P R O S P EC T U STHIRTY-EIGHTH SEASON

PH I LADELPH IA

CONSERVATORY OF MUSIC

MANAGING DIRECTORS

D . HENDR IK EZER IVIAN

H . VAN DEN B E EMT

W . L-E ' R OY F R A I M

M I SS H . F . STOLP , SecretaI y

CONSERVATORY COLORS :

BLUE AND GOLD

TELEPHONE CONNECTION

FULLER BU I LDI NG , I O SOUTH I STH STREET

PH I LADELPH IA PENNSYLVAN IA

CORPS OF I NSTRUCTORS AND BRANCHES

OF I NSTRUCTI ON

P I A N O FOR T ED . H E N D R IK E ZE

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R M AN

H . VAN D E N B E E M T W . L eR OY FR A IMD R . H E N R Y A . L AN G R ICH AR D C . SCH IR M E RR OL L O F . M A IT '

L AN D W ILL IAM C . S CHWAR T Z

FR ANK H E L B L IN G R OB E R T SL OAN

MIS S ISAB E L D . FE R R IS MIS S B L AN CH E M CCAR T E R

VIOL INH ea d of t h e D ep a r tment

H . VAN D E N B E E M T

Inst r uc t or s1

S . B E L OV , CL AR E N CE CR OWL E Y, AL B E R T Z IN G E RAN NA WE IT ZMAN

VOICEH e a d of D ep a r tment

E DW IN E VAN SI nst r uc t or s

MIS S AM E L IA M A IE R , M R S . D OR OTHY COOK -KATARCH UR CH A N D P AR L OR OR GAN

R OL L O F . M A ITL AN D W IL L IAM C . S CHWAR TZ

T H E OR Y OF M US ICH a rmony , Counter point, F ugue, M usica l Forms, O r chestr a t ion

D R H E N R Y A . L AN G,H . VAN D E N B E E M T , D . H E N D R IK E

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ZE R M AN

MIS S E DN A C . TH OMSOND R AM AT IC A R T , E L OCUT I ON , P H

-Y S I CAL CUL T UR E

MIS S E M M A D eCOU

VIOL A VIOL ON CE L L O D OUB L E B AS SS . B E L OV B E R T R AN D AU ST IN N . CAHAN

FL UT E COR N E T CL AR ION E TCL E M E N T B AR ON E E MIL KR E S S E E DM ON D R OE L OF SM A

FR E N CH H OR N H AR PH E N R Y KOCH FR AN C E SCO L AP I T I N O

S IGH T S IN G IN G A N D CH OR AL CL AS S E SD . H E N D R IK E ZE R M AN , M R S . D OR OTHY COOK -KATAR

L E CT UR E SR egula r lectur es W i ll b e d el ive r ed dur ing the sea son—on H istor y of

Music , Musica l Instruments, A r t of P iano P la y ing ,

Forms of Musica l Cor’nposi t ion by

t he D ir ector s.

OR CH E S T R A OF T H E CON S E R VAT OR YH . VAN D E N B E E M T , Conductor.

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Terms of Tuit ion

P E R T E R M OF T E N WE E KS

P AYAB L E I N AD VAN CE

Primary Department .From to

Intermediate Department .From to

Main Department F rom to

F inishing Department F rom to

The cost of lessons depends upon whet her they are class or private, andvaries according to grade of advancement and instructor chosen.

VIOLIN—One Half-hour Lesson each week toTwo Half-hour Lessons each to

The terms vary with the teachers employed.

V10L0N CELL0—One Half-hour Lesson eachTwo H alf-hour Lessons each week

GRAND ORGAN—One H alf-hour Lesson each week . toOne Hour Lesson each week . to

VOICE CULTURE—One Half-hour Lesson each week to

Two H al f-hour Lessons each week to

ORCH E STRAL IN STRUM EN TSOne Half-hour Lesson each weekTwo H alf-hour Lessons each week

HARP—P rivate Lessons

HARMONY AND COUN TERPOIN TOne Private Hour Lesson each week . .

Class Lessons, per termClass Lessons for Students of the Conservatory, per season ."5.00

(No class to consist of more than 1 0 pupils )E lementary theory-class under Miss Thomson

CANON ,FUGUE AN D COM POSITIONOne P rivate H our Lesson each weekIn Class, per term .

In Class for Students of the Conservatory, per season(No class to consist of more than 6 pupils )

See ca lendar for c lass inst ruction on following page .

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Ca lendar for C la ss I nstruct ion

1 9 14—1 9 15The Conservatory will be open for enrol lment of pupils frOm Septem

ber first to September fifth. Is is advisable to call during this period inOrder to secur e a convenient time and proper classification in case classlessons are desired.

