D'SCA
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UA.THItDK
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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
3
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
I
as
than
subject
much
too
to
all
unique
a
She teacher
great
a
the
once
of
her
great art. "
m
"
"
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
a
was
the
on
friendship,
much
so
would
had
and
guidance
words
few
it
book,
distinguished had
who
one
a
this
my
writing
in
pen to
employ
to
unpractised preface
my
Melha
Nellie
by
I
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
a
of
the
most
and
love
ready
that
thies, sympa-
and
have in
beautiful as
an
a
gone
devotion
Instructress,
Friend.
conspicuous iv
spire in-
to
cheerfulness,
and
Mother
of
intimate
failed
ever
self-abnegation
and
a
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
a
rated satu-
music,
its
of
spect re-
great
mind
of
full
the the
a
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
a
traits
of
Madame Take
her
from
sending have
you
is
cong6
and
to
devote
this
the
to
and
care
forgiven been
of
one
for
arena
a
over
Madame
with axiom
that
doing
yourself;
at
her
piano
would
has
great
one
if
she
relied But
to
seem
is
worth
and
to
nine V
be
might
assistants.
upon
doing this
her And
life
in
years,
from
great,
Madame's
It
toil
sponse re-
ditions con-
for
whose
fifty
what
in
too
in
are,
endless
thusiasm en-
interests.
woman
it
an
incessant
too
up,
She
these
personal.
extent
some
it
energy
trouble
patience
in
siasm enthu-
pupils
pupil's
absolutely
case,
to
patience
if
certain.
Given no
will
even
back
her
own.
is
and
lessly relent-
no
to
equally
there
and
care
have
intelligent
her
to
but Or
but
of
and
no
gain
away.
demands
has
training,
intelligence
logically
no
which
kindly,
voice,
esty. hon-
rigid
personal
you
the
and your
voice
of
her
her
successful
considerations
restrain
is
a
of
potentialities no
teacher
a
as
day
o'clock
is
be
an
worth she in
is the
till
morning
for
eager
which
successes
in
as
career
unexampled
teacher.
a
in
When
remarkable
so
her
punctuated
manner
a
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
a
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;
a
such
singer
first
a
of
care
pencil
the
pupil
learn
to
features,
some
Europe are
him
duet;
a
A
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
a
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
a.
merely
few
a
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
I
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
a
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
a
book
a
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
a
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
a
still
much
use
we
sary neces-
is
when
singing
a
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
a
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
I
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
a
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
a
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
somewhere
in
sounds
their
and
which
powers in
the
and
tense
increased will
the
of swells
mo
of
into
they
discover
longer
aches,
that
being a
recreation
know
pupils when
it
any
I who
am
learn
can
is
learned
music
quite bemoans
sing
to
it
ever
it
to
is
this
who that
canto
And
way.
the
meets
be
only
teachers bel
true
from
grown
But
no
make
even
singing,
of
the
of
away
throat
not
has
the
at
dies
the
joy.
a
ministrations laws
the
pain,
a
and
the
under
of
and
labor
a
be
ptanissi-
and
that
a
can
power
that
felt, and
presence
with
softest
it does
strike
to
which
fortissimo
a
pelling pro-
placed
chords
in
till the
again,
its
has
air,
diminished
singer
great
region,
column
or
the
vocal
the
torturing
nature
delicate
firm
steady,
larjnix
cease
diaphragmatic
their
that
When
employ
to
the
of
to
ing ach-
pupils
made.
really learned
throats
and
the
region
the
are
have
pupils
tell
muscles
throat
the
chords
vocal
inflamed
that
demands
written. that
aware
the
the
departure "
xiu
"
"
cry
of
of
him
former
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
a
exceptional
With
and
voice
good
but
graceful
the
and
voice
ill -dressed,
fat,
the
guinea,
a
phrase,
and
than
to-day
at
woman
gowned,
The
a
sold
good-looking,
well
for
and
the
the
of
severe
;
am
ened enlight-
dawn
ago
musical
the
I
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
a
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
a
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.
a
worshipped
about
bull
a
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
a
robustious
the
to
who
temperament
robust
a
energetically
stage
puflfs
exertions,
has
exceedingly
rushes
and
pants
who
person
an
side
one
a
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
a
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,
a
her
of
and
story
maintain
can
the
scenery
dramatic
a
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
a
no
breadth
be
can
breath,
which
upon
majestic
refinement
deUcate the
technic
a
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
a
have of
Mme.
of
fiorituri
"ind Who
finish
of
the
though
Nevada,
day
that ful beauti-
the
exquisite
twitter
best
the
Murska?
di
Emma
has
staccati
rippling
the
present
of
pearly
lima
remember
not
who
Who
forget
the
these
Among
singing
the
;
which
Marchesi,
ever
the
or
emotion
instruction?
will
them
heard
poverty
activity an
pure
her
theirs.
the
music.
Mme.
The
was
conceal
of
ever
sing.
repose
to
simulation
have
and
physical
by
colored
very
still
need
art
pictorial never
stand
a
no
their
of
all
could
heard
I
singers
greatest
bird? the
And
tunity oppor-
Marche-
si's
diflFerent
I
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.
I
as
praised,
But
tone
Carmen.
her
greater
her
Italian
and
Calv6,
Mme.
sung
management
ornament
all
less. flaw-
with
was
of
colora-
a
and
is
Mmes.
ever
"
at
in
skill
her
is
breath
age
founded
almost
Lucia
confident,
I
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
a
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
a
which
unknown
perfectly
tone
a
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
a
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
a
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.
I
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
I
what
singer.
examples
singing,
pure
present of
these
of
that
time
a
"
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
a
is
It
career.
Bellini, Gounod. music method
apologize
for
their
inability
own
It
haste.
is
results
other
things
many
thanks
kind
their
need
Mme
six
^study
alone, and
of
a
be
wait,
divine
favors more
to
"
and
technic
at
the
will
who
mistress
now
to
patiently
serve
of
content
one
to
study
on
years
still
should
in
Marchesi,
"
is
times
not
one
Garcia,
to
evil
our
the
than
while
But
singing.
of
right
immediate
for
demand
the
the
the
of
root
characteristic
a
"
real
the
No;
way.
it
sing
to
labor
feet
with repay
than
glorious
gold
stones.
W.
J.
Henderson.
or
cious pre-
THE
LESSON
FIRST
LESSON
FIRST
THE
Paris,
AFTER
August
solicitation
continued
long
1900.
20,
-
/-A
directed "^
"^
the
and
of
lovely
a
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
I
ed conclud-
task.
the
garden,
birds,
song
general,
finally
to
the
writing
in
song
have
myself
tumult
upon
I
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
a
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/'
a
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,
attained, distinction,honors, and reward
the
become
fair, if thorny, road
out
divine
and
added
equipment
inception of
very
sound
a
ear,
compass,
to
the
false ambition,
the
good
a
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
a
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
5
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
A
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;
a
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,
spirit of art, is needed.
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
a
change
particularly to
main
the
art
considerable
with
guarded
are
the
which, 6
more
in
feeling widely
America.
education from
of
a
infancy,
has
revealed
vivacious
a
ear,
valuable of
true to
gifts
sitting
at
scales
to
it the
health
this
is between
and
constant
practice.
through
pride
an
the
sing aunt
piano
How
speak
ways
or
their
for
the
cousin,
often
has
such
towards
their
solfeggio
regard (do,
re,
out, with-
"
parents
mi)
can
7
too
who,
children's
ac-
from
play
play of
for
them
proceeding embittered
studies? for
to
just mastered. a
experience
with
to
have
from
of
entertainment
or
piece they
its
years
it
them
summon
air
an
eight
I blame
over
complishments,
bodily
alphabet
the
constraining
however,
to
the
creature,
learned and
the
dolls?
piano-instruction,
it
give
may
age,
little
seven
prefers
with
for
gifted
mom
fingering
itself
it has
after
from
and
and
piano
one
intonation
overhears;
consideration
of
parents,
who,
faultless
busying
due
With
child
a
with
melodies
the
and and
voice
sweet
a
"
sings
eve,
acute
an
temperament,
; of
pitch
of
possession
the
Now
I
"
dren chil"
their
physique
be
commenced,
^al"
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.
a
had
well.
her
hood woman-
disregard
me
knew
mother
their
E)
strength,
the
once-celebrated
songstress, of
to
strictly
Krauss-Wranitzka, I
a
to
reaches
physical
voice
must
Let
whom
C
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
9
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
a
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
a
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
I
of and
detail what
I
do
fascinating
a
woman.
summoned
sotmdness,
The
over, more-
interesting
an
a
ing notwithstand-
I
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
a
darling
my
The
the
not
daughters
depends
the
are
mothers
their
good
a
in
given
urge
life.
of
secrets
How
I
that,
suggest
advice
the
to
foregoing
I
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
a
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
a
important be
the
indispensable.
is
of
when
replaced,
and
of
perfectly
voice,
the
outset
very
teacher
a
cannot
stringed
any
the
understanding
rank, formation
or
from
hence,
it
and
violin
a
the
to
disposition,
the
condition,
bodily
to
voice
subject
weather,
the
portant unim-
The
ability.
instrument,
of
the
resorting
before
recognized
physical
a
that
with
instruction of
brief
a
or
commence
may
teachers
that
the
a
with
Are
stick yard-
a
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
I
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
a
as
the
you
left
have
not
for
as
if
Parents,
teacher?
airs,
Is
pupil
the
for
study,
public
in
appear
a
known
months'
songstresses.
painful
have
few
a
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
I
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,
a
of
a
gifted,
a
from
hopes
Many
this
j"red
roused
her
not
many
fondest
greed
gain.
