PHILADELPHIA CONSERVATORY OF MUSIC
216 South 20th Street
Vol. I 3S"Y No. 1
IN LOVING MEMORY
D. HENDRIK EZERMAN
A TRUE FRIEND AND AN INSPIRED LEADER
Of great interest to all of those who knew and esteemed Mr. Ezerman is the following
Resolution of the Netherlands Society of Philadelphia.
DIRK HENDRIK EZERMAN
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
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
PHILADELPHIA CONSERVATORY OF MUSIC
216 South 20th Street
PHILADELPHIA, MARCH, 1928
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
He, as Director, has left his wonderful in-
fluence among us to inspire us to reach the
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.
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
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
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.
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 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
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
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
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 ! !
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
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
One of the faculty was explaining the last
movement of the Mozart A Major Sonata to
" 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.
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-
Nonnie Lou Lindsey
Grace A. Pennypacker
Fanny A. Sharfsin
Inez B. Koutzen
Frank J. Potamkin
Wolfgang D. Richter
Maria W. Ezerman
The following are this year's Fellowship
Mary Lee Labarre
Nonnie Lou Lindsey
"There Is No Substitute for Certainty"
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describing this widely approved and authoritative plan will be sent upon request.
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