NOTES:
1: From the "Table Talk."
2: Play to the children Schubert's song entitled "The Organ-man."
3: Phillips Brooks says in one of his sermons ("Identity and Variety"): "Every act has its perfect and entire way of being done."
4: Bohn edition, p. 35.
5: Read to the children such parts of Francesca Alexander's "Christ's folk in the Apennine" as seem to you pertinent.
6: John Ruskin, from the ninth lecture of "Val d'Arno."
7: John Ruskin. Third lecture of "Val d'Arno."
8: Franz Liszt's "Life of Chopin," Chapter V.
9: Ibid, Chapter VI.
10: "On Sound."
11: "On Sound" is referred to. The last paragraph of Section 10, Chapter II, may interest the children. The last two paragraphs of Section 13 are not only interesting, but they show how simply a scientist can write.
12: If the original is desired, see Tyndall's "Glaciers of the Alps."
13: Schumann wrote in a letter to Ferdinand Hiller, "We should learn to refine the inner ear."
14: From the sermon entitled "The Seriousness of Life."
15: Notice sometime how many of our English words have the Latin
con.
16: See the fourth chapter of Reuben Post Halleck's "Psychology and
Psychic Culture."
17: For instance, the subject of the C minor Fugue in the first book
of "The Well-tempered Clavicord."
18: The subject of the C sharp minor Fugue.
19: The prelude in E flat minor and the subject of the G sharp minor Fugue.
20: Robert Schumann.
21: Quoted by Xenophon in the "Memorabilia," Book II, Chapter I, Bohn edition.
22: "Heroes and Hero Worship," Lecture I.
23: From the sermon entitled "Backgrounds and Foregrounds."
24: I should again suggest the value of letting the children become familiar with such books as J.H. Parker's "A B C of Gothic Architecture;" and of having always about plenty of photographs of great buildings, great men, great works of art and of famous places for them to see and to know ("letting them become familiar," remember).
25: See R.P. Halleck's "Psychology and Psychic Culture."
26: Read paragraphs 41 and 42 of John Ruskin's "Athena Chalinitis,"
the first lecture of "Queen of the Air."
27: John Ruskin, from the lecture entitled "Franchise," in "Val
d'Arno," par. 206.
28: "Letters of Felix Mendelssohn Bartholdy from Italy and
Switzerland." Letter of July 15, 1831.
29: "Letter of December 19, 1831."
30: Read also what is said of Chopin on p. 28.
31: Read to the children "The Wonderful Weaver" in "Old Greek Stories," by James Baldwin. It is only a few pages in length, and is well told.
32: Robert Schumann.
33: John Ruskin's "Queen of the Air," par. 102. ("Athena Ergane.") Read all of it to the children.
34: Idem.
35: Lord Bacon, from the essay "Of Great Places."
36: Robert Schumann.
37: Read John Ruskin's "Sesame and the Lilies," par. 19, and as much of what follows as you deem wise.
38: "The Ethics," Book IX, Chapter VII.
39: Always I have it in mind that the teacher will read or make reference to the original when the source is so obvious as in this case. The teacher's, or mother's, discretion should, however, decide what and how much of such original should be read, and what it is best to say of it.
40: I have not attempted to quote the exact words usually given.
41: Socrates. This quotation is from the "Memorabilia of Xenophon," Book I, Chapter VI.
42: Mary Russell Mitford.
43: "Autobiography of Benvenuto Cellini," Bohn edition, p. 23.
44: "The Miserere" of "Gregorio Allegri." It was written for nine voices in two choirs. "There was a time when it was so much treasured that to copy it was a crime visited with excommunication. Mozart took down the notes while the choir was singing it." (See Grove's "Dictionary of Music and Musicians." Vol. I, page 54.)
45: Dr. Bridge "On Simple Counterpoint." Preface.
46: Take, in August Haupt's "Choralbuch zum häuslichen Gebrauch," any simple choral. The one entitled "Zion klagt mit Angst und Schmerzen" is of singular beauty and simplicity.
47: Peters Edition, No. 200, page 11.
48: I should advise the teacher to have the two volumes entitled "Les Maitres du Clavicin." (They can be had in the Litolff collection.)
49: Op. 106.
50: "Der Erster Verlust" in Schumann's Op. 68 is well conceived in the sense that it is freely harmonic in some places, imitative in others, while in the opening the melody is very simply accompanied. Show the children how interesting the left-hand part is in this little composition.
51: From a Letter of the Spectator.
52: From the eighth paragraph of the Lecture entitled "Nicholas, the Pisan," in "Val D'Arno."
53: A blind beggar sitting on a bridge in an English town (it was Chester) many times astonished me with the rapidity of his hand-reading, and by the wonderful light of his face. It was wholly free from the perplexity which most of us show. It must arise in us from being attracted by so many things.
54: Eighty-first paragraph of "Val d'Arno."
55: Marcus Aurelius Antoninus, "The Meditations," Book V, Par. 34.
56: See footnote, p. 119.
57: From the thirteenth paragraph of the fourth book. I have changed the wording a very little to make it simple.
58: Sixteenth paragraph of the fifth book.
59: Essi quam videri.
60: "The Memorabilia."
61: "Epictetus," H.W. Rollison's Translation.
62: Plato.
63: Mozart wrote three symphonies between June 26th and August 10th, in the year 1778; and an Italian, Giovanni Animuccia, is said to have written three masses, four motettes, and fourteen hymns within five months. As an instance of early composition, Johann Friedrich Bernold had written a symphony before he was ten years of age, and was famous all over Europe.
64: Xenophon, "The Memorabilia," Book IV, Chapter VIII.
65: From the "Pleasures of Life." Eighth Chapter of the Second Series.
66: The little romance of N.B. Saintine is referred to.
67: Read to the children Chapter XIV in my "Chats with Music Students."
68: "Rules for Young Musicians."