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The Etude Magazine: 1883-1957 John R. Dover Memorial Library
12-1-1935
Volume 53, Number 12 (December 1935)
James Francis Cooke
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December 1935 PriceD- 25^ Cents^ Editor THE ETUDE JAMES FRANCIS COOKE Associate Editor Published Monthly EDWARD ELLSWORTH By HIPSHER THEODORE PRESSER CO. Music Magazine 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC PHILADELPHIA, PENNA. Vol. LIII No. 12 • DECEMBER, 1935
The World of Music
Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere
MEXICO CITY has a “DIE SCHWEIGSAME FRAU (The Silent THE JOHANNESBURG MUSICAL SO¬ THE NEW “RHUMBA , government owned Con¬ Woman),” a comedy opera by Richard CIETY (South Africa) recently gave a pro¬ SYMPHONY” of Harl ej:/ , ' servatory of Music with an Strauss, with its libretto based on Ben Jon- gram of sonatas for violin and piano, which McDonald of Philadelphia, V* ^ / enrollment of more than son’s play, “Epicoene, or, The Silent Woman,” included the “Sonata in D Minor” of Brahms, had its world premiere Estanilas six hundred students. Tu- had its first performance on any stage when “Sonata for Violin and Piano” by Debussy when played on the open- Haul MEJIA ition is free to all talented given on June 24th, as the opening event of (his only one), and “Sonata, Op. 18” by ing program of the present McDonald musicians, and the activities of the institution this year’s Opera Festival at Dresden. The Gabriel Faure. season of the Philadelphia Orchestra with date from 1868. Estanilas Mejia is the direc¬ composer was present as guest and Dr. Karl Leopold Stokowski conducting. The third tor, and the conservatory organizes opera and Bohm conducted. THE COUNCIL AND DIRECTORS of movement (the Rhumba) stirred such enthu¬ ballet performances as well as orchestral con¬ •a-1> the National Federation of Music Clubs met siasm that the audience burst into applause certs, so that students have an active part in MAURICE EISENBERG is a young at Denver, from September tenth to fifteenth, at its close, and Dr. Stokowski left the stage the artistic development of the nation. violoncellist who has been winning a remark¬ at which time the president, Mrs. John Alex¬ to bring the composer on to receive an ova¬ able success and following in Paris, where he ander Jardine, of Fargo, North Dakota, an¬ tion. The conductor then genially broke his THE CINCINNATI SYMPHONY OR¬ plays frequently as soloist, is a member of the nounced as the Program Committee of the habit of reprimanding unnecessary noise¬ CHESTRA, with Eugene Goossens conduct¬ Yehudi Menuhin Quartet, and is a professor Twentieth Biennial Convention, for 1937, in making by complimenting the assembly on ing, is offering this season to its regular in the Ecole Normale de Musique. Louisville, Kentucky: Mrs. Howland Car- “breaking all the rules,” and later reminding subscription audiences, performances of roll Day, of Albert Lea, Minnesota, Chair¬ THE SAN CARLO OPERA ^COMPANY them that “once upon a time, when the Phila¬ Wagner’s “Die Walkiire,” “Die Meistersinger,” man; Mrs. William Hoyt Raymond, Bowling delphia Orchestra was playing Bach music, “Tannhauser” and “Tristan and Isolde,” with of Fortune Callo opened on October 14th a Green, Kentucky, Vice-Chairman; with Mrs. three week season at the famous Auditorium back in the seventeenth century, your great - the chorus and minor roles provided by local Edward Philip Linch of Philadelphia; Mrs. great-grandfathers applauded at the wrong of Chicago, with a performance of “Aida,” of Vincent Ober of Norfolk, Virginia; and Mrs. which the cast included Cyrena Van Gordon, Edward Zoll of Colorado Springs, as other ONE HUNDRED THOUSAND PEOPLE Bianca Saroya, Aroldo Lindi and Mostyn members. listened to a post-season concert, of the sum¬ Thomas. Other works in the repertoire were SOFIA, BULGARIA, with a population of mer series in Grant Park, Chicago, in which “Madame Butterfly” with Hitzi Koyke in THE PHILHARMONIC ORCHESTRA three hundred and fifty thousand, supports the Chicago Symphony Orchestra, the Chi¬ the title role, “Lohengrin,” “Carmen,” “Rigo- of Berlin has for its present season Wilhelm a grand opera company with one hundred cago Opera Orchestra and the Women’s Sym¬ letto,” “Faust,” “II Trovatore,” “Cavalleria Furtwangler as regular conductor of six of and fifty-seven singers, choristers, dancers phony Orchestra played under the baton of Rusticana” and “I Pagliacci.” Prices ranged the grand concerts, with Hermann Abend- and instrumentalists, and with four conduc¬ Dr. Frederick Stock. The orchestra of two from twenty-five cents to one dollar, with roth, Ernest Ansermet, Sir Thomas Beecham, tors. It has also two symphony orchestras. hundred and twenty musicians aroused such box seats at two dollars. One way to make Willem Mengelberg and Victor de Sabata as enthusiasm that the program was repeated opera popular! guest conductors. KARLETON HACKETT, onf of the most on Wednesday of the following week, when distinguished voice teachers and music critics the audience was equally large. Chicago CARL LODEWIJK WILLEM WIRTZ, MARY McCORMIC has announced that, of the Middle West, died in Chicago, on Octo¬ knows how to do big things in a big way. dean of Dutch pianists, has died at Breda, following the five week season of the Chicago ber 7th, on the eve of his sixty-eighth birth¬ Holland, at the age of ninety-four. Born at City Opera Company, she will present her day. Mr. Hackett studied with the greatest THE WANAMAKER ORGAN of Phila¬ The Hague, of a German father and Dutch own troupe in a series of performances at teachers of Milan, Florence, London and delphia, long known as the world's largest mother, he was long a leader of the musical the Auditorium in a repertoire of standard Munich; and later he achieved fame as a organ, has had but one “keeper,” George W. life of his country and among his friends operas in English, which she will later take teacher of leading American singers. His Till, to whom John Wanamaker gave the could count Brahms, Ysaye and Sarasate. on tour. Which reads like the eighteen- whole professional life was devoted to Chi¬ commission to purchase and move to “Penn’s •
BEHOLD, within his tiny hand, the olive branch! Despite the age-old curse of wars, the song of the herald angels, “Glory to God in the highest, and on earth peace, good will toward men,” will not, shall not, can not die.
War is the world’s tragic way of purging itself of hate.
War is a disease of civilization, for which there is but one cure—human understanding and brotherly love.
Peace and music, joy and giving: these are the glorious motifs of the Christmas festival. Surely there is deep significance in the fact that music is far more closely allied with Christianity than with any other faith.
Who can imagine Christmas without music —all kinds of music, from the carols of chil¬ dren at dawn, to the great symphony of joy which the little Prince of Peace brings to the hearts of men.
Not from the throats of cannon comes the real voice of victory, the victory that pro¬ claims peace, hut from the diapasons of great organs, from the choirs of human toilers chanting their faith in the best in man, and from the forests of spires throughout the world—spires with their deathless bells ring¬ ing—ringing—ringing, the Magnificat from the heavens. May we understand in this hour of the feast of the Nativity, that each day our world is born again. Shall we make it a day of joy, or gloom; of love, or hate; of peace, or war?
May Christmas live today and every day, in our hearts, with an exalted music that comes from nobler, kindlier, thoughts, a higher love for our fellow men and a richer joy in the realization of our endless blessings.
Behold, within his tiny hand, the olive branch!
All Hail the Prince of Peace I
DECEMBER, 1935 699 m Help! Please?
he Etude will greatly appreciate your cooperation in the Let Nothing Discourage following matter, which in turn should be of telling value to all interested in music. For years we have contemplated getting statistics from penal institutions relating to music in the previous lives of the rest- You dents of these institutions. The job, however, is too big for any one man. If our thousands of readers, however, will get in touch with their local prisons and reformatories and secure the following information, we shall be glad to classify it and An Interview With publish it in The Etude. Any real penologist, superintendent or warden, who is interested in this work, will doubtless be glad Lotte Lehmann to give the information, if he knows that it is for a serious pur- pose. Therefore, will you kindly write to your local penal PRIMA DONNA SOPRANO OF THE METROPOLITAN OPERA authorities and ask them to let you have the following informa' tion: 1. How many of the inmates of your institution have The Etude had a fair musical training in the past? Secured Expressly for 2. Do you find that music in your institution is valuable from a disciplinary or reformatory standpoint? By Rose Heylbut The success of this movement depends upon your unselfish' ness in helping us to carry it out. We hope that the response will be large and prompt. Send your replies to The Etude, A PROGRESSIVE MUSICAL FAMILY 1712 Chestnut Street, Philadelphia, Pennsylvania, addressed to time. I remember being given an aria ally, and avoiding too many random “Department P.” from “The Marriage of Figaro” for study; opinions about work and “methods.” Recently, Dr. B. O. Skinner, State Director of Education of "Something Really Worth While" and, although I had already learned pieces Even the much sought auditions with es¬ Ohio, said: which were vocally more difficult, I found tablished artists can prove hazardous, as “Let the man or woman who would consider music a frill HERE are the Vinsons of Milwaukee, who have kindly suc¬ that aria, for some reason or other, ex¬ they too often but sow seeds of confusion ponder seriously two illustrations. A survey of the state prison cumbed to our request to permit us to print the very tremely hard to learn. It would have been in a student’s mind. Personally, I avoid of Colorado disclosed the startling fact that not a single man lovely domestic picture which we received through the courtesy helpful to have been allowed to put it aside such auditions. Not because I do not want for a time and to work at something else to be helpful, but because I keep seeing behind the bars had learned to play a musical instrument in his of their teacher, Mr. John W. Schaum. until I was ready for it again. But I was before me that bewildered girl I used to be; youth. Since the founding of the Ohio State Reformatory for Mr. and Mrs. A. W. Vinson are musical enthusiasts and Women at Marysville, in 1916, only two inmates have been able Copyright by Benato Toppo kept at that song, and at that song only, and she makes me afraid of judging a can¬ strong believers in the great importance of music in the home. until it built up a definite complex in my didate’s possibilities after one single hear¬ to play the piano and only one has been a performer on the Lotte Lehmann, in the role of the Marschallin of “Der Rosenkavalier” Mr. Vinson writes: mind. I remember trembling with terror ing. I might make exactly the same mis¬ violin.” “We get a great deal of pleasure from our music. We feel the moment the piano accompaniment was take that Gerster made with that girl. It that piano lessons are a part of our girls’ education; and the played. And I did not learn it perfectly, seems to me that the entire system of en¬ inspiration we all derive from our music makes us feel we are Question: What do you consider the vocal gives supreme expression. through sheer fear. It took me years, not couraging an ambitious beginner to seek student’s greatest problem? Music on Wheels doing something really worth while. Renewing our own study I can conscientiously advise other singers of vocal practice but of mental reasoning one audition with a ranking singer, and then Answer: The development of that atti¬ to go to work that same way. When the has given us a joint interest with our girls.” with myself, to get to the point where I to pin her faith to the ensuing verdict, is as tude of mind which enables one to rise music is first learned and then the words and could approach that “terror aria” in the wrong as can be. Probably Etude readers will be interested in learning from CAN it be because the band wagon in the circus gave us above all difficulties and discouragements. the stage business are fitted to it, there will same spirit of ease and pleasure with which Do you realize that the greatest singer Mr. Schaum how the Vinsons went about achieving these splen¬ one of the thrills of our youthful days that we take such The singing student must, first and fore¬ be but an external interpretation. But I approached my other work. in the world cannot be fairly judged on an extraordinary interest in the radio in automobiles? It seems did results which should be an example in these times to thou¬ most, develop self-confidence. Mind you, I where one creates a definite conception of Well, to make a long story short, the one single performance? So many purely so marvelous to go flying along the roads and to realize that sands of bored, restless, nervous, apprehensive families in all do not mean arrogance or that unhappy a mood or a character, and then expresses methods which had done much for others, human factors combine to make or mar a with a twist of the thumb one may have a symphony orchestra, parts of the country: state of feeling one’s self always in the that conception by means of singing, there is did nothing at all for me. Finally, Mme. single effort. An artist may be letter per¬ right! But in order to convince even one a choral society, a piano or violin virtuoso, or perhaps a world “The two Vinson girls have studied piano with me for the an approach to a new plane of living, and a Gerster had a serious talk with me and fect in her work; and yet, if the weather listener, in his own home, the singer must fresh outlook on human values is communi¬ famous singer, as a guest in one’s car. There is something jaunty past three years. Last season Mrs. Vinson asked me whether I asked me to leave her studio. She said is depressing, if she has heard bad news, possess that surety, both vocally and in- cated in exactly the same way that a painter she was assured that I had neither voice and inspiring about it all, something that fills one with a realiza' could arrange a lesson period for her and her husband. At first if she feels nervous or ill, if she happens terpretatively, which is not put into him by uses his brush-strokes to express not mere¬ nor talent, and that the best thing I could to be caught up in any one of a thousand tion of the fullness and greatness of the blessings of modern life. I thought she was joking. But she convinced me that they really a teacher or a coach, but which emanates ly lines and colors but also his personal do was to go out and study stenography. unimportant, inartistic, plain human cir¬ Your editor has motored in many different kinds of cars and meant it. They did not know what to do with the evenings from within him as the result of study, philosophy of life. That, I believe, is what That was the most crushing moment of my cumstances, she may give a performance of the winter months. Should they read aloud to each other thought, and experience. in many different lands, at least half a million miles, and can art music should do. entire life. I believed I had ability, I had that is not at all representative of her therefore claim to be something of an experienced driver. at home certain novels and plays that are worth while; or should Question: How is such surety to be Question: Why do you believe that vocal centered all my hopes on proving it and had actual ability. This is all the more true of achieved ? There seems to be some impression that the car radio adds to they revive their piano playing by playing duets together at “systems” are not helpful? made a great sacrifice to study at all. We had students, who at best cannot be expected Answer: As to vocal surety, I have, alas, the hazards of driving. We have, nevertheless, the conviction home—that was the question? Anszoer: Because I have found this to be little money at the time, and, on the strength to have the poised control of the experi¬ no definite “pointers” to offer. Every “A few months prior to their decision they had heard Josef the case through bitter experience. Let me of such eminent opinion, it seemed both fool¬ enced singer. I believe that the best way that the opposite is true. A radio in a car is no more dangerous voice is so highly individual in its structure and Rosina Lhevinne play a recital. It was this sentiment of cite an instance which nearly ruined my ish and wicked to waste any more on sing¬ is to work slowly, with an understanding than an additional passenger and often far less dangerous than and its use that I believe it would be a life at the time it occurred, but which has ing lessons. But, in final desperation, I teacher, and to pin one’s faith to continued a nervous passenger. It gives, in fact, a kind of stabilizing husband and wife having a mutual hobby that appealed to the serious mistake to lay down any general served since then to keep me extremely wrote a long letter to Mme. Mathilde Mal- and growing progress rather to one single, effect which in our judgment is psychologically valuable. For Vinsons; and, when they approached me for lessons, it was their set of rules or “system” which might prove humble in the matter of dogmatizing about linger, telling her exactly what had hap¬ spectacular audition, which may defeat its instance, the writer for years has been listening each morning, intention to study duets together with a little solo work thrown beneficial to one singer and distinctly harm¬ what must and must not be done vocally. pened and begging her to listen to me, at ful to another. own purpose through outside circumstances. coming to business, to the finely selected programs of the very in. I had them work on the duet collection entitled ‘Four Hand When I was a very young girl, before I least; for, all discouragement notwith¬ Question: Will you comment on those But, interpretatively, that is another mat¬ able and gifted organist, Lew White, as they come in over Exhibition Pieces.’ From this they learned to play very artis¬ was even started towards my career, I en¬ standing, I still felt that I could sing. “freer, more natural” methods of instruc¬ ter ! I believe that the only way to achieve WJZ. These programs are of course heard over thousands of tically Tschaikowsky’s Marche Slav; Rachmaninoff’s Prelude; tered the vocal studio of Mme. Etelka Despite the damaging circumstances under tion by which Mme. Mallinger aided you? a convincing interpretation is to work at a domestic receivers, but unquestionably large numbers of business Grieg’s Norwegian Bridal Procession; and several others. Gerster, herself a singer of great reputa¬ which I came to her, Mme. Mallinger lis¬ Answer: The value of such methods role or a song from what I call the human men in the East are now hearing them on their radios, as they “Time went on and I suggested that they work up a piano tion and a teacher who had had excellent tened to me. Then she said that I was not rests entirely with the discretion of the point of view. Leave the business of sing¬ results in building other voices. For some go to work in the morning. The performer possibly has very quartet—eight hands at one piano—with their two daughters. really as untalented as all that, and offered teacher. She must be ready at all times ing alone until you have thoroughly mas¬ reason, though, the methods used under to teach me. Under her freer and more little idea of the practical psychological benefits to those who At first they wondered how they would all have room enough tered the text, the meaning, the atmosphere, to adapt her methods of approach to the Mme. Gerster’s supervision—methods which, natural methods of instruction, my voice individual needs of each student. That was hear this music. A little Chopin, a little Beethoven, or even at one piano, but two benches solved that problem, so we started and the characterization of the piece, with I repeat, had had success with other pupils developed, my inhibitions left me, and I Mme. Mallinger’s secret. After all, every some trite modern tune, may do more to iron out the troubled to work out Engelmann’s Taps arranged for eight hands at one both your mind and your heart. Go to —did nothing but bewilder me. As one found my way into a career. I do not pre¬ one of us has his or her limitations. In school, mind of an executive than would be possible for anything else. piano. The picture shows how the parts were distributed, and work as though you were preparing for the exercise, I remember, my teacher made her sume to say even now that the Gerster speaking stage. Only after you have made I remember, I never did well in mathe¬ Here is a twentieth century blessing which any mind specialist they worked it up in tip-top shape and performed it with great pupils sing with a little piece of wood be¬ studio methods were “wrong” and Mal- matics or chemistry, but I knew history the significance of a work your own per¬ tween their teeth, to fix in their minds the must endorse in the highest possible degree. In the early days success at a recital of last winter.” linger’s, “right.” I say only that they were and could write good compositions. sonal property, are you ready to interpret exact distance at which their mouths were the auto radio was an expensive toy, often getting out of order; “wrong” and “right,” respectively, for me. Mechanical restrictions always held me that significance by means of music. I like to be open. Some of the pupils found this but, with the fine modern sets of Philco, RCA, Atwater Kent, And that experience has made me extreme¬ back, while imaginative things spurred me to feel that my singing is not a finite thing a great help, but I did not. That wretched Majestic, Motorola, Ford and others, it has become as much a ly wary about expressing an opinion as to on; and Mme. Mallinger dealt with me as in itself but rather the means of communi¬ little stick kept falling out all the time, for the absolute value of any “system.” I was, instead of trying to make me over. part of the mental happiness to the driver as the carburetor is cating my personal convictions. I never so sometimes I opened my mouth wider and Question: How, then, would you advise Mme. Mallinger’s art lay in presenting a part of the engine. The auto radio multiplies many, many Music is the first, the simplest, the most effective of all in¬ much as glance at the music of a new part sometimes not so wide! a beginner to go about her work? the work in the way that was most under¬ times the joys of motoring. or a new song until I have carefully studied Again, we pupils were kept at work on struments of moral instruction.”—John Ruskin. Answer: I should advise her to try standable, not to her, but to the pupil. You its human values. And I regard my familiar one aria until that piece was thoroughly teachers until she succeeds’ in finding one see the difference? A teacher may have roles—Elisabeth, the Marschallin and Elsa mastered, regardless of any difficulties, lack who thoroughly understands both her voice a fixed goal in mind and she herself may —as delineations of human life and char¬ of sympathy or mental inhibitions which and her personal nature and then to stay approach it in a very definite way. But acter, to which the added grace of music made such mastery nearly impossible at the with that teacher, working slowly, gradu¬ that does not mean that her way is the DECEMBER, 1935 700 THE ETUDE 701 Fifty Years Ago This teacher keeps herself courage you, and be grateful for the wider mg to give only one. The i arp finpiiin? chance. Ol course it is aimcuiu mentally flexible enough to think up ,„d M, possibilities ih,. .,« PpePiPS Jg» J with Month before you today. In Europe, the begi number of ways of approaching the prove successful, anywhere William H. Sherwood, perhaps the n SftHBUsas&inc me. for instance, she soon saw that I t ofarfjsbft engagements are eve » . _r:"=r.T^srsisrs * .;c helno- made, the voung MUSIC ing me, for instance, she number1g^Tompeten7™erfomier’s **» the and the experiment is being made, the young co™£tely equipped virtuoso pianist that became confused by a too frequent “don’t’ tomatically. - shunts- each, new candi- American singer’s chances are being im- America has produced, was quoted thus in or “you must not,” while I learned quickly field automatically shunts each o the class of overproduction. Here, proved a hundredfold. The gifted young ^ coiumns, on “Playing Broken Octaves": where the goal was presented to me in such date into the cla~ "f gggggEach season American who is fortunate enough to Begin «Arch the hand, covering the keys of the a way that I could visualize it as a finished happily, that is that I come here I find more and more his career in his own land, today has the octaye> from the thumb to the fifth finger, The Magic Carpet of Radio whole. For example, she never said to me opportunities; cities, that had little or no world before him To the visiting fore gner Keep ^ thumb> and the side of the wrist “Raise your right ami/’ « ^sk^ast- year‘"are ■having‘opcra'selsons ■ - Am^'TookTlikeAmerica looks like the land of musical ””” tbe thunitVmmh.b,' down,down. lifting the rest of or take three steps to the k N . That *;ses this year. Everywhere, promise. Be grateful for that and take the hand> keeping the fifth finger rigid in made me at oneturn o s °"e' fhe J°u “ ^ arg ing instead o{ closing. full advantage of it. Work with year hart gurvgd and erect form> piay many times By Gustav Klemm giv; Sra imph "s frer wordsP H^ Furthermore, there seems to be much and soul, even more perhaps than you do ^ the fifth fnger in this way, holding m STo it?” And I would answer “By greater interest in American singers than with your voice; and, if you actually Be thumb on thg kgy and maklng as full will she do itr And 1 wou d answer By g^ ^ Americans are realizing the lieve that you have something to give the & motion up and down with the rest of the MUSIC IS the heart that beats in something like three-dozen vocal adapta¬ friend. No matter how we may have felt A Significant Item higmvUown wAayd Or she would say “Here fact that they have excellent native world of music, let nothing discourage yo . band as is possible. Then hold the fifth the body of radio. Sometimes, as in tions from “Parsifal”! Julius Mattfeld, a moment earlier, this characterizing signa¬ FROM THIS BEGINNING, the selec¬ ture puts us at once into the proper mood the emotion becomes more intense. How material, and they e growing n will- The world i finger down in turn, with the outside of dramatic sketches, the pulses are who presides over the destinies of the tion of a theme has formed a highly library of the Columbia Broadcasting Sys¬ for the particular radio favorite it intro¬ would you normally give voice to greater the wrist low, and roll the thumb side of rather feeble, but it is there just the same, important part in the building of every pro¬ the hand up and down, playing with the tem, claims that his shelves contain one duces. It is an ethereal greeting, a “Hello, intensity?” And, as a matter of simple threading the various scenes together and gram. In the case of a commercial period, thumb. Afterwards, alternate with the hundred thousand orchestrations, arrange¬ how are you? Here we are again.” reasoning, I would sing forte. heightening the more emotional episodes. the signature must be in character with the So, this is the Hurdy-Curdy ments, vocal scores and sheet music. The The very first radio programs, a decade Personally, I believe that this is the only, extremes in broken octave practice, During the aerial periods devoted to edu¬ product advertised. An airy Chopin waltz the country roadways. “This method gives stronger and bolder cational talks or interviews, its pulse may library of WOR has thirty-five thousand and more ago, settled on the use of a musi¬ would be scarcely the thing for a manu¬ way to work. Indeed, if a singer cannot No, the barrel organ or the piano organ France, saw many o shaped like a viol, the results than in ordinary use. and may be disappear completely, only to flare up, selections catalogued. cal signature as a trade-mark, the one thing accustom herself to plotting her own effects, • the hand-organ, as so many have called The instrument is shaped like a facturer of railway supplies; nor, on the greaT distinguishing difference being a termed a wrist exercise. It helps to loosen throbbing strongly, in the following pro¬ Yes, radio fully appreciates the significant that would help to