Second Term, November 9 th, 1 9 1 4 , to January 2 7, 1 9 15

Third Term, January 2 8th to April loth, 1 9 15—10 weeks.A nl 12 th to June 1 9 th, 1 9 15—10 weeks .

Teache r’

s Diploma

Soloist ’s Diploma

The Fa culty

Consists of well-known Instructors of the most celebrated. institutionsof musical learning, including the Royal Conservatory of Leipzig, the Rafi

Conservatory at F rankfurt and those of Cologne, Amsterdam, Stuttgart,etc.

D. Hendr ik Eze rman was born in Zierikzee, H olland, in 1880 andreceived his musical education at the Conservatory of Amsterdam. I n1 9 00 the S ociety for the E ncouragement of Music honored him with thehighest diploma ever awarded by that society. After an extensive concer ttour through B elgium, H olland, Sweden and Norway he came to Americaand established himself in Philadelphia, where he is recognized to be oneof the leading pianists. As an instructor of the piano along scientific lines,the success of M r . Ezerman needs no comment. The numerous eminentpupils speak for themselves. Some notices of the many recitals and concerts M r . E zermanhas either given or participated in :

M r . E zerman’s piano work is that of a thorough artist.Evening Bulletin, F ebruary, 1 9 08.

Mr. Ezerman’s graceful technique finding expression in the ChopinB allade, in the emotional appeal of the L i szt arrangement of theL iebestod and in the C minor Scherzo by Chopin .

Public L edger , F ebruary, 1 9 08.

Mr. E zerman’s style is virile,his interpretations intellectually

musxcal and he possesses a touch of unusual clarity and precision.

Musical Cour i er , F ebruary, 1 9 08.

In the same eflicient and artistic class was the work of Mr.E zerman, who is a pianist of more than ordinary accomplishmentswith excellent technical qualifications and a wonderful regard fortonal effects.

Evening Bulletin, D ecember 8, 1 9 08.

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TH E KN IEI SEL QUARTET. D . Hendrik Ezerman assisting artist inF ranck

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s p1an0-qu1ntet .

An interesting feature of the evemng was the appearance of D .

H endrik Ezerman, of Philadelphia, as assisting art ist at the pianoin the noble quintet of Caesar F ranck. He is an artist

, who thinksmore of the music he is playing than .he does of the exploitation ofhis own personality, and i syrefreshingly free from the exaggeratedego that marks . the performance Of certain over temperamentalpianists. His scholarly and sincere reading of his obt ruse andexacting score must have b een not less satis factory to his coadj utorsthan it was to the audience.

Public Ledger , 4—1 1 - 1 9 10.

E ZERM AN P IANO RECITAL . In the P relude Choral and Fugue ofCaesar F ranck were summed up all the best of M r . Ezerman’squalities—his strong and certain control of sinewy fingers

,undis

tressed ease of manipulation, astonishing accuracy of memory andbefore all these technical elements the connoisseurship that translates the invisible page into audible terms with insight and feeling.

Public L edger , 4 -2 1 12 .

VARIED RE CITAL PROGRAM . D . H endrik Ezerman appears in Annual Concert . The annual piano recital of D . H endrik E zerman,which is looked forward to more eagerly every year, for a specialquality of pl

ianistic interpretation, was .held on " Saturday eveningat the Witherspoon H all . With a thorough-going

" technic and aclear individual conception M r . Ezerman gives illuminating readingsof a wide range Of the classics . But it is above all in the daintydissonant fancies of the modern Fr ench school that Mr. Ezermanexcels by a special clarity and delicacy.

The E vening Telegraph, April 25, 1 9 14 .

Hedda van den Beemt , D irector of th e Violin D epartment andConductor of the Orchest ra of the Conservatory, also P ianist, wasborn in D ordrecht, H olland. He began to play the viol in when a boyof six . When nine years old he had made such progress that he playedconcertos by Viotti and De B er iot at public performances. At the age offifteen a free scholarship at the Conservatory of Amsterdamwas offeredhim, where, besides violin, he studied all the necessary branches—P ianoand Theory of Music. When he graduated from this institution he wasawarded the first prize as 3010 violinist. The following years M r . Van denB eemt was engaged in a concert tour, and appeared in the principal citiesin E ngland and Hol land. H e joined "the Concert Gebouw Orchestra inAmsterdam, and played under the direction of M engelberg, Strauss, R ichter,Nikisch, Mottle and other famous conductors. When M r . F . Scheel, lateconductor of the Philadelphia . Symphony Orchestra", heard him

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play theE ighth Concerto by Spohr, he engaged him as first violinist in the Philadelphia Symphony

yOrchest ra. In this country he appeared in many con

certs as soloist, as well as in quartette recitals. Mr. van den B eemt is also6

known as a composer. Among his many compositi ons are a concerto forharp and small orchestra, B allade for violin and piano, and a S

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ymphomcPoem,

which was played by the Philadelphia Orchestra during the pastseason.

