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D'SCA

ROEO

"i

UA.THItDK

UAKCHBei

AND

MELLIG

MELBA

'

i;

""

DlSCARDEt

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"

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"

."".

"""
"

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"

Copyright,

1901,

ylU

by

Harper

rights

June,

reserved.

1901.

"

Brothers.

"

"

"

CONTENTS

PAOI

iii

Preface

vii

Introduction

First

Second

Third

Lesson

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

as

than

subject

much

too

to

all

unique

She
teacher

great

the

once

of

her

great
art.
"

"

"

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

was

the

on

friendship,

much

so

would

had

and

guidance

words

few

it

book,

distinguished
had

who

one

this

my

writing

in

pen
to

employ

to

unpractised
preface

my

Melha

Nellie

by

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

of

the

most

and

love

ready

that

thies,
sympa-

and

have
in

beautiful
as

an

gone

devotion

Instructress,

Friend.

conspicuous
iv

spire
in-

to

cheerfulness,

and

Mother

of

intimate

failed

ever

self-abnegation

and

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

rated
satu-

music,

its

of

spect
re-

great

mind

of

full

the
the

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

traits

of

till

morning

for

eager

which

successes

in

as

career

unexampled

teacher.

in

When

remarkable

so

her

punctuated

manner

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

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;

such

singer

first

of

care

pencil

the

pupil

learn

to

features,

some

Europe
are

him

duet;

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

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.

merely

few

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

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

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

book

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

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

still

much

use

we

sary
neces-

is

when

singing

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

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

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

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

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

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

exceptional

With

and

voice

good

but

graceful

the

and

voice

ill -dressed,

fat,

the

guinea,

phrase,

and

than

to-day

at

woman

gowned,

The

sold

good-looking,

well

for

and

the

the

of

severe

am

ened
enlight-

dawn

ago

musical

the

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

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

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.

worshipped

about

bull

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

robustious

the

to

who

temperament

robust

energetically

stage

puflfs

exertions,

has

exceedingly

rushes

and

pants

who

person

an

side

one

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

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,

her

of

and

story

maintain

can

the

scenery

dramatic

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

no

breadth

be

can

breath,

which

upon

majestic

refinement

deUcate
the

technic

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

have
of

Mme.

of

fiorituri

"ind
Who

finish

of

the

though

Nevada,

day

that
ful
beauti-

the

exquisite

twitter

best

the

Murska?

di

Emma

has

staccati

rippling

the

present

of

pearly

lima

remember

not

who

Who

forget

the

these

Among

singing

the

which

Marchesi,

ever

the

or

emotion

instruction?

will

them

heard

poverty

activity
an

pure

her

theirs.

the

music.

Mme.

The

was

conceal

of

ever

sing.

repose

to

simulation

have

and

physical

by

colored

very

still

need

art

pictorial
never

stand

no

their

of

all

could

heard

singers

greatest

bird?
the

And

tunity
oppor-

Marche-

si's

diflFerent

Certainly
"

the

than

brilliancy
the

of

feel

in

golden

attack

faultless

of

foimdations
As

for

about
her

latter
In

as

those

an

who

of

art.

Yet

stand

her

-formation,

the

is

prefer

acting
is

that

too

imitation
so

the

excelled

not

describe
xviii

of

written
think

to

Oph61ie

Thomas's

it is her
and

of

example

an

much

and

Santuzza

close

too

Santuzza

Ambroise

in

the

delivery

singing.

as

praised,

But

tone

Carmen.

her

greater

her

Italian

and

Calv6,

Mme.

sung

management

ornament

all

less.
flaw-

with

was

of

colora-

and

is

Mmes.

ever

"

at

in

skill

her

is

breath

age

founded

almost

Lucia

confident,

highest

to

has

flute

and

which,

above

is

does,

the

placing

the

work

trill

with

tone

of

she

crescendo

cadenza

latter

"

in

scene

the

course,

one

wholly

art

The

no
"

mad

of

refer,

whose

singer

ture

in

vocal

Melba.

and

Calv6

of

of

parts

display

polish

truth.

the

singing

character,

the

light
on

who,

pupils,

^the
"

''Hamlet."
that

is

ly
usual-

frequently
Mme.

it

scribed
de-

Duse's.

forget

that

the

of

entrances

of

music

to

lines

same

of

Fully
effect

dramatic

The

is

rest

of

annotative

in

triumph
been

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the

of

possibilities

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of

of

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made

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skill

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to

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by

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its
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by

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Calv6,

treatment

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tone

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difficulties

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scene,''

agility

Mme.

opera-goers.

all, only

reached

"mad

mere

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Calv6

generally

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exhibition

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music.

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after

but,

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Santuzza

highly

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Mme.

Oph6lie

personatio
imof

of

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on

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sible
impos-

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all

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rian
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Marchesi

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fundamentals

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Gounod.
music
method

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THE

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Paris,

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1900.

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the

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than

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prodigies,''
both

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accompanied

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through

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songstress,

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young

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vellously
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dertaking
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pearance
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than

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French,

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history,

learning

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music,

Italian

enjoyment

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ruined

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look

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be

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and

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ing
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ments
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real

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life.

of

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suggest

advice

the

to

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"

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mistake

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future

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oflF

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is

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be

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teacher

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formation

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voice

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instruction
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teachers

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with

Are

stick
yard-

of

course

question.''
II

as

people

that

study?
not

six,

eight

or

seven,

granted

years

he

before
artist?

j"nished
that

pupils

after

learning

and

school

my

ten
to

twelve

or

children

your

their

acquire
other

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bread.

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instances

in

and

personal

education,

careers;

these,

in

with

distant
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prosecution

lands,

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means

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had

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12

without
brilliant

have

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imitation.

the
task.

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ability,

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can

indeed,

gifted

daughters

they

one

histrionic

for

to

many

are,

however,

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neces-

so

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send

parents

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voices,

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honorable

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plished
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would

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the

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songstresses.

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strument
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When
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Failure

to

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few

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to

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accept

to

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Ste.

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time

when

of

of
these

young

art,

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Two,
of

One

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me

pupils

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to

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ture
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ing
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of

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words,

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"

brief

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in

instruction

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to

in

cases

marriages.

to

devote

addition

over

Marie.

too,
to

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situations,

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of

dream,

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of

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yotmg

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girl,

American
13

endowed

stance
in-

An

penalty.
me

much

ing
charmwith

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lovely

mother,

lady

to

of

miamiable,
of

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study

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child

poor

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14

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ing.
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her,

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The

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to

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ment;
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domestic

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prepare

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my

and

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mother

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had

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sisting
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paler.

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few

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She

practising

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bidding
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progress,

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upon

with

Paris

came

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air,

small

voice

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as

displaced
outward

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choice

artist,

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songstress
j"nished,
sister.

by

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orchestra,

;
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cert
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of

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be

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oughly
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art

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the

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etc.,

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stage;

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interpretation,

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and

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all

study

diligently.

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in

power

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and

ality,
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"

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voice,

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a

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methods;

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unhesitatingly

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intonation

When

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often
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rises

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completeness
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while

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shortcomings.

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public,

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or

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overlook

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all

singers;

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the

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favor

highest

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position

attainable.
But

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for the

student,

himself

worthily,

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knowledge

of

of

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human

voice,

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leading
B

love

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work,

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the

the

musical

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of patience

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with

of composition,

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so

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an

acquaintance

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do

divisions

with

siders
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give

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To

song.

study,

familiarity
a

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mentalist,
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vocalist,

herself

art

Every

every

worn-out
or

the

ers.
teach-

of vital moment,

one

musician,

every

in

subject of

is overcrowded.

every

talent,

is

question

profession

lessons

to the

to turn

now

guages,
lan-

and

are

an

among

instructor.

17

453755

If

intending

the

look

teacher

the

to

something,

work
a

of

mastery

Manuel

with

of

public

it, and

faced

time,

the

splendid

of

In

addition

in

thrice

week

shone
bore

box

in
the

the

zolini,

Persiani,

blache,

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the

days

Opera
tenor

we

that

helped

of

in,

and
now

i8

that

stars

They

LaIn

Ronconi.
Mme.

the

the

Stolz,
In

others.
that

Frez-

Mario,

of

were

and

Tadolini,

Alboni;

House

bought

firmament.

Grisi,

and

velopment
de-

my

Opera,
the

upon

lyric

Duprez,
Uve

Italian

gazed

names

French

advantage

the

the

at

his

to

had

felt

shyness

powerfully.

most

in

equipped;
without

art

the

appeared

future

teaching,

exemplars

seat

when

apprehension.

or

period

regretted

suitably

was

song.

teacher,

over

never

for

disclose

revered

my

the

to

of

art

extended

years.

outlay

of

complete

Garcia,

four

criticism,

pupils

whose

the

studies

My

of

conscientiously

and

hand,

accomplished

has

r^ardless

himself
in

of

that

who,

addresses

instruction,

seeks

pupil

the

music

period,

the

of

than

claiming

has

art,

the

neglect,

doomed

list

of

singing-teacher
his

in

the

the

bel

is

sadly

study

en,
shrunk-

for

and

student

guided

be

path.

proper

In

next

my

readers

shall

how

yotmg

coimsel

be

followed,

be

carried

the

possess

may

the

to

canto

need

greater

to

that

art,

models

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whence

strength

more

of

the

established

an

and

on

explain

how

to

reach

to

teaching
teacher

their

the

fair
my

studies

desired

and

should

should

end.

THE

LESSON

SECOND

languages,
the

outset

to

few

of

of

their

education,

from

homesickness

acutely

their

interrupt

to

foreign

parts,

taken

to

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her

that

of

pressure

and

manners

especially

in

deceptions
often

were

selected

from

home.

to

it

that
that

countries.

avoided

is

among

also
the

abound
24

the

her

numerous

Paris,

future
traveller

departure

desirable

in

those

Bitter

young
to

and

incidents
if

the

previous
It

customs,

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of

dwelling-place

entreaties

unlike

very

"

there,

Europe

over

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be

in

hotel

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urgent

all

and

or

maiden

Opinions,

France,

in

home,

to

go

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the

are,

obtaining

would

family

to

"

proprietor.

the

be

should

care

inexperienced

happens

travel

girl

"pension,"

compelled

it often

under

of

be

not

may

the

cumstances
cir-

Should
the

have

to

as

well-conducted

good,

order

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have

that

alone

the

from

studies.

require

companion.

pupils,

my

undertake

she

with

trip unprovided

Not

so

should

nor

to

see

sions"
"penfor

ex-

the

ample,
which

in

her

of
the

and

from

changed
cannot

they

felt

that

have

settled

discontinue

their

native
let

considered
the

theatres

family

be
;

in

this

is

considered

much

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it
to

make

of

blame
in

toms,
cus-

is

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try
coun-

This

must

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attaches

foreign

natural.

quite
these

or

to

of

members

France,

of

Paris,

escorts.

with

practice,

to

disregard

male

done

return

that

concerts,

or

trips with
only

in

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to

as

Speaking
observe

here

others

and

and

studies

climes.

me

before

times,

discouraged

so

grown

that

"pension,"

home;

at

lungs

girls

to

many

or

ment
develop-

the

to

young

how

piano

impossible,

but

"pension''

say

at
the

injury

known

have

their

of

all

pupil

the

wall,
is

chance

great.

voice

the

tilated
ill-ven-

small,

seated

the

against

placed

occupy

where

studies

wherein

may

In

rooms.

houses

and

good,

bed-chambers,

prosecutes

find

singing

study

airy

sunny,

is

table

the

that

those

residents

young

parts

Through

conventionalities

tri-

25

mmm^

incidents

occasionally

melancholy

consequences.

fling

among

least

my

two

of

cases

much

afl"anced

The

pair

were

of

approved
she

enough

me

to

of

course

that

She
and

marrying.

upon

wedding
sent

set,

was

forth

on

and

the
26

spite

the
The

and

the

evening

that

advised

shortly
in

to

as

thanks

with

would

entreaties,

with

letter

solicitude,

but

held

counsel

filled

came,

old

was

mother

The

writer

the

Paris.

insisted

were

action.

cern
con-

any

she

the
her

was

replied

herself.

ask

answer

mother

pupil

that

for

motherly

my

and

and

her

herself

acquaint

to

situation

warnings

the

head,

everywhere.

my

given

choose

duty

in

match,

voice,

countrymen.

whether

to

not

to

my

came

for

had

this

on

the

the

her

together

as

tion
disposi-

beautiful

of

one

me

pupils,

my

musical

seen

inquiry

my

that

to

caused

of

with

gifted

was

To

of

giri,

recall,

experiences,

that

sort

One

American
and

it

this

ing
entailI

pleasant

annoyance.

an

arise^

come

of

her

daughter
day
invitations

previous,

of

the

however,
of

because

daughter
I

sadly

deceived

second

instance

still

also

to

the

her

of several

father

the

threw

falling ill,she

She

now

the

teaches

United

deplores,

weeks

States,

I doubt

later

not,
27

and,
her

fidence
con-

she

advising

The
a

in

and

ceived
re-

her
the

despair,

her
a

quaintance.
ac-

deception

fit of

suspended
singing

swered
an-

her

married,

her

family

make

to

children.

and,

she

his

that

girl into

young

her

fullest

the

was

self
her-

of

and

Russia

intended

best

my

aught

Paris

from

The

perhaps

of

knew

few

that

questioned

and

visit

letters

in

man,

once.

engaged

had

she

her

from

was

family,

that

at

One

she

that

soon

home

American,

husband's

would

and

creature.

