Professional Documents
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ROEO
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UA.THItDK
UAKCHBei
AND
MELLIG
MELBA
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DlSCARDEt
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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
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
had
the
of
possibilities
with
of
of
meaning,
of
the
made
every
showed
skill
great
of
opportunities
matic
dramost
ing
overcom-
the
technical
tion
produc-
the
to
the
the
scene
of
timent,
sen-
phrasing
instinct
the
an
by
suited
measure
xix
its
to
by
scene,
that
as
that
Calv6,
treatment
which
unknown
perfectly
tone
by
which
the
her
treated
were
consummate
difficulties
In
scene,''
agility
Mme.
opera-goers.
all, only
reached
"mad
mere
pictorial
matter.
Calv6
generally
so
exhibition
subject
music.
the
after
but,
the
Santuzza
highly
"
Mme.
Oph6lie
personatio
imof
of
delivery
the
the
on
Calv6's
will,
you
sible
impos-
-thirds
two
accessory
if
accessory,
her
her
by
wrought
are
it
theatrical
Mme.
of
the
in
performance
that
as
the
to
make
r61e,
its
compose
ments
require-
down
set
as
operatic
an
the
attention
and
breathing,
and
rests
of
observance
necessary
with
was
dramatic
one
singer's
is
Calv6
of
danger
her
of
she
Marchesi
Mme.
all
made
In
spite
skill
in
is
the
which
to
that
it
rather
is
shouter
the
of
the
right
of
for
Those
ought
are
for
the
and
applause
method
who
only
be
say
sung
far
singing.
wins
and
is
for
as
as
that
Wagner's
endeavoring
to
XX
for
other
some
the
courages
dis-
so
only
one
is
method
that
well
with
think
rian
Wagne-
There
well
is
venture
to
as
who
and
in
Wagner
superficial,
as
as
laid
of
screamer
the
song,
was
uncultivated
singing,
Brahms
of
art
this.
so
student.
Wagner
to
her
with
disagree
cultivation
that
for
responsible
largely
the
days
believes
Marchesi
Mme.
that
stress
better
and
earlier
modem
repeat
the
of
much
so
of
neglect
to
prone
fundamentals
upon
the
what
singer.
examples
singing,
pure
present
of
these
of
that
time
"
most
and
the
her
in
are
does
voice,
and
Mme.
we
she
her
with
first, last,
is
but
that
forgetting
acting
that
true
actress;
great
is
It
career.
Bellini,
Gounod.
music
method
apologize
for
THE
LESSON
FIRST
LESSON
FIRST
THE
Paris,
AFTER
August
solicitation
continued
long
1900.
20,
/-A
directed
"^
"^
the
and
of
lovely
of
of
some
of
professor
audience,
with
town,
myriad
the
from
outlook
an
with
in
pen
singing,
to
far
musical
take
my
Seated
studio,
cheery
ed
conclud-
task.
the
garden,
birds,
song
general,
finally
to
the
writing
in
song
have
myself
tumult
upon
decline,
bright
my
of
of
parts
in
down
set
art
all
from
me
to
the
address
to
in
of
its
of
and
world
the
views
my
to
hand
the
to
call
re-
experiences
turning,
to
as
an
pily,
unhap-
often,
students
as
"
of
students
ill-coimselled
the
to
"
to-day,
that
as
have
of
their
also
already
to
those
entered
profession.
3
pupils
upon
of
the
the
past
tice
prac-
5^
It is not
be
sufficient
singer/'
gifts of
the
conception,
attractive
An
the
the
together with
minor
to
rich voice
that
would
which
the
desire
travel
stretches
aside;
pupil with
illumine
are
the
before
and
art
distant
artist
an
of those
them.
From
studies,
one's
greed
only
zeal, compel
ity,
van-
be set
must
inspire
must
goal. If good
will not
tentative
results
referred
already
be
earliest
regarded
childhood
from
atmosphere;
music
and
art
are
as
to
the
4
themes
the
tistic
ar-
ditions
con-
fulfilled,
are
From
lives in
morning
If
of
comes
assured.
she
stantial
sub-
lacking.
future, provided
stock, her
may
be
singer
young
and
industry,
the
become
out
divine
and
added
equipment
inception of
very
sound
ear,
compass,
to
the
false ambition,
the
good
is the essential
such
"
requisites of relatively
of extended
ardent
an
of
quickness
of representation,
power
importance;
and
will
appearance,
musician,
and
"I
proclaim,
to
musical
until
of
her
night
conver-
sation
the
are
listens
she
and
past
girl in
her
about
or
warbling,
forbids
households,
the
natural
icy
form
infancy,
the
laugh
too
loudly,
must
to
grow
or
to
used
to
the
its
make
seldom
Yet,
not
in
as
not
give
it said
in
of
this
England,
all
of
are
pressed
re-
respected.
must
not
itself
to
so
say,
alism.
convention-
has
mark
training
only
where,
be
is
child
it must,
that
experience,
this
be
fetters
child
art.
joy
grief
families,
feeling
must
its
her
ordinary
most
of
From
up
censures
aristocratic
expression
form,
In
in
as
governess,
improper
or
diversions.
harmless
dancing
parent
useless
as
she
As
grim
anti-artistic
severe
her
practice,
merrily
stiff and
no
ment,
refine-
stimulus.
home,
is
taste
of
acquiring
her
ordinary
her
process
gathering
moves
the
life;
ear
ambition
of
private
of
circumstances
her
works
master
those
undergoing
ever
no
present
totally unlike
young
and
to the
imdergone
at
will
once,
the
world
of
sort
finds
vor
fa-
but
aware,
in
ica,
Amer-
business
interests, which
anxiety,
and
Ufe,
It is true
a
held
are
plays
that,
within
her
age,
and
their
artistic
the
of
of
their
native
land
to
has
say,
to
study,
but
lively and
with
aglow
to
the
which
diffused
How
child
I
in
now
be
free
pression
ex-
is
coating,
youthful
the
about
years
of
influence
of
merely
and
and
so
all
women,
refer
shall
of
repression
is
much
than
England
conducted
rienced
inexpe-
the
icy
men
anti-artistic
The
An
contact
happy
ings
surround-
feelings, which
it, not
the
But
Europe.
lyric declamation,
formed
thaw
heart;
the
gather
artistically
to
impossible.
of
to
abides
become
drawn
artists
parental
students'
indispensable
years,
noted,
has
in
early
the
few
students
her
education
impress
of
is
leading
part.
been
has
the
of
objects
last
America
sent
and
the
since
shores
feverish
secondary
change
particularly
to
main
the
art
considerable
with
guarded
are
the
which,
6
more
in
feeling
widely
America.
education
from
of
infancy,
with
but
the
of
compass
should
ten
the
When
be
those
that
The
for
their
relate
bearing
attention
them
and
I
to
take
to
even
became
but
hoarse
their
to
the
voices,
special
duets
attempts
several
several
at
occasionally
They
lovely
attracted
in
allowed
the
they
as
and
almost
were
Still
8
When
two
fant
"'in-
them,
termed
endeavored
listener.
concerts,
courts.
with
acquainted
were
the
and
"
prodigies,''
both
their
part
sing
accompanied
travels,
their
through
in
case
daughters,
two
they
"
junction!
in-
songstress,
her
of
proud
all
this
little
They
all
on
future,
prohibited.
had
well.
her
hood
woman-
disregard
me
knew
mother
their
E)
strength,
the
once-celebrated
songstress,
of
to
strictly
Krauss-Wranitzka,
I
to
reaches
physical
voice
must
Let
whom
change
her
her
to
point.
the
all
preserve
singing
girl
and
year,
Woe
(from
tones
young
claims
to
only
allowed.
be
twelfth
caution;
greatest
voiceless.
