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of Pidnoy Voice m& Mrmatie A** direeeety win appear in these. (mmi seoaifc. Clip it see fetece . *a«rie« tr Was. tt«*ar*«* 712 Fine Arts oEoaou. Pi Point Pobli tory, banter position, Vecair Violin, Mbsic Musical His- Expression. ; catalogue address . , K. READ 'Business Manager "410 8. Michigan Ayeatis 5ARPIELD#YNTER ^VoX/and Theory 321 Kimb«llM.ll,W)4 8. #«b«»bAre. Chicago, 111. Ricbartf UMI1A St«die Pupils iffi^d for QEurch, Recoil, Concert, Ora- |tMot aadfOpera. Tour thoroughly equip- • ped assistants. Pupils booked at any time. Mr.Muaro tests allvoices and supervises all work. yrVokt Y F1ME Al' 410 S. Michigan : Kdctoitt uiaftUG Chicago veaee ALBE.RT E ^voicejfECi sa^i. (ommCowI (totfaeFarlana, gate Condon, ate. Chaa. H. Bart, tfeUacDoaald. U>.AXLJPF llftchefrttfctho w*'&» work with AHW tn»t_____ traufffettobim ofthaeoanttr- Send for Hbvaahl Stmunar Tarm. Astesa, 410 stlmballHall ChJcado M,A. MotizekSchool o(l>n#fflidYlcalArt ^^ S«4 Kll»*Lul»ill. ma. WaYa^AiTvenAiT CD CRIetiO IMaphcMM, Harrtaon SS5 Respectability has been the cone of the Bngliah raceâ€"especially in the realm of matte Fear of excess has produced that monotony of medloo- ier of atfef tag faid Compeeltlen. Chora^oristietinf 610 Fine Arte Building CHICAGO J/folA COLE WANWTan^TfeKCHER Fivr AMiar^ TEACHina 427 Fine/Arts Building CHICAGO , scarfs newl with a Voce •4 the PUno Classic and Recitation* CsehMser rfaeJst an Recitals Downing, Include* ___iposltloas. and, songs by Mrs. Downing £%'< *z&£ •27 Fine Arte Resldenee CHICAGO Lincoln 453 KadtalClubaad vffawtns'n Program*. CaJeaso.HL TVE JEIIETTE M ItlfflLOFiWIC Dhmctm â- thil mTcoL » Fine Arte Betiding CHICAGO 'Phone Harrison 6533 lie L. Russell Tuesday MGerftsMMtt nson Muidenee Studio f AW LaSolUAretiBe 72* Fin* Art* Building BastUSatftone bltATORl6~C^ The Art of 8ing\fi* All fts Branch** 419 Fine Arts Building, Chicago Wm. Kuntze CO 508 FINE AbTTS BUILDING Phone 5369 Harrison 60S Fine R«»..3764R Harrison 6880 1 she View 9054 CONCERTS â€" RECITALS rthur L. Framm £ 712 FineVrts Building j| X CHICAGO il ym. Qar* Hall 1128 Fine Arts aVtfldlrttj, Chleago CONCERT, ORATdfclO, RECITALS PUPILS ACCEPTED t'RplB C. FR SUterft natfcaia____ JenfletifcicudonltthooTbf Music 928 FIIfS AtTaTWLDIMG CHICAGO ^ Stefaaseas *SC maa.lW.K«iiwa*lTO rlty which parches aad shrivels all high-arched creative effort Prom the time of Purcell until the present day, the native music of England has pre- sented a deadly smooth surface of propriety minus individuality. It is only within the past generation that there has been a fortunate change for the* beUer. It is only with this generation that a distinctively Bug llsh school has developed. After the death of Purcell English music grew to be duplicate remnants of Handel; which Influence atrophied originality until Mendelssohn arose, and by hie tremendous achievements drove .put the Handelian ghost, and substituted fer it a properly placid Mendelssohnlae pattern. Imitation in individuality has been as a wet blanket for true Eng- lish art Nowâ€"thanks to the hercu- lean efforts of such men as Elgar, Ban- tock, Holbrooke, Hfnton, Wallace and Deltas (work which ie by no means accepted at its true value as yet)â€" there is surcease from this* other man's vocabulary seance. Today we have a legitimate school of truly Eng- lish, music that Is of intrinsic Im- portance sufficient to place it on a par with the achievements of any other nation. Perhaps the most abused form of music in England has been solo vocal music. Choral writing has suffered least from the contamination of imi- tation. Of artistic song literature, domestic in evolution, there has been but little. In place of the highly de- veloped "lied" of the Teutonic races or, the crystalline "chanson" of your Gabl, the Englishman has had to be satisfied