I
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
A
ing charmwith
a
voice,
lovely
mother,
lady
a
to
of
miamiable, of
expression study
under
quick
daily,
hours
the
child
poor
After
in
dwelt
cold
a
that
that
and market
the
much
for
taken
down
with
for
months.
in
poor
her
bed
invalid
length
At
and tears
as
I
came
rolled
physicians
had
pupil clean
sent
could
not
able
was
into
the
prescribed 14
a
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,
I
the
girl;
I
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
I
paler.
three
continual
months
few
a
made
mother
her
objected,
I
to
She
practising
her
bidding for-
coimtenance,
but
progress,
her
even
direction.
my
upon
with
Paris
came
of
air,
a
in Italy.
stay
passed then
and
returned
studies. In
returned
have but
in
in
their
more
sad
should
foreign
points the
with
best
accepted
talent
has
could
cite
such
that
expressed
perfect frankness advice.
the
it, and
Many
latter;
sought 15
children
of
many
counsel
to
reflection. have
views
my
I
that
show
to
due
women
many
further;
no
their
never
those
as
go
sufiSce
send
times,
interruption
the
without
young
I have
me
not
parts
all the
To
will
and
pupils
four
or
will
but
narrated
parents
I
experiences
rehearsed,
those
their
maturity.
to
have
of
consequence
come
that
Other
three
me
studies,
weeks'
fancied
mistake.
to
pupils
inexpensive,
very
their
discovering
her
few
a
having
is
was
resume
after
home
Paris
it
American
my
parents
Florence,
singing-teacher.
a
now
cases
many
in
life
to
is
ter daugh-
but
could
pupil
my
She
sojourn,
in
America,
to
summoned
are
and
twelvemonth
a
before
long
mother
The
on
and them have
come
these
given have garded disre-
elsewhere.
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
a
voice-
etc.,
assert
than
that
stage;
It
master
completely
more
of
interpretation,
I
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
I
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
I
of
public
I
it, and
faced
time,
the
splendid
of
In
addition
in
thrice
week
a
shone bore
box
a
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
a
and
Tadolini,
Alboni;
House
bought
firmament.
Grisi,
and
velopment de-
my
Opera, the
upon
lyric
Duprez, Uve
I
Italian
gazed
names
French
advantage
the
the
at
his
to
had
I
felt
I
shyness
powerfully.
most
in
equipped; without
art
the
appeared
future
teaching,
exemplars
seat
I
when
apprehension.
or
period
a
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
I
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
THE
SECOND
LESSON
Paris,
HAVE
I
returned
just
I
would with
to
the
the
or
eyes,
own
I
all
this
second
myself
tion rela-
my
of
some
thereof;
must
but
more
once
art,
in
and,
duty,
with
wholly
verse con-
with
them
chief
my
letter,
in
beheld with
of
in
readers,
descriptions
reminded
How
hour
an
wonders
scan
ntimerous
am
spend
visit
narily extraordi-
Exhibition.
friendly
my
1900.
a
and
interesting
gladly
27,
from
beautiful
the
to
August
cern con-
and
song,
study. I
one
must
most
American
sent
thorough
once
Europe study
attention
ask
important or
to
again
point:
she
before music
of
23
young
no
girl
Australian
to
has and
should made
foreign
be
a
languages, the
a
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
a
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
a
have
to
as
well-conducted
good,
order
as
for
very
suffered
have
that
alone
the
from
studies.
require
a
companion.
a
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
a
impossible,
but
"pension''
say
at the
injury
known
have
I
their
of
all
pupil
the
wall, is
chance
great.
I
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
a
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
I
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
a
seen
inquiry
my
that
to
caused
of
a
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
I
man,
once.
engaged
had
she
her
from
was
family,
A
that
at
One
she
that
soon
home
American,
husband's
would
and
creature.
Russian.
in
she
to
the take
not
tidings
referred
an
a
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
I
teacher.
myself and
hold
voice
to be
the the
education most
results
only
to
were
body every-
having
of
this
to
a
teachers
confined
have
I
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
I
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
a
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
a
musical
a
of
study
the
the
which,
question,
voices.
Then,
the
patience
infinite
with
whatever attain
to
celebrity
of pupils, young
proclaim
that
facilitating
hard
avoid,
the
helping
and
they
have
the
voice, its strength,
sess pos-
slowly
and
ing unyield-
29
quickly
large
array
often
discoveries and
song,
development compass,
time,
same
teachers
made
of
qualified un-
must
To a
rising
study
by
and
at the
attract
and
work
numberless
be anti-natural.
may
before
difficult
develop
to
a
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
a
a
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
I
notice
teachings,
false
rejects,
which and
few
a
of
these
long
my
against
rience expe-
which
I
warn
readers.
my
Some
I.
of
To
voice. but
a
clear
caution
is
I
voice.
The
infinite
of
months tones
from
study
imperceptible. soprano
difficult
of
voices.
I
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
a
task
trying
as
teacher
successful
outcome
fashioning
of
responding
pass
to
sing,
often
in
their
attack,
voices,
of
fit
the
is
it
the
prevents it
tones, a
The
respect also
violent
to
the
quality
attack
the
of
the
be
must
be
(called 31
higher
by
due un-
shimned. in
even
I would
strength. against "coup
tones
however,
produced
pupil
ers teach-
chest
the
larynx,
and
avoided.
be
ignorant
sound,
registers
caution
limitation
can
of
on
toneless.
understood,
on
three
this
development
bleating
pressure
which,
and
use
being
effort;
quite
or
when
the
the
"holes''
tones
management
that
aver
certain
wrong
all on
veritable
all
com-
greatest
veiled
registers,
Hence
that
or
either
Through
their Almost
the
so-called
are
voices,
especially
with
tones,
the toil.
sonorous
demand?
songstresses
all
past
throughout
every
its
perfect
effaces of
the
nowadays
easily
have
voice
the
but
the
i.e.,
recollections
are
higher
pupil,
"
depressing Where
the
"
the
of
patience
of
that
to
as
the
to
de
a
too
glotte")
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
a
remark;
"Oh
Why
and
ways
I
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
a
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.
c
that
such
victims
larynx. seek
to
their
of
I
ignorance! suffering and
from
ultimately
that
singer, three A
There
practice-hours.
of
teachers
two
the
voices.
Length
a
of
so
natural
and
pressure
larynx
the
losing their 4.
free
by
for
Alas
1
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
a
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
I
room.
of
in
when
the
brain,
of
edges cords
of
the
provided a
"coup be where
hard
a
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
I
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
a
that
35
as
pupil
the
of
change
her in
unfortunately,
happens,
tone
"voix
a
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
a
mouth,
teachers.
to
and
produced.
the
from
take
smile but
of
sort
a
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
a
their
dangerous from
prevented
schooling.
good
internal,
I
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
I
lost
in
am
flowing
bearing, down
hear
voice
mouth,
of
stately
I
her
have
to
me
and
faces,
noses?
a
ready al-
offend
most
When
ears.
ican Amer-
discern
I
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.
a
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-
a
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
a
most
I
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-
I
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
a
I
increases
deprecate
noble
producing
which
the
concerns
and
food
The
How
chapter!
bouillon
to
food
in
in
that
morning
the
appetite.
Against
of
I
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
I
lesson
discourse
friends
American
young
first
well
bodily
I
in
the
fear
of
displeasure
the
under
fall
may
In
is
as
the
I
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
I
my
particular, give
advice
Above be
so
all,
observed that
the
digestion dishes
are
Then,
of
glass
iced
be
must
singing the
at
make
must
is
the
usually
the
walks, too
slave
of
excessive
all
must
my
yoimg
be
out,
cry
views
are
great
sacrifices,
Yet
this
good;
be teacher has
so
a
who shall
we
comforted,
my
seeks
nothing
devoted
her 39
ing singto
frequent
brows, whose
teacher
such
demands
seek
dear
but whole
"
fear
I
'knitted
with
severe,
strument. in-
dancing,
Alas!
from
singer
gatherings
abandoned.
