Music in the Churches GRACE METHODIST Morning—Organ, "Adagio, Sona-' ta," op a No. 2. Beethoven; Quartet, i "God is a Spirit," Bennett: Anthem, "Holy, Holy, Holy," Gunod; Organ, "Grand Chorus In B Hat," Dubois. ' Evening—Organ, "Sonata in CI minor," Guilmant; I, Allegro Males toso, II Adagio Molto; (b) "Song of Sorrow," Nevin; Quartet, "Breast thel Wave, Christian," Shelley; Organ. I "The Answer," Wolstenhome; An- ] them, "Say, Watchman, What of the Night," Sullivan; Organ, "Toccato in! C," Dubois. . OUT Special Make It Eas The New Because of its admitted super iority the New Edison is dignified ffIHMgsSW above rivalry and is never offered wIMPf in competition with other instru- fSggSSpiau ments on of price and terms. But to bring The New Edison within easier reach of all music lov ers we now offer it on terms as low as those for which you can buy "talking machines." For instance, J here we illustrate one of the most popular models, now offered at J SB.OO Cash and Including a Good Selection of Records Come in and hear the New Edison re-create your favorite music—and see the various models priced at sllO Sl6O, S2OO and $265. Come to-dary. Have your Xew Edison for Sunday. See This Player-Piano - .Rolls, bench and scarf • for a small cash pay ment, balance monthly. USED PIANOS At $155, $175, $l9O and $2lO Terms as low as $1.25 weekly. ■ J. H. Troup Music House Troup Building 15 South Market Square When you hear it 1 you know it's best! THERE is no doubt in your mind as to whether you should own a phonograph. The question is, "Which JLI instrument shall we buy?" , [wj The only jury which heard and tested 1 the various phonographs at the Panama- I | Pacific Exposition awarded the highest score I i for tone quality to INSTRUMENT Or QUALITY Jsonora CLEAft AS A BELL. C* This jury was composed oj JMII professional musicians. Hear the Sonora. You'll realize that it re- OTP* B presents a remarkable ad- T • 'i'i flto vance in the art of sound reproduction, and that it is py* 7'l incomparably good, Jjiil [f j jflH SSO, $55, S6O, S 9O , slls, $l3O, MfiLll SIBO, S2OO. $215, S3OO, {J $375, SSOO, SI,OOO Yohn Bros. I Market Square 111 Sonora is licensed *nd operates under BASIC PA CENTS of the phonograph industry • m The Highest Class Talking Machine in the World SI 553111 SATURDAY EVENING, HARRISBURG T£L*;GRAPSt MARCH 16, 1918. Music in the Churches CHRIST LUTHERAN Morning—Prelude, "Oftertoire in G Major," Jongen; Offertory, "An dantino," Th. Salome; Quartette, "Lord of Heaven," Rossi. Sirs. Turn er, Miss llarpel, Mr. Ebersole, and Mr. Boyer; Postlude, "Choral March," Mason. Evening—Prelude, "Elevation in E," Saint Saens; Male Quartette, Selected; Offertory, "Andante in F," Welv; Anthem, "Hark! Hark! My Soul," Dudley Buck; Postlude, "Post lude," Lemalgre. ■, STUDIO TALKS ON SINGING NO. 7— BREATH CONTROL n> JOHN W. PHILLIPS r Here we come to a phase of the - general subject that has enisted the aid of Scientists, Physicians, Voice teachers and almost everybody else, i except Tom Edison. He will prob | ably tackle the subject after he | knocks the breath out of Bill the I Hun. After consulting eminent au j thorlties, and paying anywhere from one dollar to three dollars for the | prescription Inserted In a book, we I found to our everastlng confusion— after spendingf all that good coal | money—that the opinions varies so I much, that there was only one thing j left to do and that was t<J "take it to | the Lord in prayer." The subject of breath control to- I day has more pepper in it than any other one phase of the art of sing ing. One man says bfleath control has nothing to do with singing. He is evidently not a singer. Another says the ribs should be raised and the stomach drawn in. This Is an excellent way to give your stomach exercise and—stomachitis. Another says, breathe from the feet up; and yet another says that expanding the side ribs is the only right way to j breathe. Some other canny man says I the lungs were made to breathe with i so why all the argument? Let us begin with John Buskin's proposition that "the highest art