to
sing,
simply
ing
distress-
more
distress-
ing
the
were
their
to
reproaches
mother
The
on
voice-formation,
future
of
rest, in
that
peace
Now
the
be
must
declamation,
of
There
that
the
is
and
harmony,
unluckily,
this
most
by
most
the
study
of my
branches
studied.
notion
the
young
readers
are
art
A
vellously
mar-
of
song;
thing
persons
is
dertaking
un-
singing.
may
pearance
ap-
artist.
an
necessary
of
than
voice
facilitates
of
and
attractive
for
study
are
tory
his-
the
these
beautiful
education
the
the
German,
an
equipment
substantial
Some
of
tion
educa-
thoroughly
that
no
Literature,
mistaken
more
implying
neglected
be
are
below.
general
all
"
must
no
sufficient
her
French,
languages
the
girl's lips
history,
learning
here
commenced.
music,
Italian
enjoyment
young
sealed,
temporarily
edge,
knowl-
three
them
of
ruined
All
the
sion.
occa-
idea
no
this, had
denied
was
that
of
of
darlings.
her
at
more;
had
physiological
no
because
and
possible
every
singer
great
addressed
they
not
conceal
smile
sarcastic
addition
in
lines,
fail
the
enlighten
to
family
whole
of
great
of
mother,
the
in
interrupted
look
into
some
and
yet,
of
artistic
my
education
life,
the
old,
nothing
of
study
is
be
with
no
fretted
often
from
book,
or
pursuit,
the
to
household,
worth,
that
voice
the
leaving
student
bore
of
rare
was
owe
in
even
careful
home
of
and
detail
what
do
fascinating
woman.
summoned
sotmdness,
The
over,
more-
interesting
an
ing
notwithstand-
when
of
perusal
of
these,
gratitude
direction!
complained
and
to
ments
attain-
of
studies,
this
in
neglect
who,
ntmierous
my
as
the
upon
vocation
debt
to
happiness
housewife
real
darling
my
The
the
not
daughters
depends
the
are
mothers
their
good
in
given
urge
life.
of
secrets
How
that,
suggest
advice
the
to
foregoing
when
and
being
determined,
singing
"
be
to
eighteen
begun
strength,
for,
when
nineteen
prudently,
10
wished
may,
or
durance
en-
of
the
years
course.
is
It
mistake
of
course
is
study
student
think
to
requisite,
is
influences
and
the
handled
be
like
instrument;
of
studies,
one's
of
whole
The
vocal
future
this
most
cords
could
upon
small,
are
of
in
the
shops,
with
new
but
the
damaged
by
improper
or
time
the
oflF
planning
is
If
choice.
easy;
once
measiu'e
in
the
forever.
what
nowadays
"That
be
over-taxation,
gone
And
most
fore-
depends
out,
worn
strips,
tender
screaming,
use,
bought
would
singing
ones,
singer
important
be
the
indispensable.
is
of
when
replaced,
and
of
perfectly
voice,
the
outset
very
teacher
cannot
stringed
any
the
understanding
rank,
formation
or
from
hence,
it
and
violin
the
to
disposition,
the
condition,
bodily
to
voice
subject
weather,
the
portant
unim-
The
ability.
instrument,
of
the
resorting
before
recognized
physical
that
with
instruction
of
brief
or
commence
may
teachers
that
the
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
which,
bread.
one's
instances
in
and
personal
education,
careers;
these,
in
with
distant
the
prosecution
lands,
for
means
of
had
their
12
without
brilliant
have
been
imitation.
the
task.
with
ability,
but
must
can
indeed,
gifted
daughters
they
one
histrionic
for
to
many
are,
however,
their
sary,
neces-
so
desired,
have
models
send
parents
needed
appearance,
musical
not
time
singers
voices,
extraordinary
the
There
which
insure
honorable
are
if
as
deceived
least
There
art.
in
ways
earn
at
indispensable
the
this
and
them
leave
art-career,
plished
accom-
would
secure
as
the
you
left
have
not
for
as
if
Parents,
teacher?
airs,
Is
pupil
the
for
study,
public
in
appear
known
months'
songstresses.
painful
have
few
as
emerges
Yet
strument
in-
the
to
ceptions,
ex-
When
to
provide
study
them
uninterrupted
Failure
to
do
has
so
few
added
sad
to
instances,
hard-working
her
the
family
diligent,
have
persons
to
accept
to
contract
took
of
Ste.
Then,
time
when
of
of
these
young
art,
some
others
Two,
of
One
the
under
me
pupils
have
study
and
to
the
ture
signa-
ing
learnwork
their
often
illness
doubled
receive
of
when
in
must,
branches
words,
other
"
brief
too
singing,
other
in
instruction
is
Some
veil.
studying
to
in
cases
marriages.
to
devote
addition
over
Marie.
too,
to
immediate
situations,
the
writes
through
their
distasteful
of
dream,
enthusiastic
unpleasant
often
latter
her
for
dried.
and
love
blasted
abandoned
remember,
with
shed
tears,
have
kind,
gifted,
of
gifted,
from
hopes
Many
this
j"red
roused
her
not
many
fondest
greed
gain.
been
her
j"nd
to
and
pupil,
has
art,
recollections
my
in
sets
and
"
the
voice
of
recurs
sorrow
yotmg
the
pays
this
sort
to
me
that
as
caused
I write.
girl,
American
13
endowed
stance
in-
An
penalty.
me
much
ing
charmwith
voice,
lovely
mother,
lady
to
of
miamiable,
of
expression
study
under
quick
daily,
hours
the
child
poor
After
in
dwelt
cold
that
that
and
market
the
much
for
taken
down
with
for
months.
in
poor
her
bed
invalid
length
At
and
tears
as
came
rolled
physicians
had
pupil
clean
sent
could
not
able
was
into
the
prescribed
14
rooms,
too
she
was
and
daily
the
lay
to
the
to
visit
a
ing.
cook-
her,
flood
of
The
cheeks.
change
the
mother,
do
room
her
down
for
to
go
was
fever
food,
the
girl;
vants;
ser-
to
This
typhus
attendant,
sole
ment;
apart-
domestic
no
unhappy
warm
daughter
and
meals.
the
prepare
and
unhealthy
my
and
matter,
mother
morning,
every
and
the
had
they
gave
paler
grew
and
four
to
annoyance.
into
the
that
ascertained
sisting
in-
this
and
she
inquired
paler.
three
continual
months
few
made
mother
her
objected,
to
She
practising
her
bidding
for-
coimtenance,
but
progress,
her
even
direction.
my
upon
with
Paris
came
of
air,
small
voice
to
as
displaced
outward
and
the
choice
artist,
be
singer
must
songstress
j"nished,
sister.
by
the
orchestra,
;
even,
work
the
the
the
and
chorus,
i6
cert
con-
of
the
operatic
be
her
is
her
song
more
haughty
scenery,
by
oughly
thor-
art
songstress
stage-setting,
and
lamation,
dec-
the
must
of
that
than
questionable
un-
scarcely
that
should
operatic
The
will
the
voice-
etc.,
assert
than
that
stage;
It
master
completely
more
of
interpretation,
its
and
tongues,
when
all
study
diligently.
believed
in
power
must
foreign
and
ality,
person-
the
for
conception,
placing,
should
one
memory,
singer
concert
To
career.
resonant
iron
an
against
attractive
talent
the
pupil
conceptive
the
registers;
when
"
singer
voice,
or
reserved
or
the
an
strong
worn
displeasing
operatic
an
besides
a
born
gloomy
operatic
an
possess,
is
advise
of
the
methods;
appearance
disposition
become
or
other
unhesitatingly
the
uncertain,
compass,
through
the
is
intonation
When
aided
the
brother
sister
and
of
attention
often
the
is
rises
and
public
wins
singer
concert
his
slightest
the
only
in
solute
ab-
through
of performance
completeness
the
it
while
alone
reveals
the
cause
defects,
stands
It
hold
and
small
solitude, and
shortcomings.
these
public,
singer
concert
her
or
the
overlook
to
all
singers;
to
the
the
that
of
favor
highest
the
position
attainable.