Mr. Van den B eemt , by his performance of the B ruch G minorConcerto proved to be a violinist of great talent, who is entitled toan honorable place amongst instrumental ists. He was warmly ap

plauded.

Amsterdam, N ieuws, -Van Den Dag, 5-1 4 -1 9 00.

M r . Van denBeemt.

gave ample proof of his mastery, and theprolonged applause was the best evidence of the audience’ s highapproval.

Haar lems Dagblad.

In the Spohr Concerto.(Gesangscene) Mr. Van den B eemt gave

evidence of h1s abi lity to 1mpar t his inner feelings to his audience .H et Centrum, 7-3- 1 9 03.

In the Wieniawski Concerto in D minor, Mr. Van den B eemtshowed. himsel f an artist of the first rank.

Williamspor t, P a Gazette and Bulletin.

M r .

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Vani

den Beemt ’s opening number, Souvenior de Moscow,

by W1eniawsk1, was greatly admired.

Ledger , 4 -26-1 9 06.

"Mr. Van den.

Beemt ’s rendition of Saint-Saens’ Concerto in Bmwot was espec1ally fine 1n techn1que and sympathetic interpretation.

P hiladelphia Recor d, 10-6-1 9 06.

"Mr.Van den B eemt was also heard in two solos showing a

beaut 1ful tone and admirable faci lity of execution.

Evening Bulletin, 10-1 1-1 9 07.

He is a violinist of rare accomplishmentsPhiladelphia Press.

His rendition of the Concerto in E minor by Mendelssohn wasreceived with much enthusiasm.

Philadelphia Reca rd, 3-17-19 08.

The opening number was played with delicacy andcharm and in the Wieniawski Concerto Mr. Van denBeemt proved his fine accomplishments as a violinist

,playing with

t echnical facility and artistic poise and appreciation.

Evening Bulletin, 12 -12 -1 9 08.

Mr. Van den.

Beemt played with his accustomed artistry a concerto for the v1ol1n by H. A. Lang ,

It was a brilliant conceptionbr 1ll1antly rendered.

Philadelphia I nquirer , F ebruary, 1 9 1 1 .

Mr. Van den B eemt ’s B allad for violin and piano is of sterlingmerit, broad and noble in its main subj ect and possessing mu

‘chtenderness in its second theme. M elodically it is very choice, and,as a whole, compares favorably with the best present-day writing.

Public Ledger , 1 -26-1 9 12 .

W. Le Roy Fraim, the new director , was born in H arrisburg, Pennsylvan1a, and at the age of seventeen received a diploma in theory and pianofrom the conservatory of that city. He came to Philadelphia and studiedfour years with the late Carl Samans, receiving diplomas in theory and piano,also a teacher’s certificate.

After the death of M r . Samans, the following two years were spent instudy with D . H endrik Ezerman, in which time M r . F raim developed a moremodern and scientific system of pianoforte teaching.

M r . F raim enjoys a large class of enthusiastic pupils. Last seasontwenty of them presented an educational programme, which proved a finesuccess, and on another occasion, with fifteen contesting, one of his pupilswas awarded the gold medal.

M r . F raim is a welcome addition to the directorate of the school, andwill add strength as well as uniformity to the work in the piano department.

Dr . Henry A. Lang.—D r . Lang was born in New Orleans, La., in 1854 ,

and began the study of music at a very early age. Encouraged by hissuccesses, not only as pianist, but also as composer, he went to Germany tofinish his musical education. The place decided upon was S tuttgart, sincethere he had the opportunity of studying composition under the famousVincenz Lachner. After completing the course, he went on a concert-tourwith S t rakosch, and subsequently with E . Sauret, Rosa Papier, H ausmann,Natchez, M iezcwinski and several other artists of the first rank. After a

few years of traveling, ’ Mr. Lang accepted a position as teacher of pianoand composition at Carlsruhe, and, later at R iga and Koenigsberg. S ince189 0 Mr. Lang has been in the United States and has devoted much time tocomposition. His Sonata for P iano and Cello took the prize at the Hamburg competition, and a P iano-Quintette, String-Qua

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rtette and Toccata forPiano were awarded prizes in New York and Philadelphia. Among hislarge orchestral compositions the Symphonic Poem,

"The Dying Genius,”is undoubtedly his masterpiece, and all who have heard it do not hesitate tosay that his work places him in the front rank of American composers . Dr .

Lang won first prize for his composition at the last convention of theFederation of Musical Societies, a confederation devoting its energies tothe development of musical art, with a membership of in whichnearly every state of the Union is represented . The other prize winnerswere Dr . Chadwick (B oston ) and D r . P arker (Yale College ) .