Russian.

in

she

to

the
take

not

tidings

referred

an

future

for

young

whether

to

as

had

painful.

more

pupils,

that

sail

to

again

never

to

would

further,
were

that

me

tinfavorable

ceremony

and

place,

wrote

reports

the

groom

mother

studies.

small

looking

credulity.

town

back,

let

But

of

stories

the

and
the

anent

by

experienced

the

study

who

of

of

their

admirable
The

of

names

bright

as

of

proof
of

far

it

is

teacher.

myself
and

hold

voice

to be

the
the

education
most

results

only

to

were

body
every-

having

of

this

to

teachers

confined

have

branch

of

of

female

difficult.
28

smaller

far

essential

studies

exclusively

are

nimiber

The

without

as

of

served

ago

Nowadays,

voices,

women's

sexes.

students,

the

now

duced
pro-

both

was

singing,

speak

and

singers

advance.

the

prosecuted

it;

long
for

brilliant.

more

teaches

for

who

present;

at

imparting

of

students

and

teachers

than

it

groimd,

exemplars
what

made

celebrated

the

Germany,

Italy and

practised

who

pupils

the

thereof.

was

before

years

versation
con-

and

song

teachers,

sure

were

of

art

stinate
ob-

our

knowledge

noble

this

past,

ful,
youth-

and

resimie

art

of acquiring
the

of

credulous,

maidens,

In

distressing

disappointments

inexperienced,

means

these

from

turn

us

the
A

art,

thorough

voices

of

and

by

is

of

musical

of

study

the

the

which,

question,

voices.

Then,

the

patience

infinite

with

whatever
attain

to

celebrity

of pupils, young

proclaim

that

facilitating

hard

avoid,

the

helping

and

they

have

the

voice, its strength,

sess
pos-

slowly

and

ing
unyield-

29

quickly

large

array

often

discoveries
and

song,

development
compass,

time,

same

teachers

made

of

qualified
un-

must

To
a

rising

study

by

and

at the

attract

and

work

numberless

be anti-natural.

may

before

difficult

develop

to

frequently

teacher

prudence

voices, and

teacher

performed

too, the

or

made

too

sacrifices

persons,

singer

voice

the

enjoy

to

or

have

is

as

enough

good

female

read

to

nowadays,

case

as

should

imdertakes,

one

in

become

One

singing.

pensable.
indis-

not

disposition,

to

songstress,

deep

is

reputation

widespread

of

it

physiology^

stowed
be-

as

absolutely
sufficient

not

of

sorts

registers

is

nature,

on

to be

different

three

the

It

books

the

of

comprehension

and

cially
espe-

of

the

quality.

invite

notice

teachings,

false

rejects,

which
and

few

of

these

long

my

against

rience
expe-

which

warn

readers.

my

Some

I.

of

To

voice.
but

clear

caution

is

voice.

The

infinite

of

months
tones

from

study

imperceptible.
soprano

difficult

of

voices.

pupils
singing

are

to

in

are

airs

vocalize

and

for

and

songs.
30

the

passage

becomes

mezzo-

regard
than

had,

is

ful,
power-

and

this

some

before

another

management

that

in

and

and

the

registers

necessary

even

have

for

voice

the

Contralto

voices

the

unyielding,

register

one

them,

peril

when

made

are

greatest

difficulty;

extreme

hard,

naturally

ence
exist-

boundaries

of

particularly

cases,

their

connection

offers

their

equalizing
of

with

are;

the

and
in

female

There

of

had,

overstepping

fraught

the

answer:

understanding
be

there

say,

in

registers

exercised

the

often

prophets

new

this

must

for

the

three

not

are

the

but

to

more

soprano

still

months
This

have,
before
is

which

the

wearies

call

women

breathing.

cold,

dear

my

"it

for
the

comes

by

become

dry;
when

this

nonsense?

to

sheer
learn

three

are

only
be

unused

one

is

he

that

natural,

the
and

upper

or

lateral

unconditionally
often

resorted

forbade

me

this
Is

afterwards
There

of

32

to

matic
"diaphraging
involv-

breathing

young

which

therefore,

ribs

breathing"

by

not

rules

make

is

lower

the

me

not

and,

the

me

does

must

rejected.
to

let

airs."

This

recommended.

no,''

assuring

breathing,

breathing,"

your

forbidden?

of

remark;

"Oh

Why

and

ways

an

palate

singing

anything

remain

have

teacher

my

but

breathing

"You

nose,

doing

so

tones,

two.''

my

voices,

postpone

"my

answer;

so

to
or

young

of

lady,"

day

through

breathe
that

sound.

better

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.

that

such

victims

larynx.
seek

to

their

of

ignorance!
suffering
and

from

ultimately

that

singer,
three
A

There

practice-hours.

of

teachers

two

the

voices.

Length

of

so

natural

and

pressure

larynx

the

losing their
4.

free

by

for

Alas

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

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

room.

of

in

when

the

brain,

of

edges
cords

of

the

provided
a

"coup
be
where

hard

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

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

that

35

as

pupil

the

of

change

her
in

unfortunately,

happens,

tone

"voix

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

mouth,

teachers.

to

and

produced.

the

from

take

smile
but

of

sort

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

their

dangerous
from

prevented

schooling.

good

internal,

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

lost

in

am

flowing

bearing,
down

hear

voice

mouth,

of

stately

her

have

to

me

and

faces,

noses?

ready
al-

offend

most

When

ears.

ican
Amer-

discern

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.

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-

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

most

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-

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

increases

deprecate

noble

producing

which

the

concerns

and

food

The

How

chapter!

bouillon

to

food

in

in

that

morning

the

appetite.

Against

of

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

lesson

discourse

friends

American

young

first

well

bodily

in

the

fear

of

displeasure

the

under

fall

may

In

is

as

the

no

condition

for,

very

good

have

evil

hard,

My

assurance

consumes

food.

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

Another

vastly

my

particular,
give

advice

Above
be

so

all,

observed
that

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

Madame

Madame
voice

wish

she

me

is

fear

of

if

being

under

tears

her

is

would

these

singing

studied
time

have

them

had

thrice
another

mediiun;
and

encouraged

has

produced,

organ

ability
believe

my

method.

My

to

me,

the

by
that

indeed,

do

Anticipating

so.

etc.,

of

high

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

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

since.

will

you

complete

escape

perhaps,

and

people

beg

can

yesterday

rest

no

and

case,

direction.
and

or,

the

heavenly,

but
I

severe.

this

heard

had

teacher,

Its

follows

as

is

have

tormented,

your

sensitive,

terribly

candidly

singing

so.

with

study

to

that

less

no

girl.

are

1900.

peculiar

German

young

Her

lo,

very

Marchesi,"

Melba.

her

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

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,

related

asked

the

leave
with

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

(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,

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

Personally,

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

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?"

the

made

I ask

May

you

through

single

difficult.

more

object

Professor;

of

production

the

the
my

also

personally

air,
mands
debeen

impart

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

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,

which
under

wrote

quent
fre-

''To

whom
of

to

fair

was

tests

subjected,

Marchesi,
think

who

the

patience

and

faces

thetic
unsympa-

lose

the

selfdif-

ficulties of music

were

Italian
melodies

music

was

in

far

melody
must,
is

opera

the
and
pecially
escerned,
con-

musical

thorough

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

the

and

organ,

of

her

lovely
she

time

impaired

voice.

In
both

acquired

rose

that

women

class.

had

made

and

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

regarding

Nellie

When

on

furnish

I will

Here

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

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

maiden

success

Imperial

the

for

little

evening,

Her

the

Paris,

engagement
to

the

songstress

ill.
on

still

rehearsal,

and

career

engagement

My

of

Gabrielle

brilliant

House

previous

for

taken

chance,

when

upon,

''Paradise

suddenly

f eUcitous

fortunate

part

substitute

nothing

the

owes

to

career

been

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

Seville,

but

convinced

am

of

career

the

familiar

of

Speaking
I

think

is

Blanche

and

Nature

pupils.
of

When

the

attended

small

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

brief

my

endowed

tender

words

my

genuine
she

pupils,

consent?

begin

infancy

From

their

therefore

will

and

sujfficiently

few

the

worlds.

concerning

Have

of

prominent
say

now

may

Blanche.

story

both

most

my

readers

dear

my

the

is

of

public

the

to

others,

and

renowned

my

Gerster,

Calv6,
that

most

of

such

Etelka

Emma

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

growth,
singing.
home
she

When

and

at

place

took

musical

in

our

others

took

after

six

endured

and

She

given.
than

of

any

to

the

My

daughter's

marriage

but

of

impulse
up

from

years,

late,
of

her

wholly

an

heart,
to

art.
52

ly
thoroughpupils,

she
Her

voice.

female

her,

turned
artistic

career,

irresistible

the

following

have

should

teaching

of

some

gave,

complete

more

cultivation

Vienna,

my

my

her

soon

Blanche

understands,

do

me

from

weeks,

the

for

in

During

Paris

lessons

the

satisfaction,

and

Gounod,
interest

and

imaided,

alone,

the
Am-

prostrated

in

arrival

my

that

Rubinstein,

which

illness,

severe

ings
dwell-

All

individuality.

extraordinary

art,

matinees

lively

her

private

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

as

joy

of

pride

and

my

life.
Of

of

those

themselves

instructions

impart

they

that

so

in

and

thrice

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

themselves,

when

days
he

often

Garcia,

deUghted

greatly

taught

the

which
The

still

Manuel

celebrated

in

educators.

who

master,

useful.

numerous.

too

accomplished

often,

which

find

imagine

or

factory
satis-

quite

but

not

are

studies

their
too

this

made

teaching,

instances

the

do

can

of

certificates,

cannot

Unfortunately

thus

am

are

them

they

advice.

my

way

results

award

after-life

their

the
I

month

with

acquainted

experience,

seek

cases

they

gratuitously,

gather

may

devote
that

exact

even

difficult

Twice

in

teaching

to

that

pupils

my

seeking
counsel.

whom
in

I
ficult
dif-

This

proved
Garcia

was

months,

been

committed
classification

so

Such

for

to

trained

the

aside

and

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

in

known

through

take

explain,

singers

I have

to

hopeless
with

great

had

this

notice.

my

defects

they

can

soprano,

fraught

not

prevails?
who,

mezzo-

of

the

are

other

scarcity

the

apprehension

to

Does

many

to

bring

they

in

instances

blunders

voice.
from

me

mistakes

"

as

brought
of

the

voices

incomprehensible;

danger,

again

teachers

Many

dulness

the

to

over

at

the

been

victims

for
of

astonished,

years,

of

on.

have

handed

modern

being

and

is

late

by

soprano

work

to

consequence

greatly

in

again,

sort

he

As

pupils.

young

I have
and

the

accident,

his

all

after-days.

unable

once

through

riding

in

helpful

most

in

the

they
an

operatic
B

or

third

or

were

not

exceptional

THE

FOURTH

LESSON

LESSON

FOURTH

THE

Paris,

IN

last

my

in

into

is

Italy

method/'

readers

in

printed

Pietsch,
in

Teaching

of

New

as

York.

thus

is

Singing/'

Madame
of

chapter
It

Umbrella

paper

by

least.

her

depicts

Art

The

of

Lankow-

experiences
the

new

singing-method'':

"American
"In

written

lation,
trans-

afford

at

the

musical

telligent
in-

may

"The

the

it

that

entitled,

is

and

Song,

append

is

article

paper
news-

highly

amusement

some

in

belief

my

Method

this

bring

umbrella

upon

invention.

the

"

the

their

anxiety

to

59

teacher

to

to

describing

( ?)
in

refer

of

spoke

that

happened

article

endeavoring
I

1900.

