Ten Singing Lessons

September 3, 2017 | Author: erin | Category: Singing, Vocal Music, Human Voice, Performing Arts, Pop Culture
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D'SCA

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UA.THItDK

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AND

MELLIG

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Copyright,

1901,

ylU

by

Harper

rights

June,

reserved.

1901.

"

Brothers.

"

"

"

CONTENTS

PAOI

iii

Preface

vii

Introduction

First

Second

Third

Lesson

3

Lesson

Lesson

Fourth

Fifth

23

43

Lesson

59

Lesson 79

Sixth

Lesson

95

Lesson

Seventh

117

Eighth

Ninth

Tenth

Lesson

Lesson

Lesson

139

161

179

An

Marchesi

WHEN

consented

mind

that its

of

her

be

comment

so

clearly

It

is

not

Marchesi

is

at

philosopher

who

gratitude

for

owes

do,

dry

any

which

matter

these

in

itself

I

as

than

subject

much

too

to

all

unique

a

She teacher

great

a

the

once

of

her

great art. "

m

"

"

Madame

that

say

music.

of

than

more

and

and

her

of

pages.

occupies

world

ject sub-

by

privilege

the

the

in

authoress

interest

more

limited

too

she

of

upon

speaks

the

love

a

was

the

on

friendship,

much

so

would

had

and

guidance

words

few

it

book,

distinguished had

who

one

a

this

my

writing

in

pen to

employ

to

unpractised preface

my

Melha

Nellie

by

I

Mathilde

Madame

of

Appreciation

in

position is of

something singing

enthusiast

"

and

Gifted

is

she

as

with

intimate

an

the

of

enjoying and in

her

with

the

Marchesi

has

for

under in

has

influence

her

addition

by

reverence,

to

life

Wife, One

a

of

the

most

and

love

ready

that

thies, sympa-

and

have in

beautiful as

an

a

gone

devotion

Instructress,

Friend.

conspicuous iv

spire in-

to

cheerfulness,

and

Mother

of

intimate

failed

ever

self-abnegation

and

a

her

make

who,

privilege

passionate her

come

those

her

qualities

numberless

who

in

never

unfailing

her the

has

almost

an

whilst

enjoyed

she

friendship,

all

markable re-

tion devo-

and

priceless

have

tuition

her

;

the

to

been

years

from

is

it

Madame

confidence

won

and

joys,

that

fifty

the

for she

wonder

of

matter

a

rated satu-

music,

its

of

spect re-

great

mind

of

full

the the

a

knowledge heart

evergreen

all

with

art;

eratures; lit-

their

does

of

friendship

masters

not

she

as

of

most

and

Europe

at

having

with

acquaintance

languages

an

lovable;

and

commanding

once

personality

a

traits

of

Madame Take

her

from

sending have

you

is

cong6

and

to

devote

this

the

to

and

care

forgiven been

of

one

for

arena

a

over

Madame

with axiom

that

doing

yourself;

at

her

piano

would

has

great

one

if

she

relied But

to

seem

is

worth

and

to

nine V

be

might

assistants.

upon

doing this

her And

life

in

years,

from

great,

Madame's

It

toil

sponse re-

ditions con-

for

whose

fifty

what

in

too

in

are,

endless

thusiasm en-

interests.

woman

it

an

incessant

too

up,

She

these

personal.

extent

some

it

energy

trouble

patience

in

siasm enthu-

pupils

pupil's

absolutely

case,

to

patience

if

certain.

Given no

will

even

back

her

own.

is

and

lessly relent-

no

to

equally

there

and

care

have

intelligent

her

to

but Or

but

of

and

no

gain

away.

demands

has

training,

intelligence

logically

no

which

kindly,

voice,

esty. hon-

rigid

personal

you

the

and your

voice

of

her

her

successful

considerations

restrain

is

a

of

potentialities no

teacher

a

as

day

o'clock

is

be

an

worth she in

is the

till

morning

for

eager

which

successes

in

as

career

unexampled

teacher.

a

in

When

remarkable

so

her

punctuated

manner

a

have

ever

conspicuous

those

of

another

alert,

and

sympathetic,

and

energetic

evening,

the

in

six

the

fulness

and

time

of

we

"

know

who

assured

time

the

that will

nature

indefatigable

her

admit

will this

are

courage

be

full

as

Mistress

as

her

of

"

art

and from

and

will of

do

toil.

her

more

She

elects

woman

position

the

adorned, of

noble

really

to

long than

will

seek and

she

has from

rest

illustrious

lay lay

down down

tire re-

long

so

the

life, her

a

to

burden

Sceptre.

bors lashe

INTRODUCTION

SIXTY

years

of

farelli

these is

who

only

master

an

air

or

master

the he

himself have

now

six

no

in

years

more

part true

in

unfledged and the

Fetis's

catches ranks

to

school

it

vu

is

much

not

which

the If

we

is

in

teaching

singing/'

time,

that

so

There

single

given of

ments; orna-

immediately

Caffarellis.

the

of

some

artists;

a

such

singer

first

a

of

care

pencil

the

pupil

learn

to

features,

some

Europe are

him

duet;

a

A

the

struction in-

of

pursued.

to

can,

with

mode

under

goes

such

traces

what

"This

himself

places

Porpora

master

longer

no

Caf-

singer

eminent

words:

an

ship apprentice-

long

celebrated

the

the

to

with

the

of

account

followed

Fetis

ago

this

more

chanical me-

was

so

when

now,

take

voices,

strong

singers,

young

rush

the

upon

ly applauded

by

the

beautiful

fresh

and and

organ,

in

vocal

in

beginning,

the

applause Yet

pupils

asks

years

less There

wish.

may

in

success

words

of

the

art

distinguished

have Mme.

the

the

of of

vocal

with

she

eminent

all

art

the

hasty

studied

of

singing,

of

never

four

father, excelled. vm

road

to

the

and

the

of

most

time,

our

corded re-

ought

pages,

would-be

but

aspirant

royal

Manuel

famous

singing. serve,

no

herself

master

his

will

following

Marchesi that

pride

that

one

six

spend

to

is

teachers

weight

experience

of

Marchesi,

Mme.

in

and

days

as

were

engagements.

skill

than

new

neither

get

mechanics

less

much

so

they

can

these

the

on

Something not

and

a

become

what

profitable

in

of

years

of

of

with

delighted

short

ertoire, rep-

Uberal-

are

quality

few

teacher

no

stage,

shadows

nor

in

lessons

public

a

a.

merely

few

a

with

gifted

to

singers. with

states

under

years

Garcia, a

Mme.

pil pu-

master

Mar-

chesi's

teacher

Lind,

Jenny the

of

was

The

Garcia's

for

the

road

the

to

been

under

art

of

speak

her of

now

of

style

of

the

adjustment

vocal

means.

of

and

IX

in

their

gifts

the

as

Marchesi with bel calls

balance such

That

cellence ex-

pupils.

pure

which

of is

the

Mme.

of

lowing fol-

master

successful

art

the

principles

by

not

singing

nicest

had

superiority

especially

been

there

their

impersonators.

this

short

prominent

operatic

with a

most

singing,

long

of

venerated

of

the

if

the

her

too

found

author

technics

has

studies

singing

and

Mme.

years

demonstrated

thoroughly

I

four

mastered

it

them.

of

the

That

one.

ble practicawith

have

of

art

goscope laryn-

production

made

her

of

human

the

tone

was

find

not

pages

the

of

would

who

of

of

student

the

by

tone

record

pursuit

master,

teacher

experiments

did

Marchesi

scientific

study

intelligent

his

of

diseases

throat

by

a

application the

to

the

was

production

throat.

and

and

also

ponents ex-

canto, for

the

of

the

singers

as

Emma

Gerster,

living

of

her

Calv6,

pupils

is

in

carrying

skill

of

years

ficient suf-

still

who

master,

ninety

nearly

at

her

her

of

work

the

on

Emma

were

evidence

Etelka

Krauss,

Eames,

Melba

Nellie

and

Gabrielle

Murska,

di

lima

is

in

age,

London. she

What

has

to

should

it

though few

on

have

such

hints,

divine

the

who,

no

all

the

the

latter

the first

sang,

ington

for

is

half of

Agujari

contemporaries

the

the

of

were

which

the

which

and

Mara

and

Persiani

exponents

his

their

singers

eighteenth

nineteenth

all

of

fine

the

and

Grisi

in

way

in

to

Porpora

sopranists way

of

way

that

astonishingly

half

and

is

sadly

truth,

The

way

male

It

sang.

successors,

of

It

wonderful

the

time

the

CaflFarelli.

taught

simple

quacks.

is

to-day

sing

is

teachers

the

a

book

a

world

so-called

than

more

of

into

put

The

speak

to

form

the

be

can

with

singing

value,

only

art.

overcrowded

are

as

fore, there-

uncommon

take

may

singing,

of

say

and

century Bill-

Mrs. and

their of

the

Italian

old

her

and

method

built

on

is

rightly

the

of

sing

we

in

forced

this

how.

to

ordinary

shout Yet

a

our

the

to

to

attempt

we

from

the

called

upon

of

range

tone

and

we

out throughthat

making

is

the

tone to

come be-

than

it

it

permitting

the

scream.

easier

much

most

our

in

to

of

of

or

or

typed stereo-

use

words

Added

instead

very

us

speech,

enunciate

shout

of

are

we

requirement

beautiful

is

in to

mastery

further

wider

range.

essential

a

still

much

use

we

sary neces-

is

when

singing

a

is

the

sing

to

enunciation

and

wander for

;

server ob-

according

nature,

employ

is

and

tone

if

it to

few

that

is

one

casual

answer

conversation

laws

It

The

other

no

why,

study

much

so

true,

of

daily

are

naturally,

technics.

organs

than

sing

to

but

to

ask

faith

this

the

naturally

give

to

for

Here

nature.

upon

her is

singing,

of

will

path

There

practice.

right

of

founds

Marchesi

Mme.

which

singing,

of

manner

to

if

scream,

persons xi

sing

know

you

only

find

it easier

to

than

scream

their

tire;

soon

and

the

in

and

it

if left

must

a

in

little

child.

without

Where

There

tell

them

to

singing others

same

such

heads.

entirely

from

even

pelvis. time

vicious

ask

And

their most

Xll

back

I

have

charlatans. their

pupils who

others

the

of

out

advocate and

stomach,

pupils of

never

heart.