with sugary, lacbrymosal ebulitions known as "ballads"â€"a hybrid union of sentimental doggerel and priggish Inanity with an accom- paniment of obviously banal concords. At its bestâ€"and to be good was ex- ceptionalâ€"the English ballad was rep- resented by Arthur Sullivan's "Lost Chord" and is Ming perpetuated in the better songs of Lisa Lehman, del Rlego, d'Hardelot, Frances Allitsen, and Herman Loehr. At its worstâ€" and in this condition it was a truly flaccid thingâ€"were perpetrated such inanities as "The Volunteer Organist" and "My Lost Home." ^ Nothing creates Itselfâ€"ail things word 'ballad.' as applied to certain kinds of modern English songs,* Im- plies a oompoattlon of the slightest poesiDie degree ox musical value, nearly always set to three verses, (neither more nor less) of conven- tional doggewdl." Fortunately, during the past few years a determined effort has been made by the men of the newer Bug* llsh school to remove this stigma of cheapnesa from British song. And, without a doubt, they have succeeded. One of the best surveys of contem- porary conditions is the subjoined one quoted from "The Age," a lead* ing Melbourne newspaper. "When one heara," eaya the writer. "BugUan song sweepugly condemned it is well to. know by what it is Judged, and well to know what acquaintance the critic han with the best music put forth by the best of the younger com- posers. Does he Judge by the work of the preposterous purveyors of the popular rubbish? If so, what right has be to Judge at all? If a German muslcan were asked for his opinion on the songs of the present day com- posers of bis own nationality, he would sot give a thought to the com- pounders of popular rubbish, but would turn his attention to Richard Strauss, Max Reger, Gustavo Mahler. Hans Pfltsner, and others who are held to be at the top of the tree. Why, similarly,' should we not be Judged by our best menâ€"Cyril Scott, by Granville Bantook, by Albert Mal- linson, by Sir Hubert Parry, by Fred- erick Delius. If English and German song music are to be compared, let them be compared fairly and from the one standpoint; it Is not fair to adopt the common procedure of con- trasting the worst of the English out- put with the best of the German. "And thei^" Is* anblKr^es^TTn which the English achievement in song is apt to be very unfairly treated when compared with the German work in the same- field. When Eng- lish compeeere are spoken of, Am- ericans are not included, whereas, when German composers are the sub- ject of consideration, all whose lan- guage la German, ^Whether they belong to Germany, or eb*ATtttfla-Hungary, or to Switzerland, or to the Baltic provinces of Russia are included. If to the names of the great English song composersâ€"Scott and Bantock and Malllnsonâ€"we are not to add the -h-Mr. aw .am*, wvtnrw: returned home after a three weeks" trtp In the east .; Miss Marie Kasten was in charge of the services at the Union chureh Sunday. â-  â- â€¢â- ^~:.:>^.;,-- Mrs. H. H. BÂ¥srett sa*a>aen'oniBWemv a three days' vhrtt in Oregon, ni^ last week; '*m,<; ^rt^v"-"'^*'-^^^h:^:- - Mr. and Mrs. Bently/fMcClottd have returned from a trip to OnudM and other western cities. Mrs.. Henry Taylor and daughter. Mian Mary, have gene t» northern Michigan tor a few week*' stay. Mr. Taylor win Join them later. Mr. and Mrs. F. H. Hall of Toronto, Can., who have been guests of Mr. and Mrs. James Keith for several days, returned to their home last week. Mr. and Mm. Charles Armstrong gave a unique dinner for the "widow- ers" of the village last week. The men have won the sobriquet because their wives are absent from their homes. Included In the party were: Dr. K. H. Everett, Howard Durham, Merrlt Starr, George W. Keeba, Mr. Parmelee and W. L. Berrell. are a growth. We can trace the en- naine ot MacDowell, becanse the cestry of