25,

think

method

popularity.

The

letter

singing

new

September

secure

scholars,

teachers,

male

other

seeking

of

in

initiation
of

art

his

then

resonance,

them

back,

down

into

the

recommends

then

the

length

to

with

water

is

the

upon

told

the
of

lessons
For

five

or

six

writer,

most

is

however,

was

60

pel
ex-

the

they

tell

singing

lessons.
in

stands
at

until

the

to

vocalist

interesting

and

breathing

supposed
the

the

and
in

blows

distant,

of

limg-play

The

and

room,

paces

placed

gives

pupil

the

This

moves.

the

the

of

centre

and

Again,

as

filled

ruffling

that

well

former

the

"

glass

without

teacher
as

herself

or

draw

slowly

their

up^stairs

region,

fluid.

the

female

to

and

other
An-

run

brought,

breath,

surface
of

then

head

breathing,

stomachal

is

pupil

sofa.

pupil

stomach.

himself

on

the

increase

"

full

the

good

pupil

throw

of

his

to

insure

to

each

methods

bids

into

first

system,

with

mysteries

method

tones

draw

and

the

One

vie

practical

out

into

song.

throw

female,

and

of

the

feather
feather

strengthen
the

future.

experience

of

gathered

with

the

studies

her

under
the

to

as

'

said,
"

that

the

to,
umbrella

The

Being

ed
ask-

until

then

had

intending

student

'

method.
Pietsch

Lankow

Madame

hiunbly

confessed

having
She

the

room

The

tone

to

the

to

be

is

expanded

tone

home,

is

and

the

be

must

the

himself

its

volume

the

be

reduced.

pupil
or

the

must

herself.
6i

is

tone

umbrella

the

dimensions

fullest

the

open

indicates

Gradually

strongest.

closes

struck.

slowly

of

When
to

is

to

power

of

another.

proceeding

increased.

must

in

sung

begins

that

that

be

to

which

pupil

teacher

the

comer

one

pupil

the

teacher

umbrella,

the

with
features

in

stands

that

the

tone

method.

and

the

this

its

of

teacher

"The

never

furnished

account

application

means

of

thereupon

following

an

information,

heard

yet

as

was

Then

of

need

her

continue

to

guidance.

method

adhered

been

wished

who

lady

young

umbrella,
of
In

the

which

pupil's

practice,

manage

Madame

the

at
brella
um-

Lan-

kow-Pietsch

admitted

this

with

pupil

method,

of

profound

While

in
""

method

not

voice.

been,

ever

is

are

Of

the

more

marked.
still

is

the

of

the

in

of

there

nor

the

been

can

in

be

it

with

are

countless

me,

respect

right

tem
sys-

imparted

easily

for

62

to

The

cannot

the

ing,
astound-

more

masses

song.

teaching

writing,

especially,

teaching
still

share

that

years,

of

of

it
that

discover

incomprehensible

more

tuition

everybody,

harmful

the

to

to

late

credulity

of

have

and

am,

teaching,

me

But

as

damaging

modem

vagaries

are

just

contemporaries

many

have

that

more

for

may

but

foe

of

views.

my

still

pleasant

most

there

provoking,

sworn

characteristics

"lunbrella

others

While

with

systems

are

and

the

intending

presence

kindred

accordance

the

there

nonsensical
to

her

able
un-

contempt."

and

mirth

so

was

the

Germany

floiuish,

not

in

and

from

departed

air

an

she

instruction

impart

to

that

be

physical
rules

to

down

set

ment
instruand

ex-

the

rather,

drawing

glottis,was
the

wont

desired

extinguished
that

the

the

light

the

by

singing the
issuance

steadily.

of the

horizontal

it

with

and

rose

difi"cult

tone

the

maintain

to

To

paper-cutter,for example.
a

beautiful, resonant

is

tone

When

in

made

the

fect,
imper-

or

with

"

the

that

forth

tongue

throaty

tonsils

the

avoided, and

in

depress
bring

tone

quite flat, so

be

must

closed,

tongue

article

smooth

was

proved

position, would

some

dle
can-

light

when

open;

tongue

Garcia,

the

attack, this

glottis was
burned

lighted

When

them.

the

strike

them

make

to

tone, holding

before

of

together

not

are

pressed together.
defects

individual

Many

singers

exist among
be

by

overcome

and

conscientious
little
never

the

with

yet injured

any

depression
however,

of

must

the

might
of

the
one,

be

candle
nor

the

resorted

The

teacher.

tongue;

only

that

instruction

expert

experiment

comings
short-

and

has
the

has

latter,
to

in

64

special

tire

might

it

for, if frequently

cases,

another

note

will

or

inserting

small

recourse

upon

my

pearly

in

classes

of

will
often

in

questions

the

doing

so,

to

more

instruction

was,

this
I

in

their

show

insist

depressed,

will

with

in

65

of

now

the

answer

Before

revert

once

Garcia,

plaining
ex-

much

tance
impor-

classes.

Class-

so

conservatories;

verbally

division

must

those

me,

regard.

attach

in

which

be

instruction

to

of

jaw

the

studies

why

depend

teacher

of

to

however,
my

to

the

made

as

seldom

very

open.

school.

my

tenance
discoun-

and

lower

by

between

coimsel,

Let

writing,

wood

it, preferring

the

is

this

but

weary,

not
can-

Many

altogether

finally

mouth

Inquiry
and

of

treasures.

the

and

piece

spoken

it that

upon

overcome

method,
to

pupils

pupil

mouth.

to

cannot

this
have

demanding
a

her

open

also

must

one

sometimes

not

teeth.

my

and

endeavor

teachers

organ.

defect,

attention:

close

the

the

attempted,

days,
all

only

parted
im-

teachers

Paris

in

The

most

time

were

first

the

of

voice

and

female,

bers,

it

was

nor

prevails,

now

asked
After

gia,"

and
in

Arsace,
I

while
soul

so

duets

Arsace.

At

who
wrote

pupil
knew

her,

learning

it

r6le

with

66

the

me

long

two
and

Semiramis

acquainted

Madame

Leblond^
I

Semiramis.

of
so

appears,

compassionate

I became

Garcia,

La

Bor*

For

some

sing

r6les,

BarbierCj"

commenced

length

the

when

"Lucrezia

between

of

Hence

out.

"Sennramide.''

beautiful

with

in

would

that

it

as

several

"II

in

sought

then,

leaves

studied

on,

nima-

one.

Orsino,

Cenerentola,

nities
opportu-

concerted

aspen

Rosina,

as

pupils,

had

pupils

any

had

such

for

his

were

practice

Uke

sing

to

the

the

in

private

or

bring

to

trembled

they

than

never

duets

sing

to

sought

most

Garcia's

contemporaries.
male

Ban-

experienced

the

my

and

the

more

cultivation

in

Bordogni,
being

because

instruction.
teachers

celebrated

Garcia,

derali,

after,

individual

gave

touching

an

appeal

that

it

studied

she
From

with

that

instruction,
I

individual

care.

instruction

But

which

"

the

the

am

sole

pass

may

In

class.

seen

this

"

into

to,

respect
start

of

first

the

been

again

the

67

in

which
second

students
concert

larly
particu-

pupils
negligent,

the

class

students'
is

I most

sadly
from

the

or

named,

of

preliminary

this

from

in

two

The

opera

alas

sionals.
profes-

all,

voice,

education

for,

they

classes

comes

the

musical

general

order

class

the

as

accompanist.

preparatory

must

in

training

of
in

described

First

when
like

four

have

be

may

classes.

in

cial
spe-

imparting

work

subject

the

to

now

when

demands

save

to

give

only

ceased

amateurs,

to

school.

my

is

since

long

all

seldom

singer

with

it

then

and

ever

ual
individ-

oppose
very

themselves

bind

for

now

of

if

avoid

to

to

lessons,

education

the

but

might.

my

only

duets.

two

determined,

not

and

pity,

to

the

me

day

lessons,

gave

her

moved

very

have

and

begin-

singing

mastered;

be

generally

students

their

beneath
it

their

will

thank
for

As
of

by

rapid
the

work

long

the

while

of

the

slow

hapless
the

ere

entered

with

been

where

the

hoarse

by

student

must

real

art

clear
68

only

or

is

progress

has

ing
trainmatter.

forced,
organ
wrong

wait

struction
in-

of

course

the

When
of

breathing,

equalizing

and
a

personal

upon.

the

tone,

formed,
per-

rebels

the

unspoiled

made

connection

registers,

voice

or

for

defects,

be

is
attack

is

yoxmg

wearied

methods,

is

that

must

be

little

required

slight

if the

the

on

determination.

my

voice

claim
pro-

must
the

as

it wearies

that

on,

time

voice,

the

marred

is

the

the

When

for

me

it

voice;

task

the

later

and,

the

declare

but

arms;

dozen

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

ning.

vocalization

of

the

on

the

vowel

then,

only

do

await

that

attained,

are

the

to

say

persons

young

"

deliverance:

their

"Children,

"

will

be

begin

to

to-morrow

shall

you

of

each

for

pupils,

in

confidence

of

its

see

that

vowels,

of

the

of

art

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

to-morrow

words.

on

paper,

me,

only
As

sing

the

you,

sing.'"

to

are

and

pencil

forth

holiday;

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

be

text,

this,

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

which

teachers,

quent
fre-

are

not

up

gathered

experience
these

set

to

me

skilled

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

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

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

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

of

the

of

made

are

have

mechanism

repertoire

singers

already

and

knowledge

Here

the

of

mastery

voice

that

sing,

to

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

Elsa,

"Die

Fliegende

are

the

of

Wagner,

study

in

in

Elizabeth,

works

for

pupils

my

Eva,

in

the

As

repertoire.
have

Puccini,

Mascagni,

Humperdinck,

and

Senta,

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

The

words

are

thereby

issues

harsh

singers
past

knew

vowels

to

of

the

make

to

the

with

"

This

tone.

for

the

blows

and

voice,

taught

distinct

more

attack

strong

the

are

it,

put

to

come

of

They

hard

that

cidtivation

the

"

have

singers

Germany.

pronounce

text,

with

for

pronunciation

new

Wagnerian

struggle
me,

the

is

vocal

cords,

from

sounds

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

how

improper,
middle

of

alasl

remain

open,

singer

the

specimen
with

declaimed

follows

to

the

phasized
em-

in

the
how

etc.;
in

when

great

new

glottis

injury

the
must

of

the

The

may

twenty-

gefcen,

the

words

els,
vow-

The

of

erroneous,

the

The

initial

prescribes

stefeen,

sefcen,

few

harsh.

-five

pronunciation

the

Wagnerian

hammer.

further

method

Rossini

''storming

the

mean,

with

canto

are

very

twenty
woidd

blows

bel

the

to

sound

which

beautiful,

Subjoined
sung

once

comparing

style

which,

their

was

shod;

ago,

barricade/'

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

/,

^s

Of

Evening,

An

beneath

sat

Ancient

^n

Oak

Over

mused

^nd

distant

^n

past,

O'erpow-

Anguish

ering
Overcame

me

And

thought

At

wept

Absent

Of

friends.
Of

The

with

joys.