"No,
for
her
or
too
social
readers,
of
exposure
cold,
or
long,
night,
at
meals,
or
parties
theatre
will
after heat
the
his
late
bread,
sacrifices
rowing,
reading
soon
upon
voice;
Bicycling, long
glass
student
great
of
preservation
own
day
The
overcome.
perience, ex-
one's
all
sweets
by
fresh
eating
water,
all
digestion.
in
drinking
as
nibbling
and
of
indulged
such
and
that,
hard
proven
habits
country,
avoided
be
should
disturbed;
be
not
may
no
sel!'' coun-
children; her life
pupils' to
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
a
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
I
mediiun; and
encouraged
has
produced,
organ
ability believe
;
I
my
method.
My
to
me,
the
by that
indeed,
do
Anticipating
so.
etc.,
a
of
high
a
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
I
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
I
since.
will
you
complete
escape
perhaps,
and
people
beg
can
I
yesterday
rest
no
and
case,
I
direction. and
or,
the
:
heavenly,
but I
severe.
this
heard
had
teacher,
Its
follows
as
is
have
tormented,
your
sensitive,
I
terribly
candidly
singing
so.
with
study
to
that
less
no
girl.
are
I
1900.
peculiar
German
young
Her
lo,
very
Marchesi,"
Melba.
her
a
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
I
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,
A
related
asked
the
leave with
a
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
a
(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,
I
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
I
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
a
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?"
a
the
made
I ask
May
you
through
single
difficult.
more
object
Professor;
of
production
the
the my
also
personally
air, mands debeen
impart
instruction, and
only
the
work.
lay
daily
devoted
have in
its
all
and
joys
assistant
whole
my
the
only,
of
development by
alone
me,
pupils,
my
from
and
the
ton, fills
I
that
unhappily
Many, to
bring
be
desired
careless,
often
too in
sadly. me,
that
faithfully
their
Those,
however,
perform
follow their 47
much
leave
they
respect;
that my
are
in
lacking
and tax
that
art
education.
many,
and
blindly
educa-
ness earnest-
their
this
me
often
same
negUgent,
conscientiousness,
to
for
to
of
ask
families
the
the
conducted
come
for
and
bosom,
opera
for
I
enthusiasm
same
my
is
whose
sacrifices
great
class
whom
ing-teache sing-
the
unaided. of
many
afar,
make
and
no
all
for
voice
the
and
have
do
as
The
classes.
concert
I
world I
accompanists and
upon
life, and,
sorrows.
teachers,
on
eye
altar
an
forget
teaching,
my
an
burnt-offerings;
it
to
kept
is
art
assistants,
to
then
My
I
which
and
now
it
left
but
patience
my
understand
advice
tasks,
are
and
sure
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
a
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,
a
which under
wrote
I
quent fre-
a
''To
whom of
to
fair
a
was
tests
subjected,
Marchesi, think
who
the
patience
and
faces
a
thetic unsympa-
lose
the
selfdif-
r
ficulties of music
were
Italian melodies
music
was
in
far
melody must, is
opera
the and pecially escerned, con-
musical
thorough
a
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
a
the
and
organ,
of
her
lovely she
time
impaired
voice.
In both
acquired
rose
that
women
class.
had
made
and
singer,
She
extraordinarily diligent; further, teacher
violin,
she
Hence
yoimg
same
pupils. studying
began
already
at
sang
interesting
of my
some
Melba
piano, the
Uttle
a
regarding
Nellie
When
on
furnish
I will
Here
a
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
a
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
a
maiden
success
Imperial
the
for
little
evening,
Her
the
Paris,
engagement to
the
songstress
ill. on
still
rehearsal,
and
a
career
engagement
My
of
Gabrielle
brilliant
House
previous
for
taken
chance,
when
upon,
''Paradise
suddenly
f eUcitous
fortunate
a
part
substitute
a
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
I
think
is
Blanche
and
Nature
pupils. of
When
a
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
a
infancy
From
their
therefore
will
and
I
sujfficiently
few
a
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
I
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
a
Vienna,
my
I
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
a
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
a
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
I
their
the I
I
month
a
with
acquainted
experience,
seek
cases
they
gratuitously,
gather
may
devote that
exact
even
difficult
Twice
in
I
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
a
a
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
a
to
bring
they
in
instances
blunders
voice. from
me
mistakes
a
"
as
brought of
the
voices
incomprehensible;
danger,
a
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
a
in
the
they an
operatic B
or
A
third
or
were
not
exceptional
pianist
hope
when
several
under
his
fact
the
the
screaming
lose
the
of
It
would
afford and
the
singer; all.
finishing
If
absurd!
give
a
the
finished
last
this
of
were
touch,
already? 55
of
how
have
theml
In is
the
when
the
of
an
future
of loss
means
said
of
professor.'' so,
of
much
voice
this
to
gathers
f oimdation
and
people
stone
the
it is the
stray
outset
spared of
neglect
Silly is
"She
as
after-work
artist's
be
formation
first requisite,
the
tears,
many
toil, might
useless
of
from
to
teacher,
to
rolling
How
decide,
children
teacher
"A
moss.'"
could
parents
me
artistic
advantage
great
their
to
work.
every
compass
infinite
of
be
from them
song,
the
as
me
their
if
years
intrust
no
well
accept
gradually
must
as
of leaving
instead
their
that
voices.
pupils,
for
indisputable
an
method
talent
speechless
songstresses
satisfaction, to
is
It
brilliancy
their
remain
keys
touch?
that
fullest
his
reveal
to
how
the
me,
How
could voice
I
is
THE
FOURTH
LESSON
A
i
LESSON
FOURTH
THE
Paris,
IN
last
my
in
into
is
Italy
I
method/'
readers
in
printed
Pietsch, in
Teaching
of
New
as
York.
a
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
a
it
that
entitled,
is
and
Song,
append
is
article
paper news-
highly
amusement
some
in
I
belief
my
Method
this
bring
umbrella
a
upon
invention.
the
"
the
their
anxiety
to
59
a
teacher
a
to
to
describing
( ?) in
refer
of
spoke
that
happened
article
I
endeavoring I
1900.
25,
think
method
popularity.
The
I
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
a
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
a
to
and
other An-
run
brought,
breath,
surface of
then
head
breathing,
A
stomachal
is
pupil
sofa.
a
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
a
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
a
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
a
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
I
for
may
but
foe
of
views.
my
still
pleasant
most
there
provoking,
sworn
characteristics
"lunbrella
others
While
a
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-
when
ceptions; the
to
bad
a
advice
my
themselves
guide
teacher
by
in
all
of
not
good
a
age. dam-
do
to
parents
choice
the
hearing
a
is
to
can
is
one
likely
one
one
school
the
or
one,
Thence to
when
whether
however,
school,
any
determine,
stone-deaf, one,
of
pupils
readily
listens,
one
of
a
teacher's
the
pupils. In I
contrast
have
I will
cite
as
of
with in
results
1
slow
of of
in
vocal
his
in
pupils,
comprehension, 63
the
attack
which
of breath, into
out withaction. has
system
new
order
Garcia,
glottis,
cords
acceptance.
demn. con-
point.
done,
open
this
even
Manuel
long
the
Garcia,
some
and
case
the
Unfortunately, swift
ignorant
outpouring
an
bringing
found
a
I have
opposed, tone
which
teacher,
revered
My
against
criticise
unfairly
people
methods
the
practices,
wrong
of
hears
often
one
useful
and
discoveries
absurd
mentioned,
practical
to
the
to
Strange to
who the
make were
tion aberra-
clear rather
closing,
or,
the
rather,
drawing
glottis,was the
wont
desired
extinguished that
the
the
light
the
by
singing the issuance
steadily.
of the
a
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
a
forth
tongue
throaty
a
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
a
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
a
The
teacher.
tongue;
only
that
instruction
expert
experiment
comings short-
and
has the
has
latter, to
in
64
i
special
tire
might
it
for, if frequently
cases,
another
note
will
or
inserting
small
a
I
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
I
instruction
to
E
I
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
I
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
a
pupil knew
her,
learning
it
r6le
with
66
the
me
long
two and
Semiramis
acquainted
Madame
Leblond^ I
Semiramis.
of so
appears,
a
compassionate
I became
Garcia,
La
Bor*
For
some
sing
r6les,
BarbierCj"
commenced
length
the
when
"Lucrezia
between
of
Hence
out.
