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Bring Back the Kaiser to Me
, Baby's Prayer at Twilight
Ring Again
It's a Long Way to the
Wm Our Lanky, Yankee Boys in
HH Brown
ing at Our House
Hear Them Here Now
J. H. Troup M
Troup Building
. 15 South Market Square
COLUMBIA
Grafonola
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-OPEN EVENINGS
fffiFiir Sp
-JJJJH Music House
5 flu * 2112 N. SIXTH STREET
m| BELT. FHONID 4011-J
7 •
SATURDAY EVENING, HXKRBaBURG dVMfI TCLBOTOCPH FEBRUARY 16, 1918. '
STUDIO
ON SINGING
NO. 3 TEMPERAMENT
By JOirV w. PHILLIPS
The temperament that relates to
the equalization of intervals in tun
ing pianos, organs or similar instru
ments is not the temperament that
will be discussed here, but rather
what Is known as the artistic tem
perament, the kind that transforms
the businesslike manager Into a
feeble minded servant. Keal artis
tic temperament is something worn
on the inside, but substitutes have
been put forward in many novel
ways, and displayed on the outside.
Thus, wc find that owning a poodle
dog is a sign of temperament, and,
the uglier the dog the greater the
temperament. The long flowing
black tie, long hair, affected speech,
and living in an attic, are all signs
of the divine spark. This outside
eamaflouge is often mistaken for
the real thing, but it never accomp
lishes anything of value. The teach
er who waxes impatient and stamps
his loot thinks he has temperament,
and sometimes the pupil thinks so
too. The heated condition is merely
temper, running on high gear, with
the steering apparatus temporarily
disabled. Try putting tw(T rival so
pranos on the same program and
you will have to run for cover; or
try printing one's name in larger
type than the other, on the announ
cements, and you will have the
liveliest half hour of your life. Tour
explanations will need to be ex
plained. The opera companies now
list their artists alphabetically in
the season's announcement. This is
a neat way of downing the artistic
temperament, because it has a way
of bobbing up in unexpected places,
and as the Irishman says "when you
least expect it most."
Even the amount of applause has
to regulate at time, to save funeral
expenses. The artistic temperament
has Invaded the divorce court. It
is indeed making a name for itself.
It is also making a good income for
some. Artistic temperament, when
it is not encored, says the audience
is ignorant, when it is encored, It
wants a raise in salary.
We read somewhere of a famous
prima donna who was to receive two
thousand dollars for a concert. The
audience was late in arriving,.so of
course the money was also late. The
time set for the concert showed an
Impatient audience but no artist.
The manager rushed back to the
star's dressing room and found that
she had not even donned her con
cert gown. He coaxed and pleaded
with her, but to no avail. She must
have her money first. He hurried
back to tho box office and returned
with one thousand dollars. She con
sented to dress, but Insisted on hav
ing the balance. In a few minutes
he had another five hundred dollars
which he paid to her feeling sure
she would go on and give the con
cert. But, no, she demurrely held
up one foot, minus the customarv
beautiful concert slipper, and said
as soon as she got the remaining
five hundred, she wonld put the
slipper on and give the concert. This -
story was told to reveal the artistic
temperament, of the artist, but we
With Player and Singer
Two of the organ numbers at
Grace Methodist Church to-morrow
evening are striking in their sweet
ness and beauty. These are H.
Flaxington Harker's "In the Twi
light," and Schumann's Traumerei."
The latter appears on concert pro
grams perhaps more than any other
composition unless it be the famous
Handel "Largo." Outside of the
musical profession it is not generally
luiown that the melody of the "Lar
go" appeared originally in the only
comic opera Handel, like Wagner,
ever attempted. The name of the
opera is "Serse" and the melody,
known the world over, is the only
portion of it that survived, taking a
foremost place in church music.