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Richard C . Schirmer has done much for the advancement of music inthe city of Philadelphia during his long time of musical activity here. He

has conducted the oratorio, "C reation, by Haydn ; opera "Faust, by

Gounod,and F reyschuetz,

” by Weber, and performed with success. He

complet ed his musical education at the Leipzig Conservatory. His teacherswere P rofessors G. F . R ichter, Louis P laidy, D r . 0 . Paul, Dr . Papperitz,Theo. Coccius and D r . Carl Reinecke.

Rollo F. Mait land , organist and choirmaster of the Walnut StreetPresbyterian Church , one of the most prominent churches in Philadelphia,devotes special attention to all branches of organ instruction. He receivedhis training entirely from the late D r . David D . Wood , one of the pioneersof organ playing and tea ching in Philadelphia, and during the last ten yearsMr. M aitland has been holding -various church positions, each one betterthan the preceding, besides playing recitals at the D rexel Institute, theNortheast Manual Training School, and various other concer t halls. H e

i s one of six Philadelphia . organists holding the degree of F ellow of theAmerican Guild of Organists, the highest degree conferred by that wellknown organization.

SOME I DEAS OF M R . MAI TLANDDid you ever think that you could improve yourself both musically and

financially, besides getting a great deal more pleasure out of li fe, bystudying the pipe organ"The organ is universally recognized as being the King of I nst ru

ments.

” The music especially written for it varies from the broad,noble dignity of a B ach, a M endelssohn, or a Rheinberger, to the rich tonecoloring and many beauti ful effects of the modern writers, such as Guilmant, Widor , Lemare, Hollins, and Wolstenholme. Thus an importantside of your musical education is developed which would hardly be acquiredfrom the study of any other instrument. The organ is also becoming moreand more a medium for the interpretation of. the great masterpieces for theorchestra, while some of the best music for the piano, or other inst ruments in combination, is well adapted to the organ.

The old notion, prevalent among some piano teachers that organplaying spoiled a pianist’s touch, is rapidly giving place to the correct ideathat it is a great help, rather than a hindrance, to developing a goodtechnic for the piano. This is reasonable , as the actions in modern organsare far different from the heavy, cumbersome actions of older inst ruments . The technic demanded by the modern compositions for the organis very similar to that required for the piano, while the legato employedin the works of B ach, Merkel, Rheinberger , and the other masters, aidsthe pianist in securing a broader, nobler style of playing.

As an addition to your regular income, i f you have a daily vocation,the compensation rec eived from the position of organist and choirmasteri s an important item. M any persons who pursue music exclusively as a

profession derive the larger part of thei r income from a church organposxt1on.

This is, however, by no means the only field for a good organist. As aconcert instrument the organ is fast becoming a leading factor in musicalli fe. All our best concert halls, theaters , educational institutions , and evenhotels, private residences , and department stores are equipped with largeorgans—the two largest organs in the world being in a department store and

a town hall. Some of our most famous organists hold no church positions, but spend all their time in the concert field.

B esides all these advantages, you can derive an inestimable amount ofpleasure from the study and playing of the organ, owing to its many t e

sources for variety of musical effects .

William C . S chwar tz, pianist and organist, received his musical education in Philadelphia and New York, studying with D r . William M ason(author of Touch and Technic) , D r . David Wood, Carl Samans, and sev

eral other of the best instructors . In 1 9 0 1 , M r . Schwartz gave a series ofrecitals at the Pan-American Exposition, at Buffalo, N. Y., where he t metwith great success. Mr. Schwartz at present holds the position of organist and

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choir master at S t . James’ M. E . Church and also of the B eth IsraelSynagogue.

M r . Schwartz has taught piano and organ for twenty years in Philaidelphia, and many of his former pupils are holding organ positions in thisand

hother cities. A number of his former piano pupils are well-known

teac ers .

Edwin Evans, baritone, was born in Wales, of Welsh stock and tradition ;he inherits his vocal talents and the musical temperament of the race.

When'

but a boy he came to this country, receiving his early musicaleducation from his father, who was an organist in Wales .

B efore taking up the study of singing, he p repared himself for themusical side of his art by studying piano and organ for five years, togetherwith theory and composition.

M r . Evans has studied with the best masters, and, has appeared withmany of the best orchestras and oratorio societies in the country. H is songrecitals are especially noteworthy ; his annual Philadelphia song recital hasbecome one of the principal events of the musical season, and is alwaysattended by a large audience of musicians, vocal students and music lovers.

Some important engagements : NewYork Oratorio Society ( twice ) , NewYork People’ s Choral U nion, P ittsburgh F estival Orchestra, VictorH erbert’s Orchestra, M endelssohnClub

, of Philadelphia (thre e times )P eople’s Choral Union, Phi ladelphia ;

H armonic Club , Cleveland, O. ; D r .