"Sennramide.''
beautiful
with
in
I
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
I
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
I
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
a
must
in
training
of in
described
First
when like
four
have
be
may
classes.
in
I
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
a
with
it
then
and
I
ever
ual individ-
oppose very
themselves
bind
for
now
of
if
avoid
to
to
lessons,
education
the
I
but
might.
my
only
duets.
two
determined,
not
and
pity,
to
the
me
I
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
a
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,
a
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
a
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
A
ning.
vocalization
of
the
on
the
vowel
A
then,
only
I
do
await
that
attained,
are
the
to
say
persons
young
"
deliverance:
their
"Children,
"
will
be
begin
to
to-morrow
shall
you
of
each
I
for
pupils,
in
confidence
I
of
its
see
that
vowels,
of
the
of
art
I
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
I
to-morrow
words.
on
paper,
me,
only As
sing
the
you,
sing.'"
to
are
and
pencil
forth
holiday;
a
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
a
be
text,
this,
I
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
a
which
teachers,
quent fre-
are
not
up
gathered
experience these
set
to
me
skilled
a
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
lose
greatly
translations
of
most
frequently,
baneful of
Brahms,
played
of
a
this
of special
value
the
Vienna
fruit
the
this
vicious
her
of
the
may,
attend
This
and
a
I
where
pupils of
is
ilege priv-
conservatories.' in
experience
the
71
ten ofress prog-
pupil
pupil,
my
enjoyment
pupil, who,
class.
in
with
Italy,
studies,
operatic to
in
making
young
Conservatory, keenly
melody
accompanist,
While
accorded
never
the
to
familiar
prosecuting or
;
paniment, accom-
the
that
pupil
class, the
concert
the
to
and
ment improve-
greater
particidarly
astray.
goes
from
the
the
arias
their
permit
help
class
preparatory
prejudicial
is very
is
most
Schumann,
As
prevails
deprived
It
the
for
never
to
practice
the
curring oc-
compositions
the
memory.
I
while
with
and
learn
heart,
by
in
in
also
of the
and
less care-
this
words,
Mendelssohn,
pupils
the
songs
be
or
etc.
require
that
the
in
results,
Schubert,
I
unskilled
through
a
the
thized sympa-
debarred
similar
ad-
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
a
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
I
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
a
of
the
of
made
are
have
mechanism
repertoire
singers
already
and
knowledge
a
Here
the
of
mastery
voice
that
sing,
to
I
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
I
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
a
"
This
tone.
for
the
blows
and
voice,
taught
distinct
more
attack
strong
the
are
it,
put
to
come
of
They
hard
a
that
cidtivation
the
"
have
singers
Germany.
pronounce
I
text,
with
for
pronunciation
new
Wagnerian
struggle me,
the
is
vocal
cords,
from
sounds
a
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
H
the how
etc.; in
when
great
new
glottis
injury
the must
of
the
1
The
may
twenty-
gefcen,
the
words
els, vow-
The
of
erroneous,
the
The
initial
prescribes
stefeen,
sefcen,
few
a
harsh.
-five
pronunciation
the
Wagnerian
hammer.
a
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/'
a
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
A
^n
past,
O'erpow-
Anguish
ering Overcame
me
I
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-
1
THE
SHALL
I
LESSON
FIFTH
concerning
whom
I
first
sojourn
narrate
in
It
incident
with
the
of
Liszt
Franz
to
conduct
of
the
the
1756),
27,
was
The
day. idea
of
object
of
summoned
the
the
will
Vienna in
give that
tribulations
79
Mozart
occasion
given
story
envy
of
to
concerts
two
dredth one-hun-
which
on
of
all
citement. ex-
connection
thle birth
the
the
little
no
in of
celebration
first
in
occurred
1856,
my
shall
but
caused
in
anniversary (January
during
that and
happened
with
Wagner,
Vienna,
capital,
Austrian
versation con-
fourth
my
acquainted
became
an
the
in
begun letter
faint
continue
to-day
his
honor but
Liszt, fellow-
a
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,
a
Csillag,
singer,
Court
in
Frau
Liszt's
although
from at
that
memory.
morning
the
Elvira,
Donna
date
a
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
a
birth,
by
Austrian
an
possessed
conduct
to
tormented
Hungarian
a
therefore
right
much
forgot
-
none
and
People
to.
the I
one
sharp alon6,
said, could
he
that
it
true
friend
was,
I
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
I
was
towards a
few
It
I
not
was
able
to
resume
weeks
In
to
care
imitation.
it
period
8i
never
again
was
this
at
turned
have
I
of
marvel
day
and
fever,
on
literally
was
for
example
A
coimtless
House,
I should
my
of
all
music-hall
I
and
it, though
commend
{Donna
venture.
however,
stood
Ottavio),
large
to
of
audacity
out
the
at
Giovanni),
Opera
platform
a
through
hour
{Don
their
sung
the
made
Titiens
{Don
I
returned
appointed
the
on
who
a
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
a
that
Vienna,
long my
ner Wagand
honored
for
singing
differed
to
fragile,
female
frankly
that
his
importance.
I
positive
the
study
gladdened,
his
direction.
In
show.
stand-point me.
I "
to
speak "
82
as
;
of
cause
read
I
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
a
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
I
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
I
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
a
time
long
a
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
J
J
J
J
J
al mor-
general
83
-"
accessible in-
poets, sculptors,
composers, as
the
gods,
that, through physical and
gifts,as have
family
gods, nowadays, I
that
opposite.
approach
dared
some
me
the
When
to men? mortals
in
him
individual. times
ily, fam-
for
very
unaffected
most
a
intimates
assured
the
represented
and
severe,
dwelt
have
as
sidered con-
Standhartner
was
composer
was
hand,
Wagner
in Vienna,
weeks
the
other
the
mann, Schu-
depicted
are
unapproachable, proud.
pen
thoven, Mozart, Bee-
Wagner
men,
no
his
Schubert,
etc.,
simple, amiable
that
Haydn,
Mendelssohn,
that
words
dictionary contains, and has
than
t
""
J
J
J
It
to
seems
the
forgotten. What, singer's position in the art
then, is the
respect of the trait I have
in
at?
hinted
have
never
sex,
and
instructed have
respect to
depths of
that
I
disclose.
of
is often
has
this I shall
and
public.
to be
^
^
"
w
^'^
w.^
^
..^:
sort
of
in this vein,
w--
V.
w
:
:
-
-
.^^.^\w^
-
.
,
..
.
w
w
'
. ^
r
theme.
studies
their
-
^ c
^
WW-
A
her
regretted,generally
84
^
heaven,
educational
pupils begin
^
friends,
ble, unconquera-
continue
will revert to my
-
the
making
frequently
I will not
-
now
her.
possesses
^
very
that
down
before
in
always
but
When
into the
family
spoiled,even
-
perience ex-
fashioned
female, to the seventh
self exaltation,
an
ually star, being habit-
no
first appearance
But
has
sunk
her
by
In
career.
though,
set
when
raised and
their
sex,
must
singer, even
and
precise knowledge
being, and
my
I
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
a
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
a
simple,
pliable
confiding,
in
a
usually
are
to my
class,
;
their
brated celehave
brought of
hours
study,
Referring
the
I
that
restoration pass
Time
is
a
of
and
of
term
these
I
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
I
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
a
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
I
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
a
b
of
c
sad
studied
I
When
dogni's,
my
difl"cult
exercises
idea
of on
These to I
the
too
but
was
voice
suggest
the
and
mordente, form. desire
the
whet of
have
been
exercises.
correct, the
scale
impressed
me,
from
myself, voice
my
as
capabilities
below the
as
of
a
-training
enumerated
according
studied,
are
In
each
melodic
student
vocalizzi
the
the
air
an
a
step.
great
class
of
singing I
to
were
exercise,
study
directly
proceed
to
while
idea
my
to
the
further
far
conceived
I
an
in
all
intended
believe
for to
and
often
vocalizzi,
arpeggios,
on
were
carry
that
contain
shoidd
most
b^inner,
a
there
trill, etc.,
the
of
Bor-
the
sort,
composing
scale,
the
Signor
at
the
of
was
of
which
a
vocalizzi
colleague,
powers
It
studied. the
while
master's
the
beyond
imply
Garcia
with
given,
never
this
not
time?
of
waste
were
Does
song.
sort
my
of
pupils
:
Opus
2,
24
vocalizzi
mezzo-soprano.