. One of the most beautiful of the
numerous anthems written by Har
ry Rowe Shelley is his "Christian,
the Morn Breaks Sweetly O'er Thee>"
It will be sung by the choir of Sa
lem Reformed Church to-morrow
morning. Another Shelley hymn—
anthem, "Christ for the World We
Sing," will be one of the morning
anthems at Pine Street Presbyterian
Church. In the evening the anthem
will be the incomparable "Lovely
Appear," from Gounod's "Redemp
tion."
The four-manual organ for Mes
siah Lutheran Church has arrived.
It will require the time and skill of
workmen for a month to place the
instrument In position.
The Commonwealth Band, with
W. Fred Weber as director, is re
hearsing diligently on concert num
bers, among them being the "Rien
zi" overture of Wagner's, Von Sup
pe's, "Isabella" Thomas "Mlgnon,"
and the prologue from Leoncavallo's
"II Pagllaccl" ("The Clown"). The
8010 cornet playing of James Sherk
and the trombone work of H. A.
Sherk at the rehearsal this week
brought forth applause from their
fellow players.
Bergh's "Awake Thon That Sleep
est," an Easter anthem of Joyous
character, is to be the principal of
fering of the choir of Second Re
formed Church th)s year. At the
patriotic service last Sunday evening
The Phillips Studio
121 State Street .
HOW TO PRODUCE TONE
HOW TO SING
, .WHAT TO SING
The Phillips art of Tone Production and Singing I* based on
unchangeable and correct principles and musicianship
have an idea it toij a case of safety
first. Temperament can go to a
recital of futurist music and listen
to the most unearthly dlsonances,
and delight in it; but cannot stand
Reuben practicing the violin, or
Priscilla the piano, or next door
Bobby Jones playing the Drum, or
the wife running the sfewing ma
chine.
Temperament hears dally the au
tomobile horn (many of them impu
dent and blatant) the clang of the
street car bell, the screech of the
locomotive and factory whistle, the
ratle of wagons and cars; the noisy
elevated, .the shrill cry of "extra,"
the noise of hurrying feet, the scis
sor grinder's inharmonious gong,
the monotonlous peanut vender's
whistle and many other discordant
sounds that reflect the activity and
life of the city. These sounds make
him dreadfully nervous, but the
futurist recital soothes and satisfies.
We are still largely a nation of
pretenders musically, we pretended
to like something we do not, and
really like something we pretend to
abhor. Camallouge is not new, it
has been with us a long time.
However, real artistic tempera
ment realy exists, but it is not over
abundant. A great French Basso
used to cry like a child, wrung his
hands and pace the floor half, an
hour before a performance.
would declare that he could not go
on. The manager used to be in des
pair until he got used to it. and
found that this was the usual pre
lude before the concert or opera. As
soon as tho curtain went up, and the
Basso got out on the stage he was
thoroughly master of himself. He
was rated very high as an artist and
was always fearful that he would not
do his very best. While he worked
himself into nervous frenzy, yet he
had fine musical temperament and
Could adopt himself readily to any
musical situation that might arise.
Sims Reeves, the great English
Tenor, would rather dissapoint a
large audfence, than sing when he
was not in good voice. He had
artistio temperament, but could
thoroughly understand that he owed
the audience some consideration;
that to give them anything but his
best would be dishonest, and inartis
tic. Musical temperament Is hard
to define. Emotionalism, controlled
with aYtistic taste, and responding
quickly and with feeling to any sit
uation might be termed tempera
ment, but not in its fullest sense.
It is also a mental characteristic or
aptitude. Temperament may be
composed of one or two characteris
tics or several. It may be energetic,
warm, impressionable, changeable,
sentimental, quiet or persistent, or
it may include all. Musical temper
ament, then, well controlled, used
with artistic taste and feeling Is an
essential and important factor in
the making of singer. What is
known as soul In singing does not
cover the definition of temperament,
because, while there may be soul In
a song, there may still be lacking ar
tistic perception and taste, and a
proper sense of proportion.
the choir sang Elchberg"s vibrant,
"To Thee, O Country."