But
The
for the
student,
himself
worthily,
years
knowledge
of
of
all
human
voice,
diflferent
schools
inexhaustible
leading
B
love
j"tted
the
of
stock
work,
of
the
the
musical
foreign
of patience
requisites
the
with
of composition,
one's
so
accurate
an
acquaintance
for
do
divisions
with
siders
con-
give
to
To
song.
study,
familiarity
a
the
of
mentalist,
instru-
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,
Tamburini,
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
the
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
j"nd
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,
unpleasant
of
dwelling-place
entreaties
unlike
very
"
there,
Europe
over
distant
be
in
hotel
remain
urgent
all
and
or
maiden
Opinions,
France,
in
home,
to
go
and
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
as
for
very
suffered
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
which
it
to
make
of
blame
in
toms,
cus-
is
not
attend
try
coun-
This
must
one's
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
proper,
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
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
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,
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
than
""
It
to
seems
the
forgotten. What,
singer's position in the art
then, is the
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
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
the
with
Whose
youthful
take
their
Hence,
once
dear
more,
let
singing,
study
to
achieve
ambition,
real
through
even
to
crush
it out
of
ready
bury
I refer
to
Up
and
ago.
and
the
And
now,
attention
Let
me
while
my
of
voice
the
voices,
be
dear
readers,
some
in
two
high
and
two
this
the
of
beginners
class?
sopranos,
ask
A
one
lesson.
that
lOI
in
that,
fact
all
physical
deep
ditions,
con-
able.
unavoid-
are
are
of
sorts
there
day
to-
contralto,
dramatic
Attend
mezzo-sopranos.
your
cultivation
for
modifications
many
the
same
years
singing
note
account
on
and
children,
yours
for
is the
stand
few
proceeding,
method
yet,
"How
shall
to
or
little revolution
enemy,
present
of
caprice
art,
out
the
at
omitted
out
talent
The
broke
before
say
last
my
sight.
the
to
that
youthful
only
palm
eclipse
of
love
to
thus
of
out
vote
de-
needed
and
time,
that
to
you
dilettanti
kill
all
time
the
the
to
urge
results,
worthy
outstrip
and
me
work
your
and
pupils,
soprano,
close-
ly
to
the
instruction
that
heeding
addressed
intended
and
all,
to
circumstances
instruction,
well
had
it
you
have
I
and
my
This
behind
mouth
in
sang
begin.
did
I
so
the
at
with
the
properly,
if
you
102
please,
piano?
If
make
sing
to
former
if
tralto
con-
Stand
wish
permit.
see
with
lesson.
lady,
your
cannot
mouth,
little
You
me,
cannot
me
singer's
proceed
yoimg
What
near
you
of
first
platform,
that
the
first
the
than
memory
well-nourished
but
the
your
you
I
that
however,
opening
will
ofifer
more
concerning
you
small
standing
say
in
on.
that
and
imprinted
breathing,
so
upon
hope,
pro-
lesson
to
told
bearing,
last
have
to
sing;
first
singing,
of
explanations
pupil
what
the
the
impossible
was
one
In
you
declamation,
of
etc.
should
teach,
to
you
rules
many
so
your
that,
foimdation
the
nimciation,
advance
understand
the
as
yourselves
order
compel
thoroughly
may
as
in
merely
not
to
directly
to
but
studies,
imparted,
You
teacher?
you
stand
open
grimaces,
your
if
chest-tones.
The
overstepped
"
forth
has
Nature
rich
not
and
it?
use
sound
ill;
very
register
and
the
on
when
tone,
take
only
the
dramatic
be
medium
register
main
each
be
passage,
have
and,
register,
bleated.
mezzo-soprano
cultivation,
on
forced.
not
Yes,
voices
and
104
as
(mi),
chest-
with
used
very
and
me,
register
scarcely
is
thing
of
demanding
chest
is
will
Good,
the
the
of
be
imderstood
from
must
to
have
passage
the
natural
avoided.
the
ceed
pro-
change
(fa)
is
you
chest-tones,
on
tone
why
register
natural
cannot
You
good!
If
the
significance,
strength,
tone
it?
make
scale
fine
register,
medium
so
why
upward?
(sol) with
the
to
passage
but
with
you
force
Why
Bring
chest-voice
medium
natural
dear.
Good,
endowed
strong
to
the
the
be
not
forcing.
my
tone.
carry
you
must
undue
turn,
your
lovely
will
through
it is
Now
registers
that
to
tible;
percep-
the
account
last
of
the
Formerly
you
contralto
and
require
great
very
ful
care-
knowledge
and
experience
We
have
give
voices,
they
respect
comes
Marie;
is
predecessor,
American
instruction,
quite
One
less
of
voices
the
chest
when
unwieldier
register.
105
private
part,
im-
as
already
one
stands
self.
easier
are
my
sometimes
one's
but
mezzo-sopranos,
extended
learns
waste
prefer
your
that
exceptionally,
presence
soprano
than
this
shrink
not
aware
pupils
and
but
do
am
the
befell
harm
quick,
I
Bertha.
too
you
No
time.
precious
high
do
so,
name
ascend
Bertha,
ordeal?
in
in
pretty
my
pray?
yours,
What,
the
ever
and
prudent
companion's
blond
platform.
noted.
prano
so-
easily,
turn,
your
what
amiable
tralto
con-
than
more
Your
then,
from
As
vocalizzi.
to
soprano.
Now
lesson
next
more
be
of
scale
flexible
tire
must
"Now
is
teacher.
the
our
less
are
one
the
exercises.
new
you
voices
hence
blond
in
and
tones,
of
part
reached
to-day
twelve
shall
the
on
Your
op
devel-
to
contraltos
have
you
In
many
and
less
coim-
tries
the
opinion
of
prevails
the
the
emphatically
wrong,
of
entails
their
without
without
is
bravely
Bertha,
tones
far
as
as
b6mol),
and
then
Believe
me,
no
injury
voice.
In
the
scale
before
this,
if
about
you
head-voice?
do
medium
F
voice
(fa)
of the
female
tones.
voice.
when
cantilena,
head-voice
understand
certain
on
you
occasions,
the
you
io6
(fa)
in
an
medium
andante,
have
say
the
to
What?
you
to
foundation
proceeds
(do)?
rightly
to
The
speak
one
the
to
natural
is
to
try
learned
sing
one
are
nonsense!
We
can
change
you
you
line
your
medium
sheer
fifth
How
do
the
from
the
on
done
What
say
is
mi
or
medium.
can
Why
You
This
so?
be
you
from
(do)
the
to
will
(re
necessary.
now?
on
go
proceed
chest-
your
flat
blond
my
out
or
violin
now,
bring
voice
like
So
string.
but
tones,
loss.
complete
high
the
chest-tones
damages
only
not
development
cultivation
the
that
chest-tones
wrong,
If
that,
used
on
the
medium
This,
tones?
registers
The
united
and
Good,
words.
understood
the
of
the
the
is
Prudence
Do
twittering
Europe,
of
remark
skull-tones.
Your
mother
Bertha,
for
my
cheeks
the
dear
are
the
that
tones,
native
your
who
not
have
second
other
but
to-day,
in
my
the
next
exercises.
soprano.
lady.
I
to
head-tones
young
rosy,
of
wont
simg
have
in
less
was
scales;
107
hear
reminded
Rossini's,
several
voice.
admire
always
shall
you
in
tinually
con-
wisdom.
of
they
tones
This
the
highest
that
wish
not
When
the
We
"Now
name,
the
am
high
the
lesson
of
perhaps,
but
country,
dear
limits
on
like,
people
call
the
it!
ficulties;
dif-
no
higher?
must
forget
not
that
You
You
do.
fret
have
head-tones,
the
still
on
see
now?