Evanescent

Of

Advancing

reconciliation

not

be

of

effected

the

this

of

pronunciation

Age.

in

my

bel

sort

time

canto

will
tainly
cer-

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,

Csillag,

singer,

Court

in

Frau

Liszt's

although

from
at

that

memory.

morning

the

Elvira,

Donna

date

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

birth,

by

Austrian

an

possessed

conduct

to

tormented

Hungarian

therefore

right

much

forgot

none

and

People

to.

the
I

one

sharp
alon6,

said, could

he

that

it

true

friend

was,

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

was

towards
a

few

It

not

was

able

to

resume

weeks

In

to

care

imitation.

it

period

8i

never

again

was

this

at

turned

have

of

marvel

day

and

fever,

on

literally

was

for

example

coimtless

House,

I should

my

of

all

music-hall

and

it, though

commend

{Donna

venture.

however,

stood

Ottavio),

large

to

of

audacity

out

the

at

Giovanni),

Opera

platform

through

hour

{Don

their

sung

the

made

Titiens

{Don

returned

appointed

the

on

who

though

hurriedly

Herr

had

times

bed,

my

Theresa

Herr

whom

from

Madame

Anna),
and

Ill

Liszt,

at

abandon

to

distress.

went

with

part

I decided

aid.

impossible

was

toilet,

hasty

to his

come

that

Vienna,

long
my

ner
Wagand

honored

for

singing

differed

to

fragile,

female

frankly

that

his

importance.

positive

the

study

gladdened,

his

direction.

In

show.

stand-point
me.

I
"

to

speak
"

82

as

of

cause

read

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

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

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

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

time

long

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

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

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

""

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

disclose.

of

is often

has

this I shall

and

public.

to be

"

^'^

w.^

..^:

sort

of

in this vein,

w--

V.

.^^.^\w^

..

'

.
^

theme.

studies

their

^
c

WW-

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

But

has

sunk

her

by

In

career.

though,

set

when

raised
and

their

sex,

must

singer, even

and

precise knowledge

being, and

my

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

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

The

active.

become

their

as

society

their

over-sensitive,

grow

abounding

soon

and

caprices

amiable,

and

As

itself
toss

with

simple,

pliable

confiding,

in

usually

are

to
my

class,

their

brated
celehave

brought
of

hours

study,

Referring

the

that

restoration
pass

Time

is

of

and

of

term

these

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

vocalizzi

before

months

years,

and

pupils.

my

possessed

It

made

the

organs,

account

study.
persons

young

year

my

voices,

of

to

this

on

desire
the

diseased

become

to

sistance
as-

defects,

legacy

needed

kinds

of

when
their

the
I

natural

health

as

method,

unaided,

instruction,

different

to

shall

alone,
without

of

the

of

fortune

accompanist.

an

day

emphasize

to

it

method

my

this

voice-training

my

myself,

correction

the

these

conduct

of

training

to

neglect

not

accompanying

that

to

to

anew

must

fact

remain

their

kind.

invariably

been

class,

and

during

grateful;

and

faithful
has

satisfaction

me

six
to

singers
to

learn

eight
the

or

for

3,

24

Opus

5,

24

vocalizzi

for

6, 24

vocalizzi

for

soprano.

mezzo-soprano

contralto.

Opus
or

vocalizzi

Opus

mezzo-soprano

contralto.

Opus

Opus

vocalizzi

30

32,

Opus

33,

and
10,

Opus

4,

Opus

II,

mezzo-

for
of

contralto.

deep
for

style
of

studies

12

voices,

two

contralto.

studies

12

prano.
mezzo-so-

for

vocalizzi

24

for

vocalizzi

14

mezzo-soprano

Opus

for

style

contralto.

or

soprano

of

studies

12

7,

soprano.

for

style

mezzo-

soprano.

for

8, 14,

Op.

16,

two

voices,

for

three

voices,

and

18,

26

contralto.

studies

of

"

Italian

with

soprano

words;

agility
theme

variations.

and

Op.
Ave

vocalizzi

mezzo-soprano,

soprano,

for

22,

for

contralto.

and

soprano

Opus

vocalizzi

18

8,

Opus

and

24

Marias,

Opus

9,

with

study

and

Offertories

25"2

Latin
of
88

words.

agility

for

mezzo-

Italian

before

though

as

Don't

lesson,

singing
pupil

new

were

not

Stand

and

settle

hang

your

naturally.

Hold

You

too

stoop

behind

free.

sol
must
the
not

take

do.

voice,

gives
the

your

chest

may

No,

not
You

rapidly.

No,

that

coimt.

While

taking

while

holding

ten;

expelling
Now

voix

open

will

your

smile?
the

blanche

expel

it, ten.

grinning

that
the

say.
arms

your

the

up

not

good

Why

half-breath.

slowly

very

it

head,

breath.

count

while

mouth.
That

shall

feet;

and

will

it, five;
Good,

too

keep

breath,

deep

breath

but

but

that

take

was

both

put

so

Now,

That

breath

much;

get

platform,

on

your

up

will

the

firmly
head,

young

you

upon

back,

your

dear

my

alarmed;

be

well.

very

please,

Open

frightened,

are

lady!

be

first

me:

"You

do

the

give

now

speak

on

with

variations,

words.

I will
and

and

theme

soprano;

white

"

tone

mouth

striking

the

naturally;
89

soft
the

palate.
lower

jaw

must

be

jaw

is

motionless.

the

cords;

attack

it
the

one

sing

the

as

tone

let

last

register.

in

beginning

the

connected

and

made

must

eventually

practice.

That

will

be
first

the

home,

four,

then

so

that

five

sufficient
month
I

do

keep

may
90

which

end,

through
then

two,

Good

tones.

for

be

attention

first

me

then

expected

attained

be

for

Sing

but

that

to

the

to

registers

even,

directed

be

to

respect

be

the

sition
tran-

ceptible,
imper-

middle
to

to

register

be

in

not

that

must

three,

is

It

passage

the

register

the

is

Try

that

so

from

gerated
exag-

That

chest

likewise

do

transition

head

the

middle

and

the

of

not

harsh.

the

another.

tone

the

to

an

sounds

to

possible,

as

is

study

us

you

do

again.

once

register

softly

That
and

the

when

forth;

glotte,

tack
at-

together
that

hard.

so

Now

from

comes

de

the

right.

air

tone

coup
Strike

care

upper

Now

drawing

take

no

the

as

Good.

by

tone

vocal

strike

depressed,

ing
Dur-

to-day.

not

practise

watch

of

your

at

breathing,

register

from

sage

here,

however,

imparted

will

to-day

You
not

was

cheer

up

each

do

day

of

the

October,
I

of

let

beginners,

proffered
general

way:

as

the

if

Au

September,

on,

pupils

wish

of

an

already,
is

tage.
advan-

dealing

with
of

word

letter,
to

in

great

so

this

year,

quarter

earlier

91

cold.

repeat

you

then,

school

now

an

lady,

young

in

them

am

me

in

instruction

Now

me

later

accord

strange

to-morrow!''

daily

of

will

listening,

catch

to

rush

And

by

dear

after

them

cannot

is

hour's

not

come

tion
instrucyou

terrible.

instruction;

hour's

that

and

Remain

what

my

beginning

the

give

very

pupils

When
at

see,

so

until

revoir,

first

you

and

the

familiar,

The

possible
im-

might

pupils;

and

become

to-morrow.

is ended.

follow

much,

is

you
you.

other

to

learn

thereby

taught
and

it

method,

study

have

all

pasr-

lesson,

the

misdirected

undo

it

single

comprehend

through

your

register;

to

in

that,
should

and

attack,

your

vice
ad-

in

preserve

voice,

your

dancing,

rides,
all

exhausting

speedy

the
and

of

decisive

song

and

you

choice.

brief,

"

exercises.

diversions
art

mobile
auto-

in

rowing

physical

these

of

bicycling,

renounce

an

must

tween
Be-

tion
acquisimake

THE

LESSON

SIXTH

i6,

September
all

and

obstacles,

the

of

concerts

capital

foreign

composers.

the

days

of

or

of

the

in

inclining
strikes

me

and

that

should

be

works

nowadays
alternate

in

peace

96

the

not

few,

each

united

phrase,

of

dred
hun-

perhaps,

one's

taste
it

direction,

that

proper

should

useless,

shapeless,

was

different

as

it

out

but

those

dethroning

musical

mind,

same

sceptre

In

The

As

however,

men,

Saint-

the

proclaiming

desideratum.

great

and

Ambroise

of

out,

and

native

House.

drawn

everlastingly

hear

to

wielded

melodyless,

rather,

-loving

Massenet,

obsolete.

and

tiresome,

music

thought

one

no

La-

and

Goimod,

Opera

also

as

of

Rossini,

Grand

melody

are

the

Meyerbeer,
even

admirable

Colonne

achievements

the

Saens,

the

opportunities

acclaim

Thomas,

permanent

But

afforded

public

or

now

by

despite

root,

Conservatoire,

conducted

moureux,

at

are

repertoire.

part of the

those

taken

1891)

old

the
the

to

of both
and

pertoire
renew,

schools

harmony.

view

This

the

of

musicians

partisans,

the

of

the

school

new

fogies/'

"old

that

still welcomes

"The

it

Carmen,"

tt

Manon,"
I

must

forget

the

who

triumph,

Chenier,"

triimiphal

have

march

tion
connec-

Char-

Comique,

and

Nor

achieved

now

the

"Cavalleria
"La

this

with
Italian

young

period, Mascagni,

Puccini,

Pagliacci,"

bills.

composer

Op6ra
and

of the

operas,

in

just

the

at

composers

"Mignon,"

the

on

French
has

thus

even

"Lakm6,"

mention

to

"Louise,"

cavello,

are

young

pentier,

his

is

when

is

house

"Werther,"
etc.,

"The

and

It

Opfira-Comique

the

Delilah,"

the

out."

the

by
"Rom6o

and

simg,

"sold

body,

proved

"Aida,"

are

invariably

as

"Faust,"

Prophet,"

Huguenots''

at

is

"Samson

Juliette,"

et

the

rather

them,

public,

melody,
whenever

that

fact

dilettanti,

handling

call

the

keep

not

and

from

they

as

But

roughly.

does

case

Leon-

Giordano,

whose

Rusticana,"

Bohfeme,"

already

started

through
97

and"

the

"I
Andr6

on

their
world.

Germany

be

can

whose

lovely
"

Gretel

und

Humperdinck,

Engelbert

composer,

in

melodious

and

has

already

hundred

two

talented

its

of

proud

''Hansel

been

ed
represent-

theatres

with

whelming
over-

success.

As

shall
to

exalt

be

and

love

and

with

honor

marvel

forth;
he

dealt

has

it

pity

heavy

the

against
music
upon

fall
career

My

and

them
in

too

the
made

fondness

and

impossible
for

98

in

that

the

impose

especially,
must

tening,
lis-

gle
strug-

to

orchestra

those,

tasks.

note,

have

has

singers

gigantic

difficulties

noisy

but

setting

when

has
ever,
how-

canto,

by

pity

fray

bel

blow

physical
a

he

neglected,

singers

strumenta
in-

genius

works

only

vocalists
the

his

to

the

too

noble

great

throats

that

unmerited.

bow

song,

not

their

and

the

at

brought

ism";

-fogy

Wagner's

music;
and

is

blind

being

"old

withal,

reproach,

that

presume

with

reproached

progress,

the

melody,

that

abandon

for

them.

melody

is

inborn;

love

is

whatever

immeretricious,
natural,
I

will

not

music

or

that

than

its

with

impresses

their

in

must

of
not

Are

dust.

popular

generation
the

to

masses?
more

Germany,
Let

us

doom,''

Russia,
then

world

even

99

possessed
Are

from

down
the

pride

ful,
beauti-

Norway,
to

of

of

folk-songs

the

the

it endure

may

in

dragged

more

Sweden,

honor,

melody

whole

handed

than

because

melodies?

anything

touching,

have

and

generation,
Is

There

nations

their

melodies

age,

admired

or

all

of

the

but,

the

by

past

modes,

able
implac-

that

been

has

not

to

recessions,

forms

condemned

be

not

their

the

things,

mankind.

upon

what

this,

all

improvements,

advantages,

great

revered

the

its

imquestionably,

are,

of

itself

its

and
and

that

rather

senses

spirit of

the

advances

inventions,

its

the

subject

are

while

fashion,

idol

an

Unhappily,

music,

and

imconditionally,

to

heart.

even

to

up,

cry

simple,

beautifid,

bow

not

appeals

to the

yes,

poetic,

and

know

melodious,

"

etc. ?

crack

forever

of
I

Music

in

charitable

and,

Coimtesses,

bearers

of

beheld,

who

less

lack

these

just
I

as

M.

of

Di6mer,

of

the

and
a

artists

is
of

the

seriously,

to

but

Sarasate.

not

blame.

ago

by

pianists

appeared

the

is

given

who

to
100

days

applauded

do

is

truth;

who

are

placed
disThis

leading

Possibly
day,

of

situation
few

violinist,

the

in
the

here

this?

voices,

respect

musicale

countess,

renowned

fault

of

rectly,
cor-

powers

in

never,

it.

one

France,

nor

case

matinfie

singing

art

describe

attended

singing

are

completely

singing,

to

titles

beautiful

the

work

regard

the

performers.