M ason Glee Society, ofWilkes-B arre,Pa . ; D r . P erry M ale Chorus, Scranton, Pa . ; Women’ s Choral Society,Jersey City, N. J. ; numerous songrecitals and concerts throughout thecountry.

SOME CONDENSED NOTICE SP rominent Welsh Critics

The greatest Welsh baritone in America. A profound artist.

A born artist.D . Rhys F ord.

A master of song.

Puntan Davies.

A born artist. Master of all the emotions required in dramaticsinging.

John T. R ichards.

Your work with us in E lgar’

s"Light of Life” was magnificent.

John L loyd Evans,Conductor of D r . M ason Glee S ociety, Wilkes-B ar r e.

Sings with singularly perfect diction and breadth of style.N . Y. Evening Wor ld .

S'ings with sustained beauty of tone.0

N . Y. Evening M ail.

A voice of purest quality, perfect enunciation and sings withunusual powers of expression.

N . Y. Amer i can.

A sonorous and finished voice.Philadelphia Telegr aph.

P hiladelphia Bulletin.

Philadelphia R ecor d.

A voice of great breadth and luscious quality.

P hiladelphia Pr ess.

A powerful voice of beauti ful quality.

Sings with faultless style .

An artist of the first rank.

P hiladelphia I nquir er .

D istinguished ability. Sang with thrilling maj esty. A voice oflimpid and delicious quality that he evokes with an ease and refinement comparable with that of certain F rench baritones eminent inthe operatic field.

P hiladelphia Public Ledger .

His work with the D r . P arry Glee Society, Scranton, aroused thegreatest enthusiasm. A thorough artist and succeeded in makinghundreds of admirers in this city.

The Druid .

Miss Amelia Maier received her musical education in the Stuttgart Conservatory of Music, Germany, and after her graduation she became amember of the faculty of that celebrated Conservatory. B esides her vocalaccomplishments , Miss M aier is also a splendid pianist. H er teachers inthe Vocal Art were the celebrated M r . Stockhausen, F rankfur t-ou-the-Main ;Royal Court Singer Mr. B ertram, Stuttgart ; M adame Organic , D resden.

She has sung successfully in the Opera, having been a member of the B erlinOpera, taking the part of the page in "

Les Huguenots,” one of the Valkyriesin the opera of that name, the Forest B ird in "

S iegfried” and other parts.

Miss Maier will be an agreeable addition to the Philadelphia Vocal Teachers ,for not only as a dramatic singer, but especially as a pupil of the greatS tockhausen she knows ho'w to sing with grea t feeling and expression theGerman L ied as he taught.

Mrs. Dorothy Cook Kat ar has received her musical education from thefollowmg well-known teachers : Nicholas Douty, Philadelphia ; OscarSaenger, New York ; M rs. Sheridan, New York ; Stephen Townsend,Boston ; Emile Cheve, P aris , France

M r s. Katar teaches singing from the first rudiments of tone productionto arti stic finishing, for Concert, Oratorio, Opera. She makes a specialtyof combining the Italian, German, and F rench methods into the Americanmethod of tone placing.

M rs. Katar has appeared in a number of recitals, and has held the soloposition in the F irst Church of Christ, Scientist, Philadelphia, and the FirstP resbyterian Church, Camden, N. J .

Ber trand A. Austin, one of the foremost violoncellists and one of themost gi fted pupils of the late R . H ennig, has been identified with allimportant musical events for the last ten years . He possesses a beautifultone, and has a splendid technique. M r . Austin is widely known as ~

_soloist ,ensemble performer and instructor, having a large experience in each . Hisserv1ces are much 1n demand.

Miss I sabel D. Ferr is, a well known name among Philadelphia concertpianists, and a pupil of ,

M r . D . H endrik Ezerman, i s a graduate of thePhiladelphia Musical Academy. She distinguished herself in two differentcontests , being awarded a gold medal on both occasions . As a teacher shehas a wide experience . In 1 9 09 the M ethodist E piscopal Orphanage engagedher to take charge of the piano department.

Rober t H. S loan, Miss Blanche M . Car ter , Frank Helbling, graduates ofthe Philadelphia Conservatory, have distinguished themselves as solo andconcert performers on the P iano in many concerts and enj oy the reputationof being thorough musicians and conscientious teachers ;

Messrs. S . Be lov , Emil Hahl (Viola) , Edmund Roelofsma (Clarionet) ,Clemente Barone (F lute ) , Na than Cahan (Double B ass ) , Emil Kr esse( Cornet ) . are all prominent members of the Philadelphia Orchestra anddeserve the appellation artist performers in the full sense of the word.

C larence C rowley, Alber t Zinge r , Anna Weitzman, graduates of thePhiladelphia Conservatory, have distinguished themselves in many concertsby their fine execution.

