Scan 37
Musical Courier 1900-10-31: Vol 41 Iss 1075, 1900
189 lines. Read by computer on 21 September 2026. No printed page number was found. See the scan on archive.org.
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1tives was about to marry he begged for help from the Maharajah Sarabhoji.
3It quite slipped the Raja's memory, and the poor singer was forced to visit a professional money lender to ask for the loan of a large sum of money. But when asked for security he mournfully replied that naught of value was in his possession but the dearly loved treasure of his heart—the Raga "Todi." The Eastern Shylock accepted the treasure, imposing the awful condition that till the very last cent was returned with interest "Thou shalt not sing the 'Todi' before any living being on earth." A dilemma truly! More precious even than Antonio's pound of flesh was his "Todi." Alternative there was not, so he accepted the condition with sorrowing heart. When again before the great assembly—or Durbar—every Raga but the famous "Todi" he faithfully sang. But it was the Raja's favorite, too! "Hallo, Sitaramayya," he exclaimed, "I have not heard you sing the 'Todi' for some time!" "Maharaj!" was the sad reply, "it is no longer mine." Of course explanations were eagerly demanded. The Shylock, who was at once brought, produced the bond. Maharajah Sarabhoji, after laughing heartily, generously paid the full debt, thus restoring to Sitaramayya his beloved "Todi," and with a keen appreciation of the astuteness of Shylock rewarded him for having placed a higher value upon the fine arts than he himself had.
5Looking over scientific researches we find that it has been decided by the most competent scientists that the great Aryan race emerged from Asia's mystic heart. Since that far distant time India has developed within her own confines all that now characterizes her, and though ever and anon there came an influx of foreign influence, her steady trend of peculiar evolution barely swerved. From this centre went many bands at various times, who gradually disappeared, because absorbed in the other nations of Europe, yet leaving distinct traces of their existence.
7There is an undeniable resemblance between the Sapphic stanzas of Greece and the Sanscrit slokas of India, in the curious way in which the seven notes are brought in and the otherwise unaccountable similarity of musical instruments, such as the "lira," the popular Oukrainian stringed instrument, very much like that played by the Savoyards. With the left hand the musician plays the tunes by means of a number of keys moving horizontally, while with the right he moves a handle which turns a wheel concealed within the instrument. This wheel permanently touching one string produces a monotonous accompaniment. In appearance it is very like a violin, only the neck is very short. The very life of Oriental music depends upon improvisation; so does that of the Roumanian folksong, or the music of certain classes in Ceylon. In fact, it reminds one of the mediaeval times of Europe. The monkish plain song and the early minstrel music were probably very similar to this. There was the same tendency to work from a droning bass rather than from a keynote as now understood, the same tendency to subordinate the music to the words, causing flights of intricate melody that were vague and often unbalanced; the same love of ornamental twists and turns, and the same want of absolute definition of time.
9This use of a drone seems to be the Oriental ground idea of harmony, though the play of melody is very much limited by it. Students of modern harmony would perhaps stigmatize the Indian method as "worthy only of the rude simplicity and primitive nakedness of prehistoric times, but there are certain shades and aspects among the beauties of nature which no amount of civilization and refinement can improve or ameliorate, and the secrets of national tastes and springs of action can only be studied and admired, but in no way interfered with. Adaptations may, of course, be made and improvements effected, but the integrity of the system should be maintained without attempts at mutilation or transformation of any kind."
11I think that Dr. Beattie voices a truly Oriental opinion about vocal and instrumental music, and the preference they have for the former, when he says in his "Essay on Poetry and Music," Part I., Chapter VI.: "It is in general true that poetry is the most intermediate and the most accurate interpreter of music. Without this auxiliary, a piece of the best music, heard for the first time, might be said to mean something, but we should not be able to say what. It might incline the heart to sensibility, but poetry or language would be necessary to improve that sensibility into a real emotion, by fixing the fancy upon some definite and affecting ideas. A fine instrumental symphony, well performed, is like an oration delivered with propriety, but in an unknown tongue; it may affect us a little, but conveys no determinate feeling. We are alarmed, perhaps, or melted, or soothed; but it is very imperfectly, because we know not why. The singer, by taking up the same air and applying words to it, immediately translates the oration into our own language. Then all uncertainty vanishes, the fancy is filled with determinate ideas, and determinate emotions take possession of the heart." There could not be a more concise definition of the fundamental theory of Oriental music than this. Its history is, as it were, summarized in these few words.