"

in

and

have

frequently

instrimiental

baronesses,

feeling

professional
less

the

with

neither

expression;

out

studied

gifted

now

crowd

resoimding

have

names

women

speak,

artists.

and

and

professional

to

the

on

musicales,

fashionable
so

are

tindergone

formeriy

soirees,

concerts

appeared^

figure

has

While
of

programmes

only

society

change.

great

Paris

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with
Whose

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bury

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to

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the

And

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Let

me

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of

voice

the

voices,

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dear

readers,

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two

high

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of

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physical

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ditions,
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are

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Attend

mezzo-sopranos.

your

cultivation

for

modifications

many

the

same

years

singing

note

account

on

and

children,

yours

for

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stand

few

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method

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or

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art,

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at

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de-

needed

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work

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pupils,

soprano,

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ly

to

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instruction
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intended

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instruction,
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sang

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did
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at

with

the

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102

please,

piano?

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make

sing

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Stand

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hope,

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the

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declamation,

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teach,

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rules

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understand

the

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teacher?
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overstepped
"

forth

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Nature

rich
not

and

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register
and

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register
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with

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is

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ceed
pro-

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to

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registers

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tible;
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require
great

very

ful
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knowledge

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give

voices,

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respect

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Marie;

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predecessor,

American

instruction,

quite
One

less
of

voices
the

chest

when

unwieldier

register.
105

private
part,
im-

as

already

one

stands

self.

easier

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my

sometimes

one's

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mezzo-sopranos,

extended

learns

waste

prefer

your

that

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soprano

than

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shrink

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pupils

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befell

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quick,
I

Bertha.

too

you

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time.

precious

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name

ascend

Bertha,

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than

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to

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voices

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voice

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female

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voice.

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united

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of

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the

is

Prudence
Do

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remark

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mother

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soprano.

lady.
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to

head-tones

young

rosy,

of
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have

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hear

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Rossini's,

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voice.

admire

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you

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tinually
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tones

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the

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name,

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cul-

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gress
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instruction,

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109

surely
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like

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young

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Huguenots,"

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observations

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lot.
the

attack

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please,

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and

and

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grateful

be

Capital!

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that

on,

name,

in

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Valentine

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soprano

Christian

lady?

have

time

listen

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and

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and

grotind.

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understood.

permit

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to

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Try
indeed

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of

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them

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for

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voice,

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head-voice.

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is

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trill

shame!

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are

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tone

them

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deficiency

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and

patience.
ladies.
have

to

ward
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call

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and

registers,

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but

taught

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than

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a

and

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my

the

copy

included

and

left

upon

the

gramme
pro-

the

It

me.

thirty-two

pupils
112

event.

the

himself.

accompanied
praise

for

which

Massenet's

at

me

memorable

Celebration.

Massenet

only

but

asked

lesson

the

delightful,

of

pupils,
You

go.

of

programme

lavished

Well,

time

dear

you

beginning

Here

No?

studying

morning,

the

Have

on.

Good

word

pupils.

speedy.

short

very

trained

other

my

be

Fides,

good

so

''

begin

to

become
and

in

Now
is

operas?

any

that

trust

of

who

Garcia's/'

voice

your

progress

mother,

teacher?

voices

the

compass.

Manuel

former

my

ulated;
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tremulous,

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of

pupil

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is

you?''

well

are

voice

resonant

Who

agility

positions
com-

poser
com-

Massenet

pupils'
were

formances,
per-

justly

proud

thankful

and

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teacher,

deeply

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down

in

close

haste

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at

heard

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opening

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that

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to-day

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set

me

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shouted

for

let

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this

that

band

throng

signature,

his

with

graph
photo-

pupils."

pavilion,

American

presented

He

the

splendid

"

ever

himself,

of

each

remain

will

and

grateful.
of

to

is

too,

their

whom

to

master,

indulgent

the

to

of

ed
delight-

the

again:

and

for

ica!"
Amer-

the

SEVENTH

THE

LESSON

THE

SEVENTH

LESSON

Paris,

November

YESTERDAY
in

his

with

and

from

"come

dwellers

and

ways,"
the

occupied
that

so

to
"

I,

"with

the

acquaint
the

object

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at

'

people,

cities
add

'

new

thought

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seat

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with

an

"

me,

of

said

your

117

different

she

as

girl

young

town,

have

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the

sofa,
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house,

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to

visit.

tered
en-

ly
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on

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her

that

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mistress

myself

content

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the

in

provincial

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the

girl,

blue

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large

room,

and

dimples

some

in

myself

pretty

wonderingly
"

sin-

father

pleasant

surroundings.

for

latter

hair,

about

looked

found

the

1900.

of

chestnut

cheeks,

I,

presence

daughter,

tall,

received

visit.

gular

i,

the

father,
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your

musical?

daughter
a

voice

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the

answered

wife

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in

dwell

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he

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ticularly
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winter

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ma
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career

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give

to

delighted,

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beautiful

us

This

an

orchestrion,

make

and

after

Nevada,

Francisco,

of

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and

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our

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screams,

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outlay,

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sing

as

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few
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co,
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very

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near

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for

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beyond

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age

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hearing

daughter,

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stranger.

unfortunately

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we

-haired

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perhaps,
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she,

cultivation?"
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and

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as

San

certs.
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was

ter
daughupon

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bird.

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York,

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to

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tears

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the
and

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you

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am

you

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wealthy

daughter

declare

her

study
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me

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120

know

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and

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father

madam,

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girl's

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ing."
sing-

ter's
daugh-

make

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avail;

poor

father

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year

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high

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voice

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finally

madam,
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changed;

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heard
of

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only

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of

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few

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especially
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mezzo-soprano

Hapless

soprano.

has

the

future

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friends,

young

have

work,
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hours

weeks

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imtil

high

thee?

my
a

truth

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and

art,

what

song!

the

professional

change
a

forget,

day."
very

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to

voice
art

of

tion,"
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you

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my

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father,

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parents

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possible."

not

girl

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soprano

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"

of

diligent

gone

by

your

convinced
121

let

study;
since

we

is

progress

that

us

parent,
ap-

strong

bond

of

In

friendship
last

my

lesson

particular

stress

hinted

before.

at

home

placed

against

will

in

the

Let

thereby.

southern

almost

dangerous.

should

be

kept

not

You
and

not

gone

all

at

one

has

out,

etc.,

When

is

not

must

friends,

after

the

write
but

too

microbes.

after

soon

in
all
in

larynx,
meals

must
122

when

carpets,

dinner

letters,
you

rooms

your

to

boarding-houses.

worked

After

weary.

read,

study

and

particularly

in

dwelling

pupils

tumn
au-

exposure

contain

myself

address

now

and

singers,

for

clean,

very

have

and

Further,

uncarpeted,

voice

occupy

spring

for

tone

wearied

you

unsuitable

wholly

are

the

northern

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

When

diffuse

not

will

upon

it

to

see

already

you
or

meals,

the

evening.

day,

chatted,

the

evening,

must

converse

not

sing.

either
with

Only

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

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

must

of

pose;
pur-

windows,

open
to

changes

that

great

or

accustomed

useful

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:

Yea,
is

"?

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-

school,

whoever

sings

first;

thus

preference,

zeal

and

that

tremolo

this?

us

encouraged,

are

ladies

young
or,

in

given

punctuality

the

to

to

Let

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,

of

proclaim

all

You

well

Very

should

me

the

to

automobile.

in

worked

Also

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

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

the

yourselves.

by

what

sung

may

and

me

to

pupils,

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

mi

it

you

carry.

the

up

the

avoid;

must

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

They

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-

Louison

tages

derived

has

Garcia's

from

method.
Whose

is

turn

To

work,

But

why

You
You

it

If

unpleasant
at

should

do

still

^place

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

pressed

will

practice.

successful,

deadly

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

Conservatory

since

have

her

next

the

but

your

befell

that

piece

striven

had

kept

do

small

teeth;

relate
I

they

as

can

recall

not

Vienna

the

teachers

your

Why

did

What?

eat.

you

experience

while

"

tone.

mouth?

your

cannot?

classmates?

Rosa's.
the

open

when

you

say

attack

not

you

open

Little

work;

to

do

it now?

choked.
rolled
removed

fell

she
"

into

blood

^my

scene

of

use

talk

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

observed

scales.

that
all

for

that

study

others,

as

129

bad

your

You

prefer

it brings

keep

not

several

is not

have

open

forth

on

Bravo

it does

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

poor

teacher

combat

to

my

in proper

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

hoarse,

grow

little victims

her

"

Since

when

else-harmless

the

until

it is

cold

runs

dramatic

faint

dead

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,

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

ditee

women's

tinge.

allege

teachers

This

nasal

must

do

in

hard

the

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,

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?

"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

you

have

not

study,

you

may

at

for

few

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

pupils

vocalizzi.

so

songstress.

you

unlike

and

over

unhappily,

learned

have

besides,

enchantress

an

celebrated

the

as,

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

Tell

morning

class,

the

had

from

the

to

the
and

Before

class

words,
no

young

they

lesson.

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

hence

beefsteak,

be

must

still

bread,

ly
quite different-

in

have

something

or

eggs,

chop,

third

themselves

must

another

consumes,

come

has

of mankind.

accustom

they

butter,

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.

of

the

fast.
break-

before

piece

tion.
ques-

partaken

slice

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

it

food

the

you,

have

you

best

would

on

all of

me,

take

to

discourse

what

other,

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

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

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-

EIGHTH

THE

is

IT

LESSON

loveliest

the

Would

first

must

have

and

take

lay

before

them

to

of

The

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,

with

chat

rest

programme

yesterday

is

usual

But

experiences.

my

on

wander

fields!

and

my

readers,

could

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,

I beheld

to

Let

again.

rose

low

good

and

foyer,

events

unbearable,

hors

arrival,

assembled

soldiers,

teners,
lis-

powers

annual

in

pupils

my

women,

young

of

temperature

my

moned,
sum-

their

almost

house

the

are

Erard.

was

my

that

of

These

Salle

the

who,

hundreds

account

an

weather
I

and

in

of

attainments.

and

by

school-year,

presence

give

to

debutantes,

nervous

programme

to

an

perfected;
one

numberless

encounters

will

one

first

be

last.

So

looks

and

tears,

But

hot

saw

fierce
me;

my

Singers
and

many

and

entreaty,
if

transfix

to

and

me,

unexpectedly,

quite

then,

madam,

number.''

gave

in

sing

the

first

pressed

her

soft,

de

accompanied
Toussaint,

Op6ra,

of

the
the

orchestra
young
141

later

Maria"

beautifully
violin

the

Dear

self-sacrifice

''Ave

Thais"),

upon

rewarded

Massenet's

("Meditation

"

to

artistic

her

Glad-

said

gratefully
but

young

and

handsomely

more

for

me

ready

am

hand,

to

up

Katherine

Miss

hill, stepped

Grand

foreseen
un-

from

as

failed

Englishwoman,

on,

found

caprices,

in

aimed

servatoire.
Con-

alphabet.

Just

was

difficulties.

extended

courage

the

white

Paris

too,

and

the

to

the

this,

one

reproachful

streaming

glances

no

recourse

in

whims

tears

hands

eyes,

up

of

end

no

in

serious

and
have

had
do

they

as

avoid

to

No

list, and

the

on

time,

this

alphabet,

obstacles.

of

by
the

Englishwoman's

M.

Paris

lovely

recalls
some

to

"audition."

pupils
day,

hands.

