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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1941 Volume 59, Number 09 (September 1941) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 59, Number 09 (September 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/246
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FKi sSEK CO . PHILADELPHIA, by THEODORE Pa, EDITORIAL ISO ADVISORY STAFF II OK JAMES FRANCIS COOL! Uitoi THE Guy McCoy and Helen MacVschic, Ailiilml EJ.ier, William M. Pd Henry S. Fry Robert Braine Dr. Frier Huf* Rt«] W.r . I .... •••V* William>* Pietro Dciro Karl HUim U,1). HtY*Rrvdlj Elizabeth lieu N. Oiifurd Par* Dr. Nicholas Douty Henry S. Si.-vet Georjte C. Kridt Dr. Rub Roy Perry
FOUNDED 188 S i y Theodore pkessek COMPANY, un- HEIFETZ, in a THE MEXICAN OPERA JASCHA HERE. THERE AND EVERYWHERE IN for- the direction of Franz Steiner, recent interview in the der J of the Vienna State Philadelphia Evening THE MUSICAL WORLD merly director successful first season said, “A Opera, had a most Public Ledger, with during the summer. The entire cast, child of three or four Is exception of one singer, was native Contents for September, 1941 more capable of assimi- the trained at the National great music than THE NATIONAL MUSIC CAMP at Inter- ROBERT AND GABY CASADESUS, the Mexican and lating soprano, Irma N*. © rates 25 rsvr* Conservatory. The young VOLUME 1-1 V an adult, I should start lochen, Michigan, had an enrollment of French pianists, spent the summer in the leading role in The inexperienced over four hundred students this summer. Newport, Rhode Island, where they Gonzalez, sang a young or Bartered Bride which is Magic Flute” and “The WORLD OF MUSIC child off with Bach, Boys and girls came from forty-one taught at St. George’s School, Jascha and won ovations with both perfoim- HlfflTZ Bach. to study and the summer headquarters of the Bach and more states, Canada and Hawaii, now Civic EDITORIAL ances. Carl Alwin of the Chicago profound, Bach, to my to play and to live Music. The camp's Fontainebleau Alumni Association School Putting Asset* to Work. .... simple as he is 585 ,1s Opera conducted the orchestra, and Wil- A B C of any musical edu- National High School Orchestra broad- of Music. YOUTH AND MUSIC Bit, is the helm von Wymetal of the Metropolitan, Heifetz remarked. He and cast weekly Sunday concerts under the Music nt Bryn Mswr ation,” Mr. San 584 CASTAGNA, Curtis Institute, the Philadelphia, have, from the beginning, direction of Dr. Joseph E. Maddy, the BRUNA Its. Heifetz Com- MUSIC AND CULTURE con- Francisco, and Chicago Opera concerts and have director, who was assisted by sev- the Metropolitan Stop Ilirt«*r? aken their children to camp Will Beethoven 586 acted as stage director. Momentous Musical through conductors, among them: tralto, spent a part of panies, M Most given them only the best music eral guest i The 1 reader I he ' if lifted in South 589 over the air. They feel Frederick Stock, Howard Hanson, Guy the summer i'uwpi **i recordings and RuHHlnn Xntlonnllxt M*. Hill 51 sang directed a gala •no* •rlc Wil- America, where she SERGE KOUSSEVITZKY Musical lml pend for Am V**: 591 iM “by dipping them into a bath of Fraser Harrison, Paul Whiteman, 15th by the Boston providing their Revelli and Fabien Sevitzky. Leonora in Donizetti’s concert on August MUSIC IN THE HOME >wd music now, we are liam D. Favorita” at the Orchestra, during the Berk- % o “La Symphony A Rich Library of N w \fn* -r It- /VI •A fieri 592 growing minds with the best safeguard !»«• N«* ful- Festival at Tanglewood, Exceptional Music on f H-idl«» l*rya 593 violin- Teatro Colon and shire Symphonic i mind can have—good taste. For the GEORGES F.NESCO, Rumanian New and Lavish Muslenl Kiln * benefit of ($4 German Gov- filled numerous other Lenox, Massachusetts, for the The Etude Music Lover's Hookatirlf rest of their lives, when anyone says ist-composer, whom the 595 the Tea- Service Organizations and passport to this coun- Bruna engagements at the United ‘Music’ to them, they will be bound to ernment denied a P MUSIC AND STUDY Castagna Rio The entire Fes- months ago t ro Municipale in the British War Relief. think of the composers they know : Bach last year, wrote several The Teacher's Uotiti'l Table . . \h try 596 outstanding success, and A Technic of the I t«*l Canto. de Janeiro. tival was an ini Beethoven, Mozart and Haydn, to his manager, Arthur Willmore: “My a Chonln’s Unusual Ten« hlng M«-tln«l< Silbr 598 alone was attended y and of during the first week s Handel and Gluck.” wife is still dreaming of America A Chat whti the Aspiring Ur;ai l«t . 'h(ffin 599 symphonic version of approximately twenty-six thousand Inst riiuieutal Ailnptat > KERN’S by Ion ami Aplltu Th Krrelli 64*1 our friends there. I try to forget hard JEROME Great Musical Women of l (iisicr m Boat” will be given its premiere people. Quest ions THE “STARLIGHT" Ml SIC times writing scores as much as I can. “Show ami Answers. . ehrkai' m CHAMBER Once there was a little girl Symphony Orchestra named Betty keyboard w ith her right, and found that How to Study Srhubert ? r by the Cleveland Son Aitkn 605 Concerts at Meridian Hill Park, Wash- It is good for me.” Adventures * whose family owned a piano. One rainy the two kinds of a Vlnloti. ||Ut yUwit 607 the direction of Artur Rodzinski SYMPHONY' ORCHES- of music blended beauti- higton, D. under THE PALESTINE Putting Songs Aor »** * c„ during July and August, th F.-.t hu-ht 608 this day as Betty was idly“ playing” the piano jully. And it was all easy! The Teehnle of asked Mr. Kern to compose new Bi'onislaw Hubermann so the Mouth Sixth* , V«nt 629 presented the Perole BOEDER, for fourteen years who TRA, founded by Choosing an Quartet, the Gor- CARL M. with one finger (and getting rather bored Aeeordh-tt Career xt litin 639 version of his musical play. Dr. Rodzin- over five hundred con- That ends the story — except oon Quartet, the Juilliard School of in 1936, has given that Betty The Carcass! 641 Trapp Family Singers the faculty of the Guitar M -ihml ! And on with it), a marvelous thing happened. ski has always admired Mr. Kern’s score two hundred of which have and her Mother and Dad are all having mi the Koiisch Quartet. Music, has been appointed Dean of the certs, over Suddenly, near the right hand end of the MUSIC has already been quoted as saying: the war started. the time of their lives making rich, color- Guild of Piano Teachers. and been given since Clast ir anti Content por«n Salactimam National beautiful keyboard, another keyboard appeared ful “It is already a classic. It is music with the amazing Hammond Fragments 6"9 Allegro con music, and I de- Wide-eyed, wondering what in the brio, froi i Simi»h..r»\ \ ft-ptm 616 well- music, and American in Solovox attached to their ow n piano. And Ballet LUCY MONROE, RUSSELL BENNETT’S “Symphony D in Wl.lt e. Irimm 612 when it is world would happen next, she pressed Off for light in it. I do not see why, the so will you! Play the Solovox today the limit »*>* Fnmi 614 known soprano, was re- for the Dodgers” was presented by at play waltzes, Gavotta Poinposa • ro*(ll 615 appropriate to a key. Was that violin music? ..... 1 1 , considered Or- No, but it any . (vyuidi director -Symphony piano dealer’s, or w rite for informa- Viennese demand, ui uie rirsi X'lai cently appointed New York Philharmonic Whisper*. . ri* W rif/h t 616 concerts, sounded like it. She tried by Johann Strauss at symphony another key . . tion to: Limpid Waters 617 *e Concerto” department at Lewisohn Stadium during the Hammond Instrument Company. 4 i # tread by the much neglec of the new chestra Vocal and waltzes and other dance melodies, and another . . . and found it was like Instrumental C f>», titans ™ Century Ameri- the baseball announcer as 2929 N. Western Avenue, Chicago. am Irish composer. Fie of patriotic and summer, with a A Prayer for 618 John River, Guidance i Vo,- ill ’>« Letter songs, such as OV Man playing piano except that instead of ® the Ra- and the Barber, the an- — Arkansaw Traveler (Cornet Columbia Broadcasting Systei can music with the the unique soloist. Red «»r Tru Boat,’ should not figure in an just short tones there were lovely sing- Easily attached Tenor Sax.. Bb symphonic from ‘Show to anypiano Trombone „r ft, program, August dio Corporation of Amer- nouncer for the Dodgers over WOR, ap- Clarinet 620 3rd. Jc of our A, ; ir.AVr orchestral version ing tones. Does not . .A Arr. «4 was will authoritative Giants affect piano’s normal The Rose 621 bom new* duties peared in the final movement. The use or tone (Vocal).... X Ckkfi in Dublin in 1782, stud ica. Her .” programs. . . Then Betty * ilinie In lit, 622 symphonic discovered , that (Organ) . h’oqrrt ® exciting by touch- Plugs into any electric outlet ‘.Johann srba* itrnm 4 b* J*, // dmenti, traveled take her on a tour of the Come to Town, describing in Riguudou (Four Hands) throughout I ing the “tone controls” she could />* P' on part rally. have D r concert United States as a fashion a ninth-inning /or r#>"» PI****' tours and finally sett Lucy INSTRUMENT COM- Music *iUn. , HAMMOND lots of other instrumental effects teachers! Write for Jolue-hred/v 626 ussia THE — as of interesting FREE Doll. . 14 Spencer where Monroe the RCA campaign To and he created the romar of war conditions booklet, . 626 despite flute, “Why Jimmy Fro. > i Him of Chicago, saxophone, cello, trumpet, clarinet, Quit," telling how I1 f0 however, PANY M.V Little m Wh‘ Ch in defense. She will, IGOR STRAVINSKY the Solovox Chirked — j 622 Ch°Pin later P for music reports a gain and has proved an important hted the defense program, many more. She tried playing the aid neceoB Time 621 H I “Man- and s /h Arnold LisZt her w'eekly broadcast on JUT. and Sir Thomas Beech- in piano teaching. Technic and Schumann ; continue in the sale of Ham- piano with her left of the Month mirpii of fifteen percent hand and this new E ti well as her s work trelr hattan-Merry-Go-Round” as am were featured as Etude in Sixths 4*i 628 >endously, as over the first six \ ..hr ill nf p mond electric organs uIope I conductors with THE and England for mi concert work. “By popular request” guest |UNIOR ETUDE tWth Got 646 K , months of 1940. U t01 Some the Symphony Orches- time ^is compe inventor of the Ham- y MISCELLANEOUS lions a the Laurens Hammond, H A M appeared SIR HENRY WOOD is conducting fr v tra of Mexico, in Mexico M 0 N Yoic- Question* °n c°ncert p Organ, the Novachord. and the OfJKKSr Ai,swor.,l Pr I*?) S Z T.T London, England, mond past !• 1 \W llnby concerts in City, the summer. b. o. Chicago *** "Od h8S Underta ' Promenade — _ Sr *'h<>:r l designed a special Solovox ^ / Quv.tio „ Vti. ' ,r •'i' Hrwn *. Tn Solovox, has $«•' 'W*e£rk’ season: and, ac- H.-nl.r.;, L’.bvrt Bniit for his forty-seventh use with KdS Stravinsky conducted a m “ hotNot "vAs Written. model for attachment to and I . /v.rf York Times. Mr, program of his own ©VOX tsir paying Dodim; ^ cording to the New Organ. the Hammond V 25 DOWN Kneolinc Kx.-rt-l*,. recently been ap- including the . . works, . M0, NTA1N FESTIVAL Basil Cameron has Igor “^rts^helH “wartime dif- Stravinsky »cale Builders. s* * m late his assistant since “Capriccio” for piano July- at Mid< pointed MADAME AURELIA ARIMONDI, well- The 5“*s& S' Vem ° ? responsibili- \6(6 Lieft-Handetl nt ' to the orchestra, with Salvador Ochoa as Student’ „ tra r tr v .«.) featured have added and ?! Poise If «* r n tl1 among its mi ficulties singer and widow of Vit- at the event. opera Piano. a known perf ties of organization.” basso, soloist. Heim °™ance of Moza torio Arimondi, famous Italian L san°” tag, dlrected b>’ at the Cook County a Otto Lu died on July 29th t Zr: dra- of FLAGSTAD, Norwegian Mts. ballads directed IRSTEN Chicago. She was seventy-five PAUL WITTGENSTEIN, the one-armed , in 5“*"* nccsA-tL,. r. .dr plf nh S Hospital m
Editorial
Youth and Music
—Assets to lAJorh Music at Bryn Mawi
YEAR AGO, we met a very competent, gravely, in complete bewilderment: UST ABOUT A moment and then asked trained, experienced teacher who was in utter “Well then, what’s the matter with me?” Blanche JLenimon finely By his financial condition. For four years his That precisely the inquiry we wanted him to make, despair over was J business had been falling off so badly that he had as it gave us an opportunity to tell him what we thought teaching occupations and had been striving to get work his difficulty was. taken other different fields highly distasteful to him. “In the first place,” we said, “no man in your state of any kind in choir who will succeed them. Below of zations say a college their top-ratfk his wallet and showed us two dollar bills mind could possibly succeed in any kind of a profession. — He opened clubs of one position as the ceremony starts, the and a few musical lower cla®, “total assets.” “It is all I staring at the ghost of failure so long he said made up his have You have gone on insist assemble on the steps with lighted class which sort and another. Why lantena it your twin brother. You are actually prohibition? then favorite songs are sung, world,” he said, “and I don’t know which way to that has become upon too strict concluding with in the you can do anything at all, you to grant the rare well song from each class. Finally, really a very serious situation, principally be- afraid of yourself. Before It might be well as it amt turn.” It was to all seniors, comes outlook on life the privilege of—er the time for them toys in what the psychologists call “a low,” must take a more confident, more hopeful students cause the man was with their places to others and—as a suc- themselves symbol i repel all possible amusing of this as a whole. In your present state you the fact that he had lost faith in himself. We went did not change they rise and cross to the due to music, so long as it library, sing® cess, the negative pole of a magnet repels particles at once to help him. Thinking that some of our just as together for the last time to work interfere with their studies. the familiar measure steel that the positive pole draws to it. You can make this cur- of their class song. The lower might be interested in this true story, we are telling of Music had no place In the classes mom upt: readers change in the twinkling of an eye if your will is strong course; educators the positions they will assume next year for riculum, of it in detail. in this purpose. Charles advocated that were singing," and when juniors are seated on business enough to keep you constant who ftt The despondent teacher was first told that a man highest step they simply misled by enthusiasm lead all classes and alumnaein Kingsley, one of England’s wisest writers, said: ‘The men look upon his situation very differently. He had as- to the audience In the singing would for its pleasing sound. But of Thou Gracious in- cheerful and but he was not putting them to whom I have seen succeed have always been spiration. sets and plenty of them, uneasiness by allowing It is the college hymn, dear to ever; quell about their business with a smile on Listing his possessions we put down hopeful, who went music to enter into extra-cur- Bryn Mawr student, and the significant cere- practical use. and chances of this mortal activities might be a mony's closing number. their faces, and took the changes ricular a. Good health. good idea, and its inclusion In For almost as many years as these ceremonies profession, life like men.’ b, A thorough training for his this fashion could in no way have been observed, the bright green lawns and outlook, however, is only the first The Lantern Ceremony at Bryn Mawr College experience as a “A hopeful, confident c. Many years of practical, honorable of jeopardize the standards the sunshine and the soft air of spring have called step. You must also destroy teacher, in a recognized the institution. for the campus celebration of May Day. And once a lot of old-fashioned ideas USIC PLAYS A LEADING PART on the As a result of this decision, Bryn Mawr student, in four years May Day becomes Big May Day, an conservatory. that you have been holding campus of Bryn Mawr College, at Bryn seized upon music as if it were a golden thread occasion is transformed lor t* when the campus d. A home, with a mort- Mawr, Pennsylvania. And yet, when the it over from the days when M and wove into their college activities from the days into an Elizabethan scene replete with cour- institution 1885 gage, but no immediate was established in —through a fall of freshman the < year to close of senior days. tiers. fools, masquers—and Elizabeth herself. For you first began to teach. fund left by Dr. Joseph Wright Taylor for the Throughout the danger of foreclosure, years, they accompanied cere- the pageantry of this, Bryn Mawrs most fan* adjust yourself foundation You must and maintenance of an institution of mony and occasion e. A good with song and dance, inaugu- festival, has chance to dis- working library each undergraduate a to the hour and week and higher education for women (an innovation in rating musical rituals that are followed to this play her talents by acting, singing, of representative educa- those days) —music was deliberately omitted from day. Before long it month and year in which was inconceivable that under- and wort dancing, designing scenery, costumes, tional music. the college courses of study. The founder and graduate life could begin living. without Lantern Night ing in the library on the complete documentation you are Thousands trustees of the college were Friends, or Quakers, or close without Senior Singing, f. Far more friends than or that interim of costumes, and all of tin of people fail because they and in those early wagons, furniture years both groups frowned activities could be he realized; all valuable complete without the six- majesty properties needed for the reproduction of deserve to fail. In these upon music as a light-minded frivolity; and as or the gayety that music so swiftly lot in evokes. teenth century life. It means a lot of work, a making new contacts, such they condemned it. Thus years passed, with Lantern Night, which days, one cannot sell bus- has no counterpart eLse- become no apparent change in their of fun. and a lot of music—for wbo could g, A cooperative family, attitude concerning where, is still held tles high wheel bicycles early in October with- and and marks saturated with ttois period music at Bryn Mawr. And then, just as the cen- the entrance memorabilia of h. About four hundred dol- of the freshman into the life except in the Hollywood tury was turning, a certain dissatisfaction of the out running into music? ruffled college. The cloister of the library lars in bills collectible. is its setting Byrd, Wor- it that you the serenity of the campus. and Shakespeare's many references to it; studios. See to the freshmen enter its darkness ' Satisfactory Changes in caps and ley. composers in ® credit at were taking place throughout the gowns and arrange Gibbons and other noted make a study of the most themselves in the orator# the country; disconcerting as the college form of i Queen’s of opera and stores, as he had al- officials Then the court. The birth practical modern teaching sophomores enter, reason found it, music , bearing other was coming to the fore, and appre- lighted in this century. If there had been no ways paid his bills most lanterns in the freshman class materials used by teachers ciation of its worth was deepening on every colors, and for students music in the curricnl® side. singing their traditional to demand faithfully. Daughters naturally lantern hymn would to® who have large classes of attended concerts, rushed Athene. Pallas the research for B;r: May Day alone Each lantern holds a After reading home to ask questions greeting or about tw this list, about symphonic poems wish, an B furnished sufficient cause to complain pupils. In doing this, keep invitation to tea a ike few divs ^ 1 world and leit-motivs, found Bryn Mawr alumnae lack would bare did not seem so the name of the girl In a Bryn Mawr education, free from the fancy non- mothers completely who carries ?t Mack at a loss for answers; sisters PormiF a that # to him. horseshoe within the them to do what they did: request “But,” he ex- sense that does not have heard brothers one the fro > Bryn and friends enthuse over college Minds at claimed, already made, the added to the courses of study. “this is glees and glee club sophomores turn September the backing of the best activities, and felt quite at th^onH^h * to reason, behind sion of their concIu Mawr had been trained to think and enth, the times. Even song and give the and 1 have only three officials of the college to teachers and the estab- found waiting freshmen. ^ and you could not reason without coming The latter Pupils. I pupils everywhere Browning and Spencer disturbing accept 811 don’t Plenty oi in such pas- them »andh * arts think that spond with their anthem m re conclusion that knowledge of the lished music publishers. sages as: “There is no truer truth obtainable enudren are by out through fil ’ knowledge taking piano Man than the cloister nK sciences was incomplete without “In addition to this, you must give special attention to comes of Music” and “Music garden ‘ess must rank were to °ns any profession, as formality of this g he music. Music's literature, its history more. I think that the teaching as the highest of the fine arts—as induction Is dress, your personal approach, your studio surround- the one which then fn>?fo / in ( ai your informal parties lowed bV tricably entangled with the other subjects as the more than any other, ministers held in the resides [ piano is concerned, is done.” din- to human wel- at dence halls, journ. Anything that suggests not merely old-fashioned these . and cultural ings. fare.” Where the chief nastime ic lege curricula. Set forth on any when more pupils heretofore there had been certainty “ told that many active teachers had past rather in the girls” and getting lantern and inevitably meet music giness, but a tendency to live in the than in Bryn ^ you seemed to , a Mawr minds, there now arose grave acquainted » they that the sales of doubt need could accommodate when told 1 By 1915 college administrators ; future, must be ripped out. Your patrons are not interested Perhaps it would be wise, the ' the college admin- life planos f twenty per- oc^rftt traditional or® °r the last months had gone up oracle , twelve in the istrators decided after much serious discussion most°mmdng ofTlI to tell them that the in your illustrious past. They are concerned selfish Ce t; to public to allow the use of the curriculum and the older w®. "hen told interest, thanks music in college exercises must go J that musical of their own success or the success of their chil- and 5 c interests to permit the formation of study make room for a new one. One o °ols, radio raised music teac some musical organi- and talking machines had the future. Therefore, everything you do should be “ "" « t*e alumnae dren in steps o! T.ylor remained—money—but students, 584 ££ £ ^ (Continued on Page 644) friends of the college [Continued on W
THE E0 — ! :
Culture “V” symbol in Music and one wav n. The connection of the 4^ Music and Culture with Beethoven is derived ^ from the rhythm of the bS In ,h, Morse HE “VICTORY” CAMPAIGN is represented ^ by three A Most on the European continent My Momentous Musical Moment a dash T in which it is believed that no Beethoven (...-.yjft** Will tinctive rhythm less than one hundred million Aus- of the movement of trians, Czecho-Slovaks, Poles, Danes, Beethovens ing Belgians, masterpiece, the Norwegians, Hollanders, FlfUl S,s Greeks and phony.” The Etude, “ D,'old to l^oSe French, Yugo-Slovaks, in the 8ection also Germans opposed to Naziism Stop Hitler? of this issue, first part of are now enlisted—is seemingly one this magnificent ment. of the most curious of all the mani- arranged so that itc . Then, two days before the concert, Sir Thomas festations of destiny. It is also as- was taken ill, and a substitute conductor was tonishing that the “V” campaign Kirsten Flagstad Barbirolli needed. To my petrified amazement, I was asked one of John has become associated with The creation of the “V" York Philharmonic- to be that substitute. Remember, this was the the best known musical themes is attributed The New to a forty-six rjnetor of of any one most mo- year London Symphony Orchestra, and I had been T IS DIFFICULT to talk written by a German master of former Society member of the Symphony nature. I am skeptical Belt active as a conductor less than a year. mentous moment. By Dutch ancestry, who was the first Parliament, Victor de I of one’s life La, developments efe I answered the telephone when the request was about regarding the of the great musicians to proclaim who. after the seizure for the most momentous seem, of Befc « casting ABOUT me, in terms of single moments. To me, they his democracy to the world, Ludwig made. My father, a viola player, stood beside went to London as a of my life, I thought first of of the broadcaster^ Cal moment listening to every word. The words on my end rather, the result of gradual unfoldings, van Beethoven. the the world pre- British Broadcasting when I was to direct which natural inclinations After long residence and wide Corpora- lib time of the wire were chiefly, “No, no! I couldn’t!” cumulative force with __ tion. Last January Arnold Bax, in London, must fourteenth a symphony by assert themselves. Still, I suppose there travel in Germany, the writer is !k of First my father nudged me, then whispered to me, employed * this symbol on the* be event which brings these develop- convinced that it is highly er- fa then burst into tears. always one tire first time as an emblem to that. roneous to make the generalization forth “Say ‘yes’, Tita!” he sobbed. “Say ‘yes’! This is ments to light, so let us turn English “victory." the in native Oslo, that the German people as a whole French % the chance of your life. Don’t let it slip away from From my earliest childhood, my toire," and the Flemish not to have a musical are a brutal, cruel, bloodthirsty “vrijheit' you!” it was decided that I was Since then the idea has both parents were race. We in America, who have lived sprai It is difficult to put conviction into a telephone career. That was because my amazingly, violinist their descendants, know dif- becoming the motif musicians; my father was a with tf conversation when your father is weeping beside professional ferently. great of the peo- the great cumulative ware mother still is an accom- The body of ir- you. Finally, at his insistence and under the kind and conductor, and my ple in is only too happy repressible unrest which, They knew from experi- Germany at fc persuasion of the Symphony Society, I hesitated, panist and vocal coach. to be engaged in peaceful occupa- proper time, is expected of the arts can often prove to faltered; said I would try; finally promised to ence that the loveliest
tions in industry, agriculture, and Into a tremendous mass revolt. bitterest means of livelihood, and so Its conduct the concert. So it was settled. I was not to be the the arts. military Dominating and backers have stated that all tyrants, that their children should be to hear Casals play; I was to conduct for him! they determined political rulers have taken advan- dictators, and despots are secure, more profitable callings. neces- The program consisted of a Haydn “Symphony” trained for more tage of these orderly, disciplined sarily later to the Gym- cowards at heart. It is lie were sent to school and which I knew slightly; the Haydn “Violoncello We and submissive masses. Many have lieved that the “V" campaigns! (comparable, perhaps, to the American which I knew well; and the Elgar nasium had the courage to resist, during Concerto” strike these monsters with tern: although its course extends some- E-flat” which is difficult to high school, the past century. AmOng them was “Symphony No. 2 in as they realise that their ntfj further) to qualify for admission to one of to play, and which what , Richard Wagner, who was exiled for interpret, takes fifty minutes machines, like those of all war in life. I had sixteen years for expressing sym- I had neither heard nor seen my making gangsters, art now resting in which to prepare pathy with the Revolution of 1848. something less than two days upon quicksand and are certain, it not that much It was this same revolution that for the public performance, and Ume. to be engulfed. rehearsal with sent Carl Schurz and many other JOHN BARBIROLLI time in which to be ready for my The main idea of the T cam- Germans to these shores, where the orchestra and Casals. paign lias created a wonden'ij they and their descendants became I set to work immediately, and kept on working andfound, the the concert, that the camouflaged furor on the continent on day before invaluable members of the Ameri- for two nights, without pausing for sleep. So much sore had been lost. That was a moment, indeed can commonwealth. Included among and has. It is said, made the ami depended on that concert’s going well! The men su- Isatup all night, preparing a skeleton score from of occupation feel that it is them is no less than the valiant of the orchestra had faith in me; Casals was wi.l- 1 memory, and of the loss until rrounded by an army of ghosts Bax never learned Wendell L, Willkie. ing to play with me; the audience looked to me ite the fact, that BEETHOVEN AND there a performance. (As a matter of At the time of this writing, far VICTORY all. it is reported that evening; my father was beside »re for a satisfying and has not day.) My own spread clubs in England turned up to this sabotage, as a result of the secret “V" himself with joyful hopes. When you tackle a version was before while I conducted, “V” campaign, is already being on the continent which are me all the re- of work, conscious of the responsibility of ttas blasting presence piece ported from the activities members. The T the notion that the mere of the have millions of people’s hopes and confidence, you simply of a score in- other colossal underground army fired by symbol suddenly cropped up every- on the desk indicates a conductor’s R cannot let yourself fail. ‘Mty to there the victory symbol. That it has been v pavements, on memorize. But. on second thought, where—on of the rehearsal arrived (I - a moment Well, the morning seriously felt by the hoards of Hitler in even more special than that. boxes, on the walls, able to determine whether it It goes have never been is indicated by the immediate at- pins, “V” back some fourteen years, to the first on billboards; “V” too slowly), and suddenly youths arrived too fast or tempts of Germany and Italy J4at[cui IAJ. “V of my a con- to Iljon on “V” on dress materials. ambitions to succeed as experienced men of the Jctor I was, facing the - there distort the ideograph, “V,” sym- the??- 1 was then I had of , twenty-six years old. where; all this is part Orchestra. And watching for bolizing victory, e* London Symphony to the Italian holding up the# trained as a violoncellist, and my greatest A new salute of background! Then the work began, “vincere” and the rare German Aspiration Casals in the hand, with the second and was Pablo Casals. So it was with con- even Casals. “Viktoria.” everything else was forgotten, However, few Germans has * pleasure a and Angers forming a “V," that I prepared to attend Haydn. The composition think of victory as “Viktoria.” ®»cert started with the The * to be giVen hony We into vogue. The Beethoven ~ by the London sy mP and I stopped the is - rather long Tutti, name too suggestive of 1 Orchestra” opens with a England’s great queen. again under the Sir Thomas Doom” campaign for tlf is heard again and direction of emphasize effects which The word the German employs for the British men several times, to victory one®- , and is Corporation, Broadcasting the air. three short and with Casals as soloist, in the again we “Sieg.” If “V” has been called thf Drum beats, to me. Again and stands for anything in German, ® “s M seemed important this invisible army. of are constantly heard over the radio. In °nday Evening Series. Everything sur- repeated. it stands for the ubiquitous “Verboten He speaks repeated a passage; stopped, (forbid- French, EngUsh on the ‘he concert London stopped, .” German, ’ they tap it in the Morse code was festive. The platform, a calm den) Therefore, the Dutch Poh out s back of the frantic effort of the sh ° ^ °ny then, from the Nazis wegian. ^ h and Nor- the* is the Brit- And Kirsten Flagstad as Briinnhilde in "Die Walkure" The or Children in senior orchestra of Great whole idea on their teacups. . to misrepresent the mysterious has jin j “V” symbols 6 !t voice was heard camouflaged a Carefull >’ an is an en which are nightly maneuver whistle the Beethoven motif. Railroad tirely cooperative organization; him—he knows. chalked up and mysteriously in pron^ thj’ti you can listen to promises P Banda whlch * ° say, the for “Gentlemen, tapped out (in the form of to be far more in
foremost French com- Music and Culture MiuttHAUD, lowing morning, he found me nne EIUS his fourth visit to nt A is now on proudest mome full of gas That was the ^ my room fumes. one likely, under pres- y ^ SS? states— than ge all worked lieu Music and Culture been more iied had and saved the Unun1 mnrp than a visit—visit and have ever qu ite equa and hoi D the ecome more than a —and has ^to b1 but no praise q than five hours off. later career, & and there wttu Editions, at all. which to be here sat foi those words, me to half-asphyxiated in bed. Unable circumstance that my I disliked piano practicing as a child, but ch toJrH happy in my life and wh self, my father building up melodies moment jght stlll frantically called in the south of hours playing at the piano, world ? in -It W® jYropre vacationing beloved ** me that my who worked over me. j]]Q X . _ Alv De/Mmvvnn and trying out effects. This came easily to believe e J of the stimulate home in Alx en Provence, The Leader of the a small place putting compresses country the gift of absolute pitch and a natural have tarial school on my head. at de it possible for us through entered theh secretsecre carry^"l France that ma is that I never window was D I used the piano story the for air. I recall I facility for sight-reading. Thus, nothing jbere Marseilles shortly after stenographers! . j from for personal for the Storting But towards eleven oialls as my experimental laboratory o’clock. I came ,ea,e the jolly-looking com- to n °n ? » explained Ie bits from oper- and queer, but I * 11 Pan > pleasure; always, I was learning ***** was able to r- fallof ndersteri ;tie !i Six about my 4; Famous atic scores, and getting into trouble tor's words. What he said w of French music ^ pH* ... enfant terrible regular practice assignments. “You cant possibly play once to-day yes, E almost at the half cen- Y01te nd now That was my childhood. At my confirmation sick boy.” i i,tlie does look jolly; our Mischa Elman Tmrius Milhaud really party, I sang a few songs to help entertain "But I wUl arK A Conference with play!" I cried. “I ,» it out, musl ’ of the face bear ™ W* dimensions I voice tiny, but I sang any- 1 guests. knew my was Violin Virtuoso depends on It. If I can talk. " Distinguished I can play sadness in the eyes has a fun. One of the „f way, purely in the spirit of home I did not think out a decision alone guests was a professional friend of my mother’s, m.v to select lines; simply. I knew, from IS SOMEWHAT DIFFICULT some deep the thoughts and teel- who said it was a pity that so sturdy a girl should T ^understand musical moment: a lire source within me. that here momentous” was " the outbreak of the have so small a voice. A few lessons in breath con- “most with Titan Zweig who, at filled almost entirely and I must take it. “° St I devoted to music is regardless of w.ith the war a reality he ari»* trol and vocal production could help me, and she said that ?h The experiences that a the world. I had something French Composer I learned momentous moments. to say and possible to go on writing. Distinguished kindly offered to give them to me. So ^Isee how it was privately with his instruments heard. A mere concert might to sing as well as to play, but solely as an educa- musician shares be ® the same question, but to no pulsing living that this would never les ask tional advantage. can result in moments of keen, come again. 1 be working. It is then to must perpetually this regard, I must confess I got out of bed after If I In due time, I entered the have few equals. In eleven o'clock the composer the Gymnasium, really happy. Perhaps Despite years before the out upon the i r am youngest in my class. I was growing fast; my a curious sensation. my stage at noon. I do not,™ fortunately than the a little more as a little child I seeing situated by Friede F. Rothe musical studies at home continued, and I worked public—I began my career that audience. I felt giddy The composer SecDred Expressly for The Etude and ill, times like these. before me certainly in still feel as though all my work lay played with that curious U hard at my lessons, hoping to finish the regular surcharge of world of ideas to ex- eiiemf w need for a tangible course ahead of year, studies Each time I take up my violin I think that now. sometimes names no my to begin medical up in sick people The tangible world; his thoughts pr? indeed has no and make an independent livelihood as soon as at last, I may be on the point of finding ultimate included the Tschalkovsky cess "Violin Concerto, secret, deeper perhaps. And of us uttered 6 L subjective, more we all lived, each possible. The result of so taxing a program was expression for something I have never Bach Chaconne, and other matter of fact, works of the inner, abstract current “As a class times of stress that developed individually that my health suffered. I had a breakdown from before; something that may be perl .ited during concert repertoire—and all of musical drive of the the six of us had a flow. With some it is the separately.” overwork. and perfectly understood. And if it should not continues to and listening I got through all but thefiru twentieth anniversary impulse, which only rarely is stopped period to which That ended our plans for come to-day, it may it must! come tomorrow. mtive The my medical career. — — the program Then I fainted, celebration last year in and my lateii outside conditions, mostly physical was the I came this ^ther by Milhaud refers home to regain my health. As I grew To awaken each morning with enthusiastic not permit me to the occasion, go back But I had he tur- honor of and is influenced only by inner of the early stronger, my father talked of entering me in the conviction provides a delightfully momentous obstacles, period The reception given me that each of us morning although every waking and sleeping although in music. For special secretarial school which trained the moment in itself. Still, such eminently personal moil. So, twenties me on my career. knows that we are not a be haunted with the tragedy come to of the musi- stenographers for the Norwegian Storting, or experiences offer little to “tell about." A really tour may the whole Waa It wise group, but a thing to have done? Thatlcami of friends, associates, one’s homogeneous meant in parliament. Ordinary stenographers were not em- “momentous moment” must have drama and pass—with thoughts cal world, it aay but I know I contemporaries. The — have never regretted the# books, manuscripts, the streets and only degree the new ployed in the Storting; the government accepted action. And so I am carried back to the eve of my work, home, some termination of that twelve-year-old critic who named us the only Paris, hills of one’s native country- harmonic such candidates as had been prepared in this first important public appearance. I was then places of the rhythmic and dlagy 111. Six, after and faced one of the most critical ail 7 working, Groupe des special school. I was then too young, however, to twelve years old. side—one somehow manages to go on possibilities as set forth ences of our In the world to seise what he bn toll attending one enter this school. I had to wait until I as an artist and as a human being. Stravinsky and my eight- was but a very small boy when it was found by his great opportunity. concerts, was more in- eenth birthday, and I filled in my long hours of that the “Tims I was able, in spite of everything, to fin- Schonberg. For Paris it violin was part of me, and soon I was unaccustomed leisure spired by the ease with with independent ready ish my first symphony for large orchestra, com- not only a broad- work at to think of a career in music. I remember meant languages and Other contributions to this interesting jji which it could be com- music at home. And then some- that, at the very start, missioned by the Chicago Symphony Orchestra er and greater expan- my father hoped I might thing postn rn will appear another group happened which was to have startling prove fa a later tune hits fiftieth write pared to materials of re- good enough for a post in a ranking orches- anniversary, in two months; sion of the sults. Russian Five—than tra. When I was twelve, my Cortege Funetre last May and finish my the music, but also those however, it seemed as If Our municipal opera was reviving by any definite aesthetic D’AIbert’s even better things might be awaiting Tenth String Quartet” on board ship while cross- particular French addi- “Tiefland,” and my mother me some- which could be was engaged to ac- where out in Nol As Wrillen here been or style the big world, and my father took me es last July. These works have already tions—the fascinating company a singer who wished to try out for to applied to all of us in the Berlin, where a debut performed here, and I very happy at the and novel sonorities leading concert had been ar- am part. The singer did not get that part, ranged. LI, common. For instance, PU enthusiastic reception they received. The Cortege and colors stemming but, while playing at the audition, my mother Honegger, who is In my native Russia, hnebre, originally as an elegy to the when directly from Debussy we were - composed learned quite definitelv : that someone was urgently needed for Several years ago. at a New York Phi!han* Swiss com- poor. We lived extremely tach dead, pro- considered a later impression- the part of the modestly, lighting has turned out singularly and child. This character is no more home with oS Symphony rehearsal, the late Ernest SduB and I w’ere both oil lamps, because gas phetic. poser, ism. Paris also meant, than thirteen years and electri of # old, and requires the services were too was present as soloist In the preparation Conserva- expensive. If How do I attending the together with the ac- of a singer who looks young you have had anv experi- explain my facility? Well, I don’t and has a fresh ence with “Impressions of an Artist s Life" for always be MILHAUD oil lamps, taw. I toire, he could DARIUS polytonal- young voice. you know that to suppose I just have it. But I can tell you ceptance of My mother told me all this; then’ extinguish orchestra. of ‘his. with a score since I was When I am composing, son may be jump- seen ity, polyrhythm, dis- at a loose end with iff my no work of my According Toscanini ns un- to his custom. tig or Schonberg . , own, she suggested that around, my wife may be speaking to me, yet Reger , sonant counterpoint and the general harmonic I learn the part cos- s Boris and We had ducting without score while Schelling. the I with Moussorgsky to nothing disturbs der his arm. and aesthetic and the send away for the score, but since I me. In Paris, in fact, where the freedom, the center of the new had no pro- up on the Poser, had the music propped Montmartre Debussy’s ‘Pelleas.’ fessional goal in view, loss of time fairs were held almost under my been avantgarde elements in every art. Although the was unim- before of Les Six has often portant. him. this ‘The organization imper- The score came, and I learned the gift or adjustment was a godsend as however, direction was from the personal to the role. ini getting together, The rehearsal progressed without eu to me. Our Then my mother said I might >5 a necessity: not have attributed from thick chromatic textures to lean go to the 11 without it I could than anyttalll S' sonal, opera people did, i “ rlch some Toscanini, after ® spontaneous act house! That was remember lookln' minutes, and then three was more of a. romanti- a great lark. Twelve candidates B™t’ih“at th9 ^ months out of the year.” winter of 1919 linear ones, and from the programmatic and wondering ? chandel'er Ing passage $ to Paris in the had already tried out for the at the marvels to Schelling expound a aolo else On my return neo-classic abstractness, a part without suc- the and lux at the French cism to the revived great world. ^‘es of a light suddenly I was an attache cess, and it seemed an adventure orchestral background, Origin of "The Six" from BraziL where development of music never took to be Number At a of my generation break in the Thirteen reasonable his stick called to he other composers in a field that was not even hour mv i imperiously and history Legation the historical sense. my own! to bed, bade ,J of music is replete with engaging I d d0 “ place in the fc>o I to get a me 80 interested in hat sang the audition and good rest before*?/ "What are you playing there?" aild naturally — got the part. I was the 6 the apPellations bestowed upon special were tneir not following 8reat event and tm just^ as I ^was m ^ quite eighteen. I was day My concert Schelling looked In surprise s years’ absence, Age of Tonal Tantrums very proud, and worked " C up and occurrences period. mv three An hard, not •t noon; „„ly ,ak " in every musical purely as friends m art, for my own future—since . few h„ur “ the measures he had just played It was therefore in this in a few discriminating more d°„he which they engender, however, al- work that we hired To the groups of composers who created months, I was to be audience critica »- me see similar conditions, trained as a Storting of J “No, no." said Toscanini. “Let often under questioning period— steno- express ® erlln true is sometimes working of Paris dissonant, inventive, and its lei ^, enough in itself, part grapher but opinion would the Gr inaccessible to show my appreciation for of this new ntn He raised the score to his eyes in f nil hall in an Berg, and Hinde- this was I. 0Cative of The well Stravinsky, Schonberg, Bartok, delightful I made ready Russian Sudd P°etry than actuality. own worts as chance, and to bring credit for who way. at the page Groii t)!!) o< our upon bed and f peering intently lX and^ve PWama also belongs. Developing in a parents. mvy That is, I the ' always referred to as Les Six, with The mith—Milhaud turned li8ht - w whi concert the looked he said. C }, ,nJ “ compositions. gas-cock -ffte up “Just as I thought." lhaud other modern experiments when the slogan, “epater le At the of an oil lamp, the ® and five °f his contemporaries period of first orchestral rehearsal, until man uer ate the conductor the liah t we? playing it wrong comprised not t; ated is who bourgeois,” was the guiding motive; when the stopped turn Ut iict# ’ one Milhaud « and pointed to me. R the full BU ' 1 did of these. Darius SSS distance- * Schelling confirmed this astounding htaiseif Poulenc in the Is d° never * Francis witticisms of Satie gave way to the searching mor- “This girl is midst of Cd mint ads to about this e,-although one of us,” : be questioned mys he said. “She is my thought? a ” d returning playing plsecom Durey the child conscmus of thl to the piano and enon Tailleferre, Louis bidities of Cocteau; when cubism, objectivism, of m° ’ true of rrmv just and quoted reaUty musicians, a - * although been ^ and she behaves like peculiarly was bai y , he has the child penetratlpenetrati, different form of the passage he % e n by the nam S of expres- of true not «g al^ after inevitable bound fact that surrealism and Dadaism were means musicians. I need say hing smell. d qu explanation, the the no more.” more Then livered. he ery further P As he said afterward, no as well i Continued on Page 640) Wh“ my 5 t0 the is as bound neriod in which sion in painting ,Mh ever ''Ps, and the composer “ in having obij/“ 588 to waken Played It that way. never ln me the fol- g. This time he even laughed. check against the notes he had originally 589