set each radio feature other hand, would it be advisable to use based on her own conception of human tbis_ perambulating instrument of the part music plays in the parade of programs apart from its fellows. In doing this, the values, she is out of her sphere in dramatic ^ and highwaySi ;s not—a hurdy-gi gram, consisting perhaps, entirely of music. a brassy Sousa march to herald a skin art. I always work from the inside out MafoFBeS^^^^ wooden ^heel covered with rosin, which the weak: fingers a ^‘d^" be The average radio listener is apt to over¬ that, day in and day out, marches from the radio was undoubtedly influenced by the lotion program. It must also be remem¬ look radio’s close alliance with music. loud speakers of the land. But the average movies, which in those dim, dear days had bered that the theme must be of the sort Radio, one might almost say say, is music. listener, we fear, takes it too much for not yet learned how to talk. At that time that can stand daily or nightly repetition granted. He is prone, like his cinema-go¬ most of the larger picture emporiums fea¬ material results, but trying always to make buryjdtvstisstSssraz bas ungarthed tbis old specimen of a knownaxt-s: i drones. That is, they are like as before indicated.” “Take music out of radio, and there would and not wear out its welcome. It would ing brother, to overlook the color, glamour, such material results the only natural the pipes in the bagpipe which moan out be no radio to amount to much,” wrote a tured a good sized orchestra, which, while never do for the signature to breed that , real hurdy-gurdy. well-known magazine editor recently. Al¬ emotion and interest provided by music. it might take a rest during the shorter sub¬ contempt so often the result of too great a come of human feeling. After all, it is not* The hurdy-gurdy is very ancient but its pitch throughout the composition lowing for the fact that he obviously meant jects on the program, would invariably familiarity. Occasionally a clever signature especially important for a singer to wax The Herald’s Horn forte in one place or to raise her arm in radio entertainment, the truth of his state¬ play for the feature film. In arranging is made of a number by applying it to a another. The important thing is to express ment is patent to anyone who spends only F RADIO’S many musical attributes, their scores, the orchestra conductors would product that makes an unexpected use of the emotions of the song or the part. And The Bach Fugue a short hour before the loud speaker. the “signature” is undoubtedly one of follow the example of those more important its music or words. This was done by a the fortes and the gestures must come No matter how funny the radio comedian, the most important. It is probable that, in pictures provided with original scores and national advertiser of toothpaste who used as the natural result of your personal de¬ his program will inevitably be introduced the programs featuring that celebrated would settle on a theme for each picture. the famous Callahan-Roberts war song. Simplified sable pair, the Messrs. Amos ’n’ Andy, lineations of a character. with music, this introductory greeting being It was usually of a sentimental nature and Smiles. The subtle suggestion of the known as the “signature.” (It will, per¬ more time was spent on the selection of Question: What do you consider the By Sylvia Weinstein-Schorow would be heard during most of the love benefits of this toothpaste to the nation’s greatest need of the American vocal student haps, be heard at other times during the their theme song than has ever been given scenes. As the picture would end (almost smiles was obvious to the most casual to the preparation of a dozen of their in¬ of today? program and invariably at the conclusion.) always in a fond embrace and kiss) the full analyzer of theme songs. The young student attempting to play stallments. Nightly, millions of radio Ansivcr: The need of wider training in If the program is a long one and the orchestra would burst into the theme, which Bach fugues for the first time, oiten en¬ comedian makes several appearances, music listeners know that it is “Amos ’n’ Andy “Let the Punishment Fit the Crime” dramatic art. Do not for a moment think the audience would go out humming or counters difficulty in recognizing the theme will usually herald his every return. Often, time” when they hear the strains of Joseph ELECTING the right signature is an that I am criticizing the dramatic capabili¬ whistling. The builders of the first radio S ties of the American singers when I say as it makes its appearance in the various he will sing. On such comedian-programs, Carl Breil’s The Perfect Song, originally interesting procedure. Days may go voices. there is, almost invariably, an orchestra that written as the love theme for the motion programs, having experienced the effective¬ into its discovery, when the program offers this. I do not mean that at all. American ness of such a theme in the movies, quite artists show a distinct flair for the stage. The following plan of study has proved will alternate with the comedian in the radio picture, “The Birth of a Nation.” And no convenient peg on which to hang a naturally appropriated the idea for radio Indeed, I think your eminent Mr. Lawrence very helpful. spotlight. what is true of this program may be said theme. And then again the signature may Tibbett is one of the greatest dramatic 1. Play the highest (soprano) voice with In dramatic programs, music plays an of most of the others. It is the knock on and gave each of these early programs its suggest itself almost at once. Something personalities of these times. But I think a heavy touch while at the same time play¬ invaluable part. It can establish at once the door that announces the arrival of a signature. like this happened a few years ago when that the vocal student’s chances of thorough ing the other voices so lightly as to be a mood that in the theater is left to the we were preparing a program for a manu¬ dramatic training are distinctly inferior scarcely audible. As the theme appears it stage settings, costumes and many pages of facturer of spices. The firm was anxious here to what is offered in Europe; and that may be underlined and numbered in con¬ dialogue. As scene fades into scene, use to exploit its Bee-Brand Products. What fault could be remedied. secutive order. is made of music, a sort of magic carpet' more natural than to use Rimsky-Korsa- It was a surprise to me to learn that, as 2. Next play the inner (alto) voice with that bears the imagination of the listener koff’s The Flight of the Bumble Beef a rule, the great private vocal studios—in a heavy touch" while at the same time play¬ quickly and easily to parts near or distant; This shimmery, buzzing fragment opened distinction from the conservatories—no not ing the remaining voices lightly. From the quiet charm of a rural scene, the and closed every program of the series and have dramatic departments. Do you not 3. Last, play the lowest (bass) voice so listener, through the playing of a mere ten gave the announcer an excellent opportunity think it would be a good plan if they had? that it stands out, at the same time sub¬ or twenty measures of appropriate music, to link it up with the product which also The dramatic side of singing is all-impor¬ duing the tone in the other voices. can be set down in the midst of a Turkish “flew over” (covered) a great territory. tant; and this does not apply to the field The difficulty has vanished. The student bazaar; after this, a fox-trot of wailing Years before this, a program was built of opera alone. Concert platform deport¬ will be pleasantly surprised to hear the saxophones and throbbing drums, punc¬ for a ginger ale manufacturer who was ment and the interpretation of songs are theme stand out boldly in an inner voice. tured by the snarl of trumpets, will prepare anxious to stress' the fact that his beverage greatly enhanced by a sure knowledge of This practice will promote concentration him for New York’s Harlem. How stage was highly carbonated and would continue stage style and appearance. And just this, as well as clearness of the voices when producers, with thoughts of the huge for¬ fizzing hours after the bottle was opened. too often, is left unstressed, as an added played simultaneously. tunes they sink in costumes and scenery, As a theme, selection was finally made of sort of accomplishment, which may, or may must envy the ease with which a radio the old popular number, I’m Forever Blow¬ not, be coached into a student, after the drama, through the wizardry of a few ing Bubbles. routine of vocal study had been completed. measures of music, gains the same ends! For another program, rather fantastic in This is a pity. design, use was made of the first two strains Mountains of Music The ideal way would be to teach singing of Fete Boheme, the fourth movement of and stagecraft together from the very start. AS FOR the programs preponderantly Massenet’s suite, “Scenes Pittoresques.” It The singer does not need the individual "Soul-Light'' musical, they dominate radio today opens with full orchestra and then goes “business” of any one part nearly so much as they always have and always will. That into the second and quieter strain in which as he needs to feel secure behind the foot¬ By Carol Sherman radio is well aware of its debt to music is flute and piccolo dance about. The proper lights, certain and easy in his walking, his apparent on a visit to the enormous libraries carnival spirit was at once established. The sitting down, his getting up, his gestures, MAJOR BENTON FLETCHER W A SEVENTEENTH CENTURY HURDY-CURDY Balzac called music “soul-light." If this maintained by stations, especially those in announcer would always start talking over his handling of objects, his grace of motion, be true, the makers of “soul-light” are very New York that head the national networks. the lighter orchestration featuring the flute in fact every little thing to be done. And modern form dates from the eighteenth and give such ecstasy the soul of the essential to you and to the State. If any¬ Practically every radio station, no matter and piccolo. On another occasion, the none of these ordinary gestures is per- century. In France it was known as the Scotchman, The melody is played on a thing.^ happened... to our municipal lighting how small, has a musical library of con¬ signature selected for a group of dairy formed in quite the same way on the stage vielle and in Italy the lira tcdcsco (the keyboard running laterally with the finger- plants, so) that the great city vwas without siderable dimensions; but those of the key dealers was In Arcady, from Jerome Kern's as off. We move about our own rooms German harp). It had-a at^ board of the instrument. Hurdv-gurdys light for a day or an hour, the public would stations are the last word in such mammoth “Nobody Home.” very differently from the way one moves serious consideration as a musical instru- many of the world’s be panic stricken. Perhaps none of us musical collections. In a recent statement As often happens, the largest library may on the stage, even the concert stage. Thus, ment and sonatas and duos were written largeT collections... of musicaliusical instruments. realize what it would mean to have the in the New York Times, Thomas Belviso, fail to yield the desired theme. When this I think that a greater emphasis on stage for it. The most distinguished performers Its origins have been traced to the ninth lights of our souls—those magnificent suns librarian of the National Broadcasting occurs, a composer is called in and a special deportment, from the very beginning of upon it seem to have been the brothers century( and. medieval Latin it was called that we find in art, literature, music and Company, estimated his musical inventory theme is prepared. We were forced to do contained several hundred thousand items. vocal study, would prove of immense help Henri and Charles Baton. They improved orgamstrum. At one time the instru- education, turned off. if onlv for a few this some years ago for a national gasoline Every song, old and new, is classified and to the American student. the instrument and then it took the name ment was so large that its operation re- days. This world would be a very different account that was anxious to stress, first, Question: What, finally, would be your Musette. The Musette form, found in cross-indexed. Victor Herbert’s beloved quired two players—one to turn the handle sort of world, and for millions an unlivable the power of its product and, after this, general advice to singing students ? classical gavottes, took its name from a Ah, Sweet Mystery of Life from “Naughty and the other to manage the strings. The world. Our very existence would become certain other features. In our theme we Atiswer: I can give very hopeful advice similarity it bears to the sound of this instrument Marietta” is available in no less than WKle7 used ,n churches a tragic night which would be unbearable, used, after a series of fanfares, some heavy, to American students. And that is, get instrument. In Paris and London it twenty-four different vocal arrangements! untff the organ came into general employ- Only in this way can we sense the music clumping chords suggestive of power and started at once. This is an ideal time for became a very popular instrument with Wagner fares better, there being, aside from ment. Donizetti used it to accompany workers’ value to the state and all those then went into a bright march trio. you to begin your careers. Let nothing dis- street singers. The writer, as a youth in the numerous orchestral arrangements, two songs in his Linda di Chamouni.” dependent upon the State. GUSTAV KLEMM When next you sit before a radio, listen 702 DECEMBER, 1935 THE ETVDE 703 these radio compositions the lowly viola is A New Musical Art for the theme and try to analyze why it was siderable renown. And so it is, to a lesser at last coming into its own. degree, with nearly every program on the ITHIN THE PAST five years, selected. As a pastime we can think of W Radio is a great experimental musical A Fiddle Box of Memories air. These men, in their arranging, bear many leading composers have ex¬ others far less profitable. The evocative laboratory. There is a constant bubbling power of these themes is truly remarkable. in mind at all times the desired character¬ perimented with compositions written es¬ and boiling in the mental test tubes of its Many radio stars are forever known by istics to be stressed and thus help to make pecially for radio. R. Raven-Hart, in The imaginative components. Music is radio’s their signature. Jessica Dragonette will their orchestra as unique as humanly pos¬ Musical Quarterly for January, 1930, men¬ By Sam Franko right hand, and more and more use is made never lose her association with Harold sible. tions Kunnecke’s “Symphonic Dance Suite, of its magic. At the key stations, a staff Sanford’s lovely Mem’ries, written six Goldbach’s “Radio Listener,” Herrmann’s of seventy-five to one hundred orchestra years ago as a signature for a series of Expanding Resources “Suite for Radio,” Humpert’s “Music for An Interview Secured Expressly for musicians forms the nucleus from which programs devoted to tabloid presentations HILE VARIETY in any entertain¬ Radio,” Pepping’s “Kleine Messe,” Fitel- W most of the many orchestras are drawn. of operettas by Victor Herbert, Gustav ment medium is always desirable, berg’s Serenade for Radio, Eisler’s Tempo Also composers, arrangers, copyists and Luders and other melodists of yesteryear. care must ever be taken, in attaining it, der Zeit, Gross’s “Chamber Cantata, The Etude Music Magazine Of whom do you think on hearing the first not to tip the apple cart. In the case of Goehr’s “Pep” and the Hindemith-Weill vocalists are employed in wholesale quan¬ tities. Music is the tie that binds together four or five notes of the popular ditty con¬ a program anxious to suggest home and Lindbergh’s Flight. These composers, in nearly every program and makes it palat¬ cerning a moon and a mountain ? Or the hearth, a “torch” or “blues” singer would scoring their works for orchestra, employed, By R. H. Wollstein one about the blue of the night ? And will be utterly irrelevant. Nor would a mixed throughout, only such combinations, instru¬ able to the eager listener. A program we ever think of any other but that dapper quartet singing The Old Oaken Bucket be ments and instrumental registers, tonal devoted entirely to a rollicking male quar¬ •gentleman with banjo eyes when we hear at all appropriate on a program exploiting balances, and other resources, as are radio¬ tet is followed by a program of danpe /~\N THE OCCASION of his seventy-eighth birthday, recently celebrated in New York, Mr: Sam Franko told One How With You? A clever program a Parisian perfume. A program maker is effective. The results have been highly music; next, a drama against a musical (y of some of the outstanding memories of his rich experience. Distinguished violinist and ensemble musician, might be built of nothing but these im¬ always anxious to include a novelty, but interesting. Stunning effects have been background, after which we fly across the teacher of his brother, Nahan Franko, of Frederick Fradkin, Jacques Gordon, Emily Gresser, professional coach portant signatures, well-known and those not at the expense of the personality of his achieved in most of the compositions, by Atlantic to a gay night in Montmartre, the of Yehudi Menuhin, and founder of the orchestra of “Concerts of Old Music,” Mr. Franko is perhaps best known less well-known, and the listener could be program. having a solo instrument or voice dominate score compounded of French melodies; as a musicologist. His editions of violin and orchestral works, and his discovery arid preparation of old and little invited to guess and name the programs Radio has made considerable use of two a full orchestra, the latter often playing then in steady succession, programs of sym¬ known music, have earned him the recognition of the musical world.—Author’s Note. they introduce. piano music in its programs. Many aerial full volume. Such orchestral schemes are phonic music, a comedian known for his features, for reasons largely economical, possible on radio by letting the solo instru¬ songs, a military band, a trip down the The Instrumental Idiom present a vocalist or vocalists supported by ment play directly into the microphone, Romany Trail; and so, on and on through DURING THE nearly four score of of his success did not lie in any distinct rapture of his playing was the pure expres¬ nothing more than two pianos. Such a the evening, all of them borne on music, years in which I have devoted my¬ method of violinistic technic or approach. sion of a great spirit. AND NOW LET US take a glance at thus being given an opportunity to dominate back to Wagner the original copy had been combination was comparatively rare until that magic carpet of radio. self to the loveliest of all arts, 1 It lay, rather, in that almost uncanny gift xl the use made by radio and its signa¬ no matter how large the orchestra. In found in one of the other books. recent years in radio. Dance orchestras, have seen and learned a number of things; he had of penetrating into the very core An Olympian Feast tures of the characteristics of the various Years later, in New York, I told that too, have featured two pianos in their con¬ but, in looking back over them today, it of the nature he dealt with and of bringing T WAS DURING those happy Berlin orchestral instruments. Earlier, we men¬ I incident to Anton Seidl, at the Cafe Fleisch- stant effort to achieve a maximum of seems that no one thing I learned is nearly forth the best there was in it. No matter days that I had the luck to hear three tioned using I'm Forever Blowing Bubbles mann. “I remember it well,” laughed Seidl, variety and orchestral color in their ar¬ Why Every Child Should Have A so important as the experience of learning! how different his pupils were temperamen¬ of my musical gods perform their own as the theme for a ginger ale program. “I was that young copyist; and it took me The featured instrument in the orchestra rangements. Listen carefully to any good That fact has been brought home to me in tally, Auer never failed to comprehend works. They were Brahms, Wagner, and all night to copy that music." was a xylophone. The signature opened dance orchestra, as its tunes come trickling Musical Training the ever fresh and interesting question of them, and then to encourage them to give Johann Strauss. Strauss was engaged at with the xylophone, solo, making a “bub¬ from your loud speaker, and you will notice “methods.” forth the best they had, confidently and in¬ that time to play his waltzes at an open A Belgian Titan bling” glissando from its lowest note to its how even a single chorus of a song is What is the correct method of violin spirationally. We must not forget that air beer garden; and the effect of his fas¬ IT WAS AFTER the Berlin days, highest. Then “the bottle opened,” as it broken up into solos for as many as four By Miss Jean M. Hunt playing? Well, I had the good fortune of most of Auer’s great pupils were already cinating melodies and rhythms, his elegant though, when I got to Paris, that I was were, when the orchestra started playing or more instruments. In the early days studying under Joachim, Leonard and competent performers when they came to appearance and his Viennese verve, was privileged to work under the greatest vio¬ Of London. England and the xylophone danced in and about the of orchestration, a violin might play an Vieuxtemps, of playing quartets as co¬ him. He taught them little, as regards the irresistible. Joachim and Brahms often lin master of all—Vieuxtemps. He was melody, sparkling up and down the scale entire chorus; but today, in their search student with Ysaye, and of knowing and mechanics or aesthetics of violin playing, came together to hear him. They would quite paralyzed at that time and unable to (One of the letters whic, h just missed winning a in arpeggios, glissandos and varied orna¬ for vivid, varied color, the orchestrators observing Dancla, Sarasate, Wilhelmj, that they had not heard before or might sit there the entire evening through, sipping play a note. I never heard him play, and will let the violin predominate in perhaps mental figures. Each program would in¬ prise in our recent contest under the above heading) Auer, Wieniawski and Sivori (the only not have gotten from someone else. But that humbler eyes were offering a measure yet his influence remains the greatest of only the first four measures, after which clude several brilliant xylophone solos. pupil of Paganini). And what did I learn he put his imprint upon them by drawing of reverent devotion to them. my life. Why ? Because he was a stickler the theme may pass to the alto saxophone, Thus, through the constant featuring of O SAY “Not all children are nat¬ it with toilsome scales', with squeaking from them about methods? That there is greatness from them, by giving them self- I heard Brahms play his first concerto for getting things done exactly as he wished only to be taken up a few measures later the “sparkling” xylophone, the listener urally musical” may be in the nature saxophones, with long orchestral works no one method of violin playing! There confidence, stature and poise. That was in D-minor at a great, draughty old concert them. He was warm and kindly, but very by muted trumpet, which in turn will hand would unconsciously associate the program of a platitude; but nevertheless not nearly understood. An early training is only one result—good, clean, true, rich, his genius. hall—the Reichshallen on the Donhoffsplatz. severe. No detail was too slight to escape it over to the full orchestra. Naturally, in with ginger ale. music is a most important factor in the would have carried them further than mere full-bodied playing. The method of achiev¬ The exact opposite of Auer was the Glowing as I was with admiration for his attention. Technic, bowing, markings, such arranging, the piano also had its For a program redolent of the tropics, argument concerning the musical training technic, into the realm of true appreciation; ing it varies with each individual performer. great Joachim. His teaching lay entirely Brahms’s music, I knew the disappointment interpretation; everything was of vital im¬ prominent use is made of the marimba and moment in the spotlight, and before long of every child. This subject has been it would have shown them the very best Any man’s method is as good as the result in his own magnificent playing. Indeed, that only an enthusiastic youngster can portance, and all resolved into one clear, such traps as castanets and gourds. When another piano was included for additional much discussed by those interested in the that music can give and would have taught he produces. we pupils soon came to have but one know, when his playing turned out to be orderly whole, under his lucid explanations. the product suggests great strength, power brilliance and color. Since then two pianos thought in mind—to listen to Joachim and music of the schools; and it is steadily be¬ them to despise the meaningless modern far from sublime. When I later spoke of Then, too, he was entirely approachable and energy, a brass band may be used. If, have become a definite “radioism,” and their Technic Building to try to copy him. And this was difficult coming more widely accepted that singing jazz; it would have initiated them into the this to Joachim, he told me that Brahms and lovable, far more so than Joachim. on the other hand, a homelike atmosphere literature is rapidly developing. A number HE MOST important points in violin to do, not only as a matter of ability, but and the Theory and Appreciation of Music wonders of form and instrumentation and often played badly, “either because he had Joachim was a sort of super-being, whom is desired, a definite tranquillity can be ac¬ of truly distinguished artists may be heard playing, however, are intonation and also because he never played a piece the should be included in the ordinary school made them follow with breathless interest no respect for his' surroundings, or because one revered; Vieuxtemps was a great and quired with a string group, well divided. nightly. In writing for this combination, tone production. Thus the development of same way twice. As a teacher, Joachim schedule and not be confined to that formid¬ the gradual unfolding of a noble symphony. it was too much trouble to play.” human man, to whom one could feel near. For the idyllic countryside, a flute or two an amazing use is made of every contrapun¬ the right arm becomes infinitely more im¬ paid little attention to technic; and he made able and evergrowing list of “extras.” It is well known that interest is A severe taskmaster, Vieuxtemps was al¬ will often be featured in the orchestration. tal device; and the intricacies of the ar¬ portant than that of the left fingers. The only the most general remarks on bowings, A Treat by Stealth The advantages of early training for the awakened by knowledge; and, once interest ways very definite. He had the Gallic With radio making so much and such rangements used are such as to make the left hand, which performs so fleetly on fingerings, markings, and the like. He musical child are considerable. What a has been established in a subject, it needs IT WAS in 1875 that Wagner conducted clarity of mind which can analyze and sim¬ constant use of music, largely orchestral, two piano repertoire of yesteryear seem the strings, is the artisan; the flexible, tone- would, however, take great pains with the boon it is for a person to be able to read but little persuasion for appreciation to a few orchestral concerts in Berlin, at plify matters down to their foundations. care must be taken to vary the instrumen¬ as dated as’ a hobble skirt. producing right is the artist! Tartini tells interpretation of the pieces we studied. But, music as easily as literature; what a bless¬ follow. This appreciation is our aim when which he performed excerpts from “The A great saying of his was, “What you can tation of these orchestras so that, in follow¬ In the early years of radio, certain con¬ us that his most valued exercises were when his talk was done and Joachim took ing to have conquered technical difficulties we set out to give every child a musical Ring” music, for the first time. That was play in the first position, never attempt in ing each other on the air, the result is not ventions, so far as orchestral make up is those he performed with his bow. Viotti’s up his violin to illustrate the points just by the time the interpretative faculties’ have training. We do not expect to create a a year before “The Ring” was given at the third.” The