87
for
soprano
or
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
8
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-
2
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
I
half-breath.
a
slowly
very
it
head,
breath.
count
while
mouth. That
shall
feet;
and
will
I
it, five; Good,
too
keep
breath,
deep
breath
I
but
a
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
a
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
I
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:
I
as
the
if
Au
September,
on,
pupils
wish
of
an
already, is
tage. advan-
dealing
with of
word
letter, to
in
great
so
this
a
I
year,
quarter
earlier
91
cold.
a
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
I
all
pasr-
lesson,
the
misdirected
undo
it
single
a
comprehend
through
your
register;
to
in
that, should
and
attack,
your
vice ad-
in
preserve
a
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
a
THE
LESSON
SIXTH
THE
SIXTH
giving
BEFORE
their
with
briefly in
When
I
the
revisit,
I
people
(from
that
the
at
I
had cared
Wagner's
the
many
that
in
made
at
all,
Opera
music.
practically, have of
performance
95
to
to
inventions,
which
Grand
banks
yearned
addition
been
not
teen nine-
the
on
long
so
works, first
ing prevail-
Vienna,
city
and
Then
referring
pm-pose
the
novelties
progress
for
to
in
great
school
my
from
observed,
excellent
ting chat-
Paris.
of
ago,
Seine
and
say,
conditions
retm-ned
years
of
I
song,
city
the
to
musical
the
to
lesson
concerning
of
art
ers read-
singing
so
them
the
amiable
my next
letter,
by
and
LESSON
since grin'' "Lohen-
House,
on
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,
a
each
united
phrase,
of
a
dred hun-
perhaps,
one's
taste it
direction,
that
proper
should
useless,
shapeless,
was
different
a
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
a
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
a
with Italian
young
period, Mascagni,
Puccini,
Pagliacci,"
bills.
composer
Op6ra and
of the
operas,
in
just
the
at
composers
G
"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,
a
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.
I
As
shall to
exalt
be
and
love
and
with
honor
marvel
forth; he
dealt
I
has
it
a
pity
heavy
the
against music upon
fall career
My
and
them in
too
;
the made
fondness
I
I
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
I
noble
great
throats
that
unmerited.
bow
song,
not
their
and
the
at
brought
I
ism";
-fogy
Wagner's
music; and
is
I
blind
being
"old
withal,
reproach,
that
presume
with
reproached
progress,
the
I
melody,
that
abandon
for
them.
melody
is
inborn;
a
I
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
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;
I
who
are
placed disThis
leading
Possibly day,
of
situation few
A
violinist,
the
in the
here
this?
voices,
respect
musicale
countess,
renowned
fault
of
rectly, cor-
powers
in
never,
it.
one
France,
nor
case
matinfie
a
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
a
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
I
the
same
years
!
singing
note
account
on
and
children,
yours
for
is the
stand
few
a
proceeding,
method
yet,
"How
shall
to
or
little revolution
enemy,
present
of
caprice art,
out
the
at
omitted
I
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
I
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
I
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
I
small
standing say
in
on.
that
and
imprinted
breathing,
so
upon
hope,
pro-
lesson
to
I
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
raise
you
in
until
do)
many
I
word,
a
time;
ladies lesson.
like
Now,
do
I
courageous,
With
I
voice
must
mediimi
the
to
the
the
and
naturel) the
initial
pupils,
using
In
all
tack at-
thence
(mi
limits,
to
contraltos
that
and
head-
or
changes, conditions.
only 103
to
in
appear
of
the
according
I have six
only
are
range
too,
in
G
to
hence
The
had
deep
possess
oratorios
often
physical
that
exceptionally,
register, sing
observe
to
ever
concert-room.
chest-tones to
are
you
begin
furthermost
hardly attain,
tones;
fitted
with
forget
not
contraltos
the
:
not
fatigue.
prevent I
I
natural
its
to
do
do
Spartan.''
register.
avoid,
good
a
I
(si b6mol),
E
to
medium
studies, the
flat
B
a
upward the
real
a
have
will
contraltos
deep with
in
see:
yoting
cry!
that
lose
and
more
each not
There,
bearing.
your
five
must
skull;
the
platform
are
that
tears.
go
the
there
unhappily,
touch
watch
upon
here
(as,
these
cannot
climb
Quick, no
eyebrows
your
taught to
eight
chest-tones.
The
overstepped "
forth
has
Nature
rich not
and
it?
use
sound
ill;
very
register and
the
on
when
tone,
F
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-
a
with
used
a
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,
E
on
tone
why
register
natural
cannot
You
good!
If
the
significance,
strength,
tone
it?
make
scale
fine
a
register,
medium
so
why
upward?
(sol) with the
to
passage
but
with
you
force
Why
Bring
chest-voice
medium
natural
G
dear.
Good,
endowed
strong
to
the
the
be
not
forcing.
my
tone.
carry
you
must
undue
turn,
your
lovely
a
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
I
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
I
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
a
less coim-
tries
the
opinion of
prevails
the
the
emphatically
wrong,
of
entails
their
without without
is
bravely
Bertha, tones
far
as
D
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.
a
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
C
the
to
natural is
to
try
learned
sing
one
are
nonsense!
We
can
change
you
you
F
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?
C
on
go
proceed
chest-
your
flat
E
blond
my
out
or
violin
a
now,
bring
voice
A
like
So
string.
but
tones,
loss.
complete
G
a
high
the
chest-tones
damages
only
not
development
cultivation
the
that
chest-tones
wrong,
If
that, used
I
on
the
medium
This,
tones?
registers
The
united
and
Good,
words. understood the
of
the
the
is
Prudence Do
twittering
I
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
a
to
head-tones
young
rosy,
of wont
simg
have
in
less
was
scales;
107
hear
reminded
Rossini's,
several
voice.
admire
always
shall
you
I
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
I
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
I
beg. a
trifle
'
in
are
you
sing
a
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
a
:
stern,
as
gress pro-
the
song,
studies;
my
to
people
singing
first
does
(as
my
in
pupil's
a
you
mind
Marchesi,
forbids
advanced
a
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
A
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
I
instruction,
to
and
you
To
Capital!
tone.
advantage
to
attention
quickly
delicacy.
roseate
the
have
I
of
I
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
a
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
I
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
I
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)
I
It
forward
Let
:
the
up
reason
until
sharp
carry
tremulous.
carried
overcome.
trill
a
shame!
the
are
prudence
F
to
a
and
most
is
tone
them
and
deficiency
next
and
patience. ladies. have
to
ward re-
Your
What! call
you
Louisa
I
Suppose
hear
excellent,
singers in
need
not
complain, rival
and
fewer
of
for
Taubert,
Weber,
Brahms,
etc.,
original
German
me
Louisa
will
I
on
shall
by
be
must
scales.
some
less
Schubert,
that
translations
the
!
In
sing
All
2,
quick,
to
The
attack
of
tone,
the
better
the
next
work!
:
sing
Now
first.
Louisa
speak
you
the
dear
the
with
capitally.
III
to
Schimiann,
Why, too
tion exer-
Mozart,
simg
of
many
get
singers
is absolutely
songs
French
and
concert
however,
imserviceable.
being
you
text,
for
annoyances
languages
indispensable,
operatic
the
have
Remember,
knowledge
ficient insuf-
operatic
make
me
resonance
for
fitted
and
to.
purpose
Let
not
success,
submit
mind
compass
of
point
you
the
the
nowadays
to
i,
Good!
but are
but
stage,
in
concert-room?
voice.
your
; you
a
the
of
younger
keep
Louisa
for
studying
the
then,
numbers.
your
is
well
respectively.
2,
rechristen
No?
you?
Louisa
and
I
lesson,
Now,
my
Bravo!
connection
of
the
and
registers,
the but
taught
not
and
of
good
"What!
why
understand than
better Your
will
studied
you
able
be
before
of is
a
was
good
I
will
you
repertoire a
and
Amneris,
one,
my
the
copy
included
and
left
upon
the
gramme pro-
the
It
me.
thirty-two
pupils 112
a
event.
the
himself.
accompanied praise
for
which
Massenet's
at
me
memorable
a
a
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
I
trained
other
my
be
Fides,
good
a
so
''
a
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
a
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
H
I
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-
a
pupils."
pavilion,
American
presented
He
the
I
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
I
YESTERDAY in
his
with
and
from
"come
dwellers
I
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
a
pleasant
surroundings.
for
latter
hair,
about
looked
found
a
the
1900.
a
of
chestnut
cheeks,
I,
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
a
laugh,
moreover,
city, was
that
besides,
brilliant
native
her
given
a
chased, pur-
beautiful
us
This
an
orchestrion,
make
and
after
Nevada,
Francisco,
of
we
have,
to
and
now
trained
intelligent.