Member , THE fifj jw . ,
EDUCATION, musicology, and Culture tgaN MUSIC Music have progressed so rap- )0 prformance. Music and Culture K er a«d P years that the \ the past thirty du I* idly American teachers to take nPe - • • • • in . .ppffls few groups of composers of their most important N RETROSPECT, solving one in the nineteenth century present so rewarding I That is the question of the Russian Nationalists. Nationalist Compo I a survey as the so-called Russian shall use. There are editions r students Musical Independence personalities, Possessing exceedingly picturesque piano classics, but all are °f the great the handicap of various pro- 0 laboring under technical or interpretative lean- musical the fessional interests which caused their ed by eminent, V # ,l authority who, however as avo- ( activities to be considered with some justice some hobby of W “ f' » to demonstrate nevertheless, left graphic rec- ion cations, they have, bis editions are very useful; i# of these ords in the pages of musical history. Long scorned Iv for America but even the best of academic composers ^clwarcl J3urlincjcuneur(i Ituallv harmful; by the critics and the more ^ The ultimate, definitive edi- of their own land, they have become objects of makeshifts. unobtainable in this coun- imitation in France, Ger- actically A Conference with admiration, study and a tionS original versions, the Ur-texts, Igor I the many, and England. The latest of these, PART T pfer to W the composer’s. Stravinsky, whether or not one is in sympathy ' ahvno hand but opinion that these Ur-texts with his recent works, has lived to see his style finely of the Beethoven and the like, copied all over the civilized musical world, and Mozart, Haydn, anz of this Nationalistic effort Anton Rubinstein 1 1829-1894. RMpL infiltration was.asap* S with path blazing well as the in America. Our teachers g. to take his place in this respect further a second only to LUot: hP nublished itself. One can even trace although in someT composers such as Wagner, Berlioz, Liszt, Richard into music the point where they are ready painting, he surpassed the latter .Lanced to Chicago College of the arts (architecture, in warmth of Distinguished Pianist— President, Strauss, Brahms and Debussy. continuity in all iZ V composer’s own indications, title page's tat Ion. As a composer 1 from the clothes and the florid Rubinstein followed l Few composers have been so obviously the prod- the designs of T Conductor New York Philharmonic-Symphony by Rosa delsaohn and the more Music— orchestral and opera scores) as noted conservative romautZ uct of their environment, plus a conscious effort of Young Peoples Concerts Russian Arts. ) Not the lc ast One has only to examine the lint and San Francisco Symphony to achieve a definite stylistic purpose. To pene- Newmarch in “The moveZ definitely Nationalistic results the “Ocean Symphony" to be convinced trate the secret of this esthetic attainment, we factor in producing as tot manner of life closeness with which must first briefly examine their common back- came from the semi-patriarchal he followed Mendels* composers, who, especially during the procedures as to thematic for The Etude ground. First in importance is the enormous of Russian development Bit Secured Expressly stein had a truly terrifying literature of Russian folk ferUUty of invenf' equallcd Brooks song, the object of many only by the absence of his critically by Benjamin As a logical result collections from the late few of his works have sum^ with the exception eighteenth century onward. of his “Concerto in D mi» Bach since it was issued. To these must be added the Op. 70," for piano. As a composer the Ur-text edition of made in studies about of di we, to-day, of Eastern sonatas, Czerny was entirely ignorant of what songs Russia, works Rubinstein was Indifferent to the Beethoven’s piano consider the very essentials of the approach to Georgia and the Caucasus, of literary material, choosing Rushan orGe® in three volumes, for a bit as well as the frequent in- Bach. He knew little of Bach’s orchestral works, texts without partiality. From the less than three dollars per historict that they reveal. filtration of Persian, Ara- standpoint, however. Rubtmiem volume. An outlay of some- of the important “Bach style” deserves gra “Preludes and bian and even Hindu melo- under nine dollars He had studied some of the credit for his mttIom in behalf of musical ednes- thing dies. Moreover, Beethoven, to be sure; but Bee- the folk tlon. Aided by the brings teachers, students, Fugues” with Orand Duchess Helena, ie songs of Spain have tempt- performers thoven was often a willful, erratic performer, founded the Imperial Russian Musical Societ; conservatories, ed Glinka, Balakirew and un- whose vast musical superiorities did not include .1859. In Leningrad with a branch in Mostu the chance of working of Rimsky-Korsakoff. A pri- guid- scholarly research into the minute wishes He also established the St. Petersburg Conserva- der Beethoven’s own mary article in the Nation- de- other composers. Thus, Czerny based himself, not tory In 1862, also with a branch at Moscow tai ance. We in America alistic creed of pointed to the privilege. upon Bach, but on Beethoven’s impressions by his brother, Nicholas. The Imperial Han serve the same utilization of these popular the real de- of some of Bach. Czerny had no conception of Musical Society public with the poor quality sources as musical familiarized the The material check tached technic so essential to passages where paid editions is a real in symphonic and dramatic standard works of orchestral literature, but our and pub- Bach marked no slur. This has come to light slight attention to the budding Nationalise. upon progress, music, or at least the imi- Czerny’s time. He lose nothing through research made since Similarly the Conservatory favored the reactionary lishers could tation of their melodic con- rather this condi- indicated phrasing according to interest tour and rhythm. Equally policies of Leipzig, but nevertheless made it pcs- by remedying A. C. DARGOMYZHSKY than accuracy, breaking rich in MICHAEL IVANOVICH GLINKA slble for the young Russian musician to jets Nationalistic adap- phrases that should sing, over- tation for musical and systematic musical training. dra- looking slurs. Again, Czerny’s matic ends are the innumerable Russian folk Tschalkowxky. undoubtedly the most t® summer, lived on country estates day saw the decline of the tales, legends and epics which have appealed surrounded by sally recognized Russian compose!, had se to peasants, their folk songs, their clavichord; people were ex- composers, poets and playwrights small instru- sympathy Nationalists. Bis lets- alike as sources mental bands, for the Russian piano, and for their folk dances cited about the new their works. The lack of reality and (Khorovods) to Ftau von Meek are full of c?:ogat«Iie® the fan- combining songs gave their attention to the tastic quality and games, their of this material offered no handicap traditional about thetr conceit, their technical deficient mClUdlng sunworship “new,” singing effects it could to the Russian - surviving from 5 artists in various fields, since they times pagan and their provincial viewpoint T.'.'haiiowij had absorbed produce. Thus, they empha- them in childhood from nurses and no disciple of MendeLssohn’s: he was Nationalism in Russian opera sized the tonal values of single peasant servants and thus attained came through tim ft® a credibility gradual evolution about Olinka, Beethoven. Schumann, quite impossible to the of dramatic stylTin notes, a tendency easily seen Western European mind. e 0pera £t Bizet and even Massenet, but he disliked Bi# That c ange from total in Czerny’s disregard of em- the Slavic imagination recognizes dependence upon it-iii few limits composers, and Wagner. At times he was friei will be text writers, RUDOLPH GANZ bellishments and mordants. seen from consulting the plots singers andI of Glinka’s toward a ' klrew, and followed his suggestions in Russian and Ludmilla,” national selj-sufflclency Further, Czerny, who com- Rimsky-Korsakoff ’s Tasted a based «P® Snow nuddle of the eighteenth symphony, one of his weakest, Wwiit Maiden” (from the drama by Ostrovsky) ce„,„r/t0 nienrst interpretative middlemen. The teachers manded greater technic than Of the TeVmVrdthird Byron also proi nineteenth , s Balakirew his “Sadko (from "Manfred." °™ refresh of profundity, played everything a popular legend), or even later. ‘ themselves at the prime source his patronage The royal ' Tsdiaikows^ ‘‘Golden of Peter subject of Romeo and Juliet" to or Cockerel (adapted from the Great, ‘T' and their spared fast. We know that he took a tale by The elec® students would be Empresses too iJJ general the latter was regarded as 6 Pushkin) ®uddle that different, the tempo of Beethoven’s con- thc - follows working from • hpr the Nationalists. Tschaikowsky e In turn n highly work. certos more quickly than the ; 1 ab divergent, editions of the same The Church a Strong Influence gradual progress through °Ut a accept their limited tenets, although he successiy^S ders wby tbis step was not taken years composer himself did. We Italian text ages - F‘™t. ."Second » wu Folk song and art-music alike and music seconH f songs for thematic material ; L are . hot the know, too, that his Bach tempi impregnated translated talian put intoniiu ourUU1 teachers’icauitic hands hands at the keyboard with the into tcxt Quartet," No. 1. in B-! Ganz's modal harmonies of the Russian Russian ’with Italic"a “Plano concerto. eXtSaS are much more rapid than was Ortho- the nn Ql nmUSic: 4 7Cere written? dox Church a C “-. thir No. Non f music, much as the experimentn ln p ^ and the Finale of the “Symphony Prohibitive spirit of plain RUSSian copyright exists to prevent access one to come customary in Bach’s time. All of which serves to chant hovers R^iat tf oy toward Busswfi predict that the first over the music of d’lndy ™or* °r wless possessed a definite leaning There tion Indeed I — 1 Czerny edition, which repre- is o*'* demonstrate that the Faure capacity. questionable merely thelne tasklasK of0 i workingworK.nie with in America would Debussy and others. Not without technical Jects— The Queen of Spades' and the Ur-text edition serious import seums anh manuscripts out with an sented the best in Bach study up to some fifty 6 as ^ libraries where the also is the reaction was ate , of political strivings Oniegln” by Pushkin—although he asared such a? - in years ago, is miles behind the needs of to-day. stein, A ' ° The very difficulty now placed for Ur-text edi- the movement to free U n Rubi "" the into the need the serfs which’ TschaTkowsky^^Giazutoff to compose on non -Russian subjects. ,ay of u/exlmine brought maninoff ScnabineS »“* such research by war conditions proves edition of Bach Not that we presume to set ourselves up as more about the democratization and . oi popular of Russian others Rach- a pupil » vital the most literature may seem GlazunofT .1865-1936) was it. tions perhaps aU of is to preserve composer’s records It is now over gifted interpreters; simply, a half-century’s re- under Pushkin, Gogol, these ^justifiable. orchestra the to be made. Zhukovsky and others, were opposed but Korsakoff In composition and )re than ?he first to 1 i is Szerny’sCzerny as one edi- . to search has put us in possession of facts about group to u locality. So far, the Ur-text quite unsuited a greater Nationali Na >° , Uns u ancj sUc the years , or lesser first he showed sympathy for m meric hundred extend a are mostly in the libraries. one hashnnn Bach’s music that were ( Continued on Page 644) on WJ In E as In the symphonic « Continued “ropean publication, it is possible to secure 11 591 fl THE ! a —
Stokowski's arrangement for Music in the Home chorale melody, Mein Jesu, , 01 M k: befalls Du in the talented Gethsemane, is ^ broadcasts. It was appropriate that one of conductor’s Exceptional Music should have the transcriptions on the Dorothy Maynor, Th P „ Negro soprano, recop open- ing of this work by the AU-w? been chosen as one of the soloists for the aJ tenor, Orchestra (Columbia Disc 19004 ing program, and likewise the talented -d i but in tonal quality it is long familiar to radio listeners. not so fine Frank Munn, recording by the taft. half-hour pro- Philadelphia Orchid Radio The time and talent for these Library Networks De- A Rich Disc 14582). grams are being donated to the Treasury The performance National Broadcasting Com- of Liszts Us partment by the the work of Weingartner and the London pany. Those who are familiar with Phiih recognized his Orchestra (Columbia Set X-198) Frank Black will no doubt have isdisth,! for Its fine phrasing the guiding spirit of these broadcasts—and, Records and understanding i JinMau CjCUl as Master fL JtfrJ flf are a of New gradations. indeed, we suspect that the programs to tonal But, while no one the com- sibly say that the conductor direct result of his wide knowledge of lacked an the essential positions of native Americans. into style of the music, it se of “You Decide,” which us that his reading is SPEAKING the month Sep- broadcasts of the Columbia Concert Orchestra The new program called somewhat lacking 1ISICALLY large a transitional on Mondays lately on Sundays at 1:30 P.M., citement The performances is by and (4:45 to 5 P. M., EDST) and has been heard of Ormand tember Peed entertainment. For this Fridays (5:15 EDST over the Columbia ddy jPeter ^Jduffh Meyrowitz arc perhaps more in radio to 5:45 compelling. period forth a cru- P. . network, sets Schubert's "Five in which summer radio musical M.) Bernard Herr- German Daim” - month winter fare. There are mann, the conductor cial decision which faced the New York Philharmonic-Symphony give way to of m-ogranus 0tth. prominent Ameri- tra directed by that summer music has to be these programs, has the some Barbirolli 'Victor Discs®! ; who feel pro- happy faculty can early in his life. At orchestral record- do not rank among the composer's indeed, not a few summer of being HE NEW RECORDING of Mozart’s “Sym- This is one of the most realistic Z, and, he was the contention. But the truth able to ferret out some the point where has released, and it con- although scoring for two horns ‘bear out that phony No. 39 in E-flat” (K. 543), by Sir ings domestic Columbia and 1 , his choice summer music is “light- decidedly unusual as well forced to make amazing percussive effect in the middle of shows his Ingenuity In Instrumentation, ", matter is that T Thomas Beecham and the London Phil- veys an a,, breaks the dramatization recall for entertainment, however, because so many stars go on as worth while scores is an the second side—an effect which we do not they have their* generally harmonic Orchestra (Columbia Set M-456) , rf off, a panel of four it can be as- many of which, like and records. —particularly when given such well-earned vacations. And important addition to phonograph literature. For ever having heard on sympathetic*' .heir more profound works the recently performed New York high school The revival of Gluck’s “Alceste” at the Metro- formances as In this recording. that some of the Sir Thomas once again, as in his previous per- sumed children discuss the conducting more rehearsals than those “Symphony in A major” formances of the 40 minor” politan Opera last winter has thrown a welcome Ormandy. the Philadelphia music require “Symphony No. in G Orches- Cf have summer musical duty can by the eighteenth-cen- course he should and “The Jupiter substantial focus on his music. Since Gluck wrote some of the tra. gives a brilliant exposition of musicians assigned to Symphony,” gives taken. Then the celebrity It is Voices Sprint/ rate, a careful study of summer tury Bohemian composer, evidence of his understanding of Mozart’s music. most charming ballet music ever penned, of and a more mellow account obtain. At any c: on in person and works were J. B. Wanhal, have been comes The tragic note in the introduction to the first most satisfying to Vienna Blood shows that many major 1 % programs tells he actually did for the first time what movement, and again in the slow movement, is have a modern re- Disc The summer concerts in America in played 18060). presented. “You Decide” is in this country. Herr- and why. expressively set forth, as are also the intimacy cording of the “Ballet waltzes years have proved that not all musicians are retent a defense show aimed at and charm of the minuet Suite” the old adage that music mann confesses to have and the elan of the which Felix more effectively are in agreement on here younger listeners. Its pro- finale. The “E-flat” is not infrequently rated the hot months. a great curiosity regard- be- Mottl arranged from than ever, must be “lightened” during bat 1 ducer, Nila Mack, says its low the “G minor” and “The Jupiter” several evident that ing unfamiliar music, and by those of the com- does not Further, it has become increasingly goal is “to encourage and who do not understand its full significance. It is poser’s scores. This are just as much interested in he is always investigating mean that they i summer listeners inspire the listening au- a grave mistake to believe that this music is music is drawr) as they are in old as well as new music. from superior musically the best of the classics in July to youth to a more simply an expression of untroubled serenity beginning of the dience of and “Don Juan,” “Iphi- December. At the any others in exist- part in American joyousness. True, the “E-flat” does not contain genie Herrmann re- active en Aulide,” “Or- In the cases of conductors like Alfred Wallen- summer, ence. The listener in- economic and political the passionate drama of the “G minor” or the feo ed Euridice” turned from Hollywood and stein of the Mutual Broadcasting System and radiant te rested in the wait® activity, and by so doing architecture of “The Jupiter,” but this “Armide.” It centers music does to resume his work with of Johann Strausswill Howard Barlow of Columbia, summer does not mean that it is to make American youth less impressive. As Eric around the Dance of con- the Columbia Broadcast- do well to hear the not have to be radically altered, for both Blom says, “Each conscious of the value of is so detached from the others the Blessed Spirits orches- ing System. While in tl ductors are constantly rehearsing their in procedure several versions democracy and deter- and mood that it is rather as from “Orfeo ed Euri- Hollywood he completed be- tral units. Wallenstein, who, in the middle of though the same each on records mined that democracy man had written Shakespeare’s dice” and the lovely for Orson on My, started a concert series featuring the noted the score ‘Twelfth Night,’ Racine’s ‘Phedre’ and fore making Ms shall live.” At the end of Goethe’s Musette from “Ar- Welles’ picture, “Citizen choice. soprano Elisabeth Rethberg, was prompted to a ‘Iphigenie’ . . mide” the program, a question (sides 3 and 4 re- Kane,” and a first sym- The Mendelssohn’s Ci- somewhat pointed retort, when someone recording of Tschaikowsky’s “Symphony of the recording) related to the subject of . The the premiere of Brillmt, Of marked recently that this weekly broadcast was phony, No. 2, in C minor, Op. 17” (Victor Album priccio DR. CARLETON SPRAGUE SMITH the broadcast is put up M-790), performance and re- in a and rather which he conducted played by the Cincinnati Symphony Orchestra 19. for piano substantial fare for summer. to the listening audience, production of this afternoon broad- directed opens ti Sunday by Eugene Goossens, is in every way orchestra, prizes offered for the best solutions music by Fiedler and the Columbia Symphony Orchestra with small admirable. Goossens, introduction Featuring the Unusual cast with who has given striking evi- the a slow mailed in. This would seem to us to be a worth Boston “Pops” in July. dence on records of his ability then enters in® late to interpret Rus- Orchestra and "I don’t see summertime broadcast for the whole family to mark are among any valid reason why Another concert of interest by the Columbia while sian music, plays this score cleanly glittering fast - and with in- the best a Msic has to be light asserted. on their radio calendar. things they and frothy,” he is heard on Thursdays from down vigorating energy. This early forms fc Concert Orchestra symphony of the have tion which The idea that there correlation be- Tri-weekly, on Mondays, Tuesdays and Wednes- accomplished for must be a P.M.. EDST. The conductor of this celebrated Russian master is a better part of ® 4-30 to 5 work than the phonograph. main lween the type of and the of the days from 10:30 to 10:45 P.M., EDST (Columbia his music performed Howard Barlow. This and all “Third Symphony.” It is more closely The broadcast is knit, Those work. leather, or the rather be network) Juan Arvizu, the Latin American more music lovers seasons, seems to me concerts are scheduled to , spontaneous, and thematically virtuoso o» above mentioned better bal- is a ‘idiculous. who are sufficiently tion Serious and important music can be singer, has been heard for some time in popular anced. Because it is ARTUR RODZINSKI ® this month. unconcerned with emotional to display heard through adventurous to designed listened to, enjoyed, appreciated in the featuring and folk songs of the South American countries. problems inves- and 7 musical programs such as those in abffi- series of the three last sym- pianistic A new tigate artist's summer just the singer, are chosen “to teach phonies, it r as well as in the winter. A concert operatic and concert stage These, says contains a healthy objectivity and tM stars of the that ”“1°. undoubtedly Miiropoulos oes eminent discovered that , have ties. Joanna Oraudan. with n°t have to be to the at 8.30 Americans the beauties of Latin American ?eTS‘ , eye July 22, may endear it to many listeners. the recording of - prepared with an inaugurated on Tuesday, Vigil “Midsummer gives an* was Saint-Saens’ — Swedish Rhapsody Minneapolis Symphony Orchestra, Wnometer.” In programming his many Mutual National Broadcasting Com- music.” On Monday and Wednesday Arvizu is “Carnival of the Animals,” Od id” v, , EDST by the which etl p M heavy-handed If M-788) by the tlve If at times a somewhat «, Wallenstein accompanied by the CBS Tipica Orchestra, and Stokowski and the Philadelphia Swedish composer draws no line of demarca- of the United States Treasury Orchestra so H.mh lw X- j in behalf lav- is worth Hugh Alfven. (Columbia Set ' on pany ishly perform in while. Here is trniv formance of this music between summer broadcasts, Drive. The speaker on Tuesday he is accompanied by the Trio del Victor Album M-785, is, of course °dlC and winter Defense Bond on muslc> b»sed the recoi Department’s musical caricature; Swedish folk songs Those who sure familiar with does Howard series. the Secretary of Flores—a group comprising three Mexican gui- but as such is only mildly and rin 1Ce Barlow in his Columbia opening program was the tunes - minor ac of the composer • which Bach's Concerto in D k tarists. amusing. The composer wrote the work has develonort “Clavier many of these conductors’ most endur- Entitled “For America We Sing, appar- Phonic Sk“ lfUl a ret the Treasury. ently as much for his style. It «**- Fischer will rejoice at thc advent of cotutributions of good American music own amusement as anything ffcouS^lth^^ J , to the advancement series is devoted to quiet beauty minor" by this® me the new An Important Conference else, and the fact that he refused and wistful °‘ of the Concerto No 5 in F by way of made orchestra and a to allow it to mela the airways have been a forty-four-piece same composer’s y from thc again) Dresented by be played in public or published during orchestral snitt (Victor Album M-786). For here 6 summer point have of Dr. Frank Black. Important progress in the future educational his life- II ” months. Cases in under the direction Both ’ Gustav musk ItatA chorus time suggests that he did works are Adolph displays his exceptional taste and ttle lieder by native hemisphere, par- not regard it too highly excellent i cycle by Mme. Rethberg, heard native composers, sung work of radio in the western 1 l of Swedish real® at , The works Stokowski, who has always Concert by the and this accorded more these shown a predilection Association °Orche ttme he is FridaF evenings, with Wallenstein programming idea behind ticularly in Latin America, was brought about direction of hestra under has few artists, is the for music of effect, gets as Nils GreviUius. the colorful concerto the much as possible reproduction. This orche stra, Sunday after- by the first American conference of Columbia’s out 1 and the of the music. which s noon dally attractive slow movement, rmances the sum- “School of the Air of the Americas” in Mexico ’ heard throughout Rodzinski and the Cleveland Anroso' *er rlf d Orchestra give heard in an arrangement (called Barl °w and Broadcasting City on August 14, 15 and 16. The invitation to a nil , the Columbia brilliant but taut performance with ™phony of Tschaikowskv’s violin or violoncello. Coupled Orchestra. hold this conference in Mexico City was extended Marche Slave, ^ RADIO Op. 31 (Columbia Disc is 11567-D). RECORDS a most engaging Country musical fare—lare iorfor suimncisummer or to the Columbia (Continued on Page 643) jm- , —unusual '’inter- , known as Das Donner 'has been weekly , e 9 heard of late in the two 592 on„„ mpuj Storm) K 534. which It Continued 593 :R, 1941 jtil - ;
Musical Show Window Music in the Home the The Music in Home known to our readers Abbott, well Lawrence series published in The pU i’ar h's (rough -The Threshold of Music”, I ilms under book form under Musical licit published in the Lavish ff Book on Harmony”, has just New and r’s The Etude admirable book, “Approach to another written volume, he presents in very useful marked this HE LAVISH MUSICAL FILM, that ” information that the radio kind of Hollywood’s beginnings in sound-track work tlie does not have the aid I llartin lor®. ert goer (who on riconc for a (j^LJ an Music Lover’s Bookshelf seems to be destined listener T a decade ago, i training) must have to practica o ^ Three of the ^vantage new—and welcome—lease on life. about It jg not just another these ^ major production studios promise fare along 0W S“ but rather a kind of lMoreciation book”, early autumn. First as a Music for the production is in lines for the late sumpier and makes his djut the*,, the art which the average contract; Young introduction to Any book here Metro-Goldwyn-Mayer’s “Lady M-G-M to lift of Arthur Schwartz, one of the i in the list comes also scheduled nation's tat, cover. Assistant -eviewed may and Carroll is M pniov from cover to headed by Eleanor Powell, songster; smiths, and compos., oe secured from Be Good,” with a cast tai,”*"* over five years in the his voice in song. for 'HE ETUDE MUSIC Young, and John Carroll, Dancing in the Dark, 1 1 •SfSSih Ann Sothern, Robert Love Louisa TouiS the National Broad- MAGAZINE at the “ work at and featuring Lionel Barrymore, Virginia O’Brien, Dance Routines Might and the Music, and Give ! conductor’s orice given plus Unique JleSomS Mr. Abbott has had splendid postage. is produced by that master Company, and others. The film country- Remember You By. The casting her wide-eyed current film It valuable training in this Miss Powell abandons - to secure of musical showmanship, Arthur Freed, who is she says, is Schwartz’ Initial Hollywood tl,„ iti es and plays a role which, venture Thousands of people must get responsible for the screen successes, “Babes in girl parts St Jld of her dancing rou- enough, his connection with “Navy more nearly like herself. One Blues”? acquaintance through the show win- “Strike Up The first Arms,” “Little Nellie Kelly,” and 1 that brought him once 1 a dancing dog. Buttons, more into professional predict that this book of RKO’s “Little tines is done with «« were and we Band.” Norman McLeod, director actual the who. jt star for months before with man fourteen years for music. Men,” handles the directorial assignment of the worked with the ago many new friends that he was Schwartz his start in the riUmake occurred, and proved so good musical world Theta story, and Busby Berkeley is in charge of dance filming to Music Bu CaJ, "Approach B. MrJit!, man in the picture. In addi- is Seymour Felix, veteran and production numbers. Music includes the orig- given a role of his own choreographer* Lawrence Abbott concerto.’’ staged some of the iate Author: tion to the dog number, there is a “tap Florenz Ziegfeld’s inal Gershwin selections. Lady Be Good and Fas- more 358 Eases: Fervency, Touches of and emotional force) as so named by Arturo Toscanini who saw the dance memorable Broadway successes and wh Excellence, and Speech city, symmetry, point cinating Rhythm; a new song by Freed and Roger 52.50 price: public ad- visit to the studio. A third big-scale musicals to Hollywood Formulas. The book is filled with fine illustrations touches of genuine excellence in all on a nearly „„ * Farrar k Rinehart, Inc. Publisher: and excellent exercises. routine is done to the speedy ago. Mr. 8chwartz recalled their meeting" dress.” Dr. Stover has a genius for terse, telling expres- In these days when the art of speaking has be- eight-to-the-bar Boogie Woogle "Back in 1927 I was a song-piugger, antes; the write town tunes. Where the Voice Comes From sion, which, in a measure, accounts for his suc- come such a valuable part of the life of the suc- rhythm, and is said to be my No one would give me a cess. for progressive woman, particu- first of its kind ever writ- chance, however, until the day I has sung, singing teachers have Where, instance, could be found a finer cessful man and the dance played reheard Ever since man for Felix’ physiologists in attempt- or more concise statement of simplicity in speak- larly teachers of music, such a book becomes a ten. . music production. -Peggy cooperate with Ann.'Ipleaded iried to the voice, ing than this: necessity. “There are five pianos,” says with him to hear my compositions, little explain the mystery of human expect in; to Miss Powell, “and I start with an audition from famous books resulting from “How Shall I Say It?” IBS a man who had stage! oie of the most Dr. H. Stover the first one, doing with my feet Broadway’s biggest shows. But Ftlix that of the German singing By: Ross was different. this quest was everything that the pianist He stayed after collaboration with the Pages: 176 rehearsal to listen attentively. teacher, Emil Behnke, in does with his hands. For every u Their Price: $1.00 he gave me cards to ’big-shot’ song writers, pat English throat surgeon, Lenox Brown. Publisher: Muhlenberg Press note in the rhythm he plays, like Lorenz Hart and Rodgers. revelation to the teachers of Richard They, in later works were a there’s a matching tap.” turn, were kind enough to introduce me to the singing. However, since Garcia invented the To achieve the final speed of Schuberts. And my song-plugging days wen laryngoscope, few concise books have pleased the the number, Miss Musical Dates Powell ap- over!" niter more than “The Physiological Basis of the proximates with her feet the A very voluminous “Almanac for Music-Lovers” 8chwartz and Felix Join forces now in creating 1ft of Singing” by Haydn Hemery, L.R.A.M. notes by Elizabeth C. Moore has just been issued in the sounded on all five pianos, the music and the dance routines for “Navy Licentiate of the Royal Academy of Music) , a all of them going admirable form for which its publishers, Henry at the same Blues.” tore at the University of London. The book moment. Holt and Company, Inc., are famous. Like the is generously illustrated with anatomical draw- Warner Brothers’ The Birth oi the Blues many previous musical calendars, which have “Navy ings and is written with as few technical terms Blues” (possibly appeared in many countries, each day of the to be retitled The story of the evolution of American mui is possible. “Navy year is presented with a series of musical events, Blue and Gold” ) is Aftertit sched- from the simple, sentimental strainsof “The Physiological Basis of the Art of Singing” births, dates of first performances, and similar uled to take its place to the among the Ball and Wait Till The Sun Shines, Nellie, Hemery, L.R.A.M. now famous items. In this the author has gone to great length lavish spectacles "hot licks” and "noodles" with which the nation Ann Sothern and Robert to preserve accuracy, and many will find this Young in "Lady Be Good" emanating from told ii the same seeks to express Itself to-day. will be Price: $4.00 studio, book very authentic as well as interesting. which kept people Paramount’s Blues." with Bing "Birth of The Wisher: H. K. Lewis k Co., Ltd. (London) cheerful through The difficulty with all such works is that the Edens, entitled Your Words and the ups and Crosby, Mary Martin, Brian Donlevy. Carolyn My Music; and downs of the last ten not distributed the momentous years. Its cast ft- Almighty has includes Lee. i Jack one of the hit songs of the year, The Last Time I Ann Rochester Eddie Anderson), and Sheridan, Jack Oakie. A events evenly over the calendar. Some days and Martha Raye, Jack courageous New Guide to Saw Paris, by Jerome Kern and Oscar Hammer- Halev garden. The film is dedicated to “those Public Speaking Eddie Albert, and the “Navy months are particularly rich in happenings. Blues Sextette ” the nation H. stein II, which has been purchased by M-G-M a pioneers who stirred the hearts of stover. S.T.D., D.D.. LL.D.. is the Pro- group of girls selected by the Others are of little consequence, and the tempta- Navy gobs licks’—tc of especially for the film. The song, which has been for their when they improvised the first 'hot hor Public Speaking at the Temple Univer- photogenic pulchritude. tion is to pad the thin days and skimp the eventful hailed as music fn® M of Theology'. one of the most noteworthy popular those brave souls who raised American He is Like the film “42nd also the pastor of Messiah compositions in several Street,” with ® wan, days—with the result that significant events are years, will be sung in the which the the rut and put it in the groove." Following “The Friendly Philadel- th6lr bit Church,” of toward jj covered and others of little are pre- picture by Tony Martin. counteracting swings 11 not moment the theory of those experts who say that ’ howover, you were to meet him, you 'i' presents very difficult Ann Sothern will also be that® r sented. This a problem to heard in the Kern nothing but a variant of the blues, and P °h>ably say that “the he had inherited Mrs. labored melody. Miss Sothern, who used to be xr- Americas Mlion H. Stover the author, which Moore has to meet in musical t r- blues is (or are?) typically dollar Dr. Ross a should it be smile.” 0 1 t . Gtvixjr SPiritS Dr.LJl StoverOlUVCI repeatedly1 comedies, rebelled against such the Certainty' as skillfully as possible. It is impossible in such light entertain- cer “anlTSn- own that thosem to some n of a music, the dedication suggests of the largest audiences in our day become conscious of ment and asserted a firm decision to wait* he world will some a work, however, to solve the problem of avoiding play char- musieals f0rthcomin caused Nellie’s and the onTe Warned « “the groove” to replace personality backUdLA Uiof hisliio uowuiMjcandid, not rational human beings, acter roles. She became interested in 1 sincere ’act that men ai’e an ollapodrida (mixture) of trivial and well for- music again, Pose h " for noteworthy la* message in view, include ^ PU1 the sunshine performed a has impressed millions. Your beings. Information is however, and has been studying singing at the Doodle emotional human gotten musical items intermingled with the great starring James Dandy.” of national spiritual excavation. of no information studio for the past year. Ca»np» m tv, one more capable of writing address which conveys musical history and She was induced to f tw but any events of much important Cohan’s career; ° George M A total of thirteen tunes, ranging from 11011 Public has inspiration and accept the role in “Lady Be Good” “The Life ot speaking; and what he short of producing recent musical data. when she heard “Passed e will fall and “Carnival Gershwin;” to forty years in age. ail of them playing W in the music that was being written in Rio” , «!,?u “How Shall I Say It?" is so prac- for it, and was T Americas The writer shows wide reading in the musical minus the tant story of SO simple especially usual manufactured Individual parts in the that it is difficult for one to speeches are rare ex- eager to perform the “Paris” number. imagine world's greatest fields and a commendable interest in the un- atmosphere, 'soSlhA*"bouth to j® he but plus a „ American musical evolution from mawkish ballads better as Gettysburg The film tells the story of a mnr» sell ada ted t0 self study force. Lincoln’s husband and wife as to P emotional usual. Interesting footnotes at the bottom of standing film- ® th les of respect for rhythms, will be heard throughout the 6 teacher m language song-writing team, „ ur lex °t needs a seem and a dancer and trtf t speaking who as it may pages add greatly to the usefulness crooner Sfejg coup' book wh •ess as simple many of the most * romance. offering what is said to be the Cb gets r moral purpose, Ann Sothern and Robert Young Waver, *?ht down to facts without vibrates high play on structure fairly book. the couple, fff| American musical history ever presented qualities (simpli- while Eleanor Powell and John Car- these four basic “An Almanac for Music-Lovers” oJ commend roll impersonate screen. Crosby By The Light for the romantic duo. Miss Sothern performs i^has: tiflod his book by special in By: Elizabeth C. Moore • ions is scheduled to sing for the first musical Silvery Blues. ThatsVha ant time under her FILMS Moon, Memphis forewords to various sections Price: $2.50 Bines: es j Call Me Shine, Birth the f and of °r tbe booli by noted speeia.1 Pages: 382 on Bags ?^he bookr Martin sings Cuddle ( Continued overs as books 594 stnre, 8r?? such important subjects Publisher: Henry Holt and Company, Inc. ’ athing, Voice, Articulation, Gesture, THE 595 — ! : ; : ' «! 1 '
are based on ideas. „ Qf VOICE Music and Study placing the tone “in the idea of earlier derived conception, Music and Study &nd the or stroke of the r coup de glotte J the , of worthy technics which Round the bases Teacher’s Table are Canto would appear The Still Small Voices The r adherents. Bel »any methods, with the have au singing still small voices of faith and d t of The the be the ancient Greek problwn •o chanting of hope do not seem to count much, nowa- ~ j-.-iod rnonMonthly m e A Technic of the Bel Canto y ® wait until the Conduct ea erases every teacher '&£*** fsception speaking and singing in days, do they? But just pve din of hate, horror and slaughter is 1*4 ^author terms “speech-song.” confi- ®IS silenced! Then you will hear the tin* Italian for “Beautiful Song.” is the dent crescendo of millions of those little By BelC French is chant. The of canto in lead us out of the SIS ldent voices, waiting to *' e “canto” also may mean “song,” but darkness. Even now, if you cup your ears er MM fl d W. jbe Bruyn * " quite obsolete. He who em- enough, you can hear is now and listen sharply ffl All the thumb under eserd«. term a “Bel Cantist.” the whispers. Here is one of them “ method we here practiced either Sit very slowly breath a sensitive oaenf P let us ignore the historical scarcely a —from Noted Pianist V9ll#l present ^ never - the ^ — with gradually Japanese lady who came here to study which the reader may con- R, P, T, B, unhampered by local physi- and Music Educator Every student tnf Bel Canto, D, and N. Always listen carefully. 4. Through practice Q who is our music. form pattern with that florid style embellished Comments: 1. These actions, the nerve channels finally or "block" approach^ rn part psychological-physiological ological She writes: once enjoyed quite qualities, so that from the beginning 6 adornments which operations have occurred: First, the student has habits of production of beautiful “By your guidance I am led to believe of X seel “'f vocal will soon In time, however, it en- reflexes. leant to iay patronage. attempted to control attention stream eventually they almost become that there must be a path in music r fflK, ““Lied so that the •cale*. thia ftrpart and will love to % scientific school of thought that de- success of this exercise depends land where I, too, can walk with hope. In Correspondent* with work Ired a of consciousness will focus upon a tone heard by 5. Much of the merit arc requested to limit t*ett*r» and, obser- college my wish to specialize in piano PW«-U challenge why and the wherefore later the “mental ear.” Second, the quality of the upon the concentrated attention and the to One Hundred and Fifty Word*. and ^ ^ JL the never falls to produce interpretation requiring texts sufficiently extended to had to be given up when I realized that results. of mental tone has been affected the past ex- vation of a mental pause n a philosophy by everybody else but I could reach octaves. tone qualities, rather than the mental concept. X paramount over perience of the pupil, registered in the subcon- permit the formation of So my major subject had to be litera- Stage words. Instead, let us attempt voice exercising in the author’s Fright Inequalities over scious, and by the degree to which he possesses 6. This sort of ture. But I was always much more ab- Suppose that recently we have proven not only the most profit- joy of all Is feeling that 1 have some- From L. C.