grief of his life was the monotonous to the listener. Thus it is that concerned, were observed. An orchestra daily practicing included a perfected study made—presto, the piece was changed as if developed; what a social help to be able nation of instrumental geniuses and prima Bayreuth. All Berlin was agog with in¬ fact that other violinists took liberties with one orchestra will stress its string section, had always been composed of certain in¬ of the long-drawn tones for the bow—the by magic, from the thing we had been talk¬ to converse easily with musicians, backed donnas, nor do we hope to see a family terest, and the price of the tickets soared. the markings and bowings of his composi¬ while another will let its brass predominate struments, and the published orchestral sons files which are all too much neglected by the knowledge acquired by a thorough orchestra in every household. What we ing about into the tone-fabric of sheer It soared far beyond my meager limits, and tions, after he had taken pains to mark them a bit. Additional individuality is given arrangements were made for this same in¬ today. The most ravishing tone I ever beauty that only the genius of Joachim musical education. want is a country full of people who have my grief was boundless when it seemed in the most careful and musical manner. by the use of, say, an accordion, a harp or strumentation. It was not long, however, heard was that of Wieniawski. His mas¬ could give it. We musicians know how much is missed learned the joys that music can give and that I was not to hear that wonderful con¬ Once I witnessed something that has an organ. Often two pianos are featured. till radio broke these bonds and started tery of the different kinds of bowing— Study with him was delightful but a by those who have not tasted of the sweets who can provide innumerable audiences cert. But on the day of the first rehearsal, always seemed as tragic as Beethoven’s After every possible effort is made to charting a new course. Certain registers detache, martele, spiccato, and the like— little disconcerting. Perhaps the real cause of this art. Perhaps they only connect worthy of the finest music ever written. I got a wicked inspiration. Tucking my deafness. On my way upstairs to my les¬ achieve orchestral individuality, the orches¬ of certain instruments of this conventional was unequalled in violin history. of our perplexity was that none of us was fiddle-box under my arm, and pulling my son I heard the sounds of the most elemen¬ tra leader then looks to his arrangements orchestra were banned; and before long Scale work in all its variations offers a Joachim. Always he would follow the hat well over my eyes, I slipped in at the this boycott actually extended to certain tary, untutored violin playing coming for additional aid. A whole article might the best means of progress towards finger inspiration of the moment. At his quartet stage door, along with the musicians of instruments. Then radio began forgetting through the door. Those raw scratchings be written on the importance to radio of Where Does American Musical Composition technic; that and the difficult passages from rehearsals in Berlin, for instance, we stu¬ the orchestra. There were but two other what instrumentations should be used and, were really quite dreadful, and I marvelled its vocal and instrumental arrangements. the great works themselves. These, I have dents would sit in the back of the house, guests at that rehearsal. One was a famous experimenting with all sorts of combina¬ that a master like Vieuxtemps would give Radio gave birth to a new school of ar¬ Stand ? found, are far better than any invented our scores on our knees, straining our eyes patroness of music, Mme. von Schleinitz, ranging which is leaving a permanent stamp tions, concentrated entirely and most sensi¬ his time to listen to such a candidate. On finger exercises, which have no direct re¬ in the half light, to mark down faithfully and the other was the scientist, Helmholz. on such work. The importance of the bly on the results as they came from the entering the music room, however, I saw lation, as a rule, to any other music. But every least indication of Joachim’s inter¬ I slipped into the darkest, most hidden orchestrator to radio can not be over¬ loud speaker. From this point began the Eric Clarke in “Music In Everyday tinct claims may be entered. American a spectacle to inspire the deepest pity. the best finger work in the world will pretations, his phrasings, his bowings. Then corner of the house; but I heard Wagner Life,” (a work sponsored by the Carnegie music is noteworthy: first, in sentimental There stood Vieuxtemps himself, his poor estimated. The ability of each orchestrator real development of the radio orchestra carry a violinist no farther than the powers at the concert, after we had been practic¬ Foundation and published by Norton and conduct the Nibelungen music! paralyzed body held rigid, trying with goes still further to impart the desired in¬ which, to be sure, is often a freak combina¬ song and minstrelsy, typified by the tunes of his tone producing right arm. Always, ing to approach the goal he had set us, he Company) devotes one chapter to Com¬ The strange new harmonies were breath¬ labored movements to draw his bow across dividuality. Very few conductors do their tion, although the listener might never sus¬ of Stephen Foster; second, in the spirituals the artisan must follow the artist! would reveal to us an entirely different posers in which is the following excellent taking; and then there was Wagner! He the strings that had once held the world own arranging, although the average lis¬ pect it. The day is now passed when a and jubilees of the American Negroes; piece! estimate of our main musical accomplish- was punctiliously polite to the men of the enchanted. tener is often left under that impression. radio orchestra leader will say to the pro¬ third, in a revolutionized military band And Masters Still That is the reason why Joachim’s in¬ Many of the more important programs keep orchestra, apologizing to them for keeping He looked up in delight when he saw me. gram builder pleading for novelty, “But music, notably in the six-eight march de¬ T IS BOTH curious and interesting to fluence as a teacher was less great than in constant use a corps of men to do the “Where does American composition on his velvet cap while he conducted, “be¬ “Well, Franko!” he cried; “you see it is you can’t make an orchestra of four study the influence of different teachers. that of interpreter. Indeed, in a letter so necessary arranging. It is no exaggera¬ stand? To judge fairly we must think of veloped by John Philip Sousa; and fourth cause of rheumatism.” All throughout the going better! Soon I shall be well and trumpets, a piano and an alto saxophone,” What is it that makes a teacher great? which he once wrote to a friend, and which tion to say of many of the radio orchestras or, “But who ever heard of two kettle¬ it internationally—only by mentally cross¬ in the application of new dance rhythms, a rehearsal he kept taking pinches of snuff, able to play again.” All too frequently, alas, we measure the I have since given to Yehudi Menuhin, today that they are only as good as their drums, three muted violins and a harp?” ing the Atlantic and looking from there process which began with rag-time and against nervousness. He was clear in his stature of the teacher solely in terms of his Joachim admitted that he considered himself arrangements. One sponsor of an hour can we survey our music with the same other syncopation a generation ago and instructions, forceful of personality, and The Simplicity of Greatness Nobody, perhaps, except the redoubtable pupils’ public success! Yet the celebrated “a poor pedagogue.” But he was none the program featuring a large dance orchestra Berlioz; who, if he did, must have shud¬ impartiality that we show towards the prod¬ continues to-day its influence on occidental decisive in his beat. As the rehearsal HE WAY in which I came into con¬ Leopold Auer, for instance, was less re¬ less a great teacher, in that he revealed to T used to spend five thousand dollars a week dered and passed on to more sober devices. uct of European countries. In this light, music. No record such as this could have progressed it seemed that the second oboe tact with Vieuxtemps at all proves the markable as a pedagogue, in the proper us undreamed of sublimities of tone and on orchestrations alone; and ten men were But, strangely enough, these freak combi¬ young though we are in music, we have been achieved by any but a musical nation. part had been lost or mislaid, and Wagner sheer human greatness of the man. I had sense of the term, than as an influence for concept. Joachim’s tone did not dazzle its kept in constant employment on this im¬ nations are often productive of amazingly already an interesting record. Four dis¬ Clearly, therefore, America must be one.” handed his own score to a young musician, come to Paris in order to study the dis¬ confidence and enthusiasm. Certainly I hearers by its sensuous beauty. It was portant feature. Some of these men, whose satisfactory effects through the loud ordering him to recopy the missing part at tinctly “French school” of violin playing, am not suggesting that Auer was not a limpid, transcendental, ethereal. He never once. When, at the next day’s rehearsal, names were never mentioned in connection speaker. And so entirely new musical "If you ask me whether Lisst was great as a teacher, I answer that he was and began work there with Hubert Leonard, great teacher! He was. But the secret tried to be an “effective” performer. The the young man handed the finished work with the program, were composers of con¬ vistas have been opened. a great musician, a powerful musical personality.”—Rosenthal. a most sensitive musician. But soon my DECEMBER, 1935 704 THE ETUDE 705 money ran out and I was faced with the Thomas, Saint-Saens, Arthur Sullivan, Music Teachers' National Association prospect of having no more lessons at all. Madame Essipoff, and the great Russian Again I had an inspiration. I had heard writer, Turgenieff. All would enter into Music of the New Day that the great Vieuxtemps was very ap¬ the spirit of music making, singing and Convention of 1935 proachable, and so I sought an interview playing not as a performance but for the with him. I played for him, and to my sheer joy of it. Such a music spirit surely rapture, he offered to teach me. Then I is the greatest in the world! Sometimes A Conference With the Well Known Composer-Pianist explained that I had no money for lessons, Mme. Viardot would sing for us; and, even for cheap lessons. though her voice was then well past its “I never accept payment for teaching,” prime, her penetration into the soul of the Mana-Zucca he said briefly. Like Liszt, Vieuxtemps music and her dramatic rendering of it felt that the help he gave struggling young¬ made her performances memorable. One “I Love Life,” by Mana-Zucca, is one of the sters was an offering at the shrine of music occasion stands out especially, when Saint- most heard songs of the New Century itself; and thus the seeming obstacle of Saens at the house organ and Gounod at being too poor to study with a lesser master, the piano played her accompaniments by was the means of bringing me to the great¬ heart. Then, too, she would sometimes sit O PARENTS who were not musically in the past ten years, In popular music. est of them all. r down at the piano herself and play some trained but nevertheless devotees of Why is popular music condemned? Usu¬ During the winter months, Vieuxtemps chorus of Mozart or Gluck and bid the that art, Mana-Zucca ivas bom in New ally, because of trite themes, arranged held musical soirees at his home, and he entire company join in the singing. I York City, of Polish ancestry. Her first without regard for musical grammar or himself coached a quartette that played at made my own vocal debut under this whole¬ lessons', at the age of three and a half years, good taste and associated with words that, these parties. Ysaye, his star pupil, was some influence of Madame Viardot-Garcia. were from the Russian pianist-composer, if they are not degrading, are likely to be first violin; Benjamin Godard and a M. In New York, in the eighteen-eighties, Platon Brounoff, who lived in her parent’s in many other ways either objectionable or Charles alternated at the second violin; I met Wilhelmj, Theodore Thomas, Dr. home. Later she studied piano with Adcle inconsequential. In these days, however, Hollman and Hekking alternated at the Leopold Damrosch, Anton Seidl, Rafael Margolics, Alexander Lambert, Leopold we find excellent themes, accompanied by violoncello; and I played the viola, alter¬ Joseffy, and the Hungarian violinist Eduard Godowsky, Ferruccio Busoni and Josef suitable and effective harmony, by really nating with Ysaye. The musical world of Remenyi. In those days the entire New Weiss, the famous Brahms disciple. She Paris gathered there, and we had the hap¬ York music season consisted of twelve gifted musicians and scored for orchestra then studied orchestra with Herman Spielter piest times. Once Ysaye and Mile. Tayau symphony concerts, with preceding public with surprising skill. This is one of the and Max Vogrich and singing with Van played from manuscript Godard’s suite, rehearsals. When we reflect on the musical best harbingers I know of a public demand MONNETT HALL OF OHIO WESLEYAN UNIVERSITY sur Muchlcn, Her debut as a pianist teas Duettini, with Godard himself at the piano. riches which our metropolis affords today, tomorrow for better and better music. The made with the New York Symphony Or¬ The fourth number of this suite, Minuit we are hardly justified in talking regret¬ cheap forms of jazz are disappearing, and chestra at Carnegie Hall, under the baton (Midnight), is a charming work, and part fully of “the good old days.” For my own HE FIFTY-SEVENTH Annual Church (dedicated 1700), oldest church in their place we find all manner of in¬ T of Walter Damrosch. of its effectiveness lies in the final measures part, I prefer the “good new days,” and I Convention of the Music Teachers’ edifice in Philadelphia, and musically mem¬ genious syncopations. Augmented chords where the piano softly sounds twelve notes, am happy to be still taking a part in their National Association will be held orable because Jenny Lind worshiped and Mana-Zucca’s compositions include a and unusual harmonies, which were caviar large range of works for orchestra, piano representing the stroke of midnight. On activity. Today I collect the fruits of my in Philadelphia from the 27th to the 31st sang there when visiting Philadelphia: yesterday, are the bread and butter of the and the. voice. Some of her songs rank this occasion the effect was heightened by experience with Vieuxtemps, Joachim, and of December. and enough more to make a book. There popular composer of today. among the most popular ever written and the ensemble cooperation of the clock on the Leonard in order to play ensemble music With the prospect of a gathering of will be also special tours to the Presser have been sung by great artists the world The Source of Longevity mantel, which suddenly began to chime the with friends. Do not let anyone tell you several hundred of the leading musicians Home for Retired Music Teachers, and over. These include I Love Life; Rachem N MUSIC the thing that lives is melody. midnight hour, in exact time with the music that our musical life is going to ruin. The and musical educators of America, this the RCA Victor Company. I Harmony and counterpoint are only the It was entirely accidental, but the effect widespread interest in hearing and making promises to be one of the most important, and Nichavo. She is famed for her bril¬ raiment for beautiful melody. This accounts was unique. music is greater today than ever and augurs interesting and auspicious of the convoca¬ Feasts for the Musical Mind liant powers as a conversationalist and as a wit. Mr. Irwin M. Cosset, Mana-Zucca’s for the persistent popularity of the melo¬ well for an even more interesting develop¬ tions of this, the oldest educational group PEAKERS OF DISTINCTION will S husband, is himself a trained musician dies of the masters; let us say, those of A Rendezvous with Music ment. Yes, the “good new days” are the of musicians in America. The Etude include Dr. Hans Weisse, on “The whose career has been that of a business Schubert. Sing or whistle the theme of WONDERFUL company used to best of any—but perhaps one has to be Music Magazine takes especial pride in Music Teacher’s Dilemma"; Dean Fred¬ A man. He has written the words to many Schubert’s Serenade, without any accom¬ gather, too, at the salon of Madame seventy-eight years young in order to ap¬ welcoming the members of the Association erick S. Converse, on “Keyboard Har¬ of his wife’s ’successful songs.—Editor’s paniment. See how lovely it is. It seems Viardot-Garcia, for musical recreation. preciate this. Anyway, each added year but and its guests to The City of Brotherly mony Related to Advanced Harmony”; Note. to carry its own harmonies. The same There were Gounod, Massenet, Ambroise makes life the richer and happier. Love; since The Etude itself, and all of Hans Kindler, on “The Promotion of Or¬ might be said of the wonderful tunes of the various extensive musical enterprises chestras in America”; Mrs. H. H. A. Stephen Foster. that have evolved from it, were inherited Beach, in “A Plea for Mercy”; George We Want What We Want Melodies that are of any lasting value to from the Music Teachers’ National Asso- Woodhouse (London), on “The New Way WHEN “TOMORROW” arrives, man cannot be manufactured. They cannot Counting the Group to Piano Technique”; George L. Lindsay, it will be “today”; and human be patched together like a crazy quilt. They The first meeting of the Association was on “Instrumental Music in. the Public beings who today are continuously By James R. Baldwin called in 1876, by the late Theodore Schools”; Russell V. Morgan, on “The clamouring for the wonders of tomorrow must be spontaneous. No one can account for melodic inspiration. People wonder how Presser who was then Professor of Music Music Curriculum in the Public Schools”: will go on being just as dissatisfied as it was possible for Schubert to write four The uneven playing of groups of notes group. (Counting the beats of the meas¬ at Ohio Wesleyan University of Delaware, Roy Dickinson Welch, on “The Musician many misguided people are at this moment. is caused in many cases through insufficient Ohio. The first session was held in the and Society”; Nancy Campbell, on “Key¬ It is interesting to speculate about the music or five songs a day. The answer is that ure may, at times, be left until later, when the songs wrote themselves, and Schubert attention to the counting of the notes in the group difficulty has been solved.) A room lighted by the last window at the board Harmony and Its Study”; Marion of tomorrow, but I feel that a great deal the group. The passage right, of the first floor, of the accom¬ Keighley (London), on “The Story of of time is wasted by those who are con¬ could not have prevented their coming. If seemingly difficult passage can be played they had not come spontaneously, they would almost immediately, with ease, because panying picture of Monnett Hall, which Old English Music”; Edgar Schofield, on tinually seeking something different, when not have been worth anything. counting the notes in the group gives one was at that time Mr. Presser’s studio. “Speech to Song”; Bruce Simonds, on they are surrounded by works of immortal Among composers there seems to be a keener insight into the rhythm of the Believing that the Association should have “Matthay and His Work” and Edwin absolute unanimity of opinion that inspira¬ passage. an organ to publicize its ideals, in 1883 Hughes, Dr. Frances Elliott Clark, Joseph As for the music of tomorrow, the great the end, the supreme court. If, through as it was only a few years ago. The legato 3 sometin thus: he founded “The Etude,” with an altru¬ Yasser, Olin Downes, Max Schoen, Henry test of course will be, “How does it sound? tlie course of a number of years, the public tion comes like a flash and invariably with¬ In pieces demanding a “moto perpetuoso” is not as smooth and the fingerfcrtigkeit out conscious effort. My song, I Love istic expectation of loss rather than profit. S. Drinker, Ernest La Prade and Hubert How does it listen?” The public is be¬ demand for an art work is pronounced, it Ei style of playing, counting the group, at (finger facility) is lacking. There is a Life, was written complete in fifty minutes first, is almost imperative, for a successful The struggle to put this publication on its Kessler, on themes that will be none the wildered by comments upon “atonality,” makes very little difference what a con- lack of polish, a lack of healthy, natural “whole tone scales,” “ancient modes,” and and never changed thereafter. I have no rendition. feet, during its first several disastrous less vital. gre: s of critics may say. That is the com¬ elasticity and sensitivity, a lack of velvety so on; but the only thing it really cares idea where the melody came from. The Occasionally a student cannot get the years, developed so much energy that Entertainment that will cater to the con¬ forting thing about art and music. If a smoothness, and a lack of inherent power about in music is its appeal to the ear. melody seemed to sing itself. This deficiency would be remedied if the hands to play together correctly, in which Mr. Presser turned his attention from noisseur. Among the organizations and work is really fine, the public finds in it an which cannot come from anything but real When we buy an automobile, the sales¬ There is nothing that anyone can do to groups of notes were counted in twos. case it will be a great help to allow him to teaching to the publishing of materials artists will be the Philadelphia Orchestra appeal to the great aesthetic and human practice. The insane desire to get to places man fills us up with all sorts of technical tell any other person how to produce a Where there are many notes involved, the try counting the group, as in example: for the teacher. with Leopold Stokowski conducting, and principles, and it gains recognition of its quicker implies transient means, and this jargon about every manner of metal and really worth while meiody. Of course the counting of the group is the wisest course with Jeanne Behrend and Alexander Kel- own force. Thus, in this day, when every¬ leads to transient results. No one ever A Convention with Lures gadget, while the only things in which we composer’s training must include a good to take. Ex.4 berine as soloists in the world premiere one is talking about the music of tomorrow, made a runner by riding him around in an are actually interested are, “How does it general knowledge of intervals, rhythms, Ex.fi ABUNDANT INTEREST is offered in of the “Concerto in D Minor for Two what do we see? The programs of the automobile. To be a runner, one must look? How does it ride? How will it periods, phrasing—all parts of melody writ¬ . the program of the coming Conven¬ Pianos and Orchestra” by Poulenc; the great orchestras show far more of Tschai- exercise his muscles. There is no other wear?” When we get a radio, the dealer ing—and he must have a sense of harmony. tion with its brilliant array both of discus¬ Dorothy Johnstone Baseler Harp Ensem¬ kowsky, Beethoven, Wagner and Bach than way. Do I believe in scales? Yes, miles confounds us with all sorts of scientific This may be acquired by books. Sometimes, sions of themes vital to the progress of ble; the American Society of the Ancient of any composer born within the last fifty of them, and I have never met a real piano arguments about the highly ddicate coils, in rare cases It seems to be instinctive, as musical education and of musical enter¬ Instruments; a Curtis Ensemble; the years. pedagog who did not agree with me. This procedure ensures evenness of the tubes, vibrators, and so on, in the interior; in the instances of untutored negro singers, tainment, along with which is fine.. old Mastbaum Vocational School Orchestra, Some of the music of the so-called mod¬ Czerny, pupil of Beethoven, lived oh them; when all that matters is, “How does it who make up melodies and harmonies which Philadelphia itself. of Philadelphia; Kathryn Meisle, con¬ erns seems to have been done by people and he fed them to his pupils, Liszt and No other American city offers so many tralto ; Charles Hackett, tenor; Alice look? How does it sound? How does it with very immature minds. There must be they could not explain, but which are, Leschetizky, and they fed them to the great nevertheless, very beautiful. and varied attractions in the way of his¬ Ehlers, harpsichordist; Sascha Jacobinoff. craftsmanship in all fine art. One learns virtuosi who were their pupils, which means toric and romantic interest; and a liberal violinist; George F. Boyle and Evelyn how to do a thing by doing it. That is Melody the Indispensable about ninety percent of all the great play¬ Feed the Musical Soul amount of time will be given to the visit¬ Swarthout. pianists; Elizabeth Gest and the reason why most of the fine teaching ers since that time. AS WITH THE RADIO, the music of OF COURSE the composer must con¬ ing of these shrines. All will want to Mary Miller Mount, duo-pianists; Marie pieces for piano are written by people who Work, and work only, will spare us from One Way to Enjoy Music see Independence Hall, with its Liberty ZX yesterday, today and tomorrow has tinually hear as much as possible of Stone Langston, contralto and Bernard have been practical teachers. The piano becoming a race of musical cripples or Bell and priceless treasures: Carpenter’s one supreme test, and that is the human the best music of the past. Do not fear Poland, tenor. pedagog seeks to develop certain muscles, musical weaklings. Of course children Some expert musicians tell ns that the best zoav to cniov music is tn Hall, where met the First Continental ear. How does it sound? When Mark that this will lead to musical plagiarism. certain sensitivity to touch, and other im¬ “kick” when they are directed to do this Congress: the Betsy Ross Home, where The Active Personnel Twain said that Wagner’s music was “not Hearing much music is merely food for the portant matters; and when he composes kind of practice. They “kick” also when “Old Glory” was born; Christ Church, as bad as it sounds,” he was merely trying normal musical brain. The influence for THE EXECUTIVE OFFICERS of for the piano he has this in view. Some¬ they are told to wash behind their ears; with the pews where Washington and to be funny; for, according to his daughter originality comes from within. the Music Teachers’ National Asso¬ how I have a very strong feeling that piano but that is no reason for neglecting them. Thus he communes Erectly with the composer. The mLTenters hi. "brain Franklin worshiped and the graves where Clara, Mark Twain was a great admirer of The music of tomorrow runs into one unalloyed by the imperfections of interpretative artists or the disturbance of ciation are: Frederic B. Stiven, Universitv playing is losing in quality today largely Some day they will learn that bathing is seven signers of the Declaration of In¬ of Illinois, president; Edith Lucille Rob¬ Wagner. In Wagner’s day, however, because of “short cut” methods. These possible danger which serious composers a pleasure; and it is very much the same must keep constantly in mind. Great works 7ZTz:^lbors arrivah- ^ **>* °f % dependence rest in its churchyard; Holy bins, Lincoln, Nebraska, vice-president: there were thousands of people who did methods, which are confessedly made to course beyond the reach rvr of the vast body of music lovers. It is not given to with Czerny, Bach, and the other fine mas¬ of art are organic. That is, they seem to Trinity Church, in the study of which D. M. Swarthout. University of Kansas, not like his music; and many said so in dodge work, also dodge fine results. many to be able to take music thus readily from the printed page ters. develop from within, make their own struc¬ time to acquire such a capacity.—R. W. S. Mendl. * “ Phillips Brooks wrote O Little Tozim of secretary : O. W. Demmler, 217 Dalzell very torrid print. The public, however, The playing of pupils does not seem, in In considering the music of tomorrow, ture, and develop into an integral whole, Bethlehem; Gloria Dei (Old Swedes’) (Continued on Page 754) disagreed with them; and the public is, in many instances, to be nearly so good now one must recognize the vast improvement (.Continued on Page 761) THE ETUDE DECEMBER, 1935 707 The Boston Symphony Orchestra
Its Origin, History and Activities
By Florence Leonard