I
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
a
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
a
she,
cultivation?" gray
and
and
in
Has
my
insists
as
San
certs. con-
was
ter daughupon
coming
our
also
will
This
teacher.
is
but
wishes
and
will
you
I
a
am
take
to
accept of
"
voice.
a
low
the
the
and
tones
medium
easily
and
tones,
is
musical,
studied,
she
sings
no
will as
the
no
voice." I
addressed
obstacles
for, at
her
to
the
From to
the
with
to
the
man,
119
are
sight.
beautiful, resonant
your
having Hence
education,
first the
common un-
father;
without
meddled very
her
try of
undertake
has
teacher
this
to
moreover,
readily
more
studies
to
too,
produced;
can
we
went
particularly
daughter
see
I
said
are
nothing
mezzo-soprano
compass," "
I
piano
the
has
She
is so
speech
to
pupil.
a
as
listening
After
daughter
the
whether
do,
daughter's
our
lengthy
somewhat
I
America,
to
completed."
are
calling
there
means;
until
here
remain
from
daughter
back
me
who
compliments
as
my
is
wife,
her
know,
to
man
My
sends
madam,
dear
prevented
indisposition,
by
Nevada's
explain,
Paris.
to
here,
Emma
with
and
studying
the
with words
kindly
I and
task her that
ex-
his
of
pression remarked: Emma
a
bird.
a
woman,
I
do
or
sing whom
decline
I
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
I
and
time,
be
can
with
have
have
skill.
accomplished 120
know
you
towards
your
and
said,
and
some
you,
in
confidence
utmost
let
of
a
father
madam,
dear
deal
heard
the
girl's
looked
"My
ing." sing-
ter's daugh-
make
to
New
the
avail;
poor
father
great
a
I
her
no
the
withal,
appeared,
taught
Thereupon
a
as
in
year
from
turned
to
and
spoke
coming
in
daughter
my
her
father
direction.
voice
listen
last
heard
I
low
a
Nevada,
as
like
sings
and
miless
high
as
have
possessed
rather
bass;
a
I
is
for
care
wotdd
and
Melba,
voice
not
finally
madam, who
soprano
barytone can
dear
Nevada,
high
a
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
I
I
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
I
am
friends,
young
have
work, and
a
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
I
it
parents
among
told
door. to
the
"do
many,
experiences
the
friendly
a
have
hear
not
daughter,
indebted
reply;
that
does
one
and
I
me
my
however,
scarcely
inquired
owe
was
answered,
reached
am
high
a
had
I
father
the
her
I
"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
a
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
I
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
a
and
singers,
for
clean,
very
have
and
Further,
uncarpeted,
voice
occupy
spring
for
tone
wearied
you
unsuitable
wholly
are
the
northern
a
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
I
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
I
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
a
must
of
pose; pur-
windows,
open to
changes
that
great
or
accustomed
useful
a
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-
a
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,
I
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
I
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
I
the
yourselves.
by
what
sung
may
and
me
to
pupils,
I
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
I
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-
its
ceals
Valentine,
whether
special with
for
11. the
smile.
L,
call
other
scales,
for
No, on
a
studied that.
you
it? you
study; shall
r61es.
one
soon
You
taught
is
a
single with
never
learns with
children,
the
the mere
mother,
taught not
tise prac-
it,now;
trill and
127
for
would
Try
to
thing Every-
trill, a
Garcia,
never
see,
thirds,
Now
your
pray?
begin
and minor
I
note;
You
able
scales
you,
Excellent
wrong
the
Now,
and
clean.
What?
are
well.
arpeggios, I
and
Why,
Does
chromatic
Good
that
Louise
diatonic
example,
clear
from
you
has
you
classmates
your
some
me
etc.
is
who
away
call
not
Very
exercises,
grupetti,
We
you?
mother
your
tremor
take
do
Louison.
you
sing
Louison,
trill.
and to
I will
no,
makes
suit
name
also
hints;
distinguish
shall
that
understood
studying
^but
"
name
To
I
in
see,
tremolo.
the
Louise so,
have
and
pains
shall
we
you
instructions
my
see
Now
flaws.
you
only
need
too
much.
airs
in your
what
advan-
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
I
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
a
pressed
I
will
practice.
successful,
deadly
I
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
a
Conservatory
since
have
her
next
the
but
your
befell
that
piece
striven
had
kept
do
small
a
teeth;
relate I
they
as
can
recall
not
Vienna
the
teachers
your
Why
did
What?
eat.
you
experience
while
"
I
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
I
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
I
observed
scales.
that all
for
that
study
others,
as
129
bad
your
You
I
prefer
it brings
keep
not
several
is not
have
!
open
forth
on
a
Bravo
it does
I
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
I
poor
teacher
combat
to
my
in proper
a
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
I
hoarse,
grow
little victims
her
I
"
Since
when
else-harmless
the
until
it is
cold
runs
dramatic
faint
dead
a
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,
a
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
a
ditee
women's
tinge.
allege
teachers
This
nasal
a
must
do
in
hard
the
I
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,
a
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?
a
"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
a
you
have
not
study,
you
may
at
for
few
I
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
a
pupils
vocalizzi.
so
songstress.
you
unlike
and
over
unhappily,
learned
have
besides,
enchantress
an
celebrated
the
as,
I
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
a
Tell
morning
class,
the
had
from
the
to
the and
Before
class
words, no
young
they
lesson.
I
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
a
hence
beefsteak,
a
be
must
still
bread,
ly quite different-
in
have
something
or
eggs,
chop,
third
a
themselves
must
a
another
consumes,
come
a
has
of mankind.
accustom
they
butter,
A
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.
a
of
the
fast. break-
before
piece
a
tion. ques-
partaken
slice
a
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
a
it
food
the
you,
have
you
best
would
on
all of
me,
take
I
to
discourse
what
other,
I
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
a
a
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
a
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-
To-day
eon.
I
will
will
be
scarcely
suit
A
I
that
see
strive alone
on
talent of
defect and
be
by
well.
the
to
my
derstood un-
possible,
for
give
stand
to
a
tation represen-
medium
task.
of
The is
least noticed with
but
public,
teaching,
art.
your
as
steadiness in
last
Louise,
singer
concert
industry, confidence
have
unaided
light
no
criticised
courage,
and
is
the
You
far
as
and
the
through one's
always
perfection,
platform
a
be
devoted
must,
attain
to
to
she
on,
capitally, are
you
singer
concert
to-day
her.
lesson
the and
for
first,
last.
comes
from
that,
wager
always
will
Louise
poor
of
purpose,
all
will
EIGHTH
THE
is
IT
LESSON
loveliest
the
Would
first
must
have
and
take
lay
before
them
to
of
The
I
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,
a
with
chat
rest
programme
yesterday
is
usual
I
But
experiences.
my
on
wander
fields!
and
my
readers,
could
I
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
I
tears,
But
I
hot
saw
fierce me;
my
Singers and
many
and
entreaty, if
transfix
to
I
and
me,
unexpectedly,
quite
then,
madam,
I
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
I
hand,
to
up
a
Katherine
Miss
hill, stepped
Grand
foreseen un-
from
as
failed
Englishwoman,
on,
found
caprices,
in
aimed
servatoire. Con-
alphabet.
Just
was
I
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
a
real
six
have
was
' '
the
the
with the
appeared
or
anew.
curt
made
she
on
artist
furthermore,
printed
will
attempt answer.
^for
programmes
I
am
answered.
your
caprice,
your
in
ten."
and,
"
I
not
me,
Please
"
place
to
I
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
Z
number.
to
with
programme
She
aggressive
an
a
pened hap-
connection
me,
Miss
was
that
One
came
eventful
the
in
ago
cident in-
This
another
me
years
pupils'
a
hearty
plaudits.
long-continued
and
evoked
voice
mezzo-soprano
other an-
same
morning again,
if
asked
and
allotted
be
did
girl
no
I
her.
letter, for
her
the
information
and
become But
inexperience years
a
N
She
of
youthful
ingratitude. to
came
girl
young
married
America.
incredible there
ago
Melbourne,
in
from
me,
named
Regina
recommended
was
me
gave
had
example
and
herself
and
she
teacher
more
amiable
most
a
behavior,
a
how-
reproached
that
one
Two
her
she
childish
She
afterwards,
from
which
in
could
obstinate
the
saw
Years
more.
I received
ever,
I
place
steadfast.
was
and
sing,
not
better
a
now
to
me
.
warmly
most
voice
Her
badly
I
voice
for
all
But
I
had
overcame
all
complete, The
let
at
special
difficulties;
least
time
came
143
of
culture me
observe,
handling. the
and
beautiful,
now
cation edu-
completely
the
require
is
contralto,
been
task,
easy
sons. per-
musical
the
contraltos
voice
deep
undertook
^no
"
prominent a
and
girl
the
neglected.
if not
was
trained, of
her
several
by
close to
her
upon choose
er's singart, pletion. com-
a
for
composition selected
I
I
from
she
letter
a
et
excellently; taking
lay
"
from
an
for
high
too
the
before
days
handed
was
"Samson
upon
which
few
A
''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
I
would lack
set
both
down
singer,
0
the
and
titles
of
the
:
144
"
refer
the
to
pupils
of
the
airs
stood
audition.
of
and upon
"
I
but
nationality
they
as
I
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
I
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
I
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
I
have
interest
in
pupils,
Royal
and
made
as
already
ing-school sing-
my
day,
a
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
I
"
*
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
"
a
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
I
interest.
