departure from time-worn pre
cedent. First: By striking from its premi
um rates the extra charge ($5.00 per
thousand) heretofore exacted for In
surance upon tlM lives of women by all
llr.t-iass companies.
Second: By appointing Intelligent
and capable women as Special Agents
In the principal business centers of th
country to confer with applicants of
their own sox, ami present them with,
all required facilities for tho critical In
vestigation of the various plans of in
surance adapted to their needs.
Third: Inasmuch as many women
have, perhaps, been reluctant to seek
the benelits of Insurance because of
the examination which they must un
dergo at the hands of uale physicians,
the Ponn Mutual has, In deference to
the Innate reserve nnd doJIcacy of wo
manhood, thrown down tho final har
rier to free application by those who
may desire to avail themselves of th
advantages of really protective insur
ance, by adding to its corps of medical
examiners at each of Us general agen
cies, two of the most reputable and
skillful women physicians known to th
profession. The Ponn is a purely mu
tual company, and the bost guarantee
of Its solidity Is Its record of nearlx
half a century.
MEN'S CYCL1NO ACCESSORIES.
Sweaters, Thigh Hose, Golf Hose, ate.
Wo keep only the most reliable goods,
thole that carry satisfaction with them,
CONNOLLY & WALLACE.
All trimmed hats at greatly reduced
prlceo at Mrs. Bradley's, opposite
Court House, 206 Adams ave.
Dr. Geo. C. Knox, dentist, 111 Sprues
ttrast.
Fin Una mllllnerx at. Bel, Wffigk