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Wbt Bhtlcon 


216 South 20th Street 

Vol. I 3S"Y No. 1 






Of great interest to all of those who knew and esteemed Mr. Ezerman is the following 
Resolution of the Netherlands Society of Philadelphia. 


In the untimely death of Dirk Hendrik Ezerman the Netherlands Society of Philadelphia has 
lost an honored member and the City of Philadelphia a master of Music. His interpretations of 
the compositions of Bach, Beethoven, Brahms, Chopin, and Caesar Franck had the understanding 
admiration of the highest music authorities. As the head of the Philadelphia Conservatory of 
Music his extraordinary qualifications for imparting by precept and example to many hundreds of 
professional and amateur pupils his own high standards of art had an ever widening influence in 
advancing musical culture, an influence which will continue in an increasing circle long after 
his death. 

He was born in Zierikzee, Province of Zeeland, Holland, in the year 1880, where his father 
was an organist. His uncle, Willem Ezerman, was the organist at Haarlem, his instrument being 
that famous one pronounced by experts because of its tone to be one of the two finest organs in 
the world. Thirty years ago a recital upon this organ by the uncle was heard with delight by a 
member of the Netherlands Society, whose long subsequent acquaintance with the nephew in 
Philadelphia led to the latter becoming an associate member of this Society, in which he took a 
keen interest, and before which several years ago he read a learned paper upon the early Dutch 
musicians, setting forth their development of part singing and their carrying of music culture to 
Italy, Spain and other European countries, a number of them under transformed names still known 
to musicians as Italian or Spanish masters of the art. 

The lad, Dirk Hendrik Ezerman, graduated from the public and high school of Zierikzee, 
studied the organ under his uncle, and at the age of 16 entered the Conservatory of Amsterdam, 
studying the violoncello under Mossel, the piano with Koene, Roentgen and de Pauw, graduating 
as a 'cellist, and at the same time receiving the highest diploma for the piano ever awarded by the 
Society for the Encouragement of Music. 

After graduation he joined the famous Amsterdam Concertzebouw Orchestra under Mengelberg 
for one season as a 'cellist, and then made an extensive concert tour in the Scandinavian countries. 
In 1901 he was engaged as second solo 'cellist with the Philadelphia Orchestra by Fritz Scheel, but 
after one season withdrew in order to devote himself exclusively to the piano as teacher and 
soloist and in chamber music. He died in the Episcopal Hospital January 6, 1928, from the 
injuries received in an automobile collision November 21st. 

His vigorous mentality and personality compelled respect; his character won the admiration 
of many; his wide reading of the philosophies in Dutch, German, French and English languages 
and their absorption by his strong, analytical mind, which sank the plummet to the depths of many 
a past and present problem, made him an informing and inspiring companion for other like-minded 
persons ; his absence from pretense and his unaffected bearing, with his warm sympathies, tied to 
him with close bonds of affection the young and the old from all sorts and conditions of men. 

Writing in one of the newspapers of Dirk Hendrik Ezerman, Dr. Philip H. Goepp, himself an 
authority on musical art and artists, says: "While his musicianship was of the highest, it is not 
enough in itself to explain the sharp grief of a multitude of mourners. There was about the 
man a simplicity, a dignity, a sturdiness, a kindliness, that in their blending, wonderfully endeared 
him to a world of music lovers, colleagues and pupils. Together with his splendid attainments, 
these qualities constituted a rare personality among eminent musicians." 

Resolved, that this record of his worth be spread upon the Minutes of the Netherlands Society 
and that a copy thereof be sent to his family. 


Editor, Jane Price 
Business Manager, Nonnie Lou Lindsey 

216 South 20th Street 

Vol. I 


No. 1 

In Loving Memory of 
D. Hendrik Ezerman 

The passing away of D. Hendrik Ezerman, 
Director of the Philadelphia Conservatory of 
Music, takes away our personal, human relation- 
ship with one who stood ever willing to help. 