How
not
must
you
You
to
and
tivated
cul-
You
presents
passage
higher
sing
to
good
medium
excellent.
is
too,
wrong.
sings
one
perfectly.
me
use
before
very
all
completely
be
must
is
too,
observe,
Your
Rose.
and
voice
your
work:
is
attack
turned
been
told
Good,
excellent
with
You
Rose:
method
acquired
have
beg.
a
trifle
'
in
are
you
sing
of
Pope
her
lips,
venture
ian
Ital-
va
sano,
chi
the
when
when
you
simply
cross
call
people
until
cardinal
io8
ask
say
some
teacher
stern,
as
gress
pro-
the
song,
studies;
my
to
people
singing
first
does
(as
my
in
pupil's
you
mind
Marchesi,
forbids
advanced
or
romance
in
patience,
again
And
and
Marchesi
Madame
me),
'
company
Madame
that
in
piano
va
lontano.
what
anxious
Bear
Chi
va
sano
fast.
home.
versed
little
are
you
more,
at
lose
to-day.
fancy
proverb
va
might
and
class-
word
thoroughly
yet
and
to
study
not
that
much
One
do
not
are
my
I!
has
children,
Success
say
deair
my
that
learn
classes.
you
class-mates.
see,
can
you
in
all
your
You
instruction,
to
and
you
To
Capital!
tone.
advantage
to
attention
quickly
delicacy.
roseate
the
have
of
she
the
am
more
describes
unsealing
acting
is
as
chosen.
the
People
often
are
and
judgment
expect,
You
all
as
will
you
is
severity
have
dramatic
to
sopranos
"Your
of
others,
fall
to
and
it
with
not
the
do.
The
"
from
mercy's
is
for
No,
attack
you
will
this
No,
Remember
the
well
very
chest
why
my
lesson.
last
well,
109
surely
please,
no,
glottis.
excellently
sake,
r6le
like
Commence,
the
young
the
will
etc.,
worry!
Very
passage
register
for
open
in
so.
still
mezzo-
Huguenots,"
tone.
Don't
observations
again
'Les
lot.
the
attack
two
please,
Fidelio,
your
and
and
my
grateful
be
Capital!
as
that
on,
name,
in
such
and
to.
Valentine.
Valentine
You
done,
flies,
soprano
Christian
lady?
have
time
listen
when
advice,
my
and
But
and
grotind.
later
wisdom
accordingly.
understood.
permit
pupils
recognize,
their
beginners,
follow
Just
good
my
be
your
I observe.
frown,
of
sure
are
you
this
when
sing
to
are
of
even
let
So,
perfection.
in
severe
very
to
the
managed,
does
your
Try
indeed
medium
but
voice
shake?
Every
been
have
taught
What
tones.
voice
the
voices
must
be
(fa
Excellent
has
is
That
the
tremolo
of
well.
rich
You
"I
brief
time
them
names,
two
the
good
make
my
Louisas!
spared
their
for
dear
young
shall
no
you
the
understood
with
but
all
time
will
little, that
very
with
be
your
its
great
my
two
recover.
will
give
nevertheless,
lesson,
three
somewhat
but
tone
Your
have
neglected
have
The
voice,
mezzo-sopranos,
a
head-voice.
speedily
may
compass,
the
and
beautiful
and
with
sing
must
attack
and
head-voice,
the
is
tremolo
try
they
guidance
right
the
greatest
power.
had
cultivation
the
now
would
teachers
former
to
studies
excellent
and
resonance
ruin
Your
vicious
us
medium
nowadays,
with
the
must
you
is
why,
difese)
It
forward
Let
the
up
reason
until
sharp
carry
tremulous.
carried
overcome.
trill
shame!
the
are
prudence
to
and
most
is
tone
them
and
deficiency
next
and
patience.
ladies.
have
to
ward
re-
Your
What!
call
you
the
and
registers,
the
but
taught
not
and
of
good
"What!
why
understand
than
better
Your
will
studied
you
able
be
before
of
is
was
good
will
you
repertoire
a
and
Amneris,
one,
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;
reg-
tremulous,
"My
of
pupil
was
The
is
you?''
well
are
voice
resonant
Who
agility
positions
com-
poser
com-
Massenet
pupils'
were
formances,
per-
justly
proud
thankful
and
and
amiable
teacher,
deeply
Before
down
in
close
haste
Hurrah
at
heard
Sousa
opening
and
that
Sousa's
to-day
again
Hurrah
set
me
the
shouted
for
let
letter
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
the
at
'
people,
cities
add
'
new
thought
best
seat
of
with
an
"
me,
of
said
your
117
different
she
as
girl
young
town,
have
that,
the
sofa,
had
house,
chair.
ordinary
I
to
visit.
tered
en-
ly
immediate-
on
the
her
that
eyes
mistress
myself
content
Pray,
the
in
provincial
must
the
girl,
blue
These
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,
Is
your
musical?
daughter
a
voice
requiring
the
answered
wife
''My
in
dwell
of
is
in
only
at
music,
and
also
but
parrot,
he
We
only
is,
has
for
came
one
every
heard
her,
else,
me
and
no
birds
the
first
rest
ii8
ticularly
par-
winter
then
she
ma
Emin
career
time
to
give
to
delighted,
since
laugh,
moreover,
city,
was
that
besides,
brilliant
native
her
given
chased,
pur-
beautiful
us
This
an
orchestrion,
make
and
after
Nevada,
Francisco,
of
we
have,
to
and
now
trained
intelligent.
an
our
room,
plays
two
screams,
Europe,
her
outlay,
delightfully.
sing
as
studying,
large
tunities
oppor-
continually
just
meal-times
which
few
and
sings
we
co,
Francis-
very
music;
commence
thing,
everyas
San
near
she
garden,
at
for
town,
out-of-doors,
to
beyond
especially;
though
in-doors,
age
music
hearing
daughter,
the
stranger.
unfortunately
have
we
-haired
I love
small
perhaps,
"Yes,"
singing
she,
cultivation?"
gray
and
and
in
Has
my
insists
as
San
certs.
con-
was
ter
daughupon
his
of
pression
remarked:
Emma
bird.
woman,
do
or
sing
whom
decline
York,
have
to
While
the
sob
suppressed
suddenly
towards
"Your
tears
of
my
are
will.''
As
the
and
said:
heard
for
possible
I
you
my
am
you
with
"
wealthy
daughter
declare
her
study
an
weeping
pression,
im-
me
and
time,
be
can
with
have
have
skill.
accomplished
120
know
you
towards
your
and
said,
and
some
you,
in
confidence
utmost
let
of
father
madam,
dear
deal
heard
the
girl's
looked
"My
ing."
sing-
ter's
daugh-
make
to
New
the
avail;
poor
father
great
her
no
the
withal,
appeared,
taught
Thereupon
as
in
year
from
turned
to
and
spoke
coming
in
daughter
my
her
father
direction.
voice
listen
last
heard
low
Nevada,
as
like
sings
and
miless
high
as
have
possessed
rather
bass;
is
for
care
wotdd
and
Melba,
voice
not
finally
madam,
who
soprano
barytone
can
dear
Nevada,
high
he
changed;
"My
heard
of
face
it
wait
you
the
Is
stood;
underand
until
singer
it
is it
is
finished
when
the
still
"To
what
for
sobbing,
extent
trouble?"
your
only
"You
had
have
in
but
singing,
asked
into
of
in
for
store
Now,
have
some
dear
few
odd
life;
I
have
else
found
of
especially
yesterday
was
mezzo-soprano
Hapless
soprano.
has
the
future
am
friends,
young
have
work,
and
hours
weeks
commenced
imtil
high
thee?
my
a
truth
many,
and
art,
what
song!
the
professional
change
a
forget,
day."
very
never
to
voice
art
of
tion,"
recollec-
you
every
my
you
father,
not
especially
ideas
strange
it
parents
among
told
door.
to
the
"do
many,
experiences
the
friendly
have
hear
not
daughter,
indebted
reply;
that
does
one
and
me
my
however,
scarcely
inquired
owe
was
answered,
reached
am
high
had
father
the
her
"No/'
possible."
not
girl
give
to
you
voice?''
soprano
"it
for
possible
"
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,
different
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
And,
your
of
cost
you
numbers.
during
those
They
than
of
French
also
as
influenzal
Exhibition
see
German
catching
of
treacherous
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
this
for
French,
to
give
foremost,
thinking
menacing
the
"
microbe.
is
storm
after
for
fewer
imminent
good
clouds
When
few
am
thunder-shower
minutes
microbes.
at
and
gather
overjoyed,
one
least,
pure
for
inhales,
air
and
THE
LESSON
NINTH
YES,
dear
I listen
and,
due
at
am
consideration;
the
piano
full
so
of
and
make
up
public
life.
lot.
