Selected Content from the March 1911 Edition of The Etude
FÉLICIEN CÉSAR DAVID.(Dah-veed.) David was born at Dadenet, France, April 13, 1810, and died near Paris, August 28, 1876. He composed hymns, motets, etc., when a child. His early education was received at Aix, where he also commenced his musical... Read More
Dear friends—you who have written to us asking whether it is too late to start at eighteen, twenty, twenty-five, thirty, even forty and fifty years of age—you have no idea how close the bond between you and The Etude really… Read More
At a recent meeting of the “Musical Association” in London the leading address was made by George Bernard Shaw, he of the hydrocyanic acid tongue, the incandescent mentality and the Dantelike foresight. It was expected that Mr. Shaw would throw… Read More
Scarcely a week passes that does not bring to The Etude offices an article entitled: “What is Music?” The writers of these articles attempt to express in three hundred, or three thousand, words what the poets, historians, lexicographers, physicists, and… Read More
THE HOTEL RECTOR, the latest acquisition to New York’s collection of millionaire hotels, is equipped throughout with Strich & Zeidler pianos. Besides the pianos used in the various dining rooms and parlors of the hotel, each of the 29 suites upon the upper floors are to contain one of these instruments. The selection was made by Mr. Rector himself after a careful survey of the latest models of all makes. Strich & Zeidler, Cor. E. 140th St. & Robbins Ave., New York. Read More
Professor Brunot, of the Sorbonne, Paris, has suggested the desirability of preserving phonographic records of the speeches of famous soldiers, statesmen, scientists, etc., as well as singers. In this way it would be possible for future generations to know more of the personality of the great men of this age. He also suggests the use of sound-producing machines by explorers for the purpose of preserving records of the speech of natives in remote countries. Read More
I saw in a paper the other day that “if Verdi were to come back, and compose another opera like ‘Il Trovatore’ no one would listen to it.” Yet the work is repeatedly produced at the grand opera houses to large audiences. If it is old-fashioned and bad, why do people stand for it? If it is good, why wouldn’t opera managers want more of the same kind? Read More
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