Earnest as teacher, he imparted his wonder- 
ful knowledge in the most conscientious and 
thorough way. True to right standard principles, 
loyal to the work at hand, he taught and 
directed in the most determined manner to 
achieve success. Yet ever kind and helpful was 
this teacher of teachers. 

Sincere as friend, he enriched the lives of 
all who really knew him. No one could possibly 
be in his company without feeling that vital 
touch of noble character — that strength of true 

As Musician, Artist, Pianist, he stood among 
the leading. One could distinctly hear the 
sincerity of purpose in his playing which was 
an inspiration. 

He, as Director, has left his wonderful in- 
fluence among us to inspire us to reach the 
desired goal. 

God be praised for having given us this 
friend, teacher, director — 

" Lives of great men all remind us, 
We can make our lives sublime; 
And departing leave behind us, 
Foot-prints on the sands of time." 

Devotedly, Mae E. Haines. 

Mr. Ezerman 

Of Mr. Ezerman, one of whose most out- 
standing qualities was his fine simplicity, it 
seems fitting to speak only in the simplest way. 
Our sense of loss and our feeling for him go far 
deeper than mere words can express. We miss 
him so much. 

For a good many years Mr. Ezerman was 
the life of the Conservatory. To it and to us he 
gave his sincerity, and all the strength of his 
fine character and his great art. Such things 

as these could never have been returned in 
kind, but surely the best that is in us cannot 
fail to show itself now, in appreciation of all 
we have received. 

His school is our school. As he loved it, so 
should we love it. 

We no longer have the rudder of Mr. Ezer- 
man's actual presence, but we have the rudder 
of his strong and vibrant personality. That 
exists very really in our own minds, and we 
have only to live up to the remembrance of it 

It is for us to "carry on" splendidly. 


Co-operation is the keynote of success. 
Except in very rare instances everything really 
fine is accomplished through the united efforts 
of a group of self-forgetting individuals. This 
is especially true in school or conservatory life. 
The activities of the Fellowship are made possi- 
ble because a number of its members have 
" pulled together," and have tried hard to attain 
a high ideal. For certainly our aim to help 
others in their musical studies by means of 
scholarships, is something of which we may be 
very proud. 

This thought inevitably follows however: 
"What could we not do if all our members 
were as active as possible?" It must be 
admitted that there are too many absent from 
meetings, and too little concerted " push " when 
an important subject is broached. The morale 
of the whole Fellowship would be 100 fc better 
if we could only have a perfect attendance of 
wide-awake people. 

This year we have taken in many new 
members. It is the business of all of them to 
attend every meeting, so that we may know 
them, and so that they may become merged in 
the Fellowship as a real, vital part of it Only 
the most unavoidable reasons should keep any 
one of us away, old or new members. It is 
what we do together that will count for 


A busy season is still ahead of us, full of 
concerts, ticket selling, the rummage sale. Let's 
"push" all these things— together, let's sing 
together, laugh together, play together— and 
work together. Let's make this, " Our Fellow- 
ship," the livest, most worthwhile organization 
to be found anywhere. Let's all go to the 
closed concerts, and to our extremely popular 
faculty concerts, even if we have to hang on the 
ceiling or sit in the cellar, in lieu of sitting in a 
regular "orchestra" seat. Let's get behind any 
member of the Conservatory in any undertak- 
ing, and lend him or her our whole-hearted 
support. Whose right or obligation is it to do 
these things as much as ours? 

As Elbert Hubbard says : " Do unto others 
as if you were the others." All together then 
— let " Co-operation " be our watchword. 

The Magazine 

An innovation in our Conservatory life is a 
school magazine. In a music school, perhaps 
more than in any other, such a thing as this is 
very much needed, principally because there is 
comparatively little actual association among 
the students themselves, or among the students 
and faculty. A good school depends not only 
upon its fine reputation as a place of learning, 
or of training, but also upon its school spirit. 
The Fellowship has accomplished wonders in 
this respect, but there are many whom even 
this Club does not reach. 