IN THE YEAR of 1796 there was an and the Musical Fund Society. That now was 1866-1867; and six concerts were given, arrival in the Puritan city of Boston, famous band of Germans, who came from with the averred object of providing greater which might well have been announced Berlin in 1848 and formed the Germania purity in music and presenting “only com¬ with tall headlines in the newspapers. The Orchestra, visited Boston and had there, as posers of unquestioned excellence.” Carl reporters did not know the importance of elsewhere, an important influence on musi¬ Zerrahn was appointed conductor and held this arrival, neither did the man himself cal taste and enthusiasm. There were the position as long as the orchestra existed. know that he would one day be conspicuous twenty-four of these players still in Boston, The choruses which cooperated were the in the chronicles of music. Before long he in 1852, giving the Beethoven symphonies Harvard Chorus and the Handel and was known as the only oboe player in (among them the first Boston performance Haydn Society. In May, 1875, the one SERGE KOUSSEVITZKY America. But he had a further claim to of the “Ninth”) under the leadership of hundredth concert was given by this' Asso¬ distinction, he had played oboe in Haydn’s Bergmann. Concessions to the primitive ciation, and during this time one-third of much that intense study added to his power orchestra when the twelve “Salomon” Sym¬ tastes of the period still, however, had to the numbers they performed were played to give the city of Boston the ideal orches¬ phonies were first performed. He was to be made; and it was in Boston, on the floor for the first time in Boston. In 1886 the tra of which he dreamed. It was in the give still another reason why posterity of Music Hall, observed by the audience concerts were discontinued. The very very period of disappointment, “when one should remember his name. Some years which sat in the galleries, that the prototype principle, which had made for their success dream was dissolving, that a richer dream after his arrival he got together a group of of “Pacific No. 231” appeared in the shape in the beginning, had been too rigidly main¬ began to take form,” says Bliss Perry. musicians with some slight professional of “the ‘Railway Galop’—composer forgot¬ tained, and too great conservatism led into Higginson wrote, in later years, “Disap¬ experience, and these he organized into a ten—during the playing of which a little monotony of programs. pointed! Yes:, but what of it? I could Philharmonic Society which practiced mock steam engine kept scooting about saw wood, and so have sawed. There are Haydn’s symphonies for its own edification. (by clockwork?) with black cotton wool “A Musical Mecalnas Appears” wood-sawers needed, and they are paid This society is cited by Mathews as the smoke coming out of the funnel,” says Wil¬ MEANTIME in 1869-70 the Thomas well—in cash though not in joy, unless the beginning of orchestral music in America. liam F. Apthorp. Orchestra had made its first visit woodpile can light a good fire and heat It existed for twelve years. The last con¬ As late as 1863, when the “Great Organ” to Boston and had presented to enthusiastic mankind.” What a magnificent warmth cert was given November 24, 1824, at the had just been installed in the Hall, there audiences new ideals of style and of technic, has come from his “sawing!” How for¬ Pantheon, in Boylston Square. was such a curiosity of program making as besides glimpses of those newer composi¬ tunate he was to “create a fellowship of Just before 1812 an English Doctor of a fantasia on themes from Wallace’s “Mari- tions which Thomas was quick to recognize artists, in which he himself was a comrade.” Music came, also, to Boston—a Dr. G. K. tana,” played as a duet for mouth har¬ as of enduring merit. The problem, as Out of two of his underlying traits, his: Jackson. He too became important to monica and the Great Organ. Nevertheless Mathews saw it, was now to rival or sur¬ supreme interest in persons and his passion musical development, for he conducted the these remarkable performances were not pass these performances of Thomas. As for music, this dream and this warmth famous Peace Jubilee in 1815, which cele¬ typical of the serious efforts of serious Dwight saw it, “it has now become a prob¬ were fashioned. brated the close of the war of 1812. music lovers, who were constantly laboring lem of urgency, so much so that its prac¬ for the fulfillment of such dreams as those tical solution cannot be far off.” A Dream Materializes *A Christmas Trayer Song Leads to Parnassus of Dwight—“frequent performances of the This solution was found by Henry Lee IN THE SPRING of 1881, Major Hig¬ HERE WERE amateur musicians in best music, and a constant audience of Higginson, in that orchestra which he ginson had formulated and written out Boston, there were musical magazines. which the two or three hundred most musi¬ called “his yacht, his racing stable, his a plan for his enterprise. In that same But the chief interest in music, aside from cal persons in the community shall be the library and his art gallery—or it takes the spring it happened that Mr. Georg (now the amateur performances, was in singing— nucleus.” Carl Zerrahn, one of the Ger¬ place of what these things are to other men Sir George) Henschel, who with his Dear Lord, we ask Thee to receive our thanks for the endless in chorus and choir singing. The chorus mania Orchestra, began the concerts of a of wealth, with other tastes.” talented wife had been concertizing in which had been formed and trained to sing Philharmonic Society in 1857; and thus Major Higginson was born in New York Boston, conducted one of his own composi¬ gifts Thou hast bestowed upon us this year, parts of the “Creation” and of the various activities progressed until the com¬ in 1834, of New England stock. Failure tions at the concert which closed that sea¬ “Messiah” for the Peace Jubilee, led to so ing of the Civil War. of his eyesight obliged him to leave Har¬ son of the Harvard Musical Association; much enthusiasm that in March of 1815 vard before the end of his freshman year, and the effect of his conducting was so Graupner, T. S. Webb and Asa Peabody A Plan Germinates and he went to travel in Europe. Then he striking that within a remarkably short called a meeting for the purpose of found¬ EFORE and during this there had decided to study music there. As a friend time he had been engaged by Higginson -the discords which make all music sweeter. —the pains which reveal new joys in health. ing the “Handel and Haydn Society,” which been a growing desire for a “great” wrote home, “Henry is going to study music to conduct the new orchestra for one year, afterward became famous. Lowell Mason orchestra for Boston. In 1837 was organ¬ for three years. With immense good sense and a statement of the project was’ given was of course one of the musicians sum¬ -the fears that prove we cannot live —the tears of little children, which make their ized at Harvard College the Harvard he sees that he will be far more of a man to the newspapers. There were to be sixty moned, he who had brought about the Musical Association, which comprised a and no less of a merchant when he has players, whose time was to be engaged in without faith. teaching of music in the Boston Schools. laughter sweeter as they learn the lessons of group of young men who had been mem¬ duly cultivated the best gift nature gave advance for whatever rehearsals were This Society “in many ways laid the future bers of the Pierian Sodality, that little him.” He himself wrote to his father that necessary. There were to be twenty con¬ -the rains that make the sunshine brighter. of American music under lasting obliga¬ club which made music for many social he was “only carrying out your own darling certs, at a cost for the season of ten or five living. tion.” Between the years of 1815 and 1841 occasions and college exhibitions. One of idea of making an imperishable capital in dollars, according to location; and single it gave six hundred performances; and the the ultimate objects of the Association was education.” seats were to be had at seventy-five down -the disappointments which make all attain¬ number in following years was proportion¬ “to raise the art in general respect, par¬ Every devoted student of music will sym¬ to twenty-five cents. For the afternoon —the weaknesses which magnify the glory of ately large. ticularly among the authorities of the Col¬ ment seem far finer. pathize with the bitterness of his disap¬ rehearsals, all seats were to cost twenty-five Sporadic efforts to give orchestra music lege.” It was this Association which at pointment when, in the midst of his cents, none being reserved. Almost all of our ideals. resulted in concerts by the Amateur Or¬ the close of the war began the annual series enthusiasm, he learned that through over¬ the musicians were living in Boston. -the tribulations which help us glean the chestra, the Academy Concerts (at which of Symphony Concerts, which continued work and unskillful surgery he had lost all “It is hard to realize,” says an early the “Sixth [Pastoral] Symphony” of Bee¬ —the frowns that make our smiles a triumph. until the Boston Symphony Orchestra had chances of becoming the artist to which he account, “the opposition to Mr. Higginson grain from the chaff. thoven was performed on January 15, 1842), become an established fact. The first season aspired. Every musician will know how in founding the Orchestra.” There were
—the bitterness, without which we might not —-the blackness of the night, which makes the understand the higher love. stars in the Eastern sky point with endless —the privations which make our every gift a brilliance to the advent of the new born treasure. King.
For these, and gifts without number, we humbly and reverently pour forth our gratitude at this holy Christmastide, Amen.
THE BOSTON SYMPHONY ORCHESTRA WITH SERGE KOUSSEVITZKY CONDUCTING
708 DECEMBER. 1935 THE 709 h the chief source of income is the Pension Mr. Fiedler restored the overtures and through all the succeeding years. Gericke cliques which had unhindered access to the Fund Concerts. A background of security fragments of Wagner to the programs. press; there was some resentment in the began the out of town tours; he originated • thus provided for the players; a sense He also increased the length of the con- ranks of the supporters of the older or¬ the “Pops,” or Popular Concerts, which are of permanence__ in the relations ofnf the or- certs. After four years which he declared How Famous Composers Break chestras ; there was even a sort of suspicion given in May and June; and he gave a j have been “artistically, the happiest of because of the startling basis of the new short series of Young People’s Concerts. chestralestrai bodyoouy anuand itsus siuiviuuaiindividual members -- - „ -- afforded, and the brilliant concerts for my life, he returned to Europe, and the one—under private auspices for public bene¬ The symphony concerts continued to be the Pension Fund are rare enrichments of reengagement of Dr. Muck was announced fit. There was, besides, diversity of opinion, short, ending at 9.30 or 9.35 o’clock. The During his absence from America, Dr. All the Rules orchestra gave its first New York concert each musical year. expressed in the most outspoken manner, Muck had received the title of General during this period (1887), after long post¬ as to the desirability of the new conductor. The Passing of a Tradition Musical Director, awarded at the same ponement of the venture until Gericke was By the Eminent German Musical Theoretician R! || __ time to Richard Strauss. This title had Disagreements and Dollars sure of the fitness of the orchestra. And 1 Music Hall was an occasion of deep been previously bestowed only three times BUT THE VERY BRILLIANCY and the reception of the orchestra on these tours William Strasser temperament of Henschel seem to have added much to its prestige at home. sentiment. For nearly fifty years the best in the two hundred years' of existence of the music of Boston had been heard in this Royal Orchestra—upon Spontim, Meyer- been what was needed to bring the orches¬ Analytical notes on the programs were Secured, Expressly for The Etude Music Magazine tra rapidly into shape. For the second also introduced by Gericke, at first as a building; and for twenty of these it had beer, and Mendelssohn. On his return he season, the decision of Mr. Higginson and “Music Hall Bulletin,” and later, in his been the home of the orchestra. In April, continued the longer programmes of Mr. Henschel to have the men play only last season, as a pamphlet of thirty-two 1900, it was abandoned; and the new Sym- Fiedler, and he alternated, broadly speak- By Florence Leonard under Henschel raised a “tempest in a pages. phony Hall was opened in October. The ing, the classical concert with the modern, tea-pot.” This was allayed, however, as But such a work as Mr. Gericke per¬ architects were McKim, Mead and White; He limited the appearances of soloists, al¬ rHE AUTHOR of this article, William mar, of the construction of sentences, of as wholly justifiable, because these are what self says of this work that he wrote it Strasser, was bom in 1875, at Press- the turns of speech in his language, before give color to the composition. Of course, with reference to melodic quality especially, the public began to realize the benefit to formed for Boston is a heavy strain upon and the Hall is the result of analytical ready much restricted, and required that burg, Hungary; and he was musically edu- he should dare to compose a drama. Just all that is startling must be handled with and that for this reason he anticipatasuits be derived from the arrangement, in which the physical resources of a man (in 1888-9 study of all the halls considered, and of the accompaniments should be played by cated at the conservatories of Vienna and so, he who composes in tones must be moderation and not as is the habit in the success. the men were not debarred from all outside the orchestra gave one hundred and twelve synthetic planning based on this' study, the orchestra instead of the piano. Under activities, but only from those which inter¬ concerts to audiences averaging twenty- This work was done by Professor Wallace him “the artistic supremacy of the orches- Prague, under Griin, Ludwig Bruckner, and familiar with all the laws of his art, must works of the most modern composers, After all, the younger generation of fered with the proper development of the five hundred) ; and after five years he was C. Sabine of Harvard University. The tra . . . has clearly become one of those Dvorak. During his stay in Prague he have perfect command of its theory. Then where from the first measure to the last, composers should hold before their eyes orchestra. obliged to return to Vienna to regain his nearest approach to the desired result was points of permanence to be maintained was organist of the Dominican Monastery he can give play to his imagination. And melody, form, unity of rhythm and every this fact, that the fate of their works de- The concerts soon became so popular that health. furnished by the old Boston Music Hall through all the years to come,” wrote Mr. and coach of soloists under Dr. Karl Muck if the new ideas of Harmony, Voice Lead- well-sounding chord are wholly discarded pends on the verdict of the masses. There- when the season tickets were sold at Music The baton now passed to Arthur Nikisch and the Leipzig Gewandhaus. The pro- Howe in 1914. of the Royal Theater. He later was sue- ing or Form which he permits himself to and only a riot of meaningless dissonances fore they have a certain obligation to Hall, for the second season, purchasers from Leipzig, and he found an organization gram of the first concert in Symphony “The interlude”—as so aptly chronicled. cessively conductor at Grata, Paris and us'e are kept within logical limits, then that remains. address themselves to the taste of the pub- stood in line from Saturday morning until so highly trained under the severe and Hall was made up of a Chorale by Bach, again by Mr. Howe—in the affairs of the Bucharest; and following these engage- which he creates will have a certain artistic lie. For they depend on the favor of the Monday morning; and when the sale began intelligent discipline of Mr. Gericke that a report by Mr. Higginson, The Bird of orchestra, which came with the World ments he conducted opera in Mantua, at value. But if, on the other hand, he has A Master of Theatrical Music public, while the public can r there were about three hundred and fifty he exclaimed (according to a credible re¬ Passage, an Ode to Instrumental Music, War, is now a matter of history. The La Fenice of Venice, and at the Politeamo no such background of thorough theoretical yT IS EVIDENT that such a tendency pelled to listen to music which it finds persons in line. The second person in the port) after first hearing it, “All I have to by Owen Wister, and Beethoven’s “Missa ■icissitudes of that period and the efforts erA vf , * an' r r J • study and this is the case with many of X jn art> which may well be called morbid, tedious or unintelligible. line was said to have sold his’ position for do is to poetize!” This remark fore¬ Solennis.” The Cecilia Society and other to reconcile artistic loyalty to the men of A development of ear trouble turned his the recent composers, who laboriously as- whether it appears in symphony, chamber This does not mean that we should re¬ thirty-five dollars. As rain had begun to shadowed the fresh spirit which he im¬ singers assisted. the orchestra and to the Viennese associa¬ career from conducting, atid he became - s.emble their compositions while seated at music or opera, will find but few supporters> trace the paths pointed out by the old fall, some few were discouraged and left parted to the playing of the organization. In the final season of Mr. Gericke’s sec¬ tions of his youth, with the patriotic loy¬ assistant to Rimsky-Korsakoff and Mas- the piano and--not satisfied until_they andanQ we can ^ cverywheeverywnere,re, thattnat compo- -school and -write- after- the fashion of those- their posts, but the majority remained. In He conducted at first from memory, but ond term, two regular concerts were con¬ alty of a veteran of the Civil War who senet, did editorial work for the Jurgenson have evolved extreme, unheard of effects, sitions showing this tendency are received days- For our art has taken another direction order to provide a fairer distribution of later made use of the score. Apparently ducted by D’lndy. “This compliment to had throughout his life evidenced a rare publishing^ouse, and studied etching with packed full of the most impossible dis- wjth oniy partial approval, and therefore *n tbe cottrse °* a century. Neither should tickets, the plan of selling them at auction it was in Boston, during the engagement the modern French school of music, and to devotion to his' country; these grievous dif¬ Rundalzoff in St. Petersburg. At the out- harmonies—then in the mere reading of n have no lasting success; whereas com- we on that account resort to extremes. We was tried, and has been continued since that of Nikisch, that “the conductor cult,” as one of its chief exponents, stands alone in ficulties had a great share in breaking the break of the World War he came to Amer- such a concoction the lack of musical positions of the more moderate modern must ever remember that the well-sounding third year. This sale is for the reserved a New York critic phrased it, became “a the history of the orchestra”: and it was health of the founder of the orchestra, and ica, where he has been an editor for Carl ing and the amateurish treatment ai style succeed far better. ls toda>' stlU the chlef element of music, season tickets only, and does not apply to form of social activity.” The “prima “a token of a really broadening scope in the same time nearly wrecked the or- Fischer, Inc. and the Composer's Music stantly apparent. As an example may be cited Puccini, our a"d il is only the beautiful which can arouse Corporation; and he has tnade orchestra¬ the twenty-five cent seats. There have donna conductor” is a later phase, perhaps, the repertoire of the orchestra.” Other chestra. greatest poet for the stage. Many times Pleasure. tions for many publishers and composers. been a few occasions when particularly de¬ and one which flourished in New York as foreign conductors had been leaders at Freedom With Limitations has he broken our musical rules, yet all Now the b
Jose Iturbi
A Conference for the Serious Student Secured Expressly
for The Etude Music Macazine By Florence Leonard
Strength Has To Be Cultivated opinion, it is a great mistake of musicians and teachers not to prepare the technic AGAIN I REPEAT, begin with training thoroughly at first, not to build music on XjL the fingers for strength. Because good foundations. We should not confuse finger strength is not present in the finger. music and technic. If we cannot play any It has to be created and then cultivated. difficulty whatever, then we cannot talk The arm is there. We can use it whenever music. I am always observing the logic of we need it. But finger strength we can¬ Life, and comparing it with the logic of not use unless we have worked to acquire music. Suppose my daughter says to me, it. Therefore, we must begin at once. “I like ermine,” or “I like mink.” Before Without finger strength, the repertory is she can have ermine or mink, she must have very limited. We can play certain com¬ the money to buy it. So we must build and positions with chords, or we can play soft develop the technic, not as an end in itself harmonious pieces such as but so that we may use it for the interpre¬ Ex. 2 tation of music. JOSE ITURBI Solfbge Should Precede Study of Instrument WHEN I discuss the needs of the adage, “He who can do the most can do HOW, THEN, shall we train our stu¬ serious student, I must ask to also the least;” but the converse is net dents in music? Please remember, which subject we are referring, to again, that I am speaking now of the seri- piano playing or to music. For I always How does the sculptor work? He takes n as you come to a passage which out student, the one who wishes to make separate the two subjects; yet the first one his huge block of marble and cuts first the requires' clear articulation, such as this, music his profession. Such a student should must, in any case, serve the second. planes. It is only after these planes are Bx-3 T.«o-o.iArn A_ begin his training in music before he In piano playing, the greatest necessity established that the work of modelling touches his instrument He should have is technic; and in technic, strength. Play¬ begins and little by little the curves of the one year of solfcge (a capella sight sing¬ ing is like life; if you wish to live well, whole figure appear. ing with rudiments included) till he has you must have money—capital. When you So if a student does not look for big rhythm and perfect intonation; and then have acquired your fortune, you can spend tone when he first forms the muscles, he he should know all the seven clefs before it as you will. If you have good taste, you will never get it later. It is because of my he begins his technical training, on what¬ will buy beautiful things. If you have poor own experience in teaching.—I began to ever instrument Is the musical training taste, you will buy ugly things or foolish teach at the age of seven—that I lay so less important than the technic? Why, much stress on these points. We should there are even people who give concerts, So, in piano playing you must have capi¬ begin with the rudimentary teaching, train¬ not pupils, but people appearing as profes¬ tal—technic. After you have acquired it ing our students in that which is the most sionals—violinists as well as pianists—who you can play what you will. But we should difficult to acquire—strength. are amazingly ignorant of music. They develop technic only to put it at the service Why are young men sent to schools, to know none except the G and F clefs, having of feeling. If we gain technic for the sake gymnasiums, to military academies? Is perhaps a hazy notion that there are clefs of technic alone, merely for itself, our play¬ it that they should spend their lives in of C. Their playing is full of errors of ing is no better than that of an electrical fighting ? No, but that they should become we will have no effect without finger various kinds. The only explanation I can piano. able-bodied men. strength. We must have solidity from the The greatest enemy of the piano student Suppose a student is given a cantilena, beginning. We may be able to play fast, make of their being able to play at all, is weakness. How often an amateur is such as the one from the Chopin Scherzo in or nicely, or clearly, without finger strength, under these circumstances, is that they heard to begin playing with a pleasing tone. B-flat minor. but not solidly. play by instinct. For they have had no solid training. If they were even playing But what happens in a few moments ? Per¬ Ex.l 4 Who has not heard students and players haps within four or five minutes strength making excuses for themselves when their by intuition, the playing would be more may begin to give out. The tone becomes ^ ^ | l^|v: | playing lacks solidity? They will say, musical. weak and shallow. Or suppose he is play¬ "The piano action is too stiff;” or “My In regard to tempo, for instance, is not ing passages which should be solid and hand is not in good condition,” or some¬ an Allegro an Allegro? One may be al¬ brilliant. Notes begin to fall out here and thing else, when the fact is that they have lowed a slight liberty of tempo, occasional¬ there; the left hand, when playing basses, not the strength in each finger. ly; but after all, allegro means a certain is loud, to cover the mistakes and the diffi¬ pi speed and style of movement, from which culties of the right. The whole fails of Pianissimo and Strength there should be no great deviation; above solidity and precision. He tries to play it, having developed no I AM OFTEN asked how I make my all, no sudden changes of tempo. These “muscles.” His tone is weak, he is not pianissimo. It is the result of strength. and like errors should be avoided by thor¬ Strength Before Beauty satisfied. He tries again, using his arm in How is it with an oboe player? He must ough, early training in music. OR DEVELOPING strength in my the wrong way because his fingers are not fill his lungs with a great amount of air, If technic is the money of Life, then pupils, the tone at first may be allowed yet ready; his tone is thin, pinched, hard. in order to put intensity into his tone, which solfege is the moral aspect of Life. If you to be hard and dry. Then after a time, He may be told to make the piano sing; but he makes by expending only a very small have the technic of music and the technic when the training has gone far enough, I he does not know how; he tightens his arm amount of air. of the instrument, and combine them, that can say to them, “Now, leave it alone, again and gives a hard, downward, punch¬ Among our pianists, perhaps ninety-nine makes a musician. relax,” and the tone becomes more beauti¬ ing movement, perhaps. Still he is not and three-fourths per cent play with arm ful. singing, for these nervous contractions in strength alone. And they look in vain for Daily Training If a pupil thinks, at the beginning, of finger and arm give a very disagreeable the effect, after having neglected to pre¬ Training in the two branches making only a “nice” tone, he will never tone, like a slap, or the crack of a whip. pare the strength which is the cause of the must continue year by year, constantly. learn to make the piano “sing,” for singing No, it is the finger which must sing, and effect. The time to lay the foundation is Technic of the fingers and technic of the requires strength; tone must carry. There which must have strength in order to sing, not after the house begins to fall down, but brain—they must be continually exercised. is a world of wisdom in the old French and to give a deep tone. when we begin to build the house. In my Copyright 1935 by Theodore Presser Co. (Continued on Page 745) International Copyright secure^ 716 DECEMBER 1935 THE ETUDE 1
ON SKATES Grade'3. ELLA KETTERER
Copyright 1935 by Theodore Presser Co. British Copyright secured '■718 THE ETUDE ALONG COUNTRY ROADS EDOMr rtW±V± JA.A DESERTEDL/UUUltJ-^ l5>n(1CABIN Thi.Diece is taken from the suite,“Blue Ridge IdyJs” Crade »!• ALLENE K. BIXBY The famous American composer,LiJy Strickland,here^portrays the,twodaof her *°“e* deradePB. LILY STRICKLAND -which is a musicaj picturization of the most beautiful section of the whole Appalacniannange_ ^ - Andante lamentabile m.m. J=76 l.k.