is Ito conceal the effort. A picture that i reveals the attempt to depict every | blade of grass in a pasture, or every I leaf on a tree, \Vould, through a dls | play of stiffness, show laborious ef- I fort. It would lack spontaneity, and j inspiration—But look at this other j picture of a pasture. At a glance it | expresses itself. Eight and shade — | distance and atmosphere, are all ! there. If you should look at it close- Ily you would imagine—if you did not j know better—that the artist had been careless. He had simply ex- I pressed himself without seeming I effort. Conceal tlie Effort Breath control in singing must i be handled on the same basis "con j ceal the effort." liaising the shoul | ders to take breath has absolutely Ino merit. One may feel that they are inhaling more air that way, butj | the weight of the shoulders dropping! I back into place with the singing of j the first note forces out an extra! ; quantity of air, thus offsetting what-! J ever extra quantity might have been | j inhaled. Raising the shoulders also ) notifies the audience that you are I | taking a breath, and maybe they will I hear you too. Raising the shoulders is a sure sign of effort and the audi ence does not like to feel the effort : with you. Therefore you may raise I your voice but not your shoulders. | Now breath is life, and voice is j the expression of life. • A tone can j not be made without breath. Breath !is the motive, power that propels tone. It is important therefore, to I control breath or the power that produces tone. The lungs fill with! air but do not control it. Most peo | pie (not singers) inhale just enough i breath to get along with—that is, they intlate the upper part of the ! lungs only, giving no thought to the ! middle and lower parts. In short, i they are lazy in breathing. This is amply proved by the large number ; of cases of lung trouble constantly I with us. The lungs hold breath or air wbteh is controlled by the dla- PENNSYLVANIA IS KEYSTONE STATE OF MUSIC NATION In a most interesting article read J before the recent festival held in | the interests of Community Singing: t at Scranton, C. F. Hoban, superin tendent of schools of Dunniore, said: "Pennsylvania's contribution to America's music! What a debt of gratitude we owe to our native sons for what they have given to the sum total of American musical ac l complishment; for is not their gift i the greatest of anj< state in the j Union? The music of a state Is I the sum of what its musicians have i done, and a careful study of the achievements of . the musical geniuses of our soil reveals* the j pleasing fact that Pennsylvania's contribution is greater than that of uny state in our Republic The versality of the state in music ; is seen as pioneer in the production ;of musical instruments; lirst to j take her place as a musical center, jas when the first opera, Frye's I "Notre Dame de Paris" was profluc- STACCATO || Why don't some of the futurists set the Russian revolution to music? Here is an unlimited source of useful material admirably suited to the futurist idea of dissonance and dis comfort. ! "Waiter," said a guest at the sum -1 mer hotel, "call the manager." The waiter did so and the man ager came. "You advertise this hotel as be ing equipped with all modern con veniences," said the guest. "We do," replied the manager, i "and I believe you will find that we I live up to our promises." j "Very well. Please put a Maxim silencer on your orchestra." It seems there will be only four powers left after the war—water, gasoline, steam and electric.