There can be no real spirit where there is 
merely a bare acquaintance among individuals, 
or when the events which take place in a school 
are not generally known to the majority. By 
means of this magazine it is our ardent hope 
that we may increase the " good fellowship " 
which exists for many of us. But that is not 
the only objective. What we most wish is to 
interest the great student body of younger 
ones who are growing up — to make them 
realize that they are members of a fine, flour- 
ishing, growing Conservatory — and to make 
them proud to be so. We want to make a power- 
ful unit of this school, that it may not simply 
be a place to come for a music lesson or a class, 
once or twice a week. We want each and every 
one to feel that this is his school and that he is 
a vital part of it. 

To attain this end there is nothing better 
than a magazine. If only everyone would take 
a real interest in it, we could have a delightful 

publication, of much pleasure to ourselves, of 
interest to outsiders, and the best of advertise- 
ments for the Philadelphia Conservatory. 

For this number we have had very few 
contributions. Now no magazine can possibly 
be a success unless there is adequate material. 
After this issue is printed we hope that more 
people will be interested in helping us to make 
a success of future numbers. We shall welcome 
any new ideas. If you see any interesting arti- 
cles, serious or otherwise, in magazines or 
newspapers, send them in. We want jokes and 
personals from classes — we want all the news 
you can give us. In a word, we want your 

The Fellowship 

The Fellowship of the Philadelphia Con- 
servatory of Music is a most interesting organ- 
ization, one of which we should be very proud. 
A Conservatory Club is a rare thing indeed, and 
it is doubtful if there is another group similar 
to the Fellowship in any other school of music. 

In the early Fall of 1925, the idea of form- 
ing a Club at the Conservatory originated with 
a few advanced students, some five or six in 
number. As a result the Fellowship came into 
existence with a charter membership of 

A realization of the great need of a real 
spirit of comradeship among music students 
was the primary motive power behind the for- 
mation of the Fellowship. The desire to foster 
this "good fellowship" and the wish to simul- 
taneously further the study of music in its 
many branches— these two objects caused the 
Fellowship to come into being. 

So far we have been most successful. Our 
membership has increased to nearly three times 
the original number. Through the combined 
efforts of our members we raised sufficient 
funds in the past two years to give four partial 
scholarships each season, two in piano and two 
in violin. Each year a dinner has been given 
to the graduating class by the Fellowship, a 
great occasion, when the oratorical ability of 
some of our members was greatly in evidence 
in the "after dinner speeches." In addition to 
this, there is the spirit of the Fellowship itself. 
Through our meetings we have come to know 
each other in a way that would have been 
impossible otherwise. A mutual interest in any 
subject forms a strong tie, and when that 
subject is a great art such as music, it is almost 


unbreakable. Our spirit of "camaraderie," and 
of helpful interest, our feeling of genuine friend- 
ship for one another, our aim to further the 
study of our beloved music— may these never 
become lessened in any way. 

The Fellowship is growing— and will grow 
and grow! It may one day become a great 
power, and a great instrument of good. This 
may be a dream, but after all it is the dreams 
that make life worth living. And some dreams 
come true! 

Remember the Rummage 

Even musicians have old clothes with which 
they are willing to part. This may seem to be 
a strong statement, but it has nevertheless been 
known to happen quite often. Witness our two 
previous rummage sales! Now if one should 
say, "Even musicians have old clothes" — and 
stop there— the statement would be misleading 
to say the least. "Musicians always have old 
clothes" is much more to the point. And every 
once in a while they are persuaded through 
outside influence, either through charity, pride, 
self-respect, or what-not, to stop wearing them. 
All this leads up quite naturally once more to 
the piece-de-resistance of the season, our lovely 
one-ring circus, with refreshments served on 
a soap-box in the back -ground — the Annual 
Rummage Sale! 

Now's the time to get ready for this great 
affair. Save every little thing from a shoe- 
string to the hat grandma wore back in 1880. 
It will pay. Don't have the idea that there is 
anything not good enough. This is not the 
time for false pride in our old clothes. I myself 
sold an automobile cloak with no less than 
eleven yards of material, all embroidered in big 
scrolls (vintage of 1900)— as one of the latest 
creations from Paris. It was a knock-out. 