Music and Study
Music and Culture A GREAT DEAL HAS BEEN WRITTEN of Chopin’s Chopin the man, the artist, the composei theie and his works. Of Chopin the teacher one of his is only fragmentary record. Niecks, Chat With the biographers, says: “As Chopin rarely played in public and could not make a comfortable living by his compositions, there remained nothing for Teaching Methods him but to teach, which indeed he did, till his Unusual strength forsook him.” Many of our readers have doubtless asked themselves such questions as: Aspiring Organist How did Chopin teach? What did he stress? Who were his pupils? i i Her The immortal Pole’s professional career lasted i3ij Sidney but seventeen years—from 1832 to 1849. When frail con- & we recall that he was afflicted with a stitution and general poor health, his accomplish- did his would have his pupil drop it lightly in of his life on the ments are all the more amazing. He arrived toward the very close kev Only In such a way bring ' ul11 board that the five fingers espe- Scotland of i Paris—then the center of European art and concerts in England and t r.u- right hand rested upon the notes: cially of he was twenty-two years that his recitals at Lord E, F-sharp in music—when profit. Bidou states g t JLrt ScUi sharp, A-aharp and B. This previously concertized in Poland. Mrs. Sartoris brought was for him of age. He had mouth’s house and that of tte position. In achieved (about fifteen normal this position he would Composer and Organist uf Kingshighway Austria and Germany, where he had him nearly three thousand guineas mu, them play flve-flnger exercises artistic recognition. His Parisian debut, as well large sum for those days. to ensure hundred dollars), a fe Presbyterian Church. St. Louis, Missouri evenness and independence of the fingers se Distinguished Pupils with a light staccato touch; next with a heater
his reception In one; then legato, but accentuated; lastly, Chopin was so discouraged at witha to legato. following was on the point of emigrating complete The is the scheme tribe, as it jolly. he oi A But they Paris that ho WERE THE BACHS? America, when Prince Valentine Radziwill took the exercises; organists or town’s could respect were of “cantors, a soiree at the house of Baron James dc Ri.t Eman- him to musicians,” to quote Carl Philipp themselves and His playing and his refinement of Rothschild. in the service of the church and their profes- id “employed manner were so admired that he was at once the day’s work with sion. And they instomed to preface engaged by several ladies present to teach them. that when they gathered from over could stand up pr8yer“ so In a short time he became the most fashionable ‘ their for and Saxony and Franconia in their rights. ALBERT SCHOLIN teacher in Paris. The majority of his pupils were C. Fa mily reunion "their first act was to I like to think from the nobility. They were real lovers of music, sngahynm. Having fulfilled their religious duty, of those quod- all amateurs, who cultivated it for its own sake. He made them do corresponding exercises la frivolous recrea- libets, and what they spent the rest of the day in Among these as: we note such names Princess de the left hand, placing it in the position: F, G-fiai, te, Best of all they liked to extemporize a they must mean Chimay, Countesses Potocka, de Kalergls, Ester- A-flat. H -flat and C They next worked at scales, sedulous ape-like copying taiis out of popular songs, comic or jocular, in music. They and his hazy, d’Est, Bramcka, de Lobau and Miles P. de bearing In mind that the hand must be maintained have by which rationally to searing them into a harmonious whole while are the only clues we Noialles and de Sudre. In its Sebastian Bach. Registration normal position." the words of each. They called this explain the miracle of Johann It was unfortunate that three outstanding than a miracle that things in organ Scales •potch a quodlibet, laughed uproariously For surely it is but little less One of the most important pupils were snatched away by death before they He began with scales In which this normal posi- for organ should antici- playing is registration; that is, the art of selecting over it and aroused equally hearty and irrepress- the music he composed could gain widespread recognition. These were: tion naturally major, for the right resource of our modern for solo accompanying. It is occurred—B i laughter in all who listened to it." patively command every the proper stops and Karl Filtsch, Paul Gunsberg and Caroline Hart- hand. D-fial left hand. He attached organ dates back organist who has only a very small major for the Religion, melody, laughter! The true Bach em- instrument; while the modern true that an mann. Filtsch, at thirteen, made such a sensa- far maintenance of Ms years, which is to say to to play has a more difficult job more importance to the braced all three in the spirit of joy! only about one hundred two manual organ tional success at his London debut that Liszt de- past thumb. It sometimes the death of Bach. three or four manual organ. tion than to pacing the Other days, other organist to- about one hundred years after than one with a large clared he ways. Yet the would have to retire from fings, because he the concert occurred that he parsed it under the fourth •iy sort of music reason is very simple. The organist with a is essentially a community musician. First of He could write that The platform if and when Filtsch instance, is matured. He died or even the fifth. following, for el exploration. He adven- manual organ and only a few stops on each The he is musician to the congregational com- was never content without two two years later. Paul Gunsberg was a victim of a Schenc in B-ft far beyond the re- is limited in his registration; while Angering taken from the ity. And after that, musician to the town. It tured among tonal concepts manual very tuberculosis. Caroline Hartmann’s death of the was like- minor: spends upon hand. The amusing experiments the organist with the larger instrument has a wise premature. the man. Even here in St. Louis— sources at wterof their quodlibets had their greater variety of stops with which to work. The IiS a community of one million—the deaths Bachs as a tribe in Chopin was dearly attached to he M. A. Gutmann 'he experiments with which purpose of this discussion is to try to help the .- .•.*-* organists, Charles Galloway and Ernest counterpart in the in whose arms the master drew fe when his last breath fr*?er, were seriously occupied his own time organist with a small organ. A celebrated losses not merely to their families silently and pupil, who lived to a ripe have the three in a small unit organ of only five old aee 10 the congregations sitting at his keyboard. He did not We have mind was that they served ; they Georges Mathias 11 (1826-1910), who for “And here is another taken from the flosses of our time and most ranks, as follows: many to civic life as a whole. Times change, and four manual organs professor at the Paris I But he Conservatoire. A minor Op. 25. No. It: a spontaneous nothing like our pedal resouices. GREAT The list of other recognition of community certainly prominent - of pupils includes- 4 arship experiment, partly for the fun 16’ Mikuli— Karl BVS gift'' is as enduring as human nature. had learned to Gedeckt who prepared an edition which he im- of Chopin’s y i M• ™ leadership because of the discipline 8 Open Diapason works, I is dependent two things: it partly embodying notes 9 upon made by the tac order to get the utmost out 8’ Charles master— to and personality. In character we may posed upon himself in Gedeckt Lysberg, Thomas Dyke that ex- Acland Tellefscn e—in at his command. By 8' a truly Bachian sense, perhaps musi- of the instrument Dulciana Jullan F scandalized pi: — °ntana, “These fingerings, which ni technic, not to show Lindsay Sloper P, and acquired 8' Horn ’ he Oboe Brmley Richards, .Thes® the religious spirit which it mani- perimentation Casimir Wirink the old school, left the hand in position exhibitionist Gustavav sSrhn atistosa Bach could be a clever 4' Octave mann. ™u- ., the off although Mile. Gavard the U® .;, y’ authentic inner man. The Jane is true of certain Instances of passing t vanquished the great Dubois, ^ e er he showed when he 4' Flute FREDERIC FRANCOIS CHOPIN Peruzzi, an P s°nality which meets its f ellow- as So'S fourth fingers the fifth. Here is Ban in ni completely the mu- over achieve 4' From a widely acclaimed recent ellowship, Frenchman—but to Dulcet bust by the famous minor: self-respecting, self-possessed. from the Nocturne in B-flat musical thought. And that 2' French artist, N. ARONSON. Chopin s sical expression of a Super Octave Theories — eager experimenta- Rx.« JR •»» Even joyful and We are As You and I same discipline of indebted to • m • . as Kleczvnski . ,, ; SWELL several subsequent appearances in the French of success to-day, whether in data 1 " Chs lnaci tion is a cornerstone collected from 8 make all. 16' capital, showed decided various sources -AVi. * r But a living, as do we smallest organs Gedeckt financial deficits. He “ForFor Ch* ..v ' communities on the did 111 delicacy of Chopin, 1 ttley the smallest however, touch wac the he ^ad * n doing it, disclosed by 8' appear very frequently in select Carl ppi] as organ positions of the Open Diapason private The first arpeggios as nr in the biggest, finest gatherings, condittate “The study of the scales and Emanu el, was 8' which were more to his liking. fg„od to J ^ tot shows that technic with Johann Sebastian Gedeckt To h Was said. acqui to which, as position of the a B»od we hare te as major cities Liszt he is reported to have said: hand and he JL! carried out staccato and. as a source of virtuosity, but as a leads. 8' Dulciana ex %ce off of the smaller t.*' . conquest this point. acting on Then, by 1, Bach, the “The crowd terrifies me, their He trained the hmH scales of B natural and D-flat. Ust astbe self-respect of the great 8' Oboe Horn breath iotiannsJ - suffocates before infinite accen entrusting care gradations mezzostaccato. of astian 4' me, their staring eyes paralyze me. I am the remod Tt of was disclosed as typical in the Octave not made ideas th to it. mUSiCal fingers hi 3 ” e for the public; you are. m ordeUto staccato, and soon, lifting the II 4' If you don’t win ghTthe his w*th the petty politicians Flute them at hind^ ' town ,°"ce graceful * P°sition they arrive Ver you overwhelm them.” and the mere play of the muscles, ° tlleir attempts upon 4' Dulcet convenient (it t ^ Dost to intrude lose i ^ as ’ 11 to ^ Ing the allowing it 0r ORGAN 2' aiways thumb without ^ -.Th e Bachs did not wear long Piccolo went toget^?! st 598 on Fd V r;e ^ zontal position: next. {Continued d shirts. They could be human and rrtlfi 599 " ’ » !
EDUCATIONAL METHODS and pg IN great—especially within Music and Study have been last decade. Recent maga- Leading rse of the and Study and I coi> Music Playing tbe motion picture “shorts,” and even Ri 1 rtic1 Partington jje i time drudgery has been Eg jbawton ^ that the old the principal basis for iJ,E school. And PEDAL t of mlt the careful—one might HE lias been 16' Bourdon aI i&ese fl* individual student, ~ study 0f the Instrumental and 16' Gedeckt Adaptation 5CieIll hishie capabilities, hisV-tic 8' T sj ujs characteristics, Gedeckt appreciation of including this 8' insufficient corn- something of same approach Dulciana trying is with to fail when IIIt. organist deskes- 4' many a good Tho.se who are less troubled - of starting students on the Octave with the th* Problems positions. 1 4' bine the two nnrticular of the fingers caving in may ,Jiat in the music program of our Flute parUcu do a 51011 wmments definite rhythm is» the> * Sustaining a exercise. On one fl#® handled. The methods of means strike any white TLi, ust be dual position, and the kev m Aptitude Tests specifi- difficulty of the thumb; on two roll forward, be deplored, for they can be As you will see in examining the above in kneeli P^ure not to the ability to do this 5 rank acquiring with the 2nd finger. the P®. stones in educational prog- there are no couplers and only a /^JJ^thedual And then do £te pping cation, of anyone attempti g the as mediate concern fingers of gauging the worth with the following units: Gedeckt: Open else with 2 and 3, 3 and best means of organ 4, and But our Pedal. 10 Ass, with the old. Diapason; Dulciana; Oboe Horn; Bourdon 4 and 5. Repeat the words, through contrast sense can be d®veloped1 Strike-roll is specification. The 8' A strong rhythmic "^ two counts. instructor had to Now let us analyze this the Point each the instrumental practicing each anthem to eriy 4' 2' Piccolo are taken from choir by which the instrumental pro- Eg >. Gedeckt, Flute, and time in WiMam ReJli perfect Et S 'situation 2 be sung through with 16' 4' from the 8' Dulciana where it can given full recognition, in the Gedeckt, the Dulcet not being either accompaniment it , 2' from the and correct speed without graDi of the Department of Instrumental Music. and the 4' Octave and Super Octave groundwork had been laid in the ele- Head metronome is ad- rfhifh no Dulciana or direction. The use of a Open Diapason. The softest stop is the be t in this respect. The speed can • University of Michigan which belongs to the string family; the flute stops vantageous end of the Gedeckt unit, and tested exactly at the beginning and are the Open Diapason and the Both of these exercises will greatly quite an in- strength, to the piece; and also the instrument adds then we have an Oboe Horn which belongs the first Joints, thereby eliminating the further centive to the choristers to concentrate on reed family. cern about them. month” is gone forever, and One of the great difficulties of the past has been If organist will spend a little time, he can problem before them. an without any regrets at all. that instrumental instruction for beginners has the above console is in a position which enables the get a variety of combinations from If the been doled out in a general way to large classes. suggestions for see the choir or, what is more im- specifications. Here are a few organist to — Organizing the Under such circumstances, problems of adapta- list first the solo the choir to see the organist much Legato Phrasing registering an organ solo. We portant, for Preparatory Classes tion have been overlooked, and as a result many stop or combination, then the accompaniment, can be done by learning to play with right hand by slnntllt It]. Jlinijcl While beginning classes students have continued to play upon instruments and last the Pedal. and pedals while conducting with the left hand should be open to all stud- year after year without appreciable advancement. will prob This is not as easy as it sounds, and For the practice of smooth legato playing, ents desirous of joining the In order to correct this type of weakness in our Sw. 16' Gedeckt, 4' Flute ably require considerable practice, inasmuch as it young the student this phrase Jrom instrumental classes, it is instrumental program, the following plan of se- Gt. Dulciana & Dulcet involves filling in the correct harmony with the Copeland's The Gloopie't Band. necessary for the instru- lecting and assigning students to instruments is Ped. Bourdon & Dulciana right hand. In four-part harmony this usually Right Hund. mental department to for- suggested. Naturally, specific details are not in- Sw. 8' Gedeckt & 4' Flute means playing the tenor part an octave higher mulate a definite plan for violable, but the principles upon which such a Gt. Dulciana & Dulcet If there are more than four parts, then there the enrollment of beginners. plan is based are important to any discriminating- Ped. Bourdon & Dulciana must be at least three notes played on the manual, It is not enough to organize action. Sw. Oboe Horn & 16' Gedeckt one of which must be the “essential” note of tin- the initial group in accord- During the open days of school, tests should be Gt. 8' Gedeckt & Dulciana chord, usually the third, unless that note appears Remind him not to release the first double k ance with the wishes of the given to every student in grades four to eight, Ped. Bourdon & Gedeckt 8’ in the pedal part. until ihe fifth finger is over D, ready to jia; interested students, each inclusive. While these tests are not infallible, they Gt. Open Diapason & 4' Octave It is also necessary—or, at least, desirable that the same is true of the following notes ii one choosing his own in- do serve as a basis in determining the musical Sw. 8' Gedeckt, 4' Flute & Dulciana music be played in this style from memory to measure. Stress slow playing for best results strument without really aptitudes of the students, and they give some Ped. Bourdon, 16' Gedeckt 8’ Gedeckt & Dulciana enable the player to watch the choir during the Call this drill, “Rocking in a Hammock,"» knowing (in most cases) information from which the instructor may begin Sw. Oboe Horn singing of difficult passages such as pianissimos. Swing proper positions of Clarinet Showing type of embouchure adapted to the hand goes back and forth in reaching It embouchure Baritone. Euphonium or Trombone what he wants. The serious the selection of his future instrumentalists. These Gt. Dulciana, Dulcet rallentandos, and similar effects. Ped. Bourdon, Dulciana notes. Transpose it Into the major and mine responsibility x-ests with the tests should include such important characteris- The left hand “beating” must be practiced until keys for greater variety in practice. Mtary grades, in which the demand for an instructor, as it is at this time that he must be an tics as tonal memory, rhythm, and pitch disci’im- it can be done gracefully as well as effectively Gt. Open Diapason •stnimental program lay simply in the desire of expert in determining the Considerable single part practice is advisable at Sw. Dulciana & Gedeckt each rehearsal, ft school and community to have performances aptitudes and physical to ensure confident entries in con- Ped. Bourdon & Gedeckt Wily and often. In most cases the director had adaptabilities of the begin- trapuntal music, since the organist cannot always indicate -o gather together whatever instrumental per- ners for the instruments them as many conductors do. Wanted Immediately: fects were at choice is to be Sw. 16' Gedeckt & 2' Piccolo There is one very hand, depend on them to have from which common fault which we can- •w Gt. 8' Gedeckt not own instruments, and then try to assign made. condemn too strongly. That is: beating time of - An Army 'aver instruments pai - Ped. Bourdon & Gedeckt with : were needed for balance to Students, and their the organ tone by means of _ the swell pedal. tetever Or, as is often done, with beginners were interested. Any ground- ents as well, must be made staccato emphasis of the Musical Enthusiasts 8' * WaS lai(* * that the Sw. Gedeckt beat where such is not indicated n elementary grades was to understand in the mudc sietfh land unplanned, lies in a Gt. Dulciana TWs sort ot thing is fat,, to good The prnemt ii(rnu/»ul utnetm since the pressure upon happiest choice chuS Zlic lrectOT Ped. 16' Gedeckt & Dulciana even the singing ' altogether anusoal opportunist* I* was strong for multitudinous engage- consideration of physical of hymns. * enthusiasts, and Th# Dado dssiiw to do m school TJ and community life. and mental aptitudes, and part, at this Umc of crisis, in proeiotiiia ay 10wever guidance to Now, these are only ’ ’ the school that the best a very few suggestions, and cal activity to sustain public Mini*- h music program is a 1 be an organist who is anxious to Th* BinJf nenit ft enliit *< <’*) Part °f the a proper choice v^ill advance in his or Kneeling iiftil! educational scheme. Exercise know how priceless t0rS her profession will spend a little time musical enthusiasts, who have come furnished through careful each day en- to know that really keeping op mosiral W reJt working out good combinations. Eg anet this publication is in 316 achieved consultation with the in- Always keep in WicUs Iron expe"- only when firm founda- 3 thusiasm. emthntieiti who know tioju hav e h mind that your solo combination eaqe* een * a instructor. The should be •new what Th* Dud* means, who will >d, and when the instrumental strumental stronger than the stops on the » V* s carefully of course, lies accompanying 70 forth to introduce Th* Bud* , organized and developed, not burden, hare manual. It is very important, too, scribe r* *v*rr»b*r*. Thousands or of the to have a bal- joint tunately, also, has upon the shoulders Of cooper® 1 , the community incomes hr He , 0 anced pedal combination. That is, substantially to th*ir are be able it should be these views with the school ad- instructor. He must about with Th* Dud* in this way. ®inistrafw- the same proportion as the j ° ints and into his ex- accompanying- ^ must 1 » the to reach deep never cave^m^ The no to terrier, the marker Wf* music directors. manual plus the 16' 16' Gedeckt or Bourdon. » r ” C ak must have the in bn an". perience, and The men *r the women ll( ngfrom amount of ever. exPerience will deny that Why are so many organ consideration , nor* than ttoonS recitals uninteresting’ that bn me. needs Th* Etud* now. 01 ! attention to given to shoul ^ * aid given close For this important °J =°nenl to '•i ® tt>e elementary schools is the simple reason that an organist An opportunity is open at this fcaticiat' indi- does not " dS f physical and other «P0„ the st “me to °r real in music. vary his or her program enough. It “c?u« f ?Se°hS h' Etud77=^to Who r~B» '"^thew access school lacks color and A llmb e differences in order Example oi lip vibration Showing lip vibrating with mouthpiece double jointed ' situation who. lor their own nners is vidual variety. A good organ recital hand J? and !! spread the instruction, the emphatically is ™ profit- an rt . authority. just tion more cooperate ^ with th „ those of others, will 01 frUit to speak as interesting to listen to as one the str 0f exPerience which result on any other Writ# to Th* Etud. Music quality f instrument. In fact, it ?**** ° Performance and lasting music should . be more interesting partment K. Philadelphia. Pa- •» r *o wpii ination. In addition, information concerning the t|, eVldenCed because an organist a have , in pub- has so particulars of how others l)e the work of the student’s many different stops’ tformiti academic background and personal one. necessary ln to work with, Curve " vantaqeous to carry on this ° strumental whereas ( Continued on Page th“’ta£.s ’so 'ZFS* Nes. groups of the upper habits or personality traits should be secured from 632} joints ^ ' from the * oin rent h„8e r the an instrument to-day, the home room teacher or school band T principal. The 600 °Worrow, our first concert is next "V m, 601 : » : — —
In addition to the usual dangers anrt Music and Study perplex the earnest beginner Scale Builders Bill l Music and Study tually to play the piano bach™ !’ performance Stone strive for a greater measure handkerchief used in the evening's Bo Wurie of « not given with the idea of ingenuity In dealing with as a love signal. tests, of course, are him. If beginning writer has found a those meteoric eliminating certain students from the The keep this in mind, she is ^ Henriette Sontag was another of likely . s< e to1 students arrive Musical their status and piano while Great operatic debut at the age classes, rather to determine young false conclusion that allii Women figures. She made her but ^\ chchildren Bill is enUrely^ by theh not tator!i? discovering the complete since it is done agps lento fascinated the same Beethoven to serve as an aid to lessons, gift for the piano, or is actually of six, and later waiting for their Weber’s facts about their musical aptitudes. they are Aside from the problem and Weber. In fact, after the premiere of think for themselves^ oftojjj them to IUSpia!6 in the title role, Bee- of » mind in reverse. Bill is likely °- “Euryanthe,” with Sontag Classes the reception room to hav Adaptation On the table in e of Yesterday “And how did my the usual difficulty with thoven’s first question was, the pre- containing many sm coordination After the students have been given lies a box enthusiastic crowd at every nunote used in handed associates can be little Sontag sing?” An and some sort of partial There is a card for distressing mi liminary aptitude tests squares. n they play one hand Gottingen threw her carriage into the river, be- appropriate (C-flat C. C-sjrp ahead of the classification has been made, the next building the scales - otL to occupy it clefs, '" lieving that no mortal was worthy adapta- fuse or focus their attention step would be to ascertain each student’s ^ on after Sontag had used it. adaptation to the demoralization of the bility to specific instruments. Such other l C. Kickart! Cjin tier and deci- several squares maihed likely to emphasize these classes will require considerable time, B-sharp) and also qualities be The Romance of Clara and Robert Schumann is ^ staff or instructor should whole and half steps. What to be done with the sions by the instruction and “H” for the Bills and perhaps interesting analysis of the D-major scale, Approximately seven The most appealing be made only after a very thorough So if the pupil is studying percent of humal and. of all women musi- the student’s qualifications. It is well to have the studio a few minutes early; handed, so a teacher can he comes to the safely count UPRIGHT. You would young singer. It the lovely takes these SAT SUDDENLY was cians was student himself understand the objectives of such waiting for his lesson, he one pupil in every fourteen or tniET while if someone had been good for her. She must Wieck, Robert of scale •, ne likewise, Clara trials, and to let the parents know the purposes arranges them to spell the D to this group. ;e d0 squares and your feet before an audi- be taught the earn- Schumann’s wife. The the cor- the soles of such a plan of procedure. All should understand, the letter squares, he places Obviously the first thing tickling Then, below the teacher ‘ mischief lay behind this estness of dramatic story of their court- irrevocable, and thousands. No too, that any first decision is not rect whole and half-step squares do is to find out if the pupil 0{ is right-hai at a performance of Bel- music. ship grows more beau- advisability of any which occurred that the determination of the left-handed. If the pupil It is left-hand Mme. Schroder-Devrient On one occasion, she tiful with every tell- one student’s playing any one instrument is sub- teacher should Someo and Juliet.” [UumtoJHEEiQj] be prepared to exercise t the acting of the heroine in stood talking with ing. Clara was the ject to subsequent change. Frequently, students ; n watching patience and unruffled persistence d bee have responded poorly initial tests will whileiH What a miserable actress! Romeo Frau Weber, who was daughter of Robert’s who to [w] (wj [n) [w] [w] wise i dudgeon. m QE to move slowly at the outlet with any music into her ears, and seated in one of the teacher, Friedrich show surprising changes after a time. J' passionate las pouring the foundation work of the ‘leftist" Is shi blinking sleepily out at the boxes, Wieck. The romance In organization and application of the results of If he builds his scale without a mistake, he sat—JuZief— during rehear- particularly thorough and sound. thereshe tests, divi- his le: on must wake up sal. began when the sensi- the adaptation it is recommended that allowed a certain amount of credit on It was exasperating. She The conversation Reduce the amount of one-hand lienee. composer sions be made in accordance with the usual group- grade for that day. The children enjoy doing this practices somehow. was so interesting that tive young much as pu.v>ible it stager, While practice of separate Clara ings in four sections: brass, woodwind, string, and to these scales are music puz- (aft of Schroder-Devrient. she missed her cue. An first heard work because them That was characteristic of • ureal help the aver ige todeot thirteen percussion. In giving these tests it seems best to zles to be solved, and not lessons which they must its® have never heard of her? It is appalling silence fol- then only Ion, perhaps, to have an opposite effect on the deal first with fourth grade students; and all stud- learn. left-hande women musicians should lowed. Weber rapped play in public. He was iitious that so many ents should be advised instru- or girl. Not being a psychologist, I can impressed. not to purchase an given their own unknown Valhalla. irritably on his desk, deeply lave lapsed into ment until adaptation tests have concluded. reason for this except that in my experience perfec- been it offhand—Jenny glaring at Wilhelmine “Think of One thinks of several names initial tests will The Left-Handed Student has proven invariably true. The at least indicate to which The Bills his tion,” he wrote, “and lid, Fanny Mendelssohn, Clara Schumann, and and wife: family of instruments the student is physically practice hands together, sacrificing if i I will agree to it.” He hij Wurpierite ! ieeirinj wwBini. But when one examines the claim of “Will the one who is best adapted. In going ahead with this plan, the totalitarian accuracy for coordination. nine years older it rests not so much singing Euryanthe was each fame, he finds that Bill is eleven years of age. is bright, to school music department should have available a He mukes By all means, the teacher should never tail attention?” than Clara at the ta her own effort, as on her connection with please pay number of good grades at school; and, when he is not play mouthpieces and a group of instru- the attitude that he considers the time. someone else. Jenny Lind’s voice, of course, has And, when the poor ments which can be used for testing purposes. It ing baseball, he spends most of his time at the pupil abnormal difficult. He certainly is nd passed, or will have woman stepped back, The years goes without saying that such instruments and piano, picking out tunes with very elementary tame a tradition; another generation abnormal, and he need present no extraordinary but Robert did not eclipsed Tetrazzini; for Fanny Mendelssohn mortified, he went on mouthpieces should be carefully sterilized and accompaniments. There is no doubt about It- as difficulty to the teacher with sufficients forget his Clara. He and Clara Schumann, be known “Are you being paid cleaned for sanitary observance. Bill is musical. He has a good ear, a sense of they would not gence to take his condition into considerate was writing, compos- to-day to talk or sing?” rhythm and a real feeling for the music he ha. were it not for Fanny’s younger brother, The First Meeting There Is no reason why such students cat ing, drawing up heard. His mother has decided Mix, and Clara’s husband, Robert. Schroder’s first mar- to give him piano become cri- At the first meeting of adaptation accomplished pianists. riage lasted only five epoch-making classes, every lessons. Whatever else Bill does with his music, student registered for beginning she The teacher should constantly emphasize tit Reveals "Leonore" to Beethoven years. She had mar- tiques—until the day instrumental knows that a few years of preliminary work point pianist's Ideal is ambidexterity and when he might ask class instruction should be present. Up to this at the piano that the Whelmine Schroder-Devrient ried Carl Devrient, a are not only helpful but essential was a dramatic point, that, while this ideal is unattainable, the old Wieck for his no definite instrument has been assigned. Bill is a sieger who achieved the last celebrated actor of the MME. SCHRODER-DEVRIEN promising student, and he has a wise great fame during One of the first processes of mastery the pupil shows the nearer daughter’s hand. That classification, per- and cooperative Her father had been first to sing “Don day. Her second mar- mother. The teacher is selected the haps, is that of determining proaches It. ’’ husband ap- day came. In 1836 he consulted Clara’s father, but which students seem with more than in been riage was equally unfortunate; her usual discrimination, and the Germany; her mother had best adapted to brass instruments. Let us left her penniless. Her Herr Wieck was unwilling to accept a resourceless assume lessons begin. ®™i as “the German Siddons.” Wilhelmine’s propriated her money and that the group of novices is gathered together. her in a state of more- young artist as son-in-law. Schumann, deeply Now there is one peculiarity ® ® eer was assured from the time she made third husband lived with The instructor may choose to about Bill that his wounded, walked back into the world, determined take the cornet first his mother Poise at the Piano debut bliss until the death of much forgot to tell the teacher. in Vienna, and she was just seventeen or-less connubial as the specific instrument And it Ls earn himself a competency. on which he will at- ! jtae to t0 affeCt his time. Beethoven fell in love with her acting married spouse. tempt to determine adaptabilities. entire P»a»o £slLrr <2Vi«l genre Three years later, he returned. Wieck was still He begins by career BinBfil^fis ®ce and the first of the great not going to say anything chose her to create the role of Leonore She was doubtless demonstrating, or | having one of the better players about gh heard her adamant. By now, Robert was twenty-nine, and °r hls Peculiarity An audience enjoys a musician who ® the revival singers. One of those who in the ’. is to him perfectly of his “Fidelio.” Before that time, of dramatic high school band do so, norm ; the possibilities, the the delivered without any Clara was twenty. Following the custom of the appearance of poise and assurance at °Pera had been reported, “Her tones were ‘| on its to magnificent qualities, the functions, general way his position, and assurance, ®n. force. Her execution day, he took case to court. The process dragged In achieving this air of calm At the first care, save to give them due sound of the cornet. After such a presentation with the bril- twelve tedious demonstration posture isM® There was an air of strain through months before the courts he explains posture ls one essential. Correct ioung soPrano in was bad and heavy. briefly some of the elements of «. the leading part, Bee- brass’ it is decided in his favor. Thc anguish, the tortured and 11 her performance.’ a matter of habit and imitation, Was sitting “. spasm throughout playing, stressing . . and especially the . behind the conductor, importance of can P| u 1842: “The old suspense of those days must have worked mor- ing how quickly posture habits so Mendelssohn wrote, in lip vibration and breath control. bad close'y in the folds of his cloak that But a piano ml,?. delighted us all by the bidly on an already overwrought temperament. fixed. It is very necessary to hare 1S eyeS Declamatrice thoroughly The instructor next asks the entire class could 1)6 seen flashing from it.” to mother ir , par- teacher is thc the SdirSr| her voice and her Still, he finally had his Clara, and they were one of the rL! or chair height, and W s and vigor of ticipate in the following exercise: each Wh° of the correct 5 natural anxiety only heightened the great strength student diately WiU at an married in September, 1840. His happiness during places discover it and should be keep the bench er his lips so that they are very keen f trained to acting. whole style.” .. . ,. , much relaxed l A breathless stillness filled during his first '\mind Id, her dramatic instinct. this period bubbled over exuberantly into his or “loose,” and away from the lessonsf For BiU playing position from the piano. 6 Leonore Her great virtue was teeth. Then he is lehh fel1 into the arms of her she compositions. For the first time, he wrote the Key ’"‘'and T'* of “Blue Beard,” songs, blows his breath outward between should be slightly above the level of trem Thus, during a performance the lips in such endous applause broke out. of which he said: “I writing even to opposite her that h am now nothing but a way that they are set into and the feet the pedals in ° Bee thrilled the man playing vibration and cause a n°tes near th°ven his Leonore had been re- so deep thundered ta ;d dragged her songs, great and small. I can hardly tell you how sound which bass and a told to at i and literally can be described as similar the bottom** playing. The pupil should be 6 giowing forgot the usual trick to the shrill late life of Schroder’s represen- with delightful it is to write for the voice as “putter” treble. In “P to a and to He Almost unconscious compared of a motor boat. By demonstrating ninety percenTo^th? shoulders straight but relaxed, ^ngly off the stage by the hair. and IS going the muslc patted her cheek, thanked mar the with instrumental composition, and what a stir asking for the sound of to play the Biu securely afl „ outcry, rather than the “putter” of a risht h! J the base of his spine resting to paim she mad" no motor leading Carry write an opera especially for rope pulled and tumult I feel within me when I sit down to it.” boat, the desired response is part. He’ has *!? the often an ® than to cling to a usually elicited This ha? littL"6 troublt back of a chair. It is quite at he had! effect; better that, activities. e in floe Carl Their life was everything that could simple exercise tends to When he m T other pupa m onge-half-wood Noth- be wished relax the lip muscles that glasses are needed, when a 3 V°n some tenor, “haif-sP and only 1 6 ltC6 Weber was her perform- by for. The years following 1840 that piano- ta won by called a leather saw the composi- encourages participation by all students sit at from the hi? trying as what she including concert STen-haSne^t^ ? a correct distance “Der he di- ing was so the timid or self-conscious. his opponent. t0 dis ' Freischiitz,” which tion of Schumann’s most beautiful music. He As the students If he lla in wants to L tto early in S 1822 - was probably he tinged with lived and wrote for Clara and his children. She dulge in this exercise, the instructor arranepri her art becomes looks over the "A* ® a con °Her reverence for facial characteristics Th* Matter Leuon upoa Back'* ? Han? tract for her with his own she once scolded accepted as her sublime duty, after the cares of of ( Continued on Page if?, one learns that 637) Strinq" by Sidney Silber -- esdet1- the absurd when ^e Many stories could be told flipping aside a her family, the public (.Continued on Page 632) OdoM iindlv i for carelessly lor tbia will appear is the J actress roundly 602' ixtue. ascipline to which he subjected the an "“nas 603 the 0 m, h « — Music and Study
Music and Study