—Mu sical Courier. Miss Howler: "Did my voice All the drawing room? Mr. Rood: "No; it filled the re freshment room and the conserva tory." It appears that was the assisting artist at his own con cert. His magnificent seventy-two Inches muat have shriveled to five foot within" "When he found it out. phragTO. A man on the football field may be hit hard enough on the chest (the lungs) to knock him down, but it would not knock the breath out of him; but, just short arm him at the abiding place of the diaphragm and he is out for five minutes. He had the breath knocked out of him, they tell you; yet the blow did not hit his lungs at all— but it did hit the piston that moves up and down, day and night, silently inhaling and exhaling. However the muscle is strong and so resumes normal activity. Controller of Hrcnth The diaphragm then, we see, is the controller of breath, but not the storehouse of breath. The physical activity in singing extends from the collar bone circle down to the dia <ragm. There should be no con scious physical activity above the collar bone. We will call the dia phragm the bottom floor of the lung box. It is a movable floor. The singer must learn to control its movements. When a deep breath is taken in, the floor is flattened out. This causes tho expansion at the waist line. When a tone is com menced the diaphragm's tendency is to come up at its regular speed of respirating so here is whore the sing er needs control, to make it rise in accordance with whatever pressure is needed against the lungs to ex pel the tone. As the diaphragm rises the waist line contracts. Organ builders have discovered that by using as much air pressure for a soft tne as for a big tone, that the tone is purer and carries further. 'This truth has been known to many vocalists and teachers for a long time. The muscles or border to which the diaphragm is tfttached,. are really the controllers of the breathing muscle, and it is in the strengthening and firmer control of these muscles that we control the diaphragm. Another thing—in learning to breathe for singing—do not pull in breath. Let the breath go in—Ex pand the body at the waist line, keeping in mind tho back muscles and ribs, and breath will fill In all the empty places. It is not how much breath you take in, but how much you control that counts. At first you will feel some fatigue around the waist line, but it won't kill you. In a week you will begin to feel the real breath support, and my, what an appetite you'll have. Breath control means voice control. A beautiful phrase well expressed Is not possible without voice control. Staccato exercises will , assist won derfully in gaining breath control, J because staccato work employs and ] strengthens'the right mtlscles of the! body. W r hen the idea of diapliragmic control is gained, there will be a feeling of firmness at the waist line; a feeling of controlled lifting from below against the lungs, furnishing a firm steady stream of well con trolled breath: the tone will bo even and pure in quality, and from this stage to the next—which means breathing automatically or uncon sciously—is a very natural and easy process. In the struggle to learn there will be effort and overeffort, but out of it all comes the physical control that enables you to do what the artistic mind commands. Ed In Philadelphia; first to estab lish singing schools and musical academies to train her mUsiciaas; birtllplace of American Folk-Music; rich and versatile in the work at tempted by her composers; tre mendously successful in chorus .ring ing; notable in the number and success of her artists—Pennsylvania has been given a heritage not shar ed by any other state—a heritage of which every native son should feel justly proud—a heritage that should spur us on to greater effort We school superin tendents should encourage the fre quent singing of "Hail Columbia" and other standard Pennsylvania compositions. We should ask our colleges to encourage music* com positions on the part of their stu dents go that college songs may have a Pennsylvania setting. We should organize song fests, and once, each year, give In- every com munity in the state a program made up exclusively of Pennsylvania com positions." "Up In the Arctic regions the nights arc six months long," remark ed the Extensive Traveler. "Thasso?" said the Inebriated One. "Gee Think of a crowd of Eskimos singing 'We wont' go home until morning.' " Harrisburg In the past has had some splendid musical organizations that have presented some of the world's finest music. The Pales trina choir, the Choral Society and others are extinct and now we are moving downward to the A. B. C.'s of music—community singing. Appar ently we are going to start all over again. "Your brother has the earache." "It serves him right," answered the small boy's sisteK "Teacher haa told him time and again he ought not to play the piano by ear."