It

to

with

contralto.
fifth

suited

is

"This
"

Wherever

will

talent

I cannot,

eight

to

hundred

"Then

reply.

humor

On

not

sing,"

the

next

day

and

At

of

the

nine

"audition"

met

o'clock
she
142

titled
en-

make

genuine

real

six

have

was

' '

the

the

with
the

appeared

or

anew.

curt

made

she

on

artist

furthermore,

printed

will

attempt
answer.

^for

programmes

am

answered.

your

caprice,

your

in

ten."

and,

"

not

me,

Please

"

place

to

itself

assert

is

"

voice.

placed,

are

is first

place

any

she

impossible,"
you

lent
excel-

place

number

or

her

assigned

been

better.

eight

number

me

the

an

n,

said
of

something

to

before

in

"The

tone

ican
Amer-

my

just

had

talent/'

my

of

number.

to

with

programme

She

aggressive

an

pened
hap-

connection

me,

Miss

was

that

One

came

eventful

the

in

ago

cident
in-

This

another

me

years

pupils'

hearty

plaudits.

long-continued

and

evoked

voice

mezzo-soprano

other
an-

same

morning
again,

for

composition
selected

from

she

letter

et

excellently;
taking

lay

"

from

an

for

high

too

the

before

days

handed

was

"Samson

upon

which

few

''audition/'

sang

insisted

Gluck's

of

her.

air

which

however,

air

annual

the

Dalila/'
she,

the

"

audition

Miss

N
,

which

in

she

announced

and

again

set

in

words

strange

would
lack

set

both

down

singer,

the

and

titles

of

the

144

"

refer

the

to

pupils

of

the

airs

stood

audition.

of

and
upon

"

but

nationality

they

as

classes,

and

the

fulfil;

to
of

my

"

to

time

Opera

name

thy

likewise

performance

programme

follows

and

and

ideas,

strive

space

how

youth,

however

did

no

tion
indigna-

thy

this,

was

find

my

views,

interpreted,

as

express

students

Concert

songs

was

all

now

always

individual
the

even

of

never

house.

ingratitude.
thy

injustice,

would

she

my

to

shall

that

each

each

can

Enough

duty

will

and

are

plans!

of

in

her

at

foot

which

with

me

that

astounded,

the

taxed

This

CONCERT

Ave

(' M6ditation

Maria

Miss

CLASS

Katherine

Violinist

of

(a)

Von

(b)

"

Vittoria

"

(b)

'Mattinata"
Miss

Air

(b)

Air

R6ve

Op^ra

vittoria

Carissimi

I"

(Denmark)

"

Lotti

de

(Melbourne)

Noces

Don

de

Mozart

"

Juan

Rolker

Z6Ue

"

Figaro

Mozart

(New

York)

Mystiques).

Mme.
.

Air

"

d'

(a)

El^gie

(b)

Air

"

Handel

(Paris)

Pertat

Massenet
*

de

"

Terse

Handel

(Grahamstown,

Gau
M.

and

(Helsingfors)

Galatde

et

Suzanne

Mme.

Florence

Ads

Viardot

.,

Baltscheffsky

Pauline

Mile.

Miss

Brahms

"

Castles

des

Contes

(des

et

Toussaint,

J6sus

de

R6cit.

Massenet

Tosti

Amy

Miss

Grand

Liebe

diccsti

Pur

M.

and

Thomsen

Anna

(a)

(a)

the

ewiger

Mile.

Le

(London),

Gladhill

")

Thais

de

Violoncellist

Courrace,

Africa),

South
of

the

Grand

Op^ra

Air

de

Air,

"

Le

Barbier

Mile.
K

Christon

Ida

MUe.

"

Magdeleine

Marie

Marie

de

(The

Seville
Fowlin

145

Massenet

Hague,

Holland)

(St.

Rossini

Petersburg)

SINGING

TEN

(a)

Air

(b)

"

Miss

Air

Massenet

(Central

Donizetti

Mozart

(Chicago),

Adams

the

of

Duo

de

MUe.

Glacia

Rom"o

Juliette

et

Calla

(Boston),
Grand

(a)

Air

(b)

Air

"

Mile.

"

and

(Warsaw)
"

Gounod
M.

and

the

of

Laffitte,

Samson

Massenet
Dalila

et

Mamy

.Saint-Safens

"...

(Breslau)
Verdi

Augusta

Waltz

Maillard

Op6ra

Cid

Elsie

Alda

Miss

Le

Lefebure,

Optra

Kaftal

Margaret

Mile.

Grand

Villars

de

Dragons

Les

M.

and

CLASS

OPERA

Miss

(Boston)

Batcheller

Tryphosa

Clarinettist

Duet,

Nebraska)

"

Pasquale

Clara

Air,

City,

'Titus*

de

Miss

Massenet

'

Ormsby

Don

"

H^rodiade

Paien

NM

Mme.

Air

d'

Lou

de

LESSONS

(Boston),

Doria

Madrigal,

Elizabeth

Rom6o

et

Parkinson

M.

and

Juliette

(Kansas

Laffitte

". .Gounod

City),

M.

and

Laffitte

"

Air,

Duo,

Le

'Le

Mile.

Marie

Roi

d'Ys

Misses

At

the

Piano

"

Freischutz

Op^a,

Weber

Romaneck

"

Lalo
and

Parkinson

M.

M.

Doria

Conductor

Mangin,
and

(Stuttgart)

Fr6d6ric

146

at

Ponsot

the

Grand

At

of

close

the

voice

blending

with

the

in

duet

the

"

from

the

enchanted

Class,

Opera

the

fine

for

three

d6but

her

"

in

Amneris

takes

the

is

in

My

have

interest

in

pupils,

Royal

and

made

as

already

ing-school
sing-

my

day,

of

out

was

To
in

him

from
letter

reading

pupils.

are,

2.30

at

this
P.M.

In

country.

the

with

minute,

it not

most

amiable,
147

you

and

t 1
*

Was

the

"audition.''

the

received

the

of

thoughts
dear

your

gaged
en-

September

"

the

already

at

my

of

day

evening
follows

as

in

joy,

great

my

in

admirable

and

as

great

the

on

the

themselves

Brussels,

who,

and
town

all

Aida.''

Massenet,

noted,

literally

and

Concert

early

there

Doria

But

years

in

ous
sonor-

Miss

d'Ys/'

Doria

House

Opera

of

voices

Miss

execution.

son,
Parkin-

and

distinguished

their

through

noble

Roi

Le

Miss

audience.

in

both

pupils,

of

tones

mezzo-soprano

ful
beauti-

the

concert,

high

silvery

and

the

Massenet."

dear

readers,

Massenet,

for
the

of

hour

very

by

and

him

telegraph,

his

Another

me

surprise
that

on

kopf,

of

Frankfort,

in

"

of
'*

audition.

My

S.

Carl

Maria

Hector

Berlioz,

Spohr,

Rossini,

teresting
in-

most

real
valuable
in-

other

autographs
Haydn,

bert,
Schu-

Robert

mann,
Schu-

Richard

Gr6try,
Cherubini,

148

ness,
busi-

contains

Weber,

LuUy,

although

this

it includes

Liszt,

Franz

the

of

numberless

von

on

attend

man

ago

Beethoven,

Bach,

prietor
pro-

eariy

friend,

which

articles,

J.

Mansand

to

busy

Besides

for

Museum

day,

years

for

reserve

Paris

and

museum,

of

lines,

music

young

established

treasures.

again,

Nicolas

of

that

wealthy

very

him

in

reached

morning

the

thanked

once

Historico-Musical

the

interest.

Herr

lover

member
re-

thought-

these

was

day.

great

at

of

priceless

his

kindly,

to

great

thank

medium

the

through

at

pupils?

my

this

although

fulness,

by

"audition/'
and

moved

deeply

and

day,

very

my

school

my
was

the

on

Wagner,
zetti,
Donietc.

weeks

few

back

his

during
piano

that

him

his

city this
piano

once

But

time

fear

time?

This

floor.
Louison.

often

it

with

studied
What

native

my

haste

to

see

is

will

much

and

must

now

to

is it to

bravely.
sing

later
but

exercises.
149

same

believe.

well,

already
In

the

on

the

do

ever,
How-

take

practised
is

begin?

the

at

Louison,

trill

unavoidable;
other

too

come

hard

have

on

given

turn

all

you

The

keep

companied
ac-

duets.

gossip,

to

You

you

have

business!

to

when

make

Whose

Did

that

work.

What?

strument
in-

more.

to-day
to

only

I shall

year

this

composer

If I visit

merly
for-

was

on

and

it recalls

memories

was

great

songs

The

Mendelssohn-Bar-

himself

me

played

it

legs;

It

the

Broad-

a.

"

Frankfort.

of

son-in-law.

tholdy's

turn

in

property

tion
collec-

composer

four

upon

the

the

the

sojourn

rests

with

piano

which

upon

"

his

enriched

Mendelssohn's

with
wood

he

not

The

the
dear

better;
operas

trill is

practise
trill

ex-

ercise

itself,

in
of

falling
hence

be

must

Strange

to

disdained

even

use

the

works.

As

outdone

to-day

able
with

be

other

able

hurtful

if

Marie,

you

have

Excellent

home.

registers
lower

tones

by

shall

be

thus

All

my

before

pils
pu-

singing

language.
and

man,
Ger-

tones,
aids

Italian
Let

are

it.

hear,

me

at

The

connection

of

no

150

for

9,

industrious

greatly
are

my

been
!

is

of

words

nasal,

contralto.

my

shall

some

Opus

palatal

culture

voice

for

Now

the

to

its

its

your

Take

Italian

of
of

because

use,

the

because

French,

the

to

tongues,

sing

pronunciation.

your

to

simultaneously

myself

occupy

his

somewhat

Italian
I

not

of

some

words.

the

must

in

in

to

Marchesi.

to

study.

has

Variations,"

mezzo-soprano;

Salvatore

its

thanks

you

with

and

"Theme

and

instruction,

permit

vocalises

my

tiring,

already

admirable

mother's
from

trill

classmates,

your

and

Wagner

have

you

rising

in

prudent

say,
to

is

larynx,

the

one

the

through

improved,
longer

so

and

dull,

so

freed

quite

are

has

or

the

sung,

is

goat.

Sad

all

will

be

sing

never

as

No,

office

my

So

you.

help;
to

say

vain.

The

too,

are

has

to

and
hard

the

sing

on

keep

of

the

the

words.
152

best
I

and

will

one

sighs
lot
in

yet

cannot

Next

in

period,

teacher's

the

no,

on

all

and

text,

ill-suppressed

Valentine,

dear

earlier

an

my

I often

as

disposition,

With

one!

assure

seek

at

people

with

No,

voices

same

nervous

contend

easily.

one,

me

the

voices

more

out,

year

do

their

girls,

to

young

tears.

world,
you

of

easy

young

in,

must
as

tire

and

come

from

heartened;
dis-

patience

voices;

no

not

them,

preaching

and

spoiled

Year

day?

is

do

be

exercises

er

many

why

continue

Mezzo-sopranos

stiff

with

not

study

higher

naturally

are

do

many

of

possessors

like
ever,
how-

must

But

well.

bleat

cannot,

you

with

medium

straightway

while

vocalises.

your

sing

For

words.

in

to

true!

you

sings,

notes

erelong

but

let

Whoever

high

bound

tones,

it.

of

time,

is
the
let

you

sing

again

must

tremble

for

blond

my

had

Have

you

well,

then,

have

must

despite

proceed

One

must

this

used
is

All

down.

explain

in

One

cannot

of

that
months

for

the

through

lower

detect,

but

practice,

the

certain

to

to

of

respect

to remain

easy

how

foretell
for
a

were

before

Bertha,

in

easy

difficult

to

writing.

required

training

is

handling

medium,

tones,

in

perform

in

constrained,

'this

woman,

head-voice.

the

proceeding

medium

of

the

your

to-day,

inner

tendency,

to

last

the

but

cautious

of

you

through

to

soon

Yes;

for

Good,

very

tones,

attack

So,

too

development

high

lesson,

well-filled

be

larynx,

is

good

Bertha.