Questions and 8S55*gB.comjvw. '• »«": from b -rsiuc ? 2 Collections f olk Dance Books Jr.0 of Horek from ’111 •Stul" J?,? ®!: T to Study Schubert Sonatas wish to obtain for our school s Masterly Q. We Hdw library a collection of traditional folk dances, such as the Hltocinakcrtt Dance and Klappdunn, suitable or use in the “* by becarne^ the Thorne,^ Mont Bernard.” Even the minor mode elementary grades. We are .nterested only Answers driven the piano accompani- A. Grand March «... that Schumann was in those having from ter rage a little later, so ment. as well as explicit directions for ValU from • - Jzij en fur Musik.” “Faust Z to ask, in his “Neue Zeitschrift dancing. Please suggest the best collec- -= rom “Saul.” 72 - vC, third had dis- tions you know of. stating the titles, the ^ whether the chord of the major Fur publishers, if possible, the price of Service Blue. 50 grow- and, Music Information ,.= . ***^4 appeared altogether from music. But if the the publication.—G. N. A markings vary from "1 potpourris, variations = ing number of polonaises, though I myself Williams, a prefer it at began to A. I asked Miss Marian s' -year-old concert pianist, is the son of a Los Angeles newspaperman, on operatic arias, and child prodigies For the last three Aitken, 32 staff, a list of pieces 1 Webster serve member of my to give me ai musical life, they Conducted By « find any training he went to Berlin to study under Artur Schnabel, and was characterize the public folk dance collections and she has given printed metronome preliminai y uttr career until he Schubert’s serious outlook into but I believe a lEuropean concert returned to Neiv York’s Toicn Hall for only to throw me the following: “Children’s Old and that you *iu - busyiusy with "' k-™. that time he has played throughout the United States and Canada relief. New Singing Games,” by Mari Hofer , A since 1- jOO but (fB ti« V _ J:.. M a An v /, li /i o 4 en o n/i /I'M 41m t L /, . I. - 41.^ _ 7 4 L ...iXI. J 7- - mis- ' 1 D light of Vienna s old Polk Dance Wka. , — 132-144; leading concert orchestras. Recently he was the soloist with the Strangely enough, in the (very but good) ; “The 1 MumurinZ and with reCitals J.-7J-A4; Under in it was through the particular Book,” by C. Ward Crampton, 1909 the Leaves, philharmonic- Symphony Orchestra under Bruno Walter. Mr. Aitken’s greatest conception of him, ,w yor ]c with the uni- (good) ; “Folk Dances and Singing S' acquainted been his three performances of the complete cycle of Schubei-t piano and local that I became have and a Games,” by E. Burchenal (good) ; w Austria “* Six years in the first modern pianist to play the entire cycle, and is largely responsible versal in Schubert. IIow lo I ge j S "‘Rhythms and Dances,” by D. LaSalle, inqer Som S°W and architec- JU He has given many first performances, notable among them gradual awareness of its landscape interest in them. 1926 (very good) . You secure any mving may 0r it, made me Passages ^ Ernst ture, as Schubert must have known of these from the publishers of The sonata by Schubert, which was “finished” by Krenek in 1921, and nUnished” received from : revised which ivere held the understand something of what he Etude. Music, Q I In the Trio sonatas in the composer’s oxen form, up by Na- Professor of School d Schubert's “enti's and Cl in publication.—Editorial Note. such a background—rich as it is in relics Wars, and failed to reach his publishers time for llnlflir'i ' College poleonic art period, that of r ' berlin the spirit of Austria’s greatest } How to Play Trills jepj^miinouto^^^ the Counter Reformation. Not very much of the Q. 1. How do play trill Webster’s New you the in the Musical Editor, fashion of Schubert’s day has remained. sixteenth of passing llil measure Beethoven’s “So- h i! Ifilm are two adreos to-day m good from the bad, and ! nata, Op. 13” (last movement)? International Dictionary a- sifted the ! Dili ttkmpmdle Uonatnlw, Time has if It |> 2. In the first movement of Mendels- J». ( Pfeaju in art stature of Austria’s highest point I •** n»*el»l seriousness which was part of his the true ]mm • » angeringsr of Schu- great personal sohn’s “Concerto, Op. 40,” is the trill AVERAGE MUSICIAN thinks Ifeare. Bo* ren U» D«« be he to enrich the human (forty-five measures from end) played in 2k§ talent. It is a great pity that to the public Schu- remains—the Baroque-— !«W> the baads-Wa composer of songs, short piano sixteenth-notes? E. De bert as a did for Schubert. bert has become a historic figure usually asso- spirit for us, just as it 3. How do you divide the notes of the the "Moments Musicals,” and hours and hours of grueling, concentrated T pieces such as petty “miserable cadenza (end A ! This trill might Untouched himself by those of movement)? have sounded^ His best known ciated with the quaint and the picturesque, with work, they often become disillusioned “Unfinished Symphony.” 4. How do you play measures 34, 35, and right in Schubert's tie probably stopped often to admire tune, but on the vagaries of the Biedermeier era. Many people, fashions,” he 36, of A la Bicn Aimcc by Schtitt, and decide that they do not like music are not, with the exception in (jmnber music works of St. em day pUnos, with their splendid Melk Cathedral or the Abbey waltz time? as well as they thought they did. Becom- best for example, regard him only in terms of the the major Quintet,” necessarily the 5. Does this it becomes nothing but ,1 the “C Theresa en- apostrophe mean that the a jumble. 1 Florian. The architects whom Maria ing a fine musician involves a long field. charm and simplicity of such works as "Die notes before come up quickly and that of Schubert’s work in this perhaps the best way to treat it representatives of her “little journey over a rough road, and I not to* couraged, the musical idealism you hold back a little in the rhythm be- do and music lovers Schone Miillerin” cycle. would be as melodic trill more musicians a like i: is time that all fore playing the next chord? The piece believe anyone ought to go into it un- It Mozart,” the painters of that Baroque era— his But, in the case of great genius, musical ideas is Valcifc by Mokrejs.—F. V. B. • Play the trill an ocuve lover titan® his longer instrumental works— less he loves music enough to give up timed to do not ten and without pedal). and, principally, and their development almost everything else for it. Many music chamber and orchestral music I believe, slavishly follow contemporary students do not have such an attitude. sonatas for piano. It is from these, his reflect They are superficial in their work, into the groping fashions. Great men and that we derive a true insight No anation will it *»/ ,o their in the end they fail. uctj TUI . TVDC so much the fads of The really fine stu- -> %:* his truest musical expression. not unlttt jtccom lit 1 mil m*mt t-‘ and growth towards dent of music is a devotee; and addrtit the enduring and, if your 0 / tht inqmtftf. Omij latitaJi. * Jl»ff Schubert's work, own times as or The writer is deeply fond of all feeling about the is pseudonym g; ten. will it pmih thti. u art strong and sin- ^ e t the values of other periods, or of in the wide range of forms which it took ; cere, then you will probably achieve particu- 2. In the first cadenn there is hard driven, all time. Schubert is a success in the field of music Unfinished Symphony,” although education. Snyrtnj. to G- qurnoe Of from G-flat instru- larly fine example of a charac- But if you are one of the many is still magnificent; his songs and shorter 1. Play it like this: who is merely flat, as follows: 5342314231. It ter who may be understood have a romantic notion about being a mental pieces deserve the universal acceptance realist. I am forced to reply. necessary divide the bands, aid Bx.2 teaching music to apart from his conventional to children, and if “That is which is theirs. public naturally clings to you impossible." many pianists play the lover The cannot face giving and it is up to up all sorts of other So my advice tee with background, to you ts that you adjust alternate hands as in plating Wt chamber works which are associated things for to the sake of becoming a fine yourself to the student of his sonatas the imperfections of present- Peter. Pumpkin Earn, in order to igs, such as the “Death and the Maiden musician, then I would the 2. Play the trill in discourage you day notation, understand and expound sixteenth-notes. that you teach It to your bigger effect. and “Die Forelle Quintet.” Still, there is from entering the field. for 3. Cadenzas such as this are played pupils as it Is, foundamental principles ad and that you try to arouse a Peat which Ev 3 unexplored realm of Shubert music libitum. Play the notes as fast as you in them the qualities Schubert stood, rather of artistic feetlnf « tell which TmIT* . repays the artist who delves into it with open- can; however, start the first that Will few notes eventually enable them to to lose himself in the An Improved de- m teded curiosity. con- than deliberately and close with Scheme of termine m w • — In that realm my greatest a little re- —by a combination of intelligence local color which ®c transient tard. Music and intuition is with the piano sonatas, which are so Notation —what the notes stand for Schubert’s national heri- iZM 4. Think one beat to the in terms rarely studied of them was measure; of living, stirring, lovely that even to find a list '“f 111 musical vriting 0 after all, Q. The question prevents is tage. when hearing a concert waltz, which follows has been effect. Lack of space a feat. on my mind for s do we not hear one beat to the measure a long time. How Tong fingering In full for the second shouid it take for Unfortunately, these twenty-one sonatas, with the idea 1 rather than three? to dawn on first one, we Treated the minds of However, as in the fte Vienna influential musical leaders other long chamber and orchestral works, are 5. I do not find these chords in that good progress In Arranging series of sequence fingerings. Schubert Lightly my music can be pos- Music in Three Part* tefyrs copy of sible only when to one of two extremes in criticism Valcik by Mokrejs. He no doubt a really good wriUne per- system replaces the Schubert is least well has given the same title to another, but old perfectperiect misfit ou me objections based on foolish academic no- system?—B. b. R. ^ some suggestion* you do 8ln ws concerning in Vienna. Perhaps not tell which your copy is. the function of the larger formed These mo," ?or e? ^ th apostrophes r m hsical he is treated usually mean “**• forms; is because a breathing or a e ri ht female voices?^. W U,w or the excessive enthusiasm which this phrasing § in your con- R era. point of some kind a sort tention°thtention thatt sties a product of his — of our system of writing express for any master they think has there as “hold-back,” as mu- A 1 1824 you say. and T t0 laVe e himself denied. In 1 haVe no root " thlrd undue either This he ^"t but in wld nfUl .',, neglect. One encounters what ZTTZ eaC h ?h J y friend, Franz U an - to his omitted > ,on< nuts, be schoolmaster’s rod or loud and uncritical he wrote ho Wok1 *** the one buys Shall be a nfth - annatls “No Musician? ' Schober, the third e omit The writer wonders which of the two von ’ CCPt POSS,b,v lj anybody 111 «* «venth orse—blind my things or Q. I am a high school senior and am chord disapproval, or blind approval. either thinking latest mis- seriously of going into music P only the as SOnatas in the key else’s, but a profession. ’ opinion. hold I have had several years of to$ch r° And, in- piano erable ‘fashions’.” and one in the glee club. Do you ~szss as an instrumental composer. There *»- ate to! but be think I would be successful as •cheme, the, tween any could not a public will J. ^"’7 twoToices reasons~ which for deed, he trim tUCare usuallyUdUalijr aadvancedCl v aiiDcu M school supervisor of music? S. £ super- — S. 3 to the e VemenU lg theSe their painfully alive six Ul ‘ rd* *nd works 10 obscurity: first, sr-sn, thrare Heat if times. Any- A. A good many people eff^tive ngth ficiality of the have a rather ’ and second, despite their endless 111 difflCu„j concerto sentimental attitude s serious as a toward music study, exam few notes. •»» - ln Per the thing so three-pa^ 0^° PIw of Giving you a . ^ ! formance, the absence of and when they enter a high wri sptetj. an alluring grade music the Sp< " Sp,n no doubt eftects had to be given school Publishers to' “Brown Twice ,n the and descending, found in Chopin and Liszt, and find that it takes hours and sf p, ^ Here nT “Hommage aux ““ You as Lift Thine B°°k Rnd on the right track. e than an most title, such «y scheme" Eyel ^ clearly’ ywhere else, Schubert le Webster Aitken at the keyboard In the ^0 r “Voyage sur “ cadenzas fingered eveals Dames” or 604 Book" S his force of character and the Company edition. S£tTEl]iB ER, 1941 the ^ : , f . LONG TIMH AGO—back in 1918, in Music and Study not a!wayS ea^y JJU1 laut, ill. uiuot T Army camp, near Brest. That Yet it is f AmAmerican and Study hand. It is tern of the piece. the was glorious, with the sunny Music the pianist’s themthe™ unpopular, rning hasmade i Sunday which After sifting out France ; and the suggestive of the sonatas te / chords the less signifw. ^ Jn oft many pa long sonata s° ® was a joy to one’s nostrils. There are * in the last in a movement, he ^ sky arby sea Austria’s golden age. And, un- " shn!L these make up at ternfi. with only four or >llgof mind quite free of responsi- gieat or octaves 143 five large, ** t f!inne my questionably, Schubert relates more to this ^ Qp intemt!; of the J ideas, not numerous Istrolled that delicious state of being movement “Sonata in A little bits ^ worry— past than to his own day. °f Adventures of a Violoncellist or in the second har- sequences, phrases or thematic !>». healthy soldier. ^^^ Hffflcultdifficult chaSingcnangn b fraem*!^ to a 42”) and with m peculiar ^ Schubert, the Classicist bor Op , ers often find the length of ing reached the main streets of take such a ork as P the Schubert ^ Specifically Pr monies. of trying. Yet a long range linger about the rather indiffer- of the Counter Reformation in last van on view, ffhJ’an to With the mood fast chords in the ^ ,i simply nvisprvp the gard for the chief musical '*' BreS famous seaport. In the corner mind, Schubert should not be considered ideas which of that movement. A sh°P ; second movement, :at i noticed a handsome he is, from the S T,f*J£it aim each will reduce that 8 , of them a romantic composer. Romantic pianists findn anDa™?,®® “ little wonder that nd0- the there is In beginning a movement, *- about which I then had scant viewpoint of the time in which he lived, and always trument unplayable in spots. keen if® *i contemporaries whose writing influenced his . claimHaim in view. Subordinate the incidental ® jL_other than that it was a violoncello. musicologists among them arabel , you interpret Some of the ornaments to Schubert’s ^ offered for sale in a furni- not romantic, if ) t few being works. But certainly Schubert’s day did not have internet” rSwas it ohn piano of Bflt Q meaning strange and that the lines of musical thought. interest was aroused, my that misused word as and that Take care : 9 somehow my of our instrument, of' the nrp not deep key action ture bizarre. In considering the sonatas, it fits him and the parts will take care of spirit stirred; and then and there for contemporary themselves. t.n-mis classic; accordingly it was easier at all. Schubert’s writing here is utterly Heaven repeated chords^ than for us austere. The to play these fast a decision on my part to keep on hunt- one might almost say spare and Tempo Should Not and ln soldler French . en- out on what has since proved to be a long trail, to arouse Although the action Be Too Slow 0® sh“p ' only feature This does not seem credible. T ntmA of proper voice. perfection of his melodic line is the of in conversation concerning one still being traveled, although now the mud ing for a violoncello deeper, the entire response In general I do not a thP nroprietor in the sense of to-day may be approve of the is only some sixty miles from which might be considered romantic |ei window. is far less deep than in the beginning. Meanwhile, Since Cologne as rapid. » in his Show this is piano is five to ten times tempo which performers usually StZiJ to browse about in outpouring. And the take t went there, of expressive, emotional ip is very old, made back in I purchased, at a music store, an instruction book Coblenz, I often sonatas. If Schubert the violoncello long made for the popularity says andante, in »Yes streets, seeking music shops; the factor which has mm2 me, after looking at the ticket written in French by a man named Lee, who I the narrow, crooked Schubert, the Pianist he really means andanttno mo” he informed lieder. , since it fortune to visit the famous of his is 0Z it genuine, assumed was an Englishman. the lan- also, I had the good 1 That was indeed old. But was However, Unfortunately, in our admiration for the lieder, perfotmcd from the actual writing that the Questing the elusive instru- Apparently, for his day, Schubert music sta guage of music is universal and, armed with this Museum of Music. great- have a more rapid pace most of us have overlooked the elements of His father writes that Jranz than andante I went into shops of all sorts, ultimately his own works well. he assured me, “of a certainty choice tome, I set out alone to learn to play an ment, are dicatc. is Capitaine," ness in his other works. The piano sonatas able to encompass This true also of other loose mn one where eau de Cologne origi- played beautifully, and was Chatelaine.” But I was instrument which is even more difficult than the into the ancient relied for made by Monsieur a strong case in point. Here he has never difficulty. Not suggest tempo. I would make only it was they directed me these complicated passages without the general difficult violin. nated. At this fragrant place a doubt engendered by much time his effect wholly on the melodic line. Rather, the inclination or tion that in this music the tempi dubious of operated by one Herr Luelsdorf, that the composer had either ought to to a music shop be France where soldiers were often the vic- Schubert is completely individual in introducing rather on the fast side, spent in be a virtuoso, yet he was regarded although naturally Fruits of Suffering in Mittel Strasse. the ambition to the new elements into the construction of the musical matter of speed Is one of the finest pianists in Vienna. He accom- something which a as pianist creatures, fabric: strange and unusual modulations and, Soldiers are long-suffering from all must sense for himself. Tempo is A Collector's Paradise panied his songs to perfection, and a primary . at I boomed above all, the use of rhythm and dynamics, which and nobody threw anything as glorious pleasure tor in pulling a movement together, accounts made dance parties a in heart’s Words are inadequate to do justice to what is part of his own personal manner. and squeaked and moaned to my with the playing of his own waltzes. His friend.', a focus. Different artists hav different excellent home concep- content which was considerable. By was found at Herr Luelsdorf’s. His The sonatas clearly show the Sturm, und Drang turns of — describe how his fingers slid over the keys with the proper focus. of three floors and, except for the top (stress) through which young composer was means of careful attention to cause and consisted the Schubert’s “mouse-like rapidity.” But, although this throws grappling with the sonata form, his family lived, it was one going, in the attempt to reconcile the dictates effect, in time I became so proficient floor where he and light certain characteristics in his new to him. Is proof on writing of the g nius which always of violins, violoncellos, and a few of his individuality with the seemingly repressive that I could draw out a reasonably clear grand mass is groped (how much in Weber, for instance, due to his towards new . It being out problem should be is- all of the last precedents of tradition. In the early sonatas, tone of not too bad a quality. But, to- double basses—almost enormous hands and the narrow keys of his called that his * Phantasie, The Wanderer, Op' instruments were resting on their Schubert apparently tries to shape his musical day, in considering those early efforts, of order. These Brodmann pianoforte!), we learn contains walls, clut- much more formal features that anticipate the de- edges, around the floors, against the exuberance in the molds of Beethoven. Then, sud- it was a wonder that any but the most from a letter to his father, in which Schubert vlces later used by Liszt In his symphonic poems. One had to step most denly, he becomes entirely and gloriously himself. deplorable noises came forth, for my tering every available space. says how pleased he was at being told, after he Liszt himself exhibited something He bursts the bonds of convention. To be sure, a keen Interest in tfc about the violoncello gingerly in order not to tread upon had played lack of knowledge the variations in his “Sonata in great piano work by Schubert, arrangeditsi been the pride and he wanders off into unacademic digressions, but A and To be sure, long before which once might well have minor, Op. 42” that was abysmal. under his fingers the keys a sort of concerto for piano and orchatn. Id musician’s life. How many instru- these very wanderings give us his most beautiful overseas, I had played violin joy of some “were transformed into our trip and most profound singing voices,” and adds questionably one must characterize Schuberts could not be imagined. Luels- music—the music of sheer rather extensive orchestral experi- ments there were that he cannot bear “that with melodic loveliness which has made the songs un- confounded thumping style as something altogether new and unique dorf himself did not know. you hear even ence. But this was quite another thing. forgettable. from distinguished pianists, and when it appeared. Certainly in an order from my C.O. Many visits to this shop followed. With which delights neither the ear nor One day came the sonatas, too, there is a continuous line the heart.” Perhaps it is because of this Individual and vast aggregation of musical merchandise into Germany to serve with the this of struggle If Schubert had no trouble to go up and experiment. Their significance playing the novel fullest in the I sought, but it always difficult character, expressed at its Occupation, and presently the there must be quite what lies therefore not only in passages in his sonatas, Army of the magnificent music the fact remains that sonatas, hesitant and difficult to make a selection. As a rule, that the world has been Chatelaine and I were billeted in seemed so with which each of them is filled, but in other pianists do. Yet, curiously old the way enough, in spite slow to evaluate But the student would d: of the violoncellos were in good order, un- them. of Coblenz am Rhein, in the most in which they show that Schubert had set of this complicated writing, the city himself the student often dis- well to ask himself this question: •'Although one like the violins, many of which were in a sad state covers that of a wizened little widow. Prob- the conscious task of resolving the equation be- the music seems inadequate home violon- to ex- may gain no worldly triumph through sensaS® the conqueror that of dismemberment. Eventually another tween tradition and his individuality. press the intense emotion ably it was fear of and the musical intelli not wi- again French one a Chapuy alism or showmanship, is the reward tossing us out, or perhaps cello was selected, a — The world is familiar with the story of the gence which lie beneath. kept her from won- answer delighted as it was the inevitable struggle?" I believe the rent money; at any rate —which had a tone that me derful years during which Schubert turned .It is here that she needed the out the interpretative Hmitaa- daughter. un- faculties of clear. Granting that the sonatas have unmolested to pursue my played by the Herr’s buxom My such an unceasing flow of creative work as has are CallCd Up I was allowed ° n ’ where to en- Personality and in performance, their pages cannot fail loved Chatelaine was given in trade, and the never been known; of his composing the first fmXnmte fleet are needed noisy way. to bring the who to to Coblenz. Happy as a movement music to life- rich the minds and hearts of those attendances at the Chapuy was taken back of a quartet in four and one-half one feels that the During occasional performer’s music, the math- lad with a toy, I promptly got another music hours, and eight songs in keyboard them. The sheer sound of this heard a violoncellist new a single day. But his alaiost to° meager to Stadt Theater, I convey these movement oi ft who played in a trio in a first great q ideas* nf outburst in E major in the first I went to teacher, a young man essay in the medium of the sonata Schubert at times as playing delightful solo parts. grandiose the so!® night club. player coincided with a return and spectacular “Sonata in A Minor. Op. 164." after English, and my Germanic edition of a This had to more normal output. n that Beethoven ever see him. He spoke no called into are the p spent some years in the States and spoke a Why, in 1815, Schubert should have changed Take theth being G-flat major chord—these things quite lame. But by means his opening of the unfinished ” * German was “Sonata fitting smooth form of American. Under this new set-up center of interest and experiment cannot be for example aia ln Cc rogatlve of a man who could tad and assorted funny said —or rather , of grunts, barks feeling, ® violoncello Klotz. This the bar of language that had impeded my musical with certainty. Possible influences suggest perfect expression for every human workshop of the famous maker. Mathias gestures, we managed them- s °P nos plus many gifts * been 1670 two hundred noises, selves; he had met one or for the whole range of nature. Greater in uninterrupted operation since — and education was dissolved; and somewhat rapid two very talented converse along similar channels, pianists, including and seventy-one years. to advancement was made—also, my investigating J. von Gaby, who later became cannot ask. as a pupil at the extrava- I was taken on a fine interpreter of list of spirit sprouted and grew. Schubert’s music. Some of 2K I append here the chronological marks a lesson, iTz tims of ten his friends owned the most Capell® of , rate By that time word was noised about Coblenz modern instruments Hammering of the ‘i’r lnc'“ant sonatas, as compiled by Mr. Richard calculating, unscrupulous tradesmen. player set me straight empfy chords Morn- excellent and Schubert was and I still ns really office Attending Surgeon, inspired by the possibilities compieteiy, editor of the London Daily Telegraph doubt? If look there! Burned which that, at the of the an ano , here so, adjustment of the instrument, they suggested. rLahTon^ or * .t the Perhaps Three • n violins also, at this time, he ing Post. “No. in E"
judgment, building tion and a varied - pr0cr Interview with with sustained, fast, light, gay, An humorous an! dramatic songs and arias. 10 group of Spanish songs A appears durin<> the last part of my program, as a rule. They Ylfjartini are J of the rhythmic feeling which appeals ino to the Tenor of the Do not forget the n Distinguished audience. importance of show- manship; that is why I like to end Metropolitan Opera Association my concerts containing a with a song high D-flat. It ^ a]so wise to finish with gay, spirited songs, in order to send your public away in a happy mood; if not they will not return to hear you. I have had Secured Expressly for The Etude by Annabel Comfort great by the success with songs Spanish composer Granados, also with Campbell-Tipton’s A Spirit song Flower and a humorous called Old Mother Hubbard. IVING is A CONCERT the singer’s greatest to a good teacher who specializes in breath control. I find it very difficult to choose concert reper- test. He has nothing to lean on, no scenery, The student should rely upon his intelligence toire, and always confer with my teacher, pianist G costumes or chorus to help him along. He for, to due physical differences, human beings vary to and manager as whether my song groups are must rely solely upon himself, his vocal artistry to a great degree. One singer may open his mouth so, if balanced. Even the public reaction is not and personality. Although singing in opera is one way because of the formation of his throat, good, unsuccessful songs are discarded and re- probably the least remunerative for most of us, it while another singer must use another manner placed by new ones. Never underestimate the in- balances our budget in prestige gained. Many because of entirely an different throat formation. telligence of the public. However, people after singing feel that I should confine myself to the For this reason, the vocal teacher must realize that difficult numbers, it is well to offer something of opera, but they forget that opera is seasonal in each individual has a personality entirely his own. a sweeter, lighter character. Of course, familiar America and the artist must pay rent throughout Students should be allowed to be natural in songs are most enjoyed, such as the year. Concert O Sole Mio and engagements provide a more their singing, to be themselves and let their own The World is Mine, and these should be remem- sustained income and enable the artist to sing personalities be their guidance. The stage is the before bered in program building. I have received quan- millions who have no opportunity to at- best teacher for a singer, after he has mastered tend the opera. tities of fan mail and have often had such requests his vocal technic; and, after all, the public will be as “Mr. Martini, will you sing 0 ‘Filet’ Sole Mio?’’ his judge, in spite of any other circumstance. Vocal Development I have also been asked ( Continued on Page 652) Fortunately, my vocal training was carefully Repertoire developed; for with wrong guidance my natural The singer should be skillful voice would have been ruined long ago, as I at program making; he must started singing as a boy. For the past fifteen years keep the listener’s pleasure con- I have spent hours each day in acquiring correct stantly in mind. If he sings only vocal habits. Many times in my life, have I risen numbers pleasing to himself, at dawn to practice; and the rest of the day has the audiences may applaud, but been spent in study for the various requirements only politely. If he sings what of my chosen career. One must know at least the audience enjoys, both audi- three languages, many operatic roles and hun- ence and artist carry with them dreds of songs. Yes, there is plenty of work to be the memory of a happy experi- accomplished, and one can spend ten or twelve ence. hours a day in preparation, if the singer intends My own preference is to open to reach the top rung of the ladder. I do not be- a program with a slow sustained lieve in luck. Just replace the idea of luck with aria or song, partly to warm up plenty of hard work. That I do believe in. the voice and also to overcome The student should set aside a regular daily the nervousness so common to time to practice scales, arpeggios, trills, legato all singers. A good way to warm phrasing, breathing exercises and all other details up, is to use the full voice; that make up vocal art. Careless irregular practice which can be done in certain never made an artist. It is the consistent daily Mozart arias and fast Scarlatti work which counts. numbers in contrast Breathing to a slow is the basic factor in singing. This sustained song came such as Tu Lo naturally to me, but that does not mean that Sai by Toselli. Mozart arias are I neglect breathing exercises. So many vocal stud- especially well placed at the end ents are apt to breathe through the mouth in- of the first group, because stead of the nose. This they habit is not only confined require a “long breath” to students but to advanced control vocalists as well. A and a florid technic. good exercise At this to correct this habit is to sing from point the voice should be ready a sustained pianissimo to a loud forte and back to for the concert. a pianissimo again. I know that this is difficult My second group is usually but it will develop the chest and leg muscles—in made up of French fact, all the muscles. And when songs. In one sings, every this group, to muscle in the body avoid anything should work; even the arms commonplace, should work. I use an aria If you will learn how to handle your from “The Pearl Fishers” by hands and arms, your voice will come forth more Bizet—because the line freely. At least, unfolds I have found this to be true. Some like a beautiful flower or people are born with what may be — per- termed a “long haps an aria breath,” from “Carmen.” but if your breath is short, you should go One must use great discrimina- Copyright 1919 by Theodore Presser Co. International Copyright secured 608 NINO MARTINI SEPTEMBER 1941 609 THE ETUDE ALLEGRO CON BRIO From SYMPHONY No. 5
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SEPTEMBER 1941 611 BALLET IN WHITE Ballet en Blanc Lehman’s loveliest melodies. It should thistledown? This is one of Miss beplayed Cant you just see the fluffy ballet skirts moving over the stage like elbows. Grade 5. with precision, but with floating EVANGELINE LEHMAN
Copyright 19 4 1 by Theodore Presser Co. secured British Copyright 612 THE ETUDE — — % 1 —» ^ $ HUNT GAVOTTA POMPOSA THE . OFF FOR Grade 4 AMBER HALEY POWELL Allegro energico m.m.J=138 4 5 2 3 -1 1 s i 7 *f I •=!- 2 3 * ft mf 4 1 fn as UF1 I f ** l I
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I I — " * VIENNESE WHISPERS garden in Vienna wher. Prater, that wonderful public t, Mis, Wright 's Viennese waltz has the true spirit of the Viennese masters of waltzes of the great the^waltz. and graceful forget one’s troubles and to listen to the magic pulses 0 / the'vibrant played as indicated Rubato must be artistically employed and all accented notes N. LOUISE WRIGHT
From here go to A and play to B, then D. G. LIMPID WATERS A glassy pond studded lilies, , with white yellow, pink , and purple, the hum of insects, and the murmur of birds, is the scenic back- , ground for Miss Bircsak’s very fascinating little aquarelle. Play it quietly and gently, with velvet finger tips. '
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THE ROSE Katherine Howard JOSEPH W. CLOKEY
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1 mf ' .? A—a— Ji 1 . j J 1 £ Jl p\ : === T*1 .4: X : p p —A a hit- Now she is a rose, come to stay Un-til her leaves fall off. When they’re all off She’ll A-^_i D- =H= r^= PIANO U—im n if mf 1 — »—* 9 • i i ? A A r— . 4—° 31 4 • A » A P IP l=*i rf i — L* +4 i=^ a HUS S± \di?n. 4 I P iF u A A d I?a.> If m £ 4 *> j*j .i ,r-]^ o ^ 4- 3 A | j •> ^11 f :r i V 1 £ I j * 1 go a - way. She won’t be rose. But she’ll re -turn, she /n^^i i f a'~f « r~i~ ii i j •j j -H- - . . A=j= # -A F • J * 0 - J- i iv a ' _ ./ -/ A- a A { i~ i II 1 j J 4Y. r 1 1 1 1 y mm i 1 : -4 S--f-4 / -f- U / j- (i-n'i'Cj r r r -"P : ^ U V c $ & u *r i i A * — r pp f T r |A p-) | T^=f ' i — rn J J-.-Abgbio-'-ri* * -rid wye — A - rf .T 4 a a A J J J — ^ IE J- J J> y ~zr A 'if knows. She won’t go far, And I’ll stive her leaves In niv rose jar.
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/Sw. Full FUGUE IN Bb 4' 31 2 4 \Gt. Flutes 8'& 1 i 3 Prepare ip JOHANN SEBASTIAN BACH e(jig' & 8' (without reeds) -— '» Registration ^1 — With Hammond /Tzfl .1. *7 Edited by James H. —t J~~ j J4-J-I Ji Sw. to Gt. & Ped Rogers i- A= frf - ( T ^T= — LCfr r* p — —-— (5>- • r EgjEEEiE^ rfr — ~T 1 m E— L-UJ^_ t— ' a 3 i 5 Gt.[G](7) » 3 1
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pieces for young players delightful Grade 14. MY LITTLE CHICKEE GEORGE JOHNSON
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1 -y 1 .y 3— • m— -3 J I* 4- £ i £ l.S' is chirp - it - ee, chirp! all day long; -Just chirp- it -ee, chirp! chirp! chirp- it-ee, chirp! chirp! goes his lit - tie song. *4 > D C £ i r
Copyright 1941 by Theodore Presser Co. British Copyright secured RECESS TIME Grade 1|. Grade 1. TO AND FRO HUGH ARNOLD Modcrato m.m. J = 138
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Copyright 1941 by Theodore Presser Co. British Copyright secured SEPTEMBER 4941 627 OF THE MONTH - TECHNIC The Technic of the Month L EBERT and Grade 3f. ETUDE IN SIXTHS STARK Guv Maier on opposite pa0 e Conducted by teller Allegro M.M. Jr 100-112 With lesson by Dr. a 5
... .
Sixths
or intermediate as well as accent must ever be given to the first
advanced students, this simple, tone. . . . Now in scale passages: F practical little Etude from the old “Lebert and Stark Piano Method,” is an ideal study for speed, ease and endurance in white-key sixths. By changing the sixths to octaves you can make it equally useful for light, smooth C major scale octaves. Since sixths, like thirds and octaves, are simply a form of double notes, the preliminary exercises are similar to those given in the June (for octaves) and July (for Thirds) “Technic of the Month.” Guard against the pumping fore- Reminders; hand (wrist) held high arm habit, so fatal to speed and en- and quiet; gentle rotational direc- durance. Remember that everybody tion felt toward the thumb; fingers seems possessed to use this up and close to keys; no whacking, slapping, down forearm movement, so be eter-
jerking or flapping from wrist; the nally on the watch for it. The sixths practiced like the octaves in moment any excess movement ap- the June issue of The Etude, first in pears, return to the first exercises, Setting for tile Baldwin sharply broken repeated tones, in practicing them with gentle but swift by W. & J. iSloane, various impulse-lengths, thus: “pure” finger action from the key Fifth Avenue, New York tops. Be sure that all the rest of the playing mechanism is quiet—wrist, forearm and full arm. At the last note of each impulse of twos, threes, fours, eights, and so on, bound to THE BALDWIN PIANO your lap and rest there for a few seconds. Refer back to your June Tlie Baldwin Piano is used by top-ranking musi-
1 v* v.« ' V V V« V S cians to whom the best is a vital necessity. is (mis Etude for a detailed description of It the “finger” octaves; finger sixths are, of result oi the combined experience and skill of three then in straight sixths; always softly. course, easier because of the shorter generations of Baldwin scientists and craftsmen. Ex. 2 hand span. For you, for your child, for anyone who loves to And remember, won’t you, that any make music, the best is essential. With the best pouncing or jerking at the sixth’s JOSE ITURBI comes the responsive action, the thrilling tone that is simply evidence* of inefficient lost ' Incomparably Superior” makes music, however simple, beautiful — an incen- motion and futile contraction. The tive to greaterand more soul-satisfying performance. quieter your mechanism, the more All this is yours with the Baldwin. And the balanced your rotative forearm, the Baldwin is- easy to own. Your Baldwin dealer will Note that the impulse is invariably more concentrated your finger tip gladly arrange convenient terms to suit your budget. on the last note of each pattern. No “feel,” the better your sixths! Mail coupon today for free, postpaid copy of THE NEW BALDWIN CATALOG.