All
possible.
I shall
to
that
audience
L
must
counsels
seated
am
that
of
wholly
am
the
and
advise
would
whoever
be
i6i
cite
few
would
cool,
me,
joys
you
suppressed
here
ances
annoy-
await
that
that
all
to
this
is
figure
all
sensitiveness,
be
instruction,
energetic:
whoever
must
prove
sorrows
more
for
sels,
coun-
weather,
the
somewhat
essential
art
pleasures
my
teacher's
impart
my
of
all
when
to
of
and
never
above
unconscious
be
to
very
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
In
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
funeral
narrate
so
all
it, and
indulge
her
special
this
breathed
ing
part-
duty
the
returning
^was
"
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
With
each
left,
her
terms
or
opera-house.
she
of
support
and
one,
must
to
the
have
devote
dren,
chilthat
The
path
age
cour-
one's
self
life.
public
to
easily
in
that
infinite
especially,
in
""
formulate
their
achieve
as
art
of
its
to-day;
for
depressing
we
can
have
resume
with
lesson
was
sing
chatted
but
so
little.
in
its
will
service
and
press
worth.
your
the
from
who
hoarse
Nothing
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,
your
then
effects
begin
it and
acknowledge
you
when
are
you
yourselves
have
critics
the
and
when
earning
promptly
But
and
you
excellent,
high-priestesses,
public
and
friends
judgment,
love
shown
have
you
of
out
guard,
your
proclaim
anything
means
on
pubUc
extraordinary,
to
their
should
life
who
own
ed
forfeit-
overlooked,
so-called
the
artist
critics,
be
Be
ways
al-
not
has
the
tact.
Let
the
pubKc
dilettanti,
stars.
to
not
against
ignorant
you
for
is
whoever
is
other
must
too,
disclose
"
As
favor.
public
woe
or
way
existence,
and
and
won,
some
its
The
last
could
hurt-
f ul
voice
the
to
drinks
cold
and
all, avoid
and
in
studies.
Attack
but
do
natural
(la
be
must
higher
the
you
studies
of
voice,
with
for
Now
gruppetto,
lastly
You
student.
As
arrange
Purchase
Brahms;
are
the
the
limit
below;
trill.
the
You
vocalises.
the
conscientious
I
approach
repertoire.
of
Franz,
songs
songs
of
Mozart,
Schumann,
165
one's
compass.
concert
spiritual
told
arpeggio,
holidays
Rubinstein,
the
or
an
collections
use
the
to
gain
most
Weber,
of
outset
Next
your
Mendelssohn,
Lassen,
well.
the
I have
above
voices
than
prano
mezzo-so-
in
go
and
Capital!
will
not
scales,
studied
have
the
at
few
Good!
higher
I think
whether
all
time,
sing
cautious
very
and
quite disappeared,
naturel).
must
one
the
Louise.
to
that
cause
may
tone,
tones.
already
Above
instruction
endeavor
not
against
your
has
hoarseness
your
Shtin
night.
that
everything
interruption
an
weather.
protected
keep
the
of
hot
than
and
of
Bee-
and
thoven,
also
the
written
Faure,
likewise
etc.,
by
Godard,
which
which
During
room.
without
singing
when
Try
is
one
also,
and
all
One
ailing
one
during
in
progress
of
German
so
is
the
that
obstacles
important
time
of
may
presents
be
thing
i66
to
Even
to
little.
make
the
tion
pronuncia-
for
foreigners,
but
with
finally
is
thus
lines.
study
can
French
in
it
will
the
difficult
for
meanwhile,
You
languages
is
As
vacation,
your
sumed,
re-
are
mark
to
and
and
time,
this
words.
"
self
your-
easier.
when
rhythm
the
master
may
lessons
beating
the
speak
concert-
you
poetry,
come
you,
and,
the
and
make
difficulties,
figures
suited,
in
your
will
advise
occasional
to
the
when
study
time,
to
"
with
intonation;
best
much
too
lections
col-
these
numbers
holidays,
the
familiar
In
interpret
can
Airs
songs.
the
is
voice
you
Weckerhn,
on.
select
mances
ro-
Delibes,
Italian
later
will
your
Gounod,
old
learn
French
Chaminade,
the
shall
you
of
sets
sing
study
overcome.
the
text
French
the
with
rdles, such
in
learned
be
would
I
and
have
in
in
language
the
In
written.
Italian
there
"
be
"
also
in
to
appear
is
essential
told
a
road
them
with
spirit
of
the
to
her
identify
often
knows
herself
into
enter
represent
are
often
has
student
and
busy
must
traits
wishes
have
When
must
says
singer
r61es
let
whatever
must
parts,
opposition
fine, must
she
She
whose
in
study
her
sing
to
acting.
must
travel.
to
heart,
by
whoever
operatic
an
and
whoever
end.
in
always
are
'*h":
that
that
learned
has
opera
to
you
hard
say
inally
orig-
Spain,
work,
to
hesitation:
no
must
So
companies.
as
rdles
are
and
there
America,
and
England
her
they
Russia
who
must,
sing
which
also
singer
career
observed,
tain
cer-
Alda.,"
must
brilliant
often
have
others,
Italian.
*'
in
Amneris
as
example,
for
nevertheless,
text;
in
the
sonalities
per-
tinct
dis-
character;
own
herself
with
the
r61es.
And
now
for
blond
i68
Bertha.
How
with
it
goes
it
well,
to
seems
taken
have
Strange
dramatic
fond
are
Both
of
only
each
be
when
tone
slight
given;
ornament
as
for
is
only
trill
such
this
in
case,
Lucia,
as
lack
time
the
to
taken
under-
the
attack
beautiful
when
One
be
may
trill,
must
girls
young
acquire
169
its
must
vocal
this
solutely
ab-
an
mirable
ad-
have
yet
certain
example,
for
is
be
glotte
trill,
however,
mentioned,
perfect;
de
and
The
undertaken.
on
coup
to
staccati
of
for
songstress
ployed,
em-
managed
the
faultless.
say.
be
must
carefully,
very
of
seldom
and
wearisome
very
You
them.
practice
The
perfection.
and
trills, you
must
and
than
scales
with
and
adornments
seriously.
lightly
Their
staccatos
to
songstresses
more
away
run
are
appear
quite
singers.
fairly
runs
registers
colorature
studies
Quite
you
work
say,
their
take
and
your
to
the
me;
regulated,
almost
do
head-voice?
your
no
rdles,
be
cannot
I
as
be
of
ready
al-
have
absolutely
the
mastery.
period
It
is
historical
Mme.
singer,
nine
for
fact
would
from
rather
with
of
yourself
for
do
not
give
into
however,
"
Vedrai,
small
aria,
rhythm,
go
the
the
attack
and
the
she
can
of
singer
never
Buy
"
vocal
ary
element-
scale,
melodic
frets
sing
170
an
peggio,
ar-
form.
theme
the
with
tions
varia-
Purchase,
example,
for
Giovanni''
Don
make
next
lesson
that
will
has
difficulties,
on
and
I
one
is
self
your-
pronunciation
tones
some
Each
2.