Some the

to

fount.

will

tones

of

methods

become

her

and

from

requiring

of tell

their

their

of

backs

get

full

he

so

guide?

feet,

end,

almost

nature's

who

their

from

sing

an

go

he

that is

to

to

at

to

teachers

are

religion,

guide

world

singing

and

himself

find

so

will

must

near

the

that

in

as

emit

to

performer.

scream,

wise

to

the

singer

He

a

he

is

said

the

art,

himself

find

of

or

feed

and

nature

to

shout

learn

comes

the

strained

refuse and

career

himself

hoarse;

the

chords

style

they

course

time

sounds,

the

to

invariably

But

become

of

few

a

with

as

voices

screaming

the

But

Of

vocal

than

and

sing.

course

outraged

more

in

to

to

these

their tone

from

sing are

at

students

formation

the

somewhere

in

sounds

their

and

which

powers in

the

and

tense

increased will

the

of swells

mo

of

into

they

discover

longer

aches,

that

being a

recreation

know

pupils when

it

any

I who

am

learn

can

is

learned

music

quite bemoans

sing

to

it

ever

it

to

is

this

who that

canto

And

way.

the

meets

be

only

teachers bel

true

from

grown

But

no

make

even

singing,

of

the

of

away

throat

not

has

the

at

dies

the

joy.

a

ministrations laws

the

pain,

a

and

the

under

of

and

labor

a

be

ptanissi-

and

that

a

can

power

that

felt, and

presence

with

softest

it does

strike

to

which

fortissimo

a

pelling pro-

placed

chords

in

till the

again,

its

has

air,

diminished

singer

great

region,

column

or

the

vocal

the

torturing

nature

delicate

firm

steady,

larjnix

cease

diaphragmatic

their

that

When

employ

to

the

of

to

ing ach-

pupils

made.

really learned

throats

and

the

region

the

are

have

pupils

tell

muscles

throat

the

chords

vocal

inflamed

that

demands

written. that

aware

the

the

departure "

xiu

"

"

cry

of

of

him

former

days, than

by

the

that

too,

opera-goers

twentieth

century

they

fifty

were

of

occupant asks

of

mastery dramatic

donna

longer But,

regard "

and have

of

also

he

these

singer

least

at

in

generally

ing, bear-

tive. attrac-

phlegmatic who

sixties,

early a

a

exceptional

With

and

voice

good

but

graceful

the

and

voice

ill -dressed,

fat,

the

guinea,

a

phrase,

and

than

to-day

at

woman

gowned,

The

a

sold

good-looking,

well

for

and

the

the

of

severe

;

am

ened enlight-

dawn

ago

musical

the

I

of

abundant

an

find

to

passably

had

more

to

times.

interpretation.

expects

prima

are

temperament of

gifts

this

stall,

only

not

in

pecially es-

young

demands

years

a

too

are

earlier

those

better

were

discredited,

who

those

known

aware,

they

invariably

is

ours,

have

thinks

he

because

trill, is

pure

no

tolerated.

owing to

the

to

is

what

(which

is

not

shouting), learned

to

delusions

popular "

called

Wagner

singing, too

admire xiv

many

but

in

ing singing scream-

opera-goers a

new

sort

of

prima

donna,

voice

and

style,

who

the

of

but

as

This

knows than

singing of

kind

get

go,

with

for

if

strut

the

upon

of

bravos

incalculable

;

their from

in

the

true

the

turns

path. XV

this

while

command

the

city

any

in

the

example singers

influence

example

of

enough

brief

a

and

dramatic

Their

singing.

for and

to

the

they

noise

influence

harm

of

wherever

can

ignorant

of

laws

does

makes

stage

screaming

these

aside

the

The

world.

taste

he

voice,

his

that

fact

Performers

but

one

with

the

applause

much

in

tjrpical

the

to

-finch

mathematics.

rules

hose.

a

worshipped

about

bull

a

much

from is

blind

her

of

passionate

water

is

more

no

violence

donna

quite

who

atmosphere

squirts

she

from

other,

projects the

where

adoration

she

the

prima

of

sort

Germany, an

from

into

fire-engine

a

robustious

the

to

who

temperament

robust

a

energetically

stage

puflfs

exertions,

has

exceedingly

rushes

and

pants

who

person

an

side

one

a

cause

vitiates

young

of works

of

good public

singers

downfall

The

certain

As

aids

of

and

esteem

robs

it of its last

voice

intolerable

sounds

in

let her

the

recital

of

the

for

and

that

the

is the There

to

finish

purest

be

a

the

and

do of

art

of

test

finest

XVI

sical mu-

only But

is

essay

undone, do

is

sing.

She

that.

Well,

this

than

to

The

song

ability

in

not

to

has deed, inclare de-

volume

singer

requires succeed

recital

singing.

only

perament tem-

intelligence,

but

of

the

timbre,

roundest

of of

career

she

display dramatic

public

ears.

her

concert

stage.

must

one

to

of vocal

highest

of

simply

terest in-

her,

produce

cannot

author

operatic

and voice

she

how

the

does

greater

and

thing

one

learned

never

of

the

vestige

can

heyday

the

treatment

sensitive

to

songs,

still

stand

on

she

and

factitious

in

place

outrageous

pin-e

sustain

to

till her

quality,

a

her

of

and

story

maintain

can

the

scenery

dramatic

a

herself

set

temple

has

is

goddess

to

the

she

as

action

of

she

in

long

false

attempts

adoration

song.

her

she

when

for

up

this

of

tones

quality,

perfect

perfect

attack,

short,

in

and,

of

either

demand

of

certainty

made

or

without

complete

a

no

breadth

be

can

breath,

which

upon

majestic

refinement

deUcate the

technic

a

the

of

management

and

factory satis-

response. The

of

nobility had

They

perfect

their of

pupils

the

admired

not

of

exponents

and

cantilena

Gerster

Etelka

leaps

dazzling will

the

singing

voice

in

of

but

was

the

of

the

of

hearing

of

we

two xvii

a

have of

Mme.

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Ambroise

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girl,

American 13

endowed

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ing charmwith

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a

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American

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spite

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not, 27

and, her

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having

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branch

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of

female

difficult. 28

smaller

far

essential

studies

exclusively

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than

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voice, its strength,

sess pos-

slowly

and

ing unyield-

29

quickly

large

array

often

discoveries and

song,

development compass,

time,

same

teachers

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must

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nose,

doing

so

tones,

two.''

my

voices,

postpone

"my

answer;

so

to or

young

of

lady,"

day

through

breathe that

sound.

better

a

When

attack

young

be

might

hearing

the

on

nasal

unpleasant

which

try their

to

me

upon

notice,

I often

and

cords.

vocal

Concerning

2.

counsel,

teachers

many

"

; are

The women

ular clavicto

latter

be are

who

in

breathe

cannot

of too

of

bearing

shoulder,

public

songstress The

of

swaying

while

studying is to

this

prevent

have

its

seen

of

cramp

are

to

the

case.

c

that

such

victims

larynx. seek

to

their

of

I

ignorance! suffering and

from

ultimately

that

singer, three A

There

practice-hours.

of

teachers

two

the

voices.

Length

a

of

so

natural

and

pressure

larynx

the

losing their 4.

free

by

for

Alas

1

fingers

motion

vise), ad-

which

head,

teachers

are

fro,

equally

"

the

falling motion

there

And

mercy.

teachers

and

of

the

and

to

many

the

with

and

its

body

avoided,

posture

interferes

rising

(as

be

crushed

a

the

the

upon

though

as

imploring

were

incline

not

producing

impression

an

from

free

must

thus

It

songstress. and

head

artificiality; the the

the

unconstrained

be

must

to

because

way

tight lacing. The

3.

right

the

proclaim

that,

must

practise

one

daily.

hours

beginner 33

must

This not

to

come be-

from is

not

practise,

the

at

outset,

very

hour first

twice

sang

the

in

time, their

fresh

voices the

on

shall

I

room.

of

in

when

the

brain,

of

edges cords

of

the

provided a

"coup be where

hard

a

de

glotte/'

is

being

on

known,

is

free 34

must

and

the

tone,

the

two

vocal

ficiency ef-

(known

In

be

creased in-

together, the

mentioned

as

posed. op-

The

in

impulse

wrought over-

the

drawn

that

new

an

of

cords

avoided.

sedulously speech

it

tis, glot-

steadfastly

glottis,

vocal

always

tone

of

indispensable.

their

by

of

as

the This

completion the

which, is

ods meth-

to

tone.

be

must

of

lie,

concert-

of

fantasy

the

closing

the

the

opening the

this

For

in

hereafter

attacking

discovery,

ance, endur-

general.

Concerning

5.

forth,

came

or

revert

study

studied

abundant

and

stage

each

on

afterwards

and

operas,

with

later

class-room;

at

they

minutes

ten

an

that

that

fatigued

thrice,

or

pupils

had

easily

so

were

have

I

daily.

half

than

more

attack as

the

above) countries

imconstrained

the

voices

in

others,

where

childhood in cords

of

is

relaxation

6.

views

my

and

change

must

leads

almost in

also must

mouth, the

but

as

vowels. too

through

this It

incorrect

the

position

produces

a

that

35

as

pupil

the

of

change

her in

unfortunately,

happens,

tone

"voix

a

vocalizing, style

frequently

and

singing

florid

change

never

term

sustained

in

is

this

shallow,

the

French

In

exercises,

ning grin-

face,

the of

impossible.

from

forced,

no

to

makes

No

study;

formation

and

blanche/'

;

during

the

be

must

passing

in

another

that

tone

open

It

some

unartificial.

applied

the

to

too,

of

those

place

worn

mask

a

mouth,

teachers.

to

and

produced.

the

from

take

smile but

of

sort

a

voices

and

absolutely

register

one

inefi"cient;

position

contemporaneous

vocal

the

seldom

are

differ

natural

as

"

in,

sets

the

folk

time,

singers

On

from

discountenanced

English in

become,

dramatic

aloud,

"

of

case

resonant;

speaking

on,

the

and

strong

are

songstresses,

formation

and

a

their

dangerous from

prevented

schooling.

good

internal,

I

now

fear

this

men

foreign

her am

when

her

opens

pearly

her

teeth,

her

called

rosy

from

her

say,

36

them. of

all

them

Among but

among

it

girls

is

all

unpleasant girl

young

to

comes

tried,

and,

before

I

lost

in

am

flowing

bearing, down

hear

voice

mouth,

of

stately

I

her

have

to

me

and

faces,

noses?

a

ready al-

offend

most

When

ears.

ican Amer-

discern

I

young

and

young

of

almost

and

upon

my

those

noticeable,

less

general,

but

she

is

women

grown

to

their

through

speak

by

mechanism.

may

do

why,

be

dependent

their

inquiry

my

oh

Why,

is

upon

bad

beginning

question.

a

frown

that

would

especially

birth, a

effort,

address

must

and

readers,

this

external

upon

produce

to

tone;

very

Song

not

And

to

the

tort dis-

tones,

order

complete

the this

habit,

higher in

mouths

force

by

the

of

attack

wrong

tresses,

complexion, how

her

and I

suddenly

heaven

in

miration ad-

a

to

clear

earth nasal

tone:

"Are

Could

not

Could

and

often

counsels

they

and

make

voice,

of

the

all

their

often I

the

because

so

etc.,

have

free

and

migrated

to

the

very

ye

yoimg

then,

courage,

will

be

conjurer's

to

voices

open

imitation,

changed

achieved

from

a

most

I

its

Germans,

should

whose

lead,

rosebuds,

often

task,

and

of

touch

at

by

Take

reverse.

should

37

it.

existence

America,

as

difficult

their

repress

if

Personally,

wand.

were

to

over

apply

and

Italians,

many

fluences in-

development

strength,

puzzled

more

it

surely

will-power

imused

am

all

their

energy,

seek

how

the would

they

this

they

and

but

;

seriously

impression

impedes

and

mothers'

opposition

make,

do

know

educated

that

how

the

fused dif-

I

are

and

aware

impairs

friends,

widely

America

encounter

were

twang to

in

girls

averted?

habit?

self-reliant,

be

if

this

wretched

young

be

teachers,

correct

governesses,

to

defect

mothers,

not

that

sHght

this

Marches!?''

Madame

you

for

this

be

freed

the

habit

a

I

increases

deprecate

noble

producing

which

the

concerns

and

food

The

How

chapter!

bouillon

to

food

in

in

that

morning

the

appetite.