A Rich Library of New Master Records ( Continued from. Page 592) LILY PONS $8a(4toin 'A Noble Instrument” is said the composer wrote for a mas- ficient and tonally ingratiating play- querade TODAY’S GREAT ball at the court of Joseph ing of Hephzibah. Menuhin gives a PIANO II in Vienna. Fischer conducts both musicianly account of the violin part, Also Bu.lt by Bald works—the concerto from the key- win but his tone is by no means always HAMILTON, board as HOWARD AND ACROSONIC PIANOS was customary in Bach’s as agreeable as it might be. time. Mozart’s Adagio in E major, K. 261, Mozart’s “Sonata in F major,” K. was written as ~a substitute slow THE BALDWIN PIANO CO. 376, is full of facile melodic writing movement for his celebrated “A Cincinnati indicative of , Ohio his happy youth and major Concerto,” K. 219, apparently perhaps Please send of his freedom from the at the instigation of the concert- me the new Baldwin catalog. tyranny of the Archbishop of Salz- master of the Salzburg court orches- Name burg. It was written in Vienna, tra. Although a charming lyric move- EDDIE DUCHIN shortly after his arrival there from ment, we doubt that one would wish "Baldwin is Tops” A ddress Salzburg in 1781. A performance of to replace it for the original move- this work by Yehudi and Hephzibah ment in this concerto. It is good, Menuhin (Victor Set M-791) is dis- however, to have a recording of this tinguished by the technically pro- ( Continued on Page 640) SEPTEMBER etude , 1941 628 the 629 o — y
Best Values Dtyyco,Biggest Contents i up automatically Soles Tests. the Voice Ullstions by g Proven Super.or voice mechanism. S0ffi Are The - Robbins MAMMOTH Books sZ ! ingof poetry should eoiteS^' V/URUIZER search for Name Famous In Music For Over 200 Years phrases of —A cially those ^ ^0'lrlrMA? of an „ % DR- NICHOLAS BEAUTY OF TONE AND BEAUTY OF DESIGN ARE BOTH EMBODII character. Jn**rJh DOUTY These he 6; GRACEFUL WURLITZER SPINETTE, MODEL 410, FINISHED IN * * i is7r?® make up into “Song WURLITZER PLASTIC FABRIC. IT IS AVAILABLE IN A VARIETY
be answeredin THE ETUDE un/ess accompanied by the PASTEL EXCLUSIVE WITH W 5“ original ., will full name WARM COLORS — IS A PIANO FINISH inquirer. Only initials, or pseudonym given, Kathleen££i* Rogers J of the will be published. SEE AND PLAY THE MODEL 410 AT YOUR WURLITZER DE MAMMOTH has advised,.? ""ffjdress vance formulation of Collection of an emoti! f every note or the catarrh Collection of gn*p a Streptococcic Infec- exists, for it will interfere with Thus, the resonance and the timbre piano classics basically, we sing of your tones. famous <"tm*ti„g 2. DUETS 5^ the »*« In and about New York there are quite FAMOUS PIANO the eye, and the eat "•""'wool™" best love esthetic ) during the Ino I Icxc a number of hospitals and masterpieces, including senj to me medical colleges. Frey, 74 renowned told me that mg Associated with each Contains 104 piano duets, edited by Hugo Hofmann, Is hate o/tm one of them is an effi- Beethoven, Chopin, Josef not so seri- cient Chopin, music by High and Low Zldcomc out. although larynologist who possesses all the ap- of best known classics by Bach, Dvorak, Notes health. Rubinstein, Tschaikowsky, affect mu general paratus necessary to a thorough examination Offen- Liszt, Rimsky-Korsakov, iZ to Stephen Foster, Mendelssohn, Mozart, High and low note ***£ teaTer odciacd against it. of your throat and all the medicines to effect Grieg and many others. muscular m remain etc. Handel, anisms the voice will a cure. There are also many famous throat bach, Schubert, Strauss, Wagner, initially are weak m m removal of the tonsil*’ doctors in and about that great city. You contains 256 pages - Price $1.00 • little use the • Each book, edited by Hugo Frey, of these pitches had a siege of “S trep ought not to find it difficult to discover in orfc, rl, Jan, I the Free! Descriptive Booklet Sent Upon Request hated several months, ami man best suited to your needs and have him never felt perfectly relieve you of your consideration throat has troublesome nasal abnor- of these - mality. initial ' ni" '- ]l ,racher • hrar Good luck to you. • seventh avenue new york m mitm J" u 1 " ROBBINS MUSIC CORPORATION 799 force the discomfort tn mg throat, = “?*!“* intensities "J’cmtlm of J° ® singing with an absolutely high 1 if 1 mere I !»«• Boy VI hose Voice Is notes too soon is to L Changing invite vm tonsils could no, be the cause, Q. In read your distress. Lithe inf/ answers in The Ettde, dialect. Now try to imitate On the other muscles would not permit the l fcrl that bright vowel sounds are like any other hand, too JL, the you can help we greatly hy anstrer- turally « manner. an were singing in a proper inii this one. junior high Technic of the correct tone as given on one of the Intensity like falsetto, ill A school hoy, thirteen A Ay and E. M, N, and NG promote a in the throat but almost tenses of sore yearn old, has been singing first soprano author's experience, Itmfei in a lower pitches by the instructor. makes lor feeling in mg throat, all trio n-coloring. white ,ltm a tight for the past two years. Xow that his voice Bel Canto voice. You and in mg hark, especially begun 1. Here we strive to cannot develop III it neck has to change should he continue? 3. The last chapter of “Great Sing- Comments: a voice on side with frequent ringing in Thank you. (Continued from Page 597) control the voice mechanism through a pathology Again. „ right —Mrs. L. A. r. ers on the Art of Singing” by James Just as twobodiss Could / hare a nodule on the „ righl ear. cannot fill osteopath says less rich, Francis Cooke tells the interesting imitation. Also we attempt to educate the identical space cord ! Our iamilu we may anticipate improve- at ® liiiltmal A. At about thirteen or fourteen every boy tonsils are not bad, bat that 1 hare ment in these latter vowels. story of how Evan Williams, distin- the “inner ear” by the hearing and the same time, so the iu *f must experience the phenomenon called concern has become chronic because which of voice.” His vocal 2. of a beautiful “change cords are length- In reading poetry aloud or sing- guished tenor, through the proper through the “outer ear” of a good tone and the acc®. Singing. His treatment loosens ,1 iatuent ening and the muscles that move them are pain congestion temporarily, but it returns ing, look for and record any syllables combination of a dark tone quality model, in this case the instructor's ing fear of a high II the pitch do not strengthening. When he attempts to sing the or two. if there is some other or words that show unexpected rich- with a bright quality obtained sur- voice. go w HI together in fay high soprano tones which were formerly so because the latte besides removing the tonsils mlM of core easy and comfortable for him, his voice breaks ness. Employ prising production to reduce them as has been sug- results. The present author 2. Students should secure records of concept will tend to suppress i me method of voice the or he cannot produce them at all. It will take gested in this exercise. arrived at the same conclusions in- former . five voices closely similar to their own Low notes are not well sing four or years for his “man’s voice” to de- Exercise 3. velop and these will be rather sad years for The Component Colors. dependently some years before he and then not only listen to but also without a sufficient amount of the him. Teach him as much music as you can Aim: to realize the proposition attack of strepto- that had read this invaluable work. How- sing along with n-coloring. A, During a prolonged these records as they The result of right prac- during this period, piano playing, harmony, beautiful tone is correct ever, coccic throat, the Inflammation often ex- the propor- he later added the n-coloring are played, in an attempt to tice Is range extension. and so on. Watch his health carefully. See imitate tols to the pharynx, the larynx, the tion between three combined colors as a third essential that he grows Into- a well educated, well man- ingredient of the artists. tonsils, the vocal cords and the muscles that nered. high principled and cultured young —mellowness, brightness, and the maximum tone. Intensities me them, especially the crico-arytenold In the earlier “Hints 3. Splendid results have come from man. When his voice becomes “settled” there s«i the thyro-arytenold muscles. The result n-coloring. To teach the student to on Singing,” his Manuel Garcia also sug- No tone is ever agreeable to them will be plenty of time for him to resume this method of imitating. tsttat it becomes very difficult to approxl- vary this proportion slightly for the gested a proper lessons and to become a singer. balancing of the dark alien strain and forcing are present »ate the vocal cords, especially upon the INCREASE YOUR sake of interpretation. and bright colors. higher tones. This would explain, we think. Improvement Guaranteed Pathologies The criterion of how loud an inten- INCOME! 4e tight feeling in your neck and throat. strengthen the vocal organs- On the pitch previously used, sing Exercise 4. We build, East ly —Substantially —Pleasantly Homogeneity. It leitont but by fundamentully Aim: to Many, if not sity a singer may use is always that he that your frequent attempts to not with tinging — most, of . . . beautiful the patholo- aound and scientifically correct tilent exercitet — Take Subscription# for — a tone. As so, ties, anyawging you do analyze equalize the vowel characteristics. with an abnormal vocal apparatus, has How Can One Become a Good Musician? :md absolutely guarantee to improve the Ills . . Write for gies of voice relate to tone must be beautifnL or sneaking voice or money refunded . the three colors caused a Q. Please tell we how to becowe a good THE ETUDE MUSIC MAGAZINE and recognize that in such tone re- Continuing nodule on one or both vocal cords. wonderful voice book—sent free. Learn WHY you on a lower pitch voice you want. No literature and bas- asserted standard may be tested by the pro- Oily a musician. I hare taken piano for fire j/cars, can now have the particulars to be components of a laryngoscopic examination could de- under 17 unless signed by parent. — Write for — side the three subordinate ing beau- sent to anyone component on the concept of mine this but 1 do not sc
the and now, young man, these points W hv^ rH before- trate ^oung from the beginning.’ bande Aspiring personalities ot two f Ihe niece A Chat With the ^ Pl took up his pen- Johan: The one has a degre , Robert promptly Organ and aP Scarlatti; Carnavar Choir Questions Organist „s,c » and m M con- e 0oSa„ is on the e 1 d 600) performance^»V nd U° 1 ' < Continued from Page in a position is la g ' heralding or Schimuj,, cerned. This organist n „ en" New Paths . leadersh p worthy ' has only the one power of ^ stripling as a <• any other recitalist personality and "unknown to to this1 is -Answered upon and to know how and the Orove places ly HENRY S. type of instrument to play She does not seem successor to Beethoven Mo* FRY, Mus. Eoc. to her « 1883 greatly limited in color When you talk tour de force In the flm is therefore meet people. Ex-Dean of the Pennsylvania sense that minus Schumann Pianisu.” and Chapter of the A. G. O. and variety by comparison. you immediately terAYA That it wasTgJJ is critical h “ personality, which scion of that included s: , a the trar J„ quality in the havetoovrr recognized windent Adapt the Accompaniment This should [j, important for an organist. youth from Ham She had an cnorr ' so in this rfPertoi: No questions congrega- Beethoven t will be answered in . In playing the hymns for to give up THE ETUDE , , , had Anally of a accompanied by the full young woman on the strength name and address the the of burg, and that of inquirer OnU ini,- i , tional singing, be sure to use director because "' pseudo”>m *»»». ** work as choir rpreutionrpr Hfafc lisbed. naturally, in fairness her compositions! rather ,o all 1fnelds undand id stops plus some 4' stops. be a few manuscript . , ”... “EverUsers, we can express no opinions foundation will never execution. asa, to the. I her personality. She became almost relative qualities of various You must have a rather full organ to The Schumanns instruments. success in music. They kept Clara Schumann Al- parents to Brahms. died on lead in congregational singing. hand, I know of a foster On the other and refused 18&6 Brahms, living when playing a hymn long at their home in flV ways remember who has “what it takes him young man their sight. of town when tb tune not to play too slowly, for you let him drift from ! 0* Should chanting he in any field personal- to %ana.. done in regular ment as to be a success — the ex- rived, and hi bf 'here arc being practical, and the only sug- are leading the congregation in its with Johannes, had four beats to a measure gestion character, and ability. Clara should we can make would be, if possible, ity, leadership, to himhl u every measure he given four beats re- your own careless or of watching Robert's “ unopen ed He h to trade it in on a singing. Only is working quisite sorrow gardless of how few or how more satisfactory or He is still a student and J® many words are suitable instrument. sloppy musicianship lets them drag. lose Its balance. One board U«the trauam wmed Included t On which words degree of “Bacheloi of intellect slowly should the heats toward his fail! Please mark the beats in In accompanying your choir or vision In which him to the funeralturieral on the measures Q. further in night he had a tta*“ indicated on enclosed We are Imping to hay a new church Music,” but he has gone slip. In the following organ. soloist, never allow yourself to play long conductor for*ot to Can yon give any information about career than Mendelssohn and Schubert— Vi measures, should each half note get two heats the in the sense of a cost ( and music with the metronome set perhaps the advisability) of two louder than the singers. Give them for varia- of the Junctior be at sixty!—K.H. gave him a theme found manual reed . . . built standard the girl with a Master’s Degree. He is dead— I®, organs with electric blower at- to A. G. O.' but never self . Grave m.m.J = «o good support at all times speeding 1in the tachments. It is oat Then there was the tragic day
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WUU1U , years of expenmemau™ swn lo great master twenty mean disputing the to be a lack ofhar- tion of the 3flalt( ..THANKS to merity of appears wood fiber; , Composer the wood trouble Tempo as the of a the quality of between bridge longed vibration, Adventures —because monic coordination it app ?>l Vidlm ecllular fonn statement re- about ea Questions used, its resonance, sound-post. This a month to H "0myr Intended It! Violoncellist conditions and "pi^ Originally structural that vital and this tion and other several qualities in also applies will fers to to so ( Continued, from Page 607) to evaluate with that are impossible quality of the wood Theoretically, a delightf part: the sound- be collected at New York on my always bring about a density, the width and be set up at a % every yiolon- respect to its certain -Answered tsy ROBERT America. Conse- uncertaintyUIlGCJ. taniuj in ~ tWckneai but BRAINE eventual return to ment of thickness of the bridge feet, experimentation*!! thought The same workman quently, I bought everything' cello or violin. manner in which the this position varies be, will at its top, the t«T skilled though it No questions will to while. . be be worth ship, highly into the upper extent and is onlv uljh unless accompanied strings are notched and address the Alt. J, by the full name sort of in- “tenniiiau of q . O ily initials, or The more I pursued the subject of rarely produce the same contained trial pseudonym given, will be published. They edge and the weight of and error. Lik,,, I became; with respect to tone. violoncellos the crazier strument than ten plies iaj. not wood. A weight of more to responsiveness and, in company with another army look alike, but they will a may violoncello bridge will strument, which Finding the Right String grams for a does not Violin Study.” This book has suggestions on officer whose own particular demen- sound alike. L. K. T.—Violin students, especially thus muting the tone. the bow in a stir those the vibrato by many eminent violinists, and points be too heavy, '::s studying in the first tia was photographic, I frequently of the interesting fashion, few years, as a rule pay has six illustrations the “Vibrato One of bridge- I something fe on Gym- dissection By cutting up dozens wrong that scant attention to stringing their violins with nastique”. visited a shop in Brussels owned by brought out by my ruthless needs- strings learned that a thick upper edge, of the proper size. Many such pupils Always a Belgian for of its contained have £K‘ are possessed of who seme years had was that alteration the idea that strings are of The Ivlotz Accurate evenly . iruments Family bouts with the strings well and usually are exactly the same diameter. The fact of worked in the employ of a famous air space
patriotic motive, an works. "Esmeralda" , . «®underlying m case, ultimate good results health >„ plot centered u^n *1 Adaptation must de- h.s life by uncertain a Uc _ ental pend of ' Instrum on the thoroughness Sefn'STtkblelounder M' and care Beautiful Nationalist become aDout. "*»?*?* tjlcuue. ifOUfl GU&UU and members of Bond SING these Russian school of the .. ~ — *-*— given to these first Nationalistic evil wizard, various seemi no injustice Aptitude Tests few “lessons.” an to fcaj®’ amd Usually, Compositions with Band Accompaniment. borders on the^mir^- hero to re- if given at all, these Composers SJSSSin the from Page 602) pre- ^ J ten- tinned li mi phenomenal gift for to the dnal (Co* nary endeavors are too hurried ( from Page 590) uious. A brii'e ieaiing [" bit It is at this Continued and Per-P cover Wa students. jmxG (including English audience was invention. His first These classes should meet , guages dln The su 'cess studies the student’s at least (a famous his ^ poem “Stenka Razin" broadened "Russian the three BAND undoub tedly J^appy ified, and performance of poiD periods—of not less SindOPe, mySt his odT muscle strength, and than thirty brigand whose exploits are known to travels m Italy Roussalka." Uth lips, mental horizon . But JJ » vartually a fall- based * After a few minutes each—depending, again, Ludmd ula ^ upw, iJ" ualifications. upon /or PEP and PATRIOTIC MEETINGS, BOOK he employed with and POe most Russians) where „ contact only of by John Paul Junes him in , 1the music Pushkin—in • the size of the class and ht 1]v which thTL ‘ it is advis- special cir- FOOTBALL, BASKETBALL, Etc. ure exercise, • Well-known School end Volga Boatman’s Song to give the ac- ***££“* f this the added C The Most Interesting Collection Choruses elong with opera, and WBS infinitely her seducUon by cumstances. College a yZnT’ about the class, meny Original pieces with move quickly for School Bands Ever Offered o, of hit dro.o, cstchy words. quaintance that «. .£,**2beco stl individually on Ordinarily, the first class inHfSfSS;the ballet “Raymonda,” “The Sea Berim.ma^ ®esa*at l lh student period in (, spent five months overture, sprite. Lured teStl He conciseness of the to the edge It will be quite concludes with the “putter” Bands sons,” and others, although leaning theoiy The of the to “putter.” exercise, For Junior or Senior School rapid survey of musical theme." pond by mi) WsabmhiIitv ing a Italianate "second their child, y some students collectively and individually. the conservative type of despite its also a find that The sec- toward Siegfried Dehn, a scanty prep- u, o CONTENTS under — o - .. of the harmony. Which sprite, the prince of ond session concludes CARRY ON the Na- t originality meets hb to performance with (Vocal March) CARRY ON, AMERICA, Delibes, rather than toward tas the l! flexible in everyone PEP— the arduous 11 quite By H. O’REILLY CLINT . aration for and the are By MARION MOORE hint to Borodin hands of the with words that fit Rimsky- d many a miller »hn i, others have the having had the opportunity to A thrilling, patriotic melody tionalistic vein outlined by i^ and “buzz,” This band arrangement is in the correct key for use ultimately dedicated - exercise, these strenous times. In correct key to be used with which he furthermore come insane fte with chorus arrangements. Unison, S. A. and T. T. B. chorus T. Korsakoff and continued by Stravin- Rimsky_ Korsakoffj and since the doing it. both individually and collectively. A. Choral arrangement, also available for tech delft? difficulty in If Published by /. A. Parks Co., York, Neb. self, but giving him a certain latest the use of the whole daughter. The biological the class is Price 15c Per Copy sky. As he matured, Glazunoff became could foreshadowed inconshk makes a note of too large, an added sec- MARCH PATRIOT self-reliance on which he instructor White nical often in- cies of the story if the HIGH SCHOOL CHEER SONG “Yankee Doodle.” “America.” “Dixie,” “Red, more and more conservative and scale, the telling and did not easily, tion is recommended rather almost every program. wWle m tone bother can “putter” than By ALICE LARRY WOODCOCK and Blue." For use on even ti students and did build But ( L found his best medium of expression use q{ the orchestra made audience any more , rushing over the This band arrangement is in the- correct key for use SWINGING STICKS g ni than towards classification important phases of with the unison chorus. Italy he had 1 has a start By JOHN PAUL JONES Published by Theo. Presser Co., Philadelphia. Pa. applause in the classical forms (seven sym- Glinka's artistic progre. ) Rlnuky-Korsakoff’s "Snow at least an the class problems. At the end of the A drum solo. It always brings tremendous to;, He has Price 15c Per Copy audience and makes a hit with the band U tbe students. from the phonies and a violin concerto) . While musicians. The Persian hU"8adko." With second, “buzz” definite by his intelligent the rise‘to students can be as- or session, the instruc- BOOSTING THE OLD HIGH SCHOOL BLUE TROMBONE ^ade fai[ L of which never ceasing to be a Russian com- Ratmir's Song and more es- of Chaliapin, his By VINCENT ENGLEDINCER By HAROLD DEAN Chorus, impersonation family; while a tor will have recorded the names of novelty. For this number, bring the Pushkin> Gogol and the brass This band arrangement is in the correct key for use A trombone d P with Led to band or have them stand poser, he moved farther and farther ™^ Lea- the with chorus, S.A.T.B. arrangement. trombones to the front of the the Eastern Russian old miller made ambi - pecially "The to perform this those students showing adaptation if the band is seated. had sll^ilar Rota- inability Published by I. A. Parks Co.. York. Neb. ^ who student’s the Nationalists. Price Per away from showed the way to .several later a popular up, ra for instruments of the 15c Copy THREE TRUMPETERS tions in regard to Russian Nationalis- ffinka properly is not a definite brass family. Scriabine (1872-1915) was even addition all exercise FOOTBALL SONG By JOHN PAUL JONES Zhukov- Russian Nationalists. In Diirgomyzruky's last work, to play a By this time there will be a number The three trumpeters should step to the front upon tic literature. It was flnafinally left un- his being unable By EDWIN VAILE McINTYRE foot- more limited in his esthetic viewpoint proof of introduction for the best effect. Very effective for compost! This band arrangement is in the correct key for use trumpets in front. ^ subject for Nationalistic Russian finished at his death, an is at any of students showing little or no apti- ball field in formation, with sky who suggested the opera, ‘Tut instrument, there with the chorus S.A.T.B. arrangement. than the Nationalists. Educated at trass followed his ex Published by the Willis Music Co., Cincinnati, Ohio ALMA MATER f School We Lore) first Life for the opera after Glinka Stone Guest," set to Pushkin’s of prospective tude for these instruments. The next Glinka’s opera “A poet an indication Price 15c Per Copy Suitable for use by any school or college. Moscow, a skillful pianist, his earth- subjects cither event utilized by the ample by using m was composed in the light step will be that of testing the class, Czar” which had been - of hisfirm players. • in "SING-O-PEP BAND BOOK" works were redolent of Chopin. Later . • ... trass Other Attractive Compositions Contained s 0 11 , conviction that Italian composer,, Ca-j^^^mne flten the lyric element exercise is not both as an ensemble and individually, ROLL ON TO VICTORY BANNERS HIGH . . in “putter” he professed great enthusiasm for The first PAUL JONES of the sonata torn. *.1 By JOHN PAUL JONES By JOHN years earlier. Surmounting every Also, Glinka’s use drxtna-rue of with cornet mouthpieces. Each stud- theosophy and strove to embody its of lip vibration necessary to overture choruses for women the type DOWN THAT LINE FIGHT, FIGHT, FIGHT obstacle, including the hostility of mtlnulty The music consisted ent should have an opportunity to By JOHN PAUL JONES By JOHN PAUL JONES al- a brass instrument, tenets in his works (“Third Sym- the playing of his wife toward her husband’s musi- voices and his transparent tri .ilim nt most entirely of recitative vibrate with the mouthpiece. TRIUMPHANT TEAM SWING ALONG with brief would be that of phony, The Divine Poem,” “Poem of aid the next step By LUAP SENOJ By LUAP SENOJ cal career, the indifference and even of the orchestra were Imitated by interludes by the orchestra. The instructor should be sure to Ecstasy,” “Prometheus”) . He culti- Almost beginning an actual lip-vibration. INSTRUMENTATION 3rd and 4th 3rd Trombone T. 1 active intrigues of many of his successors. Ob Piccolo . Oboe Eb Baritone Eb on the part the ignorant of Wagner's theories, Dai advise the student to avoid pressure, Alto Horns 'Bb Bass' vated an original harmonic scheme, exercise would be conducted by . C Flute This 1st Bb Cornet - 1st Trombone B, C. Baritone T C. Eb Clarinet . Soprano Saxophone Glinka was also a source Inspira- Baritone opera management, Glinka achieved of gomyzhsky insist relaxed, 2nd Trombone B. C. B. C. the chief feature of which was wished—ss did his great as to place and to upon a easy 1st Bb Clarinet Eb 1st Alto asking the class a whole Saxophone 2nd Bb Cornet 2nd Bb Clarinet 3rd Trombone B. C, signal tion in his orchestral pieces. best 3rd Bb Cornet Drums of effect. It a success with this opera, in The contemporary to stress manner of “buzzing.” It will be found 3rd 3b Clarinet monotony . resembled a — the Alto 1st a I drama 1st Eb Horn 2nd the lips in a position slightly touch- Saxophone Violin Alto Clarinet Trombone T. Bb Tonor Saxophone 2nd Eb Alto Horn C. eluding both gift of these, “La Kamarinskaya." Bats Clarinet vocabulary of a limited number of a royal and an a fan- In opera by means of a heightened that some students, who were unable ing each other, and in the manner Band and Violin Parts 35c each. Piano Part. 60c words used again and again. appointment as conductor of The tasy on two Russian folk tune,, What- declamation. "I wish the note to I* whistling to “buzz” before using the mouth- — Cornet (Conducior; Part, Mailed Cpon Request. of a pucker, or a sort of FREE Complete ever one may think of the Imperial Chapel by the Czar. The highly praised by Tschatkow.sky .r ultimate expressive of the word," oft piece, are able to produce a sat- was his position. The breath is then blown now value of Scriabine’s it is patriotic spirit of the new opera “a little masterpiece," Incited all Jenkins Music Company Kansas City, Mo. music, obvi- made Na- ri-jH-nted_ statement. reason, vibration and should be For this between the lips, producing a vibra- isfactory ous that it has nothing in Glinka, in particular, the idol of tionalists to compose common the orchestral Darnomyxl'.xky exercised adirechiid considered as prospective brass tion and a resultant sound very sim- with that of the Nationalists. younger generation. To obtain works based on new Russian theme powerful Influence 0 Mussorgsky players. ilar to the buzzing of a bee. The Similarly, Rachmaninoff (1873—) singers for The Imperial Choir, Glinka’s journey to Spain in 1844 who a n,. r .1 WM. S. HAYNES COMPANY “buzz” exercise, it must be realized, is Other factors involved in adapta- —world famed as a pianist and as Glinka traveled far afield, and inci- convinced him that its folk song was experiment. Marriage” ij Distinction “The far more intricate than the “putter" tion to brass playing include an even- Flutes of composer of piano concertos, sym- dentally came in contact with the also felicitous musical . material a.x ,,; ,,, - . . i u> i- rporateDsi- o„ K exercise. There are many teaching ness of the teeth, and a certain STERLING SILVER—GOLD—PLATINUM phonies, choral works and “Rhap- folk songs of the Caucasus and other shown in “La Jota Aragonesa" and gomyzhsky’* viewpoint in Ms on technics face mus- eastern which must be observed in texture of lip and type of Catalog on request sody on a Theme of Paganini,” used Russian provinces. “Souvenirs of a Night in Madrid masterpiece. "Boris QodunoJ.” h® the proper performance of this exer- cles. Usually the instructor must previously by Liszt and Brahms—is Glinka had the natural impulse to Clear in form, effective 108 Massachusetts Avenue, Boston, Mass. in thematic similarly Rimsky- Korsakoff was cise. Many assigning cornet to those stud- an unquenchable admirer of Tschai- continue his success as an manipulation teachers permit the stud- avoid opera com- and colorlstic >n <>r- tempted in his one act ents to place their lips firmly ents having short upper or lower kowsky. Educated at Moscow, living poser. His choice fell upon a fan- chestral style, these too pieces ' were the > Mozart and Salieri" also on a p together. decided for many years in Dresden and tastic and often obscure ancestors This is a bad start, be- teeth, also those who have a Diplomas, Certificates of Awards, Medals and poem by of Rimsky-Kor.-.ikoff’s 1- bi first by Pushkin ) , for he cause a too or whose lip muscles TO PLAY Other Requisites for Awarding Pupils Switzerland and now in the United Pushkin, “Russian and Ludmilla.” liant "Spanish Caprice"" firm position of the lips underslung jaw, declamatory manufacturer an- Completing Courses in Music States, he is a follower of Pushkin was the recitatives In the causes inflexibility, and through the are weak. The rugged, heavy lip, W World's largest Tschaikow- willing to aid in pre- There is scarcelv nounces sensational improvement in Band a Rushan com- orches- patented VOCABELL sky. This statement Paring manner, and proceeded to the tightening of jaw, long, even teeth, and suf- Instruments. New THEODORE PRESSER CO. serves to place the text, but his tragic poser, the lips a strain and square revolutionizes tone effects. Easier to play. death Nationalistic ’ Chestnut St. Phila., Pa. or not who d - , #t , n _*** with these new 1712-14 him as far as esthetic a duel ’ra- part Mterward. Dargomj«/s rigidity occur the lip” to provide a You'll develop talent fast principles are m forced Glinka to seek not in the muscles of the ficient “red of Choice of world’s greatest artists. other show in his music an rl Conns. concerned. m Hie 8t one Guest was throat See your dealer or write today for FREE Whatever his sentiments collaborators. Several comped and chin. Another common cushion, usually indicate the em- payment of these scious admiration Trii^ tZ' BOOK and home trial, easy toward the Nationalists, labored ' h Cr Cm. orchestrated Hm* tfflk at characteristics offer. Please mention instrument. his practice to satisfy Glinka, with unfor- Glinka “! “ * this stage is to allow the bouchure and facial lacked in sJecTflr 1 C. G. CONN, Ltd., 913 CONN BLDG. r\o you take advantage of the many has been along ^ technlcal by te d” more conservative tunate results as far Korsakoff, and performed p* of the lips to be too conducive to good brass playing. Elkhart, Indiana as dramatic training he more th pursed out excellent merchandising oppor- and electic lines. UP by subscription. When the unusually heavy lips, lips are In the proper Those having tunities which ETUDE Advertising ' There is inst * nct i v g»tS no infallible prescription “Russian” was performed P Dargomy/: up are Position, the average “red,” are in 1842 it feeling for clear “red” of the lip is turned with more than Columns offer you? for recognizing Russian would riting and a for « music, but be difficult to admired by Russians r. Ttle lips, trombone, baritone, and say which gift . although prospective was for t only touch- certain traits are so more C tment of ears lD persistent as to astounded, Glinka graphic humor, but to Western S each other, Naturally, in transfer- or his first orchestra * HlVe™ f f, should be puckered tuba players. constitute a guide ‘°nS B« serves as the trial instrument for toward recogni- night audience. For h,s prac" less rtzuificant Yet from group to of the brass family. (Because of their “A Life for the See and hifiteK f they seem f*® the teeth. The lips do not ring students from a cornet Uon First, the virtue of use of folk song or Czar,” with its 1BrUy forever nge size in this grade, they would determination woodwind adapta- undercurrent of stood M”.*? likely that their declamatory their position while the one of the other brass instrument age and pa- before lMer' ' breath melodies imitating Nati rea: of the folk song tnotic sentiment, °nalist corn- favorable em “ be able to perform upon tion. The problem physical adapta- contained a suffi- posers were not without a hilown the instructor must consider not as yet style. as mrJN°dels .l between them, and groups, Second, the use cient and les tion for woodwind are of “modal” proportion of sources of In- the gw e larger brass instruments.) instruments the familHr of a modification to acquire beautif &11should admit - flat. The which n.hot Phonin and a perfectnprf^t ,u °f held his hand ~This £is wnh k shadimfr Piano Accohdion or not Chopin Of the time. The showing the first Let your time players a ^ Chopin’s Unusual cast of his hand, meant when he said. have definitely bent a and alway- nature in seeking joint of the thumb act as conductor to ST** and about hand power to Teaching Methods the other fingers curved, each Anger ? a keep time.” o- cushion - with the trary. each tot ( Continued from Page 598) touch the keys finger to pomt to should Choosing An Accordion Career the allowed to proceed to the nugex,finger, seems to of Methods" appropriate pan hand was the tipOp or»I me f- The "Method asden question of touch is thumb has more difficult scales, to arpeggio pas- the contrary. The three etudes for the the greaJSf^w legato, which Chopin wrote Btj Pietro 2)e sages, in which even very wide inter- closely akin to that of by the thickest finger "Method of Methods and th» ^ very sou_ o so-called OL it. the started vals are stretched as they occur, seems to have been are with- Then come, ,he u, What is SoaqisL lOooquL? Is it new or old—Who Streicher Moscheles and Fetis. These llt J, without effort, and even without lift- playing. Mme. other playing Chopin’s found extremity f both and Classical musicians enjoy to number and are to be 0 the haTT Why do swing pains opus ” ' As tQ ing the fingers very high. I know by writes: “He took definite out middle finger VACATION period Told ElVera Collins music. “Twenty-four is the main SUMMER it . . . What influence will it have on modern legato and in the appendix of his ^HE experience that by this means one teach his pupils to play the hand so rapidly that it is 10 and Op. 25. W e are and 1 passed STYLES" fyouJltU arrives at an even and sure touch.” cantabile. His severest Etudes, Op. uST" f has be fully prepared in "BOOGIE WOOGIE PIANO how to play to realize the time every branch of Price $LOO M. Czartoryska Chopin here i difficult VOUR MUSIC DEALER OR DIRECT- “He (or she) cannot indebted to Princess J* refe accordion ORDER FROM criticism was: the old method make plans for winter playing before he can be FORSTER MUSIC PUBLISHER, INC., 216 SOOTH WABASH AVE., CHICAGO Technical Materials following translation of a of fingering T/ drived to play two notes legato.” for the considered competent to teach. masters the thumb was indicated study. He GET YOUR COPY NOW! “Chopin made all his pupils work found in the ircordion is very delicate quotation manuscript & There a and the other asked to devote an must be a good musician in addition at the second volume of dementi’s effects, which she re- fingers number t have been concerned with the free rhythm posthumous to being M-cuthely—one. J students of the ’teen age a good accordionist. He must ‘Preludes and Exercises,’ especially sis’ two. three l to rubato. This latitude ceived from Chopin’s and !e known as tempo ft, their accordion not be so interested in the perform- the first lence n our notation combining exercise in A-flat. Every employed “It must be well understood that the 1 are in time had already been aC cur- ance of music that THE MUSIC SHOW toneless or hard note to be re- ead: regular high school he neglects to THE GREATEST HIT OF had his later works. He there is here no question of musical 1 with a . in by Beethoven classes of study its theory the SUPER peated and was pointed out severely. second.” 1 There are two and works of If you live further 97 style, but simply of tech- i comes the ium. rubato in the “Trio, Op. feeling or thiic ’V indicates the great 'iACME. To complete his distress, at very ( fourth the first consisting of composers. All of this than convenient the as I cail notation). As -* students, Sole New York and and the “Sonata, Op. 101.” Mendels- nical execution-mechanism, toil Philadelphia Agents outset, the pupil met with an arpeg- Siamese the accordion as a necessary preparation for a teaching traveling distance of this mechanism I middle who study PIETRO DEIRO ACCORDION sohn related that Mme. Ertmann, to it. The study finga M gio are not career can be done while our HEADQUARTERS which caused many tears: to bound by one nd th same accomplishment and a student from any of whom the “Sonata” was dedicated, divide into three parts. To learn ligament musical some lesson expense. is going through high school, pro- two branches this Ex. 5 pla yers try to orcc for time or used to play it in this spirit. Liszt has play the notes with both hands, ut it withal limited Acme Accordion Co., Inc. their mil :ht to becoi that what they do not viding the complete accordion course will interest you . left a charming description of one key’s distance from one another; le independent Hey know A thins can be learned the is charted out and programmed at compiled two con- Chopin’s rubato: “In his playing, the distant, that is to say, a tone or half M most one year has lifeij i sam advice to such stu- the beginning of the first high school *Pxatta- cise and easily under- “It had to be played crescendo, great artist rendered enchantingly tone. This includes the diatonic and TT ce. then, Our only ®nj Mi stood correspondence courses that will ITALIAN ACCORDIONS semester. prices. different aim soun recommend a comprehen- It should be distributed HAND MADE. Very best. Lowest rapidly, but not abruptly. It this that sort of emotional trepidation, scales and the trills. tl. jffit is to Send was chromatic ii nts bring into your very home his popular Direct from Factory Representative. there ari includes through the ensuing semesters so your name and address for FREE catalog. passage which brought down upon timid or breathless, which seizes the abstract method for accordion course which system of instruction. Write today for ITALIAN & SOPRANI ACC. CO. “As no pursu- 5* 323 W. POLK ST.DgPT. EIVI CH 1C AGO. ILL. to uull* as well. that the practice and study program full information. the pupil a somewhat too hasty ex- heart when one believes oneself to be study exists, all tees; and thorough musical education ing that one can do, t a clamation in other second group will be balanced. Of course the best PIETRO DEIRO ACCORDION HEADQUARTERS from the master, who in the neighborhood of supernatural in order to play the notes at : art of to The problem of the a half 46 GREENWICH AVE., New York, N. Y. is essential. bounded in his chair, crying: ‘What beings ... He always made the melody Ins.” is more urgent, for they of instruction available 1237 West Girard Ave., Phila.. Penna. tone or whole tone distance, will be ai students is that? Was it a dog that barked undulate, like a light boat borne While Chopin's in both time and Here are a few requisites for teach- on to employ combinations or fractions teaching ® must economize just now?’ This luckless study had the bosom of a mighty billow; or else methodical1, leisure- ing. Unlimited patience is one of the of scales, he did not teach cat- money. They cannot proceed or to practice trills. It Is a Masterpieces of Piano Music to be worked at in every it he manner; would give it a wavering motion, and-drled method.n It is evident every moment devoted to first essentials. The second is the gift unnecessary to begin study of tin- that ly, since has been termed the library of Piano was played first slow, even delicate like an aerial apparition, suddenly he placed srgreatest every cent spent on of imparting knowledge to others. scales with that of C. which Is the emphasis on toil practice and volume. The more than and light, Music in one without being weak. Next, arising in this tangible and palpable beauty, lute Igent results. Many fine musicians know their sub- con- easiest to read, but the most difficult phrasing, truth- lessons must bring tangible 200 selections by great composers he made them work at dementi’s world. In his writings, he indicates to fulness and ject but cannot instruct. tained in its 536 pages, comprise 53 play, as it lacks the support af- warmth o! expression. These students ask us how they can ‘Gradus ad Parnassum’ and lastly at this manner which gave such a pecu- roaming dispo- Classic, 75 Modern, 38 Light, 25 Sacred forded by the He was ne t dryly didactic « plan their accordion course in order Those who have a ” black notes. It will be Compositions. This vol- Bach’s ‘Well Tempered Clavichord.’ liar stamp to his virtuosity, in and 29 Operatic the well arbitrary. poetic, resourceful and sition should not consider a teaching to play, first of all. the Hi to prepare, when their high school of constant enjoy- first scale of ume is truly a source place by the words ‘tempo ru- will be content G-flat, which places the Inspired sou»ul could not impose* years are over, to earn a living with career, for they not ment and entertainment to the pianist Chopin's Teaching Repertory bato’; stolen, hand regu- broken time, at once it is poor delights in good music. larly, utilizing the and the sanme sequence of prescrip- te accordion. to stay in one place, and who Mikuli says that Chopin assigned supple, abrupt long fingers for and languishing, quiv- For sale at your favorite music counter or sent the black keys. tions upon aail pupils, for he realized Our answer to policy to get a school well established the following this question can be of price. Money re- compositions, carefully ering- like a flame beneath the breath POSTPAID upon receipt “The Student the necesii Ity of presenting precep: summed in then change locations. funded if volume does not meet with your ap- graded, to his pupils; dementi “Con- which will arrive progres- up the one word “special- and stirs it, like a cornfield rippling MUSIC l proval (NOT SOLD IN CANADA). Illustrated sively ile individual at- ize.” not relinquish his TOO certos and Sonatas,” at the scale of C. using and examj to each This is the age of specialization, A teacher need folder with contents cheerfully sent upon works by Mo- under the soft pressure of the each whim time according request. zart, one linger less cording to his needs and and it can be applied accordion career as a soloist, because occasional Bach, Handel, Scarlatti, Dussek, of a capricious gust. on the black to I WORLD'S LARGEST COUKTION keys. study. advertising THE CO., INC. Field, Hummel, Ries, Beethoven, “But The trill should be played with to his pow rrs of absorption. Mj. Please note carefully that we engagements are good MUMIL PUBLISHING this expression, which OF STANDARD PIANO MUSIC CONTAINING 1140 Broadway, New York, N. Y. ex- three isolation teach- j Weber, Moscheles, fingers, or with he did not teach technic in recommend specialized study only and are essential in keeping a MORE THAN TMHIUNDKH) CLASSIC Mendelssohn and plained nothing to those four as an Enclosed find $ for which send post- who knew, exercise. AND SADRS) (FMTUnONS Piano Music. Hiller. Chopin held that The chromatic —teckanlc as a thing apart fm vdere time and finances not per- er’s playing up to standard. However, i MfKERHOPERATIC paid Masterpieces of dementi’s meant nothing to scales should do Paper Cloth those who did ( ) ( ) not. be touch “Gradus ad practiced with music-making. He did teach dt a general advocate the policy of Parnassum,” Bach’s Later on, Chopin gave up the thumb the musical education. We we do not adding this forefinger wy Name pianoforte “Fugues” and Hummel’s indication and the middle and tone- production as the Meve that students can thus pre- some teachers who are more inter- to his music, being con- finger compositions also with technic, career were the key to piano vinced that the little finger, the foundation of adequate TO themselves to make some par- ested in their personal playing Street- for those who under- and third playing, and he considered a training- stood middle fingers. meaning control of a differentiated tadar branch progress of their stu- it, it was impossible of accordion playing than in the £1^ ^ State in not to Paper Edition $2.00 Cloth Edition $3.00 E 9-41 these a fit preparation for his In thirds, and speeds. meir enter the — — own divine this rule of irregularity as in sixths and oc- range of dynamics vocation, and when they have dents. Unless one can works. He was particularly So all taves, fond of his use always the wte leisure for the love of the compositions ought to be nlaved same fingers and more money to teaching field Hummel and his style. He liked Words it, with this kind of were born of *P*d for instruction work, it is best not to consider Beethoven accentual and pro- sounds Lavish they may con- less. The first movement sodic sounds existed New and ®ue for re- lilt, this ‘morbidezza,’ before words their studies for those who teach merely of the “Moonlight the se- A word toward a complete Sonata,’’ however, cret of 11 heart which it was hard modiflca “°n of education. The setting of a muneration never have their was one of his favorites. to grasp SoundT^Sounds sound. Films when one had are used to Musical is unfair to their not heard it in make music lust goal W>11 bring more direct in the work; which Mme. Dubois’ repertory included person as words „ „ Tempo rubato, then, are used Page 5M) Sllts tha the following: is a free pm to fo™ a im >Continued from n aimless study. students. Hummel, Rondo Bril- sody. flexible s ThoU8ht profes- as the rhythms ls Waiting^ Continuing with Teaching provides a fine liant, Op. 98, La Bella Capricciosa and of life sT„d, Vp A tittle Closer, and the thought of thought, and together la zed good musi- Op. 55, not at all a the two study, we find an sion for those who are “Sonata in F-sharp minor, pression sup! The Church; and that of the beat. It waionist at their best when Op. 81,” “Concertos in would also be sing Waif Till The Sun Shines, m may chouse as his voca- cians but are not A-minor and n error to are make it insipid, ITT performs eaching the public. There B-minor” and the Septett, Op. instead The Teagarden band V . orchestra playing, playing before 73; of giving it its sounds is “J Field, living character ” music n aDslra r Work accordionists who love music, several concertos ct sound Georgia Camp MeM - Popular entertaining many and Rag and . , noc- Mme. Streicher does not voou «M appear- . writes: radio and turnes; Beethoven, °" e film. I** work. whose personality concertos, “Son- “Chonin does “ *°rd In preparing for the , but insisted upon strict not atas Op. rhythm, mtkeTnv' deciding conducive to the concert 27, No. 2; Opus 26 and Opus hated production ^ thc Schertzinger desired some to specialize on ance are not any!? ginS the ta 57”; Weber, “Sonatas in time and - oPmtT'T lack e fore entertainment work. C and A-flat mis are effect the trombone, going careers it platform or piacedp!!cednTTforubato, required. on be would major”; Schubert, as much as to teach- laendler and he did an r bell from his m « tlle young One distinct advantage exaggerated a l0g garden took the t, accordionist waltzes, ritardando.” °US t0 taki regular and “Divertissement a 1’ hon- George Ma- "e breath ordinary 6 aI1 that the hours are tlnas is even more singing 'h-. bone and held an phases ° { each and ing is groise, explicit- ‘-rhn use l has gone Op. 54”; Mendelssohn, to C e after one “Con- often Pm aperture, ‘"to income steady insisted glass over the indi consideration his the upon viri , certo No. 1 in G-minor,” the nh« steps of get- “Songs o< strict the ne Uallty in place upper part of the. qualiflcations through the preliminary time powe? of the hrtirm! for some without Words”; S^thfS?J Schertz-08 f of con- and Liszt, La Tar- music 10tes ? a wh*‘ vocation established. The classes . scale quite - which when it is nio,. The effect was time it is a waste of ting antelle de Bossin. formed the tn from repare teachers increase inent, simuitanecmsly^wfth^ equally, as 1 and inger wanted. for a career which scientious It is a controversial point regards dikht n f, whether °' freedom timPV**In a to 6 >" mechanism good Don’t forget to send desired l a ter. >e the the aim i? ^ of accor- muses! m £insider the subject covers 638 everything with for th? outstanding the career of teach- This° Natur on Page 645) the first six months of 1M1- ally the teacher must (Continued 639 THE Member mi ^ • ; for they w score composed :ve ; were “““J" and bizarre situations other surroundings. He re- binations have in or?anj2 WMSiWM day. In J)j the depeml,on evei 1 of the everywhere the order of simply: It all The Leader homogeneous pE very . a form and a picture the music was sh^r^: FRETTEII IXSTlUMEM'i an organic the kind of * lhe d.fflcult .0 acWe^ first Picture, for as r Famous Six s.y.e were more composed for. From my kill % forth “ a I e.. that For Milhaud, it came Bovary,’ for instance, ui i Page 589) Madame Continued from mold and em- differer seemingly inevitable of little ptoOM of in indents literature; and the tracted a group to as in music and “mmute operas,^ an,, bodiment. His three four minutes duration and iratruc AMERICAN greatest confusion and uncertainty three and VeaneTet1 LAD ‘ Carcassi Guitar “L’Enlevement d’Europe, for piano under the ion ^ The Method seemed to be the order of the day, Delivrance published them d’Ariane” and “La Bovary The Milhaud managed to emerge with a don of ‘L’Album de Mme. *’.*ho about eight title carefufl, each taking Caval- jot expression, confidence de Thesee”— later pictures. ' ty C.Js\ricl directness of Then one of my Procedurej all their jc CONSERVATORY perform—are, for of personal style which minutes to written in 1939. which U the problem form and a cade d ’Amour,’ n of cort structure, the most nat- experimental taking por s as - % every are the true evidences of three parts well j in age woiks. is divided into -orrect early part of the tory chapter ural, genuine and complete will ince the on the rudiments of an individual and creative talent. place in the 17th, 19th and 20th cen- sol ve itself The wholly rounded Psychol^ nineteenth century, when the music, explains proper e^MUSIC these short but position Milhaud’s second visit to the United In has the elements of a suite for problerri* which of vocal line is upper- turies, became known to every- holding the instrument, season of 1922-23, little dramas, the with be S ouitar gives explicit CHICAGO 56th SEASON States, during the five wind instruments. But the most ginning the orchestra, which is musical instrument worthy instruction in the matter of helped influence his direction toward most, and opinion, in one as a fingering important thing in my lwn‘ *' h to a secondary position, is ot i«„. study, numerous “methods” for left and right hand, jazz, stirring more on the con- relegated I kill serious presents Founded in 1886 by then for the movies, is to create a met 7 wish 0 of John J. Hattstaedt, today The American Conserva- sensibility for writing W, usually!;. by most of the scales, used with unerring # th«»i been compiled chords, preludes and tory of Music is outstanding among institutions for music education in tinent than in this country as far as imperceptibly to solv have simple score which will add lile this effect. The choruses, inf virtuosos and composers for pieces all arranged country. Its graduates are to be found occupying positions of honor serious music was concerned. An economy and v ®« neat progressively. The of a picture and not at- Inst. efuuy and responsibility Greek manner, the meaning lets the presenting to the second in every department of music. earlier impetus had also been pro- used in the ancient fefc. instrument, part gives examples of special to capture for itself the most and u know this whose texture and tempt tot there their ideas of what effects— are expressions is slurred Member the vided by the Negro element so prev- future students notes, legato, stac- of National Association of Schools of Music conspicuous place. One of the great- re 10 ,ke of passion, notwithstanding the mod- tfifctioooij. necessary to become a cato, trills, vibrato, alent in the popular music Brazil studies were grace notes, har- can be paid me ,an Faculty One hundred and thirty Professional and Teaching Engagements Lully and est compliments that choosing artist teachers, with which Milhaud had acquainted ern idiom, recall those of performer. Of all these, monics—followed by practical many of national and in- —Although the management does not proficient studies ut ( ternanonal reputation, including Gluck. upon seeing a picture of mine is to pian- guarantee positions, it has been most himself as thoroughly as he did with approached the consistent in the 4th, 5th, ists : Hemot Levy, Rudolph Al- none have 7th, 9th position and Reuter, successful in assisting students to find but the music, I hardly Wi len Spencer, Edward Collins, the Negro idiom of York’s Har- say, ‘Oh, Kurt remunerative situations in colleges, acad- New popularity of the “method” by Mat- scales in thirds, sixths, octaves Vyameck, Modem Operatic Works music.’ ” and Louise Robyn, Tomford Har- emies, music schools and in concert, noticed the Uiipuouuy, ris, Earl Blair, Mabel Osmer and others lem. Carcassi, an Italian Guitar vir- tenths. The third part is ; opera, radio, orchestra, lyceum and choir teo a collection Voice: Theodore century opera ran its Now teaching at Mills College, of iment Harrison, Charles La- work. On this occasion, happily recalling “Twentieth assignments!, bom in Florence in of short ~Lrge, John Wilcox, Elaine who was pieces in De Sellem ; our tuoso, different grades Violin : John Weicher, his journeys uptown, he said, “There own inevitable course,” Milhaud ex- France s Number One composer may ogram will be Herbert Butler, Tuition is reasonable in keeping with the efe and died in Paris, January 16th, of difficulty further to Scott 1® improve the Willits, Stella Roberts ; Organists : times the be seen taking his place beside De- whole and may be paid in convenient in- I discovered scores of Black Swan plained. “Chamber opera was course of jus, h rank Van Dusen. Edward Eigenschenk in his book, execution ; stallments. Complete particulars given in 1853. Philip J. Bone “The and musical taste of the Theory : Leo records, to natural reaction to Wagner in France bussy and Ravel. As for his America!) pr, Sowerby, John Palmer, catalog which will be mailed on request. which at that time no Irwin Fischer. School Guitar and Mandolin,” speaks of it student. This method was later sup- Music—C. Dissin- one paid any attention, but which to- as well as in Germany. The full students, one knows that they will be ger, Ann Trimingham. “This Volume, ‘Complete plemented Students’ Self Help—The management as follows: by a volume of “Twenty- makes day are considered prizes in a collec- length opera, however, has continued accorded the same sympathy and Accredited Courses are offered in Piano, every endeavor, to assist needy Method for Guitar, op. 59,’ is a five Melodic and Progressive Etudes, Vocal, Violin, Organ, Orchestra and Band students to find part-time employment. tion of early jazz. I brought them to be written. From the beginning of concern which Milhaud formerly gave A Rich Library of Instruments, Public School Music, Chil- Many find work as teachers, accom- scholarly and useful work, in fact Op. 60,” a work containing a great panists or part-time positions working home, studied them and then made the century, there is Debussy’s ‘Pel- to almost every young dren’s Piano Work. Class Piano, Musical French com- Theory, Dramatic Art ^or commercial houses, etc. one of the best, if not the best com- variety of technical exercises de- and Dancing. use of their special effects to suit my leas et Melisande,’ Dukas’ ‘Ariane et poser of to-day, and which by ten. New Master Records pilation of its kind. It has been signed for the development of right Degrees—Bachelor of Music. Bachelor Dormitories—Desirable living and board- own purpose. As everyone knows, my Barbe Bleue,’ Berg’s ‘Wozzeck’ and perament he cannot help of Music Education, Master of Music ing accommodations but give i Pape 629i can be secured at favored with the widest and most hand fingering. and of “Creation du Monde” was written be- ‘Lulu’ and perhaps several others of Master Music Education are con- the Conservatory Dormitories at moder- >uthful violiuls. ferred by authority of the State of Illi- ate rates. Particulars on request, universal circulation of any Guitar Not a great deal is fore Gershwin wrote his Rhapsody near stature. My own known concern- nois and recognized as a guarantee of ‘Christophe Oisy ! preiwely in Blue." flap Method ever published and has en- ing the early career of Carcassi be- accomplishment Fall term begins September 15th. Colombe’ is a two and a half hour Instrument, il Adaptation Less inter®! joyed the distinction of being trans- yond the fact that he studied the That this work is also a little work, and my ‘Maximilien’ is also a For free catalog address John R. Hattstaedt, President In the e«, the Hkf! masterpiece of its kind, besides being full length opera. Recently, with and Aptitude Tests lated, revised, rewritten, condensed, guitar in his youth and, by his con- Movent w by Brahe a most compelling example of serious Sauguet’s ‘Chartreuse de augmented and mutilated by suc- centrated efforts and natural musi- 576 Kimball Hall, Chicago, 111. Parme. the < Continued_ 1 from Page 637 from a “Son# Win and Piano symphonic jazz, was not of world is ceeding Guitarists of every nation- cal endowments, acquired ex- course for richer one more masterpiece, must be observed most the fingers, espe- which Schu Dietrich, ail Milhaud to say. Composed in 1923, I believe. This is not ality.” traordinary skill upon his chosen a small work, cially in regard to length, thickness, Brahms wroi lively for Joa- before other composers self-con- but a four hour The original edition, with instrument. After en- opera. I myself, agility, dexterity. English establishing an These factors are chim in 1853 Bn , at twenty, i sciously took to the utilization of fascinated and delighted, and French text, bears this interest- viable as in have heard important to reputation a performer the woodwind not have the fi or spontaneity such an idiom, this ballet, to a text it seven times.” beginner ing introduction OBERLIN Conservatory The students by the author; “The his native land, he toured Germany, should eved, and tbi A Division of Of)er lint College. Thorough instruction in all by Blaise Cendrars, based be given a which h nattering on African When “Christophe reception un- of music. Colomb,” Mil- clarinet mouthpiece given to my where he was received with branches 46 specialist teachers, excellent equipment with scherzo stylistically immature. (200 practice rooms, 23 modern organs, etc.) Degrees : Mus.B., legends of the creation, lends itself haud’s most a satisfac- is works important opera, re- tory reed by professors and distin- bounded enthusiasm. In 1820 he ar- School Mils. B.. A.B. with music major. Delightful college carefully on tit town. Catalog. Frank H. Shaw. Dir., Box 591, Oberlin, Ohio. admirably to this manner of treat- ceived its first adjusted. Perhaps the ,best recording Joished performance at the From the amateurs up to this period, rived in Paris and, two years later, ment. Arriving for his student’s handling the Gera» third visit in Berlin State Opera of the Baroque*”organ in and a long under Erich mouthpiece the experience in teaching made his first appearance in London. New York in December 1926, Kleiber lastr University that Milhaud in the spring Mum um of Harvard tlle of 1930. it guitar having furnished me These cities had been visited previ- “ ition ' told of P control. that his new interest, then cen- created a sensation. embouchure in E Power Biggs has given us is Mch The story of generali™ After useful information, I am in- ously by Ferdinand Sor; and the tered in his experiments in i in dramatic Columbus, as written third session in of Barh’s “Toccata and Fugue teed by Paul Claudel thus to bring this English and French musical public, form. “Lately I group,groi just method before have written several was read as “in the - 18058 '. True.the by a narrator to brass classes. minor” Victor Disc o public. the chorus win bhe r It will facilitate the study recognizing the genius of Carcassi, operas of a very d those tit - condensed nature. assembled before students recording is not free of echo, but the stage The hei . who are ®d give a thorough One of them, ‘Le adapt/ ed knowledge of received him with open arms. Pauvre Matelot’ chorus is here for clarinet, not seem tote again a protagonist . including lines of this music do e instrument (produced as tw Wh° in a concise and sim- Ferdinando Carulli, sometimes by the ater so Opera-Comique in in ancient w111 iss™**not “ ureekGreek be transferee it. HiggsBiggs e dramadrama, exhortine-exhortinghorting, transferredd to greatly affected oyby it. P manner. UNIVERSITY iqo 7 ’ nthor — I have Italian school 1927 and heard in in icm\ , taken great care called the father of the p7 m New York in 1937) protesting,nmtocfm™ rUments »n to® 1 questioning. The6 actlonaction the woodwindwma unduly severe in his approach CHICAGO requires only four family.LL ' 1 each lesson so progressive guitar playing, had been a resi- soloists and takes was . ° ...... J of illustrated by twenty- music as was Weinrich, hence but seven V=h* b ' the pupil, years and by forty minutes. Another is in three leaux in There is little , however ignorant of dent of Paris for some THE SCHOOL OF scenery and with need. P his version is more agreeable. acts, lasts 0 ffistrument and guitar thirty-five ’ will performances minutes and LnThe" screem in deta # t. be interested his concert SomSime^^sed » th e proeedurcs performance aims to present m demands an orchestra of ^n ° be followe the beginning drawn to himself only thir- combination, d in (t to the end of compositions had OSMOPOLITAN the contrast het 1 testing adaDtahiUm have been pla! Music betwe ' ' music as it might teen players (‘LesMalheursd’Orphee,’ the *n to th e string the favor and patronage of the SCHOOL OF two produced thee rn^t and percussion^' accredited courses in Piano, MUSIC offers Voice, most' fascinat- in Bach’s time. La Monnaie Theatre, Brussels, inty a k» H _„. In each Which this time SHIRLEY GANDELL. M.A., Oxford 1926) . 0h t0 Parisians. Up to ins ana CMe ‘ set® ° 0ften tend 40 wealthy Violin, Organ, Public School Music, mystical effec s £,'* * P^edur,^ is a iiscmr University, England, President. i, t , Mikrokosmos’’ “"courage ‘Esther de Carpentras,’ hT„a Bartok s 37th year. Accredited. an opera beginners. Besides the he had written and published more Harmony, and Orchestral Instruments. Offers courses - "*> hundred and fifty in all branches of Music. Certificates, bouffe in ™ of over one two acts, lasts but an hour of the compositions, Confers Degrees of B. M., A. B., and diplomas and degrees. Desirable board- * left hundred a sraa 1 hand which I than three assess ing Sir from accommodations. — progressing Located in down- and a quarter.” piano pieces, ggg eated was a M. M. town musical center. extensivelv, them a method which most techniw »anaJ the exact among E^x E. 306 S. Wabash Ave., Chicago. To the radical composers of the simplest style to the tenement ar- Distinguished faculty including of the right hand has universal favorite. But, with the twenties—in their flight from complex. The composer wrote always the appeared to Carcassi, the fickle Parisians ARTHUR C. BECKER his°#IlS me one of the rival of over-ripe Wagnerian s^stn,^ little works for e expansiveness stir Spar of these e nORTfi sre,t= nt al their alle- SERGEI TARNOWSKY PARK COLLEGE si means to transfer M 1 t0 teachers of ac fl uirin& were ready of the 19th century— be» taken other aswe the earlier dra- off. is a dents. That fnd i! ,,. It waFth^sT^v! asms ss bnlliant star on the guitar MME. MARIA KURENKO E. Clifford ° f ; the new matic forms tbe man y works adjunc execution. From giance to of the 18th centurycenturv commissi .a, v,. It is found them valuable RICHARD ™ quite possib^ attending Carcassi was in the prime CZERWONKY Toren, h ch can si Hjj the application firmament. opera di camera appealed most di- govern - Ih^somJ t piano instruction there Director rnrtr;%tfo e 10d a new style WALTER KNUPFER 11 i or rS andsP amongst my own of life, and he introduced rectly when it ’ r0 pupilj came to the question er doubt. The imagination j SAMUEL A. LIEBERSON outstanding an ®ive modern, melodious, of compos^i^ 1Ch ict»Uj„ assurance that any of music, more opera. With ttoQ be Case a unqucstio"^ f, chamber opera an- heard? ^ deal ^reat the composer are m Trains students for and annia tlrieri u • more ra artistic and The Dept, of Drama oilers a 3-year Course active musical careers in °u who it brilliant, abounding in their other aspect of the neo-classic alS ld ** which witfi , P^ will study chosen field. Progressive faculty. Conserv- direc- written extensively ° the student’s Paid *° the group of pieces atten but f 0r feeliner°K 10n from effects and also of Address Registrar for Bulletin atory occupies own building. Piano, voice, tion, new harmonic devices, th movie abOUt Will ^ginning to end pleasing manner- Milhaud, the s. wishes to What hp Pl„s 1„ir colonota « acDiii r violin, cello, reed and brass instruments, church absWt play Tns,r 1 Publishers impor- and choral music, theory, istic rhythms, ' «f„. Its perfect knowledge of medium difficulty. music education and fantastic tonal corn- uctors ’’ DePAUL UNIVERSITY asked ahoS never assign should prove. Howe ^itar expression. Fall semester begins September cert ii.i his compositions, and 16. lhe tuned him for Room 401, 64 E. Lake Street, Chicago, 111. students seem to us more f Write E. CLIFFORD 640 amp,, d consis artists and of the TOREN, Dir. tlls te of three parts, salons of Parisian 3201 Foster the general lister first Avenue, Chicago, Illinois. ’ w olnning Continued on Page 642) 0l with an introduc- ( the m, 641 ^ . * ). modern Qa ira to deprived Carcassi^adyo- Dr. i-? needed is a Carleton Sprague T that 1 affirmative. Smith, di- r Is3 . * „ j etrontrfh nf the fill natim h unUa- strength oMh. the other guitarists, rector of the music division 'Thus Fate call^or“.IVor^The" - , did some of the theA Lr„door of, 'thethe have Sousa* at wh)ch ^ The star cated' « finger of the year knocking , uttle New York Public Seventy-Fifth Anniversary Will Beethoven this Fate It ni s the Library, and the superstitious Hitler^. para lyzed by theogres_of «*r. Beritas God sounding board, scheduled arranger grotesquely B;ws ‘ffid on the and commenta- Stop Hitler? i#® Most modern gui- tor of the new “Music *« “-STLS bridge. of the Amer- from might cannot 'orufy the spirit 3ar 1/Coi'iiij ^coming military - » hand entirely icas” series to Page 586) Destiny,j ° urVinQP bira o v>athis*w _ ofAtneri'— 1IV the right begin next ( Continued from. £e17P that : Ip month in CHICAGO MUSICAL COLLEGE of people them- In these 0rB democratic if** the i * days, approve. During the Tuesday twen- to exist when. broadcasts Beethoven’s onene hundrednunarea anaand ^ wbpn Na- continue to Dr \irh we also of the hatred was desp ° it from with- has become as ter-three year old symphony is being great • selves choose to destroy much a Wartime the right hand “School of the Air,” gave three RUDOLPH GANZ, President bUcan pan s talks poleon rose to fam fall. ammunition itself, Carcassi heard far more than ever. Hitlerism will battles scales was done with on different aspects of music Colleges and e dedi- in, of in Member of the North Central Association of upris- consul of France, sordid surroundings in the minds of first finger Latin Many of the extraordinary j, Beethoven’s the entire thumb and and North America. The Symphony u,™ otineg Secondary Schools; Institutional member of the National Associ- his “Third • doubt af- There is 1 llte cated . a ings in history have been motivated . his childhood no sense of ® f lower strings, followed Mexican Secretary of State, du iniinciS? ree Ezquiel Napoleon 1 Music. less symbols. The Later, when p .. life. His drunken comes with ^ 011 ation of Schools of by even significant fec ted his entire the consciousnpt of first and second Padilla, and the Mexican Secretary own head, me feezed !*• (bo alternation popular song, t. playing, using alter- man, also gave talks. Organ, Orchestral Instruments, Musicology, composta per fe- in scale —• — -sTnfonla Erolca, inhibition 2has from *52 £ . j,„„ psychological the start finger on all The NBC mrxr. — dun "errandg Pnrobablv the been^ ^til? and second Summer Symphony con- famous artist teachers. of steggiare ll souvenire illtillli. first Faculty of internationally and nationally filled with a gruesome assortment Uir KatroH nf tvrantj* flat# hr m i 3 composed re 01 b have suggested before certs will continue to be heard on of ira is uomo.” (Heroic Symphony, As we STUDENTS. tyrants’ heads. The story Qa Ihrwts^f strings STUDENT AID AVAILABLE TO A NUMBER OF DESERVING a grea Be!f th ^ 1SL? ^ a guitarist should Saturday evenings through Septem- of ^ In this song, to celebrate the memory column, one of blood and horror. genera! plan fre- and through fl ^ unthinkaTS? comprehensive study of all ber. The programs of September 6th FALL SEMESTER OPENS MONDAY, SEPTEMBER 8. l a plan that . fino«n ttj, No. 5 to O minor" used, a ; W «,ij ” methods, etudes and ex- and 13th will be under the direction “he "Symphony different for Free Catalogue; Address the Registrar per aspera a 8 trles^^The) composers of of Roy Shields, Write now during the period fi om as thereby j the great music director of the “Vee, vee, vee, vee,” are now repeated was composed ^ hope,i lises by all to tin ' a *r^ It was first published by hard work n v * cl°ries, in order to become a NBC Chicago studios, and those of in London. Qa ira 1805 to 1808. many f to popular songs 0 music, Hartel in 1809. The “through struggle to vi> The which have already come instrument. As an ex- the 20th and 27th will be conducted CHICAGO MUSICAL COLLEGE is a common French expression Breitkopf and withontfir. the faster of < . Is dlvldi l»g , meaning will or “It will autographed copy of the score, which “Fifth,” therefore, a nge ind^. begin by using the by Fritz Kitzinger, who has pre- Business Manager “That do” ile, you may R. A. Elmquist, Felix Mendels- movements. First Movement^-outer be If the "Victory" motif the first viously been associated as work,” literally, “It will succeed.” It was once owned by in Beetle- method during assistant atcassi STREET, CHICAGO, ILLINOIS is said that Franklin, is the Prussian State Library struggle; Second Movement—repose, ven's great master work “Six Caprices, conductor with Fritz Reiner 64 EAST VAN BUREN Benjamin when sohn, in sheidp. together with his and ,ear in France, was frequently asked what of Berlin, to which the family of the comfort, reassurance; Third powerful ••. rc..R„i.sr Etudes, Otto Klemperer. totaBtg. 26” his “Twenty-five Op and it in struggle; Fourth Move- jan he thought would be the outcome of high minded Felix presented ment—inner propaganda that the Nazis the second year, the “Manhattan Merry-Go-Round,” woi so.” During victory. to In :n Op the American Revolution. He always 1908. It is dedicated to two personal ment—final Endeavor , to trie the “Foden Grande heard on Sunday evening from 9 to Second Book of replied, “Qa ira.” The song is said to friends of Beethoven, Prince Lobko- some fine recordings of this work world xxf illxtstc through fear, hate, reven»e along with 9:30 P.M., EDST, and the “Amer- enwoo and INCORPORATED J Method” is in order, have been born on the very night clearly this genera! plan a.-.,: witz and Count Rasumovsky. It was and see how , - 6 and 29 ican Album of Familiar Music” thJ f “Etudes, Op. 31, 35, it the in October 1789 when the enraged first performed publicly in Vienna at is followed. The writer fcH.s that it to CONSERVATORY OF MUSIC the German p<- ; ... al' partso! Sor. The following heard immediately after, from 9:30 by Ferdinand of Cincinnati and hungry mob of French people in is Division of L indenxcood College the famous Theatre an der Wien a great mistake to regard u.r .. Tl.at u.a-.y of the enlielii- etudes by Giuliani, to 10, are scheduled to continue with prepara- years will call for ALBINO GORNO, Dean SIDNEY C. DURST, Dr. of Studies for Women. Thorough marched to Versailles, in an attempt 1808. Beethoven thirty- music under was then opening first movement of thi tre e:,< d German jx-oplr rtsi..» tion for careers in attdtt- Mertz,Coste,Legnani, Albert, Arenas. the same personnel during Septem- Founded. 1878 B.M. to bring Louis XVI and Marie An- eight years old. original a distinguished faculty. The orches- mendous work as a gay and festive j, \ .. .: certificate and diploma m is now well bum etudes, one ber. The former program features Faculty of internationally known artists. College degree, Aguado. Along with these organ, toinette back to Paris. Thereafter it tration calls for piccolo, flutes, courses lead to Artist Diplomas in applied. music, in piano, voice, violin, two section, as it sometimes Is played, and i«m«, pub- they are a Dart in this study Conrad Thibault, baritone, and Lucy to B. Mus. degrees (vocal or theory); B. S. Mus. harp, other instruments, should make a comprehensive became a part of every attack by the in col- lic school music, theory, har- two oboes, two clarinets, two bas- Its organic strength, its inner power V L, Fd.. B. Ed. Pub. Sch. Mus. and M.Ed. to repertoires of the same Monroe, soprano, with Victor Arden laboration with Univ. of Cincinnati. Close associa- mony. history and appreciation people during the revolution. To of the concert soons, one double bassoon, two horns, seem to symbolize a gigantic att. tion with noted Cincinnati Symphony Orchestra of music. Well-equipped stu- of the race. the and his orchestra; and the latter Professional instruction in radio Ladre, masters, finally leading up to and with WLW. dios, beautiful buildings on a popular singer of the day, two trumpets, studios. three trombones, two upon some great enemy, broadcasting and recording; complete 138 acres near St. Louis with It Is reported that the brings to the microphone Frank Station is and transcriptions by Weekly college broadcast over WLW. its concerts, operas, given the credit of writing the tympani, first violins, second violins, compositions frequent Goethe referred to Beethoven as For catalog and folder write: other musical attractions. For American citizens of German origin, Turina, tenor, Vivian Della Chiesa, words. The tune, however, was very Tarrega, Segovia, Torroba, Munn, catalog and view book, write violas, violoncellos, and double basses, “an Office of the Dean untamed animal” when the v rt it conscious of the stigma which the writers. and Jean Dickerson, sopranos, with Harry Morehouse Gage, Pres. ™acb d a f r a C tre The endurance of audiences in Ponce and other modern 1228 Central Parkway Cincinnati, Ohio °^: ,°™.. those composer refused Box 1241, St. Charles, Mo. o f, ,™L . °!l to kowtow to the danse, Carillon National, by a the- German military philosophy and the similar plan will Gustave Haenschen and his or- days was heroic. On the program at aristocracy. Beethoven Only by following a ater violinist, Becourt. Its i- " le. Nazis have brought to the fine nan chestra. On Mondays the “Voice of spontan- ’ reach a high which the “Fifth”Fifth was first given, a serious guitar student freedom and saw to it that he re- eous adoption was incredible and its of the Germany of magnificent sci- Firestone” show continues this there was also presented the “Pas- tveu standard of proficiency. ceivedTtn. I , ri(He" loved th,",,,,. .e r incendiarv infliipnnp actr-inicViino- Tt> j- i o , „ ,, poor and UH achieve- so- ,^Phony.~ th. “Piano __ entific. musical and literary month with Margaret Speaks, c.n- t.rtunate „ lth nf0)uHir England !»S ,, QUbelaniiJnstltutp the tunc bGcamc the regi- certo in Gr nlaio^ thp ^nnntno fmm ment. are Joining in the T cam- prano, as soloist and with Alfred ^)be ““ W“* paign with unusual enthusiasm. Ft:- as the conductor of the «- 'Mai Wallenstein Master of Music Degree, Artist Diploma Regiment. Those SSflSS! 