At the Rummage Sale our boys shine. The 
girls work, but the boys throw off sparks. All 
the latent talent smouldering within fairly 
explodes, and they can charm all the "gent's 
furnishings" right out of the store. That 
approaches genius. 

If you want a good time, come to the 
Rummage Sale. In the meantime, save up all 
the old things in the house. Ask your relatives 
and friends to help. Most people are only too 
glad of a way to get rid of their old belongings, 
especially when that way will do so much good 
for others. We made a great deal toward our 
Scholarship Fund by this means. So let's start 
right now — everybody! Let's try to make 
twice as much next Spring. Remember the 
Rummage ! ! 

Conservatory Notes 

The mid-winter season has seen three new 
members added to our faculty in the piano 
department : Mme. Olga Samaroff, Aurelio 
Giorni and Alexander Kelberine. 

Four of our faculty have given very fine 
recitals this season, all in the Foyer of the 
Academy of Music. Mr. Koutzen gave his 
recital early in December, Miss Montague hers 
in February, and Mr. Van Den Burg and Mr. 
Kelberine later in the same month. 

We have had several evening closed con- 
certs at the Conservatory for the students of 
the School, and one Sunday afternoon concert 
for the pupils of the Oak Lane and Norwood 

A faculty concert was given at the Conserv- 
atory before a large audience, Thursday evening, 
December 15th, at 8.15. Mr. Frederick Schlieder 
opened the program with a lecture, "Concord 
vs. Discord." Mozart's string quartet in C 
major was then played, followed by three pieces 
for string quartet, by Strawinsky. Besides Mr. 
Schlieder, the other faculty members who par- 
ticipated were Boris Koutzen, Arthur Lipkin, 
Gustave Loeben and Willem Van Den Burg. 

The second faculty concert was given on 
Friday, February 17th. The program included 
a Sonata, D major for piano by Scarlatti, two 
songs by Monteverde and Bononcini, a sonata 
for 'cello and piano by Boccherini, II Tramonto 
by Respighi (song with string quartet) and a 
Respighi quartet for strings. Those who par- 
ticipated were Boris Koutzen, Gustave Loeben, 
Ruth Montague, Marjorie Paddock, Lucien 
Phillips, Henry Schmidt and Willem Van Den 

To a Music Teacher 

You cannot practice for her day by day. 

The knowledge that you give her will not 
On her young mind in one bright blinding ray, 

But you can plant a dream. 

Ah, you can plant a dream in her young heart, 
A dream of excellence whose light will gleam 

Upon her pathway as the years depart. 
Your words can plant a dream! 

To sow a dream and see it spread and grow; 
To light a lamp and watch its brightness 
beam — 

Here is a gift that is divine, I know- 
To give a child a dream ! 


The Amateur Philosopher Says-- 

In writing this column we didn't know 
whether to write a la George Jean Nathan and 
compare everyone to a prune strudel, or else 
ape his inimitable partner, H. L. Mencken, and 
compare everyone to a prune strudel. 

News comes to us that the safety of the 
building is imperiled. One of our faculty gets 
himself in quite a heated state, and his stamp- 
ing on the floor has more than once set the 
lamp in the room below quivering in helpless 
wrath. As a lover of the old building we suggest 
that steps be taken. But then how true it is 
that — Buildings may crumble — 
Their walls may sever, 
But artistic temperaments 
Go on forever. 

Jazz is no longer spoken of as an illegitimate 
prodigy, nor is it discussed behind locked doors, 
as it was prior to the Gershwin invasion. Some- 
time ago we saw one of our faculty in the 
Schubert — and to all accounts, enjoying the jazz 
just as much as ourselves. 'S Wonderful ! 

Owing to the increased membership of the 
school club, Fellowship if you will, and owing 
also to the youthfulness of the new members, 
we suggest a change in the refreshments. Would 
not milk and crackers be more apropos? Of 
course with an occasional pretzel. We love 

We wonder if you have heard the story of 
Fritz Kreisler and our orchestra? It was last 
year after the concert, and the incomparable 
composer and arranger of Viennese whang 
doodle was greeted by a very good friend. 