When
you.
against
contend
as,
words,
the
in
and
it with
over
from
with
did.
rockets.
Italian
the
yet
of
pleased
an
than
lack
transform
you
trill
longer
Opus
in
flight
familiar
no
as
just
carino,''
translate
they
etc.,
you
lest
variations,
quite
contains
gruppetti,
saying
es-
goat
am
such
trill
imperfect
vocalises.
my
practice-piece
before
formerly
vocalises
these
they
as
years,
from
girl.
scales,
your
the
An
hear
young
definition,
for
public.
renowned
studied
nine
for
in
it
I
Pasta,
^yes,
"
the
that
to
when
uncertain
account,
artistically
and
fitly
never
knew
Teresa
continually
in
Marcel
intense
abundant
talent,
themselves
repair
been
better
out
their
on
Now
Mile.
of
her
for
look
to
study.
have
to
leave
devote
to
and
culture
it not
would
this
to
that
had
the
you
as
have
setting
before
career?
inconsolable
my
is
who
contralto,
acutely
so
classmates.
soprano
because
shows
voices
Marie,
appears
to
their
ute
min-
this
while,
to
avoid
me,
have
for^a
wholly
of
with
but
opera-house
became
to
opera-singers
four
aware,
with
champagne
At
studying
she
duet
commenced,
IIL
are
that
anxiety
self-possession.
there
the
the
drank
she
sang
thought
(do)
in
Her
that
her
losing
are
IIL
Act
before
high
hold
and
Act
she
Huguenots/'
the
of
give
to
so
''Les
in
Valentine
songstress,
when
who,
s,
"
had
dramatic
celebrated
emotions.
her
express
to
be
have
The
in
To-day
spirits,
better
given
of
but
171
she
probably
her
her
connection
improvement,
envious
the
would
first
air
registers
have
make
you
the
on
the
color
register
from
be
may
detected.
have
you
oscura,"
Show
in
the
speak
last
your
in
consonants
like
to
respect
are
r,
1,
too
n,
time,
talking
"
172
just
time,
ation;
pronunci-
last,
all
soft, especially
d, t, must
now
sion
expres-
but
good
the
in
do
to
hereafter
and
not
number
the
nothing
the
do
emotional
come
intonation,
correct
cor.'"
of
you
not
am
demand
present
that,
will
mio
not
told
As
tomba
you
beating
of
or
these
But
you
lesson?
"'0
aria.
translation
as
declamation
"
questa
and,
words,
vocalises
your
"'In
Did
air
whole
the
never
the
Begin.
time.
passage
hear
written
chest
should
Handel's
me
Good!
sing
at
sing
the
me
text.
of
You
foxmd
sing
The
register
not
the
homogeneous
to
me
the
medium
of
more
Let
excellently.
that
so
notes
and,
ing
border-
of the
blending.
to
register
be
last
the
suited
and
darker,
first notes
the
on
and
register
chest-tones
medium
the
clearer
tones
the
contrary,
on
tone
deeper
be
your
those
produced
aid
the
with
Italian
be
sharply
in
etc.;
the
the
be
sharply
neither,
short
nor
with
that
made,
so
tone.
There
the
do
you
are
in
think
there
are,
technical
in
order
forte,
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
confuse
to
and
song,
watch
to
rhythm
to
of
art
mentalists
instru-
the
dear
be
to
but
to
the
out
things
necessary
my
are
draw
not
singers
observe,
may
you
it
mark
pauses
keep
than
closely
more
cut
tone;
singing,
usually
you
occur,
many
against
always
singing
wherever
crayon
must
must
pauses
out
zio,
consonant
In
when
drag
red
guarded
word
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
In
reo,
of
ritarbe
said.
aesthetics.
Do
and
aria,
let
the
the
end
always
Bring
with
Rosa.
It
for
Now
this
in
is,
delighted
of
The
his
lose
to
never
vanishes,
and
That
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
If
the
quite
it
never
patience.
forsakes
loses
One
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
Handel's
of
air.
Gluck's
is
declamation
day,
to-
tion:
injunc-
this
thereto
must
of
teachings
my
add
me
in
delivered.
how
all
forget
not
the
comes
bethe
mannerly,
un-
teacher
essential
of
self-
teacher's
until
note
the
I think
will be
most
voice.
It is
weeks
me
And
voice
Her
was
my
dear
to her
spoke
began
to her
answered:
Doctor
88
"I
Rue
not
of
to
the
under
her
I could
not
is his
She
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.
Here
sing
to
Valentine.
good physician,
pleasantry, dried
few
subject
know
Rest.
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
"_
You
now
very
for advice.
than
rest
readily afford
suggest.
ago
months'
two
to your
can
delighted!
am
gins.
be-
-year
beautifully resonant
so
you
sacrifice
complete
beneficial
that
organ
school
next
the
will
her
the
promised
opening
then,
on
studies
TENTH
THE
LESSON
THE
TENTH
LESSON
DEAR
MY
PUPILS,"
enthusiasm,
all
this
On
give
to
advice
The
have
as
you
rehearse
do,
sit
some
down
fortably
com-
lend
and
earnest
artistic
me
too,
laid
through
the
is
also
n^iy
foundation
179
tachment,
at-
your
confidence.
your
as
rewarding
joy
endeavor
love,
progress,
that
only
the
lasting,
your
have
more
once
ears.
your
Your
can
tea-table,
the
vited
in-
tea.
So
experiences.
my
your
have
and,
to
me
about
my
see
and
as
waning,
occasion
wished
cheek,
five-o'clock
good
you
always
of
is
too,
you
pallid
many
head
drooping
many
As
ness
conscious-
the
instruction
of
an
you
artistic
life, is
sole
my
delight.
greet
May
that
childhood,
earnestly,
direction,
my
meadows,
as
benefits
many
thumbing
that
One
study
time
wish
of
does
people
will
believe
that,
that
learn.
a
not
It
gifted,
before
her
of
studies
are
i8o
more
of
and
liuigs,
good
and
pupil
The
this,
with
for
not
majority
little
ambitious
express:
instrument.
an
understand
grief
trans-
much
appearance,
is real
time,
study.
great
has
you
parents
of
equipped
singer
balmy
to
exacts
the
attractive
voice,
air,
writing
have
term
singing
than
under
bring
your
your
Unfortunately,
an
more
beating
and
persuade
you
shorten
to
did
as
soul,
than
woods
grammars,
lations.
and
fresh
shady
and
from
studied
never
may
it
to
steadfastly,
more
your
especially
body
have
you
of
used
exhausts
as
hour
effort,
not
are
niente
far
dolce
first
Mental
spell!
those
and
the
durable
single
my
grateful
from
you
holiday
for
reward,
nothing
or
teacher
is
sound
called
completed.
to
when
away
When
and
friends
able
to
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.
the
and
One
can
audience
classical
There
i8i
was
though
Al-
represented
little voice,
but
now
see
the
voice.
who
expressive
her
wearied
or
consideration
Caron,
to
oppressed
not
are
pressive,
im-
straight
human
possesses
attended
grand,
goes
into
now
Comique.
is
exertion.
of
life.
''Iphigenia
opera
and
took
possibilities
me.
orchestration
excessive
by
like
delights
Op6ra
voices
mighty
will
artistic
the
The
Gluck's
simple,
the
ocrity
Medi-
drags,
theme,
brought
of
ever
what-
end.
one
the
at
to
fetters, through
of
performance
quit
to
certain
are
the
to
the
you
your
studies,
that
in
week
in
they
be,
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
These
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
Then,
had
bid
like
tears
heaven
dear
were
performer
time
on.
my
you,
if
so
Its
joy
my
House
rhythm,
with
wept
intonation,
expression,
and
work.