The Course of Instruc t ion

Is systematic and complet e, aiming at the Highest S tandard of Ar tisticSkill and E x cellence. The end to be attained is a thorough Musical Training in which every branch the student may engage, whether as a means ofS elf-Culture, as an Accomplishment or for P r ofessional purposes .

The P lan of Instruct ion

Embraces both private lessons and the Conservatory system, based uponthe methods of the large conservatories of Europe. By this plan the studentof moderate means secures the services of better teachers and more thoroughtraining than he could otherwise afford. The power of emulation is fullyrealized, as ability is matched with ability, mind comes in contact with mind,and intellect is sharpened by intellect ; or, as F elix M endelssohn expressesit, "By the participation of several pupils in the same lesson and in the same

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studies, a true musical feeling is awakened and kept fresh among the pupils.This promotes industry and spurs on to emulation, and is a preservativefrom one-sidedness of education and taste.”

Regular Lectures on Music, comprising the following subjects : Historyof Music, Acoustics, Aesthet ics of Music, Musical Instruments, Analysis ,Art of P iano Playing and F orms of Musical Composition, are deliveredduring the season.

School for the Piano For te

The course of instruction is divided into four departments : P rimary,Intermediate, Main and Finishing.

Requirements for entering the Intermediate Department are as followsAbility to play : An E tude, a Piece, a movement of an easy Sonatina—suchas Clementi ’ s

ySonatinas in C and G, Maj or Scales (through four sharps and

four flats ) and Minor Scales (through two sharps and two flats ) .Requirements for entering the Main Department are as follows : Ability

to play : An E tude by either Czerny or by Cramer, a B ach Invention, amovement of a Sonata or a similar work—such as Mozart’ s Rondo in Aminor, B eethoven’ s Sonata O .p 2 , No. I , and Major and M inor Scales .

Requirements for entering the F inishing Department are as follows .

Ability to play by memory . An E tude from Czerny’ 5 Op. 74 0, and Clementi’ sGradus ad Parnassum, a B eethoven S onata, such as Op . 10, No. I , or Op. 2 ,

No. 3, a B ach 3 P art Invention.

The F inishing Department prepares the student either for a Teacher ’ sor a Soloist’ s D iploma. For further particulars see Teachers’ and Soloist’ sD iplomas.

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As soon as sufficient progress of the student warrants the advance intoa higher department, notice of the change will be given immediately to theparents or those interested.

School for the Violin

Under the direction of Mr. H . van den B eemt , is divided into three departments—P rimary, Academic and Graduating. Violin students have the

privilege to attend the Ensemble Class free of charge. S onatas for violinand piano, trios for the violin, ’

cello and piano—in short, all music knownas chamber music—are rehearsed in the Ensemble Class and performed atthe regular Conservatory concerts. Advanced students are admitted to theSymphony Orchestra. For further particulars see "Teachers’ and Soloist’sD iplomas .

School for Voice Culture

Students in this department enj oy all of the advantages necessary fora thorough vocal training which

ythe Conservatory offers—H armony,

Solfeggio and Choral Classes .

School for the Organ

Special attention will be given in this department to students in Regi stration, Pedal Obligato, Construction of Interludes and M odulation. The

study of Harmony and Counterpoint is of great importance to the studentof the organ, for no organist will be successful unless he can improvise,and to do this well means a knowledge of harmonic construction at theimmediate command of the performer.

Pupils of M r . M aitland receive their lessons on the E stey organ. Pupilsof M r . S chwartz have the privilege of taking their lessons onM r . Schwartz’ sChurch Organ.

Orchestra of the Conserva tory

The Orchestra consists of pupils of the Conservatory. Rehearsals takeplace once a week. Larger Orchestral compositions will be rehearsed ,especially Overtures and Symphonies. Thus the pupils have every advantagefor thorough drill in Orchestral work.

Theor e t ica l Cla sses

The course in Theory of Music covers three years and includes H armony,Counterpoint , , Canon, Fugue, Musical C omposition and Orchestration.

F irst year : H armony.

S econd year : Counterpoint.Third year : Imitation, Canon, Fugue and Orchestration.

Theoretical knowledge being necessary to all who want to be abovethe level of the musica l amateur, these classes are compulsory to all studentsin the Instrumental and Vocal Departments.

Ensemble P laying

This branch of instruction contains the indispensable elements of musicalculture which, through no other mode of training, can

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be obtained. Thecombination of harmony, with the effect of the different instruments, awakensenthusiasm and forms the taste.

To enable the students of the Conservatory to become familiar withthe great works of our classics—H aydn, Mozart, B eethoven, Schubert,Schumann, etc., (known under the name of chamber music, Trios, Q uartettes, etc. ) —classes have been established, where such works are studiedunder the supervision of one of the D i rectors.