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* XS o o i\j w i d 3 Copyright 1935 by Theodore Presser Co. Copyright 1929 by Theodore Presser Co. British Copyright secured DECEMBER 1935 720 THE ETUDE MAZURQUE CARACTERISTIQUE A MERRY HORNPIPE Grade 2|. PERCY E. FLETCHER Gaily and brightly M.M. J = 104
Copyright 1912 by Theo. Presser Co. British Copyright Secured THE STUDS 722 MASTER WORKS EXCERPT from SONATA Op. 10, No. 1
Beethoven’s giant genius lay in his strong organic nature.That is,his compositions never appear to .be artificially contrived, but rath r seem to grow from within of their own internal force. This lovely Adagio,from the Sonata Opus 10, No.l, is an excellent example o FROLIC OF THE IMPS LEOPOLD J. BEER, Op. 77, No. 2 Allegretto
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11® .cjjlp * im |1ff International Copyright secured MM « Copyright 1935 by Theodore Presser Co. 731 DECEMBER 1935 ETUDE ETUDE FREDERIC CHOPIN, Op. 25, No. 9 BUTTERFLY Arr. by E. P. SHERWOOD BUTTERFLY FREDERIC CHOPIN, Op. 25, No. 9 PRIMO SECONDO Arr. by E. P. SHERWOOD Allegro vivace M.M. J =
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Copyright 1935 by Theodore Presser Co. DECEMBER 1935 733 MENUETTO f. j. haydn,op. 1, No. 1 The Committee on Instrumental Affairs of the Music Educators National Conference recommends this e y st i g CELLO FROM QUARTET NO. 52 ^ ^ ^ quartet in their Survey of Musical Material. n . . i , — i. ' t—rir i f irrrif3 MENUETTO f. j. haydn, op.i, no. i 1st VIOLIN FROM QUARTET NO. 52 A <~r ri^. 2 ^ ^ _ ir_^ _JV; 1 ‘ —— M ^ i ^ p ,-u-TRIO ’ J $ 4 -f1— P V t 2 pine rn | 1 < | | , | | . -j- n | 1 | , '_3 —s . 3_ -N ^ A rV—! ^ ( jr _ ' r r! J ' " T "7# / p r^~ lip |‘2p , 1 P 1 Bn _. ^ ^ [ | ! 11 ^ a A¥?J J *”j r r1 r 11 11u uaj 1 /• f1 p D. C.
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P—=- -J f p 734 THE ETUDE Ll, FASCINATING PIECES FOR JUNIOR ETUDE READERS IN AN ENCHANTED GARDEN
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Copyright 1921 hy Theo.Presser Co. British Copyright secured 736 THE ETUDE The Boston Symphony Orchestra
(Continued from Page 710) at Christmas orchestra with a permanent conductor,” re¬ colorful interpretations of his colorful pro¬ mains the ideal of the present organization. grams, gave to the first seasons a brilliancy Guest conductors appear each winter, how¬ which was of the greatest value to the ever, in the shape of two distinguished young organization. visitors. Composers have appeared as Mr. Gericke was born in Schwanberg, pianists in their own scores, and still others Styria, a man under forty when he came have conducted their own works, many in to Boston. Himself a product of most “first time” performances. exacting, training, he demanded of his players the attention to technic, the mastery Titanic Achievements of finesse, which they needed, and which HE ORCHESTRA gives twenty-four could be acquired only by hard and per¬ Friday afternoon and twenty-four sistent drilling. He eliminated excesses, Saturday evening concerts, a Monday eve¬ he trained in delicacy and precision. There ning and Tuesday evening series of six was “no guesswork with Gericke,” writes concerts each, five concerts each in New one critic. “What was wrong and what York, Brooklyn and Providence, with was right in interpretation, he knew ex¬ single concerts in other cities en route. actly.” Restraint was a necessary part Young People's Concerts, the Pension Fund of this interpretation, and it is said that Concert, and the regular series of “Pops,” the double basses exclaimed, “He scarcely besides the Festivals and other extra con¬ allows us to touch our strings”; and that certs. The concerts have had the assistance the brasses cried, “He sits on the bells of of the Harvard Glee Club under Archibald our instruments.” Indeed there was a T. Davison, the Radcliffe Choral Society story of a tuba player who resigned be¬ under G. Wallace Woodworth, and the cause “he would have perished of lung Cecilia Society under Arthur Fiedler, in trouble if he had remained. Every time the production of choral works. he took a full breath Mr. Gericke eyed of musical culture. And there are more Kimball A Beethoven Festival, a Schubert Cele¬ him and put forth that repressive left pianos in the homes and studios of America than bration, and a Brahms Festival have taken hand. The poor brass player had to place under Mr. Koussfevitsky; and a Bach swallow his own smoke, so to speak; and any other make. Such is the tribute and endorse¬ Festival, six days in length, was the tribute as consumption threatened him, he came to Mr. Higginson which marked the fiftieth to this city, where he blatteth as he listeth.” ment that music loving men and women enthusi¬ During his second term of conductorship anniversay of the founding of the Orches¬ astically give the Kimball name and product tra. This Festival presented the “Mass in Mr. Gericke gave evidence of increasing B minor,” in two performances which sympathy with modern schools of music, jealously guarded through almost eighty years by opened and closed the series of programs, frequently revealed in performances of the “Magnificat,” four Cantatas, two splendid enthusiasm and devotion. one family ownership. Kimball has always owned Arthur Nikisch was' born in Hungary. “Brandenburg Concertos,” “Concerto for and made the Kimball. two violins,” “Piano Concerto in D minor,” A personality of pronounced poetic quality, Preludes and Fugues from the “Well Tem¬ he put into his1 conducting “all his power, pered Clavichord,” a group of pieces for passion and wonderful skill in producing the harpsichord, and also organ composi¬ results.” If he relaxed some of the rigid tions. Other events of the fiftieth anniver¬ discipline of his predecessor, it was, per¬ sary season were first performances of haps, time. “A magnetic swayer of men,” scores written especially for the orchestra he taught them to obey his beat at a mo¬ KIMBALL by French, Russian, Italian and American ment’s notice. “The orchestra became one composers. The season was opened by Sir great complex instrument, upon which he George Henschel, the first conductor of the could play as he pleased at any time. Next Grand or Upright Piano orchestra, who repeated the original first to nothing was ever predetermined at re¬ program, with the exception of the overture hearsals ; few ever knew what that terrible by von Weber. This program was: Over¬ baton was going to do next.” “When at Gives You Christmas Joy the Year ’Round ture, “Dedication of the House,” by Bee¬ his best, he was simply glorious,” wrote thoven: Air (“Orpheus”), by Gluck: a critic, in summing up his work. “Symphony in B-flat,” by Haydn; Ballet Emil Paur, born at Czernowitz, Bukowi- Music (“Rosamunde”), by Schubert; na, was the next conductor. He, too, was Modern in style, tone and Scena (“Odysseus”), by Bruch; Festival of a poetic strain, with great intensity and Overture, by von Weber. The soloist on energy. “He sought the utmost in all scale, the Kimball Piano as that first night was Annie Louise Cary, things,” and he brought to the interpreta¬ eminent American contralto and one of tions “a vigor and largeness hitherto un¬ a gift memorably distin¬ our first singers to command European known.” He also had a spirit of hospitality recognition. toward the newer music—in his day, guishes great occasions The orchestra has ever pursued one of Strauss and Brahms, conspicuously. its chief duties—“the instruction of the un¬ Dr. Karl Muck, who succeeded Nikisch, whether at Christmas, grad¬ willing—the gradual and difficult direction was born in Darmstadt and held the degree of desire,” as Mr. Howe expresses it, “from of Doctor of Philosophy, as the result of uation, weddings or anni¬ the days when Brahms and Wagner were studies at the Universities of Leipzig and versaries. acridly denounced, and audiences walked Heidelberg. Of his work with the orches¬ out from Strauss, to the more redent day tra, one critic wrote, “Mr. Gericke left the when a subscriber wrote to a newspaper, Symphony Orchestra a perfect instrument; Kimball pianos, grands or uprights, are priced the “I refuse to pay more than a nickel for Dr. Muck has given it a living voice.” At subway noises.” It has also preserved the end of his second period, Philip Hale loivest in many years. Convenient monthly terms certain great traditions in frequent per¬ wrote, “Fortunate is he in having at his formances of the famous masterpieces of all command this orchestra, largely his own available. Make inquiry today; no obligation. periods. creation; wholly the superb interpreter The concert masters have been Bernard of composers, as he shares in their emo¬ Listemann, Franz Kneisel, Willy Hess, tions, confessions, declarations, grief and Carl Wendling, Anton Witek, Frederic longings.” jjj E-12 Fradkin and R. Burgin. In the fiftieth sea¬ Max Fiedler, born at Zittau, resembled son the orchestra numbered one hundred Paur rather than Muck in style, and pro¬ W. W. KIMBALL COMPANY and thirteen. grams. His personal vigor, sweeping em¬ phasis and broad effects were combined KIMBALL HALL, CHICAGO, ILLINOIS Some Plumed Knights with a sincerity which added much to their Main Office Gentlemen: Please send me without obligation HE STAGES through which the or¬ KIMBALL HALL chestra passed under such very differ¬ Henri Rabaud, artist and theoretical your 1936 gift and style brochure of Kimball Chicago Grand and Upright pianos. ent conductors as Henschel, Gericke, musician, hampered in his choice of music Nikisch and Paur, have been aptly char¬ by the conditions at that time confronting Also at 665 Fifth Ave. acterized by H. T. Parker as “the primi¬ the world, naturally stressed the music of New York tive, the expert, the romantic.” Henschel, France. Also Architects and Builders of I Address_ with his vivid temperament, his pronounced Pierre Monteux, tried technician, patient personality, his insistence upon his own (Continued on Page 755) I City_State_
DECEMBER, 1935 739 to them,, however, their privilege of un¬ place for its singer is obviously in the censored speech. Thus oo may consort at studio—that is, in the laboratory where he times with a too pallid ih; while the bright may, in seclusion, conduct his experiments Have You and colorful o becomes dull and bedraggled upon verbal vowels and at the same time from association with a colloquial uh. seek to perfect his habits of speech. For, Such a mesalliance between vowels in song after all, the counterfeit vowel can, at best, can result easily in the destruction of offer only its counterfeit word—and the Studied verbal caste. For, after all, words can counterfeit word is indeed an empty con¬ rise no higher than the lingual level of veyor of poetic thought in song. their own vowels. Neither can they employ Never in the annals of song has the a language more cultured than that of the audience demanded so much of the singer, Harmony? in the way of beautiful and distinct pro¬ singer’s own speech. The counterfeit vowel, whether tonal or nunciation and enunciation. And the colloquial, can in fact only “make a fool” singer’s conquest of this treasure is Music is a universal language of itself and the word which carries it. through the gateway of a meticulous study and like the language of speech Until it can be eradicated, therefore, the of vowel values. has its own grammar. The gram¬ mar of Music is Harmony—and Eliminating the Vocal 'Break' if you have not studied the subject you should not delay any longer. Good and Bad Habits in Singing By Edward Ellsworth Hipsher Learn to analyze compositions — to identify the chords used and thereby By Eva Emmet Wveoff for the purpose of smoothing out the scale get an intimate knowledge of the inten¬ It will be seen that this begins with the tion of the composer. You get at a real ALMOST EVERY VOICE, until it definitely just which is the point at which of the voice. The rapid gliding over and highest tone of Ex. 1; and it must be very understanding of the basis of phrasing is what counts—right thinking. /-% has been carefully trained, has a there is this uneasiness in the tone produc¬ about the various little changes of direc¬ THE SINGING VOICE in the adult tion. Then the study just mentioned must certain that this is done with the same ease and accent, which is interpretation, would be perfect, were it not for The student, whether artist or amateur, rather noticeable “break” just as it tion of tone, is of the greatest possible bene¬ through a knowledge of the chords goes over into what, for want of a better be transposed into a key in which the step and beauty of quality as in the former the fact of imitation of the elders in goes to a teacher to learn to sing. But he study. There must be very careful mental fit in acquiring the ability to do this used. A knowledge of Harmony helps really goes to have his ideas reconstructed. name, we call the head register; and by from the fourth to the fifth (highest) note unconsciously. Try the study not too fast to satisfy the natural curiosity of every childhood. As children grow in years they preparation for this, and not the least of more and more take on the habits of par¬ Consequently we witness the effects of all that term we simply mean that upper divi¬ of the phrase will just bridge this gap so at first, so that there may be time for just player, which is “How did the composer muscular tension should be allowed to ents or those with whom they come in kinds of voice, use. Nasal, throaty, and sion of the voice in which the tones receive that as the upper tone is taken the voice an instant of thought as to tone direction write it?” the larger part of their reenforcement from will just easily and naturally “turn over” creep in. Do the whole thing as if it were contact. A little girl will hear a man or pinched voices, as well as those that come when arrival is made at the point of leap¬ By the study of Harmony you learn the resonance cavities in the frontal part into a clear frontal or head resonance. one of the easiest and most pleasant things woman sing very high or very low, and forth as naturally and freely as a flower ing over that upper “break.” The fact is to correct errors in notation, which oc¬ blooms. As the teacher wills, so the stu¬ of the head. There must be no effort to cause the voice imaginable. After all, all singing should cur even in the best editions of music; her efforts to do likewise illustrate this LESTER that by the time this point in practice has Now, until this “break” is eliminated by to do this; it must just naturally “do the be a joy. This study will follow the same point. dent responds. been reached the careful student should also to know when apparent discords ESTABLISHED 1888 being absorbed into a change so elastic and trick” of its own accord. When this has course of treatment as the former. We have all heard children perform in begin to feel release from concern about Let Nature Lead Those who base their gradual as to render it unnoticeable to both been done, pause on the note till the sen¬ Then we will try a little study which attic circuses or shows, at maybe a pin ad¬ there being any break at all. But some choice upon a knowledge the singer and the listener, there is sure to sation of the tone has been quite assimi¬ employs only those tones lying right about Harmony will help you to memorize mission. They screech or roar, according ERECT, easy posture is absolutely neces¬ of true worth, rather than be for the singer an uncertainty and lack lated in the memory, and then just glide the place of uneasy tone production. voices will be more stubborn than others; more easily and more permanently to their model in mind. There was the sary for the singer. He will always on a foundation of un¬ which is just another way of saying that because you understand the reason for case of a young girl who had a high shrill show ease in his singing, if this is empha¬ stable claims, acquire fine Of spontaneity of tone production at this down the scale not too fast and carrying Ex. 3 the progression of chords used, and point which will detract from the art of the head resonance a tone or two lower some students have naturally or have de¬ speaking voice which over-powered any sized. Keep the stomach muscles always possessions. Many such veloped a more sensitive imagination than are able, therefore, more readily to high. “Stand tall”—never slump. Then people are Lester owners. his song; and, for the auditor with a sen¬ than the last one of the first measure, carry the composition in mind. speaker present. When asked why she did sitive ear, a certain feeling of uneasiness from which you stepped over into the head others. The voice will surely respond to this, after repeated efforts were made to do not worry about the shoulders. They which he will realize even though he may resonance. careful thought. Let us give you free, a practical stop her by her voice teacher, she replied, will automatically lift themselves. not be able to diagnose the cause. Practice this first with the Italian ee; Take the first tone with a fair portion of Exercise 4 may be done with many varia¬ demonstration of the thoroughness of “Well, every member of the family at home Coordination of all the parts required in This change of direction of resonance in and to make this the mouth will be opened the reenforcement of the tone coming from tions of the grouping of the notes, a few the University Extension Conservatory tries to be heard above every one else, at singing affords quick results. These are Lester Piano Co. the voice will vary with the different types the chest. That is, have the feeling of this of which are here given. methods and how easily you can master the same time.” This corresponds with the lungs, ribs, abdomen, larynx, vocal so that the tips of two fingers lying side any of our courses. Sample lessons of voices. With the very low bass it may by side may be inserted between the teeth. tone resting on a column of air which gets our first statement. Her efforts to over¬ cords, tongue, teeth, lips and jaw. Relax 1306 CHESTNUT ST. Ex.5 will be sent without obligation to you. be anywhere in the neighborhood of the Now prepare the vocal mechanism as if oo its lower support from the chest. Then, come this bad habit were heroic. in singing, and allow each of these organs PHILADELPHIA B-flat below'"Middle C; for the baritone were to be sounded and, while maintaining as the upper tone is taken, let this feeling Only by making an examination of to perform its natural function. it will be about Middle C or the D-flat this condition, sound the ee. At first this of reenforcement glide gently over into the the actual lessons can you form an in¬ The Natural Way The teacher must be sure of himself, else just above it; for the real tenor it will may seem something of an effort, because frontal cavities of the head; and as the telligent opinion of the real merit of INGING should be simple, straight for¬ he cannot sway the mind of the student to this remarkable method of music instruc¬ S be near E or F above Middle C; while in our careless formation of the English next two tones are taken let this resonance Do not try to do all these studies at the ward, easy. Why stiffen and grow assimilate properly his ideas. Through his tion. Let us send you these lessons. own sureness he makes his teaching clear, the contralto and soprano will find their vowels we have almost universally lost this gradually glide back to its first point of first practice. In fact, for several days They will show you how quickly you nervous? Greatly because of false ideas. troublesome tones located an octave higher beautiful, open ee. But it can be acquired, support. only the first one should he used, with a can equip yourself for greater things in There is too much talking about it, each .and results come with absolute certainty. than the last two as respectively mentioned, and once this is done, it will insure the And now we are ready for figured scale few repetitions several times a day; but a musical way and make more money student telling how nervousness affects him. But it takes time and patience on the part from music than ever before. Why not discipline the physical ? Mentality of both teacher and student. that is, on the upper half of the treble greatest ease of vowel production on pitch, Ex.4 better done at each repetition, till there is staff. and throughout the entire compass of the a certain sensation of sureness and ease in Get Catalog and Sample Lessons of And now to overcome the difficulty. Try making that little leap over into the upper our Harmony course or any of our the following exercise. Follow the use of this vowel with awe, reenforcement. Then, as the days pass and other courses which interest you the and last of all, follow these with ah. there is ease and certainty at each step most. As this will place you under no Building a Program We now are ready for the second study. taken, gradually advance to the other obligation whatever, you have every¬ studies. "The mills of the gods grind thing to gain and nothing to lose. State age and course in which inter¬ W. Armstrong slowly,” and this is nowhere more certain ested. Try the Lessons, then decide. By D. than in the building of a voice. Let there be absolute certainty that each step is se¬ Each student must, first of all, find quite University Extension Conservatory NE great mistake, made by young an artist. Voice, with all its technical work, which is of the very greatest value cure before the next is taken. O singers thrown on their own re¬ perfection, is to the artist a more or less 1525 E. 53rd St. sources, is that of singing only such perfect instrument through which his con¬ Dept. A-41 Chicago, Illinois numbers as appeal to their personal taste. ceptions, expressed in words and melody, Counterfeit Vowels As the student progresses in musical ap¬ reach the understanding of his hearers and preciation, musical themes and melodies awaken in their minds like emotions. There¬ By Grace Grove which, at the beginning of study, do not fore, as responsiveness is subject to under¬ UNIVERSITY EXTENSION CONSERVATORY appeal to them as tuneful, become later, standing, the singer singing in a foreign through education, most tuneful, while language is in somewhat the same position Dept. A-41 HERE ARE mixed vowels which, those which originally appealed to them be¬ as an orator addressing a multitude in a T to dress the thoughts of poetic genius in . .-—> lik: singer s own VO pronoun “I” strives to imitate the first come commonplace and uninteresting; and foreign tongue, the only difference being because they cannot claim legitimate the drab garments of workaday speech. idiosyncrasies. Under its direction, “si 1525 E. 53rd St. Chicago syllable of “oyster” and loses its own iden¬ that the singer meets with the admiration relationship with the compromise and “lull”, “limit” and “infinite,” all so on upward they go until they uncon¬ vowel, may be called “counterfeit vowels.” Two Waifs of Speech tity in the process. Through an exchange sciously merge, as it were, into an atmos¬ of those of his audience who are affected come veritable schools for vowel refoi Please send me catalog, sample les¬ These spurious formations, although alike of tonal courtesy, “born” suggests an in¬ sons, and full information regarding phere of appreciation which develops a by beautiful tone irrespective of word un¬ THE ENGLISH uh and ih are prob¬ And finally, when all tonal amenities h; hostile to verbal coherence, nevertheless distinct “barn”; “adorn.” “a dam"; and course I have marked with an X below. favor for compositions sufficiently above derstanding, and the orator is ridiculous. ably most subject to vowel counterfeit. been met, nJt and ih are discovered as ho spring from two widely diverse sources: “paw,” “pah.” Even "e,” although a repu¬ common tastes to loose general apprecia¬ We do not mean to suggest that the Although Dr. Fillibrown calls these the less victims Of lingual amnesia—and th first, from an unfair use of tonal preroga¬ table Italian vowel, may, in the solution of □ Adv. Cora- □ Violin tion. The result of this cultivated prefer¬ singer shall sacrifice art to commercialism; MARION KINNE, 1324 So. Lindenwood St., W. Philadelphia,?.. most “primitive” of English vowels', still words are dead. nma.n0Cour°sr; tive; second, from a lax lingual habit. their verbal legitimacy cannot be ques¬ some temporary vocal problem, become □ Trumpet B Ea^ Train- ence is that the singer is unconsciously what we do mean is that he shall more Uh and ih are not, however, alone lia But however far these contrasting origins veiled behind a thick cloud of oo: while oo, □ Cornet i n g and singing over the heads of the greater num¬ frequently descend from the clouds and tioned. In song, however, they are often to vowel counterfeit. In fact any ver □ Voice Sight Sing- may separate their tonal histories, these itself, is persuaded to better its tonal con¬ n History of ine ber of his audience; and, being unconscious sing to the people in language and melody regarded as vowel nobodies—requiring a vowel may, from time to time, be for. vowel mongrels still speak (from the point tonal grooming beyond that which a mere dition by an ill-mated union with eh. In Music □ M of this fact, he attributes lack of interest to a within their understanding. But, the young to accept first aid assistance from ; □ Choral“ ■ -C ms;□ Saxophone of intelligibility, at least) as one. compromise vowel can provide. These two fact, the tonal and verbal gropings of these ducting □ Piano Ac- “cold” audience, when he, himself, is re¬ singer argues, do not some of the world's vocalise vowel—and in spite of an aim The first, born of the vocalise, inherits a barbarians, uh and ih, therefore frequently counterfeit English vowels suggest at □ Clarinet sponsible for the “coldness.” greatest artists sing whole programs in a sacrifice of word clarity. Ei ENGRAVERSandLITHOGRAPHERS tonal ancestry which brands as “barbarian” speak under the strict supervision of an times only an inept mimicry of German Many young singers seem to think that foreign language? Yes, some of them do, that darling of the vocalise, ah, should PRINT ANYTHING IN MUSIC-' BY ANY PROCESS all vowels outside its own patrician class. Italian vocalise vowel—but not, however, to sing in a foreign language is the height of but you are not yet a great artist. When show the least sign of tonal wavering, n umlauts—perhaps a little drunk. WE PRINT FOR INDIVIDUALS The second, in direct contrast, is the of one alone. In fact, ah, o, e and eh may vocal artistry; but they are very much mis¬ you are you-may do many things which find itself speaking from behind an ov And now the colloquial cousins of these establishediSTs REFERENCE ANY PUBLISHER plebeian offspring of colloquialism—reared in turn seek to bring these untutored primi¬ vowel counterfeits. It is unfortunate that taken. Song artistry is not reflected in would never be countenanced in the stu¬ shadowing aw. In consequence, “pot Street No. in the lingual laziness of careless speech. tives to their tonal senses'. It ,1s necessary, ability to sing operatic arias and song dent, for you will then have the psychologi¬ becomes verbally false as a rT these slovenly vowels, although taboo in The first seeks ever to speak from the however, that this tonal chaperon must be classics in a foreign language. A singer cal support of the word “great.”—The pawned”; and “fond” is blurred in an the vocalise, should so often gain a back State. tonal heights of the vocalise; the second, one which has proved itself kind (in the City may do all of these things and still not be Musical Leader. proach toward “fawned.” The perso stair entrance into song. A lax vowel m vigilance, outside the vocalise, easily grants 740 DECEMBER, 1935 741 THE ETVDE THROUGH PIPES ALONE Essentials of Early Organ Study