Herr
lover
member re-
thought-
these
was
day.
great
a
at
of
priceless
his
kindly,
to
great
thank
I
medium
the
through
I
at
pupils?
my
this
although
fulness,
by
"audition/' and
moved
deeply
and
day,
very
my
school
my was
the
on
Wagner, zetti, Donietc.
A
weeks
few
back
his
during piano
that
him
his
city this piano
once
I
But
time
fear
time?
This
floor. Louison.
often
it
with
I
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
I
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,
I
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
palatal
they
as
preferable
Have
soprano.
Let have
most
thoroughly.
Italian
the
learn
translation
a
at
will
not?
you
I
delight, been
given
Now
comes
already
in
Why, But
it a
Your
your
eyes
for
and
then insert
you
will
may
do
so,
with
sparkle
to-day
you
have
first aria.
dread
little
me
will
that
Valentine's
shows
I
you, so
only,
bring
and
You
observe,
through
and
with
home.
practise
tomba
stand-point
marks
breathing
the
chase pur-
questa
words
aria
must
Look
thereof,
the
analyze
""In
musician's
the
it from
Capital!
you
Beethoven.
by
oscura,''
ises? vocal-
my
instructions
my
air,
to
pyrotechnic
them.
Now
small
a
When
practised
understood
You
times often-
directly
high,
a
hear
me
is
more
goes
you
voice!
soprano.
a
does
than
heart
the
it
trained,
well
to
Do
your
contralto
resonant
lovely,
A
of
character
the
bewail
not
sounded.
lately
of
that
signs while
will 151
I
turn.
of
awful
am
tremolo.
disappearing! elapse
ere
you
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
a
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
I
my
I often
as
disposition,
With
one!
assure
seek
at
people
with
No,
I
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?
a
is
do
be
exercises
er
many
why
continue
Mezzo-sopranos
stiff
a
with
not
study
higher
naturally
are
do
many
of
possessors
like ever, how-
must
But
well.
bleat
cannot,
you
with
medium
straightway
while
a
vocalises.
your
I
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,
I
have
a
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
a
much
was
one
not
all.
at
Now
vocalises, and
your
I
compelled
you
of
to
registers would 153
had
have
the
pupils
vocalize were
term
a
completion
the
voice.
the
long
in
already
for order.
sing
vocalises?
Unfortunately,
it.
As
will
before
and
Now
for
sing
Why!
are
be
the
I
am
and
scales the
capitally.
A
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
I
ward re-
parted,
thereupon: the
tones,
but
comes
advice
mark
practise,
necklace,
You
scale
ascending
should
that
the
Were
I
Jesting
proves
and
pearls.
already
pearls.
sing
time,
have
lips
have
You
like
pearl
a
tries
You
moderate
are
performance
Shake
imaginable.
gold-mine,
a
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
I
of
group
of
second of
a
you
third,
the and
the
so
on,
a
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
I
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
a
i8,
composition.
trills,
staccati,
for
sing
to
air
a
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
I
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
a
model
most
singer,
a
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
a
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.
I
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
a
to
a
you
are
in
lesson, first-rate
sing
your
airs,
with
the
original
157
You
time
former
be
to
your
employ
you
that
be:
^Work
"
a
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
a
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
I
dare
I
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
I
collections
works.
single
by
would
you
various
form
that
its
ties difficul-
great
romances,
Italian
old
more
the
study with
think
I
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
a
a
clouds
When
few
I
am
thunder-shower minutes
microbes.
at
and
gather overjoyed, one
least,
a
pure
for
inhales, air
and
i
I
I
m
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
I
must
counsels seated
am
I
that of
wholly
am
the
and
advise
would
whoever be i6i
cite
a
few
would
cool,
me,
joys you
suppressed
here
ances annoy-
await
that
that all
to
this
is
figure all
sensitiveness, be
I
instruction,
energetic:
whoever
must
prove
I
sorrows
more
for
sels, coun-
weather,
the
somewhat
essential
art
pleasures
my
teacher's
impart
my
of
all
a
when
to
of
and
never
all, give these
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
a
her
direction
the
to
her
commenced
marry.
led
of
was
wall^
the
out
she
my
to
pupUs on
her
Before
possession.
girl's
fly
a
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
a
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
a
had
self-denial
163
resume
imagine
not
one
grief
dear
my
hard
a
;
to
life.
singer's
a
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
a
a
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
I
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
a
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
a
but
do
A
natural
(la be
must
higher
the
you
studies of
voice,
with
for
Now
gruppetto,
lastly
You
student.
As arrange
Purchase
Brahms;
are
the
a
the
limit
below;
trill.
the
a
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
A
the
at
few
a
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
chill air of evening
the
of
hot
than
and of
Bee-
and
thoven,
also
the
written
Faure,
likewise
etc.,
by
Godard,
which which
During
room.
without
singing
I
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
a
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
I
French
Chaminade, the
shall
you
of
sets
sing
study
overcome.
the
text
and
not,
stress
often
as
the
upon
is
the
the
these for
music
in but
wearying
tralto con-
is not
only
literally dangerous voices,
mezzo-soprano tones
The
oratorios
the
for
when
even
their and
resonant,
strong,
are
as
exclusively
contraltos.
and
sopranos
of
sing,
to
almost
composed
are
lower
likely
not
are
you
ance perform-
a
declamation.
right
through
Oratorios
high
commimication
adequate
poetry
most
few
a
of
object
lay
to
of
beauty
main
The
tones.
happens,
supple. would
How
it be
in
alphabetical
be
Louison's
is
has
in
regard
with me
As you
theme
child.
Have
you
must
the
time
the
aria
of
course
You
words
sung
Then
''Ah,
master
of
have
capitally,
already
for
167
each
advantages
Yes?
studying
are
then
training.
5^ou
thus
progress
same
with
sang
would
It
but
mother?
your
next
early
to
the
studied my
had
you
Louison's
turn.
not
to-day
order?
marvellous,
really
you
if
mon
French the
airs
bring filsl'' opera,
repertoire
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
a
often
knows
herself into
enter
represent are
often
has
student
and
busy
must
traits
wishes
have
When
must
says
singer
r61es
let
whatever
I
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
a
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
A
brilliant
often
have
others,
Italian.
a
*'
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
a
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
a
Mme.
singer, nine
for
fact
would
from
rather
a
with
of
yourself
for
do
not
give
into
a
however, "
Vedrai,
a
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
a
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
a
yet
of
pleased
an
a
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
a
am
such
trill
imperfect
vocalises.
my
practice-piece
I
before
formerly
vocalises
these
I
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
T
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
C
high hold
and
Act
she
Huguenots/'
the
of
give
to
so
''Les
in
Valentine
I
songstress,
when
who,
s,
"
had
dramatic
celebrated
a
emotions.
her
express
to
be
I
have The
in
To-day spirits,
better
given
of but
171
I
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
I
present
that,
will
mio
not
told
I
As
tomba
you
beating
of
or
these
But you
I
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
I
tone;
singing,
usually
you
occur,
many
against
always
singing
wherever
crayon
must
must
pauses
out
zio,
consonant
In
when
drag
red
guarded
word
a
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
I
of
takes
that
extraordinary
change.
weary
good
bears
is
sudden,
a
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
office,
no
To-day,
in
that,
will
the
to-day
Italian variations me
the
air from
so
that
I may
be
studied.
the
no,
with
tones
is
requires
above
is, inasmuch at
for
hand,
but
wearies
that
you
rest
has
er hightremu-
is
an
ugly You
your ; my
vacation
refrain 175
the
overcome.
little, for
away
one
and It
be
the
bring
No, do
to
on
all things as
and
it should
When
years
must
the
Semiramide,''
easy
unavoidable.
practise
of
Valentine. so
organ
and
defect
very
and
how
imagines.
the
lousness
must
is not
violently
siuig
*'
you
hear
now
one
sang
theme
heart,
Rossini's
tremolo
as
by
show
shall
We
time
next
You
the
:
you
variations
Get
correct.
was
on
pronunciation
your
I
But
praise
with
I
as
would
you
Sunday.
not
theme
and
neatly,
future,
much
too
is
day
every
so
more
troublesome.
lavish
not
deny. really
have
you
the
the
somewhat
prove
will
sure,
pleasure,
me
fancied
am
Rosa,
dear
my
given
I
one,
from
voice advice
period
is
singing
a
until
note
the
I think
a
will be
most
voice.
It is
weeks me
a
And
voice
Her
was
my
dear
to her
spoke
began
to her
answered: Doctor
88
a
"I
Rue
not
of
to
the
under
her
I could
not
is his
She her
bar
my
ist,
and
commence
guidance.
I
simply one:
address. No.
understood tears,
before
quiry in-
mend recom-
excellent
an
school -term,
September
ulous trem-
To
Jouffroy."
a
tired,
bitterly.
