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Belmont Scbool of 1usie Edouard Hesselberg Director

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Belmont College fott Yeung Women Oast,vllle, Tennessee

nineteentb Session 1908-1909

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It BELMONT COLLEGE SCHOOL OF MUSIC Ji Staff of Instruction and Government.

IRA LANDRITH, D.D., LL.D., Regent.

MISS HOOD, MISS HERON, Principals.

MISS MASSON, Registrar.

Faculty cf music.

EDOUARD HESSELBERG, M.M., M.A., Director.

ALICE K. LEFTWICH, (Pupil of Arthur Foote and B. J. Lang, Boston ; Moszkowski and Wager Swayne, Paris, France.) Pianoforte.

MARTHA G. DISMUKES, (Pupil of Scharwenka, Sherwood, Epstein, and Leschetizky, Vienna.) Pianoforte.

SOPHIE GIESKE BERRY, (Graduate of Munich Conservatory, Germany ; pupil of Rheinberger and Burmeister.) Pianoforte.

FLORENCE E. WEBB, (Graduate of Chicago Musical College ; pupil of Rudolph Ganz.) Pianoforte and Organ.

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It BELMONT CDLLEGE SGHOOLOF MUSIC JI MARIE LOUISE BOGENRIEF, (Pupil of Stasuy, Elson, Cutter, and Jlussell King Miller.) Pianoforte.

JOHANNA WHIPPLINGER, Soprano, (Pupil of Ewald, Munich, and \Vuzel, Cassel.) Voice Culture.

LELIA LEWIS WHEELER, (Pupil of Clara Baur, Cincinnati, and Haslam, Paris.) Voice Culture.

FLORENCE DILLARD HEQUEMBOURG, {Pupil of Ysaye, Brussels; IIalir, Berlin ; Froehlich, Cincinnati; Mahr, Boston.) Violin.

NIN A DALE PARKE, (Pupil of Pieczonka and i\Iattiola.) Violoncello.

E. W. HARTZELL, Mandolin, Guitar, and Banjo.

FLORENCE DILLARD HEQUEMBOURG, Harrnony, Theory, History of Music.

SUSIE CHANDLER, Superintendent of Pract'ice.

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set

Location and Environment. ELMONT, the historic Southern residence, will be immediately recognized as an ideal college home, and to its present magnificent interior and exterior • attractions, perfected conveniences for the elegant accommodation of girls and young ladies are constantly being added. Though located in West End, Nashville, Tenn., with the electric car line to the north and west entrances, Belmont yet has perfect repose and freedom, and combines all the essential advantages of suburban life with easy access to a city, the acknowledged center of education and culture in the South. From the beautiful hilltop park, well shaded with native forest trees on the north, to the bright and sunny exposure of the lawn on the south, all is one scene of beauty, appealing warmly to the ~sthetic nature too frequently neglected in our hurried American life. The granitoid and macadamized walks and drives, the gymnasium and bowling alley, tennis, golf and hockey, the conservatories, the pavilions, the statuary, flowers and shrubbery in profusion, all persuade the student to much outdoor exercise, without which no mind is capable of its best work. Complete and modern city improvements, including city water and sewerage, leave nothing in that direction to be desired. There are also stationary and shower baths on every floor, and every other hygienic comfort and convenience. Limited Dumber. Long the advocates of a limited number, recent years have taught us that the finest work is accomplished where the classes are sufficiently small to secure individuality of instruction and training, and yet so large as to insure that interest and enthusiasm without which every undertaking must flag. Only a limited number of new students can be received each year, and parties wishing to secure rooms will be under the necessity of reserving them early. Students on 0ur "Waiting List" are assigned rooms in order of registration.

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BELMONT COLLEGE SCHOOL OF MUSIC Calendar. 1908-1909. THE SCHOOL YEAR CONSISTS OF ONE TERM, BEGINNING THURSDAY, SEPTEMBER 17TH, AND ENDING WEDNESDAY, MAY 19TH. THE

COLLEGE

WILL

NOT BE

OPEN

FOR

THE

RECEPTION

STUDENTS UNTIL WEDNESDAY, SEPTEMBER 16TH. PATRONS WILL PLEASE OBSERVE.

September 17th, 1908-Seventeenth Session begins. September 18th and 19th-Entrance examinations. November 26th-Thanksgiving Day. December 25th-Christmas Day. January 15th-Preliminary tests of candidates for graduation. May 5th--Final examinations (certificates). May 19th-Commencement Day. Tbe Advantage of College Instruction. That there is a great advantage in college over private instruction is manifest. There are a number of reasons for the fact that the most satisfactory results are accomplished by teachers in colleges. Students are required to attend lessons regularly, teachers have no business matters to occupy their time, and can concentrate their full attention and entire energy on the musical education of' their pupils. In a school of musical learning properly conducted the student is afforded every inducement which private instruction can possibly offer, with innumerable important advantages in addition. In a college are the great number of students industriously and earnestly working, intent upon attaining the highest proficiency in their chosen branches of study, the exchange of ideas, the many lectures, concerts, recitals, etc., and all those things which go to create a musical atmosphere, which is invaluable to the pupil. Only

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It BELMONT COLLEGE SGHOOLOF MUSIC ]I) in a college can proper attention be given to such branches of study as theory of music, harmony, composition, history of music, and kindred subjects which are essential to a thorough musical training. These facts apply as much to pupils who desire a knowledge of any branch or branches of music merely as an accomplishment as to those who will make music a profession. To the latter the opportunity offered in the college for public appearances is an important consideration. Tbe Belmont Scbool of music. HE School of Music of Belmont College, always gratifyingly strong, is now comprehensively organized and thoroughly equipped. In September, 1905, Mr. Edouard Hesselberg was chosen director, and in that year also other valuable additions were made to the music faculty, all of them having been selected with conscientious regard for both high character and demonstrated capability. The attendance the past year has been by far the largest in the history of Belmont; and the faculty and student recitals and concerts given during the term have been received with enthusiastic appreciation by the local music-loving public. The director has promptly taken a first place in Nashville as a pianist, and the entire music faculty, including the teachers who have been with us for years and who have been retained because of their proved excellence, is so satisfactory and makes up so comprehensive and unified a teaching force that we confidently invite the most ambitious and gifted students in all depart ments of music to place themselves under Belmont training, feeling that in so doing we are rendering the highest order of service to those who accept this invitation.

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b waver screursi» $08 Edouand Fesselberg, the poet-virtuoso and composer, was born in 1870, in Riga, Russia, inheriting his talent from his mother's side, Charles Davidoff, the world's greatest cellist, being his great uncle. Hesselberg's first appearance as soloist was at one of the Philharmonique symphony concerts in Moscow, Russia, and four years later he graduated as laureate from the " Philharmonique Conservatory of Music and Dramatic Art,' receiving the only medal in the artists' class for performing Liszt's famous "Dies Irae" paraphrase with a double symphony orchestra before an audience of many thousands at the "Salle de Noblesse." Since that time Hesselberg enjoyed the privilege of private guidance under Rubinstein; played before members of the Russian and other royal families; concertized with Sembrich, Marconi, Nordica, de Reszke, Fritz Sheel, John Philip Sousa, etc.; visited the principal cities of the Old and New Worlds with overwhelming success, earning the sobriquet of "tone poet;" and wrote nearly one hundred original compositions for pianoforte, violin, voice, and orchestra. Testimonials to tbe Efficiency and (lontb of Director Hesselberg. HEN Director Hesselberg came to Belmont College in 1905, the management made the following announcement, which his brilliant success • and exemplary life during the years since have fully justified: ' In presenting to our patrons the Director of the Belmont School of Music, we take pleasure in stating that indorsements of Mr. Hesselberg as both musician and man are in our hands from those who know him best-wellknown citizens, college presidents, boards of trustees, and others in the schools where he has taught and in the communities where be has Jived." Page nine

win«inns Si iE Press Excerpts of Hesselbeng's Successes. Europe.

ST. PETERSBURG, RUSSIA.-" Possesses great power and delicacy of touch and ranks among the greatest pianists of the day." Moscow, RUSSIA.-" To be able to perform as he did, one must have perfect technique, all qualifications of touch, and artistic temperament. ' BERLIN, GERMANY.-" Carried the entire audience by storm. Never has a more finished player appeared in our city." PARIS, FRANCE.-" Such work as that of last evening bids fair to soon place him on a level with Paderewski." America.

NEW YORK (World).-'Edouard Hesselberg (pupil of Rubinstein) received a perfect ovation." CHICAGO (Inter-Ocean).- The feature of real musical merit was furnished by Edouard Hesselberg. He has great technical skill and fancy in phrasing; plays octave passages with remarkable speed and without apparent effort, unconsciously following the model of Rosenthal." PHILADELPHIA (Inquirer).-" Hesselberg's command of the keyboard is almost beyond belief. His work has never been excelled in this city." NEW ORLEANS (Picayune).-" His success was phenomenal, and the large audience was lavish, and justly so, with its applause." KANSAS CrrY (Times).-" Excellent technique, and colors well. Follows Paderewski's phrasing closely." MINNEAPOLIS, MINN. (Tribune).-' His execution is brilliant. Full of true feeling. Merited welldeserved applause." PITTSBURG, PA. (Post).-' The success of this young musician was instantaneous." PORTLAND, ME. ( Daily Press).-"Artist of the very best ability; no criticism is possible, and no praise necessary." DALLAS, TEXAS (Morning News).-" Hesselberg's playing, to those who have not heard Paderewski, excites credulity as to the possibility of Paderewski's ability to excel him."

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BELMONT COLLEGE SCHOOL OF MUSIC in a college can proper attention be given to such branches of study as theory of music, harmony, composition, history of music, and kindred subjects which are essential to a thorough musical training. These facts apply as much to pupils who desire a knowledge of any branch or branches of music merely as an accomplishment as to those who will make music a profession. To the latter the opportunity offered in the college for public appearances is an important consideration. Tbe Belmont Scbool of music. HE School of Music of Belmont College, always gratifyingly strong, is now comprehensively organized and thoroughly equipped. In September, 1905, Mr. Edouard Hesselberg was chosen director, and in that year also other valuable additions were made to the music faculty, all of them having been selected with conscientious regard for both high character and demonstrated capability. The attendance the past year has been by far the largest in the history of Belmont; and the faculty and student recitals and concerts given during the term have been received with enthusiastic appreciation by the local music-loving public. The director has promptly taken a first place in Nashville as a pianist, and the entire music faculty, including the teachers who have been with us for ycars and who have been retained because of their proved excellence, is so satisfactory and makes up so comprehensive and unified a teaching force that we confidently invite the most ambitious and gifted students in all departments of music to place themselves under Belmont training, feeling that in so doing we are rendering the highest order of service to those who accept this invitation.