Against

of

I

things

singing

known,

In

strength. give

on

the

in

the

theme.

momentous

greatest hours

regularity

should

for

meals,

set

on

doing

I must

notwithstanding, this

so

38

I

lesson

discourse

friends

American

young

first

well

bodily

I

in

the

fear

of

displeasure

the

under

fall

may

In

is

as

the

I

no

condition

for,

very

good

have

evil

hard,

My

assurance

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of

wine

of

pupils

girls

my

with

the

this

the

new

my

subject

but,

fight

attend

behalf

with

met

many

faintness!

prevent

often

are

ticular. par-

important

I assist

entreaties

earnest

in

How

that

must

general,

voice

this

many

upon,

in

question.

classes

morning

dwelt

the

overlook

girls

young

and

of

of

tone.

health

freshness

the

be

must

toil

the

beautiful

and

point

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vastly

I

my

particular, give

advice

Above be

so

all,

observed that

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digestion dishes

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of

glass

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is

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usually

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walks, too

slave

of

excessive

all

must

my

yoimg

be

out,

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views

are

great

sacrifices,

Yet

this

good;

be teacher has

so

a

who shall

we

comforted,

my

seeks

nothing

devoted

her 39

ing singto

frequent

brows, whose

teacher

such

demands

seek

dear

but whole

"

fear

I

'knitted

with

severe,

strument. in-

dancing,

Alas!

from

singer

gatherings

abandoned.

"No,

for

her

or

too

social

readers,

of

exposure

cold,

or

long,

night,

at

meals,

or

parties

theatre

will

after heat

the

his

late

bread,

sacrifices

rowing,

reading

soon

upon

voice;

Bicycling, long

glass

student

great

of

preservation

own

day

The

overcome.

perience, ex-

one's

all

sweets

by

fresh

eating

water,

all

digestion.

in

drinking

as

nibbling

and

of

indulged

such

and

that,

hard

proven

habits

country,

avoided

be

should

disturbed;

be

not

may

no

sel!'' coun-

children; her life

pupils' to

the

of

instruction

one

and

wish

:

to

educate for

prepare

brilliant

youth;

future.

them

and

great an

harbors

but

songstresses, honorable

and

THE

LESSON

THIRD

THE

TfflRD

LESSON

Paris,

RECEIVED

to-day

letter

from

a

Madame

Madame voice

wish

she

me

is

fear

of

if

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under

tears

her

is

would

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singing

studied time

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them

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thrice another

I

mediiun; and

encouraged

has

produced,

organ

ability believe

;

I

my

method.

My

to

me,

the

by that

indeed,

do

Anticipating

so.

etc.,

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of

high

a

prano, so-

the

in

experience, school

your to

repair

confidence

in

favorable BERTHA

etc.

is

results

unbounded

that

Each

great

able

have

during

tremulous

be

my

I

door.

voice

brilliant will

very

with

teacher.

your

you

studies

my

and

years,

through

to

without

you

the

somewhat

hope,

have,

shown

changed

unfortunately

me

say

whether,

wearying

four

tell

unfortunately,

am,

being

I

since.

will

you

complete

escape

perhaps,

and

people

beg

can

I

yesterday

rest

no

and

case,

I

direction. and

or,

the

:

heavenly,

but I

severe.

this

heard

had

teacher,

Its

follows

as

is

have

tormented,

your

sensitive,

I

terribly

candidly

singing

so.

with

study

to

that

less

no

girl.

are

I

1900.

peculiar

German

young

Her

lo,

very

Marchesi,"

Melba.

her

a

translated,

contents,

Dear

September

the

your

answer,

M .

43

This

is not

shattered

voices

Their

sad

their

homes.

and

voice

her

of

although

in

thin

the

attack

the

I

to

sing

should

teacher

like

discerned

When

with

simg

voice

closed?

open

be Other

with

view

the

arias

teachers .44

fashion.

he

is is

and

songs

why with find

the

advocated

It

mouth,

cultivated

glottis,

object

outcome

to

mouth

same

when

its

there

made

open

learn

so

often

closed

in the

great

uneven,

method.

that

negative.

the

in

had

and

been

with

voice,

Her

so

had

to

one

whether

me

that

and

nonsensical

this

weak,

scales

the

of

quality

She

it)

came

trained.

tone

(humming and

inquire

medium,

to

songstresses

young

so

tone.

no

was

yesterday

pleasant

was

compass,

and

return

well

was

They

discouraged,

to

"

daily. lands,

Only

American

^an

counsel.

foreign

years

ill-advised

these

of

in

with

for

me

increases

for

then,

to

be

not

women

young

apply

number

wander

"

that

last, time

the

will

first, and

the

easily wholly are

should

the

mouth

vocaliza-

tion train

the

voice

is

cultivate that

This

so

this,

A

related

asked

the

leave with

a

day

set

of

the

and

pupils. unmelodious and

production A

On

dared

patience

speak left

me,

out

his

face,

word.

and 45

son crim-

and

forced

voiceless.

prevailed.

then a

and

grew

shriekers

the

male

single

they

the

silence

dead

man

of

until in

platform

the

array

tones

made

all

nervous

yelled

purple

the

music-hall

large

the

an

These

"

On

method.

seemingly

marshalled

had

name,

professors

"

conservatory.

small

a

(1870).

Hellmesberger

in

assembled

were

of

conservatory

^the

us

Director

by

ing Touch-

by

the

singing

new

tortured

Vienna

in

so

anecdote

an

of

director

acquaint

to

other,

Schmidt

singing-teacher,

that

toneless.

sojourn

year's

absurd.

and

and

ferent dif-

persons

the

worried

be

may

first

my

after

sickly

of

simply of

method

the

is made

is

too

tone

one

finally

tone

one

the

to

articulation

by

words.

Equally

undertake

and

unnecessary,

I

At

arose

last and

No my

said:

''I

understand

cannot

have

view.

in

and

tones,

blending

is

pupils

sing

to

here

one

will the

"Come,

children/'

his here

shall

hear

struck of

I

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of him

and

I heard As

or

well.

true,

came

methods

class-hours

floods

of

tears,

are

that

my

that

in

respect

excessive. I

did

not

46

sheer

the

fly of It

that

pupils

poor on

sense non-

said

been

music-books

provocation that,

and

shed

slightest in

study, has

is

this

severity,

has

It

during

stated

fessor Pro-

that

of his

discovery,

new

as

and

people

long

discovery/'

results

extreme

my

a

methods

more.

no

to

indeed

Ere

prediction the

ing address-

learned

never

Schmidt's

charlatan.

''false

of my

and

me

no

method/'

continued,

root.

your

that

my

victims;

dazed

have

he

of

see

furious

now

nection con-

much

each

understand

screamed

their

''I

scale?"

a

the

made

I ask

May

you

through

single

difficult.

more

object

Professor;

of

production

the

the my

also

personally

air, mands debeen

impart

instruction, and

only

the

work.

lay

daily

devoted

have in

its

all

and

joys

assistant

whole

my

the

only,

of

development by

alone

me,

pupils,

my

from

and

the

ton, fills

I

that

unhappily

Many, to

bring

be

desired

careless,

often

too in

sadly. me,

that

faithfully

their

Those,

however,

perform

follow their 47

much

leave

they

respect;

that my

are

in

lacking

and tax

that

art

education.

many,

and

blindly

educa-

ness earnest-

their

this

me

often

same

negUgent,

conscientiousness,

to

for

to

of

ask

families

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the

conducted

come

for

and

bosom,

opera

for

I

enthusiasm

same

my

is

whose

sacrifices

great

class

whom

ing-teache sing-

the

unaided. of

many

afar,

make

and

no

all

for

voice

the

and

have

do

as

The

classes.

concert

I

world I

accompanists and

upon

life, and,

sorrows.

teachers,

on

eye

altar

an

forget

teaching,

my

an

burnt-offerings;

it

to

kept

is

art

assistants,

to

then

My

I

which

and

now

it

left

but

patience

my

understand

advice

tasks,

are

and

sure

to

have

universal

future.

recognition

Nellie

Melba,

witness

of

is

of

photographs:

her

if

'La

as

there

is

relatives

their of

is

in

voice,

studying

with

are

become

self-sacrifice,

patience

are

musical,

public, possession.

disheartened.

but

often

one

In

does

former

48

age, cour-

health,

one

quite not

days

and also

must

one

when

that

very

only

not

energy,

watchful,

ginning, be-

quite

needed, so

commence

the

singer

good

a

to

the

of

from

me

some

difficulties

the

have

they

when

or

neglectful,

cultivation

the

the

former

to or

at

and

of

study

Used

easy.

astonished

are

stern,

Nellie

girls

that

indifferent

either

encountered

be

for

she.

is

it

fancy

song

teachers,

To

always

Mathilde/

Sainte

inexperienced

and

Young

they

one

1894."

Melba,

art

my

Madame

and

love

saint,

a

which under

wrote

I

quent fre-

a

''To

whom of

to

fair

a

was

tests

subjected,

Marchesi, think

who

the

patience

and

faces

a

thetic unsympa-

lose

the

selfdif-

r

ficulties of music

were

Italian melodies

music

was

in

far

melody must, is

opera

the and pecially escerned, con-

musical

thorough

a

possess

that

wield

one

the

as

hended compre-

now

to

phrase,

so

fluent

but

death

swear

musical

the

to

its

followers

his

sceptre, and

come; over-

readily

learned;

and

easily

with

more

and

Wagner

more

education.

information

with

she

me

the

and

rapid far

above

all in

studied

sight. as

progress

the

the

excellently

played

a

the

and

organ,

of

her

lovely she

time

impaired

voice.

In both

acquired

rose

that

women

class.

had

made

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singer,

She

extraordinarily diligent; further, teacher

violin,

she

Hence

yoimg

same

pupils. studying

began

already

at

sang

interesting

of my

some

Melba

piano, the

Uttle

a

regarding

Nellie

When

on

furnish

I will

Here

a

the very

French

was no

skilled un-

charm short and

Italian. Gabrielle D

the

Krauss, 49

celebrated

dra-

matic at

the

Vienna

to

wished

be

in

start

having

called

and

without the

assmne

Schmnann's as

marked

that

so

for

engaged in

Vienna.

her

in

Jane

her

an

was

a

Horwitz, at

daring studies, engagement, summoned

and

she

indebted

the

Paris

to

songstress, for

completed

one

for she

morning on

rehearsal, 50

first

her

longingly

replace

without

years.

Op6ra-Comique

waited when

under

was

Having

she

Opera

successive

is

was

House,

Grand

coloratur

venture.

she

completed

the

twelve

was

was

Opera

where

French

Peri,'"

who

Krauss at

in

the

day

next

a

maiden

success

Imperial

the

for

little

evening,

Her

the

Paris,

engagement to

the

songstress

ill. on

still

rehearsal,

and

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career

engagement

My

of

Gabrielle

brilliant

House

previous

for

taken

chance,

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''Paradise

suddenly

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fortunate

a

part

substitute

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owes

to

career

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student, to

She

me

left, in

acquirements,

for.

her

with also

Conservatory,

musical

to

respect

studied

that

songstress

the

same

an

in-

disposed

songstress,

''Lakm6."

She

permanently might of

pupils

Emma

as

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familiar

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and

Nature

pupils. of

When

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the

attended

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and

violin,

feeling

and

lessons

of

ago

and

"

her

poems

played sang

graceful 51

best all

wrote

upon

small

storj'^. child. music best

my

her

she

of

volume years

the

age

Yes,

artist's

heard

to

daughter

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endowed

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genuine she

pupils,

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begin

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therefore

will

and

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sujfficiently

few

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the

worlds.

concerning

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prominent say

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may

Blanche.

story

both

most

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the

is

of

public

the

to

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renowned

my

Gerster,

Calv6, that

most

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such

Etelka

Emma

I

instances

of

part

Nevada,

Frances

day.

similar

the

on

to

engaged

was

following

many

of

r61e

enough

and

the

narrate

courage

bold

sang,

on

title

the

was

offer,

the

accept

in

richly. poetry was

the

songs

expression.