the' "ballad" back to the masters of the great Italian school which dominated musical Europe dur- ing the fourteenth, fifteenth and six- teenth , centuries. Such men as the Scarlattis, Pergolese, Paisiello, Mas- tint and porpora wielded widespread influence tooth by the example of their creations and by their personalities. England especially welcomed the Renaissance ideals and eagerly turned the new material to tangible advan- tage. By the efforts of Tallis, Byrd, Wtoelkes, Wllbye, Farrant, Gibbons and Tye, English music was given world importance. The achievements ot these and other truly great creators afforded a fitting prelude for the com- ing of that composer who is worthy to be classed with the great ones of comic musicâ€"Henry Purcell, a con- temporary of Lully and immediate predecessor of Handel. All these men had used the song-form (based upon the canzone of the older Ita- lians) aa an interpretative vehicle. More especially bad they a fondness for what we term the ballad-modelâ€" that Is, a atrophic form, simple both in rythmic and melodic figuration. The word "ballad" is an Anglicized form of the Italian "ballata"â€"a dance â€"which in turn is derived from "Bal- lare"â€"to dance. In the Crusca dic- tionary we find the baflata defined ar a "Canzone, cbe si canto ballando." Therefore we can see that the ballad originally was a song cast in the form of a danceâ€"a song to be sung while dancing. In England the form became changed to a narrative model uniformly of four verse stanzas, and closing with an envoi or epilogue. Percy's Religues contains many of the poemsâ€""Chevy Chase," "Babes in the Woods'â€"for example. In course of time the English bal- lad fell from ita high estate, until, in 1S02, we find Dr. Burney writing "A ballad is a mean and trifling song sucb ss is generally sung to the streets." The lowest ebb In English song literature was reached during the first half of the last centnry. Dur- ing thtt period the English as a race were engripped to a sort of spiritual paralysis. Religion, art, science, lit- erature, music, all were on a dead materialistic-level whfch sapped-away an inspiration. The vacuity of the •ouss written during tMe period was the cause for, such definitions as 1b» Itolkrwtng by Fi»Uer-li*itlend: "The United Kingdom .cannot claim him, let, us also, from a consideration of German composers, omit the names of two Austrians, who stand pre-eminent above any of the natives of Germany â€"Franz Schubert and Hugo Wolf. "Among the whole of English song that is worth knowing Is the work of present day men, and it is note- worthy that of the four-of these liv- ing men who are particularly deserv lng of detailed notice, one (Scott)) Is absolutely and entirely modern, fol- lowing apparently a natural instinct; one (Bantock) Is tinged with modern- ity, without being altogether an ex- ponent of the new; one (Malllnson) has fallen under the influence of De- bussy and abandoned his natural in- clination In the direction of orthodox melodic development of his themes; and one (Parry) has remained studi- ously aloof from the modern move- ment. They axe thus, as It chances, very representative of the various tendencies of the day. "Malllnson made a great reputation for himself by his early efforts, and one does not exactly understand why. He showed himself a composer of great versatility, with an exquisite gift of melody, but something more than the powers displayed was needed to warrant the high praise accorded him in certain quarters. Then be came under the Influence of Debussy, and the result was evident In bis Songn of Sappho, by far the finest work he has yet accomplished, though It has met with far less appreciation than his earlier work. It is not to be said that bis Songs of Sappho are all of the first oxd^er. in some there is an obvious striving for effect, a desire