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IE.vavauasamo or nose_ 3$ Edouard Fesselberg, the poet-virtuoso and composer, was born in 1870, in Riga, Russia, inheriting his talent from his mother's side, Charles Davidoff, the world's greatest cellist, being his great uncle. Hesselberg's first appearance as soloist was at one of the Philharmonique symphony concerts in Moscow, Russia, and four years later he graduated as laureate from the " Philharmonique Conservatory of Music and Dramatic Art," receiving the only medal in the artists' class for performing Liszt's famous " Dies Irae" paraphrase with a double symphony orchestra before an audience of many thousands at the "Salle de Noblesse." Since that time Hesselberg enjoyed the privilege of private guidance under Rubinstein; played before members of the Russian and other royal families; concertized with Sembrich, Marconi, Nordica, de Reszke, Fritz Sheel, John Philip Sousa, etc.; visited the principal cities of the Old and New Worlds with overwhelming success, earning the sobriquet of " tone poet;" and wrote nearly one hundred original compositions for pianoforte, violin, voice, and orchestra. Testimonials to tbe Efficiency and (ontb of Direeton Hesselberg. HEN Director Hessel berg came to Belmont College in 1905, the management made the following announcement, which his brilliant success and exemplary life during the years since have fully justified: ' In presenting to our patrons the Director of the Belmont School of Music, we take pleasure in stating that indorsements of Mr. Hesselberg as both musician and man are in our hands from those who know him best-wellknown citizens, college presidents, boards of trustees, and others in the schools where he has taught and in the communities where he has lived."

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BEvisa»muse_ Press Excerpts of Hesselbeng's Successes. Europe.

RUSSIA.-" Possesses great power and delicacy of touch and ranks among the greatest pianists of the day." ST.

PETERSBURG,

Moscow, Rn,su.-" To be able to perform as he did, one must have perfect technique, all qualifications of touch, and artistic temperament. ' BERLIN, GERMANY.-" Carried the entire audience by storm. Never has a more finished player appeared in our city." PARIS, FRANCE.-" Such work as that of last evening bids fair to soon place him on a level with Paderewski." America.

NEw YORK (World).-"Edouard Hesselberg (pupil of Rubinstein) received a perfect ovation." CnrcAco (Inter-Ocean).-" The feature of real musical merit was furnished by Edouard Hesselberg. He has great technical skill and fancy in phrasing; plays octave passages with remarkable speed and without apparent effort, unconsciously following the model of Rosenthal." PHILADELPHIA (Inquirer).-" Hesselberg's command of the keyboard is almost beyond belief. His work has never been excelled in this city." NEW ORLEANS (Picayune).-" His success was phenomenal, and the large audience was lavish, and justly so, with its applause." KANSAS CrrY (Times).-" Excellent technique, and colors well. Follows Paderewski's phrasing closely.'' MINNEAPOLIS, MINN. (Tribune).-' His execution is brilliant. Full of true feeling. Merited welldeserved applause." PlTTsnuRo, PA. (Post).-" The success of this young musician was instantaneous." PORTLAND, MK (Daily Press).-"Artist of the very best ability; no criticism is possible and no praise necessary." DALLAS, TExA:::; (Morning News).-" Hesselberg's playing, to those who have not heard Paderewski, excites credulity as to the possibility of Paderewski's ability to excel him."

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BELMONT COLLEGE SCHOOL OF MUSIC FORT WORTH, TEXAS (Daily Mail).-" He is one of the finest performers that ever visited our city." LITTLE ROCK, ARK. (Daily Press).-"Equal, if not superior, to Paderewski.' SAN ANTONIO, TEXAS (Daily Light).-" Edouard Hesselberg was encored again and again. His touch is wonderfully masterful, and yet as soft as it is strong." TRENTON, N. J. ( Daily Gazette).-" Proved himself a thorough master and held his audience nearly two hours in close attention, proving his genius." AUBURN, N. Y. (Advertiser).-"At the close of his double number Mr. Hessell>erg was received with a storm of applause."

ITHACA, N. Y. (Journal)."Mr. Hesselberg's playing last night brought down the house." GRAND RAPIDS, MtcH. (The Eagle).-" Mr. Hesselberg came to us with highest indorsements, and it is not too much to say that his reputation was fully sustained. He had to respond to imperative encores." MOBILE, ALA. (Daily News).-" It occurred, what had never occurred before here. The audience, in spite of the fact that they had been listening to his piano playing for nearly two hours, insisted that they had not enough, and demanded encores." WESTCHESER, PA.-" Mr. Hesselberg, who was a pupil of Rubinstein, seems to have acquired the velvety touch which was one of the chief charms of that renowned master's playing." CAMDEN, N. J. (Courier).-"It is not usual for an audience to remain in the seats and insist upon an artist's return after the good-night number on the programme; but Mr. Hesselberg was compelled to do the unusual, and play again and again."

WILKESBARRE, PA. (Morning Leader).-"Hesselberg and his playing is something to marvel at, and mighty well worth hearing." YORK, PA. (York Daily).-" It is doubtful if ever York has, or ever, even in the future will hear talent to excel that of Hesselberg." th LARAMIE, WYO. (Republican).-"No such sensation in e field of instrumental music has ever visited Laramie." Page twelve

Viets o t t"e Oirtectort's Studio.

BELMONT COLLEGE SGHOOL OF MUSIC

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DENVER, COL. (Evening Post)." Hesselberg is a pianist who has mastered the technique and infuses the poetry of Paderewski into his playing." MACON, GA. (Telegraph)." Hesselberg can, through music's universal language, speak in nature's gentlest tones or reveal her in her stormiest moods." ATLANTA, GA. (Constitution).-" Octaves of a Rosenthal, poetry of a Paderewski, strength of a Rubinstein." NAS}ffILLr:, 'TE"\'X. (Banner).-" To Mr. Hesselberg has fallen this magic combination, to interpret successfully every variety of style and their varying shades of meaning. He makes his piano a tone poem, touching the emotions too deeply for instantaneous expression of appreciation.' GALVESTON, TEXAS (Daily News)."He plays as one whose soul is by turns on fire with all the emotions, and he has such technical skill that only the mechanical limitations of the instrument set bounds to his self-expression." MEMPHIS, TENN. (Commercial-Appeal).- There is joy or sadness, love or hate, peace or war, in every passage Which he fingers. The virile sympathy of his work is at once apparent and throughout compelling."

Biograpbical Data. Pianoforte. EDOUARD HESSELBERG, ASSISTED BY MISS LEFTWICH, MISS DISMUKES, MRS. BERRY, MISS WEBB, AND MISS BOGENRIEF.

BE demand on the modern pianist in respect to technic and skill in the management of the im~~ ,_,J Proved instruments of to-day is so radically different from what was expected of the average player in the past that it goes without saying that the humdrum system of' teaching so much in vogue-" the blind leading the blind "-will not answer for the proper artistic treatment of the master works of piano composition r acco ding to the strict canons of the musical art. Parents, realizing the expense attending the musical education of their daughters are becoming more exacting, n a d insist, to their credit, 'that the instructor they employ 1

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Florence E. (ebb.

BELMONT COLLEGE SCHOOL OF MUSIC must be an adept and a representative pupil of a distinguished teacher. Artistic piano playing, like the use of language, is a result of education and association with masters of the art. Our present-day definition of technic does not mean digital skill alone; it properly means also tone development, a correct understanding of rhythm, and also expression, and an increased musical appreciation of the character of the composition; for all of these naturally follow cultivated technic. Besides the monthly students' and graduates' recitals, our pupils will have the advantage of frequent recitals by the music faculty, in which the different composers and their styles will be illustrated.

Ill

LICE K. LEFTWICH studied at the Beethoven Conservatory in St. Louis, and with Arthur Foote and Js4 B. J. Lang, of Boston, before going abroad, where she studied for two years in Paris with Montz, Moszkowski, and Wager Swayne. Miss Leftwich also spent the summer of 1905 in Europe, continuing her studies. At the close of this period her distinguished teacher, Wager Swayne, Paris, France, wrote of her: " I consider my pupil, Miss Alice K. Leftwich, capable of imparting to her pupils a comprehensive musical understanding, and a clean, sure technique. It is with pleasure I recommend her as a brilliant and talented pianiste, as well as a thoroughly efficient teacher." Similar testimony was borne in 1901 by Moszkowski in these words: " I take great pleasure in recommending Miss Leftwich as a very capable and intelligent teacher and pianiste." The Paris edition of the New York Herald. reporting a musicale in Paris, given by the American Students' Club, says: "Miss Alice Leftwich, Who had charge of the musical arrangements, ''°"d herself with marked skill and delicacy, gaining special applause in the 'Carnival Mignon' of Schi.itt." The Nashville Banner of November 15, 1906, says of her "Programme of Modern Music: " "Miss Leftwich's splendid ability and training have made her repertoire a storehouse of musical riches. Her selections were given in a style t almos virile in strength in those parts demanding that """"""ist¢, and m others they wero graced with the ex'Fie touch." tenderness and daintiness of a woman's heart Page sixteen

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marrtt,a Ci. Dlsmukes.J.llke K. Ldtwkt,. ITieda Zarrbdl.

BELMONT COLLEGE SGHOOL OF MUSIC

AHTHA

G. DISMUKES

has

studied

JI pianoforte

"""% a¢ a caago conserve'ofy ot vase with William H. Sherwood, and in Vienna, Aus tria, with Julius Epstein and Theodor Leschetizky. Of her work in Chicago, Mr. Sherwood says: " She is very intelligent, conscientious, and artistic in her habits of practice and analysis of music. She has talent, a sympathetic touch, musical taste and culture in a sufficient degree to qualify her as a fine teacher and performer." Miss Dismukes has for several years been recognized as one of the best equipped and most effective teachers in Nashville. For ten years she has successfully conducted large classes in Belmont College, being, in term of service, next to Miss Leftwich. Of her and her work, the late Rev. Dr. M. B. DeWitt, of this city, wrote the following, which Bishop O. P. Fitzgerald cordially indorsed: "In commending Miss Mattie Dismukes, my duty is to restrain my pen. She was a model scholar at Ward Seminary and one of the most studious I ever knew. Her doll· ble course there and in the Peabody Normal College, of this city, gives her unusual advantages. While her scholarship is high, it does not surpass her Christian character. personal purity and sweetness. She is as nearly a model woman as my acquaintance affords." LORENCE E. WEBB, pianiste and organiste, is a graduate of the Chicago Musical College. She ll won the diamond medal for the highest general average, the first gold medal in the piano· forte graduating class, and also a gold medal in musical composition, being the only one to make a mark of one hundred, and leading a class of eighty members, including all the graduates in piano, voice, and violin. In speaking of her, Rudolph Ganz, the celebrated Swiss st piani , says: "I take pleasure in stating that Miss Florence Webb has studied with me for two years, and always has been one of my best and most talented pupils. 1 watched her development with the greatest interest, and feel sure she Will be an excellent teacher as well as a specially gifted pianist." As organist, Miss Webb has been """" st successful, having held the position of church organi in a number of prominent churches. ~

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Lelia Lewis (beelen.