13Perhaps the explanations' which follow, gathered, as has been said, from A. M. Chinnaswami's valuable publications for the most part, will serve to create the interest in Oriental music that it undoubtedly deserves; even it may be that it will bring about a closer union and deeper sympathy between East and West, who are so much separated by differing customs, but who, after all, constitute but one great humanity eternally implicated in one stupendous scheme of evolution.
15(To be continued.)
17Madame Lewing's New Position.
19Mme. Adele Lewing has accepted the position to teach the advanced piano pupils in the Academy of St. Elizabeth Convent, at Morristown, N. J.
21MRS. W. E. BEARDSLEY,
22Instruction—Piano.
23Studio: Knapp Mansion, Brooklyn, N. Y.
25MISS VIRGINIA BAILIE,
26Pianist and Teacher.
27LESCHETIZKY METHOD.
28Studio: 1302 Carnegie Hall, New York.
30SHANNAH CUMMING
31SOPRANO.
32Oratorio, Concert, Recitals.
331424 Pacific Street, – BROOKLYN, N. Y.
34Telephone: 906A Bedford.
36S. G. PRATT
37Principal West End Private School of Music,
38176 West 86th Street, New York.
39Accepts engagements for Chopin Analytical Recitals and the famous Concert-Lecture.
40"THE SOUL OF A SONG."
42HOBART SMOCK,
43ROBUST TENOR,
4445 West 32d St., New York.
45Telephone, 2283 Madison Square.
47FRIEDRICH VOELKER,
48Violin Virtuoso.
49Concerts, Recitals, Instruction.
50STUDIO: 69 West 104th Street, NEW YORK.
52O. HEYWOOD
53WINTERS
54Vocal Teacher, Choir Director, Baritone Soloist.
55Pupils placed in paid chorus when capable. Artists' chamber concert and private voice trial by appointment. Camp chairs to rent.
56Studio: 98 Fifth Ave.
57Rooms 4, 5 and 6, New York.
59HARMONY AND COMPOSITION
60Individually or in Classes.
61MRS. BERENICE THOMPSON,
62616 Twelfth Street, N. W., Washington, D. C.
64THE HILD
65Concert Company.
66AMELIE HILD, Musical Directress.
67GERTRUDE RUHLMAN, Contralto.
68THEOBALD WENDLING, Bass.
69JOHN SPARGUR, Violinist.
70ADDRESS Mme. HILD,
71233 East 18th Street, NEW YORK.
72THEOBALD WENDLING.
74London, England.
76THE GUILDHALL SCHOOL OF MUSIC.
77Principal, WILLIAM H. CUTTINGS, Esq.
78Established by the Corporation of London, 1860.
79All branches of Music, Elocution and Languages taught.
80Improvisation, Accompanying, Sight Singing, Sight Reading (Instrumental), Choral, Orchestral, Operatic and Chamber Music Classes. Second studies at greatly reduced rates. Scholarships, prizes, &c., given.
81Fees from £1 11s. 6d. to £4 14s. 6d. per term of twelve weeks.
82Staff of 130 Professors. Over 3,500 students. Resident Lady Superintendent. Prospectus and full particulars of the Secretary.
83By order of the Committee.
84HILTON CARTER, Secretary.
85Victoria Embankment, London, E. C.
87MR. ALBERT VISETTI,
88Professor of Voice Production and the Aesthetics of Singing at the Royal College of Music and the Guildhall School of Music.