"

lished pubpiano with

For

some

she

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When

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at

place

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endured

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given. than

of

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to

the

My

daughter's

marriage

but

of

impulse up

from

years,

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her

wholly

an

heart, to

art. 52

ly thoroughpupils,

she Her

voice.

female

her,

turned artistic

career,

irresistible

the

following

have

should

teaching

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gave,

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Vienna,

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my

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soon

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understands,

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the

for

in

During

Paris

lessons

the

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and

imaided,

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prostrated

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Rubinstein,

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illness,

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ings dwell-

All

individuality.

extraordinary

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matinees

lively

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her

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D6libes,

"

however,

house.

Paris"

Thomas,

up our

to

in

the

in

musicians broise

wholly

continually

and

give

to

Paris,

to

herself

sang

hasty

transferred

we

Vienna

devoted

her

compelled

was

from

of

account

on

years,

has

given

great

success

self her-

the

is

singer

a

as

joy

of

pride

and

my

life. Of

of

those

themselves

instructions

impart

they

that

so

in

and

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or

when

and

of

teachers

the

future

revered

pupils, him,

in than

intrusted

could

cases

the

had I

my

master's 53

the

lives, more

studied

with

Being he

progress,

beginners,

carefully,

most

My

instruct.

with with

me

suspend

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when

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Manuel

celebrated

in

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numerous.

too

accomplished

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find

imagine

or

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quite

but

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certificates,

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Unfortunately

thus

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their

the I

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month

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with

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experience,

seek

cases

they

gratuitously,

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devote that

exact

even

difficult

Twice

in

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teaching

to

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seeking counsel.

whom in

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was

months,

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so

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for

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trained

the

aside

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ear

the

actually

performance, that

of

irretrievable

ruin

this

worried

over

fourth

act

and

of

which

sure.

How

good, 54

ing, teachthat stresses song-

whole

a

a

in

known

through

take

explain,

singers

I have

to

hopeless with

great

had

this

notice.

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defects

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to

bring

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in

instances

blunders

voice. from

me

mistakes

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"

as

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the

voices

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danger,

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again

teachers

Many

dulness

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to

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at

the

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pupils.

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helpful

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in

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operatic B

or

A

third

or

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exceptional

pianist

hope

when

several

under

his

fact

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the

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lose

the

of

It

would

afford and

the

singer; all.

finishing

If

absurd!

give

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the

finished

last

this

of

were

touch,

already? 55

of

how

have

theml

In is

the

when

the

of

an

future

of loss

means

said

of

professor.'' so,

of

much

voice

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to

gathers

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and

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stone

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as

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formation

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decide,

children

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"A

moss.'"

could

parents

me

artistic

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great

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to

work.

every

compass

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be

from them

song,

the

as

me

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if

years

intrust

no

well

accept

gradually

must

as

of leaving

instead

their

that

voices.

pupils,

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method

talent

speechless

songstresses

satisfaction, to

is

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brilliancy

their

remain

keys

touch?

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fullest

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reveal

to

how

the

me,

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could voice

I

is

THE

FOURTH

LESSON

A

i

LESSON

FOURTH

THE

Paris,

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last

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in

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is

Italy

I

method/'

readers

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as

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thus

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Madame of

chapter It

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paper

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depicts

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experiences the

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lation, trans-

afford

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telligent in-

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"

the

their

anxiety

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59

a

teacher

a

to

to

describing

( ?) in

refer

of

spoke

that

happened

article

I

endeavoring I

1900.

25,

think

method

popularity.

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letter

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new

September

secure

scholars,

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male

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in

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back,

down

into

the

recommends

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with

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upon

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lessons For

five

or

six

writer,

most

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60

pel ex-

the

they

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stands at

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to

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and in

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and

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the

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throw

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strengthen the

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experience

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a

studies

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under the

to

as

'

said, "

that

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to, umbrella

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Being

ed ask-

until

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intending

student

'

method. Pietsch

Lankow

Madame

hiunbly

-

confessed

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the

room

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tone

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to

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must

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is

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with features

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stands

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:

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of

teacher

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application

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information,

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the

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method

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me,

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62

to

The

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ing, astound-

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song.

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share

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discover

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tuition

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But

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contempt."

and

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contrast

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cite

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of

with in

results

1

slow

of of

in

vocal

his

in

pupils,

comprehension, 63

the

attack

which

of breath, into

out withaction. has

system

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glottis,

cords

acceptance.

demn. con-

point.

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practices,

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to

Strange to

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tion aberra-

clear rather

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by

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fect, imper-

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strike

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and

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The

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experiment

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and

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has

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in

64

i

special

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depressed,

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65

of

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much

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I

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and

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teachers

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the

the

attempted,

days, all

only

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teachers

Paris

in

The

most

time

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the

of

voice

and

female,

bers,

it

was

nor

prevails,

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asked After

gia,"

and in

Arsace, I

while soul

so

duets

Arsace.

At

who wrote

a

pupil knew

her,

learning

it

r6le

with

66

the

me

long

two and

Semiramis

acquainted

Madame

Leblond^ I

Semiramis.

of so

appears,

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compassionate

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Garcia,

La

Bor*

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r6les,

BarbierCj"

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Hence

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beautiful

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in

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would

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in

sought

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Rosina,

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the

the

in

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duets

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sought

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experienced

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and

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Bordogni, being

because

instruction. teachers

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Garcia,

derali,

after,

individual

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instruction

But

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the

the

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class.

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67

in

which second

students concert

larly particu-

pupils negligent,

the

class

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I most

sadly from

the

or

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preliminary

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The

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sionals. profes-

all,

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education

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classes

comes

;

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musical

general

order

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as

accompanist.

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must

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described

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four

have

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cial spe-

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with

it

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ual individ-

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if

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to

lessons,

education

the

I

but

might.

my

only

duets.

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determined,

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and

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me

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day

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begin-

singing

mastered;

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generally

students

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beneath it

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will

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As of

by

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;

work

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long

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while

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slow

hapless the

ere

entered

with

been

where

the

hoarse

by

student

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real

art

clear 68

only

or

is

progress

has

;

ing trainmatter.

forced, organ wrong

wait

struction in-

of

course

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When of

breathing,

equalizing

and a

personal

upon.

the

tone,

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rebels

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voice

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is attack

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wearied

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must the

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marred

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voice;

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later

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declare

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arms;

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to-morrow

to

following

morning

avoid

regard

dignity;

injurious

time

to to

they

etc.,

of

and,

resort

To-day

expedients.

time,

beating

hardest,

practice,

its

the

comes

intervals,

the

beating

sight,

at

must

of

knowledge

A

ning.

vocalization

of

the

on

the

vowel

A

then,

only

I

do

await

that

attained,

are

the

to

say

persons

young

"

deliverance:

their

"Children,

"

will

be

begin

to

to-morrow

shall

you

of

each

I

for

pupils,

in

confidence

I

of

its

see

that

vowels,

of

the

of

art

I

the

simi,

Scarlatti,

cello,

Jomelli,

of

course,

the

vocalizzi

voice,

gressive pro-

and and and

of

nunciation, pro-

as

Caris-

Pergolesi,

Mar-

later

and,

Bellini,

to

with

such

Paesiello,

and

on,

Donizetti,

Mozart.

class,

preparatory may

the

to

commence

Lotti,

Rossini,

because

style,

masters,

omitting

without In

usually

Italian

old

opposition.

recitative,

interpretation,

stances in-

rare

in

the

my

great

very

fitted

of

requirements

do

as

tongue,

best

as

education the

in

arrayed

you

have

they

Italian

down,

piece

rejoice,

and

are

the

regard

the

of

myself

Bring

take

and

name

I

to-morrow

words.

on

paper,

me,

only As

sing

the

you,

sing.'"

to

are

and

pencil

forth

holiday;

a

patiently im-

mostly

and

patiently

and

then,

still

be

69

sung

some

if

of

necessary

my ;

the

in

never

first

the

In

concert is

pianist,

the

last

class,

M.

singing

as

-

never

class,

which,

training of

my

personal

absolute

In

at has

and

German

the

the

insist

a

be

text,

this,

I

of

knowledge upon

last

for 70

ductor con-

seventeen

are

and

the

studied with

sung

require

three most

House,

masters,

masters

as

imperfect.

Mangin,

Italian

class,

my

edge knowl-

Opera

the

French

under

most

Grand

the

tion founda-

their

M.

for

preparatory

original

pupils I

Paris

Besides

is

guidance,

accompanied

years.

in

the

the

As

voice-

my

laying

class,

operatic

the

school.

attend

necessarily

must

the

upon

my

method,

own

themselves,

trading

gentlemen

stances in-

nists accompa-

for

in

few

a

which

teachers,

quent fre-

are

not

up

gathered

experience these

set

to

me

skilled

a

there

in

occurring

companied ac-

years.

Ponsat,

however,

changes,

has

fourteen

accompanist;

leave

Austrian

an

Strachwitz,

for the

classes.

concert

class

-named

Fraulein

pianist,

In

and

opera

of

my

languages. compositions

lose

greatly

translations

of

most

frequently,

baneful of

Brahms,

played

of

a

this

of special

value

the

Vienna

fruit

the

this

vicious

her

of

the

may,

attend

This

and

a

I

where

pupils of

is

ilege priv-

conservatories.' in

experience

the

71

ten ofress prog-

pupil

pupil,

my

enjoyment

pupil, who,

class.

in

with

Italy,

studies,

operatic to

in

making

young

Conservatory, keenly

melody

accompanist,

While

accorded

never

the

to

familiar

prosecuting or

;

paniment, accom-

the

that

pupil

class, the

concert

the

to

and

ment improve-

greater

particidarly

astray.

goes

from

the

the

arias

their

permit

help

class

preparatory

prejudicial

is very

is

most

Schumann,

As

prevails

deprived

It

the

for

never

to

practice

the

curring oc-

compositions

the

memory.

I

while

with

and

learn

heart,

by

in

in

also

of the

and

less care-

this

words,

Mendelssohn,

pupils

the

songs

be

or

etc.

require

that

the

in

results,

Schubert,

I

unskilled

through

a

the

thized sympa-

debarred

similar

ad-

SINGING

TEN

LESSONS

My

vantage.

with

pupils,

for

the of

quirements the

to

equip

this

to

young

selves them-

physical

re-'

of

and

imitators,

led

crowded over-

music,

Wagner's

master's

great

few

The

opera.

is

for

seek

nowadays

women

class

concert

have

questionably un-

of

condition

things. In

the

lieder,

German

arias

and

etc.,

preferably

believe,

they

In

is

a

every

year,

sung

at

the

Queen

in

the "

express ^an

study

admirable 72

admit,

that

of

time. in

jury, July,

desire

have

duets;

Brussels,

the

early

I

say,

chant,"

at

of

member

being

composed

loss

de

Conservatory

Royal

to

sheer

"'concours

the

posers, com-

Mendelssohn,

candidly

and

them

studying

great

to

pupils

the

modem

those

Strange

compel

mances, ro-

Mendelssohn,

Mozart,

Goimod.

and

and

the

all

by

sing

Italian

classic

of Handel,

Rubinstein,

pupils

and

from

duets but

by

the

French

oratorios

operas,

to

class

concert

of

the

which, I

duets her

musician

attend are

Majesty and

excellent

harpist

shape

of

pray,

my

learn

to

will

will

the And

do

that

not

where its

have

whirl

life,

of

teacher

your

concede

in

you

may

the

remember

will

you

in

once

the

school,

Youth

learn? but

if

in

duets

sing

for

of jewelry.

pupils,

young

caprices,

prizes

articles

small

you

you

awards

performances

best

two

who

"

she

and in

was

the

right. And admit

it

to

thorough

and

and

foreign

lands.

singing

at

in

Petersburg

St.

operatic

class.