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BELMONT COLLEGE SCHOOL OF MUSIC

~?i RS. SOPHIE GIESKE BERRY'S students have the ~ I~ ) advantage of a most thorohghly trained and ex" r, _ • , perieneecl instructor. Mrs. Beny received her musical education in Germany, where she spent six years as a pupil of Rheinberger, Speidel, Burmeister, Baermauer, and was graduated from the Royal Academy of Music at Munich. Immediately on her return to this country she accepted the position as head of the piano department at the Woman's College of Baltimore, Md., and for eight years directed the course of work in that college with marted success. The work of Mrs. Berry's pupils shows the effect of her thorough cultivation, and is remarkable for brilliant technique and clear, clean tone production . ARY LOUISE BOGENRIEF is a pupil of the New England Conservatory. While there she studied • piano with Carl Stasny; theory of music, with • Louis C. Elson; and harmony, with Benjamin Cutter. Later, Miss Bogenrief studied with Russell King Miller, of Philadelphia, taking a special course in piano and organ. Mr. Miller says of her: " She is a brilliant and sympathetic pianist, and her work was characterized by great thoroughness." Miss Bogenrief has been teaching for four Years in the leading college of Georgia, where her work has been most successful. Singing and Voice Culture. ELIA L. WHEELER received her musical education in Cincinnati, o., where sh.e studied for_a nurnber of years in both music schools of that city. In ' the College of Music she was a pupil of W. R. t S erling, and in the Cincinnati Conservatory, from which '''tion she received her diploma, she was a pupil of Miss Clara Baur, directress. While pursuing her studies in Cincinnati, Miss Wheeler held nd Positions in several prominent churches of that city ath had wide experience in concert work. After leaving ere, she taught most successfully in Brenau College, "°1¢, Ga., ana Asnevie, N. c. Miss Wheeler then returned to the Cincinnati Conserva'{ "here she pursued a postgraduate course, and also assisted in teaching. Page twenty

obanna (bipplinger.

Es av-32 For the past four years she has been at the head of the Voice Department of Wesleyan College, Macon, Ga., where she has established an enviable reputation both as teacher and singer. During this time she has held the position of soloist in the most prominent church of that city and filled many desirable concert engagements. Last summer Miss Wheeler spent in Paris, studying with the renowned l\fonsieur Haslam, from whom she received many encomiums. She is gifted With a beautiful soprano voice, of wide range and brilliancy; and this, with her artistic personality and musicianly interpretation, assure her a warm reception Wherever she appears. Miss Wheeler holds to the old Italian school of training, and has been unusually successful in developing voices, several of her graduates holding positions in some of the most prominent schools of the South.

OHANNA WHIPPLlNGER, who is a daughter of Concert Master Whipplinger, of Cassel, Germany, is very highly regarded in the musical circles of Germany. She cultivated her voice under Ewald at the Royal Conservatory of Music at Leipsic, Germany, for a Period of four years, and, after that, with Hans Wuzel (Cassel, Germany) for two years longer. She has a clear, powerful soprano, Which is especially strong and full in its high notes. Her tones are perfect, pure, and sure in the formation of head tones, showing excellent training. Her enunciation is gratifyingly distinct and her rendition highly intelligent. The reliability of her memory enables her to sing Without notes-a gift always appreciated. She interprets with rare sympathy the moods of the composer, her flexible voice translating the various shades of feeling with an ease and certainty that delight and satisfy. Miss Whipplinger shows great taste in the arrangement of her programmes, and never fails to receive lavish applause from large audiences. Her technic is extraordinary. Combined With her high qualities as a singer, Miss Whipplinger possesses an attractive womanhood, graceful manner, and fine stage presence.

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Dina Dale Panke.

BELMONT COLLEGE SCHOOL OF MUSIC

Vielin.

MRS. FLORENCE DILLARD HEQUEMBOURG.

LORENCE DILLARD HEQUEMBOURG received her early instruction in Memphis. She was always an earnest student of music in its broadest sense, giving much time to violin, piano, theory, and harmony, the violin, however, being her choice instrument. After studying in Boston, Cincinnati, and New York under the best masters, she continued under famous violinists in Berlin and Brussels, where she devoted herself to concert work. Ysaye, her last teacher, said to her: "You have a deep and an intense musical nature; your success as a musician is assured." Most of her time since her return has been spent concertizing and teaching in New York, Washington City, and Richmond, Va. Some of her teachers have been Emil Mahr, of the New England Conservatory Joachim School, Boston; Clifford Schmidt, Seidl's Concert Meister, New York City; Henry Froehlich, of the Cincinnati (Ohio) College of Music; Carl Halir, Berlin, Germany; and Eugen Ysaye, Brussels, Belgium. (

Violoncello.

MISS NINA DALE PARKE,

LTBOUGH it is somewhat unusual to find a woman celliste, the few who have mastered the noble instrument have by their artistic playing become Widely known; and Miss Nina Dale Parke, who enjoys the distinction of being the only woman celliste in the Central West, has indeed earned a very worthy reputation. It was quite by accident that Miss Parke took up the cello. Ber earnest desire when quite young, was to study th e Violin, With a view to completing a quintette within her family, for it was her good fortune to come of a very musical one-two sisters being violinistes; her brother, a talented cellist; and a third sister, a pianiste. About this time, however, a renowned Polish celliste, Mlle. Pieczonka, came to Cincinnati, and. acting upon a sudden impulse, Miss Parke's parents placed her temporarily under this efficient tutor. But she became so attached to the instrument and made such phenomenal progress that eventually she abandoned the idea of studying the violin and decided Page twenty-four

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E. (l. Hartzell.

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BELMONT COLLEGE SCHOOL OF MUSIC

to devote herself exclusively to the cello. When Mlle. Pieczonka left Cincinnati, the youthful celliste was granted a free scholarship by the Cincinnati College of Music, where she was under the tutelage of Signor Mattioli. After several years' study with this distinguished artist, Miss Parke entered upon an extensive concert tour with the Hahn-Parke Quintette, an organization which earned recognition by many of the most substantial musical clubs of the country. Miss Parke's repertoire includes works from the best cello literature, and her programmes are made particularly delightful by some of her own ingenious adaptations of songs by Brahms, Schuman, Schubert, and of old Irish and Scotch airs. mandolin, Guitar, and Banjo. MR. HARTZELL.

~ •, ]' Mr. Hartzell, who for a number of years has been Belmont's te~cher of mandolin, guitar, an~ banjo, '1 N and leader of the Mandolin Club, a St. Louis paper says: "Mr. Hartzell's playing on the mandolin in St. Louis has surprised and highly delighted all who have been fortunate enough to hear him. His playing without accompaniment is a revelation to us. In fact, Mr. Hartzell is entering a new field in making a solo instrument of the mandolin. He produces a wonderful volume of tone and the most beautiful harmony we have ever heard on the instrument."

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Ean Training, Sigbt Singing, Cborus Class. Oborus Class. LELIA LEWIS WHEELER.

" The most important thing is to cultivate the sense of hearing. Take pains early to distinguish tones and keys th by e ear. The bell, the windowpane, the cuckoo-seek to find What tones they each give out."-Schumann. In all European schools of music a strict attendance at rehearsals in chorus singing is demanded. The Belmont School of Music . 1 ac cnowledg-1ng the. wisdom has established , th . . of this course, . • • e same rule, since it is the object of the institution tor ake Th th ma e schooled musicians of its pupils. eth orough training of the ear and of the sense of rhy m is of the first requisite, and the best means to that Page twenty-sia

BELMONT COLLEGE SGHOOL OF MUSIC

ends is long experience in chorus singing under a competent drill master. The importance of this cannot be easily overestimated, as there does not exist a musician worthy of the name, Whether vocalist or instrumentalist, who cannot sing with ease and correctness in a vocal trio or quartette the part for which his or her voice is best adapted by nature. The Belmont School of Music must, therefore, refuse testimonial of any kind to those who have not attended the chorus rehearsals and made themselves proficient in this indispensable qualification of a musician. Sigbt Reading.

In the sight-reading classes the student is taught to read music as he reads language. The first part of the course trains the pupil to recognize al I common intervals, both by ear and eye. Much practice is given in singing at sight all common intervals, passing rapidly from one key to another. The pupil is next taught to read musical phrases as a Whole, just as he reads a thought as a whole, and not considering the words individually. After the intervals become as familiar as the letters of the alphabet, the student thinks no more of the intervals than he thinks of the individual letters forming the words of the sentence he is reading. Much practice is given in singing the words accurately to the music at first sight. The course is graded from the simplest songs to the complicated recitatives and arias in oratorio and opera. glass Lessons.

When instruction is given in classes of two, three, or four, the same lesson is not given to the entire class, but each pupil is assigned what would be best adapted to her Special needs. Thus the effect is the same as a private les son taken in the presence of the remainder of the class. Self-consciousness is conquered, industry is promoted, and there is awakened in the mind a true and noble emulation and desire for improvement. No pupil is ever allowed to be hindered in progress by the deficiency of others in the class. Page twenty-seven

BELMONT COLLEGE SGHOOL OF MUSIC Soloists' Class.

A class will be offered to students who are sufficiently advanced and desire to take part in a weekly performance of solos before the director for criticism. Students' Recitals.

Recitals by the students will be given in the chapel monthly through the year, for the purpose of giving them ease in public appearance. Graduation.

Candidates for graduation are required to give satisfac tory evidence of a general literary education equivalent to that provided by high schools. Special Courses.

Those neither wishing to take the full course nor intending to graduate can select such studies as they desire. Irregular students are subject to no examinations. Coneent Etiquette.

MISS TOWNSEND.

HIS course is free, but compulsory, to all students desiring to do any concert work. The course will ~ embrace entrances, exits, and self-possession. on the concert platform; correct standing, turn mg, and sitting positions; correct methods in walking; repose in manner; carriage and movements of the body, etc.

m 1~"' ~t ~

Contests for Iedals.

EDALS are not given to supersede the nat:1ral rewards of a good conscience and pleasure m menZ tan connet and attainment but as incentives to • the less industrious, less ambitious students. By providing so many rewards, we widen the circle of competition and, we believe, meet one of the gravest objections to th e system. There is, moreover, a pleasurable, zestful int teres in a trial of skill among well-matched companions th at should Probably not be denied the young.

Page -tu;enty-eight

BELMONT COLLEGE SCHOOL OF MUSIC The W.W. Kimball Company Will Jhoattd the Following Gold medals: 1. "Director's M. edal," for the highest class standing in the director's class. 2. JJ'or excellence in the art of pianoforte playing.

• For excellence in the art of singing. 4. Par excellence in the art of violin playing. CONDITIONS OF CONTEST.