—. Washington Star. And so. if Harrisburg Is going to begin all over, musically, let us be gin at once. The new patriotic songs would be good material to begin with. Community singing will not live to a ripe, old age. so let's get acquaint ed with It while it is young. WAR GIVES MUSIC ADDEDSTRENGTH Experiences of Battle May Give Modern Composers Inspiration An interesting problem to consid er these times is the one as to whether the close of the war will have any effect on the subsequent productions of the world. Previous to the world struggle and right on up to the present time, the criticism against modern compositions was the-one of mediocrity, that attention was paid to form rather than to meaning. This was the lament heard everywhere. Modern music lacked strength, lacked virility and power, was weak and without backbone, and consisted merely of a technicality perfect grouping of melodies. Music An Expression Many, ih finding excuses for this, said that the fault lay not in the music, primarily, but in the age in which it was being written. The music was only an expression of the lile of tho people. The ideals of the world had changed. Industrial suc cess, political prominence, economic enterprise, had taken the place of the spirit of adventure, the love of ro mance and the desire for' emotional expression of former days. Efficiency had become the pass-word of every thing and was leaving its mark on the arts. ' With the coming of the war, how over, the world with a bound, re verted to the life of its earlier years. Civilization was forgotten; human endeavor was forgotten; and the ap parently extinct but long dormant instincts of prime%-al self-preserva tion and self-defence were awakened in the hearts of millions of men. These things which before had form ed a part of the stories of adventure In a boy's life were now given to him in grim reality. Adventure, ro mance, conquest, all were given him in a measure never before equalled. What all this will mean to tho world of music, time will prove. But, if the fault before lay in the dullness of the life the composer saw about him, he now has ample vividness of coir and variety to make up for it. There is a struggle, there is fear, there is hope and ambition, there are all the innumerable ideals and emo tions that have given inspiration to his predecessors, and all in startling magnitude. Our music needs new strength and the war ought to prove the channel from which that strength will come. Music in the Churches MARKET SQUARE Morning Prelude, "Andante," Flagler; offertory, "Pastorale," Rhemberger; anthem, "Fierce Was the Wild Billow." (hymn 210), Noble; postlude, "Prelude in F." Bach. Evening—Prelude. "Adagio in G," Volckmar; "Improvisation in B," Jadassohn; offertory, "Delibes; an them, "O Thou Afflicted." Bach; postlude, "Postlude in D Sharp," Towns. PINE STREET PRESBYTERIAN Morning—Prelude, "Meditation in B minor," Guilmant: Anthem, "Let God Arise," Surette; Offertory, "Pas i torale," Vincent; Anthem, "Draw i Me to Thee," G *B. Nevin; Postlude, ! "Fugue in G minor," Broslg. Evening—Selections at 7.20; "Fes | tival Toccata," Fletcher; "Fountain I Keverie," Fletcher: Anthem, "Lead | Us, Heavenly Father, Lead Us," Schnecker; Offertory, "Andante," Wely: Solo, "Eye Hath Not Seen" (Holy City) A. It. Gaul, Mrs. San ders; Postlude, "Marche Triumphal," Costa Shelley. MESSIAH LUTHERAN ; Morning—Prelude, "Theme and I Finale," Oebhardt; Offertory, "AI ! bum Leaf," Kirchner; Anthem, "God ; Shall Wipe Away All Tears," Field; . Postlude, "Postludium," Fontaine. Evening—Prelude, "Spring Song," Mendelssohn; Contralto Solo, "My Task," (Mrs. Ernest Keys), Ashford; Offertory, "Reverie," Mora; Anthem, "Save Us, O Lord," Balrstow; Post lude, "March in C," Williams. RIDGE