8914 Trebovir Road, Earl's Court, S. W., London.
91MME. MORIANI,
92Private Academy for Voice Training and School for Opera. Complete Training for Voice, Style and the Different Repertoires.
93Madame Moriani, in consequence of the great number of applications received, has now established herself permanently in London.
94Lessons and Consultations (private and classes). For terms and particulars write to
95MADAME MORIANI,
9627 Upper Baker Street, N. W.
98MRS. EMIL BEHNKE,
99Scientific Voice Training for Singers, Speakers and Stammerers.
10018 EARL'S COURT SQUARE, LONDON, S. W.
102PROF. MICHAEL HAMBOURG'S Academy for the Higher Development of Pianoforte Playing.
103Patron and Honorary Examiner, M. PADERWEWSKI. For prospectus apply to the Secretary.
1042, Clifton Gds., Maida Hill, London, W.
106French School,
10714 Rue Taitbout, PARIS.
108Special Classes in CONVERSATION and PRONUNCIATION.
109Entrée 1 Franc Each Person.
111THE KLINGENFELD COLLEGE OF MUSIC
112AND
113SCHOOL OF ELOCUTION,
114108 Hancock Street, BROOKLYN, N. Y.
115NEW YORK STUDIO: 40 West 35th Street.
117Paris.
119SCHOOL FOR ACTING.
120EMIL BERTIN,
1211er Regisseur de la Scène de l'Opéra Comique.
122Stage Practice. In Cast.
12341 rue des Martyrs, Paris.
125DELLE SEDIE, Paris.
126Pure Italian Method. Complete course. Stage practice. Voice, lyric, declamation, languages, solfège, ensemble music, mise-en-scène.
127Class and single lessons.
128Regular course, three years. Terms moderate.
12930 rue St. Petersbourg.
131MONSIEUR HENRI FALCKE,
132PIANIST.
133Lessons in Piano Playing and Theory. M. Falcke Speaks English, German and Spanish.
134Address: 169 Avenue Victor Hugo, Paris.
136FOR THE EXPOSITION.
137LA VILLA VIOLETTE.
138TROCADERO.
13922 rue Raynouard. Mme. Fiessinger.
140Assortment of Rooms. Gardens. Excellent Table. Three minutes' walk from Exposition Grounds.
142MME. ED. COLONNE,
143PROFESSEUR DE CHANT.
144SPECIALTY OF PURE FRENCH SCHOOL and FRENCH DICTION.
14543 rue de Berlin, Centre.
147MR. CHARLES DE BERIOT,
148PROFESSEUR DE PIANO.
149Classes Superieures au Conservatoire.
15019 rue Flachat. 13 rue du Mail-Erard.
15111 rue Duphot. Ecole Niedermeyer, Paris.
153JULIANI,
15448 rue Fortuny, Parc Monceau.
155Professeur de Chant. Concert, Oratorio, Opera. Theatre in Studio.
157MME. MARIE ROZE,
158PROFESSEUR DE CHANT.
159Chaussée d'Antin, Paris.
160Mise-en-scène. Ensemble practice in caste on stage.
162FOR THE EXPOSITION,
163157 rue de la Pompe, Paris.
164PRIVATE PENSION or APARTMENTS, with or without board.
165Close to Avenue du Bois de Boulogne. Five minutes from tramway and omnibus.
166Excellent cuisine.
168MLLE. KIKINA,
169PROFESSEUR DE CHANT,
170Ancienne Elève de MARCHESI.
171100 Av de Villiers, Paris.
173MME. ROBINSON DUFF,
174PROFESSEUR DE CHANT.
1754 rue de la Renaissance l'Alma, Paris.
177ELSIE RAY
178EDDY
179SOPRANO.
180Church, Concert, Song Recitals.
181272 Clifton Place, BROOKLYN.
182(Sanger Pupil.)
184Mr. & Mrs. WALTER H. ROBINSON,
185Tenor and Contralto Soloist.
186Oratorio, Concerts and Musicales.
187Voice Production and Repertoire.
188Studio: 405 Carnegie Hall, New York.
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