Every
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
which
all
from
abroad.
skilled
the
"au
But
of
tarry
the
Uttle
tales
of
and
the
will
the
that
miss
You
into
forget
I
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
once
parted,
de-
life?
well,
summon
artistic
the
visit
my
order.
now
memories,
my
cluster
that
my
anniversary
your
insist!
may
from
of
art
my
would
are
story
say
friendly
hear
fiftieth
of
us
you
that
the
you
delve
not
and
ficiently,
suf-
let
artists
great
inception
make
will
and
and
of
Exhibition.
I do
longer,
also
celebration
What?
skilled
chatted
hand.
the
me
be
a
with
part
intimately,
knew
person
friends:
and
to
man
have
we
young
revoir"
grasp
deaf
case
come
blind
that
the
not
that
Can
my
of
is
students
musician?
is
musicians,
educated
Brussels,
especially
me
are
painter,
in
good
imfortunately
with
Ups
is
that
names,
given
me
those
by
great
art, and
outset
and
of my
career
Let
two
before
from
acquainted
become
Baroness
talent
pianist
as
the
After
discovered
of the
nothing
tones
this
that
my
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
and
selected
she
and
with
Ertmann,
von
singing
despair,
studies.
my
mere
through
me,
yielding
suspended
I think
"
such
to
who,
tiresome
drove
"
mother,
good
in
several
three
or
but
this had
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
Later
to
sung
my
me
left
airs
Schubert's
him
for
that
artistic
under
my
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
tience,
pa-
with
dear
''My
understand
lost
he
forehead
artist,
true
edge
knowl-
the
day
his
exclaimed:
as
that
One
striking
hand,
but
me,
in
at
me.
once
He
opposed
was
thereupon
It
was
to
took
Men-
delssohn
personally
"Deh!
contralto
and
several
of
performance
continue
it
had
lovely,
her
"Saint
was
name.
sparing
lips.
her
Mendelssohn's
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
somewhat
tector
pro-
actual
your
songs
and
my
artist.
superb
delightful
achieved
to
Cecilia
I should
I
eyes
Cecilia/'
the
Dusseldorf,
very
expressive
Christian
fallen
an
made
not
that
into
Joshua/'
whether
"
grew
opened
"
thanks
"
also
as
and
in
friend
wife
His
or
about
and
more
to
as
me
"Titus/'
solo/'
songs,
success
came
teacher
his
test
taught
Handel's
studies
my
brilliant
thus
in
part
Rhenish
Mozart's
istante
questo
per
the
He
from
air
an
the
in
Dusseldorf.
at
insignificant
^an
"
sing
"
Concert
one
me
dilettante!
little
had
that
ever,
how-
with
concert-room.
all
that
lives
in
my
time
for
knew
him
in
Berlin,
few
days
and
attentive
most
has
and
such,
as
always
was
amiable.
he
beer
Meyercold,
stem,
as
impressed
never
always
of
me
overwhelmed
me
kindness.
with
He
made
several
mother,
of
several
I also
we
enjoyed
of
Florence,
and,
Paris.
sang,
grand
band
hus-
my
by
Meyerbeer,
of
with
great
later,
me
this
of
one
life.
my
Let
friendship
the
is
artist
memories
with
duets.
his
acquaintance
genial
arias.
me
at
me
I, accompanied
and
his
received
too,
Afterwards
dinner.
of
entertained
and
arms,
open
study
me
Meyerbeer's
in
weeks
few
he
city
depicted
but
less
wedding
my
the
and
been
rough,
and
after
that
Mendelssohn.
during
in
sojourn
my
care
him
saw
did
than
not
midnight.
at
but
Meyerbeer,
met
would
you
dinner
to
frequently
My
and
presses
down
sit
to
Mendelssohn,
concerning
memory
saw
refer
i88
the
first
and
brightest
met
him
to
Rossini.
in
him
frequently
a
few
of
his
peculiarities.
him
No
to
of
wigs,
day.
high
He
was
He
very
often
on
"I
me:
do
I
is
took
singing,
circle
and
of
his
Rossini's
the
written
great
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
In
voices:
He
Wagner
good
good."
not
do
deep
the
good
care
another
to
favorite
not
Of
"What
his
of
his
macaroni!"
not
fond
"
number
one
chafing-dish.
but
on
called
prepared
had
liked
he
tones
always
He
from
only
train.
railway
He
changed
duced
in-
have
him!
carriages.
and
the
on
for
in
every
to
venture
locomotive
travelled
could
Nothing
he
dedication
expresses
in
most
flattering
of
decline
the
the
artists
pupils,
several
the
airs,
Delibes,
by
Delibes
would
Who
destined
to
friends
be
at
being
great
and
world,
the
a
reception
in
Cologne
days
a
My
director
my
Besides
renowned
thorough
man
accomplished
writer,
conversationalist.
His
an
charming
and
Ferdinand
and
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
In
Nevada
Blanche
daughter
pupils,
with
duets.
Emma
visited
my
over
and
songs,
was
"Lakm6"
He
in
went
soirfies,
my
works.
dear
my
so
of
interest
personally
his
to,
composer
took
often,
All
song.
modest,
and
other
already
of
art
referred
simple
and
his
the
have
were
Delibes,
and
of
L6o
us
complaining
terms,
in
gathered
of
swarm
190
his
salon
distinguished
was
him
saw
visit
him
sing
his
him,
pleased
"Rom6o
in
amiable
came
in
made
world,
master's
I
that
et
his
in
organ,
he
this
(it
possessed
house)
which
frequently
instrument.
stood
he
bills,
cal
musiall
as
well
is
still
in
the
often
accompanied
After
as
Opera
more:
to
be
seen
beautiful
and
his
the
"Rom6o
anecdote
large
192
death
by
and
One
crowded.
that
know
the
on
are
that
Parisian
"Faust"
whenever
all
His
mourned
You
was
to
the
was
friends.
is
Gounod
upon
and
Juliette"
House
in
void
great
Gounod
him.
with
contact
Juliette
as
affable
and
singing
d6but
her
that
whom
whose
Juliette/^
et
most
finally,
and
make
to
to
himself
he
Eames,
him,
to
bade
morning
and,
Emma
designated
very
he
that
perfection,
terest
in-
was
whom
compositions;
presented
he
Thursday
every
to
he
that
we
much
took
Blanche,
hearing
of
sang
school;
my
that
ours;
he
that
often;
in
fond
of
neighbor
near
studio,
played
for
and
us:
Blanche
the
master's
on
in
found
they
death
last
his
of
manuscript
composition,
of
whose
music
works,
Gounod
last
and
days,
week's
regard
interesting
most
and,
unaffected
most
youth,
less
He
earned
but
was
his
into
that
pockets
have
saw
recognized
N
as
while
the
193
old,
he
him,
concerts,
towards
streamed
Paris.
in
in
kind
woman-
company.
his
gold
little
him
early
of
god.
in
swiftly
as
time,
especially
the
same
and
with
liberal,
so
them.
death
millions
was,
from
simple-mannered
students,
of
the
as
made
especially,
was
at
public,
the
my
intercourse,
man;
however,
after-
1850,
in
personal
to
in
quiem."
"Re-
during
hour
Weimar,
in
was
his
on
every
other
he
as
repeatedly
met
saw
Mozart,
all
touches
sojourn
Like
away
in
God's
above
set
passed
whom
Liszt,
in
he
the
putting
sins.
his
for
titled
en-
song,
beseeching
prayer,
forgiveness
is
It
"Repentance."
form
the
portfoUo
it
out
streamed
before
Who
feeble,
his
would
ailing
LESSONS
SINGING
TEN
brilliant
man
the
Liszt
is interred
past?
where
has
Wagner,
his
erected
mausoleum.