to experiment along the lines indicated by the great French com- posers, a preference for the unwonted because it la unwonted; but the best of them show bow thoroughly Mallln- son has assimilated the idiom of De- bussy, and In'There is a Medlar Tree.' be baa given us a piece of work that is not merely superlatively modern, but lis also superlatively excellent His splendid lyrical gift is not hidden in this, as In one or two,others of the series, and the harmonies are aa rich as in- any of them. Those who do not know this song do not know MalHnfT" Hie earlier work includes some very fine examples of hie art; But if their reputation be greater fcari D. K^rrady has iHtrchaasd the home in Abbotaioxd ros4 new aec*> pled by Orin Simpson and family, Victor Sanborn, who has been en- joying a European tour, is expected home todi^ror ;t«K*ro^ Mr. Arthur M.Barton Cftlfsupn M&fyHiti JJUiaxi Chitts-M AUna 2S-^ Restdeace, <;':' TMidenesTs _. 1550 North Wells St. Lincoln 287. than that of his Sappho fangs, it. is because they are more easily com* prehenslble, more frankly lyrical, more easily learnt, and more easily sung. It Is worthy of remark that perhapa his least satisfactory Work belongs to the transition period be- tween his earlier and his later man- ner. Malllnson's development has been so remarkable,. that one looks forward with Interest to his future work. caiutn & wiLroa* MU Wano :-i<B^ce| 1- Theory soa jr/§V lIJUU t*mmm " 'tits MONDAY TH 1*DAT IL LARSON taisUot Ronidei : IXogorn Tsaaseaea »a»SrsrÂ¥<7M Hall •t. GLENGOE RESIDENTS BLOCK MAIL DELIVERY •MkjHMawMHl (Continued from Page 1.) tures recommending them for the position. Schepp, it la said, has se- cured the signatures of a score or more citizens, friends of Postmaster McArthur, to his petition by telling them that Mr. McArthur has sent him to them to get their support. Mr. McArthur has no intention of resign- ing the position of postmaster and the scheme which he says Schepp ii us- ing places him In a false light with his friends. For more than twelve years be has served aa postmaster In the village and has built the office np to Its present high state of efficiency. Schepp's candidacy Is not seriously considered and especially when PomV master McArthur has no intentions of resigning. Cribbed. "Waggles read a very thoughtful i per. don't you tbinkf" "Yes, fall of other pooujsf a thoughts." Anderson Te&mng ng ::* InterprdjtionrtJramatict STUDIO CLOSBD DUKlffO AUGUST nw.P»<MMtW4 403 KIMBALL HALL MASO School tenavSeVfsaM^V ^ fall linVof inettuci work guaranteed.1 Suite 412 Ktaball Hall CHICAGO____ with a fall isnta. Oar ^ LICENSED TO WED. * A marriage license was Issued in Chicago Monday to Carl Johnson and Marie Johnson, both of Wilmett*. They gave their ages as 1? years. 'AUGUST During August there mil be a sub- stantial reduction on fary pair of This is thy best opportunity of the year to jmrchase shoA ot superior appeara shipy and h fitted. DiSi aterial and workman- them scientifically inued Lines of Patent Calf Boots'Slippers and Oxfords, $3.50 Values, $1.65 $4.50 Values, $1.85 m I '*•>; Wt LOUISE^p^RTON reepeswsejM___ IM fine Arts BsiMtux. TeL Kfntf si** Ths m Wm mm Ag^^gjA-g^j^^^', a-â€"-^ aknanaliSL^ MWuSwe gtudle:30aKhnbaBMall Teasheri P» eiE^y^jk^_^' !â- â€¢â€"â€"ajasns«^kd?Ma%i*s)' - ftstfn^Bft^saaa J :her PtfFll rat Fiss a *Mlt»+ehhim I M^nwMM Pupil Studio: SO Rae Am B Ranon B. Glrrln vtaello: ASMrfib Cmmt***WfW, IlamlB â- sH> - - Alfred Holmes ---------------------------aSMpv mWr Stadiet SSitttatbllaUB , "r' -m as. JJfclJBBsMt* ajMsjajllBr sMia gsjah4nta> tfkdhasnVsEka v HATT 73 HEIN F. E. Foster & Co. 1608 Chicago Avenue, Corner of Davis Street ^ EDW, ROEDER :^m Violl School mmAmtt r 4it jrj |th E»ana> Udbr ROPOLITAN Tkeeigaest aenhrtsttaeaV einej s^sapsis^ a*A>tfw .^jnHjHBn o03 HaUX IbtMfJ^S; t^fSssSJii^&ftSSSSi* ^WMMmMilk,