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. .
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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
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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