'who ware Exceptional Music on Confers Bachelor of Music Degree, were the days when “Choral 13 At t,rv, haps through some strange alchemy orchestra i8:30 to 9 P.M., Fantasia.” At this time“ Bee insisted concert Faculty of Nationally Known Musician* upon* paying S ------for bands played at the front his own dln- * duringuuniig inoventhoven had of Fate.j..,;,. Beethoven's motifmo::: mof u* NBC-Red network) nad become conscious of the nor „ DIDST , the w s sc the BERYL. RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio battle. When the West Yorkshire upulous1 -'- Radio NetworkiS progressive fth Symphony" is destined topi? show called “Amer- nature of his deafness ail detniis f A new defense the Fr cb oi ?" in and was affected W&S essentlally a cabalistic part in the downfall has come into promi- by the forbidding ( Continued, ica the Free” , Sa ., an from Page 593) that the prrapecI man signify (10:30 “Pacific Northwest's Oldest Masical ScAoo/” BeethoverTconducted^at'this ‘. Hitler and all that his name nence on Saturday mornings French were so inspiredi°i°"!L ., . Beethoven’s MILLIKIN CONSERVATORY OF MUSIC — by"J Qa ira concertconcerr and interest in1,1 politicspowiic.s was Broadcasting System the Vic- was severelv pritipi-rod by Gov- to 11, NBC network) featuring DECATUR, ILLINOIS h b" ttl e d hopeless ELLISON-WHITE * ® - f °r having made Premier ernment of Mexico. gov- .. , ,™ , a serious Educators, orchestra. Itl . mistake tor Arden and his thoro training in music. Course, leading to Then he ordered his band to 101 of Offer, Conservatory of Music play in' fo'rgetUng Pra n ce. who u.ive Guitar ernment Bachelor of Music Degree. Diploma and Certifi- ^"change" St he'had The Carcassi officials, and radio men Other familiar programs scheduled Ariel Rnbstein, Director the same tune, JjTUDE cate in Piano. Voice, Violin, Organ. Public School saying, “Come on, qHo of o -i SrSf"an madem at article in July from all Outstanding Faculty a rehearsal 1936 the American countries be with us through the month of Music Methods and Music Kindergarten Methods All Branches of Music— lads, well beat them to their and whoWllu hasnas to Courses leading to B. Mus., M. Mus. and own - The rhvthm nf th« * written one of Method ®ere Bulletin sent free upon request the fln- invited to the conference, and September as they have been heard Artists Diplomas Page 641) W. ST. CLARE MINTURN. Director PORTLAND, ( Continued from approximately 1539 N. E. 10TH AVE., OREGON ,or one thousand dele- all summer are the Sunday evening *0 —• ssa fl « tes from Latin his “.L r£~ “T"’ — 55BHHHS America, the broadcasts of Kostelanetz and sited States and Canada were in and the Ford Summer zgr'jrsxszz orchestra THE JULIUS HARTT MUSICAL FOUNDATION • HARTFORD • CONN. attendance. *° the Hour. wave radio, reaching of absolute and the coantrlo d <* ZJ ftT. oS to in .he 'i? power vartao Mex‘ can mUS1C*1 r[l . mfliienee Government pro- subi u satrd countries, of music re.uniugbb viru torv Indeed It iTl! af" and the fre In afleellin: rental Europe, later the Mexican National Palace V r'itoa tod » 7 “ 0’’ 01 “ “ » <™- of adopled ell, whem hr iM me Arts THE JULIUS HARTT SCHOOL OF MUSIC S£ S?»cL™”rlSSp 2'; ?"“f W. theme eS: ZiST serto s as the conference meet- the C*"“1 "’“S s Pmce, and Moshe Paranov, Director .* ' also contributed the Sa=E„™SU Sald Mu c ^ uwj' t be inking LT!is mastersu.»piv.oTSS'of- the c known as “The Victory,” — “”“^“6 terror ^r unquestionablyi““Mumioiy the“<«f greatest ® of the MUSIC just as we tn tvv°P XT!.’„f- „ ,'T. ? one^ofnf iho Mexican National SCHOOL OF tn th the s I.0NGY S n 1S alread St aluable compositions, oi riphony refer to the “Third y making y DMHI of ment. In his orchestra, Symphony”P y asaS them‘h rer allzeQ r f^ ^ promoting n-tatr W under the 26th Season RECENT APPOINTMENTS tde ^ ® P *°,tism published; “The Eroicalea.” hopelessness of over! and upholding about eighty were 1011 of : m , Carlos Chavez, for the 1941 _ 1942 ’Cello; 2 E ce HAROLD BAUER, Piano; AARON BODENHORN, 1 ° bern r^og^how^mucl^riginalit^nd There^an almost eerie signifi- P6 Ple ati0n of the School’s antic- - abomfna^e^Sv1 met Smith, Director ALFRED EINSTEIN, History and Musicology; ROSS LEE cance in ^ Very^th'y thoughtthoa perfected the i Melville the forceful but staple r _ ght of widely ^^men and vidualit, He Registration . totalitarta music serieS ’ FINNEY, Composition; FREDERICK JACOBI, Composition; Y ‘ po ul many^ phrase which the great master °bviously P ar adoption of fingering,6 introduced he 2nd to 13th impossible to nn^p that it is lunv'.i-f/ * Americas.” Colum- September WILLIAM KROLL, Violin; FRIEDRICH SCHORR, Voice P bce a fifth Xi0matic resour® te a worked into this magnificent column of - At ,hr time effects and carried the UCation Private Lessons and ? _ . of^he = gave Classes and Music. mllhon four department and Opera; JULIA SMITH, Public School pee "lev lnt h awesome “Fifth.” r ) “ilu greater under When Beethoven’s i °P '.’ and UU1_mil- *rnatlonal emer- methe instrument to monstrat itarv exnertc Qtof nf f gency it i<; -ions of classroom hSt him- tse nf !, Instructors doting friend, Schindler, thiS VCry in " 3 °Pinion guiurist before “ Distinguished asked the visible foe one of that than any e Sch0Ql begin with it^ the mnit^^re of ‘he Air” dur- BACHELOR OF MUSIC DECREE composer what this BaM‘c *mUa b «>*“ k Le motif signffled, slops dlraen - siances le clreu,,,. Or. several occasions conference, September 15th make! in. a 1 V “ Carcasi j. '<| withVV1LI1 AiuilAlan LoUv Monday, Beethoven replied ‘ “U of the Request WITH MAJOR IN INSTRUMENT, VOICE OR COMPOSITION mysteriousl,, -so Me n '»«» '.""trpwn.y be- asked if a study ( Catalogue on Kamp"“ hl ^ cerSm . son thehue mta ^ S8 authority,““'-nuriby, pocht das Schleksal an homble”' CaStlng Goide,,Olden L?„\r die Pforte.” t^ticflte Pa s inettod"«uld “^cce'ssfully 3te Street CATALOG ON REQUEST ^ ancf* **J Quarte t, and Joshua One Follen ASc^-'has gu’^ ^ White f American been that a foundation for modem ani0Us 187 BROAD STREET .... HARTFORD, CONNECTICUT 642 radio repH folk Massachusetts itaen^s 5ciati „ musician, of- Cambridge, tave been nic. To this we can truthfully n THE 00 S£^£A1B£^ 643 1941 ^ L. ^ .J» r and into not good enough to of Germany enter any other °“ t Mr. 10 usic might be pub- field of accordion work. Prtttoii Is i .,* t# hat m l ’• ' 50 • '.:.i .. govern- A reasonable the French amount of technic is SSSlA SSK * ntremeljr n d there, The id edi- necessary, of *«**lung. lish* a national and a good tin ce ordered memory is Thing •*“ •““»*** »f the 0„ Important #9“ classics. Is it not essential. The real success Most ?.-o» retulu thro st*rt great of a popu- ugh Deoforf! and the concentrated on that. profit lar World face to face, »oD ° America, to by entertainer, however, in the meet the world !s in depends take look into the adver- f°r “ “Next, a ’ time to continue much upon his 9 Me we appearance, person- by - tising and business methods which \ : “C 6X3 iliat authenticity, as ality and selection of a repertoire. employ. Have Treston method, are fjKX musical the best teachers now Medley Greer emergency. social c 101 40 He must possess that certain to magne- you a circular?” artistic thing r\f with the nobler and MrHedley repare an American tism which enables him to “put over” The most important 1/ sir has to do Greer PrtMa,-,., J “No.” [right- to Cor.: »iih in the world to the nartnt*rrv. . Independence. his numbers. t timt 1Musical “Have you ever had one?” minded parent is the life, telephofie Fowler 961-W Ji.<; tradon of pros- health, happiness, Wf not the invaluable Ur- Those who enter this work must “No. I wouldn’t know how to com- of his or perity and security 3 we told him. yond the grasp of less mature stu- gerings are quite different from Bee- shipping seat! be no change in Bach’s and Bee- and keeping the entertainer’s name Room 122, 120 Claremont Avenue, New York “Always remember that and the The value of tan any buyer is selfish. He thinks about dents, it should be obtainable to the thoven’s, and are calculated aloiib- the Ur-text* is that they follow thestme- thoven’s own wishes about their before the public. teacher. He should able radio what he is going to get. Sell the ad- be to get it, lines of his (von Billows) own per- t ure. the phrasing, ihe tonal and works. Shall we not do all we can to Orchestra accordionists and it, vantages of music study to them, not to consult to have it lying on the fbrmance abilities. We know, for in- the persuade our American publishers to accordionists must prepare along the OF dynamic gradations ot must HFTDAIT INSTITUTE BALDWIN-WALLACE stories about piano for corrective your musical greatness. comparison when stance, that von Billow had little or quite the set them don. allow us to learn at first hand what same lines, since both must special- MUSICAL ART a* composer UtilKUII CONSERVATORY OF MUSIC They are interested in themselves, his students come with passages pre- and no repeating technic; that is. when They are the editions which thought- tee wishes are? ize in developing rapid technic DR. FRANCIS L. YORK, Chairman BEREA, OHIO (suburb of Cleveland) not in you until you produce con- pared from other editions. And he he or- DR. EDWARD B. MANVILLE, President College. repeated the same note many ful teacher* will want to consult, in being good sight readers. An Affiliated with a first class Liberal Arts faculty vincing Member of the National Association of Music Schools. Four and five year courses leading to degrees, results.” cannot find it in any American edi- times, his wrist is required informa- action was such that which gifted pupils deserve to In chestra accordionist not Founded 1897. All branches of Music and Dramatic Art. of Artist Teachers. Send for catalogue or We then wrote this circular for tion! Choosing An Accordion School of Sacred Music. Faculty of 70 artists. Accredited tion to: his tone quality suffered if stimu- memorizing, but a radio he used at hand. They are the best to do much Teachers' Certificates. Diplomas and Degrees. RIEMENSCHNEIDER. Dean. Berea. Ohio him. It ALBERT was attractively printed on I never venture to teach the the same finger. reper- H. B. MANVILLE. Business Manager last Hence the mania for lants to thought and progress. If a accordionist must have a nice " Career 52 Putnam, Detroit, Mich. four pages, 5V2 x 8V2 ". The name, of of the Beethoven Sonatas without changing at fingers on repeated notes teacher indicates how the Ur-text is toire of varied selections memorized course, is ( Continued, from Page 639) anonymous. The last page least showing my students the There is no needed. fundamental pianistic to be read, if he phrases one or t® and at his finger tips when of the circular was left blank to give Beethoven Ur-text edition. This need for does this; performers with the student ita teaching, understand harmony and the appearance good bars f rom it as examples, so let us think of the Both must RIVERDRIVE SCHOOL OF MUSIC & ARTS of dignity. not imply that the editions of repeating wrists laugh at It. But it should entrusted to do the resthv concert accordionist. able to arrange music. We then brought to this be He must be a be 84 Riverside Drive, New York City teacher’s masters like von Billow or Schnabel set a fashion, accordionists from which we have himself. And he will find it gratiij- toe musician and an artistic per- Popular orchestra attention the fact that, since it was are in any way incorrect. But not FREDERICK G. KOEHLER, Director they entirely recovered. In the eon- former. good musicians. very unlikely that pupils von Bulow'! ing to work directly from His technic must be flawless, must be more than would come reflect tendencies—personal, drive Catalogue on request Fall Scholarships national, for greater general to ability for Dormitories to him, he would accuracy it poser's indications. memory perfect, and he must They must have a natural have to do a great temporal-that are not what Bee- was For further information address Secretary considered a major sin immensel! have a in the projecting deal of missionary work, to drvi- The Ur-text of Bach is large repertoire of concert style in playing and even door thoven himself indicated. Take ate the from marked fingerings numbers. Players who bell ringing, which is a polite name In ivy Important because of the embelB The percentage who attain of modern rhythms. tit success are at the tor we have seen, in this line is cannot improvize and who COLLEGE OF PHILADELPHIA CONSERVATORY vou see. his position ‘ men is w hlch. as so small that UNIV. bSSlSS * note do not BOSTON was an extreme one. He had to 8 8 °n Tthc paKC lf the piano tended to recommend it cfnly for those mercy of every written do which coming of who OF MUSIC are natural and simofe vet I rn„in ? Thorough preparation for careers |W| DSD U? a ; ac- something and do it quickly. improvc(1 musicology has given e talented and good modern orchestra in music. B.Mus., M.Mus.Ed. and ?¥+ Chartered by the There how few of the editions turb. Now that who are skilled per- make diplomas. Voice. Piano, Organ. follow theS when I used A M degrees, and Commonwealth of Pennsylvania was no question mymTow° n^fingPrtn historical an jormers. It Cello. Brass, Wind and Percussion instru- about his ability. s - 1 W:is is a Vio’in. He The reason quite Z ^ greater insight into fine goal for a student cordionists. Theory. History of simniv g i ™T°‘ ments. Public School Music. 216 South 20th Street reaiiy had something day- we have set for accordion- Musicology, Composition, Church Music. worth while to there are studied our accuracy, we would give himself, if Experienced orchestra Music, cycles of fingerhie stylistic he possesses Distinguished faculty, including many Boston Maria Ezerman Drake sell, f the 5 have opportu- and there was no reason why he ing from ° Rom ™tic“ errors of exactly ho*®® qualifications well paid after they Symphony Orchestra members. Cultural Managing Director the great deal to know ! just named and if ists are dormitories. Catalog. performance ^ h T T, nities of Boston. Attractive should not proffer his services flow's time. Also, The » e ran period Meyer, Dean, 53 Blagden St., Boston, where of the time of their we accord them to sound afford to take to gone through the necessary Alfred H. Courses leading to Degrees oXin intended the time -« - We b a - Chlef M . know ’ T they were needed. concern to Prepare have lo- for examnle tb!t tone, not to the fin- is the for experience and Uml WaS Ser which work on this subject it. After all musical of gaining How did it all come out? In less Produces it! put*® Preparation orchestra which Revealing New Book in Two Parts not used in’ playing hef. i Thus, we have by Phillip Emmanuel Bach, has been completed, suf- cated with a good A Alviene Academy and Theatre than a month, he had anotl er instance COUNTING Est. 1894 acquired twen- Beethoven of an died,® ent PARAGON OF RHYTHMIC Opera, Drama, Dance, Music. Study for: culture; teaching; used the thumb hi \ edition which nine years after his father time must be allowed for the is in demand. mfBm ty new pupils; and one excel FOR ALL RHYTHMS or a career. Stage, Screen. Platform, Radio. New York ap- of the first cated it lently for the according Work the essentials pearances. Private and class courses. Separate children’s sparingly on ff™ needs of documented necessary have enumerated dept. Catalog. Sec’v SchuUert, 66 W. St.. York. th^wS l"*' accurately . to build up We 85 New things he did was to off 6 ’ but a PARAGON OF HARMONIZING pay the loan Later, which surprise y of the ac- the upswing pointless f c,r will Professional for each branch that of^free pre , S If his own usages. It name. required applied to he had secured to help him get sion” ’ Who have inherited tried of the the is this to e career and we have HARMONIZATIONS Voice Training Romantic enneh f" fruits of only nor of profession; I ft FOUR KINDS OF a ppoch Quite ' to know that ,.., a professional ac- cordion fresh start. In another month more recent » for Serious Students and Teachers dida awayawav with * researchsearch v. , •> \ OE bad circular “' Wlth distinct - Yan national ne e realiz (Ricordi)(Ricnrdi i edition offices of our ation that his popu- , though iarit,i. much and °n over-edited, get tools, machines, the wane and his playing THE 0$ HBmbe% 1941 . . . ) . . \ ? ; necessary; also she reads at the |»nior Masic CU meet- LIST OF SUGGESTED MATERIAL RULES AND REGULATIONS Own Junior Music 0*n ings all the communications My Club Bool ih she has For Junior Clubs Book received. (Each club makes its own rules, as Junior Music Club? success. under very different cir- f Why not start a Following u Continued The Counselor, or Leader, attends Standard History of Music clubs meet aii ( done so with great rial all Hundreds have you need to meetings and offers advice or sug- James Francis Cooke cumstances) nab a published in FOR ORGANIZING gestions as needed. What Every Junior Should Know The above outline, onrEDURE obtained PR° CLUB booklet form, may be JUNIOR MUSIC about Music Elizabeth Gest CREED The a DUTIES through The Etude at nominal cost. MY JUNIOR CLUB chairman of OF COMMITTEES Magic World of Music 0W H or LEADER, have his _ - should %itt COUNSELOR, Olga Samaroff Stokowski Every club member as Committee i«. The study and hear good music who may be inter- The Program Committee outlines If there is no Junior To . ofhpr all Keyboard Harmony for Juniors own booklet. as I am able; Members of the programs in advance and neighborhood, why not much Commit;; « * con- Elizabeth Gest Club in your 6 — appreciate my musical opportuni- teacher, or each tacts those who are to take part will find it lots of To 1 n„Dils Of one on Story start one? You P of Music . . Balbour and Freeman to each ties; asked to bring a friend) program. fun. You may also obtain club but- Smay be Handbook of Terms Gehrkens be careful and regular In my prac- The p and ideals of the club The Hospitality Committee ar- tons, bearing portraits of great mu- To chairman of our t purpose Noted Names in Music Baltzell tice and club attendance; when and where to ranges the chairs and makes ready sicians, through The Etude at nomi- Committee is explained; Miniature Duets from Master appreciate the talents and abili- voted upon: the everything that will be needed for cost. To discussed and Symphonies Elizabeth Gest nal Members of Committee 1 the meeting. ties of my companions; are' and fines is discussed of dues Miniature Duets from Master that music benefits the Jestion The Entertainment To realize upon. Committee pro- Overtures and voted Elizabeth Gest mind and body and exalts life. officers are offered, vides games when such are desired; The Nominations for Musical Playlets for Young Folks chairman of our prepares for elected by ballot to serve special occasions, and Pledged by: Name officers James Francis Cooke A. GEST and Bach Puzzle Committee is procures special entertainment not Address one year. (or scheduled in regular meetings. The year of Bach’s birth, plus the number Members of Committee President appoints chairmen When For Juvenile Clubs Date ate The of letters in his surname, plus the number of special affairs are to be held, which he went committees. (Members may ex- his children, plus the year in of the Entertainment Young Folks Picture History of to Leipzig, minus the year of Mozart's birth, preference for the committee Committee should Junior OUR CLUB mess plus the number of fugues in the "Well- Club Outline The chairman confer with the President and Coun- Music James Francis Cooke of our which they would serve.) Tempered Clavichord.’’ plus the number of Members in Prince Melody in Music Land variation In age selor. times he married, plus his age at the time of The name of our club Is. Committee is there is much Assignment for September If The Refreshment Simpson his second marriage, minus the number of members, the club should be Committee takes will give the year members Members of of letters in his middle name, Committee are North American Tunes for Rhythm inf/i a Junior and Juvenile charge of preparing and serving re- of his death. Biography Terms We meet at freshments at regular and special Orchestra Elizabeth Gest (Answers must present entire problem) (a) Give story of Bach’s life as (g) Give in your own words a defi- Our meetings are held on . meetings. (Many clubs do not serve found in the Class A. fifteen to eight- “Standard History of nition of MUSIC. Our colors are • The PreMdcnt and FOR CONDUCTING refreshments.) The Junior Etude will Counselor shonli PROCEDURE Music,” een years of age Class or any similar history of (h) award three worth while ; Select the two best definitions Our motto is »Uo be members of this® MEETINGS The Membership Committee at- Junior Etude B, to fifteen Class music. prizes each month for the twelve ; presented and write them in your mi t tee i tends to admitting into new members C, under twelve years. (b) Give explanation The President opens the meeting; most interesting and of polyphonic notebook. the club. The President and Counse- Our club song is The chairman of our ScrapbookCom- Names of all of the prize music. The Secretary calls the roll (to original stories or essays lor should be members of this com- Contest their con- (c) mittee is on a given subject, and winners and Bach’s “Mass in B minor” is Our club pin is which members may respond, if time Keyboard Harmony mittee. Clubs their tributions will Si considered make own regu- for correct answers to appear on a to be one of the greatest Members of Committee are permits, with name of composer, lations requirements all boys and this page future issue of The compositions (i) Play the following pattern of and for new puzzles. Contest is open to ever written by any OUR OFFICERS musical term, and so on) girls under eighteen years of age, whether Etude. The thirty next best contributors composer. triad and inversions in all major members. The principal vocal parts The President brings for dis- up a Junior Club member or not. Contestants will be given a rating of honorable men- of the keys, without stumbling (hands to- Our President’s name is The Scrapbook Committee attends mass are: Kyrie Eleison; mission new or old business, then tion. gether or Address to collecting interesting items and are grouped according to age as follows : Gloria; Credo; Sanctus; Benedictus; separately). MY ATTENDANCE RECORD turns the meeting over to the Pro- Agnus Dei. Give Our Vice-president’s pictures and putting them in the club translations of these name is gram Chairman. SUBJECT FOR THIS MONTH titles. Address scrapbook. Date Present Abseil The program usually consists of it more to lelony to a , Waste (d) Give explanation of the “Well- Our Secretary’s The Radio Committee listens to fun ffm cu name is solos and duets; a short paper may Tempered Clavichord.” good concerts on the radio and sends Address be read on the topic of the day; or to study by myself' (e) What is directors. a clavichord? (From the post cards to program “Keyboard Harmony Our Treasurer’s name is OUR MEMBERSHIP LIST games and quizzes may be used; a (f) What is a fugue? Additional committees may be All entries must be received at the Junior Etude Office, 1712 Chestnut Street, Philadelphia, Pa., not for Juniors”) Address short period devoted to ear-training later than September 15th. Winners will appear in the December issue. Name Address formed as needed, large clubs needing Our Counselor’s and keyboard harmony is beneficial. CONTEST RULES Musical Program name is more committees than small clubs. Address Wien the members are very young, 1. Contributions must contain not over one hundred and fifty words. Any of 2. Name, age and class (A, B, or C) must appear in upper left corner and your address in the small pieces in the rhythm Two Solo Violins and Orchestra”: orchestras may be included. the upper right corner of your paper. If you need more than one sheet of paper, be Anna Magdelene “Notebook” SUGGESTED TOPICS FOR to do this on each sheet. (pieces or the “Toccata Meeting should sure and Fugue in D” OUR COMMITTEES be closed with 3. Write on one side of paper only and do not use a typewriter. which Bach wrote for COMPOSITIONS I HAVE PLAYED MEETINGS his young 1 or any similar Bach recordings) Poup singing club song, 4. Do not have anyone copy your work for you. wife to play) The CLUB MEETINGS 5. Clubs or schools are requested to hold a preliminary contest and to submit not more than (Juvenile chairman of our AT df the Clubs may adjust Program Club consists composers (as appeared six entries (two for each class). Any of the Little this pro- Com- of a choral or Lives of great Preludes and Fugues mittee is 6. Entries which do not meet these requirements will not be eligible for prizes. gram to meet their D® orchestral group, Biography Any own grade of * Name of Piece Composer the procedure at in The Junior Etude, Little movement from one of the suites Members of advancement, omitting Committee are meetings may be One or more of the Chorals what is too arranged differently Series) Answers to Umbrella Puzzle: difficult) t0 ®ee A Two-part Invention t conditions.) History of the Symphony (The books 1-2, songbooks; 1-3, signature; 1-4, mentioned and the next jBfd Records: If possible borrow some other ( Continued on Orchestral Instruments materials- to be serenader; 1-5, saxophone; 1-6, se- lecords of the employed may be Famous Operas (as ap- great “Mass in B ai Stories of minor 6d through the Publishers opera lection; 1-7, sotto voce; 1-8, Sieg- ; and of Junior Etude of the “Concerto for ^The Etude)S peared in The fried; 1-9, semi-breve; 1-10, song- series) Dances birds; 2-10, serenades. "oS, Folk Songs and Folk A Musical appoints chairmen of coi Rainbow of the American Indian i ring Music By up for discussion ai — Mrs. Paul Rhodes ® "w Dance Forms in Music **•••/' v. V Hon arable Mention for April Name business. the colors that will complete Music of Specified Composers Umbrella Puzzle: the ^-president has ' following titles: J5 of Specified Countries ' * 7. The — ’ the Pres Music - of 'dent is abse in Marjorie Pettit; The Beautiful — Tralee (Glovi Th ‘I (such as appear Juniors of Fond du Lac, Wisconsin Ann Eugenia U’ndergraf Danube 8. Old r Musical Quizzes - Joe easurer Margaret Forley; Mary Elizabeth Long; Ann (Strauss) (Foster) . collects all iJf , 9. Junior Etude) Benners; Isabel Campbell; Florence Tucker; Little — 0 n The 2. The Mill - Home in the ° l have dues) Prize Winners for April Mildred Horstman; Robert (Herbert) W cohects Events in Music Eugene Frank- redder. P 3alt Be(ircjciin Offers och September ttie S Theodore p„, Co. conducts on 10 *° 14 OFFER No. 18 .rod No. OFFER No. 23 book publications odded to fc cotolog on the new during Sfsoto GAMES AND DANCES for Exercise and THE FEATHER OF months. The Low Frnol Introductory BRASS INSTRUMENTS MAGIC twelve p fl^O AND preceding r ; C5s 00.WND Recreation (New buyers a chance to obtom Edition) MOTHER GOOSE which give music interesting^ u CARL WEBBER \ By WILLIAM A. STECHER and at bargain prices ore in the field of instrumental music. Com- GROVER W. MUELLER An Operetta in One Act for Juveniles useful publications put into .!«, unique died authority, it covers a wide range of useful- ’ j kv in a5 gr°und By JUANITA AUSTIN and HENRY S. SAWYER w.n the attention of edited V' and recreational directors, camp sale to o greater nd ientation. The contents page lists leader*. this 'i'j 9 instrun ^school ^aud ^ki* during ,ar teachers, for average elementary its etc. It has also The speaking and solo parts are easy enough „ith standard and classic sources for the many recently issued 5“.. 1 a UP 111 voices. these works. . «rtumffPnl“*U"- .r ...... : . ..{ ..I ..f 1. ... I * teachers training colleges school children choruses throughout are for unison merits of flrnlll? of a player of i and similar and the to the ;.;,(ive self -entertainment a band institutions Tl. - inf ff'vrts'0r m ,lve rk in its inclusion of several ' "? new and enlarged edition A desirable atmosphere is created with the favorites, such ns Covic Bark to I\rin: Sahis mo tbnn f l . ^lo^.-fnlk-song J h dred pages of sung by the chorus ot little OF THE Man>' , usefuI - helpful ideas and familiar “Mother Goose Jingles” to be CONDITIONS the . OFFER !^ent, Home on Range; ant! Carry ev«y aire from ?njl -VV, , ^jyfjrf Eye* ; 8 to fuI1 are only nine characters i mat urity, been tots, are “uninvited” guests. There Classics ns 's has con- who iW. are included.i such Schubert sidered Amonw i'ruuM0 fy/yj Yrrninnu the 2 i Yirginnu 96 activities outlined and his older friends are Prices Will be Withdrawn , will be found many and the story concerns Artie's party. He — These Bargain Octoberlst Bream of Love: Huvdn's Lovely Maiden; m«»«l „ each, -Liszt'sLiszt ? for children Six to Nine Years Age; doubting the existence of Mother Goose when that wonderful lady SSo'jff/ ‘“New World Symphony” an* also eaT of Purchaser May Order Only Single ^o^ronTthe * Ate: ,ght to Twelve Tears appears. The tots are, of course, overjoyed to see her, but the older -> Each Copies works as Rubinstein s Melody in F: to V ff, JF of Age; Nine of ,»] stamtonT 1 of Age; Ten to Fifteen Years of Age; Twelve children are still skeptical. Tried and vexed, Mother Goose, with Publications At These Reduced Cash Danube: Lehar's Merry II ulow Waltz; and ‘to S r/el.f v These Postpaid Blue f,e ; Th ”teen Years of Age and Over; and the aid of her magic feather, changes them all into story book Sian from “Finlandia.” FourtJen vllrsr o 1 / , w Theme ‘ ^ ver- Also there are Demonstration characters. Forty-five minutes are required for performance. Iov “y i, ... j^lius . proven of distinct value to school V her t i° Prices. t|bum has TraC an ' el bO ?- F Events and Related Activities; Firat Vj,; \r Z., , Cnm- This lea(-her8, and students everywhere. It also ;3e ass Athletics; ^ INTRODUCTORY CASH PRICE, 50c, Postpaid -> Are for Cash With r |vjlte Playground These Prices Order and uc and Camp Activities; Quiet Obviously e p iiU?ic • °. nok'ice musicians who confine their musical Games Particularly ; ^ *0 many Suitable for Warm Days; Achievement Stand (Regular Price, 75c) Nor Examination bringing « - homes. nrds; Returns. Exchanges. is f t heir own and a pageant. No Privileges are 0 The Revival of the Play Spirit m America. efforts I here are numerous diagramatic drawings, and music for some of These Profit-Sacrificing Prices. w® P110 Possible At fnere the dances is included. (Flute, Oboe, C Tenor .„ cnB C INSTRUMENTS BARGAIN PACKAGES OF I0 INTRODUCTORY CASH PRICE, $2.25, Postpaid 0ne)-OFF E R No. 10. SJs«oph (Regular Price, $3.00) SHEET MUSIC (Cornel or Trumpet, B-FLAT INSTRUMENTS to Teachers, iOOK FOR Groups of Selected Numbers Useful Soprono or Tenor Saxophone, B-flat Trom- Pianists , Singers, Violinists , and Organists ' (Treble Clef), Base Clarinet)—Of FER Theodore Presser Co. or Baritone OrrER No. 19 No more than one set of each to a purchaser II. Hi. SONGS FROM MOTHER GOOSE There are no return, nor examination privileges Music Publishers and Dealers E-HAT INSTRUMENTS (E-flat Clarinet. Alto or allowable at these prices IOOK FOB By SIDNEY HOMER Saxophone, E-flat Horn (Alto). Alto Clarinet) faritone OFFER No. 24 Six Piano Pieces for Beginners (Total Retail OFFER No. 1 In this — CHESTNUT STREET, diverting collection of songs on Mother Goose themes we Value, Dolly Stairs; I 1712 PHILADELPHIA, 12. $1.50) Chickadee Miles: Hush-a-hve H -OFFER No. find one of our most famed American composers very much at Like lo Dance—Bragdon River Shower Hall; The Robin's Song or Bari- Imn it* in the music. Written at the suggestion of the composer's MY PIANO BOOK, Part I FOR BASS CLEF INSTRUMENTS (Trombone —Forrest; A Trip to the Sky Lloyd. OFFER No. 4 100K wife, the late Mme. Louise Homer, they were intended as songs to By ADA RICHTER (Euphonium), Bassoon, B-flot Bass)—OFFER No. 13. c, Postpaid OrrER No. 7 Me be enjoyed and sung by “the whole family.” And certainly these September Bargain Cash Price , 35 SKETCHES thirty-five little songs An “after kindergarten” book for EIGHTEEN MINIATURE BOOK—OFFER No. 14. will reach children and grown-ups alike. tlAHO ACCOMPANIMENT juvenile piano beginners. It may WRIGHT Mi- Homer, in writing these songs, threw himself into the spirit FOR PIANO—By N. LOUISE No. 25 Five Piano Pieces Between First and Second be used as a first book for the CLASSICS FOR THE CHURCH INTRODUCTORY CASH PRICES of the texts and produced most engaging and very refreshing little OFFER — * *’* HW * * * » • ‘’’d' Grade (Total Retail Value, At Sunday School Arnold: In beginner of 6 to 8 years of age An eminently successful educator and eon»po>«r melodies which add new enjoyment to the rhymed Mother Goose $1.25) helpful litt**- -fmii*-** * • • * Compiled by LUClit IAMHAMT 35c Each; Piono Acc., 50c, Postpaid Our Cherry Tree Chauncey; Jack. Be Nimble—Burnam ; The but it was planned primarily to eighteen easy, imaginative, and technically Solo Books, tales. ihythiiin d' 11 • 1 Mail Man Stairs; Jolly Pal Hopkins. follow such a work as Richter’s the first grade. Because of their melodic and Books, 50c; Piano Acc., 75c) My M-ginmt (Regular Prices, Solo INTRODUCTORY CASH PRICE, 50c, Postpaid Kindergarten Class Book since they are invaluable ns first technical work for ll»e young 3 September Bargain Cash Price , 35c, Postpaid * (Regular Price, 75c) going from the general run of and, having just been published, are tilling a long* felt « -» * * ' piano beginners’ books for kinder- preliminary “rhythmical pattern” precede each pa** and garteners to the average piano be carefully studied before the number itself is learned I •• l» OFFER No. 15 OFFER No. 26—Five Second Grade Piano Pieces (Total Retail method or first book of a course is designed to cover some special phase of early grade pumo l*« Uni* Value, Dreams Richter; Skyrockets—Burnam faces the kindergartener with in- $1.35) Day 30c, Postpaid SYMPHONIC SKELETON SCORE, No. 5 OFFER No. 20 Copeland; struction material stepping along INTRODUCTORY CASH PRICE, Soldiers on Parade Lloyd; Tattle Tale Yo-Ho, My ! faster- than his physical or mental (Regular Price, 60c) SYMPHONY IN B MINOR (Unfinished)-SCHUBERT Laddies Bennett. equipment should attempt. LET’S STAY WELL! !dited and Annotated by VIOLET KATZNER September Bargain Cash Price, 35c. Postpaid ... My Piano Book is intended for Songs of Good Health for School and Home INTRODUCTORY CASH PRICE. Lit. Po.tpcld Mis Violet Katzner’s ingenious Symphonic Skeleton Scores moke it oilher class or individual instruction. Its lessons progress grad- OFFER No. 5 ually and introduce only possible for the average music lover having but a rudimentary RICHTER one point at a time. There are several •tutor Prk*. 51.00 By LYSBETH BOYD BORIE and ADA Wedge of notation greater joy out of listening to the No. 27 Five Third Grade Piano Pieces (Total Retail duets and these like nearly all of the little solo numbers have texts. to pet OFFER — ONCE-UPON-A-TIME STORIES Performance of flow with there is an assured sale for any Value, $1.85) Amourette Groton: Dancing Snowflakes King: A Hallowe'en number, a Thanksgiving number, and a Christmas OF a symphony and to identify the melodic Children love to sing and always s clear that child singers can Lehar; Renton; number give this book an extra charm for little folks. conception of the various themes and the developments. tuneful songs within the limited compass The Merry Widow Waltz Sea Dreams Sparkling THE these GREAT MUSIC MASTERS ®l at the same time know the instrument or instruments taking up handle, but this is a book of songs that has far more than Spray Overholt. INTRODUCTORY CASH PRICE, pi carrying the melodic line. hearing Schubert's Unfinished qualities to make it appealing. Children not only will enjoy singing 35c, Postpaid FOR YOUNG PIANISTS orren In September Bargain Cash Price, 40c, Postpaid ___ No. 8 Symphony at any indoor or outdoor concert, over the radio, or these songs but they will be learning through the texts the wisdom (Regular Price, 50c) fey are very clever By GRACE ELIZABETH ROBINSON means of a phonograph record, there will be added pleasure for of good health habits. The words of these songs the right to aid a listener using this Skeleton Score No. 5 which as a recent new and entertaining and the musical settings are just Pictures, stories, CLASSIC OFFER No. 28—Five Fourth and Fifth Grade Piano Pieces and nil MASTERS BOOK publication text into their memories. music between DUET is here offered group of children to sing the at the child or a (Total Retail Value, $2.05) Blue Veils Fedcrer Fragrance of the two covers of one book represents a accompaniments are simple and any kindergarten or primary INTRODUCTORY The May Scarmolin; Slavonic Dance No. 8 Dvorak; Viennese Dance OFFER No. 2 lot to win the interest of any young piano For the Piano CASH PRICE, 30c, Postpaid parent, or friend need have but a little ability as a grade teacher, —Bircsak; Viennese Dreams Kern. pupil. These are the things' that will be (Regular accompaniments satisfactorily. The illustrations Price, 35c) ; ..mist i<» handle the found in this book, and Compiled and Arranged by LEOPOLD J. Kil child as the young are well executed and will prove an added delight to any September Bargain Cash Price, 50c, Postpaid SONGS OF STEPHEN piano pupil goes through FOSTER the pages under who has the opportunity to possess one of these books for his the guidance of the teacher TW i. . ... md bright il- Compiled and Arranged by ADA RICHTER or parent or her very own. This is a cloth bound book with a there is real enjoyment for that OFFER No. 16 youngster lustrated protector cover. OFFER No. 29—Five Medium Grade Piano Pieces for Four As is in reading or hearing these the case with her original compositions, the stories, not- (Total Retail Value, $2.65) Gavotte in B Minor, arranger has with ing the portraits c PRICE, 65c, Postpaid Hands from her usual skill kept these easy transcriptions of composers, and the Him OWN INTRODUCTORY CASH 2 5 of Stephen Foster's pictures BOOK OF GREAT Violin Sonata No. Bach; Hungarian Dance. No. Brahms; songs under the hand, and piano of the various incidents or scenes Price, $1.00) pupils in grade two will find (Regular Loyal Legions—Hodson Romance. Op. 44, No. 1 Rubinstein- spemol pleasure in concerning the individual Me. MUSICIANS— them. Twenty-eight of the favorite Foster mel- composer or Eihelbert Nevin Orem; The Village Blacksmith Handel -Verdi -Orem. ll S1C arU odies with texts m plav5n l are. included. Already a best seller, S or having 1 the book contains n/Lo?l forf V Ju Y H0MAS TAPPER nasy-to-play piano him the attractive K. i September Bargain Cash Price, 50 Postpaid arrangements of such familiar and beloved semes melodies in- c, us 'v,th each addition Beautiful Dreamer; Come Where My Love Lies story. These musical L to Dr. Tapper’s informative series for children. Compfow" Hares: Dreamt t a No. 21 ?.