1. Each contestant must have been at least for one year a student of the Belmont School of Music. 2. The contestant must not have successfully competed for the same medal the previous year. 3. Each contestant must prepare a "solo" and "part of a concerto" for the contest, if contesting for pianoforte or violin medal; or. a ballad and an aria from some standard opera, if contesting for the vocal medal. Comparative Tables. Showing growth of the Belmont School of Music during the past five years. 6

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BELMONT COLLEGE SCHOOL OF MUSIC G9UBSs of study,

_ on&stsus &esz

GRADE I. Minimum during scholastic ye; Aajor scales; Hanan Exercises, 20 numbers; Duvernoy'®gf 'gues" (selected); Le Couppey and Berens, 10 Etul~es (selected) ; Kuhlau and Clementi, 3 Sonatinas (selected); 2 pieces (selected). For Examination-All scales; Hanon, Nos. 1 to 10, inclusive; one part of' a Sonatina; 1 piece.

GRADE II. Minimum to be learned during the scholastic Year: All major scales; Hanon, Nos. 1-20 (memorized); Czerny, School of Velocity, JO numbers (selected), from 1st and 2d parts; Heller, Op. 45 and 46, 10 Etudes (selected); Kuhlau, Clementi, 4 Sonatinas (selected); 3 pieces. Por IiJxamination-A11 scales; Hanon Exercises, 10-20 (memorized); 1 Etude (memorized) ; 1 part from a sonatina; 1 piece (memorized). G1tA D1;; III. Minimum: Scales ( major and minor), arpeggios; Hanon Exercises, 1-31; Heller, Op. 45 and 46, 10 numbers (selected) ; Czerny, School of Velocity, Books III., IV., 10 numbers (selected) ;]Cramer, Books I., lI., 20 numbers (selected ) ;] Bach, Little Preludes and Fugues, 10 numbers (selected Mozart and Haydn, 2 Sonatas (selected) ; 3 pieces. ) ;" For Examination-Al] scales and arpeggios; Hanon. Nos. 1-20 (memorized); Bach, One Little Prelude or Fugue (memorized) : 1 part from a Sonata; 1 piece (memorized). GHAD,,; IV. Minimum: All scales, arpeggios, etc. (in all forms) ; Hanon, Nos. 1-31 (memorized); Cramer, Books III., IV., 15 numbers (selected); Clementi, Gradus ad Parnassum, 15 numbers (selected) ; Czerny, Op. 740. Books I., II., III., IV., 15 numbers (selected); Bach, two-part and three-part Inventions, 10 numbers from each (selected); Mozart rized ). or Haydn, 3 Sonatas (selected); 3 pieces (memoFor2 Examination-All scales, arpeggios, etc.; Hanon, Nos. 1-31 (memorized); 1 Cramer Etude (memorized); 1 Czerny Etude (memorized): 1 Clementi Etude (memorized); 1 Invention (memorized); 1 piece (memorized); 1 Part from a Sonata (selected)

Page thirty

BELMONT COLLEGE SGHOOL OF MUSIC GADE V. Minimum: All scales, arpeggios, etc.; Kuliak, 5 Wrist Etudes; Moscheles, 15 Etudes; Bach, 5 Preludes and Fugues; Beethoven, 1 Sonata; part of a Concerto (selected ); Chopin, 6 Preludes (selected) ; 6 pieces. For Examination-Moscheles, 1 Etude (memorized); Kullak, 1 Etude (memorized); Beethoven, part of a Sonata; Bach, 1 Prelude and Fugue (memorized ). Each graduate is required to give a public recital, consisting in part of a concerto and at least six pieces played

entirely from memory. The regular course includes pianoforte, theory, harmony, solfeggio and musical history, ensemble playing and study of musical expression. technical exercises, etudes by the best composers, and embraces as many of the principal works of the masters as it is possible to study thoroughly, With a correct execution and interpretation, in the time necessary for the completion of' the course. The aim is to train the pupil on broad lines, looking toward the development of intelligent and skilled musicians. Certificates of Proficiency (ill be Jwanded To Piano Students who complete Grade IV. and the first

year in harmony and history of music. To Violin Students who complete Grade IV. of the violin curriculum, Grade II. of the pianoforte curriculum, and the first year in harmony and history of music. To Vocal Students who have completed Grade II. of the voice culture curriculum, Grade II. of the pianoforte curriculum, and the first year in harmony and history of music. Diplomas will be awarded to those completing Grade V.

of the pianoforte or violin curriculum. or Grade III. of the voice curriculum, and second year in harmony and history of music. Vocal and violin students must have completed Grade III. of the pianoforte curriculum additionally. Graduates are required to give a public recital from memory, while those wishing to receive certificates must pass a satisfactory examination as stipulated above. Page thirty-one nee. ls

s It:

BELMONT CDLLEGE SCHOOL OF MUSIC

Postgraduate Course. EDOUARD HESSELBERG.

The college now offers an opportunity for postgraduate study to persons whose musical attainments prepare them for more advanced work than is set forth in the courses outlined above. The course is as follows: GRADE I. Etudes, Chopin, Op. 25; Bach, Tausig, Fantasie Chromatique, Toccata and Fuga (D moll), and Fugue (A moll); Beethoven, Sonatas, Op. 27, Nos. 1 and 2, Op. 31, No. 3, Op. 54, and 32 variations (C moll), Concerto No. 3 (C moll), Concerto variations, Op. 35, and Concerto Fantasie, Op. 77; Chopin, Polonaises, Op. 27 (E moll), Op. 40 (A dur). Op. 40 (C moll), Impromptu, Op. 25, Scherzes, Op. 20 (H moll), Op. 39 (Cis moll), Op. 54 (E dur); Schumann, Arabesken, Op. 18, Blumenstuecke, Op. 19, Fashingsschwank, Op. 26; Three Romances, Op. 28, Scherzo, Op. 32, Impromptu, Op. 5, Novellettes, Op. 21, Nos. 1, 4, 5, and 7. Fugues, Op. 72, Sonata (G moll), Op. 110 (As dur), Concerto, Op. 59 (G dur). GRADE II. (1) Etudes, Hense It, Opera 2 and 5; Liszt, three siudies (Kistner). (2) Solos, Bach-Liszt, Fugue (G minor) ; Scarlatti-Tausig, three Sonatas; Beethoven, Sonatas, Op. 81 (Es dur), Op. 90 (E moll); Mendelssohn, Variations Serieuses; Chopin, Andante, and Polonaise, Op. 22, Ballade (G moll), Scherzo (B moll), Op. 31, Barcarolle, Op. 60, Concerto (E moll), Op. 11, Concerto (F moll). Op. J 8; Schumann, Davidsbuendler, Op. 6, Kreislerian, Op. 16, Humoreske, Op. 20, Carnival, Op. 9, Concerto (A moll); Liszt, Songs by Schubert and Mendelssohn, Tannhauser March, Raccozzi March, Rhapsodies, Nos. 1, 2, and 4, Polonaise (E dur), Polonaise (A dur), Schubert, Fantasia (C dur); Tausig, Nouvelles Soires de Vienne; Rubinstein, Sonata (F dur); Grieg, Concerto (A moll); Brahms, Variations (Handel's theme), Sight Reading and Transportation of Solos of fifth-grade difficulty. GRADE III. (1) Etudes, Rubinstein "On False Notes," Liszt " Etudes Transcendants,' and Pagnanini "Studies." 2 ( ) 5Solos, Beethoven, Concerto No. 5 (Es dur), Sonatas, Op. 111 7 (F moll), Op. 106 (B dur), Op. 109 (E dur), Op. (C moll); Chopin, Sonatas, Op. 35 (B moll), Op. 58 Page thirty-two

BELMONT CDLLEGE SCHOOL OF MUSIC

(H moll), Ballade (F moll); Schumann, Sonatas, Op. 14 (Fis moll), Op. 14 (F moll), Etudes Symphoniques, Fantasie (C dur), Toccata (C dur); Liszt Rhapsodies, Nos. 6, l2, and 14, and Diverse Fantasies; Rubinstein, Concertos, Tschaikowski, Concerto; Balakirew, "Islamey." Sight Reading and Transposing. Voice Culture. GRADE I. Voice placing and consideration only of tonal softness and sweetness. Breathing. Closed-mouth exercises and exercises by Abt, Sieber, and Lankow. Simple songs. GRADE II. Correct pronunciation of vowels. Breath control. Vocalization and development of registers. Lone color and interpretation. Exercises by Lankow, Viardot, Concone, and others. More difficult songs and sacred solos. GRADE III. Sustained tones. Enunciation. Blending of registers. Advanced vocalization and tone color. Exercises by Viardot, Marchesi, and others. Concert arias and solo part of a standard oratorio. All graduates must have completed the course in harmony and musical history; also Grades I., II., III., in Pianoforte. . Vocal students are also required to study theory and history of music. Graduates are required to give a public recital, and must have sufficient knowledge of the piano to be able to play accompaniments. Violin. GRADE I. Tours' Violin School; Scales, major and minor; Technical Exercises by Sevcik, Halir, Hohmann, Hermann, Kayser (Book I.); Pieces in First Position by Schumann, Bach, Haydn, Reinecke, De Beriot, Dancla, Papini, H. Sitt. GRADE HI. Kayser, Books II. and III.; Hermann, Op. 20; Scales and Arpeggios; Halir Scales; Sevcik Studies for Left Hand; Sevcik Bowing Studies; Preparatory Scale Studies; Preparatory Studies in Double Stops; Exercises in First and Third Positions; Pieces by Papini, De Beriot, Prume, Schumann, H. Sitt, Alard, Bohm, Cui, Hollander, Leonard, Moffat. Page thirty-three

BELMONT COLLEGE SCHOOL OF MUSIC GRADE III. Kreutzer, first ten Etudes; Sevcik Technical Exercises in Higher Positions; Studies in Double Stops; School of Velocity; Op. 74, Dancla; Op. 37, Dont; Casorti Bowing Studies; Pieces by Raff, Ernst, Leonard, Alard, Wieniawski, Wilhelmj, Spohr, H. Sitt, Sauret, SaintSaens, Rode, Ries, Hubay, Faure, Sinding. GRADE: IV. Sevcik Advances; Technical Studies and Studies in Double Stops; Halir Advanced Scale Studies; Kreutzer Etudes, 11 to 30; Alard Studies; David, Meerts, Leonard, La Gymnastique du Violiniste; Tartini LArt de l'Archet; Pieces in all Positions by Beethoven, Bach, Brahms, Handel, Max Bruch, Bazzini, Corelli, Faure, Gade, Hu bay, Lalo, Pierne; Concertos by Viotti, Rode, Faure; Sonatas by Corelli, Le Clair, Mozart, and Haydn. G RADE V, Last ten Kreutzer Etudes; six Rode Caprices; Concertos by Spohr, Mendelssohn, Vieuxtemps; Sonatas by Beethoven, Bach; Modern Suites or Sonatas by Gade, Grieg, Ries, and Sinding. Repertoire must include Saint-Saens, Wieniawski, Lalo, Sinding, Max Bruch, Paganini, Beethoven.