When l( is remembered how ac
tive both as organist and choirmas
ter, the late Edwin J. Decevee had
been for a score of years and with
what willingness and ability he
served when and where he could do
real good, the fact that tho best
known singers of town and the lead
ing organists joined in making the
memorial service in Zion Lutheran
Church memorable was not to be
wondered at.
The music at Market Square Pres
byterian Church to-morrow em
braces the Guilmant "Grand Chorus'"
as an organ prelude, the chorus,
"Be Not Afraid," from Mendelssohn
"Elijah" and a composition of the
late~Mr. Decevee, "tome Unto Me,"
sung as an Individual number by
Mrs. Wilbur F. Harris. The con
sistently faithful and musical work
of Mrs. Harris as director of music
at Market Square proves itsflf each
Sunday in musical offerings that help
in the great source in which the
church is engaged.
The Verdi trio, "The Lord Is My
Salvation," will be repeated at Sa
lem Reformed Church to-morrow so
that worshipers who may have been
absent from the service last Sunday
may hear the beautiful number. Mrs.
Edwin C. Thompson, the organist
and choir director, will play the
"Pastorale" from Guilmant's "First
Sonata." /
Hunt Barrlngton has been playing
the organ aoceptably at the Colonial
theater during the past six weeks at
times when the regular organist has
been absent Barrington comes of a
musical family.
Miss Sara Lehmer, violiniste, gave
a recital at Penn Hall, the girls'
preparatory school, conducted under
the direction of Frank S. MagiU at
Chambersburg, last evening. Newell
Albright was Miss Lemer'si accom
panist. The program included the
Mendelssohn Concerts in E Minor,
Wllhelmy's arrangement of the Schu
bert "Ave Maria," the Reger "Lulla-
NATIONAL HYMNS
STIR LOYAL ONES
"Away With Austrians" Slo
gan of Singers in World's
"Vocal" Country
Since the United States entered
the war with Germany the stirring
strains of "The Star-Spangled Ban
ner," "America," and "Hail Colum
bia," have brought the patriotic
American to his feet anywhere these
war anthems have been played or
sung. The opening bars of the fa
mous Francis Scott Key composition
whether sounded on great organ or
piano or played by orchestra, In
variably prompt the hearer to rise
from his place in church or theater.
It was on the evening of Septem
ber 31, 1814, during the "War of
1812," that a. British fleet was an
chored in Chesapeake Bay. A Dr.
Beanes, an old resident' of Upper
Marlborough, Maryland, had been
captured by the British, and sent as
a prisoner to Admiral Cochrane's
flagship. Francis Scott Key, a young
lawyer of Baltimore, hearing of the
misfortune of Dr. Beanes, who was
his personal friend, hastened to the
British commander to endeavor to
obtain his friends freedom. The
enemy was about to attack Fort Me-
Henry and refused to allow either
Key or Dr. Beanes to return until
after the capture of the fort.
Throughout the night of September
13, the bombardment was kept up
and in the light of the "rockets and
glare, the bombs bursting in air,"
Key could see the American flag
waving over the old fort. With the
Hrst rays of the dawn of September
14, Francis Scott Key wrote the
words of the wonderful song. The
poem was printed and sooh after
adapted to an old English air, "To
Anacreon in Heaven," the music be
ing credited to John Stafford Smith,
who is supposed to have written it
some time between 1770 and 1775.
"The Star Spangled Banner" was
first sung in public by Ferdinand
Durang, an actor, in a tavern, near
the Holiday Street Theater, in Bal
timore.
"America," the music of which is
attributed to Henry Carey, wan writ
ten by a Baptist minister, the Rev.
Samuel F. Smith, who wrote it un
der the inspiration of Carey's music
in a half hour and on a scrap of
paper. Lowell Mason, the eminent
musician, had come into possession
of a lot of German music books. The
minister was a close friend and be
ing unable to read German, Dr.
