Selected Content from the May 1904 Edition of The Etude
A taste for good music is to be gradually cultivated; it may not be driven. You should proceed cautiously with your pupils. You need not use trashy music, but your pieces should be melodious and attractive. Use bright and interesting studies,—there are many such,—and yet away from the conversional ground. The studies in the “Standard Graded Course” have proved very popular with pupils. Read More
The story of his life from this time until 1892, when he, in the fulness of his powers as a composer, came to New York, is the story of a student. He studied the works of Beethoven and wrote, made mistakes, perceived and corrected them, and persevered in the face of repeated discouragement until he won a grant from the Austrian Kultusministerium which enabled him to devote more time to composition. His compositions are not such as the piano teacher can use, but his position as a leader among his countrymen, his success in England, and his universal acceptance as one of these who have definitely influenced modern music gives his personality and life a place in our scheme of biographic study. Read More
There is no life that can more profitably be studied than that of Antonin Dvoràk. The reader must be ready to understand what is not written as well as that which is set down. He should know something of the history of Bohemia and surrounding nations, and he must make his deductions wisely. Read More
Pupils of the Patton Seminary Conservatory of Music, the Sprankle Studio of Music, Walter de Prefontaine, and others. Read More
INSURANCE contracts for musical artists show some interesting provisions. Mme. Patti insures every one of her concerts for $5000; Paderewski has insured his hands for $50,000, taking out a temporary policy of $7500 for each of his concerts; Josef Hofmann carries heavy insurance on his hands and each finger; Kubelik has insured his right hand for $10,000, with a policy for $50,000 against total disablement. Read More