All graduates must have completed the course in Theory, Harmony, and History of Music, Grades I., II., and III. in Pianoforte, and must have appeared in concert, ensemble, etc. Ensemble. All pupils after Grade I. will become members of a permanent ensemble class, and quartettes, trios, and duos will be formed in accordance with. grades. These will meet once each week for one hour. Elementary Tbeory. MRS. HEQUEMBOURG.

Notation, tonality, value of notes, measure, intervals, chords. Cbeony of Iusic. MRS. HEQUEMBOURG.

The course in musical theory includes, among other sub-

{"1° mo. »am, maws nasal""%U.GE «e avsical phrasing; musical forms, in which the fugue, sonata, symphony, etc., are especially studied; also a brief descrip Page thirty-four

Florence Dilland Hequembourg.

see 9!

BELMONT COLLEGE SCHOOL OF MUSIC

tion of orchestral instruments, giving their distinguishing characteristics and most easily recognized effects; special construction in interpretation of music to the other departments of art and to the best purposes of life. Harmony. HEQUEMB0URG. FIRST YEAR. Intervals, Scales, formations of Triads, Dominant Sevenths, and their resolutions, in all the keys and positions; harmonizing original and given melodies for four voices; Collateral and Diminished Sevenths, and the uses of the different cadences. SECOND YEAR. Modulations, Mixed and Altered Chords, Suspensions, Anticipations, Organ Point, Neighboring Notes, Passing Notes, Analysis and Application of' Harmonies, etc. MRS.

These are important studies to those who desire to fully understand and appreciate the construction of music, whether vocal or instrumental. They are essential to rapid sight reading and are indispensable to every musician. Students who pursue the course of instrumental music or vocal culture will be expected to study as much harmony and theory as will thoroughly ground in them the principles of music as a science. No certificates or diplomas can be granted without the required proficiency in this branch. History of Iusic. HEQUEMB0URG. A course of lectures is given, comprising one hour each week throughout the year. These lectures deal with the development of music in all its forms from the earliest traces of music down to the present day, and form the basis of the private reading of the students. During the season the following lectures will be delivered before the students: Primitive Music. Music of Ancient Egypt. Music of the Assyrians and Hebrews. Music of Ancient Greece. The Romans and Early Christians. Music of the Christian Church. MRS.

Page thirty-six

BELMONT COLLEGE SCHOOL OF MUSIC Notation and First Part Writing. The Rise of Secular Music. The Rise of Polyphony. The Netherland School. The Italian School of the Sixteenth Century. The Beginning of Opera. Music in England from the Norman Conquest to the Reign of Elizabeth. Early French Operatic School. Rise of Instrumental Music. Italian School of the Seventeenth and Eighteenth Centuries. Johann Sebastian Bach . .Johann Sebastian Bach (continued). George Frederick Handel. Handel and Gluck. Joseph Haydn. Mozart and His Contemporaries. Ludwig van Beethoven. Schubert and Some Contemporary Composers. Mendelssohn and Schumann. Opera in the Nineteenth Century. Richard Wagner. Composers of the Present Day. Monthly examinations are held, in which a1l members of the class take part. The course is required of all candidates for graduation. Admission to the class will be limited to those who are able to give to the instructor in charge evidence of the requisite advancement in general musical knowledge.

MARY

Graduates, 1908. HUGHES, Pianoforte.

BELLE

Certificate of Proficiency. Pianoforte and Harmony.

MARGUERITE ROSE,

Page thirty- seven

BELMONT COLLEGE SCHOOL OF MUSIC Iedals and Glass Pins Hwanded in tbe Sebool of Iusic. may 19, 1907.

Director's Medal for Highest Class Standing, Miss Mary Hughes. (Class of Edouard Hesselberg.) For Excellence in the Art of Pianoforte Playing, Mr. Roy Ruskin Repass. (Class of Edouard Hesselberg.) For Excellence in the Art of Singing, Miss Zenobia Gaston W oaten. ( Class of Charles C. Washburn.) For Excellence in the Art of Violin Playing, Miss Raymond Briggs. (Class of Marie L. Skidmore Connor.) Mrs. Berry's Class Pin awarded to Miss Harriet Johnson. Miss Leftwich's Class Medal awarded to Miss Berenice Lum. Miss Dismuke's Class Medal awarded to Miss Mabel Green. Special Note. Students desiring to stand the fouth-grade or fifth-grade examinations must have completed in full the prescribed courses of the respective grades prior to examination. Students passing the certificate examination shall not take it as an absolute guarantee of graduation at the end of the following scholastic year. The completion of any grade does in no case mean one year's work; the making of a grade depends on the intelligence, diligence, perseverance, and, above all, the musical ability and talent of each individual student.

Page thirty-eight

BELMONT COLLEGE SCHOOL OF MUSIC All candidates for graduation must pass creditably a preliminary test at the end of the first term. These tests shall be assigned by the Director of Music to each candidate individually, and only upon having passed such a test to the satisfaction of the entire Music Faculty will the candidates for graduation be allowed to give their graduation recitals and stand final examinations. students desiring to enter the last grade must either stand the prescribed examinations or present satisfactory credentials.

Enrollment of tbe Belmont Sebool of Iusic. 1907-1908.

Pianoforte.

Akin, Melville. Anthony, Maraer. Armistead, Sarah. Aydelott, Mabel. Badu, Katherine. Baker, Louise. Barton, Roberta. Bell, Mary. Bennie, Fannie. Benson, Hazel. Black, Irma. Blalock, Texie. Bomer, Cherry. Bone, Katherine. Bonnette, Gertrude. Boone, Louise. Boulware, Elizabeth. Bowles, Belle. Brown, Emma. Buchanan, Mary. Buck, Mildred. Burford, Mary. Byars, Zue. Bonnette, Vivian. Campbell, Elizabeth. Carmichael, Virginia. Page thirty-nine

Carr, Mattie Smith. Carthel, Helen. Chandler, Susie. Chase, Blanche. Collins, Stella. Couch, Pauline. Corbett, Gulie. Creary, Olive. Curry, Mattie. Crook, Gretchen. Daniel, Dorris. Dake, Woodie. Davis, La Perle. Davidson, Blanche. Dinsmore, Alma. Drake, Annie. Duncan, Helen. Duncan, Louisa. Egan, Josie. Easley, Christella. Edwards, Cleo. Eklund, Inez. Elder, Ernestine. Estes, Lenora. Foreman, Lillian. Frost, Nannie.

&::

BELMONT COLLEGESGHOOLOFMUSIC

Fry, Minnie. Fuller, Nannie. Geers, Sara. Givens, Judith. Glass, Clint. Green, Margaret. Griffith, Winnie Davis. Groover, Minnie T. Hall, Anne Laura. Hall, Pattie Lee. Hale, Mary. Hancock, Frances. Harden, Susie. Harris, Lucile. Harris, Ruth. Harrison, Elizabeth. Harrison, Helen Hunt. Hastings, Frances. Henderson, Elsie. Henderson, Georgia. Hill, Adeline. Hogue, Irene. Hood, Ida M. Houston, Emma. Houston, Frances. Hough, Helen. Hughes, Mary. Hughey, Lula. Hutton, Annie Lane. Hyatt, Ellen. Ingram, Reece. Johnson, Harriet. Jones, Ethel. Jones, Lucile. Jones, Mildred. Jones, Vera. Julian, Ruth. Keebler, Eddie. Kernachan, Ellen. Knight, Elizabeth. Kyle, Jennie.

Kyte, Gladys. Labit, Ouida. Lampton, Lucille. Landrith, Grace. Lee, Hattie. Leftwich, Marion E. Lester, Blanche. Levy, Myrtle. Lewis, Lola. Lewter, Zelma. Limerick, Winnifred. Lockhead, Ethel. Love, Charlotte. Lucas, Mossie. Major, Eudora. Malone, Glenora. Mann, Mildred. Martin, Alberta. Martin, Emily. McClellan, Laura. McCullough, Anna. McCullough, Ruth. Mccraw, Ethel. McGlasson, 'Winifred. McEntire, Ethel. Mcintyre, Mirah. McLarty, Mary Lou. McLaughlin, Kittie. Miller, Nolia. Milton, Bernice. Montgomery, Ruth. Moore, Blanche. Morris, Anna Bess. Murphy, Dulce. Nance, Louise. Nelson, Nellie. Nettles, Lizzie. Newman, Annie Laura. Newman, Inez. Newell, Fay. Nixon, Earnie. Page forty

BELMONT COLLEGE SCHOOL OF MUSIC

Nolte, Lalla. North, Rachel. Oglesby, Edna. Orms bee, Meta. Palfrey, Myrtle. Palfrey, Willie. Perrenot, Caroline. Pettit, Ethel. Pitman, Pauline. Plant, Martha. Pollard, Jessie. Primm, Linda. Puryear, Carrie. Reese, Mary Cecil. Rembert, Medora. Richardson, Harriet. Roberts, Elizabeth. Roberts, Volla. Robison, Mary. Rose, Marguerite. Ross, Anna. Rotholz, Helen. Rothschild, Madeleine. Ruble, Katherine. Russell, Connell. Russell, Willie. Salmon, Mary Agnes. Savage, Louise. Scudday, Blanche. Shaw, Lucy. Sherrod, Carrie Lee. Sims, Edith. Sledge, Mildred. Smith, Bessie.

.JI

Smith, Frances. Spain, Blanche. Spielberger, Sadie. Steele, Anna. Stewart, Cora. Stewart, Lillian. Stewart, Will May. Sullivan, Berta. Sullivan, Eunice. Taylor, Lucile. Taylor, Vera. Teich, Katherine. Todd, Annie. Tolley, Lila. Utter, Marie. Vanham, India. Varley, Madelayn. Walker, Blanche. Wall ace, Mary. Ward, Addie. Wells, Lucile. West, Mary. Weston, Mabel. White, Sarah Frances. Wigton, Bessie. Williams, Louise M. Wilson, Arline. Wilson, Herbert Mae. Wilson, Mamie. Wilson, Mary. Wise, Emma. Woodcock, Julia. Young, Jane. Young, Kate.

Voice Culture.

Akin, Melville. Anthony, Maraer. Barton, Roberta. Bean, Carrie White. Bonnette, Gertrude. Page forty-one

Boulware, Elizabeth. Bowles, Belle. Buck, Mildred. Burford, Mary. Cannon, Anna Maye.

BELMONT COLLEGE SCHOOL OF MUSIC

Carthel, Helen. Chase, Blanche. Connell, Mary Bang. Croxton, Caryl. Crump, Susie. Dake, Woodie. Daniel, Dorris. Davis, La Perle. Dinsmore, Alma. Easley, Christella. Eklund, Inez. Foreman, Lillian. Fry, Minnie. Geers, Sara. Goodier, Elsie. Goodlander, Alice. Greene, Margaret. Haggard, Belle. Harris, Lucile. Harrison, Helen Hunt. Hastings, Frances. Henderson, Elsie. Hogue, Irene. Houston, Frances. Horne, Jimmie. Hudson, Mona. Hughes, Mary. Hughey, Lula. Jones, Ethel. Julian, Ruth. Kyle, Jennie.