Ambroise

Gounod, Saens,

The

etc., and

House

Opera from

of

operas

Rossini,

D6libes, the

my

Mozart, Weber,

Verdi,

Massenet,

yoimger 73

for now

Meyerbeer,

Thomas,

ied, stud-

ready

graduated

Beethoven,

Gluck,

is

only

Imperial

the

guages. lan-

Russians

Many

a

of

the

of

made

are

have

mechanism

repertoire

singers

already

and

knowledge

a

Here

the

of

mastery

voice

that

sing,

to

I

class.

operatic

pupils

those how

understand

the

the

for

now

zetti, DoniSaint-

composers,

all

with

taught,

''Der

r61es

current

"

in

to

grin," Lohen-

Meistersinger,"

''Tannhauser,''

the

are

incline

I

Elsa,

"Die

Fliegende

are

the

of

Wagner,

study

in

in

Elizabeth,

works

for

pupils

my

Eva,

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the

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repertoire. have

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Hollander,"

least

these

as

for

trying

young

throats.

Concerning of

the

from

the

further

words

initial

they

^as

pronunciation

fatiguing

very

it

of

like

sounds

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words

are

thereby

issues

harsh

singers past

knew

vowels

to

of

the

make

to

the

with

a

"

This

tone.

for

the

blows

and

voice,

taught

distinct

more

attack

strong

the

are

it,

put

to

come

of

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hard

a

that

cidtivation

the

"

have

singers

Germany.

pronounce

I

text,

with

for

pronunciation

new

Wagnerian

struggle me,

the

is

vocal

cords,

from

sounds

a

to

sundered,

be

vulgar.

and

songstresses

hammer.

the

tone

Great

fortunately, 74

but

connected

and

and

nothing,

only

not

man Gerin

the

of

this

method,

and

mind

the

of

Why

song.

held,

the

and

of

years

prevalent

lines

style,

woidd

words

contain

five

in

words

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of

alasl

remain

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singer

the

specimen with

declaimed

follows

to

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phasized em-

in

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the how

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when

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injury

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of

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1

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may

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gefcen,

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words

els, vow-

The

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prescribes

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pronunciation

the

Wagnerian

hammer.

a

further

method

Rossini

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the

mean,

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canto

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twenty woidd

blows

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to

sound

which

beautiful,

Subjoined sung

once

comparing

style

which,

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was

shod;

ago,

barricade/'

a

that

the

rough

over

me,

then

all

artistic,

over,

and

with

Nowadays,

ridden

wrote

reject

now

world

heart

listeners

the

good?

is

the

delighted

be

set

mentioned

text the

above,

emphasis,

latter-day

down,

accent

:

75

and

all,

as

/,

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beneath

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mused

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thought

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wept

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friends. Of

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with

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reconciliation

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of

effected

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of

pronunciation

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in

my

bel

sort

time

canto

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1

THE

SHALL

I

LESSON

FIFTH

concerning

whom

I

first

sojourn

narrate

in

It

incident

with

the

of

Liszt

Franz

to

conduct

of

the

the

1756),

27,

was

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day. idea

of

object

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summoned

the

the

will

Vienna in

give that

tribulations

79

Mozart

occasion

given

story

envy

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to

concerts

two

dredth one-hun-

which

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of

all

citement. ex-

connection

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the

little

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in of

celebration

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occurred

1856,

my

shall

but

caused

in

anniversary (January

during

that and

happened

with

Wagner,

Vienna,

capital,

Austrian

versation con-

fourth

my

acquainted

became

an

the

in

begun letter

faint

continue

to-day

his

honor but

Liszt, fellow-

a

artists,

subjected

was

pianist, was

the

that

completely

although the

less

as

January will

never

eleven

At

visit I

in

me

the

afternoon

to

to

Giovanni,"

withdraw

previous,

sent

word

morning operatic each

refused, criticism

one

of

by

eleven

he

had

waited

in

help

declining of

the

Imperial obliged

him

that

and

80

every

to press.

entreated

Every

out.

tween bethat

upon

exposure

Vienna

the Liszt

o'clock

Vienna,

to

on

husband

my

""Don

father.

her

and

to

the

death,

eight

singer

of

finale

the

on

assigned

been

to

evening me

music

the

he

o'clock

two

having

owing

fever,

a

Csillag,

singer,

Court

in

Frau

Liszt's

although

from at

that

memory.

morning

the

Elvira,

Donna

date

a

and

sing

besought same

the

suffering

abed,

same

meister. Kapell-

my

announced,

was

was

is

of

out

o'clock

the

Viennese

27th

pass

subject,

of

a

birth,

by

Austrian

an

possessed

conduct

to

tormented

Hungarian

a

therefore

right

much

forgot

-

none

and

People

to.

the I

one

sharp alon6,

said, could

he

that

it

true

friend

was,

I

in

sprang

the

and

noon,

beside

the

Staudigl Ander

in

Vienna of

the

imperial

Hofburg.

hot

the

coals,

well,

regretted

and

the

rdles

this

or

two

afterwards

prostrated

by

day

while

before

active

occupations.

It

was

passed F

I

was

towards a

few

It

I

not

was

able

to

resume

weeks

In

to

care

imitation.

it

period

8i

never

again

was

this

at

turned

have

I

of

marvel

day

and

fever,

on

literally

was

for

example

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coimtless

House,

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my

of

all

music-hall

I

and

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commend

{Donna

venture.

however,

stood

Ottavio),

large

to

of

audacity

out

the

at

Giovanni),

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platform

a

through

hour

{Don

their

sung

the

made

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{Don

I

returned

appointed

the

on

who

a

though

hurriedly

Herr

had

times

bed,

my

Theresa

Herr

whom

from

Madame

Anna), and

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Liszt,

at

abandon

to

distress.

went

with

part

I decided

aid.

impossible

was

toilet,

hasty

to his

come

a

that

Vienna,

long my

ner Wagand

honored

for

singing

differed

to

fragile,

female

frankly

that

his

importance.

I

positive

the

study

gladdened,

his

direction.

In

show.

stand-point me.

I "

to

speak "

82

as

;

of

cause

read

I

Mozart, I

etc.,

the

from

now

are

am

when

it;

put

depression works

Wagner's

music,

Gluck,

so

only

were

When

Haydn,

uplifted,

danger

tion conversa-

the

of

scores

him

revolutionist

a

must

little

but

opinions the

his

in

the

turned

furthered

Wagner

study

it

me

ordinate sub-

that

to

as

Beethoven,

Weber,

to

enlighten

to

was

say

was

to

but I

may

said

and

has

the

I

general

sought

we

voice;

human

attached

Wagner

time

music,

that

Wagner

He

in

that

this

whether

over

mine

delicate,

the

another

politics,

vocal

of

principle,

this

in

I

however,

explanations

some

and

views,

orchestra, he

in

especially

voice.

compositions

so

and

conversed

agreement.

song

to

of

music,

from

an

of

particular,

by

We

Wagner's

conception

no

visit.

widely

came

had

on

;

so

never

a

time

long

a

upon

in

with

me

comes

grand,

overwhelming, vocal.

but

for his

As

and

sensual

his

language

symphonic

more

poetry,

it is realistic

than

aesthetic; in

rather

find

we

While

coined.

Brahms,

On

of the

the

composer,

with

whom

They circle

as

natured

olden

why

should

the

and

goodin

men

the

painters,or

be

been

by gods all

mean

in

great artists by God

favored

and

nature.

"' J

J

J

J

J

J

al mor-

general

83

-"

accessible in-

poets, sculptors,

composers, as

the

gods,

that, through physical and

gifts,as have

family

gods, nowadays, I

that

opposite.

approach

dared

some

me

the

When

to men? mortals

in

him

individual. times

ily, fam-

for

very

unaffected

most

a

intimates

assured

the

represented

and

severe,

dwelt

have

as

sidered con-

Standhartner

was

composer

was

hand,

Wagner

in Vienna,

weeks

the

other

the

mann, Schu-

depicted

are

unapproachable, proud.

pen

thoven, Mozart, Bee-

Wagner

men,

no

his

Schubert,

etc.,

simple, amiable

that

Haydn,

Mendelssohn,

that

words

dictionary contains, and has

than

t

""

J

J

J

It

to

seems

the

forgotten. What, singer's position in the art

then, is the

respect of the trait I have

in

at?

hinted

have

never

sex,

and

instructed have

respect to

depths of

that

I

disclose.

of

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and

public.

to be

^

^

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w.^

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sort

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r

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WW-

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her

regretted,generally

84

^

heaven,

educational

pupils begin

^

friends,

ble, unconquera-

continue

will revert to my

-

the

making

frequently

I will not

-

now

her.

possesses

^

very

that

down

before

in

always

but

When

into the

family

spoiled,even

-

perience ex-

fashioned

female, to the seventh

self exaltation,

an

ually star, being habit-

no

first appearance

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has

sunk

her

by

In

career.

though,

set

when

raised and

their

sex,

must

singer, even

and

precise knowledge

being, and

my

I

of the sterner

forty-sixyears

opinion

are

opinion, as

no

any

no

own

my

of

male

offer

can

just

singers

male

as

beginnings

the

an

far

As

concerned, I

of

not be

singer must

world

in this enmneration

that

me

::^-^^.

with

they

me,

and

qualities.

good

talent

reveals

them,

they

The

awakes.

of

sort

revolution

is

until

and

matter, certain

at

and

times,

that

better

are

and that

future

with

pupils

to

of

the

Far

less

is

confidence.

85

peace

small

no

requisite,

pleasant pupils

numerous

vocally, the

this

cally, musi-

majority

look

All to

these

insurrection

than

and

belong

making

at

more

equipped,

them,

that "

of

is

prevent

to

that

balance them

and

see

is

say,

will

artistically,

outstrip

knows

school

order.

speak

it to

and

man's

a

preserve

to

keep the

leave

they

feigns

the

and

artists

young

pretension

preparing

so

restore

troubles

singer's

feels

To

tear-ducts

teacher's

but

mence com-

jealousies,

the

and

pronunciamiento,

ready.

claims

and

petty

teacher

nothing,

hear

is

and

the

when

commence

heads

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active.

become

their

as

society

their

over-sensitive,

grow

abounding

soon

and

caprices

amiable,

and

As

itself toss

with

a

simple,

pliable

confiding,

in

a

usually

are

to my

class,

;

their

brated celehave

brought of

hours

study,

Referring

the

I

that

restoration pass

Time

is

a

of

and

of

term

these

I

have

exercises

also

that

that

were

and

pupils

cut

for

in

the left

stage the

on

from

boards 86

consolabl in-

that

this

girls

sing

six

eight

or

and

words, school

my

am

interest

young

are

of

short

may

know

to

singing

there on

I

vocalizzi

before

months

years,

and

pupils.

my

possessed

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made

the

organs,

account

study. persons

young

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thirty-two

pupils 112

a

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the

SEVENTH

THE

LESSON

THE

SEVENTH

LESSON

Paris,

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YESTERDAY in

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your

to

boarding-houses.

worked

After

weary.

read,

study

and

particularly

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dwelling

pupils

tumn au-

exposure

contain

myself

address

now

a

and

singers,

for

clean,

very

have

and

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uncarpeted,

voice

occupy

spring

for

tone

wearied

you

unsuitable

wholly

are

the

northern

a

not

its

be

airy

at

be

is

and

In

with

it

even

be

exposure. rooms

if

room

"pension"

your

piano

itself, will

points

study

you

wall;

it

laid

two

or

your

the

us.

have

one

that

develop;

not

unites

should

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diffuse

not

will

I

upon

it

to

see

already

you or

meals,

the

evening.

day,

chatted,

the

evening,

must

converse

not

sing.

either with

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of

out,

go

do as

the

here

taking

cold.

avoid

voice in

not

to

is

bad

very

is

railways

the

noise

that

can

scarcely

one

similar

and

inhales

cold

besides

dust;

for

the

six

that

the

knit

your

but

in

the

good

different than

will

it to

the

summer

of

too

I

advice, results

attained

wind.