You
all familiar
are
of the
Ambroise
years,
friend
to
He
in
character,
place
absolute
for
was
faith.
Ambroise
He
eighty-two
artistic
and
nature.
modest
hear
delight,
the
But
man,
died
the
all
One
at
Paris
of
age
piano
he
too
free
for
composer
to
have
from
194
this
seen
years
his
life,a simple,
all
play
thirty
courage,
understand
in
was,
was
all life,all
was
strength,
must
Rubinstein
and
could
Thomas
of the
He
purpose,
at
friends
French
the
decision.
Titan
noble
director
Rubinstein!
Anton
stem
eighty-three.
or
unlike
How
true
but
his
Conservatory.
fifteen
or
somewhat
whom
years
many
part
was
nature,
"
Mignon
fourteen
was
by
operas
remain
Thomas
me.
reserved
and
"
long
For
repertory.
the
whose
will
"Hamlet"
and
with
Thomas,
Ambroise
of
To
the
Baireuth,
at
Cosima
daughter,
of
artist
affectation.
a
was
he
was
rare
to
friend.
true
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,
from
somewhat
Thomas,
at
played
Gounod's
a
to
was
and
soir6e
poem,
from
air
the
Rubinstein
by
air
an
sang
ago,
Some
Saint-Saens
which
at
death,
years
and
musical
his
sudden.
Liszt
both
ago,
years
most
were
few
last
The
sight;
almost
unexpected,
was
myself
and
artist
his
lost
he
ties,
entrea-
Russia.
celebrated
the
servatory,
Con-
his
family
of
to
Petersburg
my
climate
severe
sought
withstood
dreading
the
St.
the
but
often
He
reserved
character.
pleasure,
195
since
by
gone
his
in
friends
Vienna.
like
Ambroise
in
I
during
manner,
met
my
him
last
in
stay
Austrian
the
renowned
are
his
shall
few
of
days
of
The
life
last
were
years
suffering.
shall
What
the
received,
mentioned
to
letters
I
two
that
in
have,
and
celebration,
of
several
others
scene
never
musical
The
to
to
will
Saint-Saens.
offered
already
of
four
dred
hun-
address
take
crowned
be
forgotten.
of
Paris,
^Massenet
"
former
in
and
personally
his
compositions
196
me
friends
part
from
eral
Gen-
world
ably
ami-
most
Jubilee
my
accompany
"Werther"
"
i
"
I
deavor
en-
ambassador.
respected
and
dear
the
of
my
The
presented
occasion
an
have
upward
American
Porter,
then
recognition.
telegrams.
and
the
think
you,
of
full
had
I
as
was
expression
sincerity
the
work
and
1899,
life, for
my
imiversal
that
sympathy
Jubilee
my
12,
of
day
the
by
which
of
you
December
brightest
saw
tell
celebration?
You
on.
Brahms's
(I
over,
beautiful.
later
them
study
positions
com-
world
the
entrancingly
songs
His
capital.
among
but
"
circumstances
compelled
himself
absent
to
Saens,
affability,
his
co-operation
One
some
before
in
too
will
good
singer,
no
is
not
two
opera
or
than
to
full
years
good
days
unless
me
to
work;
197
deavor.
en-
is
that
school
my
concertwill
Tell
children
aim,
teacher.
useless.
to
come
scientious.
con-
parents
leave
our
am
fruitless
my
singer,
in
or
in
shall
good
mediocrity;
worse
uselessly,
years
to
that
have
not
pupils
my
them
that
ambition,
My
of
would
best
intend
mischievous
it, but
you,
encounter
tell
as
money
their
each
Should
kindly
have
their
waste
the
to
who
severe,
spend
gratitude
wanderings,
Europe,
not
legend
his
violoncello.
for
Americans
young
am
and
closing.
holiday
study
with
concert
word
your
kindness
accompanied
lasting
master
great
the
voice
and
Saint-
great
and
for
Thanks
in
with
honored
and
then,
just
Paris.
from
however,
composition
him,
have
mediocrity
friends
your
they
tell
them
have
to
to
come
Do
all,
do
and
books,
of
will
words,
the
over
sealed
beautiful
And
au
and
good
have
the
of
whom
dear
now,
vantage
admuch
they
are
to
wont
was
latter
"
type,
weary
the
and
give
back
come
coming
What
THE
rather
me
and
ripen
strength
one
good-bye
rosy
years
you
you,
pupils,
leave
You
revoirl
bless
always
the
ing.
mean-
organ-pipe!"
May
God
of
singer
and
significance
Gounod
message.
of
say
their
the
to
the
again,
possessor
instrument
finer
good
moderately
mastered
has
who
his
with
singer
and
over
go
with
yourselves
patience.
vacation
to
again
and,
reading
fail
not
of
your
by
songs
your
penetrate
voice,
during
yourselves
improve
of
much
French,
store
acquire
to
and
in
lay
to
sing
not
text
German
of
knowledge
above
musicians,
good
me
and
END
your
and
all
"
pale
strong.
youth
courage.
By
M.
E,
EPISTLE
AN
TO
Recollections
book
by
a
bit
or
her
to
be
figure
incident
It
into
thrown
heard
with
the
that
whole
The
that
is
The
.
in
years.
Book
of
the
on
founded
is
really
on
good
to
the
greater
and
Y.
iVl
as
book
an
Press.
bright
of
made
has
and
kind
its
lished
pub-
USAGES
that
is
it
nothing
of
what
differs
in
inspired
of
is
written
two
with
in
that
of
stamp
this
it
of
usages
and
sense
of
it, nothing
the
on
ordinary
facts
the
good
by
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
16mo,
of
society,
worship
weak
who
Bulletin,
incidents.
and
admirable
helpiuf spirit.
was
and
history,
she
his
it
Advertiser.
its
SOCIAL
subject
its
likely
upon
fortune
of
what
greeted
most
Commereial'Tribune.
Etiquette.
Sherwood's
Mrs.
works
be
light
"
most
mental,
Orna-
AND
MANNERS
Boston
"
of
Cincinnati
"
most
delightful
as
of
Philadelphia
narrative
and
whose
one
interesting
an
will
eye
throws
makers
the
the
had
friend.
of
of
the
that
50.
reputati(m,
note-book
the
company.
aelight.
a
has
and
page
anecdote
an
is
book
book
travelled
national
company
interesting
especially
any
"
Sherwood
Mrs.
is
at
With
Cloth,
|2
Top,
Rambling
Life.
My
8vo,
Gilt
of
appreciation
in
when
or
of
Crown
and
opened
some
character.
cherished
be
of
lively
of
Man^
Edges
may
name
Being
Years
Portrait.
Uncut
the
POSTERITY.
of
Photogravure
The
SHERWOOD
W,
ROSE.
Society.
be
well
Might
Paper,
16rao,
dedicated
50
of
York
New
cents.
society
to
Story
and
large
at
its
aspirants.
York
which
There
is
make
the
great
about
to
any
price.
part
of
of
the
the
above
United
in
etc.
works
States,
will
about
Advertiser,
Publishers
AKD
will
details
mind,
Boston
"
BROTHERS,
YORK
New
feminine
the
people,
"
NEW
By^lny
to
introducing
HARPER
forms
social
ioteresting
book
cards,
sending
deal
LONDON
he
Canada,
by mail,
sent
or
Mexico,
postage
on
prepaid,
receipt of
the
AS:
flli:
'b
?'*"
:i
^AUSlC LlBRARr
KT
820
M316
INUSC
3
6105
042
540
STANFORD
471
UNIVERSITY
LIBRARIES
STANFORD, CALIFORNIA
1983