Kyte, Gladys. Lampton, Lucile. Lee, Hattie. Lester, Blanche. Limerick, Winnifred. Malone, Glenora. Maury, Elizabeth. McCullough, Ruth. McLaughlin, Kittie. Northam, Neva. Oglesby, Edna. Pettit, Ethel. Puryear, Carrie. Rembert, Medora. Renfro, Myrtis. Roberts, Volla. Rotholz, Helen. Spain, Blanche. Salmon, Mary Agnes. Shankle, Byrd. Taylor, Berta. Taylor, Vera. Teich, Katherine. Todd, Frances. Vanham, India. Varley, Madelayn. Warren, Alice Tom. Wilkerson, Josephine. Williams, Louise C. Wilson, Mary. Woodcock, Julia. Young, Kate. Violin.

Brown, Louise. Leftwich, Marion. Ewin, Leroy. Leftwich, William. Goldtree, Estella. Primm, Linda. Hopkins, Mary Belle. Russell, Connell. Hilton, Florence. White, Sarah Frances. Hesselberg, Melvyn Edouard. Batchelder, Lucile.

mandolin.

Barn um, Josephine. Page forty-two SA

BELMONT COLLEGE SCHOOL OF MUSIC llanmony.

Akin, Melville. Aydelott, Mabel. Bean, Carrie White. Bomer, Cherry. Byars, Zue. Carthel, Helen. Chandier, Susie. Connell, Mary Bang. Croxton, Caryl. Curry, Mattie. Daniel, Dorris Ray. Davis, La Perle. Duncan, Louisa. Easley, Christella. Elder, Ernestine. Estes, Lenora. Ewin, Lucy. Foreman, Lillian. Fry, Josephine. Fry, Minnie. Geers, Sara. Givens, Judith. Glass, Clint. Goodlander, Alice. Goodier, Elsie. Goldtree, Estella. Greene, Margaret. Griffith, Winnie. Haggard, Belle. Hall, Anne Laura. Hall, Hazel. Hall, Pattie Lee. Hale, Mary. Hancock, Frances. Harden, Susie. Harris. Lucile. Harris, Ruth. Harrison, Helen Hunt. Hastings, Frances. Henderson, Elsie. Page forty-thrce

Henderson, Georgia. Hill, Adeline. Hogue, Irene. Horne, Jimmie. Houston, Frances. Hough, Helen. Hudson, Mona. Hughes, Mary. Hughey, Lula. Hutton, Annie Lane. Hyatt, Ellen. Ingram, Reece. Jones, Ethel. Jones, Lucile. Jones, Mildred. Jones, Vera. Johnson, Harriet. Julian, Ruth. Keebler, Eddie. Kernachan, Ellen. Knight, Elizabeth. Kyle, Jennie. Kyte, Gladys. Lab it, Ouida. Lampton, Lucille. Landrith, Grace. Lee, Hattie. Lester, Blanche. Lewis, Lola. Lewter, Zelma. Levy, Myrtle. Limerick, Winnifred. Lockhead, Ethel. Love, Charlotte. Lucas, Mossie. Major, Eudora. Malone, Glenora. Mann, Mildred. Martin, Alberta. MeClellan, Laura.

BELMONT COLLEGE SCHOOL OF MUSIC MeCraw, Ethel. McCullough, Anna. McCullough, Ruth. McIntyre, Mirah. McLaughlin, Kittie. Milton, Bernice. Moore, Blanche. Morris, Anna Bess. Murphy, Dulce. Nelson, Nellie. Nettles, Lizzie. Newman, Inez. Newell, Fay. Nolte, Lalla. Ormsbee, Meta. Pettit, Ethel.

Chandler, Susie. Duncan, Louisa. Ewin, Lucy.

Primm, Linda. Puryear, Carrie. Renfro, Myrtis. Robison, Mary. Russell, Connell. Russell, Willie. Salmon, Mary Agnes. Scudday, Blanche. Sidebottom, Mildred. Sledge, Mildred. Smith, Bessie. Spain, Blanche. Stewart, Lillian. Vanham. Tndia. Waiker, Blanche. Ward, Addie. History of Iusic.

Mccraw, Ethel. Newell, Fay. Pettit, Ethel. Hopkins, Mary Belle. Russell, Connell. Hughes, Mary. Wilson, Mamie. Wilson, Marv.

Anthony. Maraer. Badu, Katherine. Baker, Louise. Barton, Roberta. Benson, Hazel. Black, Irma. Blalock, Texie. Bonnette, Gertrude. Bonnette, Vivian. Boone, Louise. Boulware, Elizabeth. Bowles, Belle. Brown, Emma. Brown, Louise. Buchanan, Mary.

Tbeony.

Buck, Mildred. Burford, Mary. Campbell, Elizabeth. Carr, Mattie Smith. Cannon, Anna Maye. Collins, Stella. Conch, Pauline. Creary, Olive. Crook, Gretchen. Crump, Susie. Dake, Woodie. Duncan, Helen. Edwards. Cleo. Eklund. Tnez. McEntire, Ethel. Page

forty-four

BELMONT COLLEGE SCHOOL OF MUSIC

Steele, Anna. McGlasson, Winifred. Sullivan, Berta. McLarty, Mary Lou. Nance, Louise. Sullivan, Eunice. Taylor, Berta. Newman, Annie Laura. Taylor, Lucile. Nixon, Earnie. Teich, Katherine. North, Rachel. Todd, Fannie. Northam, Neva. Tolley, Lila May. Oglesby, Edna. Varley, Madelayn. Palfrey, Willie. Wallace, Mary. Perrenot, Caroline. Warren, Alice Tom. Pitman, Pauline. Wells, Lucile. Pollard, Jessie. West, Mary. Plant, Martha. Weston, Mabel. Reece, Mary Cecil. White, Sarah Frances. Rembert, Medora. Wigton, Bessie. Richardson, Harriet. Wilkerson, Josephine. Roberts, Volla. Williams, Louise C. Ross, Anna. Williams, Louise M. Rotholz, Helen. Wilson, Arline. Rothschild, Madeleine. Wilson, Mamie. Ruble. Katherine. Wilson, Mary. Savage, Louise. Woodcock, Julia. Shankle, Byrd. Shaw, Lucy. Young, Jane. Young, Kate. Spielberger, Sadie. Young, Ruth. Cborus Class, Ear ©raining, Sigbt Singing. SENIORS.

Anthony, Maraer. Akin, Melville. Aydelott, Mabel. Badu, Katherine. Baker, Louise. Barton, Roberta. Bean, Carrie White. Benson, Hazel. Blalock, Texie. Bonnette, Gertrude. Bonnette, Vivian Boone, Louise. Page forty-five

Boulware, Elizabeth. Bowles. Belle. Brown, Louise. Burford, Mary. Buchanan, Mary. Byars, Zue. Campbell, Elizabeth. Cannon, Anna Maye, Carr, Mattie Smith.· Carthel, Helen. Chandler, Susie. Collins, Stella.

Ill

BELMONT CDLLEGE SCHOOL OF MUSIC

Connell, Mary Bang. Creary, Olive. Crook, Gretchen. Croxton, Caryl. Crump, Susie. Curry, Mattie. Dake, Woodie. Daniel, Dorris Ray. Davis, La Perle. Davidson, Blanche. Dinsmore, Alma. Duncan, Helen. Duncan, Louisa. Easley, Christella. Edwards, Cleo. Eklund, Inez. Elder, Ernestine. Estes, Lenora. Ewin, Lucy. Foreman, Lillian. Fry, Josephine. Fry, Minnie. Fuller, Nannie. Geers, Sara. Givens, Judith. Glass, Clint. Goodlander, Alice. Goodier, Elsie. Griffth, Winnie. Haggard, Belle. Rall, Anne Laura. Hall, Pattie Lee. Hale, Mary. Hancock, Frances. Harden, Susie. Harris, Lucile. Harrison, Helen Hunt. Hastings, Frances. Henderson, Elsie. Hill, Adeline. Hogue, Irene.

Hood, Ida M. Hough, Helen. Horne, Jimmie. Houston, Emma. Hudson, Mona. Hughes, Mary. Hughey, Lula. Hutton, Annie Lane. Hyatt, Ellen. Ingram, Reece. Jones, Ethel. Jones, Louise. Jones, Mildred. Julian, Ruth. Keebler, Eddie. Kernachan, Ellen. Knight, Elizabeth. Kyle, Jennie. Kyte, Gladys. Labit, Ouida. Lampton, Lucille. Landrith, Grace. Lester. Blanche. Lewter, Zelma. Levy, Myrtle. Limerick, Winnifred. Lockhead, Ethel. Love, Charlotte. Lucas, Mossie. Mann, Mildred. Major, Eudora. Malone, Glenora. McClellan, Laura. Mccraw. Ethel. McCullough, Anna. McEntire, Ethel. McGlasson, Winifred. McIntyre, Mirah. McLarty, Mary Lou. McLaughlin, Kittie. Milton, Bernice. Page forty-six

BELMONT COLLEGE SCHOOL OF MUSIC

Moore, Blanche. Shankle, Byrd. Morris, Anna Bess. Shaw, Lucy. Murphy, Dulce. Smith, Bessie. Nance, Louise. Spain, Blanche. Nelson, Nellie. Spielberger, Sadie. Newell, Fay. Steele, Anna. Newman, Annie Laura. Stewart, Cora. Nixon, Earnie. Stewart, Lillian. Nolte, La1la. Sullivan, Berta. North, Rachel. Sullivan, Eunice. Oglesby, Edna. Taylor, Berta. Ormsbee, Meta. Taylor, Lucile. Palfrey, Myrtle. Taylor, Vera. Palfrey, Willie. Teich, Katherine. Plant, Martha. Todd, Fannie. Perrenot, Caroline. Tolley, Lila May. Pettit, Ethel. Vanham, India. Varley, Madelayn. Pitman, Pauline. Pollard, Jessie. Wallace, Mary. Primm, Linda. Ward, Addie. Puryear, Carrie. West. Mary. Reece, Mary Cecil. Weston, Mabel. Rembert, Medora. White, Sarah Frances. Richardson, Harriet. Wigton, Bessie. Rose, Marguerite. Wilkerson, Josephine. Ross, Anna. Williams, Louise. Rotholz, Helen. Wilson, Arline. Rothschild, Madelene. Wilson, Mamie. Ruble, Katherine. Wilson, Mary. Russell, Connell. Wise, Emma. Russell, Willie. Woodcock, Julia. Young, Kate. Salmon, Mary Agnes. Young, Ruth. Savage, Louise. Elementary Iusic Class. JUNIORS.

Carmichael, Virginia. Crawford, Jane Douglass. Crawford, Mary Louise. Crittendon, Mary. Drake, Alberta. Page forty-seven

Hart, Elizabeth. Harrison, Margaret. Hesselberg. Melvyn Edouard. Leftwich, Hunter. Leftwich, Marion.