"And how was everything?" 

"Well," said little Fritz, "I just finished 
accompanying the Philadelphia Orchestra." Not 
bad that! 

One of the faculty was explaining the last 
movement of the Mozart A Major Sonata to 
his pupil. 

" The idea," he said, " is of a Turkish band 
in the distance coming nearer and nearer 'till 
it is upon us, then leaving us and disappearing. 
That explains the crescendo and decrescendo 

"O. K.," answered the pupil, "but how 
about the last part?" 

"Oh, that," the answer was grandiloquent 
with a generous flourish of hand, "that's the 

The school needs a smoking room. A small 
room without a piano, with many comfortable 
chairs, and numerous ash trays. A place where 
the cigar-or-cigarette-needing student or faculty 
member could relax for five or ten minutes and 
forget the worrys of teaching in the joy of blow- 
ing smoke rings. After writing the above article 
we re-read it and hereby question it. If one is 
able to relax and smoke, there enter thoughts 
of other relaxation. Poker, pinochle, dancing, 
dice — the vistas are long and very pleasant, but 
I'm afraid the Philadelphia Conservatory of 
Music, Incorporated 1877, has no place for them. 

The Fellowship 

Allison Drake, President 
Jane Price. Vice-President 
Frances White, Secretary 
Naomi Koplin, Treasurer 
Maria Ezerman, Chm. Program Committee 
Nonnie Lindsey, Chm. Membership Committee 

The original members of the Fellowship 
when it was first formed in 1925, may be inter- 
ested in seeing their names in the exact order 
in which they signed the famous piece of yellow 
paper, upon which they signified their desire to 
become members of the Club. The paper itself 
is still in existence to be handed down to pos- 
terity : 

Rebecca Berg 

Ida Benton 

Willem Ezerman 

Geraldine Stout 

Nonnie Lou Lindsey 

Rose Ratcliffe 

Naomi Koplin 

Sophie Gevov 

Grace A. Pennypacker 

Fanny A. Sharfsin 

Inez B. Koutzen 

Eugenie Miller 

Kathryn Grube 

Frank J. Potamkin 

Mildred Whitehill 

Wolfgang D. Richter 

Jane Price 

Maria W. Ezerman 

The following are this year's Fellowship 
members : 

Harold Abrams 
Sam Atram 
Sydney Buchanan 
Ada Beatty 
Lorraine Burroughs 
Ida Benton 
Paul Bookmeyer 
Grace Cleeland 
William Castagno 
Virginia Cheeseman 
Louise Claussen 
Allison Drake 
Kitty DeAcosta 
Maria Ezerman 
Willem Ezerman 
Kathryn Grube 
Erna Grimshaw 
Mildred Gerhab 
Mae Irvine 
Pinza Krasnof 
Christine Kestner 
Naomi Koplin 
Inez Koutzen 
Mary Lee Labarre 
Oscar Lyman 
Nonnie Lou Lindsey 

Neil McKie 
Eugenie Miller 
John Mulligan 
Elizabeth MacCalla 
Frank McDermott 
Shirley Marshall 
Grace Pennypacker 
Frank Potamkin 
Jane Price 
Ruth Parr 
Eleanor Rorke 
Helen Rowley 
Rose Ratcliffe 
Wolfgang Richter 
Fanny Sharfsin 
Geraldine Stout 
Elizabeth Sterling 
Marjorie Sutter 
Sara Snyder 
Doron Sutch 
Florine Thanhauser 
Mildred Whitehill 
George Wargo 
Margaret Widman 
Frances White 

•rjAO [1c 



"There Is No Substitute for Certainty" 

knowledge of the foremost members of the piano teaching profession and the 
intellects of the highest authorities on the science and art of music teaching. 

This collective knowledge affords you one of the most powerful adjuncts 
to success. 

"Winning the Child to Music," an interesting and instructive booklet 
describing this widely approved and authoritative plan will be sent upon request. 




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