AVENUE M. E. Morning - T - Prelude, , "Larghelto from Concerto 20," Mozart; Anthem, "Come Ye Blessed," Wilson; Offer tory, "Prayer (No. 2)" Callaerts; Postlude, "Overture," Rossini. Evening—Prelude (a) "The Ques tion," <b) "The Answer," Wolsten liolme; Anthem, "Give unto the Lord," Heyser; Offertory, "Medita tion," Lagarde; Ppstlude, "Third Movement from Sonata," Andrews. DERRY STREET V. B. Morning—Pastorale," Th. Salome; Anthem, "Hark! Hark! My Soul," Bichard B. Trench; Offertory, "Ro mance," B. Tours; Postlude, "Post lude," Th. Stern. Evening Prelude. "Allegretto grazloso," B. Tours; Anthem, "The Sun Goes Down," Old Hebrew Mel ody arranged by Max Splcker; Of fertorie," H. Hofman; Postlude, Andante," N. Wheeler. REFORMED SALEM Morning—"Allegro con brio," from Sonata in E Minor, Rogers; Anthem. "How Lovely are the Mes sengers," Rom. V. 15-16, Mendel ssohn; Dget, for Soprano and Ten or, "Love Divine, all Love Excelling," Stainer, Mrs. William R. Helsey, Mr. William Watson; "Fuga" (from Sonata in E Minor), Sogers. Evening—"Adagio," Liszt; Con tralto solo, "I Will Give You Rest," Pinsuti, Miss Cassel; "Cantabile," Samuel Wesley. BETHLEHEM LUTHERAN Morning—Prelude, "Homance," Shelley; Quartet, "O Saviour of the World," Goss; Contralto Solo, "The Lord is My Light," Allitzen, by Mrs. H. L. Hertzler; Offertory, "Prayer," Boss!; Postlude, "Allegro," King. Evening—Prelude, (a) "Souvenir," Gillette; (b) "Album Leaf," Grleg- Bogers; Anthem, "Have Mercy Upon Me," Minshall; Quartet, "'llark! Hark! My Soul," Shelley, with solos by Mrs. Bumbaugh and Mrs. Hertz lor; Quartet, "Keep the Homo Fires I Burning," Novello; Offertory, An-1 dantlno," Federlein; Postlude, "Fes tival March," Stark. With Choir and One of the best of Dudley Buck's shorter anthems is "O Thou Af flicted," to be sung by the Market Square Presbyterian choir to-mor row. The singing of this number recalls an incident that occurred when the late Dr. George S. Cham bers and the Rev. Dr. George B. Stewart, now president of Auburn Theological Seminary, exchanged pulpits, Dr. Stewart going to Pine Street and Dr. Chambers to Market Square. It was before the day of the church bulletin, and at tho even ing service, when the time came lor the choir to sing Dr. Chambers sat quietly awaiting the opening strains and when the choir, then directed by George It. Fleming, sang out with clear annunciation, "O Thou Afflicted," there was a faint smile on the face of the preacher through out the singing, and when the ser viao was over, Dr. Chambers re marked to one of the ehoir that the anthem was probably very appro priate. At the Pine Street church the choir sang, "How Lovely Are the Messengers." One of the best known of the older 1 bass singers of tho city is William H. Kautz, of Second Re formed choir. Almost as long 1 as any one can remember Mr. Kautz lias been a member of tho bass sec tion of every chorus or choral so ciety 4 hat has sung on public oc casions. His voice continues well preserved and dependable. Another bass singer, not so long in the ser vice. but having a most excellent voice, Is Clarence H. Sigler, leading bass at St. Stephens Episcopal Church. Mr. Sigler began his choir work at Market Square Presbyterian Church when David K. Crozier was choirmaster and organist, continu ing until nine years ago, when he joined the North Front street choir. At Vine Street Presbyterian Church, the soloist to-morrow will be Mrs. James G. Sanders, contralto, who will sing, "Eye Hath Not Seen," from Alfred R. Gaul's "Holy City." It is recalled that Miss Reba Run probably was the first singer to deliver this number in Harrls i burg at the celebration of the one hundredth anniversary of Market , Square Church. The auditorium | was crowded and the solo thrilled all ] who heard it. The late Rev. Thomas i B. Angell, rector of St. Stephens Episcopal Church, who wrote of Ihe musical features of the anniversary, laid particular stress on the beauti ful singing of Miss Bunton, and the altogether musicianly accompani ment of Mr. Crozier. Choirs are busy rehearsing music for the Easter