To-day,

shortened

with

pupils

to

happy!

am

your

you

hungry
breakfast?

condition.

famished

the

and

good

much

was

one

not

all.

at

Now

vocalises, and

your

compelled

you

of

to

registers
would
153

had

have

the

pupils

vocalize
were

term

completion

the

voice.

the

long

in

already

for
order.

sing

vocalises?

Unfortunately,

it.

As

will

before

and

Now

for

sing

Why!

are

be

the

am

and

scales
the

capitally.

of

word

of

four

second
the

group,

fourth

of

the

third

the

fourth,

154

your
tised
prac-

that

me

the

you?

to
when

tone

the

thus:

of

have

hard

then

and

aside,

tell

first

your

possessed

you

ward
re-

parted,

thereupon:
the

tones,

but

comes

advice

mark

practise,

necklace,

You

scale

ascending

should

that

the

Were

Jesting

proves

and

pearls.

already

pearls.

sing

time,

have

lips

have

You

like

pearl

tries

You

moderate

are

performance

Shake

imaginable.

gold-mine,

you

of

wealth

wait

to

always

tempo

are

closed
that

show

in

with

usually

who

Excellent!

of

you

you.

dumfounded!

runs

owner

given

quickest

exercises

your

ever,
how-

pliable,
long

Rosa,

down.

quieted

mit
per-

consoled!

rosy

in

is

cannot

have

not

some

hands,

to

voice

your

you

of

group

of

second
of

you

third,

the
and

the

so

on,

EIGHTH

THE

You

will

difficulty
The
to

in

also

your
one

will

be
is

exercise

secure

you

that,

see

too

above

when

LESSON

happen

or

smoothed

also

upon

practise
two

tones
155

lower,

over.

useful

very

Later

difficult
these

this

time,

intonation.

pure

airs,

with

on,

passages

slowly,
until

and
you

certain

are

will

You

While

that
thus

Paris,

with

studying

style

It

metronome.

steeple-chase,

and

heard
"

of

days

neck-breaking
this

and
for

of

in

indispensable
object

the

title

Opus
of

my

of

i8,

composition.

trills,

staccati,

for

sing

to

air

in

Freischutz"

"Der

is

requisite,

but

the
is

with
soprano

Translate

156

me,

difficult

grand

Here,

theme,

is

female,

truth,

etc.

to

it

facility

colorature.

ors
ten-

Those

upon.

the
in

all

that

nowadays,

song,

then,

was

is

of

or

that

measure

some!
weari-

distasteful

For

"Fidelio"and
some

how

Now,

scale.

simple

runs

interminable

effeminate!
male

and

genuine

model

most

singer,

and

cadenzas,

was

so

scales

themselves

the

were

favor,

unfortunately,

the

was

fashioned

high

was

whom,

"

in

especially

heavens!

Rubini
never

our

voice.

Garcia

^and

in

was

"

true.

your

with

school

practise

to

All

is

"

had

we

intonation

wearying

Italian

florid

the

avoid

was

the

the

main

not,
dear

easy

as

Rosa,
tions.
varia^likewise

"

the

Italian

it

words

home,

at

lesson,

I shall

when

give

Louise,

for

Now

child,

enjoyed,

You

of

classmates,

and

if

attentively,

you

must

deal.

great
to
is

to

Courage

are

to-day

can

sing

vocalises
still

ailing,

making
As
you

with
I

out

must,

to

if you

concert-singer,
romances,

etc.,

"

watchwords
V*
that

so

Bring
if

time;

you

the

concert

programme.

in

desire

to

you

are

in

lesson,
first-rate

sing

your

airs,

with

the

original

157

You

time

former

be

to

your

employ

you

that

be:

^Work

"

enough

energy

next

your

I mentioned

time

hoarse,

will

listened

however,

exercises.

you

five

your

you,

your

few

but

tage
advan-

learned

next

have

trifle

last!

have

^Perseverance

"

come

have

you

Let

early.

come
"

if you

say,

dear

of

you

promise

with

commence

But,

the

lessons

the

last,

coming

furthermore,

noting

structions.
in-

further

you

always

must

next

your

weary.

one

some

for

who,

somewhat

appears

it

bring

and

musically,

work

the

through

go

songs,

text.

and

First

vowels,

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well

the

and

songs

in

them
beware

and

if

all

the

cold

Tonkinese,
there

dare

confess

and

visit

help

it?

of

when

Egyptians

and

"

the

Chinese,

Indians,

cannot

the

of

holidays;

Persians,

assembled,

children,

Only

Negroes,

no

purchased

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your

of

cost

you

numbers.

during

those

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than

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French

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see

German

catching

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collections

works.

single

by

would

you

various

form

that

its

ties
difficul-

great

romances,

Italian

old

more

the

study
with

think

important

most

the

presents

buy

to

thorough
tongue,

foreigners.

to

do

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for

French,

to

give

foremost,

thinking
menacing

the

"

microbe.
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storm

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for
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imminent

good

clouds

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few

am

thunder-shower
minutes

microbes.

at

and

gather
overjoyed,
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pure

for

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and

THE

LESSON

NINTH

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dear

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due
at
am

consideration;
the

piano
full

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of

and
make

up

public

life.

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possible.

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to

that

audience
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must

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of

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cite

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would

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you

suppressed

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ances
annoy-

await

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figure
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sensitiveness,
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instruction,

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must

prove

sorrows

more

for

sels,
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weather,

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essential

art

pleasures

my

teacher's

impart

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of

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when

to

of

and

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above

unconscious

be

to

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but

weather,

unpleasant

mind

really

it is

pupils,

as

in

vousness
ner-

far

as

instances

face

an

clear-headed,

eqtiipped

and

studies

imder

engaged

match.

thanks

accomplished
her

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concert.

before

close

the

lost

once

tears,

left

And
my

yet
best

her

self-control,

the

to

hall

in

another

pupils,

success.

who
162

among
She

intended.

sing,

pressive
ex-

ment,
entertain-

the

former

formance
per-

and

great

of

gave

the

voice

her

imable

was

she

of

part

me

ing
Hav-

discovered

she

auditors

left

city,

her

won

however,

at

first

beautiful

delivery

the

and

native

the

her

Just

young

concert-singer.

to

the

quietly,

matter

arguments,

my

returned
a

the

of

the

"

to

an

off

was

"

was

stances
circum-

breaking

^took

name

self-

she

Family

^that

Jeanne

her

direction

the

to

her

commenced

marry.

led

of

was

wall^

the

out

she

my

to

pupUs
on

her

Before

possession.

girl's

fly

startled

word

unpleasant

former

my

impressed:

easily
loud

of

One

events.

all

against

burst
and

into

the

teners
lis-

silent

ment.
disappoint-

instance.

One

afterwards

became

of

celebrated

pride

and

opera-singer

obliged

was

sing

to

by

the

twice

suffering

time,

her

As

ailing.

was

pupil's

long

father's

her

duties.
I

that

is

roseate

road

of

beset

with
and

occasions

travel

she

could

not

days

after

thorns

great

do

few

had

self-denial

163

resume

imagine

not

one

grief

dear

my

hard

to

life.

singer's

is

homeward,

but

stories,

in

the

was

Her

she

you

singer

last.

but

these

prehensions
ap-

his

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narrate

so

all

it, and

indulge

her

special
this

breathed

ing
part-

duty

the

returning

^was

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her

opera-house,

Anna

indescribable,

was

but

because
on

the

"

name

father

her

the

at

place

of

gloomy

mind,

her

the

heart

bedside

sad;

presence

her

took

in

evening

imperatively

more

that

the

particularly

required

contract

bleeding

One

filled

her

father,

week

parent.

was

the

of

the

was

sick

aged

thrice

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each

left,

her
terms

or

opera-house.
she

of

support

and

one,

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to

the
have

devote

dren,
chilthat
The

path
age
cour-

one's

self

life.

public

to

easily
in

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infinite

especially,

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""

formulate

their

achieve

as

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of

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to-day;

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chatted

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your

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from

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hoarse

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that
is

the
she

more

the

shall

We

during

for

and

weather,

studies.

164

when

sufficiently

of

Louise,

ded
wed-

merely

not

recovered

our

thing
any-

bread,

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then

effects

begin

it and

acknowledge

you

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you

yourselves

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critics

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and

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and

friends

judgment,

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out

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proclaim

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means

on

pubUc

extraordinary,
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their

should

life

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ed
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artist

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ways
al-

not

has

the

tact.

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the

pubKc

dilettanti,

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to

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"

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be

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student.

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arrange

Purchase

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the

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trill.

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vocalises.

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conscientious
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approach

repertoire.
of

Franz,

songs

songs

of

Mozart,

Schumann,

165

one's

compass.

concert

spiritual

told

arpeggio,

holidays

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the

or

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collections

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to

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few

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cautious

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naturel).

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to

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tone,

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in

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for

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study

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languages
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vacation,

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sumed,
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words.

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self
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easier.
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the

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poetry,

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when

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"

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lections
col-

these

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voice

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mances
ro-

Delibes,

Italian

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learn

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text

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rdles, such

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would
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fine, must

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heart,

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whoever

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and

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orig-

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cer-

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nevertheless,

text;

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tinct
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character;

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Bertha.

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to

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trill,
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girls

young

acquire
169

its

must

vocal

this

solutely
ab-

an

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certain

example,

for

is

be

glotte

trill,

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and

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of

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songstress

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em-

managed

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faultless.

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must

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of

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and

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them.

practice

The

perfection.

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trills, you

must

and

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scales

with
and

adornments

seriously.

lightly
Their

staccatos

to

songstresses

more

away

run

are

appear

quite

singers.

fairly

runs

registers

colorature

studies

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you

work

say,

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take

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to

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me;

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head-voice?

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rdles,
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as

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of

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al-

have

absolutely
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mastery.

period
It

is

historical

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singer,
nine

for

fact

would

from

rather

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of

yourself

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not

give

into

however,
"

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aria,

rhythm,
go

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attack

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she

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singer
never

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vocal

ary
element-

scale,
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frets

sing
170

an

peggio,
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form.

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tions
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make

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self
your-

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2.

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pleased

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than

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transform

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flight

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as

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carino,''

translate

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variations,

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goat

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practice-piece

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hear

young

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would
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ute
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this

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before

high
hold

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she

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of

give

to

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in

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songstress,

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s,

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had

dramatic

celebrated

emotions.

her

express

to

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have
The

in

To-day
spirits,

better

given

of
but

171

she

probably

her

her

connection

improvement,

envious

the

would

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air

registers
have

make

you

the

on

the

color

register

from

be

may

detected.

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you

oscura,"
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in

the

speak

last

your

in
consonants

like

to

respect
are

r,

1,

too
n,

time,

talking

"

172

just
time,

ation;
pronunci-

last,

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d, t, must

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sion
expres-

but

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intonation,

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cor.'"
of

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mio

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"

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and,

words,

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air

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never

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notes

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on

and

register

chest-tones

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the

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contrary,

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deeper

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those

produced

aid

the

with

Italian

be

sharply

in

etc.;

the

the

be

sharply

neither,

short

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with

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made,

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tone.

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the

do

you
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in

think

there

are,

technical
in

order

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rubato,
dando,
First

in

the

points
not

piano,

style,

nothing

technique,

do.

the

so

many

afterwards
173

first,

at

student,

sentiment,

should

As

lady,

of

tempo

diminuendo,

crescendo,
etc.,

stresses
song-

yoimg

that

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and

song,

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to

rhythm

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of

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mentalists
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to

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out

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my

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zio,

consonant

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when

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guarded

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pronounced.

must

vowels

first
The

of

beginning

at

lables
monosyl-

io, dio,

suo,

emphasized.

be

always

tuo,

these

must

too,

; so,

mio,

as

tongue.

consonants

pronounced

such

the

of

tip

the

double

the

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reo,

of

ritarbe

said.

aesthetics.

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and

aria,

let
the

the

end

always

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with

Rosa.

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for

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this

in

is,

delighted

of

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his

lose

to

never

vanishes,

and
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esteem.

is

with
a

the

or

heart

slumber,
teacher

session
self-posshe

and

rough
for
or

to

the

her

dose

strong

174

er
teach-

to

he

love

it his

indispensable

finally

indifferent,
if

pupil's

er
nev-

the

to

if

and

courage;

the

of

pupil's

him;

easy-going

must

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the

quite

it

never

patience.

forsakes

loses

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profession

discouraged,

grows

calm

really

am

duty

weary,

sang

inable
imag-

tempo

preaching:

fruit

to

never

first,

at

become

of

takes

that

extraordinary

change.

weary

good

bears

is

sudden,

the

at

grow

denial

time

next

you

quickest

the

contemplative.

pupil

broadly

be

girl who,

young

everything

and

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of

air.