You 123

winter

one

air

hot

unfavorable I

observe

friends,

young

together al-

me

exacting,

but

give

nothing

which for

when

consider

and

rigid,

loud

so

shouting,

cords. my

wrong.

be

is most

you,

brows, too

are

in

vocal

tender

On

prevail in

all this

driving

voice.

escape

walking

air, and

Talking

usually

conditions

While

driving.

the

the

to

while

for

of

singers

it.

and

so

risk

and

weary

;

are

injurious

carriages

walking

America

the

rim

everything

railway

in

Students

likely

or

do

temperature

dare

one

a

must

of

pose; pur-

windows,

open to

changes

that

great

or

accustomed

useful

a

with

sleep

not

are

you

for

evenings,

those

by will

you

will

those

all

far

have heed

that

that

six

you

it cast

object

be:

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"?

evil

than

more

and

has

forbid

(Heaven female

more

let

good-bye

:

But I

;

quite

that,

established is

in

in

other

are

days. Valentine vicious

when

words,

kept

Valentine shall

begin. last

we

with

my

long-

a

school,

whoever

sings

first;

thus

preference,

zeal

and

that

tremolo

this?

us

encouraged,

are

ladies

young or,

in

given

punctuality

the

to

to

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you,

attendance

is

one

no

once

and

agree

accordance

usage

first

ill

already

bicycle

tell

to

in

"the

say

lesson.

the

forgot

general

content.

am

for

now

met,

I

of

proclaim

all

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well

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should

me

the

to

automobile.

in

worked

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soever what-

cometh

tongue I

tongue")

enough?

for

these,

that

the

not

tion communicanay;

the

not

does

your

Nay,

yea;

girls

young

but

let

But

:

say

for

tongues,

*'

Gospel

hard

so

their

hold

to

as

is

nothing

that

and

worship

from

doing came

124

Ah

but

to

so

first

begin. were

Morpheus,

inclined

are

the

sleep, over-

lesson

on

to-day, I

if

overcome;

so

that

but

do

singers

this

chest-register; when

moreover,

clearer not

when

sing

naturel

medium

easier.

be

all

of

scales

understand

begin attend

not

yet

with

of

fifteen

forcing

and but

minutes

the

full or

at

now

few

each,

screaming. 125

the

home,

for

already Let

I

permit

that

minutes,

with

mark

have

therefore

mence com-

to

sing

practice-periods

into

volume

as

it

say.

must a

may

can

beginners

except

divided

hour,

with

I

the

yourselves.

by

what

sung

may

and

me

to

pupils,

I

to

with

bring

practise

practising

my

one

to

scales,

Method,

and

that

are

you

you

all

time,

will

it

passage

my

do,

must

next

you

the

Purchase

you

in

natural)

that

tones,

made

be

else

you,

(E

must

tone

must

descend,

advise

I

mi

it

you

carry.

the

up

the

avoid;

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go

while

darkened,

be

You

beyond

you

you

many

so

tones

two

gone

widely

vanish.

will

afflicted

are

just

have

which

with

evil

prevailing

this

time

with

despair;

not

daily. of

tone,

Many

Practise without teachers

two

encourage

but

practice, I

even,

may

voice

this

vocal

practise

of

and

beginners,

public

over

go

parts

of

voice

without

voice

must

that

the

vocal

elasticity

and to

one's

studies,

can

allow

slow

beginning, voice

in

no

gradually the

register, only

very

to

be

fast;

direction 126

complished ac-

they

are

can

half-

the

organ.

children;

developed,

slowly

practice.

scales

the

dear

endurance;

register

of

to

with

injuring

cords

prevented.

evening,

roles

well, be

from

through

of

me

the

the

the

studies

when

their

fear

Understand

in

and

relation

who,

in

appear

the

in

not

singers to

is

wrong.

through

slack,

of

the half-

is

passes

grow

now

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with

also

resonance

speaking

am

this air

they

dangerous

wearying

escape

but

daily

voice.

the

process

cords,

development I

to

(mezza-voce),

Through the

for

should

one

organ

improper,

say,

that

too,

say,

is

this

hours'

three

to

at

be

the

acquire passage

sung,

this whatever

of

outset

mastered,

Many

so

too,

teachers from

develops and

the the con-

its

ceals

Valentine,

whether

special with

for

11. the

smile.

L,

call

other

scales,

for

No, on

a

studied that.

you

it? you

study; shall

r61es.

one

soon

You

taught

is

a

single with

never

learns with

children,

the

the mere

mother,

taught not

tise prac-

it,now;

trill and

127

for

would

Try

to

thing Every-

trill, a

Garcia,

never

see,

thirds,

Now

your

pray?

begin

and minor

I

note;

You

able

scales

you,

Excellent

wrong

the

Now,

and

clean.

What?

are

well.

arpeggios, I

and

Why,

Does

chromatic

Good

that

Louise

diatonic

example,

clear

from

you

has

you

classmates

your

some

me

etc.

is

who

away

call

not

Very

exercises,

grupetti,

We

you?

mother

your

tremor

take

do

Louison.

you

sing

Louison,

trill.

and to

I will

no,

makes

suit

name

also

hints;

distinguish

shall

that

understood

studying

^but

"

name

To

I

in

see,

tremolo.

the

Louise so,

have

and

pains

shall

we

you

instructions

my

see

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flaws.

you

only

need

too

much.

airs

in your

what

advan-

Louison

tages

derived

has

Garcia's

from

method. Whose

is

turn

To

work,

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why

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it

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unpleasant at

should

do

still

^place

I

One

teeth

troublesome

to

the

piece

her

mouth, turned and

half

when

between I

together.

that

the

swallowed

finally

had

wood.

At

the 128

wood

wood

her

first

one

in

was

eyes was

course re-

but

it, and

pale,

the

mouth,

her

of

that

pupil

a

pressed

I

will

practice.

successful,

deadly

I

many

incident

with

was

forgot

me

cases

the

open

closed;

as

wood

the

vain

it

she

and

of

tightly

expedient

wildly,

in

keep

day

She

then

would

she

day

did

abandoned in

very

a

Conservatory

since

have

her

next

the

but

your

befell

that

piece

striven

had

kept

do

small

a

teeth;

relate I

they

as

can

recall

not

Vienna

the

teachers

your

Why

did

What?

eat.

you

experience

while

"

I

tone.

mouth?

your

cannot?

classmates?

Rosa's. the

open

when

you

say

attack

not

you

open

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work;

to

do

it now?

choked. rolled removed

fell

she "

into

blood

^my

scene

of

use

talk

I

fashion. a

of

habits

teaching,

no

the

caprices

dismal

of

dear

anecdote,

and

bravo!

mouth

your

quiet, vowels

in your

all the

tones

vowel.

"A"

to I

be

must

think

I

observed

scales.

that all

for

that

study

others,

as

129

bad

your

You

I

prefer

it brings

keep

not

several

is not

have

!

open

forth

on

a

Bravo

it does

I

as

open

aid.

sung

little

My you

to

This

couragement, dis-

no

!

serve

bring

you

break

to

head,

scales.

but

now,

that

so

the

you

the

get

philosophizing,

adventitious

sing

now

to

energetically

will

teach

task

through

business

Rosa,

without

mouth

to

hard

path,

no

shaking and

lesson,

right

But

I

poor

teacher

combat

to

my

in proper

a

acquired

and

and

mouths

singing

into

the

wood,

and

what

poor

pupils

their

their

open

the

forsworn bit of

Heavens!

for

them

have

then

recall

I

hoarse,

grow

little victims

her

I

"

Since

when

else-harmless

the

until

it is

cold

runs

dramatic

faint

dead

a

right

the

;

same

already the

vowel

most

ef-

fectively

to

remark

in

the

forget

not

sharp)

(C

voices

on

commences

is

scales

them

The

steam.

register

and

often

of

clear

not

to

declamatory

is

rippling essential,

on

in

iramide,''

of

they

conscientiously,

will

they

all

execution hence

and

slowly

as

airs

sing

their

from

"II

"Lucia," there

is

runs

scales

130

style, others

are

little

who and

do,

a

florid

music

must

study and

and

Barbiere,'' etc.,

no

hurry

singers,

feeling,

power,

to

muddled,

coloratura

For

not

you

^somewhat

require

course

clear

but your

did

register

"

it.

put

hence

the

everything

from

regulated,

sing you

do

you

tone

register.

if

Rosa,

it skilful un-

this

that

passage

now

much,

too

so

is

else

Many

would

fast;

so

as

palate,

medium

You

so.

excellently,

sing by

not

much

as

even

second

a

ditee

women's

tinge.

allege

teachers

This

nasal

a

must

do

in

hard

the

I

the

that

directed,

towards

takes

easily

and

defects,

medium,

be

must

possible,

all

light

to

rapidly.

later ments adorn"Semthough Al-

opposition

nowadays their

is

music and

jugglery, without

Strange

to

so

for

than

applauded

is

the

operatic

indispensable.

and

sky-scraping

day, the

heartily

more

that

song

appeals

would

I, personally,

heart.

be

can

ing trills, neck-break-

staccati, this

dross,

theatre

no

on,

runs,

to

and

sugary,

one

say,

are,

the

called

makes

leaps, notes

singers,

coloratura,

a

repertoire

to

coloratura

to

give

,

all

vocal

these

fireworks

and

declamation

for

eloquent

that

tones

the

sway

emotions. Whose

What?

Marie's. with

for

for"

his his

repertoire favorite

mide," in these

the

the

Algieri," works

the

modem

and

would

Why, Rossini contralto

abounds

in

singers.

Arsace

principal

part

require are

dissatisfied

voice,

that.

over

contralto's,

are

coloratura?

a

"built

not

My

You

contralto

your

study

is it now?

turn

repertoire. 131

are

was

thusiastic en-

voice, fine in in

For

and

r61es "

for

Semira-

"I'ltaliana

coloraturas,

longer

no

you

included your

but in

lovely

contralto

voice

French

also

airs,

Bach,

give of

Alboni,

but,

mortal,

and

such

a

you

have

not

study,

you

may

at

for

few

I

of

lack

that

as

Marietta a

poor

contralto.

You

well, and

very

with

lighter

exercises

once

the

written

but

these

as

to

purchase

I have

voices,

deep

Do

but

many

Unluckily

on.

I would

am

endowed

voices,

by

your

scales

your

airs

compass

deep

a

pupils

vocalizzi.

so

songstress.

you

unlike

and

over

unhappily,

learned

have

besides,

enchantress

an

celebrated

the

as,

I

voice

your

romances,

and

yourself

were

compass;

lieder

Handel,

Mozart, distress

not

and

classics, and,

German

beautiful

numberless

are

songs

Italian

ancient

the

there

are

not

numerous.

else

Who

the

now? And say,

out

concert

-

ask

You

me

wherefore? is much

dying

sing

to

like

who,

Louise, for

has

to-day?

Marie,

to

Begin. hear

What? of

hunger,

longer.

If so, 132

preparing

are

room.