BELMONT COLLEGE SGHOOLOF MUSIC

Leftwich, William. Nelson, Mary. New, La Una. Patton, Sara Lee.

Paulk, Annie. Robinson, Frances. Stokes, Ella. Winford, Penelope.

Heeompanistes. «ith Able and experienced accompanistes are connected wit the college, and can be engaged for professional work, either for public concerts or private musicales. Ensemble Playing and Accompanying. Although not required by the college course, the study of ensemble playing is important. The student acquires a knowledge of the best chamber music. All of the most important works will be studied by tbe class, and many will be performed in public. . Students are also taught the art of playing accompaniments, a branch of the musical profession which presents valuable opportunities to pianists possessed of adequate technic and musicianship. Pianos. d The college is furnished throughout with Kimball gran and upright pianos. When an entire building was erected for the exclusive use of this school, the question of pianos for its equipment was given careful consideration. The Kimball was selected, and the college is now equipped with forty-three of these instruments. Each of the music halls and one of the college studios contains a Kimball grand. Recapitulation. Pianoforte . . . . . . . . .. . . . . . . . . 202 Voice Culture ........................73 Violin __ .. _ .. _ .. . __ 11 Mandolin . . ...................2 Elementary Theory . . . . . . . . . . . . . . . . . . . . . . . . . 81 Harmony . . . . . . . . _ . __ ... __ .. _ . _ ... __ . . . . . . . 112 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

ta7 Sight Singing ~ Graduates

cornet»

or pondian.ye

Recitals and concerts given...... . . . . . . . . ...19 Page forty-eight

BELMONT COLLEGE SCHOOL OF MUSIC Clubs and Organizations 1907-1908.

(Arranged in alphabetical order.) 1) "The Berry Class." 2) 'The Buckner Class." 3) "Clara Schumann Club.') 4) "The Florence Webb Class." 5) ''The Hesselberg Class." 6) "Joachim Club." 7) " Leschetizky Club." 8) '· Lyrics." 9) "Saturday Matinee Club." 10) ' Treble Clef Club." Concerts. The opportunities afforded students in the Belmont School of Music to hear the best music interpreted by the foremost artists is unequaled anywhere. Concerts are given in the Auditorium, Watkins Hall, Vendome Theater, and in the College, Building. Following is a list of some of the more important concerts and dramatic entertainments attended by the college during the past season: Scharwenka, Kelley Cole (tenor), Sherwood, Patti, Melba, Paderewski, Godowsky, Liebling, Josef Hoffman, Saville, Ovide Musin, Walter Damrosch's Orchestra and German Opera, Theodore Thomas and his artists, Remenyi, Irving and Terry, E. S. Willard, Modjeska, .Joseph Jefferson, Nat Goodwin, Louis James, Nordica Concert Company, the Spiering String Quartette, The Bostonians, Louis C. Elson, Henri Marteau, Bruno Steindel, Fannie Bloomfield Zeisler, Schueker, Elsa Ruegger, Ellery's Royal Italian Band Metropolitan Grand Opera Company in " Parsifal," Calve, Gerardy, Kubelick, Sousa's Band, and many others equally celebrated.

Page forty-nine

BELMONT COLLEGE SCHOOL OF MUSlC €barges. Board, laundry (within stated limit), steam heat, electric lights, servants' attendance, tuition in English Course, including Latin, Greek, library and lecture fees $300 Ov Extra Cbanges. PAYABLE ONE-HALF ON ENTRANCE, REMAINDER JANUARY 3D. Pianoforte, under Director (regular students) ... • · . $100 00 Pianoforte, under Director (special local students), 130 00 per ter1n . 2 00 Pianoforte, under Director, single half-hour lessons· Pianoforte, under assistants • • · · · · · · · 80 00 80 00 Voice Culture . 80 00 Violin . . . . . . • · · · · · 2 00 Violoncello, per half-hour lesson • · · · · · · · 80 00 Guitar, Mandolin, or Banjo, each • · · · · · · · Harmony (private) · · · · · · · 80 00 Harmony ( in classes) • · · · · · · 15 00 Elementary Theory . . . . • · · · · · · · 15 00 Use of instruments for practice, one hour per day· · · 10 00 Diplomas and certificates at cost. For General Catalogue, Book of Views, and other Belmont College literature, address THE REGISTRAR, BELMONT COLLEGE, Nashville, Tenn. Rules and Regulations. • . the distinct All pupils entering the college do so with understanding that they will be governed and must abide "by the following rules and regulations:

The tuition of the college is payable strictly in advance. All music students must register with the Director of Music before going to special teachers. After having been assigned to a teacher, pupils are not allowed to change without the consent of the Director of Music.

Page fifty

BELMONT COLLEGE SGHOOL OF MUSIC Having once taken up a study in the music department, the pupil may not drop it without the written consent of the parents. Pupils may enter at any time. Students commencing a term are thereby obligated to continue the entire remainder of the college year. Pupils wishing to take the regular advanced courses for a certificate or diploma must enter at the opening term and continue without interruption until the close of the school year. Lessons lost in consequence of the absence of the pupil Will not be made good by the college. No pupil of the college is allowed to omit lessons without sufficient cause. All music students are required to attend the chorus classes, unless excused by the Director. No student is allowed to take part in any public performance without permission from the Director and the teacher. Ladies must have reached the age of sixteen years before they can enter the certificate or graduating class. All music must be paid for when purchased. The competition for prizes is confined to those who have entered the college at the beginning of the school year. Only pupils taking the regular course, and who are regularly entered in one of the classes, will be allowed to compete for medals. This rule applies to all departments in which prizes are awarded.

Pupils who are successful in any competition may not compete for the same prize again. Certificates of proficiency and diplomas of the college can be conferred only on those pupils who have completed the regular course of study and passed a successful examination. Upon leaving the college, each pupil may receive a testimonial in which the time spent at the institution, diligence in study, and progress will be faithfully stated. Reports showing attendance, practice, and improvement are issued at the end of each term.

Page fifty-one

BELMONT COLLEGE SCHOOL OF MUSIC

Scbedule of Commencement Exercises. may 8-20, 1908.

School of Modern Languages--French Play, " Stella Mi-M chaud" Friday, May 8, 8 P. • Graduate Recital-Mary Belle Hughes, pianiste .. • · · · · · • ............................ Tuesday, May 12, 8:15 P.M. Senior Essays, College Chapel .. Wednesday, May 13, 8 P.M. Elementary School-" Three Little Kittens from the Laud of Pie" Thursday, May 14, 8 P.M. (Music by Oscar Wilde, words by H. C. Bunner) School of Music, Voice Classes-Abt's Cantata, "Summer" . . . . . . . . . . . . . . . . . . Friday, May 15, 8 P.M. (Misce11aneous vocal programme) Principals' Reception to Seniors-Art Exhibition and Moonlight Recepiton. . . . . . Saturday, May 16, 8 to 11 P.M. Baccalaureate Sermon. Rev. George W. Shelton.•········ •••............................ Sunday, May 17, 11 A-:· Oratorio, " Gallia" (Gounod) Sunday, May 17, 8 P.I. Review of Musical Repertoires.... . . . . . . . . ..." ( p.M. • • • • ... Monday and Tuesday, May 18, 19, 9 A.M. to 1 School of Expression-An Eighteenth Century Comedy, "The Honeymoon" (John Tobin) Monday, May 18 Park Day-" Great Play" out of doors, " Electra" of Sophocles. by members of Class of 1908. • • · · · · · · · • • • • •........... . Tuesday, May 19, 5 to 8 P. • School of Music Annual Concert-Voice, Violin, Piano,M. Medal Contests Tuesday, May 19, 8 P. Farewell Exercises and Award of Passports, etc· · · · · · • • • • • • •••••..................... Wednesday, May 20, 5 P-:: Alumn~ Reception Wednesday, May 20, 5 to 8 P.

GRADUATION :

Award of Degrees, Diplomas, Honors, and Medals, by the Regent, Rev. Ira Landrith, D.D., LL.D .. · · · · · · · · · .••• tI · • Wednesday, May 20, 8 P.M.

Class Programme-Address to the Graduates;

Page fifty-two

BELMONT COLLEGE SCHOOL OF MUSIC

Patttial List of Redtals. 1907-1908.

MISS MARY BELLE HUGHES (PIANISTE)

(Class of Edouard Hesselberg) IN HER

GRADUATION RECITAL Tuesday Evening, May the Twelfth, Nineteen Hundred and Eight

. Gol'ia,

'· l\lal'rhe 'l'l'iomnhHlr ..... MISS HUGHES AND

MR. HESSELBERG . Ro.r;crs

'At Parting". MISS (1)

" c;.iguc .,

ETHEL PETTIT

III.

IV.

' Prelude' . ~ r·) ·' l'rrlude .. ( ('-slrn rD Minor) )) " scenes de Ballet".. \<') '' l\'fy Abode" ....•••• f) " Norwegian Peasant Dance •• MISS MARY HUCHES " Far Across the Desert Sands'

•

llanrld ... .. Chopin Rachman ino/f . .. Poldini Schubert-Liszt . . Ifal!<Tliicr \l'oorlforcl Ji'in.1len

l\1IS8 Ji;'J'ITEL ]'F.T'J'l'l'

''Allegro .Appasionato" (D-minor Concerto) l\11SS MARY lIUGHID8 ( Orchestral Parts: lGDOUARD JI1,;Sfl1TILBT-:RG)

Paue fift.1;-three

Jiencle/ssohn

_JI

BELMONT COLLEGE SCHOOL OF MUSIC MR. EDOUARD HESSELBERG (PIANIST)

Monday Evening, November the Twenty-fifth, Nineteen Hun· dred and Seven, Eight FortY,:five O'clock ' Thirty-two Variations" (C Minor) .

. Becthoven

"Papillons," Op. 2 . . . . . . . . . . . . . . . . Schumann Introduction et Papillons - Pierrot - A rlequin - Polonaise I-Intermezzo 1-ColomlJine-rnterrnczzo JI-Scherzino---.Polonaise 11-Finale. (The tnnrnlt of the carnival night gradually dies out; the tower clock strikes six.) "Berceuse," Op. 57 ...... .

"Auf dem \Vasser zu Singen

(Barcarolle)

. Chopin

. Schubert-Liszt

"Recitative and Song to lhe ICvening- t·li"ar ... from "Tannhanser . Wagner-Liszt Melodie " M assenet '· Indigo Paraphrase" (lOt)l nights) Strauss-Rosenthal (Analytical readings: Miss Pauline Sherwood Townsend)

MISS MEDA ZARBELL (PIANISTE)

ay Evening, October the Twenty-first, Nineteen Hun· dred and Seven

Sonata. Op. 2, No. 3 . . Beethoven Allegro con brio-Adagio scherzo-Allegro Assai

a) ~ong without_·_ Woi·ds. "?lfa:v Breezes,. M_ endelssohn !!) Ede iijunonne "sedit c) Shadow Dance . •. •. Mac Dowell d) Etude... . Arensku

3. Waltz in A F'lat

4. 5.