Symphony Cla sses

These classes are of great advantage to the advanced students. Theyconsist of four pupils, who are reading at sight the larger orchestral works ,such as Symphonies, Over tures , etc., arranged for two pianos and fourperformers .

Lec tur es

One of the salient features of the Philadelphia Conservatory are theLectures upon Musical Subj ects. A '

mere empirical and technical proficiencyupon an instrument does not rise -to the dignity of an art. It is , therefore,all important that a well-appointed School of Music should cultivate withassiduity all those ancillary branches of musical learning which permit the

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E DW I N EVAN S

intellectual faculties to take a fair share in the study of music, enable thestudents to get a broad and comprehensive view of theywhole field of musicalscience

,and tend to develop harmoniously the talents they possess. During

the coming season Lectures will be delivered by the D irectors on Analysis ,H istory of Music, Musica l Instruments, Art of P iano P laying and forms ofMusical Composition.

Chora l C la ss

Pupils of the Sight Singing Classes, possessing good voices, will havethe privilege to enter the Choral Class.

Concerts and Recitals

Regular Concerts will be given by the pupils of the Conservatory, inwhich not merely the more advanced students , but also less proficient performers will take part. By playing or singing in the presence of a largeassemblage, the students will acquire grace and self-confidence, and everytrace of awkwardness and shyness will disappear.

During the season a series of Concerts will be given by the faculty ofthe Conservatory. A number of free admission tickets will be distributedamong the students.

Advanta ges

The advantages of the Conservatory method of teaching music cannotbe overestimated. The students are continually surrounded, as it were, bya musical atmosphere ; they derive encouragement from the example ofother students, and are stimulated to greater efforts by observing the proficiency of those who have reached a higher degree of excellence than themselves.y "Their energy is directed into the proper channels, thei r musicaltaste is cultivated and their j udgment is sharpened ; for while" they criticisethe efforts of others, their own efforts are criticised in turn. Thus habitsof close study, attentive observation and quick perception are formed

, anda healthy and noble ambition i s awakened. The Musical E ntertainmentsare also incentives to zealous study, and consequently to rapid progress .It is, however, not merely excellence and thoroughness of instruction

which recommends the Philadelphia Conservatory to the intelligent classesof the community, but also consideration of economy. It i s to be borne inmind that differe

ynt branches, such as H armony, Symphony, Ensemble and

Orchestra Classes, also lectures on musical topics, may be attended free ofclf1)farge

(

:

iand it seems impossible that anything more advantageous could be

0 ereLet us suppose that public schools and private institutions of learning

were abolished, and that the rising generation had to be educated exclusivelyby private tutors, what would be the result" Ignorance would spread withalarming rapidity, and even the favored few who are living in affluence,and whose circumstances permit them to engage private teachers, wouldreceive comparatively an inferior education. Conservatories perform thesame office in regard to music which Colleges and Universities perform withregard to literature and science. Without the latter

,ignorance reigns

supreme ; without the former, true musical culture is an impossibility.

Degr ees

Article II, of the Charter of the Philadelphia Conservatory . Theobj ect and purpose for which the said corporation is formed is to establish,maintain and manage, in the City of Philadelphia, a college which shallfurnish complete and thorough instruction in the L iterature,

gTheory, P rac

tice and in all other branches of Music . The said College may grant to itsstudents diplomas or honorary testimonials in such form as it may designate,and grant or confer such honors, titles and degr ees as ar e gr anted or con

fer red by any University in the United S tates for proficiency in Mn‘

sic'”

The three degrees conferred by this institution are :B ACH E L OR OF

‘

M US I CM AST E R OF M US I CD OCT OR OF M US IC

A literary work on the subj ect of music, or an original musical composition of sufficient merit and importance, to be approved by the F acultyand B oard of Examiners of this institution, in addition to a general proficiency, is necessary before any of these degrees can be conferred .

Teacher ’s Diploma

General R equirements : A thorough knowledge of Theory in all itsB ranches, a general knowledge of Musical H istory, a knowledge of the general character and approximate compass of Orchestral Instruments andability to read music at sight. Candidates must have demonstrated thei rability to teach, by ' at least one year’ s experience under the P rimary Department, during which time they must give not less than one hour per weekwithout remuneration.

Special Requirements : For P iano Teacher’s Certificate, ability to playacceptably (with or without notes) , a P relude and Fugue of B ach , a S

'

onataof B eethoven of about the grade of difficulty of Op. I O, No. 3, or Op. 31 , No.

1 ; some modern composition, for instance the F sharp maj or Gondoliera ofL iszt, the A flat or the E major Waltz of Moszkowski, or any of the

Nocturnes of Chopin. The student is also required to play a piece, studiedwithout the aid of a teacher.