By William Reed
THE ORGANIST’S ETUDE THE CHARACTERISTIC basis of hearing are called into additional use. Be¬ organ playing being the legato touch, cause of this, trouble is sometimes found sufficient time should be devoted by in separating manuals and pedal. In such It is the ambition of The Etude to make this department an “Organist’s Etude99 complete in itself. the pupil to the acquiring of this touch as cases pupils may at first be allowed to a practically unconscious habit. This has double the bass part on the pedals, while been aptly termed “taking hold of the playing the four parts on the manuals. This organ.” Seeing also that example comes will be some encouragement at least; but in through the eyes and the ears, the it should not continue long enough to de¬ teacher will do well at the outset to illus¬ teriorate into a habit. trate liberally the legato by means of im¬ provising or otherwise. This will afford Knowing the Instrument Any imitation, be it ever so In¬ the pupil a good start in the exercises to INTEREST will be always added to the genious and novel, falls to compare lessons by information given by the Making the Most of an Old Pipe Organ with the genuine article, particu¬ follow. larly when the arts are Involved. These same exercises for finger substi¬ teacher concerning the pitch of different Frequently high prices Justify con¬ registers, their ordinary combinations, and sideration of the unreal, but when tution may at first be done on a reed organ, By Carroll O. Whaley the genuine costs even less, there different keys being used and the exercises even some details of organ construction. is no doubt as to which presents played at a moderate tempo, to be gradu¬ This information can be added towards the the greatest value. In the new Estey Gothic Organ Wicks’ creations purchasers get the ally accelerated. Well laid out hymn tunes end of the lesson. But just here it may HE ONE WHO is called upon to T Other Colorful Combinations Most congregations enjoy an occasional the pipes will not speak their true tones.) “greatest value.” and simple voluntaries for manuals only be well to warn the pupil against experi¬ With the Tone Space for a pipe organ Is no longer play a very old pipe organ of limited hymn-tune played softly at some part of This plan was successfully followed on an can be added by way of variety and inter¬ menting with the registers during his prac¬ ONE OF THE PLEASURES of play¬ a problem as the above illustrates. You’ve always admired! resources has at once a problem and the service. This is a challenge to the old Chicago organ. The mixture pipes of There are 207 pipes within an area est. Then should come finger marking, by ticing—or at any other time. This is a not an opportunity. Most of the mid-Victorian ing a large organ is a sixteen foot 5’—0" wide and 1'—6" deep, height string-toned stop, presumably on the choir organist to avoid the monotony of four-part the three upper octaves were covered with only 5'-6". the pupil, of such passages as the teacher uncommon tendency that not only wastes Organs of beautiful tone—equipped “battleships” are plentifully supplied with playing. Play the soprano part on a solo a box four feet long, one foot three inches may prescribe. This is an excellent plan time but also leads to next to nothing in with electrical blowing apparatus. mutation stops—the Twelfth, Fifteenth, and manual. It adds dignity to mezzoforte A PIPE ORGAN FOR ONLY *775.00 playing, where a contrast to the Swell combination, or transpose it an octave wide, and one foot high. The full organ rip to follow, both at this stage and later on. elementary organ study. Let the pupil ad¬ With expression pedal—an innova¬ even mixtures are often included in the Bourdon is desired. This effect may be below, accompanying it with the alto and longer sounds unpleasantly shrill. here strictly to such plain registration as tion in reed organ construction—that specifications of old organs of very modest imitated on a two-manual organ by playing tenor parts on another manual, with the One thing with which the organist of Some Fundamentals his teacher marks. Colorful effects will gives a wider range from pianissimo proportions. Consequently there is no de¬ bass being played on the pedals. an old instrument has to contend is an oc¬ easonable facility in the use of come later, in their proper place. to forte than ever before possible. on the great an octave below, having drawn R Grand organ« pedal aho provided. ficiency of volume; but the organist who casional pipe going off pitch. The wooden the legato touch having been reached, As progress is made, manual exercises wishes to avoid monotony in the softer the Gamba (which thus becomes a Contra- Some Simple Adjustments bungs or stoppers in certain wood pipes W1CKSP1PEORGANCO. the pupil may now proceed to the organ should not be neglected, sixths and octaves, Estey builds reed organs for every voices has a problem which the following Gamba), the Octave or Principal (which becomes a brilliant Second Diapason), the HE MUTATION stops already men¬ shrink with age and then slip down the '7/iqhland, <111. proper and pedal work may be started. in particular, being necessary for increas¬ requirement—Estey pipe organs are suggestions may help to solve. T world famous, and rightly so. More Swell to Great Octave coupler, and as much tioned are nearly always too loud to tube, causing an untrue tone. The best, Here the teacher should illustrate the dif¬ ing the flexibility and control of the Try a passage on the Flute Harmonique ferent methods of pedalling, also such phalanges, and the general strength of the than 3000 outstanding installations 4 Ft. of the Swell Organ, and play an of the swell organ as is desired, omitting, be generally usable. They may be muted remedy is to cut a piece of soft chamois are giving music lovers everywhere a however, to use the manual Bourdon. A points as the relative positions of the arms, hands. For the same purposes, the follow¬ octave lower than the music is written. by covering the pipes with a box, if the skin, tie it over the bung, and re-insert it. new conception of the true splendor feet, and body, and—an important item—the ing exercise can be recommended. This will prove a welcome contrast to the similar effect, but much softer, can be pipe work is not too crowded. This box Then, with a helper at the keyboard, tune of organ music. May we send you use of the balls of the feet for the purposes overworked Stopped Diapason, and it is a secured by using only the Dulciana with should be made of fiber wallboard, lined the pipe to its octave, or to the correspond¬ Ex. 1 catalog? both of forming a firm touch in the play¬ delightful registration for the introduction one or two delicate swell stops, and then with cloth or felt, and then provided with ing pipe of another stop. Or, the trouble ing of diatonic passages and of developing For Your Church, Lodge, or interlude in the accompaniment of a playing on the Great as before, with the a vent for the escape of wind. (If the air may be caused by the vibrations of heavy same super coupler. flexibility of the ankle joints. Familiarity School, or Home! pastoral song. If this Flute is the only pressure in this mute box rises appreciably, traffic, causing the pipe to work partially with the position and fed of the pedals will four foot stop on the organ besides an off its wind slot. Twist the pipe, and the precede duet playing, that is, right hand and for the left hand, Estey Organ Corporation Octave or Principal, it is probably too loud tone is up to pitch again. Fortunately this with the pedals, and left hand with pedals. for many uses. Try using the Aeoline 8 is not likely to hap(>cn to pipes over four Ex. 2 Brattleboro, Vermont From this point and onward, there should Ft. (or Salicional 8 Ft., if it is soft enough) feet long. be no looking at the pedals. with the manual Bourdon 16 Ft., and play Much of the rattling in organs not regu¬ Then will come trio playing. This should an octave higher. This arrangement gives larly serviced can be avoided by tightening ‘H. S. Wilder, 5- be done on two different manuals with one the equivalent of a delicate Gedeckt the screws in the case panels or by insert¬ pedals, the registration being well balanced If good results are to be attained, a 8 Ft. enriched by an exceedingly soft four ing an occasional wedge. It may be that FIVE MASTER PIANO COUBSES:-.Sif and fundamentally varied. The value of reasonable continuity in study is necessary. — Interpretation, — N< foot string stop. If you can spare the great some pipe, perhaps a “dummy” in the organ trio playing cannot be overestimated; its Intermittent or desultory lessons and prac¬ manual, draw the Swell to Great octave iront, is rattling through sympathetic vibra¬ use will become increasingly apparent as tice are unsatisfactory to both teacher and BEGINNERS PIANO COURSE (R coupler, and you have the combination with¬ tion. Hold the note, and ask your helper TEACHERS MANUAL ,1 the pupil advances, since reliable inde¬ pupil, since such methods will hinder the out transposing. In this event, there is left to find the offending pipe. Usually a twist forming of a true foundation for the later the option of adding the Dulciana. pendence of the hands and feet can be at¬ in its socket or a cushion of felt or cotton tained by no other means. The pupil must grades of study, and may even cause a will stop the noise. ever bear in mind and exercise the different lapse into faulty habits. “Sticktoitiveness” Some Pleasant Inventions motions—similar, oblique, and contrary— and a sustained interest will all the more F THE ORGAN has a Swell to Great In Conclusion the last named demanding particular atten- quickly mean material progress, and will I rapidly unfold alluring prospects of good sub-octave coupler (sometimes called a * | ''HE FOLLOWING suggestions will things to come. sixteen foot coupler), draw it together with -I. prove helpful to organists who are In four part playing, combined sight and the great Dulciana and the swell Stopped young in service: Diapason, and play on the great an octave higher as before. This Dulcet 4 Ft. effect 1. Avoid being a one-legged organist. will impart a delicate brilliance to this In other words, do not slight the The Transcription in the Swell stop, which so often sounds common¬ upper half of the pedal keyboard place because of the restricted choice of because of the swell pedal. tones in a small organ. 2. The pedal organ need not be played Church Service Perhaps the only two-foot stop at your continually. disposal is in the Diapason Chorus, and the 3. Unless you have a good reason for HAS A SANTA CLAUSE IN IT By Edward A. Mueller Fifteenth is certainly too loud for solo doing otherwise, use both hands on is used by IamoiB*pJanlsts. No obligation work. Here again transposition comes to the same manual. We promise you a real old- Let us give just a few serious moments A label is not always indicative of the I well Studios, Dept. 11-M, Bendix Bldg.. Us Angeles. Calif. the rescue. Draw the Bourdon 16 Ft. and 4. Remember that the indicated regis¬ fashioned Christmas, with the to consideration of the propriety of tran¬ contents. In Boellmann’s “Suite Gothique” the Flute Harmonique 4 Ft. of the Swell, tration is only suggestive. Look it added sparkle ol spending it scriptions in the church service. there is a menuet that is frankly a dance. and play one octave above. With or with¬ over, get the composer’s idea, and by the sea. Stockings for the Occasionally one hears the admonishing And the Toccata that we all love could out the tremolo, this combination is a wel¬ then adapt it to your own organ. youngsters. Carols. A mam¬ phrase: “Let the music be dignified and scarcely be characterized as worshipful. come relief from the maid-of-all-work Oboe The stops, the keyboards, and even moth tree and a bounteous worshipful.” I do not think one needs On the other hand, the Larghetto from the the interpretation may be changed least. Golf. Hockey. Varied entertainment in the hotels. only to pray with the organ. It is also “Clarinet Quintet” of Mozart, as an organ The Oboe, by the way, especially the old and yet be kept within the range of transcription, is as spiritual and chaste as good taste. $7 up at Chalfonte, $8 up at a good medium with which to preach. I Write today for Art Tear Book low-pressure Oboe, is about the first rank of do not suggest as much freedom as a a Rafael Madonna. 5. Remember, too, that music is pri¬ Haddon Hall, single, Ameri¬ pipes in the organ to betray age, neglect, or preacher will take when he introduces in As a final example, there is one compo¬ $CHOM"APMiEDAKr marily mental—a manifestation of can Plan. $5 up at Haddon Dept. 295,10 E. Huron St., Chicago, III. extremes of temperature. At such times the j his sermon a humorous story or a joke, as sition so wedded to the organ and church eternal Mind; and that, like the Hall, single. European Plan. melody may be played on the great Dopple- I the best of them do. Perhaps that is why that all the king’s horses and all the king's music of the spheres, it continues Special weekly rates. C Etude Advertisements are Flute or Gamba, accompanied by a suitable they are the best. But there is room for men can’t pry it loose. That is Handel’s unto everlasting. With a dear idea Leeds and Lippincott Company Bulletins of Splendid Buy¬ eight or eight-four combination on the more in the music of the church than Largo.' If you don’t know this, don’t be ing Opportunities - - - of mental harmony—whether the Swell. Either of these stops will stand a unctuous dignity and folded hands. Life, shocked—in its original form it is an aria organ be new or old, large or small fairly loud accompaniment, for their tone vigor, joy, praise, love, courage, sacrifice, from a most paganish opera called your playing may lift the thoughts is clear and penetrating, and the pipes are grief, consolation, spiritual exaltation—all of your listeners and prove to be a these are clarion notes in the song of the So I say: The selection of music fit¬ probably not enclosed with expression shut¬ real channel for the healing Truth. ters. The Gamba, too, will prove to be human soul and sound the progress of ting for church service is not in any way an excellent solo stop of sixteen foot pitch, ORGAN IN THE COURT CHURCH OF DRESDEN A.fter all, with a reasonable technic al¬ man’s struggle upward. And all these may incumbent on its source. It lies entirely by playing the melody an octave higher It is the last and largest” of the Silbermann organs, of which th*> h -t 1 ». ready acquired, perhaps there is no teacher be found in the great master works, in in the taste and discrimination of the or¬ -• ivnrrE con prices than it is written. live to see its completion. The pipes seen in Us case ofwhth for the organist better than experience well every conceivable form and application of ganist. —The Diapason. the Diapason Basses, are of polished En^h Un ^ seasoned with good common sense, and musical thought. friz Y.'M a reifrM cm* 742 these served with plenty of practice. DECEMBER, 1935 743 THE ETUDE Organ and Choir Questions hack month we propose in the Publisher’s Monthly better to A FAVORITE Answered Bands and Orchestras COMPOSER KScptiiint By Henry S. Fry, Mus. Doc. (Continued from page 713) L>— Ex-dean of the Pennsylvania Chapter of the A. G. O. ACCORDION Ho questions will be answered in THE ETUDE unless accompanied by the full name city’s available players within the band’ easy to find players of all instruments who Geo. L. Spaulding and address of the inquirer. Only initials, or pseudonym given, will be published. personnel. are versatile enough to play more than one It has been of course, quite a job to ac instrument well, play concert music in the Q. A church choir has been organised, in A. It Is, of course, more satisfactory ti complish all this in the short space of eigh¬ manner and spirit demanded by the score, ihich are a few talented singers, but they are have the choir sing In nart.- h„. . iphasize and depart from the sublime to the ridic- terally scared to death ol classical music, dently have a shortage of teen months. It is well also ” 1 ‘ Vill you suggest some numbers in four parts circumstances, it mig' - advisable to limit the fact that the player who i v mad” ulous, when the commercial demand pre¬ ' will lead up to an appreciation of the your selection of inns to the abUity of yTur sents itself, in the way of dance orchestra o forth t Please suggest s only,juiy j wasvvqo bgiven1'1- no placei in this band.. $ J--~ What will keep the be to secure more men if pos"1ble°. d
Singing is made Dur musical friends or pupils or purchase for your own e of the delightful volumes in the “Whole World” and More Enjoyable “Master Composer” Series. when everyone has all the words and all the music right in hand.
_. _ _ ..mid like to know how to play these measures pom Ein Feste Burg from Mathews’ "Graded Course, Book Two.’’ / un¬ derstand that the brace inclosing the B, F, and D means that those notes are played with .which hand plays the
note (inclosed in the circle) a triplet t My Each volume consists of 256 to 448 pages of the best music, musical dictionary says that a triplet is three (the four individual composer volumes, 160 pages) beautifully notes taken in the time of two of the same printed, sturdily bound and attractively covered. For the opera lover there are several fine collections containing the stories and the choicest music from the most famous operas. These books (m- sppip will add to your enjoyment of the radio presentations. For the home vocalist, a splendid selection of songs that will live forever. k. itlilj For the pianist, violinist, organist, etc., a representative selection p f ■- sHnii of music covering all grades of difficulty. Each crystallizes the best of music in substantial volumes of varying character that A. 1—Both C’s are played with the left thumb; however, iu Ex. B, if the hand is have become, both through musical merit and economic value, too small to make the span from the bass B to the tenor C, the latter may be taken with almost necessities for the fullest enjoyment of the musical hour. the right thumb. Send for our new free 40 page catalogue which illustrates, de¬ Ex. 2 scribes and gives the complete contents of each book—a postcard brings it. (Not sent to Canada or European countries.) A complete list of the books will be found below. 3; THE FREE CATALOG CONTAINS DESCRIPTIONS AND CONTENTS OF OUR BOOKS FOR THE OPERA LOVER
This volume contains concise, accurate in¬ formation relating to matters of general musical interest. Provides the amateur or professional musician with a systematic course in musical knowledge as well as an¬ swers to queries on individual matters. Will become your most prized musical pos¬ session, for it will always be handy to fur¬ nish useful and essential information on all subjects connected with the art of music.
-JfiaS L a. it •SsIwIhJ IP D. APPLETON-CENTURY CO. 35 W. 32d St., New York THE ETUDE 749 Honesty in Piano Study
School Music Collections
An Easy Way to Teach Scales By Marilla Holliday
Pagr 754) 750 751 THE ETUDE All Items Listed in These Holiday Bargain Offers are Delivered Postpaid at the Holiday Cash Prices Quoted (With Two Exceptions Noted Below). Remit With Order. Holiday Prices Good Only to Dec. 31,1935. fejg*Ls Child’s Own Book of Great Little Life Stories of the Musicians — By Thomas Great Composers— By Mary M. Schmitz Tapper—-A Series of Bio¬ (Pr., 60c) Holiday Cash Pr., 45c A compact little volume dispensing to little graphical Booklets music lovers something about tie great masters, their birthplaces, where they (Pr., 20c ea.) Holiday Cash Pr., 12c ea. lived, their works, et cetera. Betty and the Symphony bind the book, along with reading the fas¬ Orchestra— cinating story of the composer covered, the e truly feels that he has his By Elizabeth Gest *^=5p "" * * -rf r each ol (Pr., 10c) Holiday Cash Pr.. 7c _ Beethovt_, Skilfully utilizes ^the juvemle^ima^rwtmn lei, Haydn, Liszt, OR RETURNS CAN Chopin, Grieg, Han srsx 4 V Special Prices to Favor the Gift Season Shopp*er - BE ALLOWED Mendelssohn, Mozar Schubert, Schu- mann, Verdi, Wagnei Musical Playlets for Younc THESE REDUCED "HOLIDAY OFFER” CASH PRICES POSITIVELY WILL BE WITHDRAWN DEC. 31, 1935. argains Free on Request People— By James F. Cooke Young Folks’ Picture His¬ &ndS?K = For First and Second Year Pianists = Literature for the Library = GROVE’S DICTIONARY OF tory of Music— A Gift that Will Delight MUSIC AND musicians of great composers that may be enacted by By James F. Cooke young music students. Any One Who Plays A Day in Venice of Music Loving Folk in SIX VOLUMES —New First and Second Grade Games and Puzzles for the CELEBRATED SUITE FOR THE PIANO —g=? Piano Playing with Popular Edition—only $18.00 (Pr„ $1.00) Holiday Cash Pr., 70c the Piano Well— By ETHELBERT NEVIN Pieces for Boys Musical— (Pr., 75c) Holiday Cash Pr., 50c Piano Questions An¬ Here is a real treat for the child music Celebrated Compositions (Retail Pr., $1.50) By Daniel Holiday Cash Price, *1.10, Postpaid swered— piano'pieces that satisfy lii able. 113 full-page i BY FAMOUS COMPOSERS Every one enjoys over and over again By Josef Hofmann grew, Musical games and put these beautiful and charming tone poems. fended by "dolly" piec Cloth Bound. Stampe An attractive folio which makes a very (Shipping weight 20 lb s&TSFiS A Visit to Grandpa’s Farm— Suggestions for Violinists - By Mathilde Bilbro from Beginners On Up = For Pianists of Ability (Pr., 75c) Holiday Cash Pr., 50c Seven boyhood scenes that appeal ___ Album of Favorite First ^V|xiAlcaf Didrouarie^ From the Dalles to Minne¬ Si*» to“tSe'fiSt’grSde’rfnuli! Boy’s Own Book OF tonka—By T. Lieurance Priscilla’s Week— Piano Pieces (Pr., $1.25) Holiday Cash Pr., 85c Pr., 75c) Holiday Cash Pr., 50c DICTIONARY (Pocket Size) By Mathilde Bilbro V-— second ^prade piano By Dr. H. A. Clarke arthh‘gthy M Holiday Cash Pr., 50c character^ From Holly' Charles Wa_„..„ v^.a. mstmmm ™ Young American PLAYING together