Mason took the books to the preach
er for translation. "On a gloomy day
In February, 1832," wrote the Rev.
Mr. Smith to a friend, "I came across
the air, 'God Save the King.' I liked
the music. Under the inspiration of
the moment I wrote the words."
"America," did not have great popu
larity until the Civil War. Since then
it has becom® the best known and
most popular of our national songs.
It was first sung at a children's
Fourth of July celebration in the
Park Street Church, Boston.
While America sings its favorite
war anthems, Italy is not behind in
its ardor. Italy, the most "vocal"
country in the world, sings the in
spiring words of Mercantini to the
melody written by Olivieri, Italian
chief of military music, a melody
half-way between an opera aria and
a parade march. It was first sung by
the volunteers of the brigade of Al
pine chasseurs. Its popularity dates
from 1860. The nation adopted it
and called it "Garibaldi's Hymn."
The principal feature of the com
position is "Va fuora d'ltalla,"
(Away with foreigners [Austrl
ans]!)
The Austrian national hymn has
the distinction of having as its com
poser that master musical giant,
Haydn, the text by Lorenz' Leopold
Haschka. Haydn wrote the music in
four parts (as may be seen in ob
serving the theme with brilliant vari
ations which he has inscribed in his
"Emperor Quartel." In the music
world this work of Haydn has given
rise to more or less discussion. It
has been attempted to prove that it
was ta,ken from a very ancient air
dating back in the fourteenth cen
tury, but in vain.
War Hits Orchestra But
It Will Pay Own Way
Seven of the seventeen members of
a Sunday school class in Westmin
ster Presbyterian Sunday school that
had been paying tho expenses of the
school orchestra enlisted for the war
with Germany. Five others are to
go, leaving five behind. It was
feared the orchestra would have to
disband, but the musicians, after
several months of work and pleasant
evenings spent together, decided
they would meet the expenses them
selves and pay their director out of
their own funds. Action obligating
themselves was taken on Thursday
evening at their weekly rehearsal.
by," Brahm's Waltz in A Major" and
Kreisler's "paraphrase on the Pader
ewßkl "Menuet."
Two beautiful Easter anthems
widely sung during the Easter fes
tival are Stalner's "They Have Tak
en Away My Lord," and Frank H.
Brackott's "This is the Day That
The Hath Made." Stalner has
written beautiful music for the Len
ten season, notably the "Crucifixion,"
which is often employed as a ser
vice for choir and/ congregation dur
ing Passion week. Gaul, too, writes
much after the style of Stainer. Hie
"No Shadows Yonder," from the
"Holy City," seldom falls to impress
with its religious beauty. "What
Are These Arrayed in White Robes,"
a Stalner composition, will be sung
by the choir of the Second Reform
ed Church, as well as the well known
and deeply fervent hymn, "Hark!
Hark! My Soul," arranged to Bee
thoven music.
At the Pine Street Presbyterian
Church to-morrow morning Mrs.
Cox and Mrs. Sanders will sing a
setting of "The Lord is My Shep
herd," by Edwin J. Decevee, one of
the works last written by the la
mented musician.
, W:i Ja.tfmrs6slulAc-JIC
STACCATO NOTES
Eugen Ysaye, the great Belgian
violinist, (born at Liege) will con
duct the Cincinnati May Festival
this year. He will also conduct the
last pair of concerts in the regular
series of the . Cincinnati Symphony
Orchestra. The former conductor of
the orchestra. Dr. Kunwald, is now
interned at Fort Oglesthorpe, Ga.
Some Scotch yokels were enjoying
the fun of the fair. Seeing an old
fiddler in the street, a few of them
went over to him, and one, handing
him twopence, asked him to play
the "Battle of Stirling Brig."
The old fiddler took the money
and went rasping away the same as
before.
The yokels getting tired of this,
the spokesman again went over to
the fiddler and said to him:
"Hi, man, that's no" the 'Battle of
Stirling Brig.'