For Violin Teacher’s Certificate : Ability to play acceptably one movement from one of the Sonatas of B ach , Tartini, Corelli, etc., a completeSonata of B eethoven, either the one in F major or the one in E flat maj or,and a more modern composition, such as the Reverie of Vieux temps, Romanceof Svendsen, Legend ofWieniawski, etc. E lementary knowledge of the piano.

For Vocal Teacher’s Certificate : Ability to sing with musical understanding an aria from one of the standard oratorios or operas, a song oraria by one of the older composers—Scarlatti , Gluck, Haydn, Mozart, etc ,

and one by Schubert, Schumann, or F ranz. Ability to give a clear and correct description of the mechanism of the human throat and the organsinvolved in singing, and the principles of tone production . Sufficient knowledge of the piano to play a simple accompaniment. Ability to pronouncecorrectly, English , Italian, and either F rench or German.

For Cello Teacher’s Certificate : Ability to play acceptably the SecondSonata of B ach (cello and piano) or the one in A minor by Buonocini, andeither the Klughardt or the zud Goltermann Concerto. E lementary knowledge of the piano .

For Theory Teacher’ s Certificate : All of the general requirementsbefore mentioned, in addition to which the applicant must submit examplesin counterpoint, an original fugue in four parts, and an original movementin sonata form for one or more instruments. Some facility in playing thepiano.

For Organ Certificate . Abi lity to play acceptably one of the larger fuguesof B ach , the great G minor, the A minor, or the D minor ; a S onata ofMendelssohn and an extended composition by a modern composer, as , forinstance, the D minor Sonata of Guilmant , one of the organ symphonies o fWidor, etc. The applicant will also be required at the examination to playa piece at sight , to accompany a vocal solo ; to accompany any of theCanticles used in the E piscopal service ; to add at sight an accompaniment toa given melody ; to modulate from one key to another ; to transpose a hymntune after playing it through in the original key, and to answer simplequestions about the construction of the organ.

Soloist ’s DiplomasFor a D iploma in any of the foregoing branches the examination is

based on similar lines, but on a higher general standard of musicianship,and the candidate for an Instrumental or Vocal D iploma 15 required to givefrom memory a finished and satisfactory public recital ; and for an OrganD iploma the candidate must, in addition to these requi rements, submit ashort anthem with organ accompaniment, show a full knowledge of the constructionof the organ, and extemporize on a given subj ect . For a VocalD iploma a good voice and a high degree of interpretative ability are indispensable. The other requirements are the same as those for the Teacher ’sCertificate, except that the candidate must have acquired a sufficient knowledge of Italian, German and F rench to sing in these three languages , withgood pronunciation and clear understanding of the text, and must havesufficient ability as a pianist to play an ordinary accompaniment. For aD iploma 1nTheory and Composition the candidate 18 required to extempor izeon a given motive ; to read at sight from an orchestral score, and to submitan original fugue in three or more voices, and an overture , symphonicpoem or other composition in one or more movements for full orchestra.

Gold Meda ls

Gold Medal Contest : Only graduates of former years can participate .An unknown composition will be given to the contestants three weeks beforethe date of the contest. A jury of well-knownmusicians will decide.A gold medal will be given by the Alumni Association of the Phila

delphia Conservatory to the graduate who passes the best examination.

A gold medal will be given for a Sonata or a String Quartet composedby a student of the Conservatory.

Boa rd

The D irectors have a list of refined private fami lies, near the Conservatory, where parents may feel assured that thei r children will have agood and comfortable home . B oard with room, can be had from to

per week, according to accommodations.

I nforma t ion

B eginners as well as advanced students may enter the Conservatory.

No previous knowledge is required for admisswn.

Pupils may enter at any time.No pupil of the Conservatory is allowed to omit lessons without suf

ficient cause. Lessons lost in consequence of absence of students cannot bemade good by the Conservatory. In case of prolonged illness or otheruncontrollable contingency, a special arrangement must be made with theDi rectors .

Reports, showmg attendance. pract1ce and improvement, are 1ssued atthe end of each term.

It 15 advisable for students to purchase their music at the Conservatory.

The Conservatory is closed on Thanksgiving Day, and also on Washington

’

s B irthday. Lessons cccur r ing on these days are not made up.

Lessons occurring dur 1ng Christmas and E aster vacations are notcharged to the students .The Tuition F ee must be paid strictly in advance.All arrangements as to Lessons, and all Payments, the Sale of Music,

and Business of any kind, must be made with the S ecretary of the Conservatory.

The Conservatory Office 18 open from 9 A. M. to 6 P . M.

All communications are to be addressed toTHE PH ILADELPH IA CONSERVATORY,

F uller B uilding, I O South E ighteenth St reet.The Conservatory Season opens on the F i rst Tuesday m September and

closes on the Third Saturday in June .

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