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752 DECEMBER, 1935 THE ETUDE Honesty in Piano Study The Boston Symphony Orchestra Jxnciti (Continued, from Page 750) ___ (Continued from Page 739) and insistent worker, with an uncanny ac- flash, of impassioned lyricism,” a conductor with Bach. (Technic and music.) on the instinct of the editor or player, and (fcmseitiatoitj Xtlusit curacy of ear, had to remake the orchestra, who has his own version of tempi and Of Mendelssohn, the Variations Serieuses not on method. The “Course of Compo¬ before he could shape the finer surfaces, emphasis and other matters of interpre- are valuable, the Schersi, the Rondo Capric- sition” of d’lndy, on the contrary, is based Widely interested in the newer composers', tation. “He aims at the superhuman,” wrote cioso and especially the “Concerto in G on the study of music, from the days of the he was the first conductor to play Stravin- a London reviewer. He now has the in¬ minor.” Mendelssohn wrote so splen¬ old neumes. There we have a classic, a sky, and gave in Boston the second per- strument with which he may, if ever, didly for the instrument, whether it was work such as is needed for every student. formance in America of Le Sucre du realize his desires. violoncello, violin or piano, for which he Riemann's “Harmony” I find sympathetic was composing. There are certain people to me, but his “Phrasing” less so. Printemps. Henry Higginson once wrote, “To us who profess to find Mendelssohn out of Serge Koussevitsky was born in Tver, an COme hard blows from the hand of fashion. But it is only a snob who could The Gods See Not Their Error a remote northern province of Russia. fate \t these times music draws the pain, When studying at Petrograd, he chose as Qr at jeast reijeves ;t, just as the sun does, despise a composer who is so great even O GO FARTHER, we have today a T his instrument the double bass’ and soon SeveraJ times when I have faltered in though not deep. condition which had its beginnings in Beethoven we must study according to SCHOOL OF MUSIC became a virtuoso. Suddenly mastering mv p)ans for the future> j have taken heart the time of Liszt, von Biilow, Tausig and of conducting, as he had mastered the musical content of his works. For OF THE UNIVERSITY OF MICHIGAN again on seeing the crowd of young, fresh Busoni. They claimed that no one should the bass, he organized his own orchestra Beethoven was not a pianist, a violinist, a ™ ua55’ "e Vw" school girls, of music students, of tired profane the music of the old masters, that Complete curricula leading to degrees in and traveled through city and country with , 8 ..... violoncellist nor a singer. He was a com¬ this music ought to be published in the all branches of Music. Faculty of distin- poser, first and always. Beethoven has juished artist teachers. Concerts and May original versions. But they themselves Peltal "bf wor^r‘grea0testerart1sh SSSws^orcte^a fc?ar£? Tn offiladieT lading gra^Hve^ not often feeling to express, and he has no consider¬ committed what they considered an offense, Prepare at Sherwood organizations• ■’ Hill Auditorium_ seating_, him the Boston Symphony Orchestra has reached by the sunshine, and I have, said ation at all for the performer. He writes even a crime in others. For they published .c err, l— r--» — leader “of fine restraint, of steely to myself, ‘One year more anyway. what he will. He says, “If you can not 5,000. Chorus of 350; student symphony found for success in Music editions pianistieally arranged, it is true, orchestras, glee dubs, bands, etc. Recitais play it, I am sorry, that is all.” Often he but completely altered from the original each week on $75,000 organ. Thorough training, next to talent, is the most does not realize how difficult his composi¬ text, and they had not the modesty which Second Semester J1 tions are. Must we not, then, have a sure would have indicated in these versions how C At Sherwood you e the : TRINITY PRINCIPLE Begins | Music Extension Study Course cal education, Thi IS helped thousa "Good INSTRUCTION technic prepared, with which to study much was the original and how much was February 17 J] PEDAGOGY Beethoven? Yet Beethoven, like Chopin, Music on Piano, Voice, Violin and The only Scientific Pedagogy based written by themselves—and that was a lot! CHARLES A. SINK, President Sherwood Music School oHers hilly accredited Develops all other Orchestral Instru- can spoil the technic, can make it muddy, So, from the beginning, and because they (Continued from Page 714) instruction. Faculty ol one hundred prominent Culture” ments- Harmony and Com¬ “%fS?«cally but not in the same degree as Chopin. thus take advantage of the confidence of teachers, including internationally known artists. position Counterpoint. Of what are called lighter compositions, Courses lead to Certificates, Diplomas and De¬ the public, they lead the student in wholly INSTITUTE OF against the chord background supplied by for a smooth passing over of the hand and grees in Piano, Violin, Voice, Organ. Cello, Individual Instruction. Moderate by second or third rate composers of the wrong directions. MUSICAL ART the left hand. an unbroken legato in passing the thumb Wind Instruments, Theory, Composition, Public Tuition fees. Dormitories—Branch day, I do not recommend any, for the reason DETROIT The second theme is in the key of G under, School Music. Band, Orchestra and Choral Con¬ Schools. that they are not fundamental; they present major—dominant to C—and in this section The second theme is in the key of B-flat ducting, Class Method of Teaching Piano and only one idea, or one phase of an idea. Principles in Pedalling Band Instruments, Microphone Technique, Dra¬ WANTED: A REPRESENTATIVE the left hand carries the melody through- major, the subdominant key. This section matic Art. Play Production. Liberal Arts and in every town to FOR THE STUDY of pedalling, also, out while the right supplies the chord may be played somewhat louder than the Dancing. A Student’s Problems can you not apply the principles which accompaniment. first theme. The pedal marks are clear Student aid and scholarship opportunities for Train Children’s Voices you learn from the study of solflge, of deserving pupils of limited means. Dormitory. High grade work with excellent remuneration WHAT ARE SOME of the problems and should be followed exactly as given. which a young student must face? phrasing? In Mozart, for example, which IN AN ENCHANTED GARDEN SEND FOR CATALOG No High School Education re¬ Louise Weigester School OBERLIN CONSERVATORY OF MUSIC Some of them are memorizing, rhythm, must be so transparent, we can use very By Mildred Adair THE MERRY-GO-ROUND quired except for the Bachelor and 160 West 73rd St. New York little damper pedal, very little, just enough, Master of Music Degree Courses. octaves, good tempo, good tone and sight¬ spectaUSs'11 EjKelS equipment! Here is another waltz in C major. This By James H. Rogers r now and again, to make a slight vibration SHERWOOD reading. Proficiency in all these subjects, without mixing the tones. In Bach, we time the left hand carries the melody from One grows to expect something worth of and I can not say it too emphatically, is 1CHOOL MUSIC Katherine Carey can have even less. If the notes do not beginning to end. In playing a melody while from the pen of James Rogers; and MUSIC SCHOOL TEMPLE UNIVERSITY the consequence of good foundation. If of this sort the pupil should strive to de- this little piece satisfies expectations, Successor »oMrs. Babcock's form a chord, we should not use the pedal. 410 S. MICHIGAN AVE.. CHICAGO, ILLINOIS P1812 Spring Garden St., Phila. you have studied technic well, solfdge well, velop both quality and variety of tone. Merry-Go-Round is an excellent study Even if they do form a chord, we should LAWRENCE COLLEGE INTERNATIONAL MUSICAL these difficulties become nothing. Solfpge It is helpful in some cases to suggest to the jn staccato playing and is also a tuneful use very little pedal; because, if we do, we CONSERVATORY OF MUSIC is the technic for music—for the eyes, the pupil that he try to imitate a violoncello ancj interesting recital possibility. The and EDUCATIONAL AGENCY shall make a Bach of the nineteenth or A professional school Church Concert and School Positions Secured brain, the ear. Finger exercises of every tone. This melody lies in what might be y0Ung performer can develop this little twentieth century, and not of the seven¬ in a university environment irnegie Hall, New York Tel. Circle 7-2634 sort; these are the technic of the instru¬ termed the “violoncello register” section number to the point of quite dazzling his teenth. Rut, indeed, my only advice can ment. If you would understand phrasing, of the keyboard. friends with his virtuosity. The reason for For Free Bulletins Write to flKfieneSssTKeaire for instance, study solfcge. It is the gram¬ be, “Listen! Do not merely hear, but this is that it lies well under the hands mar of music. Suppose a man should say, listen.” The esthetics of Bach’s time did SCHOOL OF MUSIC FIFI and, once learned, can be whipped up to C°‘tUForAC«talog3 mitereSee.“EiT.'’M WMt'sSttSt, N. T. “I write well with verbs but not with ad¬ not take into account the pedal, for the 1830 Sherman Avenue ZOELLNER SCHOOL By Bertram Altraver speed without much difficulty. Evanston, Illinois verbs.” What sort of writer would he be ? reason that the instruments of that day The theme alternates between the right For purposes of contrast make the most A competent writer must know syntax, had no damper pedal, only registers. And OF MUSIC and left hand in this number. It begins of the few measures which are to be NORTHWESTERN prosody, every branch of composition. A it is plainly evident that a composition Founded by Zoellner String Quartet in the key of F major with the melody in played in a sustained manner. - These places musician must know no less. based on two voices requires clearness of All Branches of Music and Dramatic Art the right hand. The little figure in meas- are all clearly marked. The changes in There is a treatise on composition, by line, not mixed, muddy coloring. AMANDUS ZOELLNER, DIRECTOR UNIVERSITY ures three and four should be practiced dynamics too are well and clearly indicated, d’lndy, in which are found the principles of A general rule for pedalling is to take 21 00 S. Western Ave., Los Angeles, Cal. Music Teachers' National Association Convention separately as an exercise before beginning and should be followed closely to lend phrasing. Phrasing must be based on prin¬ the pedal after the note, after the attack. the study of the piece. This figure calls proper color to the piece. of 1935 ciples, not on individual taste. Good princi¬ And yet this rule has many exceptions. CONVERSE COLLEGE JSMOPOLITAN ples are a school for taste. After you have SCHOOL OF MUSIC FOR WOMEN (Continued, from Page 706) SCHOOL OF MUSIC absorbed the principles, you can know how Repertory SPARTANBURG, SOUTH CAROLINA far to yield to your own predilections, for An Endowed Professional School, Nationally EPERTORY is another problem of Accredited. Full B. Mus. Degree and Diploma Avenue, Ben Avon, Pennsylvania, treas¬ Olden Hartung, President, Philadelphia you will have schooled your taste. It is as R Courses. College Environment. Teachers of the student and player. This, too, Musical Books Reviewed urer and Karl W. Gehrkens, Oberlin Col¬ Music Club; Mrs. Elma Carey Johnson, if you wished to write for the orchestra. ■ National Reputi may be solved by thoroughness in funda¬ Summer Sea—- Modem lege, editor. Associated with these as an President, Music Teachers Forum; Mrs. First, you must study orchestration and For Catalogue Executive Committee are: Mrs. Crosby Walter A. Knerr, President, Pennsylvania know what it is to write correctly for every mentals. If the brain is trained in music, all the compositions remain in the memory. Adams, Mrs. H. H. A. Beach, C. V. Federation of Music Clubs; Mrs. Edward instrument, and for all the instruments to¬ Whistling As An Art :ription of favor ButtLeman, Palmer Christian, Carl Engel, Philip Linch, Program Committee of the gether. Then, after your taste has been As to the practice of them, I repeat pas¬ By Agnes Woodward ler’s vocabulary ; - SCHOOL OF THE DRAMA sages from my programmes, more or less, ATLANTA From the days when Mrs. Shaw of those of scores of compositions of e THE GOODMAN THEATRE Rudolph Ganz, Wallace Goodrich, Glen National Federation of Music Clubs; Mrs. •formed, you can^rite as you choose. are particularly adapted to us for tone, but I do not practice them very CONSERVATORY of MUSIC naive nineties of the last century enamoured ART INSTITUTE OF CHICAGO Hayden, Otto Kinkeldey, Charles H. Mills Harry A. Mackey, President, Matinee HUGH HODGSON GEORG LINDNER the Sultan of Turkey by the dulcet strains A book calculated to fill sti and Albert Riemenschneider. slowly. The extremely slow practicing I from her sweetly puckered lips, whistling has Musical Club; and Dr. Thaddeus Rich, Teach Hoiv to Learn ), VOICE, VIOLIN,’“ORGAN, never quite lost its^ charm as an art. Now The Philadelphia Executive Committee do in my daily exercises. offered. Apply n< Director, Temple University School of OUCH IS THE WAY a teacher must For free des< has Edward Ellsworth Hipsher, Associate My own technic is not very big, but its delectable accom :s : Carl Fischer, Inc. Kenneth Sawyer G Music. . KJ work. He must give his pupils prin¬ of the book unt Editor of The Etude and President of quality is very honest Whatever is honest Dept. B. The Ar Other active committees have the fol¬ ciples, not individual instances merely. He the Philadelphia Music Teachers Associa¬ is more brilliant than anything which is Within the e iyely lowing chairmen: Membership, Mrs. An¬ must give them a background. He must small volume ^ir< The Gregorian Chant Manual of the tion, as Chairman; and with him are not honest. When I make a mistake, every¬ drew F. Lippi and Miss Minerva M. teach them a method of how to practice Minerva M. Bennett, Director of Music, body knows it because it is too clear, too Qo you take advantage of the many r "of "music of‘aimost‘ every Catholic Music Hour Bennett; Luncheons, Mrs. Edward Philip music. If I give someone a good cigar There Teachers College, Temple University; evident, too honest. In music, as. in life, Linch; -Banquet, Edward Ellsworth Hip¬ should I not tell him the name of the excellent merchandising oppor¬ “Breath' Control’’ ’the exZntTon of the **^5 *&*•***' »»-. Prof. Morrison Boyd, School of Music I must found my playing and teaching on various “bird calls,” ... . , _ _d Bavi_ sher; Hospitality, Mrs. Henry Artelt; maker so that he can purchase some for “hednla” and the “cndalee” of the Mocking Gregory Hiegle, O.S.B. of the University of Pennsylvania; Dr. facts. If theories of playing do not result tunities which ETUDE Advertising Tours, Benjamin Tartaglia; Reception, himself, if he likes? How to learn, and Bird, the technic of the lips at The comprehensive plan of teaching the Frances Elliott Clark, Director of the Mrs. Ella Olden' Hartung; Publicity, in facts of playing, they are worthless. Columns offer you? the mastery of these, along with every detail singing of Gregorian Chant to children in the how to practice, those are what we must the punctilious student might dei grades of the parochial schools is thoroughly Educational Department of the RCA Vic¬ There will be found among players three Lewis James Howell; Registrations, Eliz¬ teach our pupils, or they will have no foun¬ covered in this 352-page book for the — tor Company; Dr. James’ Francis Cooke, abeth Gest; Ushers and Pages, George L. varieties—artists before the concert, artists These instructions and suggestion: accompany dation, no solidity in their work. the exercises in the text books of ’ ie Catholic President of the Presser Foundation and after the concert, and artists during the Lindsay; Arrangements, John W. Drain; Such teaching is particularly necessary Music Hour Series, Books One to Five. Editor of The Etude; Mrs. D. Hendrik Hostesses, Mrs. Edwin A. Watrous and concert. These last are very few. Many The above-named editorial boa m regard to phrasing, because the editions Qlrbf laid) Jnstitule of Q)uHtr pared this work in collaboration Ezerman, Director of the Philadelphia people play with their tongues, but few Mrs. Phillips’ Jenkins; Information, Mrs. of famous works vary so enortnouslv I tinguished group of the foremost Conservatory of Music; J. W. Gardiner, James Hindle. with their fingers. It is the duty of the Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma President of Combs College of Music; myself, know of no good edition of Scar- So come, everyone, with confidence that latti or of Mozart. If we knew music, we teacher so to train his students that they Public School Music Course in conjunction with Western Reserve University outlined, should prove Dr. Frederick Hahn, Director of the all will be worth your while and that you shall be honest in both technic and music; - to the teachers and Pages : 352. should not need signs for phrasing. These BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio In the parochial schools and t- Philadelphia Musical Academy; Mrs. Ella will be filled with what is inspiring. artists during their preparation and during Price: ?3.00. signs, in many, if not most cases, are based mal school students. Publisher: Silver, Burdett i oinpany. their concerts. 754 DECEMBER, 1935 755 THE ETUDE bearing twelve well spaced staves. The World of Music Around the Maypole Singing Melodies paper will be of good quality and will be Eight Maypole Dance Tunes for Piano A Collection of Piano Solos with Words suitable for pencil or pen, and there will be with Instructions for Dancing After the feeling for rhythm, singing is approximately 80 pages in the book. (Continued from Page 697) eQ& Publisher’s Monthly Letter our most primitive form of musical expres¬ By William Baines To have this amount of music manuscript sion. Children now successfully begin music paper between two cloth bound stiff covers Directors of physical at 4 and 5 years of age because modern A Bulletin of Interest for All Music Lovers education and dancing in¬ will prove a convenience to many and the ERICH KORNGOLD is reported to be in pedagogy recognizes the above truth. The price of 60 cents, postpaid, at which a copy Hollywood adapting Mendelssohn’s music to structors, as well as those youngster who becomes a member of a interested in material for may be ordered in advance of publication, is the screen version which Max Reinhardt is rhythm band early develops a love for music, so reasonable as to be an excellent bargain. making of Shakespeare’s “A Midsummer recreational purposes, will and one who begins piano study the “easy find this book of great Night’s Dream,” for Warner Brothers. The way,” pleasing tunes with fascinating texts, score is being arranged for an orchestra of value in formulating plans willingly spends much time in practice. Little Classics for the annual May Day Folio for Orchestra sixty instruments, with voices. The estimated Talented “piano teacher” composers have cost of the production is one million dollars. rites and festivities. produced excellent whole books of “singing Supervisors of instrumental music in the In addition to complete directions for melodies” for young students; some are de¬ schools who order this new folio for orchestra Advance of Publication costuming and setting of the scene, this work servedly popular. But in collections of pieces may be assured that it is really and truly a RIO DE JANEIRO has a new orchestra combines in one volume a brief history of by one composer a certain similarity is al¬ book for beginning grade school orchestras. which devoted its first concert to works Offers—December 1935 the maypole dance, two unison songs, in¬ most certain to be noticeable. In this book Violin parts are strictly in the first position, founded on the folk lore of the nation. It structions for the eight dances—simply told with the exception of a Solo Violin for is sponsored by the Preparatory Institute of All of the Forthcoming Publications the little pieces have been selected from m)t Bap of Bap£ and effectively illustrated, together with the writings of a number of the best com¬ slightly more advanced players, and all other Music of that capital. in the Offers Listed Below are Fully music drawn from various sources for the posers of juvenile study material. This will parts are correspondingly easy, both as to Described in the Paragraphs Follow¬ accompaniment of the dances. make for a much greater variety; hence range and musical content. There are parts EDWARD MOORE, eminent Chicago ing. These Works are in the Course of The low advance of publication cash price added interest on the part of the pupil. for all the usual instruments of the modem HEN we come each year to the glad of 30 cents, postpaid, should be a special music critic and fervid advocate of “Opera in Preparation. The Low Advance Offer We know that every successful teacher school orchestra. English” as a stimulus to the creation of an Prices Apply to Orders Placed Now, "fSjs moment when we wish our friends a inducement to place your order now for a of juveniles eventually will want to possess Fifteen little compositions from master single reference copy. American art of this type, died suddenly in with Delivery to be Made When “Merry Christmas” we cannot help being a copy of this book. Why not order yours, composers make up the generous contents of Chicago, on October 6th, at the age of fifty- Finished. reminded of the wonderful spirit of the now, while the special advance of publica¬ this collection. Bach is represented by a eight. He had been music critic of the Chi¬ founder of this business, Mr. Theodore Birds of All Feathers tion cash price, 25 cents, is in effect? Minuet and Polonaise; Schubert by his First cago Tribune since 1921, was widely known Around the May Pole—Dance Tunes for Waltz and Cradle Song; Handel contributes Piano—Baines . Presser, who left us ten years ago. At A Musical Sketch through his book, “Forty Years of Opera Six Octave and Chord Journeys a Gavotte; Schumann, the Soldiers’ March; in Chicago,” and he was a leading spirit in f All Feathers—Musical Sketch— Christmas time the spirit of the Festival so , By Mildred Adair Mendelssohn, a Reverie from his Children’s Adaie Piano Study Pieces planning and exploiting the Chicagoland filled his soul with happiness and gratitude We all enjoy a “show,” and many piano Pieces; Mozart, the lovely Blushing Roses. ... Vocal Technique in Song teachers have discovered that it pays to By Irene Rodgers Other composers represented include Gluck, Music Festivals of recent years. and Speech—Two Volumes—Shaw and for his blessings, that he could hardly con¬ Lindsay—Each . entertain the group that attends pupils’ The compositions of Miss Rodgers are Beethoven, Haydn, Verdi, and Padre Mar¬ •3-tr Evening Moods—Album of Piano Solos ... tain himself. Every little symbol and token Just what the title suggests—a book of recitals. Even parents and relatives of the known to many teachers who appreciate their tini. While the selection of this material WILLEM VAN DER BERG, for some Little Classics—Orchestra Folio— of the Christmas spirit was dear to him. snappy little marches for band! young recitalists, who come, primarily, to originality and the thorough musicianship has brought to light compositions not gener¬ years the first violoncellist of the Philadelphia Parts—Each . That same warm sense of gratitude which With the wealth of fine material in the note the musical progress of the particular exemplified in them. Naturally, the inspira¬ ally known to orchestral players, each work Orchestra, has been released from his contract, Piano Accompaniment . Theodore Presser Co. cutalog from which to youngsters in which they are interested, are tion of many of these pieces was found in to make it possible for him to accept an en¬ 1 meant so much to him, has continued in our selected adequately represents the character¬ Marchette Band Book— choose, the compiler of this collection has apt to become more enthusiastic if a novel the composer’s own teaching experience. istic style of the composer in question. gagement as solo violoncellist and assistant Parts, Single Copies—Each. life like an ever-burning fire. It is that selected sixteen of the very liesl marches entertainment is presented in connection with How many times have you not wished Until the advance of publication offer is conductor of the San Francisco Symphony Parts, 25 or More Assorted—Each. which we send forth to you now, with our imaginable, all of an easy grade for beginning the recital. for something fresh and new, something at¬ withdrawn, parts may be ordered at the Orchestra. • Piano (Conductor's Score). deep sincerity and best wishes for a bands, and with a wide variety of appeal. Miss Adair has been most successful in tractive, when it came time to launch an special price of 15 cents each, piano accom¬ Piano Studies for the Grown-up Beginner Most of these marches arc already well- presenting her own large classes in musical intermediate grade pupil on the sea of chords paniment, 35 cents, postpaid. “THE EVER YOUNG,” a new opera by Presser's Manuscript Volume . known and popular in other forms, but have playlets, and her two previously published and octaves? Well, here is the material Rutland Boughton, the distinguished British Rob Roy Peery's Third Position Violin now been arranged for the first time for sketches In a Candy Shop (50c) and From you’ve been seeking. There are only six composer, had its world premiere when given Book—Class or Private Instruction. Many Lands (50c) have been used by study pieces in this book, but each covers Rob Roy Peery’s Third Sabbath Day Solos—High Voice . jflerrp Cfjrigtmas at Bath, England, on September 10th, with B A glimpse of the contents reveals such teachers, everywhere. a technical phase necessary in preliminary Position Violin Book the composer conducting. It was a feature Sabbath Day Solos—Low Voicb . This new sketch gives an opportunity for octave and chord study. Sacred Choruses for Men's Voices . anti a titles ns Little. Dnim Major, Here Comes For Class or Private Instruction of festival week devoted to the works of this the Band, En Route, Pride of the Regiment, presenting a wide variety of entertainment The teacher whose success methods are Although there are many fine fine musician and was well received. Singing Melodies—Piano Album . features and the matter of staging and cos¬ based on giving lesson assignments in Six Octavb and Chord Journeys—Piano— Our School Band, Taps, Radio Boys. Com¬ first instruction books for the Rodgers . mencement Day, King’s Review, and seven tuming easily can be arranged. Wonderfully “homeopathic doses” will be delighted with violin available, both for class I)appp Hear colorful costumes can be made of crepe paper this work. It surely will be little trouble Ten Tonal Tales—Piano—Locke . others—all exclusively copyrighted pieces not and private instruction, there COMPETITIONS When Voicbs Arb Changing—Chorus available in any other band book. or inexpensive materials, and plants and to get students to complete the study of a seems to be an insistent demand Book for Boys . The arrange men ts have been prepared by flowers, to form a woodland background, book so musically pleasing, so brief and to for a really practical and com¬ A FIRST PRIZE of five hundred dollars; one of the foremost bandsmen in this coun¬ readily are obtainable. There is a nice bal¬ the point. A single copy may be ordered at prehensive third position book. second and third prizes of three hundred dol¬ try and will be satisfactory for large or ance in the musical numbers and considerable the special advance of publication cash price, Of course plenty of third posi¬ lars each; and fourth, fifth and sixth prizes small bands. In line with present-day trends, novelty, too. A violin solo, a rhythm band 25 cents, postpaid, delivery to be made when tion study material is procurable, of one hundred dollars each, all are offered number and a musical recitation are unusual the book is “off-press.” by Ginn and Company, for songs suitable The Cover for This Month this collection will be published in thirty but here in this book, the student cooperation of a large Eastern college in Evening Moods features, in addition to which there are the obtains everything that is needed for school use. Only native or naturalized having a copy made of a large portrait of books, as follows: The “Christmassy” usual children’s songs, piano solos, duets and Ten Tonal Tales to attain a thorough mastery of this position. American musicians may compete; and full 1 I cover on this month’s this celebrity which was hung in the college Album of Piano Solos trios. Besides the play goes “modern,” with library. D-flat Piccolo, C Flute and Piccolo, Melodious Studies for the Development of An all-inclusive book of this kind is especially information may be had from E. D. Davis, ue of The Etude Just i not only one, but two, masters of ceremonies Style in Piano Playing valuable in class teaching where, frequently, 70 Fifth Avenue, New York City. Many of our subscribers who do not wish i the dusk of a Summer evening E-flat Clarinet, 1st B-flat Clarinet, 2nd —a boy and a girl. is created by H. W. bring a feeling of peace and quiet By Harold Locke students are obliged to watch pennies in Benn, a Philadelphia to mutilate their Etudes are taking advan¬ B-flat Clarinet, 3rd B-flat Clarinet, Alto Publication plans call for the completion tage of the opportunity to secure the separate in nature, so the soft strains of beautiful Clarinet, Bass Clarinet, Oboe, Bassoon, The interest of the piano pupil, which purchasing music supplies. THE ELIZABETH SPRAGUE COOL- tist. While only a of this work in ample time to prepare for The material in this book is presented mparatively small pages. These pages are available at the very music lulls the senses to rest and relaxation. Soprano Saxophone, 1st and 2nd Alto next Spring’s recitals, but a single copy may teachers strive so diligently to arouse during IDGE PRIZE of one thousand dollars is nominal price of 5 cents, postpaid. Saxophones, Tenor Saxophone, Baritone the first lessons, must be maintained. In along the same lines as that in Rob Roy offered, in a competition open to composers portion of the people Many deplore the prevalence of “jazz”; be¬ be ordered now, to be delivered when the Peery’s First Position Book (Fiddling for of this country have cause it is so blatantly evident, some seem Saxophone, Solo B-flat Comet, 1st B-flat book is published, at the special advance of the second year of study this is not so diffi¬ of all nationalities, for a chamber music work cult, but there is still considerable danger Fun) ($1.00), a work that is enjoying much for four stringed instruments. Compositions had the privilege of to tbiyk it is everywhere. But could these Comet, 2nd and 3rd B-flat Comets, 1st publication cash price, 25 cents, postpaid. success. Most of the material is original; : enjoying a Christmas Holiday Bargains on Music and 2nd E-flat Altos, 3rd and ith E-flat of the pupil being discouraged, and pleasing must be submitted before September 30th, thousands of American homes, both study material is apt to produce more fre¬ some has been chosen from the standard in the midst of such Altos, 1st and 2nd Homs in F, 3rd and Educational Vocal Technique studies of recognized authorities and care¬ 1936; and particulars may be had from the Albums, Musical Literature, etc. mr city and Ta!age’ where famil-v life « still quent practice and, consequently, better re- Coolidge Foundation, Library of Congress, surroundings as depicted on this cover, T , , ’ .. ’ , of paramount importance, they would prob- ith Homs in F, Baritone (bass clef). fully and thoroughly edited for this book. nevertheless something of the real romance Baritone (treble clef), 1st and 2nd In Song and Speech Washington, D. C. hs thenmjbWmid the Gift that ably hear floating through the windows the Here in this book the student finds ten The work of editing is now completed and of Christmas deep down in the hearts of all counts! When you know that the Trombones (bass clef). 