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is

declamation

day,
to-

tion:
injunc-

this

thereto

must

of

teachings

my

add

me

in

delivered.

how

all

forget

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comes
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mannerly,
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teacher

essential
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until

note

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most

voice.

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weeks
me

And

voice

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was

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dear

to her

spoke

began

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answered:
Doctor

88

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not

of

to

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under

her

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is his

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her

bar

my

ist,

and

commence

guidance.

simply
one:

address. No.

understood
tears,

before

quiry
in-

mend
recom-

excellent

an

school -term,

September

ulous
trem-

To

Jouffroy."

tired,

bitterly.

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sing

to

Valentine.

good physician,

pleasantry, dried

few

subject

know

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the

whether

to

the

came

more

clearlyon

to weep

an

very

is yours,

as

^-j

pretty girl
far

she

*"

listen:

and

damaged

consent?

greatly overworked,
As

"_

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for advice.

than

rest

readily afford

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ago

months'

two

to your

can

delighted!

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gins.
be-

-year

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so

you

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organ

school

next

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will
her

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promised
opening
then,

on

studies

TENTH

THE

LESSON

THE

TENTH

LESSON

DEAR

MY

PUPILS,"

enthusiasm,
all

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give

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me

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laid

through
the

is

also

n^iy

foundation

179

tachment,
at-

your

confidence.

your

as

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joy

endeavor

love,

progress,

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have

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ears.

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head

drooping

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As

ness
conscious-

the

instruction

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you

artistic

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meadows,
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time

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and

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and

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ambitious

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understand

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much

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time,

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has

you

parents

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bring

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your

Unfortunately,

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and

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durable

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completed.

to

when
away

When

and

friends

able

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chain

to

this

that

Tauris''

The

music

of

heart.

this

by

too

Gluck

that

the

Mme.

Iphigenia,
she

charmed

noble

song

and
as

through
a

whole.

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and

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audience

classical

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i8i

was

though
Al-

represented
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see

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voice.

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to

oppressed

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pressive,
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straight

human

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goes

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now

Comique.

is

exertion.

of

life.

''Iphigenia

opera

and

took

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me.

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by

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delights

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voices

mighty

will

artistic

the

The

Gluck's

simple,
the

ocrity
Medi-

drags,

theme,

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end.

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the

at

to

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of

performance

quit

to

certain

are

the

to

the

you

your

studies,

that
in

week

in

they

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may

changing

speak

urge
not

their

galley-slave

But,

until
pursue

these
is

home,

acquaintances

families

their
be

write

you

through

her

declamation,

representation
no

striving

after

effect,

and

talent

Her

gathers
had

nothing

is

doubly

aid

no

from

the

hearing

of

the

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the

of

its

but

child,

kept

with

again

and

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

struggle

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had
bid

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tears

heaven
dear

were

performer

time

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my

you,

if

so

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joy

my

House

rhythm,

with

wept

intonation,

expression,

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work.

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when

following,

day

tion
direc-

Opera

its

note.

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

Mannergesang-Verein.

were

The

Chdtelet

Viennese

it

successive

two

Society

that

voice.

orchestra

Philharmonic

is

her
in

the

at

in

great,

opportunities,

concerts

overdone.

was

earth.
beat

given

you

beat

time

I hear

and

much

what

all

pleases

the

pupils

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"au

But

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Uttle

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and

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will

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that

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into

forget
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chronological

how

many

of

some

184

This
the

to

it

friends
up

were

in
ollections
rec-

many

these

so.

that

so

former

How

joys

public

be

them

about

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de-

life?

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artistic

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cluster

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anniversary

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would

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friendly

hear

fiftieth

of

us

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you

delve

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and

ficiently,
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let

artists

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inception

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will

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skilled

chatted

hand.

the

me

be
a

with

part

intimately,

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person

friends:

and

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man

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young

revoir"

grasp

deaf

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not

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my

of

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students

musician?

is

musicians,

educated

Brussels,

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painter,

in

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imfortunately

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is

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names,

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me

those

by

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art, and

outset

and

of my

career

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two

before

from

acquainted

become

Baroness
talent

pianist

as

the

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discovered

of the

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tones

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the

attack

discouraged

him

great

female

old
there

that
treaties,
en-

my

Nicolai

aunt.

my

of

thoven,
Beeme.

instruction
musician
On

teacher

knew
several

uncertain,

My

her

to teach

voice.

was

me.

to

pupil

hour's

first

lessons,

through

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selected

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Ertmann,

von

singing

despair,

studies.

my

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

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

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to

sung

my
me

left

airs

Schubert's

him

for

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artistic
under

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projects,
his

Having

interest

family
and

protection.
i86

and

ed
present-

was

he

Lieder,

lively

of

most

disappointed.
I

several

which

to

songs,

much

my

city,

the

also

as

me.

on

Mendelssohn-Bartholdy.

showed
knew

kept

the

know

pleased

Frankfort,

in

on,

nunciation,
pro-

of

repeat,

imtil

home,

returned

struct
in-

but

Mozart

and

Beethoven's
then

suited,

was

make

intonation,

admission

Nicolai

all

learned

will
operas:

frankness

his

with

and

to

voice,

His

nothing."

absolutely

declamation,

and

training

confess

airs,

young

must

-culture.

songs,

you

nothing,

voice

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pa-

with

dear

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forehead

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the

day

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exclaimed:

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me,

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at

me.

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opposed

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took
Men-

delssohn

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contralto

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continue

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"Saint

was

name.

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go

students
I

cannot

over

the

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

any

she

shall

most

for

she

people

have,

into

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tector
pro-

actual

your

songs

and
my

artist.

superb

delightful

achieved

to

Cecilia

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eyes

Cecilia/'

the

Dusseldorf,

very

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Christian

fallen

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made

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into

Joshua/'

whether

"

grew

opened

"

thanks

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also

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in

friend

wife

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or

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and

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as

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solo/'

songs,

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test

taught

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brilliant

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in

part

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Mozart's

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per

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at

insignificant

^an

"

sing

"

Concert

one

me

dilettante!

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with

concert-room.

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in

my

time

for

knew

him

in

Berlin,

few

days

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attentive

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and

such,

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Meyercold,

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me

overwhelmed

me

kindness.

with
He

made

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mother,

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we

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Paris.

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grand
band
hus-

my

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me

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friendship

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is

artist

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duets.

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me

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me

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received

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me

Meyerbeer's

in

weeks

few
he

city

depicted

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and

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sit

to

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memory

saw

refer
i88

the
first

and

brightest
met

him
to

Rossini.

in

him

frequently
a

few

of

his

peculiarities.
him

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to

of

wigs,

day.
high

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was

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very

often
on

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me:

do
I

is

took

singing,
circle

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Rossini's

the

written

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gratitude

for

remarked:
is

piano
him
The

wife,

my

is

new

Rossini
in

than

large

shadow
who

amiability.

in

was

icated
ded-

6,

Opus
and

the

189

letter,

charming

which

of

dish

good

utation,
rep-

mezzo-soprano,

him

1863,

said

great

master

for

from
in

his

was

for

vocalises

received

about

self
him-

often

years,

the

and

dishes

what

pianists.

conspicuous

the

in

life

voice."

he

last

drew

young

to

for

old;

interest

more

hair

cooking,

for

care

is

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voices:

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Wagner

good

good."

not

do

deep

the

good

care

another

to

favorite

not

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"What

his

of

his

macaroni!"

not

fond

"

number

one

chafing-dish.

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on

called

prepared

had

liked

he

tones

always

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from

only

train.

railway

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changed

duced
in-

have

him!

carriages.

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on

for

in

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to

venture

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travelled

could

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he

dedication

expresses

in

most

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of

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the

the

artists

pupils,

several

the

airs,

Delibes,

by

Delibes

would

Who

destined

to

friends

be

at

being

great

and

world,

the
a

reception
in

Cologne

days
a

My

director

my

Besides
renowned

thorough

man

accomplished

writer,

conversationalist.

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an

charming

and

Ferdinand

and

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,

have

taken

by

"Lakm6."

had

and

strong

was

my

accompanied
from

duet

of

one

and

sang,

the

them

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Nevada

Blanche

daughter

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duets.

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visited

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over

and

songs,

was

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He

in

went

soirfies,

my

works.

dear

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so

of

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to,

composer

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song.

modest,

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already

of

art

referred

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the

have

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us

complaining

terms,

in

gathered
of

swarm

190

his

salon

distinguished

was

him

saw

visit

him

sing

his

him,

pleased
"Rom6o

in

amiable

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in

made

world,
master's
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that

et

his

in

organ,

he

this

(it

possessed
house)

which

frequently
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he

bills,

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musiall

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still

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often

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After

as

Opera
more:

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seen

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his

the

"Rom6o

anecdote

large

192

death

by

and

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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

singing

d6but

her

that

whom

whose

Juliette/^

et

most

finally,

and

make

to

to

himself

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Eames,

him,

to

bade

morning

and,

Emma

designated

very

he

that

perfection,

terest
in-

was

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compositions;

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Thursday

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to

he

that

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much

took

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hearing

of

sang

school;

my

that

ours;

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that

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fond

of

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studio,

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for

and
us:

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the

master's

on

in

found

they

death

last

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of

manuscript

composition,

of

whose

music

works,

Gounod
last

and

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week's

regard

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unaffected

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less

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earned

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into

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saw

recognized
N

as

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193

old,

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him,

concerts,
towards

streamed

Paris.

in
in

kind
woman-

company.

his

gold

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him

early

of

god.
in

swiftly

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time,

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them.

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millions

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from

simple-mannered

students,
of

the

as

made

especially,
was

at

public,

the

my

intercourse,

man;

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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

sojourn

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away

in
God's

above

set

passed

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Liszt,

in

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the

putting

sins.

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song,

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form

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portfoUo

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out

streamed

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ailing

LESSONS

SINGING

TEN

brilliant

man

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Liszt

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past?

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has

Wagner,

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erected

mausoleum.
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all familiar

are

of the

Ambroise

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in

character,

place

absolute

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faith.

Ambroise

He

eighty-two

artistic
and

nature.

modest
hear

delight,

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But

man,

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all
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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

director

Rubinstein!

Anton

stem

eighty-three.

or

unlike

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true

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Conservatory.

fifteen

or

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whom

years

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nature,

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fourteen

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operas

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me.

reserved

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long

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repertory.

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will

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Ambroise

of

To

the

Baireuth,

at

Cosima

daughter,

of

artist

affectation.
a

was

he

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rare

to

friend.

true

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

Brahms

the

The

great

but

often,

also
and

time

and

has
from

musical

world,
was,

composer

with

while

Gounod's

strange

taken

noble

my

ting
set-

Emma

vada
Ne-

"Mireille."
and

striking

Beethoven.

short

Liszt,

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few

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his

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Ambroise
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I

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to

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legend

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for

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to

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books,
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rather

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knowledge
above

musicians,

good

me

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END

your

and

all

"

pale
strong.

youth
courage.

By

M.

E,

EPISTLE

AN

TO

Recollections

book

by
a

bit

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into

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Press.

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gives

which

from

the

pretence

25.

familiarity

is

conventionality
part

volume

chiefly

personal

and

|1

Cloth,

little

America.

in

subject."

that

vulgarity
iV!^ T,

Advertiser,

Commercial

TRANSPLANTED

observed

she

entertaining

etiquette

author's

There
of

life, and

delightful

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society,

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SOCIAL

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likely
upon

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what

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SHERWOOD

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well

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cents.

society

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in

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works

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about

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AKD

will

details

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"

BROTHERS,
YORK

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feminine

the

people,

"
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to

introducing

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forms

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book

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LONDON

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receipt of

the

AS:

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^AUSlC LlBRARr

KT
820
M316

INUSC
3

6105

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540

STANFORD

471

UNIVERSITY

LIBRARIES

STANFORD, CALIFORNIA

1983

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