"I ken," .replied the old fiddler;
"that's the skirmish before the bat
tic."
Some Futurist Material
"The verra best music I offer
heard whateffer was doun at Jamie
MacLoughlln's," said a piper. "There
wass fifteen 'o us pipers in the wee
back parlor, all playln' different
chunes. I thocht I was floattn' in
heevin."
There has been much speculation
as to "musically speaking, after the
war, what? Well—lots of things.
For instance, recitals, music schools,
pianists, violinists, choral societies,
operas, music students, tenors (of
various kinds) sopranos—popular,
leading, charming, sensational, —or-
chestras; arguments between voice
teachers, church choirs, brass bands,
llkeleles, artist's mangers and the
street piano—in short —thewar will
continue.
With an appropriation of SSOO
from the City Council and the offer
ing of the school auditoriums by the
school directors for rehearsal pur
poses, community singing could be
made a success here. Let the money
be used for music, and the hiring of
a band for the accompaniments: and
let the concerts be given outdoors in
about four different but suitable sec
tion# of the city so that all the peo
ple could be favored. Do the "ayes"
have It, gentlemen?
Music in the Churches
I PINE STREET PRESBYTERIAN
Morning—Prelude, "Communion
in E Flat," Batiste; Anthem, "Christ
for the World We Sing," Shelley;
Offeratory, "Finale" (Sonata VI.),
Mendelssohn; Duet, "The Ixird Is My
Shepherd," Edwin J. Decevee, Mrs.
Cox and Mrs. Sanders; Postlude,
"Allegor risoluto," Hollingliam.
Evening—"Ballad in B Flat Min
or, "The Question," "The Answer,"
Walstenliolme; Anthem, "Lovely
Appear" (The Redemption) Gounod;
Offertory, "Where Dusk Gathers
Deep." Stebblns; Anthem, "Here I
See Thee Face to Face," George B.
Nevln; Postlude. "Allegro Vivace,"
(Sonata 11), Guilmant.
AUGSBURG LUTHERAN
Morning—Prelude, Offertoire in D
Minor, Batiste; Anthem, "Send Out
Thy Light," Gounod: Offertory, "Pas
torale," Flagler; Postlude, "Toccato
In G," Dubois.
Evening—prelude "Dreams," (sec
ond movement from Seventh Son
ata), Guilmant; Soprano Solo, "Like
as a Father," Lynes, Mrs. Cora Keen
ey; Offertory, "Romance," Zltterbart;
Postlude, "Fugue in D Major," j). S.
Bach.
RIDGE AVENUE M. E.
Morning—Prelude, "Andante Ser
aphique," Debat-Ponsan; Anthem,
"Praise Ye Jehovah" Petrie; Offer
tory, "Gondolied," Scharwenka;
Postlude, "Festal March," Calkin.
Evening—Prelude, (A) "Berce
use," Guilmant; (B) "Berceuse,"
Stebbins: Offertory, "Andante," Fry
singer: Postlude, "Marche Triomph
ale," Stone. .
A new genius has come
out of Europe,
rjT JASCHA HEIFETZ
liV Br V 1
MffrS J \| On Four New Victor Records
|or i This boy of 18 ha*
' \ ) fin \ MjW astounded two continental
IjF JT Musicians, critics and public
\ s~4f J alike acclaim him a genius. These
Jf\ x Victor Records are wonderful repro
jr\\ \\ ductions of "his startling technical
\ In JJm mastery and the enchantment of
his musical feeling."
jSgsff VVmh Tn R1 S_i H.Mil., 11.M.A
A #4759 Chorus of DrrishM Hirthatia
Viclwla Twtlyfack Rmd s—l Rnwda, $1.50 ack
74562 Scheno-TtranUllf Wlmliwdd
74663 Av Maria Schubrt-WilMmJ
*
• C. M Sigler, Inc.