What

Bertha

Bertha, and

You,

cannot

before

first? you

hold

listening

to

last

my

brief

a

Tell

morning

class,

the

had

from

the

to

the and

Before

class

words, no

young

they

lesson.

I

am

American to

cakes,

!

Such

singer

of

must

ten Lis-

the

the

morning with

sort

"

bonbons,

ham

and

in

other

else

that

give and

to

bread

nourished,

conscious friends

feed-

to

eggs

well

133

a

hence

beefsteak,

a

be

must

still

bread,

ly quite different-

in

have

something

or

eggs,

chop,

third

a

themselves

must

a

another

consumes,

come

a

has

of mankind.

accustom

they

butter,

A

Singing

pupils

of

you

milk

!

remainder

must

coming

bread, of

herself

or

me.

singers

of

of of

himself

every

chocolate,

cup

unheard

is

nourish

ing.

a

of

the

fast. break-

before

piece

a

tion. ques-

partaken

slice

a

and

but

thing

that

of

and

tea

another

granted

One

cup

broth

some

for

What? a

of

cup

eaten

have

liver de-

after

each

o'clock,

you

meal.

only

for

nine

at

good

a

it

food

the

you,

have

you

best

would

on

all of

me,

take

I

to

discourse

what

other,

I

pupils

two

the

my

erence prefsweets

that

those

by

all

but

generally,

laughing

smile?

matter; if

much

keep

all

of

six

its

is

as

scales

head

you

are

you

are,

you

must

equipped

practise

also

after

the

tune.

homeward

be

must that Now

the

be and

question. hungry

as

your

have

you

proceed me

for

the

whether

trill.

that,

at

and

in

practising

the

is

note

laid trill be

off, dear sit down 134

the

upon

kept

in

Bertha; to

a

a

quickly

too see

it slowly

in

that,

I advise

Otherwise

fundamental

emphasis so

is

Let

give

bestow

voice

remember

only

time;

tone,

tones.

^and

"

^I shall

food

to

the

hungry you

"

connected;

however,

tendency,

up

with

poor

possessor.

well

are

the

your

no

give

the

on

Bertha,

Poor

is

henceforward

to

you

this

lesson.

short

a

become

punish

to

attention

great

to

but

to-day

you

my

starvation

from

you

to

compete

order

in

forsworn

must

one

Now,

nightingale. Bertha,

No,

would

one

be

must

ambitious

are

You

singers.

these

good

Yes, first, strict

trill,

given, upper

perfect hasten

lunch-

To-day

eon.

I

will

will

be

scarcely

suit

A

I

that

see

strive alone

on

talent of

defect and

be

by

well.

the

to

my

derstood un-

possible,

for

give

stand

to

a

tation represen-

medium

task.

of

The is

least noticed with

but

public,

teaching,

art.

your

as

steadiness in

last

Louise,

singer

concert

industry, confidence

have

unaided

light

no

criticised

courage,

and

is

the

You

far

as

and

the

through one's

always

perfection,

platform

a

be

devoted

must,

attain

to

to

she

on,

capitally, are

you

singer

concert

to-day

her.

lesson

the and

for

first,

last.

comes

from

that,

wager

always

will

Louise

poor

of

purpose,

all

will

EIGHTH

THE

is

IT

LESSON

loveliest

the

Would

first

must

have

and

take

lay

before

them

to

of

The

I

on,

accurate

an

my

if

later

of

am

account

the

bore

ladies; the

An

sang.

source

dependent condition,

"

for

the

'

'

or

eighteen

public

hearing, and

excitement

teacher; mental

the upon

and

ill were

only

so

audition, great

young

however,

two,

of

twenty

two

were

previous,

day

recital

of

names

among

married

pupils'

my

whom

pupils,

a

with

chat

rest

programme

yesterday

is

usual

I

But

experiences.

my

on

wander

fields!

and

my

readers,

could

I

that

woods

through

able. imagin-

morning

the upon

139

he

and

skill,

or

sponsibility re-

is

she

physical of

the

less

or

more

of

end

the

at

in

the

in

occur

The

left

several

of

Happily,

on

artistes'

like

the

that

public

the

enthusiasm

received

the

The "audition'' the

pupils

of

and

framing

of

greatest for

140

the

ularly particClass

recalls.

easily the

that

and

Opera

incidental not

once

"audition"

intended

repeated

arrangements are

at

the

the

the

spirits

distinguished

students

clamorous

in

me

the

with

and

concert-room,

valiant

and

expectations,

my

combat.

eighteen

down

set

of

the

de

put

depressed

me

ing fear-

might

greet

my

success

exceeded

quite

spirits,

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passage

hear

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me

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sing

at

sing

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me

text.

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sing

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of the

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on

and

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chest-tones

medium

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contrary,

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tone

deeper

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those

produced

aid

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with

Italian

be

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be

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tone.

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think

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technical in

order

forte,

rubato, dando, First

in

the

points not

piano,

style,

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technique,

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the

so

many

afterwards 173

first,

at

student,

sentiment,

should

As

lady,

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stresses song-

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mentalists instru-

the

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zio,

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guarded

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pronounced.

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lables monosyl-

io, dio,

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emphasized.

be

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tuo,

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; so,

mio,

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consonants

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such

the

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reo,

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ritarbe

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aesthetics.

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aria,

let the

the

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for

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in

is,

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the

or

heart

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and

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the

her

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strong

174

er teach-

to

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love

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tion: injunc-

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Semiramide,''

easy

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practise

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Valentine. so

organ

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and

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:

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Rosa,

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And

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-year

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organ

school

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TENTH

THE

LESSON

M

THE

TENTH

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DEAR

MY

PUPILS,"

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give

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down

fortably com-

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artistic

me

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laid

through the

is

also

n^iy

foundation

179

tachment, at-

your

confidence.

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as

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endeavor

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have

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As

ness conscious-

the

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much

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has

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music

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Gluck

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Mme.

Iphigenia, she

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audience

classical

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represented little voice,

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oppressed

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straight

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goes

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is

exertion.

of

life.

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opera

and

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me.

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to

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quit

to

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are

the

to

the

you

your

studies,

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week

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they

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urge not

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galley-slave

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families

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write

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striving

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Her

gathers had

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aid

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from

the

hearing

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the

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child,

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down

did I

time, ten

come

beseech and

hands,

down

the I

from

Creator

should 182

had

to

on

the

division, indeed, to

children,

you

a

struggle

Then,

had bid

like

tears

heaven dear

were

performer

time

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if

so

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joy

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rhythm,

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day

tion direc-

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its

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leap.

conductor,

precision,

artist.

artistic

genial

admirable

to

an

the

Imperial

did

marvellous

chorus

heart

my

Mahler,

Vienna,

shading,

the

of

made under

Herr

director

in

and

of

Vienna

the

sources

that

orchestra,

also

Theatre, of

indeed

satisfaction,

of

also

I

Mannergesang-Verein.

were

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Chdtelet

Viennese

it

successive

two

Society

that

voice.

orchestra

Philharmonic

is

her in

the

at

in

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concerts

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was

earth. beat

given

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beat

time

with

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intonation shall

or

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and

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for

Parisians.

be

have

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next

de

Concours "

which

of

takes

ful doubt-

attack

in

artistic, ab-

was

and

its artists

memories

of

be

children,

and

the dustrious, in-

more

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now,

of

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to

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same

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Ah!

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uncertain

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intonation

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singers.

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chorus,

delighted.

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Kremser

praise

Vienna

this

imderstand

to

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than

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of

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the

Brussels in the

183

tell you

of the

nation singing-examiConservatory,

first week

of

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chronological

how

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of

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184

This the

to

it

friends up

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many

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would

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skilled

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me

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young

revoir"

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musician?

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musicians,

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names,

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of my

career

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I

two

before

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acquainted

become

Baroness talent

pianist

a

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discouraged

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great

female

old there

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my

Nicolai

aunt.

my

of

thoven, Beeme.

instruction musician On

teacher

I

knew several

uncertain,

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her

to teach

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was

me.

to

pupil

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singing

despair,

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mere

through

me,

yielding

suspended

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"

such

to

who,

tiresome

drove

"

mother,

good

in

several

three

or

but

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all of them

ignorance,

had

the

years

Nicolal,

girl and

I had

spinsters, but

my

at

brightest

instruction

gave

Frankfort,

their

both

Otto

young

a

was

in Vienna.

were

with

begin

dilettante,

in

encouraging,

!

me

when

of

history

me,

the

during

occupy

the

all to

were

now

how

kindly,

how

helpful

how

in

places

foremost

the

that

men,

and

would

185

"""

have

gladly

helped wanting.

was

and, his

lady,

of

nothing, study

you

in

regard

the

of

In

of

spite

studies

voice

my

the

Later to

sung

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I

left

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Schubert's

him

for

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my

projects, his

Having

interest

family and

protection. i86

and

ed present-

was

he

Lieder,

lively

of

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disappointed. I

several

which

to

songs,

much

my

city,

the

also

as

me.

on

Mendelssohn-Bartholdy.

showed knew

kept

I

the

know

I

pleased

Frankfort,

in

on,

nunciation, pro-

of

repeat,

imtil

home,

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struct in-

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and

Beethoven's then

I

suited,

was

make

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admission

Nicolai

all

learned

will operas:

frankness

his

with

and

to

voice,

His

nothing."

absolutely

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training

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I

airs,

young

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songs,

you

I

nothing,

voice

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with

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forehead

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the

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at

me.

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opposed

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delssohn

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it

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"Saint

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her

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go

students I

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over

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preparing narrate

sohn's Mendels-

beautiful; ;

never

of

words;

to

187

called

being knew

rarely forget

not

piano

playing.

-

unhappily,

neglect;

I,

beautiful the you

her

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shall

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for

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people

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tector pro-

actual

your

I

songs

and my

artist.

superb

delightful

achieved

to

Cecilia

I

I should I

eyes

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the

Dusseldorf,

very

expressive

Christian

fallen

an

made

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into

Joshua/'

whether

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grew

opened

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thanks

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friend

wife

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or

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solo/'

songs,

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insignificant

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sing

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with

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me

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mother,

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of

Florence,

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Paris.

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my

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is

artist

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received

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to

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Rossini.

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him

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few

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very

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me:

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Rossini's

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written

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piano him The

wife,

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is

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than

large

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amiability.

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in

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icated ded-

6,

Opus and

the

189

letter,

charming

which

of

dish

good

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utation, rep-

mezzo-soprano,

him

1863,

said

great

a

master

for

from in

his

was

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vocalises

received

about

self him-

often

years,

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and

dishes

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pianists.

conspicuous

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in

life

voice."

he

last

drew

young

to

for

old;

interest

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hair

cooking,

for

care

is

In

voices:

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Wagner

good

good."

not

do

deep

the

good

care

another

to

favorite

not

Of

"What

his

of

his

macaroni!"

not

fond

"

number

a

one

chafing-dish.

a

but

on

called

prepared

had

liked

he

tones

always

He

from

only

train.

railway

a

He

changed

duced in-

have

him!

carriages.

and

the

on

for

in

every

to

venture

locomotive

travelled

could

Nothing

he

dedication

expresses

in

most

flattering of

decline

the

the

artists

pupils,

several

the

airs,

Delibes,

by

Delibes

would

Who

destined

to

friends

be

at

being

great

a

and

world,

the a

reception in

Cologne

days a

My

director

my

Besides renowned

thorough

man

accomplished

writer,

conversationalist.

His

an

charming

and

Ferdinand

and

a

was

him

death?

years

musician

plexion. com-

world

Conservatory.