* Gentle Annie; Louisiana Belle; en m< di Im wann*V welcomed bv teachers and pupils alike. OFFER Jeanie with This v? ’“ fem :Tuch i, a IaSm in ie ^alrs booklet unfolds a true inspiring story* of native OFFER No. 30—Five First Position Violin and Piano Pieces ’ ^rSc CM CM Ground* Th) ^ Sach 1, ,, and ZZUlLZT,Jl P x^ f and makes known interesting facts from the WATCHED (Total Retail Value. $2.20) Boat Sony Brown; Dainty Feet— f SHEPHERDS PRICE 50c. ; many WHILE INTRODUCTORY CASH Mf* :ppr f distinguished American composer. Certainly, in the Smith; Dance of the Poo^om Cox; English Country Dance INTRODUCTORY three selections 1 ° « (mils a! CASH PRICE, fro, “usi(,al KEATING 45c, Postpaid n each compX"* R«|utor Price. 75c) Composition in F.thelbert By LAWRENCE Klauss; In Gay Seville Kesnar. feiu this country, the gifts of 1 t , 0k h #l VOn four-part (Regular Price, " recognition and have received so fine a re- sineable cantata for Christmas. The 75c) Music M^Lm giv°3 °--^ Tjrtl in tho \ musical and very September Bargain Cash Price, 50c, Postpaid ch1d °* the difficult and can easily be sung by a“;f^ vpry appreciation, as to place him high among are in no way f,-. rhoruses asers mixed* for the "'bo gained immortal in writing for the There are individual numbers 'dividual n:lP fame choirrnoir oof aaverageII ability. ,nPr die voices. rat ber operatic |,. tnr , j s included for womens Matte than for the symphony or the love The i OFFER No. 31—Five Numbers for Pipe Organ (Total Retail cu out the Soprano and Alto. The words were OFFER No. 3 OrrER No. 9 pictures are an important feature of duets for - (Regular Price, and ooiih f' There three Value, $1.95) Aubade, Op. 10 Savage: Chanson Du Soil — $1.00) otv^e are provided to bind the book it Kohlmann Idyl of the Flowers Kohlmann; Post hide ^ is complete! 'vritten and ThZ’Zy- Pomposo —Scarmolin; Romance, from “Les Preludes” Liszt -Hopkins. MY The time of performance is OWN HYMN BOOK for Piano SOLOVOX ALBUM INTRODUCTORY inuch a part of Christmas. OFFER No. 6 CASH PRICE, 12c, Postpaid misf spirit 'so September Bargain Cash Price, 50c, Postpaid By forty-five minutes. ADA RICHTER Compiled and Arranged by JOHN EINRE *• about # TWELVE (Regular Price, 20c) CASH PRICE, 40c, Postpaid In this collection from PRELUDES - INTRODUCTORY Mrs. Rieh- for Piano Price, 60c) S eft and skilled By JOHANN (Regular OFFER No. 32—Four Songs for High Voices (Total Retail “p S* hands there SEBASTIAN BACH 0pp are fifty-twofi favorite ER No. Value. $1.60) Alleluja Mozart -Manney Lina Is a Prettv Maid and we! I bo- 17 loved Compiled by (Humorous) Risher Sharing Flynn; Teach Me to Live (Sacred) hymns so arranged that they ORVILLE A. LINDQUIST fall within the first and early sec- <•( «h» WILD'S —Kohlmann. ond grades | M book great of difficulty. X Sown of The • ar- fmtaml !** September Bargain Cash Price, 40c, Postpaid ranger has, H ,-h i Sjft 22 despite their simple and inspiration. ' ;,n * u "»h , OFFER No. Siding, The varied n \ i retained the full i S,epAen Coll,nS FosterFost( essence World'* pfei ' r CHRIST and flavor of these "0*UHAPP« CONQUERING hymns so that The mut ‘ THE for Voice they may be T»a;n|„ OFFER No. 33—Four Songs Medium (Total Retail played in the Church, e Sunday '**1 r of with n LAWRENCE KEATING Value, $1.65) Birds Huerter; Frankness Grey; God Made a School or Prayer fcVO ,»»>• l»nH has filled hia music By Meetine r tt* Lawrence Keating, this time Hibbs; A Prayer Stairs. service ol ' wd permeate* the , r„i rxixnir K bv Rose by the young pianist Rifph fvJFft rirlier than that whirii successful ™ oir work* 0 ^ whS Still another V of his successful While |!|| 031 one of case Price, 15 1 pon to T "- Dem- to the heart* ol every tlien '< -’ September Bargain Cash 40 c, Postpaid ?- ”, assist. The ; .f Hasten Wl V covering the aga in within the grasp of hook is divided na r . Their rts nre into two y^BBs are ,*ith an amacing universality the i i al sections co,«t^tr 2? Shepherd* Watched, 1 melodious and most covering Hu 1 V * reR wril ( found Hymns for lon " ! h their simplieity. Everyday the f ’ Pupils u-jii and are rharming in choirs and and neglect . . «g"ee in ( j„j Hymns of the nianv . ' x ‘7 non-professional So and Alto for Special • Sj”^eludes hn\ < 18 American ^ Songs for Low Voice (Total , , ^ Occasions term in Pr l tn and it w-i~ f, .. . i !” m l”s story of an unusual i here a OFFER No. 34—Four Retail Value. hi rfi throughout, trio for womens ,0 "Child a effective Baritone. A This Smith; INTRODUCTORY Pesterity. As usual with the duet foi $1.70) Bless Thou. O God. Day O’Flattery. The CASH PRICE, 45c, Postpaid (Ac tin mto fil? voices and n -V" rites so successfully, is another if w a sheet of pictures to lie cut out and Fickle Gossoon Klemm; Snow Song Newman; A Song of Winter 7 Ihr voice*, for which has written and selected (Regular Price, affords that creative mean Yale —Hawley. 75c) INTRODUCTORY T'cW. Tli is feature CASH Wl lUie d a feature of the ."?'* required for performance. price, hmding ' ," ®*lk instructions minutes are 30c tu i cord and needle along with ' posf £ Bargain Cash Price PO,d the September , 40c, Postpaid (Regular Price, PRICE. *0c. 3180 are Postpaid 60c) INTRODUCTORY CASH INtaeJ "'eluded. ca few months before a work now in prep- available in Victor Records, any order it aration comes from press, it is decidedly can be filled immediately. Whether to the buyer’s advantage to reserve a be for one of the very latest releases or "erS araain copy at the low Advance of Publication for a long standing favorite, and whether reSSer S Jf Fa Victor Popular Rec- p. Cash Price, which is good only when the it be for one of the Bluebird ADVANCE OrrER Ho. 46 order and remittance is made “In Ad- ords at 50 cents or the Victor vance of Publication.” Popular Records for 35 cents, or one of ADAM GEIBEL ANTHEM classic symphonic Offers BOOK The entire group of Presser’s Fall Bar- the Album releases of a Publication gain Offers will be found described on number, you will find the Theodore Advance of > ittaits], re- ™* ir* display advertising pages elsewhere in Presser Co.’s Record Department a °'ks aS j" » Fi Offers No. 36 to 50 are w ' published, The following ^lona^each work is this issue. from which to obtain Victor ,11 be filled as soon You will find it profitable to liable source now at the Special Advance Price w - WW, 6rai turn to * Records. No. 41 He 4 them now and make up your ADVANCE OFFER , ADVANCE OFFER No. 36 order immediately. Bulletins of current releases will be STRAUSS ALBUM OF WALTZES ol !b< sent cheerfully on request, or should you LITTLE PLAYERS iblc in luufc limn lot tt. tr„ ml, FOR PIANO CHANGING desire a complete catalog of RCA Victor Beginners » YOUR ADDRESS?—If you have A Piano Method for Very Young demand for the inmiortm ADVANCE OF PUBLICATION CASH PRICE, Promoted bv an ever-increasing 3},, cents in stamps and announce tlie pobh. , changed or are going to change your ad- Records just send 25 KERR Of Shann Strauss, we are pleased to ROBERT NOLAN - By ' 1 * for piano. The waltz*-- of •lohaiu. dress, one of these fine catalogs will be mailed will have a page a collection of these works ADVANCE OrrER No. 47 don’t neglect to notify The Etude. Twichers going to like this little book which favoii e- ..! * nr* the "Waltz King," have long been the its illustrations ?h» Viennese • Victor Record Kile of approximately 9 x 6%. and with universal popular"!. • A postcard will do, giving BOTH your to you. The complete RCA % tor little and have enjoyed an almost whole physical diameter of the book will be just light people, appealing of tin THE INFANT HOLY teachers nj contents include the most popular and OLD and NEW addresses. Prompt notice catalog is a veritable encyclopedia of folks. The name of the author is well-known to many plete and. as may he waltzes. Cantata reason of successful lit tie piuno pieces for beginners Chriitmo* by LOUISE E. STAIRS (four weeks in advance, whenever pos- choice musical selections to meet all is very Postpaid expected, the musical material in this little beginners book OF PUBLICATION CASH PRICE, 40c, presentation, anti ADVANCE sible) will enable our subscription de- tastes and it is a veritable Blue Book of is combining of rote and note attractive. There u vo'irai » ill t~- plrmo#«i by means of words and illustrations the various aspects of notation, partment to the desired change outstanding individual artists and famous aver- *' f " ** ," make familiar experiences in the OFFER No. 42 " *4 .h**^ * etc., are connected with usual and ADVANCE , » l ? i, . t | the v and continue service to your new address musical ensembles from small chamber age child's day. Particular attention is given to developing wentr. sense such bodily motions natural to children in FAMOUS 0 h rhythmic through CHILDHOOD DAYS OF ? leim. without groups to the world’s greatest symphonic f interruption. swaying from side to • low-put- the way of skipping, stepping, marching, or LUii; and operatic organizations. Just send or- side. COMPOSERS—The Child Mozart ADVANCE OF PUBLICATION CASH PRICE, 20c, Postpaid By LOTTIE ELLSWORTH COIT AND RUTH BAMPTON SPARE TIME REWARDS—Would you like ders or inquiries to the Theodore Presser this series of stories and musical eoni|»<«it to have, without cost, an attractive, Co. Victor Record Department; 1712 In presenting OF PUBLICATION CASH PBICl. • ADVANCE . • 30,, i i » I . r . of famous composers, it is t he . » j The childhood days COVER FOR THIS MONTH—It Is a quest, or if your credit standing is such chromium-finish Bread Tray, a lovely Chestnut Street; Philadelphia, Pennsyl- ADVANCE OFFER No. 37 to create and develop in children a deep ami uhidmg !•>’ • •>! ' UB to the publishers : i regret that will This first booklet in tin* series is devoted to the Id*- :""1 >-i ADVANCE OrrER No. 4S after of sincere justify the extension of charge Cheese and Cracker Tray, a Flashlight, vania. MY PIANO BOOK, Pari 2 Mozart, anti contains five easy-to-play arrang**tn*-m • I • »r Music Magazine that it is account privileges •- The Etote to you, you may re- Camera, Fountain Pen, or your choice of • • t • t« of By ADA RICHTER one duet. The authors are well known in their r* i IN ROBOT LAND 1 Classes* in Introd irt possible to make use of the many quest that we send to dozens of valuable ar- Mrs. Co it- is the Directoi ol B0t you “On Approval” other useful and is planned the year's begun in Part This book to complete work • An Operetta lor Men's Voices. In Two Act, Music at the Eastman School, Rochestei and M children's portraits submitted music lor the particular One. Jt may, however, be used by beginners who have had anothfr dunning occasion or oc- ticles? These are the rewards we offer Associate Professor of Music at Bea\*-r College, ' I' of scales I. instruction book and are ready to begin the study and ^ By 1. TEAMANS readers. It be An unusual feature of the scries is the dramatization >•( * \ ijBmiE friends and must casions you have in mind and of the to music lovers making new friends for pieces of grade one-and-n-hnlf. The scales are placed at the end of The World of Music on a miniature stage. Full directions and diagram- for inaking t lo- in- the book, with reference to their proper presentation at each lesson. remembered, however, that the mere type to meet the grades and classifica- The Etude—the rewards you can easily st age and settings have been prepared by Virgil Poling, Dir Wl as did The technic continues with “thumb under” passages for both hands, ( Continued from Page 651) of the Student Workshop at Dartmouth < 'ollegc. N. II. rttitW of a piano or some other musical tions you describe. and quickly obtain by inviting your musi- chromatic scale passages, grace notes, triplets, arpeggios, and the __ k dusioii and are included in each volume,. The book i- haiuUoiio-ly illu* lUiNB, S fffl» introduction of new note values and rhythms. As with Part One, jiisttument along with a portrait of a Music sent "On Approval” gives you cal friends and neighbors to subscribe for trated, contains suggestions for its use with children of varying i!-zr OTTO KLEMPERER completed a new special holidays are recognized, with suitable selections for Valen- of Mr, ages, and provides a list of recordings of .Mozart's music «.f -j .. i., Ith FBlilSR and cunning child is not suffi- examination privileges the The Etude. Let us send you complete de- tine Day, May Day, and Easter. There are several teacher and charming and oppor- composition for orchestra, entitled “Va- interest to children. m pupil duets, one trio, and a few simplified arrangements, such as thri ik the portrait one of definite tunity to return tails of profitably put to cient to make any unused music for how you can riations and an American March,” dur- Old Black Joe, and Rubinstein's Melody in F. The book closes with >«&«, with 4 ADVANCE OF PUBLICATION CASH PRICE , 20c, Postpaid interest. It is hard to define just full credit use spare time, together with a a test on the material covered. i hmnrlik musical within 30 days. It is privileges some ing the past summer. Catalog. ADVANCE OF PUBLICATION CASH PRICE, 25c, Postpaid OFFER No. 43 bn some pictures have that musical in- such as these in the direct-mail service free copy of our Premium Ad- others not. of dress your request to the Circulation De- i. do the Presser thw dim i terest and Theodore Co. that has MRS. JANE PHILIP ENGLISH, known CHILD'S OWN BOOK OF GREAT »:i an rmiirs There is such a real tic-up between the caused numerous music buyers thousands partment. professionally as Jane died in ADVANCE OFFER No. 38 roLVte Verona, MUSICIANS portrayed Philip oprnr*; of —John Sousa r tins : child on the front cover of this miles away from Philadelphia to de- Wayne, Michigan, July 23rd, at the age STUNTS FOR PIANO of ««y di* ELECTRIC METRONOME-In music By THOMAS TAPPER issue and the piano before her, that here pend upon the Theodore Presser Co. as THE of fifty-five. As a coloratura soprano, A Very First Exercise Book Some years ago ft picture of education, particularly with piano pupils, the dynamic Dr. Thonm Tapp.-r thi*,: .*,, - have a real musical interest a convenient and economical source of Mrs. English made her debut in Milan, ADVANCE PUBLICATION CASH PBICl, 40t, Postpcif By ADA RICHTER the mnmd nut ruction of children ... OF eonreivnl ihe plan . i„ . in which a many teachers always have considered telling the life charming child just seems to supply for their requirements in music Italy, and later sang leading roles for the story of a great composer in simple langunp'., •. In this book various elementary needs in first piano study are aid in through giving the child a sheet of pict tires to 49 he bubbling over with the pleasure of publications. the metronome an indispensable presented in a very clever fashion. A little piece entitled Stretch nit out and i i-*. ADVANCE OFFER No. Chicago Civic Opera Company. in spaces throughout the story Yourself covers an extension of make it p| a v i pupils establish a sense of the the fingers over a one-octave arpeg- become having a chance at the piano keyboard. helping to acquainted with the things in • gio, Belay Bare is a running scale passage divided between the Ux.klet «»*,.,• th. THE SINGER S HANDBOOK the composer. This idea proper at which a piece should be of Dr. Tapper’s prove* { - A child's natural interest FALL BARGAIN tempo hands, Pole Vaulting is a stunt for hands and feet, i*,,- i ; th»* in music makes PRESSER’S OFFERS— giving an easy music teachers pedal study, so everywhere have used thousand* of r..pi.»* «.f ?(,. •* By LAZAR S. SAMOILOFF and on the material in this j want something book captures The nooks a line message to give out just at the When an individual reads a book he sel- played. Teachers who imagination of The already issued in the series. be- (competitions young piano pupil and soon the 18 studies it ir. rh Hpenw. Now in li Of 1 conventional contains have course of publication is a booklet fiouing of the fall it has cost more modern than the been . . studied and real development achieved. In on the I,. „ %, rhrf IN -aiDT.lioff 8 term of music study dom realizes that usually lean composer, John Philip e toothpick or Souaa. who as Ik.v ; matchstick type illustrations the various title sug- a « ,. rontaitusc t*V fruL of ts when Maelzel metronome with its spring-driven gestions student in our own Nation's teachers everywhere are opening more to set in type one page of that are made graphic. Capital City and who late, fora oi A PRIZE OF ONE HUNDRED dol- * :ih > vned ; international f Ml and sliding weight will be de- fame as a composer of ibeir studios book, pendulum and many stirring ; whole ADVANCE OF PUBLICATION CASH PRICE, 25c, Postpaid u ,l ad. Mtiuruali and giving the parents of book than he paid for the lars and publication is offered by the marches. Teachers may obtain a -ingle copy at , th, m . the ELECTRONOME ItOI'ac**. b"* to iheir communities the which had added to it paper, printing, lighted with FRANZ Chicago Singing Teachers ADVANCE OF PUBLICATION opportunity to Guild for the CASH PRICE, 10c, Postpaid have (Trademark Name), which like an elec- ADVANCE OFFER No. 39 their little ones start on the happy binding, and merchandise costs. How- best setting for solo voice of The Mesa pith clock runs on a 110-volt, 60-cycle Trail OFFER No. 44 of music that will ever. when the cost of publishing a book trical by Arthur Owen Peterson. Manu- NUTCRACKER SUITE, lead them to so by Tschaikowsky nch genuine AC current. A little indicator on the front scripts must be mailed not earlier than SYMPHONIC pleasure throughout their can be divided over a fairly good number A Story with Music for Piano SKELETON makes it pos- October 1st and not later than October SCORE, No. 6 Eves. per copy is very rea- of the ELECTRONOME Symphony in G minor of copies the cost Arranged by ADA RICHTER — Mozart set the ELECTRONOME to mark 15th. For complete information write The young lady portrayed sonable. sible to \Viih many By VIOLET KATZNER on the cover Walter Allen Stults, P. 0. Evanston, youngsters taking up piano lessons in pre-school ages ADVANCE OF PUBLICATION CASH PBICl. SI JJ. Ml" audible, distinct, and even beats 694, there are “this September, field music, teachers and time in many pupils who at ages below 10 require piano pieces 1941. issue is Miss In the of Illinois. All such queries must contain and piano study desired rate per minute. There is material which technically might be graded as ®wly Jean music workers always show at the grades, 2 ADVANCE OrrER No. 50 Bunjes, the daughter of other active stamped and self-addressed envelope, or 2, %,.and 3. Such piano pupils and perhaps some a few speed from 40 ' an the choice of any tempo \cnrs older will enjoy this early grade e, ^ Mrs. B. interest in becoming acquainted they will be ignored. adaptation of the widely prtsentntion of the i, Bunjes of Brighton, such an liked symphony, using the ,ri,. . .. music selections m Tscliaikowsky’s Nutcracker carry alongdong -u ' *ff line to LET S CHEER! Band Book 208 beats per minute. Suite These the. ...emmemelodic iramewori- publications of merit to adaptations or framework „fnt' j|,,.«>>•> with new music symph*... ' arrangements ’ : will give the young piano pupil the ihe various symphonic ' is thrill of motives and their •leveh/iu ID. CHfNfTTf This accurate tempo indicator pow- A PUBLIC APPEARANCE IN THE playing music which he no doubt lias *he instruments development,"i.T JAMES M. FULTON AND MAJOR Theodore Presser Co. usually heard played bv can ing ' that the important the melodic flow' . S«W» orchestras on their radio concerts, portions thmugh.u" th', . , W)K the finest synchronous electric MACDOWELL CLUB AUDITORIUM. or which surelv he of the entire symphony vano .AHEAD FOR SPF, a market for a first edi- ered by l U count upon tIUSSI11S ^ a5t ^sne3'’s famous TAL MUSIC NEEDS can York City, is offered the winner of ’’ entertainment fea- the New l uxe it is possible to make, and ‘‘Fanta !ia imstmas is and then motor Only'^hmr; No. «**»'<» Score, over three months away tion of a worthwhile quantity, the Artists ' annual Young Contest •• spon- vance of jminftfS. & outfit is neat and compact, the ADVANCE OF PUBLICATION publication offer ! e numb is gained whole CASH ami’ , «r PRICE, 25c, Postpaid no mim e ' er but* of again when a wide distribution 1 " l<> * lil ' ifwathout, , choirmasters sored by The MacDowell Club. Only stu- unity to lb** op;.. , already enjov symphonic *, T M. Fu h mu ,i , wbftb^ mg case being 5 inches wide, 4 inches high, ^c>tnely music for sale of a first edition of a new dents who have not appeared in 085, their special Christ- in the public Ndti or iffli , and 3% inches deep. It is made in a ADVANCE OFFER No. 40 ZAcSelP! rfk m< es is to those in music educa- recital in New York City may enter. Ap- ^4 the F** surprising. Christmas is work of worth ADVANCE OF PUBLICATION 1 ,T t f ; smooth polished black plastic, with soft CASH PUCE,^. P 6011^ special those on the concert stage, or to plications must be filed before September CONCERT Postpaid Du** Musical season ahead. tion, to TRANSCRIPTIONS for the Msm* base to protect furniture. The OF OFFER ] choruses, there feet on the 30th. Application blanks may be procured No. 45 aROteachers like ^ conduct Hal- those directing choirs or FAVORITE HYMNS for :c»l!' ELECTRONOME is guaranteed by writing to The MacDowell Club Young Piano scnmirtlt?: ^ P'tPhrKitals, continuing demand for FRANZ : a L B'^ while others like to is sure to be By j 1 st ts,, for five years, Artists Contest, CLARENCE KOHLMANN c " by the manufacturers and 166 East 73rd Street, New TiN&s 1 A to come. juni E.flat talS number of years °« rJir! ' featuring that work over a Transcriptions such as will ; Piano ieces York City. be included in this volume ^acteriiHc P complete with a 10 foot cord and plug are ideal cZTB B-Bt lc ( make it possible Pianists of who must o%r fi» ‘ the considerations contribute B These something to . season. Armistice .services, and these r. I ivioul This La i no Day sells for $10.00. The Theodore Presser T transcriptions are sure In be I* give spe- very rmgS Co. to PRIZES OF S200, popular wdthh , "v Bo.**- offers B-to along s for the Theodore Presser $100, and $50. as well mum-less home pianists who take great a fine varietv to Pecial programs stock of these pre- delight Solo B;- which Co. carries a good raagements of K P»nu,tpTfnistick ar-ar 5.™. are adaptations S its annual as performance of first and second prize- favorite hymn melodies. ;tfsrrfr1 H « of fro ™ta,)le music price advantages during r¥"=ndel - £, is cial Schubert, r many required, and indicating devices, making Mr. Kohlmann’s experience Mendelssohn ,eK * , or chi cision tempo in all phases of , S? . Beethoven. its winning works by the Philharmonic-Sym- aotn ity I. it. eS Sale featuring the church is reflected not onlv in nal settings utilizhVg ,h " r '"""her- era r alwa >’ s mak* it a point September Bargain in the line transerin,™ sm.V wen"known °, n c possible to give prompt service on phony Society of has made for this occasions as 'c''>SPd t» nr ct Alt» r i twelve it New York City under volume, 1C last but alsH in'the Christmas Easter and«nd -„.'h Ten* arly publications of the h™£s That"‘ Th ,?,k^ or attractive book selected. These transcriptions h'V'' Bnd ms and joy- to be shipped to any part of the the direction of Rudolph Ganz, are offered are not difficult, ^tavin®- ^ BarvRt n Prices. orders grades 3 and C ,n electiondleetT (TnW** ^om e low Introductory Cash 4 and they give additional ch-irm may |>e orvieml ^ Celebrations and months at young composers between the ages of ten melodies. = it inherit United States. Mr. also Kohlmann shows in these transcrintiorw tSt Bargain Offers there to 11 at>l lty Dm 88- In these Fall and eighteen years by the Committee of add brilliance and embellishment in keeping with the” ! (Sold 05 Publication Of- of I he hymn melodies arranged. The O^y ADVANCE OF PUBLICATION CASH M ^fiT°* music included Advance of the Young People’s Concerts of the piaS'^ll^J inTheUniVeTs^e” catalogs embracing the are RECORDS BY MAIL—Any New P nt 1 tT VICTOR the ease of execution found in ® " ,tl1 aZ“'s of n Al ORDER these transcriptions 30c. 3 works in preparation. York Philharmonic-Symphony Society. Partt, 20c lath; Piano-Cond.. e,et ut)lishers and covering fers on new can be reached by the - individual who ADVANCE OF PUBLICATION CASH ? clawifi Postpaid Compositions must reach PRICE, 40e Past aa id 03 011 listed with Introductory Dr. Rudolph tic !' mus*c publications. works States Mails can obtain desired (Sold only in the United States and Theodm- de- United Ganz, Chicago Musical Its Possesstons) Presser are ready for immediate College, 64 East Prompt Co. is able to give Cash Prices Records for their musical enjoy- dsi-pl of Victor Van Buren Street, Chicago, Illinois, mail listed at Advance no J}^t>0*ZPRESSER 111 service livery. but those convenient direct mail CO. PA heeds on such musi- ment through the later than December 1st. For details write ^‘c^r^Vr PHILADELPHIA, i Postpaid Cash eS W1 !i °11 covert publication ^® Presser hi ng any classifica- , service offered by the Theodore Dr. Ganz at the above address. whiVvf ^ as published.^ Even 50U as soon are interested wiU be delivered Co. With a stock embracing everything 650 cheerf„i, instances it may be a • upon receipt of your re- though in some the 0 Member. 651 1941 ' . 5, — . . at twenty San Fermo’s church, and as T Announcement Real Interest to Scores operatic debut ness was soon dissipate An of Those Interested in NLiniature Putting Songs Across one made my by They likedl my as to the Duke in “Rigoletto.” actions of the immediately artist the Footlights that they in turn aroused HAMPTON SERIES OF DOLLAR MINIATURE ARROW-SCORES work so much great i„? ^ opera THE for “I Puritani,” an ext music itself. ^ b signed me Children are fact that ( Continued Page 608) 1 The practical utility of the the from its ong 1 1 arrow system of score reading has been conclusively proved by had not been sung m ^. like adults in one Bumble that respect I to sing The “Fight" of the of the n7 the major works of the great issued with this sys- fifty years because one intangible symphonic and chamber music composers have been Bee. kev for things F above high the scores. Rodzinski have tenor arias calls for an attentiveness or 11 tem on Many great conductors such as Toscanini, Koussevitzky, Ormandy and Popular arias go over well, for alert react? this tenor aria, a hap- such Mobile C. I could sing have seen grown-ups. 1 praised the system, as have also noted composers, educators and writers in the theoretical music field when about to sing La Donna in sixteen attend? py asset which resulted Wontk first symphony AR- la Giubba there usually is ap- concert ??’ as Philip James, Paul MINIATURE or Vesti in Milan. J. Weaver and George Wedge. THE HAMPTON DOLLAR performances I begin. This did not successive more conspicuously VOLIVE volume plause before I than any?? ROW SCORES are a series of volumes listing (with an occasional rare exception) at $1.00. Each concert tour followed, and my all ' happen before the motion picture A because this medium Rimsky-Komkow with Nicholas rhapsodies, fantasias first concert outside of Italy was will comprise several works by great masters, including overtures, suites, concertos, because con-cun- . miliar to them. came mtuinto existence, butout uccausc ^ Scbebenomlr Orchestra, 1 of the price in cert heard these arias the Kurhaus ETUDE FOR OCTOBER The United and symphonic poems. In each instance the cost of the volume is less than one-fourth audiences have THE States is Natui ally, a singeis probablyth, the Belgium. MUSIC'S CREAT ' so often over the radio and in SYMBOLIZES most musically alive Russian taste* foreign editions. I sing country ! familiar receive encores, and to-day IN AMERICA movies, they have become ADVANCE world to-day, and no this concert in Ostend one?? love I hope this many; but at the sol,« of P'onos Here are the Contents Lists of the First Three Volumes with them and them. Do you know thot j" conscious of this than nervous and wished States have mounted over ’00 . the artj will Mozart. I feel that I was desperately the United happen with keeps its r, ulor tour. There BEETHOVEN since 1935? THE ETUDE B seems to be a Vol. 1 —RIMSKY—KORSAKOW Vo/. 2 MOZART-GLUCK Vol. 3— that I had never freshnes it ques- that I could die, or subscribers eligible for the is only a matter of time and a readers and and a vigor, a floor would advantages of this country-wide musi- desire to hear tion of familiarity. been born, or that the great anj! SCHEHERAZADE MOZART OVERTURES BEETHOVEN OVERTURES cal expansion. aee among concert As I started onto the audiences. Son, the Seraglio is little difference swallow me up. Abduction from Coriolan There very be- not instill I. The Sea-Sinbad's Ship this same vitality Tutti stage I heard the manager say sar- in Cosi Fan tween the audiences in small towns dren Egmont Martini, we with careful handling? II. Kalendar Prince Don Giovanni and large cities with the exception castically, “Remember, u — child Is Idomeneus Fidelio restless at his first Hi. Prince and Princess allow no encores.” “Encores!” I cried. concert Young of those in New York who have so do Impresario, The not be I “I I can get through my first discouraged. of Leonore No. much to choose from. Through the hope Brief Description IV. Festival at Bagdad Magic Flute, The Figaro radio, people have learned to under- song.” Well, by a turn of fate, I got HAMPTON SCORES Marriage of Leonore No. 2 Diversion Clemenza di Tito the first song and the second Dollar Miniature stand music to a far better degree, through Each Hampton RUSSIAN EASTER Leonore No. 3 1 comprise* 96 pam-*. GIUCK OVERTURES and the third, and finally the audi- have always loved horses Score volume which has it for and, made worth while printed on sup- Festival Overture Prometheus sheet music size, Alceste ence broke into thunderous applause even as a child, I was allowed artists sing to ride. There are four min- to in smaller towns. In- erfine paper. Iphigenia in Aulis serin* on each and called, Some day I will buy a iature panes of telligent audiences are springing “Encore! Encore!” So ranch and Eurydice up therefore each Orpheus and large (9x12) pane: here was where I defied my breed and train them. If everywhere because of this phe- man- the indi- about 380 page* volume contains Price $1.00 vldual The cover ia an 96 Pages— agerial archangel. wishes to make singing of actual score. Pages Price $1.00 nomenon. i 96 — 96 Pages—Price $1.00 durably and career, attractive green, Cost separately $5.40 When I was in Paris in 1929, I met he should Indulge in hobbies Cost separately $7.20 flexibly bound. Cost separately $6.00 Things Can Happen L. and diverting Jesse Lasky. He asked me to come pastimes that will of- After having made many concert to America for a singing role in five set the strain of lus artistic United States endeav- These Scores are on Sale at all Music Stores in the tours throughout the United States short pictures in Italian. I also had ors. This balance will give zest to and Canada, I have become used to bit parts in “Paramount oil Parade,” life and help to put his York songs across, Inc. 400 Madison Ave., New the unexpected. Things do happen “A Night in Venice” and other films. HAMPTON PUBLICATIONS while concertizing. Last year I was After this I was signed as leading MAJOR JOHN A. WARNER singing in a Texas city, and the con- tenor by the Philadelphia Grand MUSIC How lu Sliuly Schukis cert was progressing well, until I Opera Company, and then came suc- AS A LIFE ASSET The unusual career noticed a large horsefly cess in radio. of Major John A Warner buzzing There followed another Superintendent of Nr* York Slate |*olicc u Masterly Sonatas notably interesting. Harvard bred he br, amr around the footlights. The fly circled European concert Interested and opera tour, in penology and has made him~U » national authority i Continued from Page 606) the stage several times and finally after which I on crime and upon the returned to America preservation of public arlfmrr A. . Major Warner and he finds Its finale in the Unit Diploma has TV flew straight toward my head. I did where I was to have played » a idano iirluow, Teachers an audition for ullh several of our leading American syasphom A orchestras. In published as Op. 745. not want to stop singing and shatter the Metropolitan Opera. I this fare interview, he tells ol waited my the great praetteal value ol music at th.s time the mood that I was trying -No. VI in E-flat. Op. 122” (June- so hard-to turn to walk onto the big stage- ^ build up; moreover, I RUSSIA’S AMAZINC MASTER November. 1817. Transposed from D- have a whole- finally, my name was called and at some respect COMPOSERS in 1830. -No. for horseflies. Well, this that moment, all I could see was huge flat when first published Hul - former prafoaor of I Texas c r 181). Degree ' Hi audience certainly saw an en- black emptiness. A University, starts a VII in F-sharp minor” July. IABaehelors man spoke tous series Mr to me of three historical artirle* nt*. » tirely new interpretation of this It countp* uppermost in world completions by EARN aria; was Tullio Interest Hih. Unfinished. There are Serafin, the conductor scription now insures the entire atrfes. I gestured wildly Ret and moved about He said, • < Walter “I might as well tell you Mr Heinz Jolles 1925 and at Home the stage, A MASTER Time turning LESSON 147” August, my head from Martini, ON ' Spare side this is a waste of time ” Mv BACH’S berg. “No. VIII in B. Op. InTfour • to "AIR’* • side while the buzzing fly heart Op. iff seemed sank as I saw fifteen years of 1817*. “No. IX In A minor. several times to dart for my life 111®. my mouth slip by and • 18171. “No. in C” 'April its 37th suc- plunge into an BfiSg5J63SV?BMru X This great musical organization now in Finally, I obligation to you. saw the fly poised in mid- abyss. It F minor offer them without trained many musicians seemed ages but perhans it Unfinished. No. XI in N EVERY COMMUNITY there arc ambitious We cessful year—has developed and air above the same my head just as a high C was only There men and advantages of in music by successful teachers. To you we offer a second before Serafin SEBKSBSflKaS 'September. 1818*. Unfinished. women who know the only school giving instruction and many We are the them. Don't wait was coming up in the aria. Taking smiled J new inspiration and ideas for their musical ad- which includes in its teaching advantages which have been given to and said, “It is a waste nf time OUR is a completion by Walter Rehberg- Study Method MUSICAL v ,he Home you our catalog, illus- GOOD ancement. are Bachelor longer ! The coupon will bring the high note, I flung out NEICHBOR It is to those our Extension Courses to obtain the Degree of any my right because regardless of minor" 'April alf the courses necessary what you sins- POLICY “No. XII in C-sharp °f the lessons and information about the lessons which arm in a dramatic greatest benefit. trated gesture—and, with you have Op. of Music. already been ” 0n n d 1819'. "No. Xin in A. will be of untold value. engaged ft Hsl^sou'ndhig name* £ . Fragment. The most the very a lucky grab, I caught the fly. *Br. -'iVi"" T' successful musician, of course, is At he had not n £a, to a held out his m r ascribed u music field are hand to con bir. ‘! mnr'?^ 120” <1819*. Formerly *y one. time for Openings in the Mail the Coupon TODAY! the conclusion S nce !S^ „'5 Yet he is the one who finds extra This Is YOUR Opportunity— of the are numben bowed gratulate me, I ex- something rapidly. There would have fallen evidence is worth while. such a one Extension growing very and flung later date; but the And to those the fly into the wings, into the ourses positions for Dept. A-263 orchestra pit com- are the greatest It isn’t always possi- big paying UNIVERSITY EXTENSION CONSERVATORY, SH it have been boon. After * OLLECTS clusive that must them. E. 53rd Street, Chicago, Illinois. the concert, several WAR WHOOPS e to give position and who are ready for 1525 autograph My Metropolitan 0n 5 18- up an interesting class or debut took August. course I have seekers nio™a music., hgurvw posed at Steyr in July- 8° away Please send me catalog, sample lessons and full information regarding came back stage and in P BE to for instruction. told me “Rigoletto” - in 1933- then nD r spent a Ufetim? vlsTtln? mon *ho ha. 143” marked with an X below. 1 Parts BSl* 'x'*>» in minor. Op. hold the Key that they had never of the counSv in “No. XTV A , Do you seen such mag- was ' H°me advantageous to Harmony Violin called to Hollywood tn tribal melodies making records nf "tbMf Study Method is equally Piano, Teacher’s Normal Course The y ot *»« XV in C.' he Trumpet Cuitar this, under t; o *hc has done ruary. 1823*. “No. beginner or work can be teaching Piano, Student’s Course Cornet— S - >u P*rvlslon. , the amateur. Because the best readable is to the ' Advanced Cornet Mandolin u"“u!?m 1W*- 1 e Public School Mus.—Beginner’s ] April. a t r interference called “Reliquiae" ? ? home in spare time, w ith no Saxophone Diploma? Public School Mus.—Advanced Voice Background ,or HASOLD Finale are unfinished 0! e,s regular work, many minutes each day may position—a Advanced Composition Choral Conducting Piano Accordion »au,« Minuet and ] Madame'-Tlf' and e u 3 Reed Organ Lawrence sed which waste. Ear Training Cr Sight Singing Clarinet I was born in Were completions by ordinarily go to Band Arranging Banjo Verona, the historic musical films There are YOU. On your History of Music Dance 3 but in „ ll*“ It is up to * Krenek Italian city 1 :,lcrr relate ir, Ernst your where my father was Play a f ^ "'Sk fashlo^^he" rnmV Stark (1877*, Look Bock Over the Last Year decision will rest amSar Sle Vafof ments In their mix own Adult or Juvenile. honorary custodian Tn °pera XVI inA Fit yourself fo Name of the tomb of singer. I have and Rehberg. "No. have future success. imt , in Progress have you made? Ferhaps you demand Z 0 xvn position - Romeo and Juliet. I CAL 42" 1825* No. a bigger started to sing eighth season UFE ' N Op. (May. t0 Send for sample lessons ne- Street No. CA ill . our catalog and it. with the 'RO f can do when MetroMe ! THEmUDE h S b n 0re— larger fees. You I was ten P°htan. i just to privilege. but my teacher, being n 53" ( August. 1825',! H look your the able »k fortunate of Op. into them. That is ^ v . State ,*SJ* t local Op- City . choirmaster, insisted that 1 ’stop Let Children sms* SSasr'isa Gastein. "No. XYIII in G. Be ChlldrOnM about Ms ,ht* r en Cairo '.r you?. . . . you for I was singing —by iim m„ ; , inCn® now? If so, how many pupils have Do so virtuoso • XIX Are you teaching vociferously that and America r, October. 1826' . "No. Children it c music teacher *“» bom he was afraid mS t0 me t*aehini ,V thJ'S; r *wn ytsnS XX my ’ voice sh . “No. would be not be kept °uld Egypt, has no* 4torT In Cairo * September, 1828> Teacher’s Certificate? Have you studied Harmony?. from !. delphia returoM^?i*r, hold a rumed. For a while I Simply ” to resume h ™w|, Phlla- XXI was soloist in be r|f* I 1828'. “No. cause anew in Amerlcm. September. ' CONSERVATORY the parents 10 Music? y ems aie afraid The an ^UNIVERSITY EXTENSION Would you like to earn the Degree of Bachelor of that a flat" (September. 1828' CHICACO. ILLj 652 26t&- graph is dated September 8$ °ctober, the 1941