Skip to main content

Full text of "The Philcon, March 1928"

See other formats


-3T.0 


Wbt  Bhtlcon 


*/* 


PHILADELPHIA  CONSERVATORY  OF  MUSIC 
216  South  20th  Street 

Vol.  I   3S"Y  No.  1 


DEDICATED 
IN    LOVING    MEMORY 

OF 

D.  HENDRIK  EZERMAN 


A  TRUE    FRIEND    AND    AN    INSPIRED    LEADER 


THE  PHILCON 


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 
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. 


THE  PHILCON 


Editor,  Jane  Price 
Business  Manager,  Nonnie  Lou  Lindsey 


PHILADELPHIA  CONSERVATORY  OF  MUSIC 
216  South  20th  Street 


Vol.  I 


PHILADELPHIA,  MARCH,  1928 


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 
manhood. 

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 

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 
something. 


THE  PHILCON 


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 
support. 


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 
eighteen. 

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 


THE  PHILCON 


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 
Branches. 

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 
Burg. 


To  a  Music  Teacher 

You  cannot  practice  for  her  day  by  day. 

The   knowledge  that  you   give  her  will  not 
stream 
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  PHILCON 


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 
pretzels. 

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 
necessary." 

"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 
coda." 

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 


THE  PHILCON 


PIANO    TEACHERS 

"There  Is  No  Substitute  for  Certainty" 


THE  PROGRESSIVE   SERIES   OF  PIANO   LESSONS  represents  the   combined 
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. 


Address:    THE  PROGRESSIVE  SERIES 

4517   OLIVE   STREET  -:-  ST.  LOUIS,  MO. 


ELKAN-VOGEL  CO.,  Inc. 

The  Music  Shop 

1716  SANSOM  STREET 
PHILADELPHIA,  PA. 

Complete  Works  for  the  Music  Student 

Foreign  and  Domestic  Publications 

Circulating  Library- 
Musical  Books 

THE    HOUSE  OF    MINIATURE    SCORES 


PLAYER  PIANOS 
A  SPECIALTY 


Bell  Phone 
Ridley  Park  505 


J.  S.  STEWART 

PIANO  TUNING      ■      REPAIRING 
17  Stewart  Ave.  Ridley  Park,  Pa. 

Cox  Bros.  Printing  Co. 

1736  LUDLOW  STREET 
PHILADELPHIA.  PA. 


Bell.  Loust  3066 


Keystone,  Race  50M 


Patronize  the  Advertisers