Here
sing
to
Valentine.
good physician,
pleasantry, dried
few
subject
know
Rest.
I
the
whether
to
the
came
more
clearlyon
to weep
an
a
very
is yours,
as
^-j
pretty girl far
she
*"
listen:
and
I
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
I
sacrifice
complete
beneficial
that
organ
school
next
the will her
the
promised opening then,
on
studies
TENTH
THE
LESSON
M
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
I
and, to
me
about
my
I
see
and
as
waning,
occasion
wished
cheek,
five-o'clock
a
good
you
always of
is
too,
you
pallid
a
many
head
drooping
a
many
I
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
a
balmy
to
exacts
the
attractive
voice,
air,
writing
have
term
singing
than
under
bring
your
your
Unfortunately,
an
I
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
a
from
you
holiday for
reward,
a
nothing
or
teacher
a
is
sound
called
completed.
to
when away
When
and
friends
able
to
a
chain
a
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
I
me.
orchestration
excessive
by
like
delights
Op6ra
voices
mighty
will
artistic
the
The
I
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,
a
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
I
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
a
struggle
Then,
had bid
like
tears
heaven dear
were
performer
time
on.
my
you,
if
so
Its
joy
my
I
House
rhythm,
with
wept
intonation,
expression,
and
work.
Every
when
following,
day
tion direc-
Opera
its
note.
I
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
I
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
with
all,
if you
even
them.
hurting
intonation shall
or
I
was
of
and
the
these
will
There
for
Parisians.
be
have
When
next
de
Concours "
which
of
takes
ful doubt-
attack
in
artistic, ab-
was
and
its artists
memories
of
be
children,
and
the dustrious, in-
more
than
earnest,
now,
of
strive
to
you pass com-
perfection.
same
we
neither
the
more
imtil
been the
in
est warm-
voices
the
Vienna
Ah!
the
expression
was
all
aye
singers ductor Con-
uncertain
nor
perfect.
live
to
of
performance:
solutely
One
enthusiasm.
management
intonation
again
of
body
admirable
the
singers.
their
Once
is entitled
for
of
chorus,
delighted.
my
Kremser
praise
Vienna
this
imderstand
to
What
rhythm.
sense
heard
have
micertain
enjoyment?
artistic
tressing dis-
more^
than
of
the
day's
my
must
lack
a
say
third
my
listener
of
danger
is
Nothing
the
to
in
were
I shall
meet
Chant the
place
"
the
Brussels in the
183
tell you
of the
nation singing-examiConservatory,
first week
of
July.
I hear
and
much
what
all
pleases
the
pupils
which
all
from
abroad.
skilled
the
"au
But
of
tarry
the Uttle
a
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.
I
now
memories,
my
cluster
that
my
anniversary
your
insist!
may
from
of
art
my
would
are
story
say
friendly
a
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
I
What?
a
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
a
that
the
not
that
Can
my
of
is
students
musician?
is
musicians,
educated
a
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
I
two
before
from
acquainted
become
Baroness talent
pianist
a
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
I
knew several
uncertain,
My
her
to teach
voice.
was
me.
to
pupil
a
hour's
first
lessons,
through
and
selected
she
and
with
Ertmann,
von
singing
despair,
studies.
my
mere
through
me,
yielding
suspended
a
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
a
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
I
left
airs
Schubert's
him
for
a
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
I
the
know
I
pleased
Frankfort,
in
on,
nunciation, pro-
of
repeat,
imtil
home,
returned
struct in-
but
Mozart
and
Beethoven's then
I
suited,
was
make
intonation,
admission
Nicolai
all
learned
will operas:
frankness
his
with
and
to
voice,
His
nothing."
absolutely
declamation,
and
training
confess
I
airs,
young
must
-culture.
songs,
you
I
nothing,
voice
tience, pa-
with
dear
''My
understand
I
lost
he
forehead
artist,
true
a
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
a
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
I
songs
and my
artist.
superb
delightful
achieved
to
Cecilia
I
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
a
had
that
ever, how-
with
concert-room.
all
that
lives
in
my
time
for
knew
him
in
Berlin,
I
few
days
a
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,
a
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
I
weeks
few he
city
depicted
but
less
wedding
my
the
and
been
rough,
and
after
that
I
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
I
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
a
shadow who
amiability.
a
in
was
I
icated ded-
6,
Opus and
the
189
letter,
charming
which
of
dish
good
a
utation, rep-
mezzo-soprano,
him
1863,
said
great
a
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
a
one
chafing-dish.
a
but
on
called
prepared
had
liked
he
tones
always
He
from
only
train.
railway
a
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
a
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
a
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,
a
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
I
L6o
us
complaining
terms,
in
gathered of
swarm
190
his
salon
distinguished
and
artists, Clara
Schumann,
children, I
in
cheerful,
by
then
for
also
as
his
tell
and
Vienna,
in Ah!
but
all
past
!
from
life
his
before
leave once
so
calm Gounod
and
far,
the
lively
four
end:
sad
a
could
he
day
tant dis-
longer
no
within
death
artist
far
departure
my
could
had
arm-chair,
his
Weimar.
at
immured
Hiller
Mozart,
Beethoven
to
regretted I
would
compositions,
in
but
a
Poor
months
Of
Hiller
borne
walls.
last
lies
Cologne,
have
the
this
whose He
Goethe
to
ing morn-
and
visits
and
so.
maital
and
Rhine.
newest
his
less
master,
Beethoven
of
us
sad
was
life
the
own
were,
Sunday
the
us
now
it
as
no
was
upon
overlooked
play
city,
girdled,
every
called
studio
The
only
ennui
the
residents
the
Almost
we
Withal,
Everything
abode
activity.
others.
Joachim,
imagine
wall.
Killer's
In
and
then
tiresome,
and
I heard
Cologne.
was
high
a
was
cannot
you
endured
so
it
there
not
night;
or
remained
for
yet
to
the
that
he
dignified. I
can
only 191
tell
you
was
him
saw
visit
him
sing
his
him,
pleased "Rom6o
in
amiable
came
in
made
a
world, master's I
that
et
his
in
organ,
he
this
(it
possessed house)
which
frequently instrument.
a
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
I
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
a
studio,
played
for
and us:
Blanche the
master's
on
in
found
they
death
last
his
of
manuscript
composition,
of
a
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
I
have
saw
recognized N
A
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
a
same
and
with
liberal,
so
them.
death
a
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
I
sojourn
Like
away
in God's
above
set
passed
whom
Liszt,
in
he
the
putting
sins.
his
for
titled en-
song,
a
beseeching
prayer,
forgiveness
is
It
"Repentance." form
the
portfoUo
a
it
out
streamed
before Who
feeble,
his
would
ailing
1
LESSONS
SINGING
TEN
brilliant
man
the
Liszt
is interred
a
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
a
director
Rubinstein!
Anton
stem
eighty-three.
or
unlike
How
true
a
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
a
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
a
Brahms
the
The
great
but
often,
also and
time
and
has from
musical
world, was,
composer
with
a
while
Gounod's
strange
taken
noble
my
ting set-
Emma
vada Ne-
"Mireille." and
striking
Beethoven.
short
a
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
a
his
sudden.
Liszt
both
ago,
years
most
were
few
a
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
I
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
a
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
I
think
you,
I
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
I
celebration?
I
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
I
before
in
too
will
a
good
singer, no
is not two
opera or
a
-
than to
full
years
good
days
unless
me
to
work; 197
deavor. en-
is
that
school
my
concertwill
I
Tell
children
aim,
teacher.
useless. to
come
a
scientious. con-
parents
leave
our
am
fruitless
my
singer,
in
I
or
in
shall
good
mediocrity; worse
uselessly, years
to
that
have
not
pupils
my
them
that
ambition,
My of
would
best
intend
mischievous
a
it, but
you,
encounter
tell
as
money
their
each
Should
kindly
have
their
waste
the
to
who
severe,
I
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
a
beautiful And
au
and
good
have
the
of
whom
dear
now,
vantage admuch
a
they
a
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
a
and
significance
Gounod
message.
of
say
their
the
to
the
again,
possessor
instrument
finer
good
moderately
a
mastered
has
who
his
with
singer
A
and
;
over
go
with
yourselves
patience. vacation
to
again
a
and,
reading
fail
not
of
your
by
songs
your
penetrate
voice,
during
yourselves
improve
of
much
French,
store
a
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
a
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
A
25.
familiarity
is
conventionality part
volume
chiefly
personal
and
|1
Cloth,
little
America.
in
subject."
a
that
vulgarity iV!^ T,
Advertiser,
Commercial
TRANSPLANTED
A
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
a
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
A
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
A
50
of
York
New
cents.
society
to
Story
and
large
at
its
aspirants.
York
which
.
There
is
make
the
a
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