festival. "Awake Thou That Sleepest," "Unfold Ye Portals," "As It Began to Dawn," 'God Hath Appointed a Bav," all are appropriate Easter anthems. Maunder's "From Olivet to Cal- Is in course of preparation lor presentation by the choir of St. Stephen's Episcopal Church on Palm Sunday evening. Several voices have been added to the vested choir for the Lenten music. The profound Mendelssohn setting of Elijah's* despairing cry, "It Is Enough," sung by George Sutton at the organ recital at St. Stephen's church this afternoon was made notable at Chestnut Street Hall a number of years ago by Max Hein-! rich in his day one of the most dru-i matic of baritones. It is the aspira tion of the majority of baritones to sing this wonderful music. SANG TWO SOLOS Mrs. Lee S. Izer, formerly Miss I Catharine Heiclier, soprano,- sang two solos, "Jean" and "I Know," hy I Spross, at the big meeting of the j National War Aid Society Tuesday ! evening, addressed by Mrs. Anna I Scott, food expert of Philadelphia. I Mrs. James G. Sanders led the chorus singing, which went right heartily. A Every Home W MII A PIANO lends to your environments. Its music lifts HII you to higher ideals. You should have no reason for not owning a Piano. There are Pianos suited to the purse of every one and -iJ there are plans of payment that make the purchase of a Piano easy for you. We would like to talk the Piano proposition over with you, tell you about the Pianos.we sell, the prices and the attractive terms we are willing to make for payments. Sieinway. Mehlin, Christman and Other Pianos ®C. AV. Siller, Inc. Pianos Victrolas 3/61 C* re.(\ jy 0„1 Ct *UBAiS4UKG 6L*t/#G, £*. snd.Ol. The music at Salem- Reformed Church to-morrow will be unusually appropriate. As a chorus number the choir will sing Mendelssohn'B, "How Lovely Are the Messengers," and the ever-beautiful duet from the "Daughter of Jairus," "Love Di vine, All Love Excelling," ivljl have a place on tho progrum. Stainer's "Crucifixion" is not to be sting in any Harrlsburg church this year. In a town not very far away the cantata was given rendition a number of years ago and the rever ent penitential music had a deep effect on the congregation. One wo wan whose favorite hymn was "Oh Happw Day That Fixed My Choice," said that while the music was fine she didn't think much of the man who selected the hymns. Stainer wrote them and they are a beauti ful part of tho cantata. Field's beautiful anthem. "And God Shall Wipe Away All Tears." is on the music program at Messiah Lutheran Church for to-morrow. In England this anthem is widely aung during Passion week. Columbia Records and Cohimhm Grafonofa Takesomeraor^ Think of the pleasure and happiness you can give your family to-night by taking home some of these splendid new Columbia!. Records:; Join Our Piano Club You can buy a new or used piano or player in our club and have easy payments. "OPEN EVENINGS" Spangler Music House 2n2 N. SIXTH STREET (PTRj .;] BKMi PHONE 1012-J I WjfJ ST. STEPHEN'S CHOIR SINGS "GAIiMA" The choir of St. Stephen's ChurcK assisted by Mrs. Gobin Vallerchamp. soprano, will sing Gounod's cantata, "Gallia," to-morrow evening. The service will consist of the folowing music: Magnificat. Barnby; Nunc Dinilttis* Maunder; Organ, "Priere a Notre Dame," Boellmann; Cantata, "Gal lia," Gounod; Offertory Anthem, "Beneath the Cross of Jesus," Ber wald; Alfred C. Kuschwa, organist, and choirmaster. FINAL* IvENTEN ORGAN RECITAII The sixth and final Lonten Organ Recital will bo given in St. Steph en's Episcopal Church next Satur day by Alfred C. Kuschwa, assisted ( by Mrs. Bay G. Cox, soprano. ' MRS. COBI.K HOSTESS Dauphin, Pa., March 16.—The La* dies' Aid Society of the Lutheran Church met with Mrs. A. C. Coble in JSrie street on Thursday evening. After the regular business, refresh ments were served to Mrs. W. F Reed, Mrs. George M. ICinter, Mrs. Harry Gerberich, Mrs. Harry Mlllc? and son, Harry; Miss Sallle Shaffer, Miss Anna Hoffman, Miss Susan Jack son, Miss Annie Hlnklo and Mrs. A 4 C. Coble. 9
Significant historical Pennsylvania newspapers