Hiller

composer,

of

three

Cologne

the

the

friend,

and

for

was

from

fine

thought

untimely

an

fellow-countryman Hiller,

a

have

taken

by

"Lakm6."

had

and

strong

was

my

accompanied from

duet

of

one

and

sang,

the

them

In

Nevada

Blanche

daughter

pupils,

with

duets.

Emma

visited

my

over

and

songs,

was

"Lakm6" He

in

went

soirfies,

my

works.

dear

my so

of

interest

personally

his

to,

composer

took

often,

All

song.

modest,

and

other

already

of

art

referred

simple

and

his

the

have

were

Delibes,

and

of

I

L6o

us

complaining

terms,

in

gathered of

swarm

190

his

salon

distinguished

and

artists, Clara

Schumann,

children, I

in

cheerful,

by

then

for

also

as

his

tell

and

Vienna,

in Ah!

but

all

past

!

from

life

his

before

leave once

so

calm Gounod

and

far,

the

lively

four

end:

sad

a

could

he

day

tant dis-

longer

no

within

death

artist

far

departure

my

could

had

arm-chair,

his

Weimar.

at

immured

Hiller

Mozart,

Beethoven

to

regretted I

would

compositions,

in

but

a

Poor

months

Of

Hiller

borne

walls.

last

lies

Cologne,

have

the

this

whose He

Goethe

to

ing morn-

and

visits

and

so.

maital

and

Rhine.

newest

his

less

master,

Beethoven

of

us

sad

was

life

the

own

were,

Sunday

the

us

now

it

as

no

was

upon

overlooked

play

city,

girdled,

every

called

studio

The

only

ennui

the

residents

the

Almost

we

Withal,

Everything

abode

activity.

others.

Joachim,

imagine

wall.

Killer's

In

and

then

tiresome,

and

I heard

Cologne.

was

high

a

was

cannot

you

endured

so

it

there

not

night;

or

remained

for

yet

to

the

that

he

dignified. I

can

only 191

tell

you

was

him

saw

visit

him

sing

his

him,

pleased "Rom6o

in

amiable

came

in

made

a

world, master's I

that

et

his

in

organ,

he

this

(it

possessed house)

which

frequently instrument.

a

stood he

bills,

cal musiall

as

well

is

still

in

the

often

accompanied After

as

Opera more:

to

be

seen

beautiful

and his

the

"Rom6o

anecdote

large

192

death

by

and

One

crowded.

that

know

the

on

are

that

Parisian

"Faust"

whenever

all His

mourned

You

was

to

the

was

friends.

is

Gounod

upon

and

Juliette"

House

in

void

great

Gounod

him.

with

contact

Juliette

as

affable

and

I

singing

d6but

her

that

whom

whose

Juliette/^

et

most

finally,

and

make

to

to

himself

he

Eames,

him,

to

bade

morning

and,

Emma

designated

very

he

that

perfection,

terest in-

was

whom

compositions;

presented

he

Thursday

every

to

he

that

we

much

took

Blanche,

hearing

of

sang

school;

my

that

ours;

he

that

often;

in

fond

of

neighbor

near

a

studio,

played

for

and us:

Blanche the

master's

on

in

found

they

death

last

his

of

manuscript

composition,

of

a

whose

music

works,

Gounod last

and

days, week's

regard

interesting

most

and,

unaffected

most

youth,

less

He

earned

but

was

his

into

that

pockets

I

have

saw

recognized N

A

as

while

the 193

old,

he

him,

concerts, towards

streamed

Paris.

in in

kind woman-

company.

his

gold

little

him

early

of

god. in

swiftly

as

time,

especially

the

a

same

and

with

liberal,

so

them.

death

a

millions

was,

from

simple-mannered

students, of

the

as

made

especially, was

at

public,

the

my

intercourse,

man;

however,

after-

1850,

in

personal

to

in

quiem." "Re-

during

hour

Weimar,

in

was

his

on

every

other he

as

repeatedly

met

saw

Mozart, all

touches

I

sojourn

Like

away

in God's

above

set

passed

whom

Liszt,

in

he

the

putting

sins.

his

for

titled en-

song,

a

beseeching

prayer,

forgiveness

is

It

"Repentance." form

the

portfoUo

a

it

out

streamed

before Who

feeble,

his

would

ailing

1

LESSONS

SINGING

TEN

brilliant

man

the

Liszt

is interred

a

past?

where has

Wagner,

his

erected

mausoleum. You

all familiar

are

of the

Ambroise

years,

friend

to

He

in

character,

place

absolute

for

was

faith.

Ambroise

He

eighty-two

artistic and

nature.

modest hear

delight,

the But

man,

died

the

all One

at

Paris of

age

piano he

too

free

for

composer

to

have

from

194

this

seen

years

his

life,a simple,

all

play

thirty

courage,

understand in

was,

was

all life,all

was

strength,

must

Rubinstein and

could

Thomas of the

He

purpose,

at

friends

French

the

decision.

Titan

noble

a

director

Rubinstein!

Anton

stem

eighty-three.

or

unlike

How

true

a

but

his

Conservatory.

fifteen

or

somewhat

whom

years

many

part

was

nature,

"

Mignon

fourteen

was

by

operas

remain

Thomas

me.

reserved

and

"

long

For

repertory.

the

whose

will

"Hamlet"

and

with

Thomas,

Ambroise

of

To

the

Baireuth,

at

Cosima

daughter,

of

artist

affectation. a

was

he

was

rare

to

friend.

true

a

me

for

me

engage

for

of

days

for

gloomy,

but

occurred

which

at

present

were

house, fantasia

"Faust"

on

Calv6

Goethe's

of

Rubinstein

bore

resemblance But

a

Brahms

the

The

great

but

often,

also and

time

and

has from

musical

world, was,

composer

with

a

while

Gounod's

strange

taken

noble

my

ting set-

Emma

vada Ne-

"Mireille." and

striking

Beethoven.

short

a

Liszt,

from

somewhat

Thomas,

at

played

Gounod's a

to

was

and

soir6e

poem,

from

air

the

Rubinstein

by

air

an

sang

ago,

Some

Saint-Saens

which

at

death,

years

and

musical

a

his

sudden.

Liszt

both

ago,

years

most

were

few

a

last

The

sight;

almost

unexpected,

was

myself

and

artist his

lost

he

ties, entrea-

Russia.

celebrated

the

servatory, Con-

his

family of

to

Petersburg

my

climate

severe

sought

withstood

I

dreading the

St.

the

but

often

He

reserved character.

pleasure, 195

since

by

gone

his in

friends Vienna.

like

Ambroise in I

during

manner,

met

my

him

last

in

stay

Austrian

the

renowned

are

his

shall few

of

days

of

The

life

last

were

years

suffering. shall

What

the

received,

mentioned

to

letters

I two

that in

have,

and

celebration, of

several others

a

scene

never

musical

The to

to

will

Saint-Saens. offered

already

of

four

dred hun-

address

take

crowned

be

forgotten. of

Paris,

^Massenet "

former in

and

personally

his

compositions

196

me

friends

part

from

eral Gen-

world

ably ami-

most

Jubilee

my

accompany

"Werther"

"

i "

I deavor en-

ambassador.

respected

and

dear

the

of

my

The

presented

occasion

an

have

upward

American

Porter,

then

recognition.

telegrams.

and

the

I

think

you,

I

of

full

had I

as

was

expression

sincerity

the

work

and

1899,

life, for

my

imiversal

that

sympathy

Jubilee

my

12,

of

day

the

by

which

of

you

December

brightest

saw

tell

I

celebration?

I

You

on.

Brahms's

(I

over,

beautiful. later

them

study

positions com-

world

the

entrancingly

songs

His

capital.

among

but "

circumstances

compelled himself

absent

to

Saens,

affability,

his

co-operation

One

some

I

before

in

too

will

a

good

singer, no

is not two

opera or

a

-

than to

full

years

good

days

unless

me

to

work; 197

deavor. en-

is

that

school

my

concertwill

I

Tell

children

aim,

teacher.

useless. to

come

a

scientious. con-

parents

leave

our

am

fruitless

my

singer,

in

I

or

in

shall

good

mediocrity; worse

uselessly, years

to

that

have

not

pupils

my

them

that

ambition,

My of

would

best

intend

mischievous

a

it, but

you,

encounter

tell

as

money

their

each

Should

kindly

have

their

waste

the

to

who

severe,

I

spend

gratitude

wanderings,

Europe,

not

legend

his

violoncello.

for

Americans

young

am

and

closing.

holiday

study

with

concert

!

word

your

kindness

accompanied

lasting

master

great

the

voice

and

Saint-

great

and

for

Thanks

in

with honored

and

then,

just

Paris.

from

however,

composition

him,

have

mediocrity friends

your

they tell

them

have to

to

come

Do

all,

do

and

books, of

will

words,

the

over

sealed

a

beautiful And

au

and

good

have

the

of

whom

dear

now,

vantage admuch

a

they

a

are

to

wont

was

latter

"

type,

weary

the

and

give

back

come

;

coming

What

THE

rather

me

and

ripen

strength one

good-bye

rosy

years

you you,

pupils, leave

You

revoirl

bless

always

the

ing. mean-

organ-pipe!"

May

God

of

singer

a

and

significance

Gounod

message.

of

say

their

the

to

the

again,

possessor

instrument

finer

good

moderately

a

mastered

has

who

his

with

singer

A

and

;

over

go

with

yourselves

patience. vacation

to

again

a

and,

reading

fail

not

of

your

by

songs

your

penetrate

voice,

during

yourselves

improve

of

much

French,

store

a

acquire

to

and

in

lay

to

sing

not

text

German

of

knowledge above

musicians,

good

me

and

END

your

and

all

!

"

pale strong.

youth courage.

;

By

M.

E,

EPISTLE

AN

TO

Recollections

book

by a

bit

or

her

to

be

figure

incident

It into

thrown

heard

with

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that

whole

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that

is

The .

in

years.

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of

the

on

founded

is

really

on

good

to

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greater

and

Y.

iVl as

book

an

Press.

bright

a

of

made

has

and

kind

its

lished pub-

USAGES

that is

it

nothing

of

what

differs in

inspired

of

is

written

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in

that

of

stamp

this

it of

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sense

of

it, nothing

the

on

ordinary

facts the

good

by

gives

which

from

the

pretence

A

25.

familiarity

is

conventionality part

volume

chiefly

personal

and

|1

Cloth,

little

America.

in

subject."

a

that

vulgarity iV!^ T,

Advertiser,

Commercial

TRANSPLANTED

A

observed

she

entertaining

etiquette

author's

There of

life, and

delightful

16mo,

of

society,

worship

weak

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Bulletin,

incidents.

and

admirable

helpiuf spirit.

was

and

history, she

his it

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its

SOCIAL

subject its

likely upon

fortune

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most

Commereial'Tribune.

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light

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mental, Orna-

.

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of

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50.

reputati(m,

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has

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page

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an

is

book

book

travelled

national

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at

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SHERWOOD

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be

well

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16rao,

dedicated

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cents.

society

to

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any

price.

part

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above

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in

etc.

works

States,

.

will

about

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Publishers

AKD

will

details

mind,

Boston

"

BROTHERS, YORK

New

feminine

the

people,

" NEW

By^lny

to

introducing

HARPER

forms

social

ioteresting

book

cards,

sending

deal

LONDON

he

Canada,

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Mexico,

postage on

prepaid,

receipt of

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.

AS:

flli:

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^AUSlC LlBRARr

KT 820 M316

INUSC 3

6105

042

540

STANFORD

471

UNIVERSITY

LIBRARIES

STANFORD, CALIFORNIA

1983

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