Pianos * Victrolas
SICJIJKR , JO TV. -2/H/ 5/. IIARRISBURG
BtUliDltfc PENNA.
"That's a peculiar looking bruise
you have on the back of your neck,"
observed tho doctor.
"Yes," said his patient. "I'm sub
ject to those. You sec, I'm a clarinet
player in an orchestra."
■ "I don't see how that can produce
bruises on the back of your neck."
"It doesn't produce them exactly,
but it places me in a position where
I am very liable to get them."
. "How is that?"
"I sit directly in front of the man
who plays the slide trombone."
The Concord, N. H., school author
ities have taken a notable step for
ward in recognizing competent pri
vate instruction in music as part of
regular high school work and In
counting such toward graduation.
Beginning January 28. all pupils in
that school have the privilege of
electing music as a major subject,
upon application to, and with the
approval of, their principal.
The highest type of art we dis
cover is that which is censored by
the Moving Picture Board and per
mitted in grand opera.
A pastor was asked by his choir
to call upon old Betty, who was deaf,
but who insisted in joining in the
the solo of the anthem and to ask
her to sing only in the hymns. He
shouted into her ear: "Betty, I've
been requested to speak to you about
your singing." At last she caught
. t .x? i word " s, nging," and replied:
'Not to me be the praise, sir; it's a
gift."
The man who advised us to "Keep
the Home Fires Burning" gave us a
nice healthy job.
Rishel Phonograph
§ a size and price for
everyone.
Brown Mahogany;
finishes.
We carry a large stock of Victor Records
Come in and hear them played. We will be
glad to entertain you. Hearing them played
does not obligate you in any way to pur
chase.
Complete m C 312
MXtfrnh w l
Music in the Churches
MARKET SQ. PRESBYTERIAN
Morning—Prelude, "Meditation,"
Oullmant, Solo, sung by Mrs. Har
ris, "Come Cnto Me," Deccvee; Of
fertory, "Adoration," Lammens;
Song, "Sweeter as the Years Go By,"
Postlude, Prelude Op. 37 Mendel
ssohn.
Evening—Prelude. "Grand Chor
us," (Gregorian Tonality) Gullmant;;
Evensong, Johnston. Offertory, Of-|
fertory in F. Batiste; Anthem, **Bej
Not Afraid," Mendelssohn; Postlnde(
in F. Lemalgre.
REFORMED sAIjEM
Morning—"Offertory for Panchal
Time," Batiste; Ant,hem, "Christian,
the Morn Breaks Sweetly O'er Thee,"
with incidental solos by Mrs. My
ers and Mr. Cas sell, Shelley; So
prano Solo "Homeland," Johnson,
Mrs. Wm. R. Helsley.
Evening—"Pastorale" (From lstj
Sonata), Gullmant; Trio, (Requst-j
ed) "The Lord is My Salvation,"!
Verdi; "Andante Maestro," (from.4
Ist Sonata), Gullmant.
CHRIST LUTHERAN
Morning—Prelude, "Adagio In Ri
Flat," Coleknian; Offertory, "Chan-J
sonette," Francis; "Male Chorua,"'
Postlude. "Postlude In C," Maitland.i
Evening—Prelude, "Andante inj
C," Silas, Male Quartette; Offertory.
"At Twilight," Stebbins, Male Chor
us; Postlude, "The Son of God GoeaJ
Forth to War," Whiting.
BERRY STREET IT. B. . I
Morning—Prelude, . "Adoration,'
Borowskl; Anthem, "Ho, Every One*
Tliat Thirsteth," George C. Martin;
Offertory, "Scherzo," Jadassohn;
Postlude, "Grand Chorus," Gullmant;
Evening—Prelude, "At Evening," 1
Dudley Buck; Quartette, "Lead
Kindly Eight," Dudley Buck; Offer
tory, "Andante," (from Violin Con
certo), Mendelssohn; Postlude, "Epi-.
logue," Gillette.
9