Rubinstein

a) Huttetfly b) C)

Scherzo I March of the Dwarfs

Hungarian Rhapsody, No.

Grier; Liszt /

Par;e fifty-four

It.

BELMONT COLLEGE SCHOOL OF MUSIC

MRS. FLORENCE DILLARD HEQUEMBOURG ( \' [OLlNISTE)

Monday Evening, November the Fourth, Nineteen Hundred and Seven 1.

Sonata.

Handel

D Major Adagio Allegrn Largheito Allegro

2. 33,

'+.

Aria and Gavotte from English Suite Parsifal Paraphrase

j (a) Lied

Lalo Arensky

(b) Berceuse

tlaj Srrenade

5. Nonata.

Op. 1:3, Nv.

s. Bach

\Va_q ner- nr ilhclnij

Drdla Grieg

)

Len to l>oJoroso Allegrn Vivaee Allegretto Tranquillo Allegro Animato Presto MISS FLORENCE E, \EBB AT THE PIANOFORTE

MISS CUTHBERT BUCKNER (SOT1A0)

Monday Evening, November the Eighteenth, Nineteen Hundred and Seven

I. II.

llT. l\'.

Griswotd \ u) "\Yhat the Chimney Sang" . 'l'ofano O Fiorellin di :-\iepl" . Saltrr I r·) .. The Cry of Hacllel .. Jiesselberg \ 11' '· lC I \Vere a Rose ' . Rogers -b y "At Parting". .Hawley I r·) '· Hose liable" Chaminade Ya ) ' Viens Mon Bien-aime' Del Aqua I /J) " Chanson Provencale " _I a) "One Npriug l\lorning" . . . }levin 1 b) ' Fruhlingslied" . . . . . . . Weil (Violin Obligato : Mrs. Florence Dillard Hequembourg) • b)

MISS FLORENCE

Page fifty-ftve

E. W EBB A'l' THE PIA.NOFORTJ!l

BELMONT COLLEGE SCHOOL OF MUSIC MISS FLORENCE E. WEBB (PIANISTE)

Thursday Evening, January the Ninth, Nineteen Hundred and Eight 1.

Faschingsschwank (first movement)

j a) Fugue

Prelude j a) b) Waltz . •

Polonaise (ID Major)

by Moment Musical... I c) Scherzo (B-flat Minor)

• •

Rheinberger Moszkowski . Chopin Rachmaninoff Weiss • • sinding

• •

l c) March Grotesque .

Schumann

. Liszt -

NASHVILLE ART CLUB CARNEGIE LIBRARY

Wednesday Evening, February the Twenty-sixth, Nineteen Hundred and Eight

Miss Louise Elisabeth Heilman, Contralto Mrs. Florence Dillard Hequembourg, Violiniste Miss Florence E. Webb, Pianiste Miss Meda Zardell, Accompaniste ' Sunbeams ' . MISS

Ronald

HEILMAN

"Liebeslraum "

Liszt

MISS WEBB

(a) "Berceuse ( b)

Madden .. Lalo

" Serenade "

MRS. HEQUEMBOURG

' Shadows '

Jacobs-Bonet MISS

HEILMAN

Page fifty-six

BELMONT COLLEGE SGHOOL OF MUSIC MISS LOUISE ELISABETH HEILMAN (CONTRALTO)

I Monday Evening, March the Sixteenth, Nineteen Hundred and Eight I. II. III.

IV.

"Beloved, it is 1'Iorn " . . . Aylward ""'enn der Fruhilng ., . . . . . . • • • • · · · / 'yilkommen mein Wald". .. . t Franz Lieber Schatz . . . . . . . . . . . . . . . l " An Orchard Cradle Song ". . . . . . . . . . . . Denza •• Lullaby ". . . . . . . . . . . . . . . . . . . Gilbert Summer Lullaby ". . . . . . . . . . . . . . . . Root 'Plantation Lullaby" : . . • • • • • ' Hesselberg The Sea Shell and the Wave' . . . . 1 ' Spring Has Come". . . White Creole Love Song' . . Belmont Smith Shadows ' . . . . . . . . Jacobs-Bond "1'he Years at the Spring" . . . . . . . . . . . Hartzog MIS S MEDA Z,UlBELL A'£ 'l'Irn PIANOl<'OR'l'E

MISS CAROLINE DE FABRITIIS (MEZZO-SOPRANO)

Saturday Evening, March the Twenty-eighth, Nineteen Hundred and Eight

a) Giorclan i . . . . . . . . . . . . . ' Caro Mio Ben ' by Brogi . " Visione Veneziana ' c) 'l'osti . • . • . • . • . • . • . • . • . • . • . • . . . . " La Serenata ' dy Vannuccini . . . . . . . . .... "Nissun Lo Sa"

\ a) Hahn.

I I.

"Si mes yers avaient de ailes"

"i ":Mai"

l b) Massenet

"Ouvre tes Yeux bleus" . "All' udir de! sistro il suon ' (From ' Carmen ') a) Chadwick . . . . . . . . . . . . . . . . "Allah" by Mac Dowell. . . . . . . . . " Thy Beaming Eyes ' { c) Rogers . . . "Not from the Whole Wide World" d) Beach . . . . . . . . . "The Years at the Spring "

lII.

Bizet

IV.

MISS FLORENCE

Page fifty-seven

E. WEBB AT THE PIANOFORTE

BELMONT COLLEGE SCHOOL OF MUSIC "SUMMER" Music

Lvrics By EDWARD OXENFORD

By FRANZ ABT MARA!oll A'.\''l'H0NY GLADYS KYTE. . ETHEL J 0".\'ES . .

80PRANO . SOPRANO CO:N'THAL'l'O

CHORUS, TREBUJ CLEF, LYRICS UNDF.R DIRECTION OP' MISS LOUI8E liJLIZABETH HEILMAN MISS MEDA ZARBELL AT TUE PIANOFORTE

Friday Evening, May Fifteenth, Nineteen Hundred and Eight

1. 3. 4. 5.

I. SUNRISE INTRODUCTION AND CHORUS .. RECITATIVE-Soprano. . SHEPHERD'S SONG-Soprano RECITATIVE-Soprano. . . WANDERING SONG (Chol'llci)

II. NOONTIDE RJiJCI'l.'ATJVJ,:---Soprauo . . . . . . . 7. J a,) LYRICS AND TREBLE CLEF . . . . l li) DUET AND CHORUS . . . . . . . 8. RECITATIVE-Contralto D. Smw-Contralto . . 10. Crromrn . . . . . . 11. RECITATIVE-Soprano

•

,. 'l'lle :Morning- Sun" Hark ! Hark! I Hear" .} suemeras Lie" ,. With Happy Hearts • Where the King-cups"

" 'J'he Golden Orb " . " Come, Sisters'' "It is Sweet • • • .. IIusb ! Hush "

•.

• he wind is shrieking "All is Calm • he Day is Fading"

III. SUNSET 12.

CHORUS.

'· Behind the Lattice"

,. 'I'he Glories of Day '

...

Ghadwiclc

DOUBLE QUAR'l'lD'l''l'E WINNIFRED LIMERICK ELIZABETH B0ULWARE IIELliJN HUNT IIARltISON JIIJ,;LYILLill AKIN E'l'IIJDL PETTIT EDNA 0GLESBY CARRIE WHITE BEAN MARY BURFORD

"A Lover in Damascus" Music by AMY WOODl?OUD 11'INDEN TOWNE Lyrics by CHARLES HANSON a) ' Far Across the Desert Sands " b) " Where the Abana Flows ' C) "Beloved, in Your Absence" (},) "Ilow 2\iany a Lonely ('aravan" e) ., If in 1 be Great Bazaars" f ) "Allah Be with Us" MISSES ETHEL PETTIT, MONA HUDSON, WINNIFRED LIMERICK

Pa.QC fifty-eight

BELMONT COLLEGE SCHOOL OF MUSIC EIGHTEENTH ANNUAL CONCERT Tuesday Evening, May Nineteenth, Nineteen Hundred and Eight PART

ONE

., It Shall be Light " (Oratorio, " Holy City ") . . . . . . Gaul " The Lyrics " ( Class of Miss Louise Heilman) " Im])romptu Uococco " MISSES

REECE

INGRAM

AND NANNIE

Schutt

FULLER

\ Class of Miss .\lartha Dismukes) "Polonaise" (A Major).

Chopin

MISS MELVILLE AKIN

(Class of l\liss i\Iecla ZarbelJ) .. At Parting' MISS

ETHEL PETTIT

Rogers

(Class of Miss Cuthbert Buckner) " l'apillon "

MISS LAURA MCCLELLAN

. Lavallee

(Class oC Miss Florence Webb) •• Rondo Cappriccioso" .

. Mendelssohn --

MISS LOUISE NANCE

(Class oI l\liss Alice K. Leftwich) PART TW0

" In the Crad le"

Bush MISS

MARION LEFTWICH

(Class of Mrs. Florence Dillard Hequembourg) Rondo Brillante ' . . Weber EUDORA MAJOR

MISS

(Class of 1\Irs. Sophie Gieske Berry) ., G-minor Concerto" (l 'il·st Movement)

◄

lliendelssohn

MISS MINNIE FRY

( Class of ID<.louard Ilesselberg) Orchestral parts : IDclouard Ilesselberg "A Rose Fable ".

. Hawley

MISS WINNIFRED LIMERICK

( Class of l\fiss Cuthbert Buckner) "D-tninor Concerto·, (Last l\Iovernent)

, .. Mozart

MISS MARGUERITE ROSE

( Class oC Edouard IIesselherg) Orchestral parts: Edouard Hesselberg " Summer " . . . . . . . . . . . . . . . "Whal the Chimney Sang ' . . . . . . . . . .. '.flle Lyrics " (C'!ass of Miss Louise Heilman)

Paye fifty-nine

Berger Griswold

BELMONT COLLEGE SCHOOL OF MUSIC SERVICE Sunday Night, May Seventeenth, Nineteen Hundred and Eight Processional Hymn ...

No. 190

Scripture Reading Invocation REV.

Gallia .

IRA LANDRITH, D.D., LL.D.

. ... Gounod THE BELMONT CHAPEL CHOIR

Benediction Recessional .......

............. No. 254

COMMENCEMENT Wednesday Evening, May Twentieth, Nineteen Hundred and Eight "I Waited for the Lord"

Mendelssohn

The Lyrics " Entrance of Class and Faculty Invocation PIANOFORTE SOLO ; VOCAL SOLO:

'Mazurka " . . . MISS MYRTLE PALFREY

"· Lorraine, Lorraine, Lorree" MISS MONA HUDSON

Leschetizky ...

Lohr

Address to Graduates; Award of Degrees, Diplomas, Certificates, Medals, and Honors By the College Regent, REV. IRA LANDRITH, D.D., LL.D. Benediction

Page sixty