3rd Trombone By W. Warren Shaw In Collaboration it will not be long before copies are ready sounds of music, real music. Possibly (bass clef), 1st and 2nd Tenors (treble tuneful piano compositions; the teacher finds who enjoy feeling things sincerely seems to presented you with a Christmas remembrance violin, mayhap a human voice, the finest with George L. Lindsay for delivery. Order your copy this month, THREE PRIZES, of One Thousand, Five be tied up with snow-covered scenes where clef), B-flat Bass (treble clef), Basses, In Two Volumes ten studies covering the essential points at was thinking of you and your tastes, your trument of all, but more than likely the this stage of the pupil’s advancement— before the special advance of publication Hundred and Two Hundred and Fifty Dollars one is likely to hear the jingle of sleigh bells desires, your hobbies, while making a selec- ... Drums, Piano (Conductor’s Score). The remarkable development of chorus price, 30 cents, postpaid, is withdrawn. each, are offered by the National Broadcasting and find open hearth fireplaces in the houses tion, the gift is enhanced in value many .iversal instrument of the home, the piano. crossing the hands, triplets, repeated notes, music in the public schools throughout the grace notes, staccato and legato touch, left Company, for chamber music compositions There are published some excellent albums The advance of publication cash price for country has created a demand for text books by native composers or foreign born com¬ And, of course, the true spirit of Christmas Musical folk appreciate a musical gift— °f piano music containing pieces of the calm. hand melodies, etc. That there is always Sacred Choruses for each individual Band Book is 15 cents; 25, convenient for use in class vocal instruction. use for a book of this kind, every teacher posers who have taken out their first naturali¬ must have the church and the Christmas fasci- meditative type and, as most of the numbers or more, assorted. Band Books. 10 cents, It’s a long forward step, indeed, from the Men’s Voices zation papers. The competition closes carols, so it was a very happy thought of nating musical subject, a musical objet d’art will agree. . d’art are also suitable for playing in church and each; the Piano (Conductor’s Score), 25 “singing school” of Mason’s day to the In advance of publication we are booking Judging from the immediate and lively February 29, 1936; and full particulars may the artist to blend into the scene a sugges¬ for the studio or the home, attractive Sunday school, they are in great demand— cents, postpaid. impressive massed chorus singing of our demand for copies of this volume, now in be had from the National Broadcasting Com¬ tion of that beautiful carol. Silent Night. piece of musical jewelry. orders for single copies of this work at a - _ , , “ n,, - Ti ™e publisher’s sales records prove this To present-day school groups. special introductory cash price, 25 cents, course of preparation, there are a great many pany, 30 Rockefeller Plaza, New York City. Each year at this season Theodore Presser make these albums available to the greatest Mr. Lindsay, Director of Music in the postpaid. more worthwhile groups of men’s choirs than •a-s> The Historical Musical Co. publishes a list of Holiday Bargains. number, the selections are usually pS^s fn Philadelphia Public Schools, is in an excellent the average individual would imagine. You will find some of them listed Sabbath Day Solos THE WESTMINSTER CHOIR SCHOOL Portrait Series position to know the most practicable pro¬ The make-up of this book looks very prom¬ invites American composers to submit com¬ advertising pages of thisms issue anaand tnethe com- tW° and ‘hree’ with a“ occasional Presser’s Manuscript Volume ising. It is a collection such as every men’s High Voice—Low Voice cedures in group vocal instruction and train¬ positions for solo instruments, ensemble One of the most valuable features of The plete list is given in thethe illustrated booklet fo"rlh 613(16 “umber. ing, and his contribution to this work is of It is good forethought to place serious chorus should have to meet the demands Historical Musical Portrait Series is the fact “Holiday Bargain Offers,” a copy of which There are many, however, supplying the To compile in one volume a selection of inestimable value in presenting the vocal efforts in music writing in manuscript on the made upon it at times for sacred numbers. groups and for a cappella chorus, to be per¬ formed at a Festival to be held in May, 1936. that contemporary celebrities are included will be sent |gratis '' upon request. Many P,a“0 music in ^church and Sunday school, attractive sacred solos, churchly in their method of Mr. Shaw, which bears the en¬ staff-ruled pages of a well-bound manuscript It is not unlikely that the excellence of the as well as those of by-gone days. It is this teachers make a practice of presenting a and even more “home” musicians, who have musical content and varied in text, is the thusiastic endorsement of such notable artists book. Many have suffered irretrievable loss Contents may furnish the inspiration for The works will be broadcast over a national feature that gives such a distinctness to the gift (not necessarily an expensive one) to attained a fair degree of proficiency. For purpose of the publishers in offering this as Lawrence Tibbett, Gladys Swarthout, because of haphazard handling of separate some chorus groups to contribute of their hook-up, will be recorded, and will be used series. There are many sources where one each pupil at Christmas time; classes “chip these this album is being published. Here new book of sacred songs. Frederick Jagel, Armand Tokatyan and other manuscript sheets. This applies, not only good musical work to various church services. in the concert repertoire of the artists of the may secure information about the musical in” for a present to give teacher; parents one W*N find fourth, fifth and even sixth . The contents of the two volumes are-iden¬ “stars” of the Metropolitan Opera and the to efforts in composition, but also to special The arrangements are of a grade not too occasion. Entries close February 1,1936; and artists who have lived in the past, but pic¬ make happy, with a gift of musical signifi- grade piano compositions by the best com- tical. The one for high voice will be suitable studies which some conscientious and com¬ difficult for the average group of singers. further particulars may be had from Roy tures and biographies of the musical folk cance, their youngsters studying music, and Ppsere, music that will satisfy even the most for sopranos and tenors with an average This work, to be published in two volumes, petent teachers write out for particular in¬ The contents include anthems by the best Harris, Westminster Choir School, Princeton, who are making present-day history of music relatives and friends are glad of the oppor- discriminating music lover, vocal range, while the volume for low voice consists of twenty-five units, each of which dividual work with an earnest pupil. Years contemporary composers and, in addition to New Jersey. are not included in many published books. tunity afforded them by these Bargains to will meet the requirements of altos, bari¬ contains explanatory text, an educational later in pursuing the teaching of music as a many original choruses, there are arrange¬ •8-J> Of^bl V °.,rr lmtW an“°uncement tones, and basses. The compiling of this Portrait Series is a obtain musical gifts for musical folk. of this books forthcoming publication has song, vocalises and an art song. In addition, profession, that pupil often has wished that ments of The Heavens Are Telling by Bee¬ A ONE HUNDRED DOLLAR PRIZE is large task and requires in many cases lengthy Especially noteworthy are the bargains in been most gratifying. Many advance orders Those singers who are accustomed to find there are studies, exercises and many valu¬ those little manuscript “squibs” of special thoven, Holy Art Thou by Handel, 0 How offered by the South Side Women’s Chorus correspondence. In several instances the pro¬ music books at greatly reduced prices, i iwpnjwl --accompanied by only a few usable songs in a given collection able suggestions for teachers and pupils. exercises had been preserved. Lovely Are Thy Dwellings by Maker, and of Chicago, for a setting of Alvin Winter Gil¬ curing of a desired photograph has been deed, some teachers s’ " ' will be agreeably surprised at the rich reper¬ Within a short time this work will be Meeting the need for protecting manu¬ other selected favorites. more’s poem, Spring Journey, for three part accomplished only through the courtesy and to stock up ■rs’ delight at the toire offered by this useful book. n album of this kind. published, but during this month orders script from wear and tear or misplacement, A singfe reference copy may now be or¬ women’s chorus, with piano and small string cooperation of a friend of The Etude. In suitable for i Place your order now for a single copy at still may be placed at the special advance Theodore Presser Co. is bringing out this dered at the special pre-publication cash a recent issue it would have been necessary these offers are s in preparation orders u ensemble accompaniment. Particulars may “^:*j»n” copies a the advance of publication cash price of SO of publication cash price, 40 cents each substantial bound volume which will have price, 30 cents, postpaid. be had from Lucille Wheeler Moore, presi¬ to omit a Very important figure, but for the of December. cents each, postpaid, specifying whether the > postpaid. volume, postpaid. manuscript pages 9 x 12 inches in size, each (Continued on Page 758) dent, 1533 E. 66th Place, Chicago. nigh or low voice is desired. Advertisement 756 DECEMBER, 1935 757 THE ETUDE PIANO CLASS MANUAL Etude Premiums Make Fine As Against Manuscript Days When Voices Are Changing Cat. No. Title and Composer Gra< Christmas Gifts Chorus Book for Boys For about Teaching Piano in Classes. Our editors are very three-quarters of Thousands of readers each year let The happy with the way the Christian era Etude Music Magazine do their Christmas this book is shaping everything that shopping. How? The plan is simple. Make up. Its main purpose a list of musical friends who are not sub¬ is to supply choruses confined to a V Me'Walk'with Thee scribers to The Etude Music Magazine, for just the period very limited few get in touch with them, explain the pleasure indicated by its title, who had access ■eTn My Heart—'(Med¬ and profit derived from each issue, which and in going over a to manuscripts. iate!-Passetli By (Low) should be easy knowing The Etude as well fine lot of choruses as our subscribers do, and then secure a one as well as songs which seems to have year subscription, collecting $2.00 and send seem to offer possi¬ been unrecorded VOCAL METHODS it to us. For each subscription we give one bilities for good and passed along l1 Sight Singing, Part 3 (The point credit toward any gift listed in our ime Through the Keys)—Root... premium circular. Standard merchandise is chorus arrangements, the editors are keeping in traditional >1 Singer—Reddale. in mind the facts—that for boys they must manner or im¬ awarded for one, two or more subscriptions. be careful as to the selection of texts in provised by the Make your own selections. You can do order to have the numbers interesting, that performer. Even your entire Christmas shopping without one the numbers must be attractive in melodic from the time cent cash outlay. Drop us a post card for and rhythmic contents, and that in any ascribed to the Sumer Is leumen In music SHEET MUSIC—PIPE ORGAN new list of premiums offered. choruses selected, and in any special arrange¬ manuscript, thought to be of about thirteenth Here are just a few premiums selected ments made, the parts will be in ranges century origin, there followed hundreds of from our catalog, given entirely free in ex¬ which will not go beyond a compass that is years before music lovers could buy printed change for Etude subscriptions: safe for school boys’ voices. PIPE ORGAN COLLECTION Three Compartment Bon-Bon Dish—This Of course, when this book is actually com¬ As against these limitations of the days Ecclesiae Organum—Corl . *2.51 new and attractively designed bon-bon dish of manuscripts, music publishers now must “Hello, hello,” called Lynn, as he Lynn really thought Mr. Chubby was a pleted and copies are printed, bound and OCTAVO—MIXED VOICES, SACRED is set off by a smart colored eatalin black The next time he visited the shop again make frequent reprintings of editions, often knob. Diameter 7 inches. Height 4 inches. wizard. “And you don’t always like your ready for delivery, the listed price will be 35306 The Ninety and Nine—Spross. $0.2( Musical Magic! reached the “Odds and Ends Shop” in the the big book fell on tfie floor. “Look,” higher than the nominal price here quoted running into the thousands, of a wide variety Only one subscription (not your own). middle of Lost Lane. mother to remind you to practice, do you?” 20385 Praise to God—Stults.■ ■ • • ■ By Frances Gorman Risser said Lynn, picking up the heavy volume, for those alert school music educators who of music publications which are constantly 10822 Lead Us. O Father (S. A. T.)—Stults .1; 12-Piece Knife and Fork Set—Stainless The proprietor, Mr. Chubby, was bent “Well, sometimes I feel rather stubborn wanted by musicians and music lovers every- 10925 Ponder My Words, O God—GiUett “I do not believe there is any free advice order a copy in advance of publication. steel, genuine Marbalin non-bum handles. See that this one thing you do, over a book, as Lynn entered, and frown¬ and the more she tells me to practice the Orders for single copies only will be accepted 15580 I F J 2 Voice- of* JesusT—‘ cSay- Six knives and six forks. Green, red or onyx in your old book at all. It is all full of Listen for clear tones and true, ing fiercely. Everything in the shop smelled less I want to. I’m just made that way, in advance of publication at the special price Following is but a selected list of some handles. Only two subscriptions. figures.” I guess.” of 25 cents, postpaid. of the items on the publisher’s printing order Keystone Food Chopper—The Keystone Only take your time and see of varnish and glue, for Mr. Chubby was “Nonsense,” said Mr. Chubby, “utter of the last month which will keep the litho¬ chopper will grind any kind of meat, raw What an artist you can be! always mending things, from violins to “Nonsense,” said Mr. Chubby, “utter nonsense! It is all there in invisible ink, nonsense. Nobody is made any special Piano Studies for the grapher’s presses very busy. Teachers and or cooked; all kinds of vegetables, coarse or footballs and clocks' and toys. He was boy, and it’s the only thing I have to give professional musicians may obtain copies of fine. It is easy to operate, easy to clean. Practice with the greatest pride, especially busy around Christmas time, for way, and you can be just the kind of a per¬ Grown-Up Beginner any of these for examination. son you want to be. You do your own 10627 Hark! What Me Only two subscriptions. Really feel that you have tried there were so many jobs to be done to get “Well, thanks. I like it and I came to The adult beginner at the piano presents Voices ?—Neidlint The Pequot—An attractive clock with a Always, every practice hour, things ready for Christmas. making, you know, and you’d better make get some more,” said Lynn gratefully. a special problem and, with the present SHEET MUSIC—PIANO SOLOS 10756 Glory tc„ _~ ‘ ' .'..e Highest (Chrii 30 hour movement, visible through a trans¬ a good job of yourself before it is too late. mas)—Stults. Ceaselessly to find new power, Lynn dropped his music case on the floor greatly increased interest in the study of the Cat. No. Title and Composer Grade parent case. Available in clear or green with Give that to yourself for Christmas,” he 19391 Play Time--Story.... 1 20423 A Joyful Christmas Song—Gevaert Tirelessly to train your hand and sat down in the only other chair in the instrument, many teachers are seeking suit¬ 20590 There Were Shepherds (Christmas black and silvered dial, and in amber and In all ways to take command; shop, Mr. Chubby’s things being spread all said, nodding at Lynn with a twinkle in able study material for these interesting and —Vincent . black and polished gilt dial. For home or Charmed, obeying your least thought, over the biggest chair. Mr. Chubby looked his eye. profitable students. Some excellent and help¬ studio. Height 2% inches. Only two sub- Charade ful books for grown-up beginners have been 8410 Hello ! Is This the Weatherman OCTAVO—MIXED VOICES, SECULAR Every finger has been taught— up from his' book, but did not change his Slowly and solemnly Mr. Chubby turned With Words—Rowe. 20376 The Colored Band—Tompkins. $0.12 expression. the pages in his big book, as he fastened published, most of them devoted exclusively 16397 Dozing Dolly—Spaulding. Address Book—Gold stamped address book, By By Dorothy Tudor Jenks to teaching the fundamentals in the most 20898 The Gypsy Trail (S. A. B.)-Gallo- “Let me see, page three in my ‘Free on his horn-rimmed spectacles. “Now let 19688 The Ghost— Wright. vay-Felt gilt edged, ruled pages, alphabetically in¬ My first is short for Albert, attractive manner. But thinking teachers 26118 A Visit to the Farm—Stairs. .. 36106 There’s i dexed, size 6% inches x 5% inches. Only SLOW PRACTICE! Advice Book,’ ” began Mr. Chubby. “I me see what it says in my ‘Free Advice and ambitious students are demanding some¬ 26139 Sailboats—Stairs . Havens . Book.’ I usually find the answer to Sometimes for Ahlert, too. 26168 Betty’s First Waltz—Light- 35071 Autumn—Grechaninof. one subscription (not your own). don’t approve of your stopping your piano thing more substantial, something that will 19686 The Bouncing Ball —Wright.. Needle Book—Contains nearly 100 differ¬ everybody’s problems, and I do love to My second is an ancient tale. bridge the gap between the first instructor 17358 Around the Christmas Tree- OCTAVO—TREBLE VOICES, SACRED ent kinds of needles and bodkins, together “Now, that is queer, your saying that,” give away free advice. In fact it is the and those satisfying piano compositions of Risher . And also, what hens do. 4184 The Little Drum Major. More. Parts with a pair of scissors. One subscription Hearing Ourselves As Lynn remarked, “because I have just de¬ only thing I have to give away.” intermediate grade that are, as a rule, the —Ena el. 10480 Jesus, Name of Wondrous Love— Grant . 2 $0. (not your own). cided to do so, and I have not told a soul.” Lynn listened carefully while Mr. goal of the amateur pianist. 26234 Trii Clothes Line Reel—You may need this Others Hear Us Mothers watch their children Experienced teachers know the answer— 10901 I Need Thee, Precious Jesus— Mr. Chubby laughed. “Well, it is written Chubby read: “Free advice for Lynn. 25124 Mer.„ .. ... handy reel in your kitchen or laundry. Only To see they do my third. Czerny, Heller, etc. But few adults will 26253 Toy-town Soldiers—Richter- 1V2 one subscription (not your own). By Ruth L. F. Barnett all over your face. She scolded you and OBSTACLES make the race more inter¬ have the patience to “wade” through whole 26209 Indian Medicine Man—Richter. 1V2 6 The Christmas Star- said you would not pass. Your scales esting. LEARN in spite of them. Figure 8 Recessional—DeKove, Eloise was having her second lesson My whole means “quick” in music, books of studies by these and other standard 25429 The Big Bassoon—Grey. IVj were full of mistakes, the fingering was out ways of BEATING them, such as, writers of educational piano material. Some 16338 The Big Bass Singer—Rolfe. ... 1M> with her new teacher, and this teacher was At least so I have heard. 11822 Christmas Day—Spaulding .... 2 OCTAVO—TREBLE VOICES, SECULAR EVERSOMUCH more particular about wrong, and your rhythm poor. “Am I REFUSE to play for a whole day with students, too, will object to the expense. 7236 Ripples—Lawson. 2 20524 Hear Thy Lover's Cry—Lieurance 3 $0.10 not right?” the boy who whistles. Ask sister to help Here in this new book one will obtain a 26141 March of the Pumpkins—Cope- The Etude Music Magazine things than her first teacher had been. (Answer: Al—lay—grow; Allegro) 20684 Sea Gardens—Cooke. 2 .12 “Yes, but I have to go to so many re¬ you with the COUNTING by clapping selected, carefully-graded group of piano 7687 Waltz of the 'Flower* Fairies— She went through the motions of playing studies by the foremost composers, probably Crosby .. the’odore pressIr’co., eight staccato notes in a row, but the re¬ hearsals for the Christmas play, and I her hands. (She will thus become inter¬ enough material for the average student from 13530 Holy Night, Peaceful Night- Philadelphia, Pa. sult was two staccato notes, four slurred do not have time to practice scales,” said ested in your progress.) Ask Dad for his the conclusion of the first instruction book Entered as second-class matter January 16, together and "two more not distinguished favorite TUNES, and help him pick them 1884, at the P. O. at Phila.. Pa., un¬ to the point where some proficiency is at¬ by any definite manner of playing. And “Nonsense,” said Mr. Chubby, “Utter out. Play MELODIES when he is pres¬ The Mistreated Dot tained in playing, say, third grade pieces. 4228 Song of the Leaves. Polka Ca¬ der the Act of March 3, 1879. Copy¬ price—Kern . 2 right, 1935, by Theodore Presser vet Eloise thought she was playing stac¬ nonsense!” You really like music. You ent and SCALES when he is absent. We believe that many teachers will want Co., for U.^S. A. ai 1 " By Frances Taylor Rather 26246 Dance of the Debutantes—Kerr 2 cato. for she was moving her fingers and have good piano hands and a good head. TACT, my boy, TACT! Tell your mother to make the acquaintance of this book as 26221 Blue Daisies—Mana-Zucca. 2 It’s people who bother you, isn’t it, and soon as it is published. Adults who have 19732 Song Birds' Return—Johnson.. 2 wrists up and down, so why wouldn’t it you intend to practice an HOUR A DAY, 16184 The Fir Tree—Kroeger. 2 Subscription Price and make out a schedule for it. And as neglected piano practice for some years will 17517 A Blushing Rose—Lawson.2 also find it helpful. Now is the time to $2.00 a year in U. S. A. and Possessions, “You certainly are clever,” exclaimed for the rehearsals for the Christmas' play, 2728 The Arrival of Santa Claus— Argentine. Bolivia. Brazil. Columbia, Costa order a copy at the special advance of pub¬ —Engelmann . 3 Rma, Cuba, Dominican Republic, Ecuador, Lynn. “Which people bother me?” why boy, you have plenty of time for them, lication cash price, 40 cents, postpaid. 2088 La Princesa. Spanish Dance— Mr. Chubby rubbed his chin. “Well, and for practice, too. Time is the only El Salvador. Guatemala, Mexico, Nica¬ I am a much-neglected DOT, THEORETICAL WORKS AND ragua, Paraguay, Republic of Honduras, there is your father now. He does not thing the poor man has as much of as the 14996 Yellow Butterflies—Loeb-Evans 3 Spam, Peru and Uruguay. Canada, $2.25 And though I’m plainly placed, 25729 Russian Gypsies—Kraskojf- 3 like to hear practicing because when he rich man—each has exactly twenty-four Beware of Magazine Swindlers 26060 Viennese Refrain—Arr. Hodson 3 per year. All other countries, $3.00 per be staccato, she thought to herself, as the I'm treated like an ugly blot teacher corrected her manner of playing. comes home at night he is tired.” hours a day.” We again caution our musical friends to 26175 Gondolina—Strickland . 3 Single copy. Price 25 cents. That needs to be erased. 23850 Chimes in the Valley—Krentzlin 3 Stories of Standard Teaching Pieces—Perry 2.00 “That’s right,” said Lynn, “scales be careful when placing subscriptions for Little Life Stories of the Great Composers— “Try again,” said the teacher, “let’s have Lynn sat thoughtfully for a moment, 13242 The Dreamer—Gradi . 3 Vo Remittances The Etude Music Magazine with strangers. 18408 Banjo Caprice—Morrison.. Scftm,tz.60 real staccato this time.” annoy him so I never practice when he then picked up his cap and music case. You’ll never find me quite alone; le Castanets—Bro Remittances should be made by money Thousands of reputable men and women Eloise played again, but the results were “I must be going now, Mr. Chubby, Close by the note I'll be: make their livelihood in the subscription busi¬ order, bank check, registered letter, or Give an Etude Subscription United States postage stamps. Money no better, not a bit. She knew how to “And that pretty girl, your sister, but I am going to take your advice Throughout its value hold the tone. ness but, unfortunately, there are some un¬ 26188 Melodie Russ work her fingers and wrists for staccato, she wants the radio on all the time Then half as long for me. scrupulous individuals who will offer to sell as a Christmas Gift but her ear had never been trained in the except when she is doing her own And he did, and the results were magazine subscriptions at any price as long Renewals as they can collect some cash. These in¬ Until December 31, 1935, we will accept business of telling her whether she suc¬ practicing,” Mr. Chubby grinned. splendid, though it took a little When in your march, or song, or dance, two one-year subscriptions to The Etude No receipt is sent for renewals since the ceeded or not. So, in her note-book the Lynn looked quite dismal. effort to carry it out. He variably pocket the money—and the music SHEET MUSIC—PIANO DUETS mading wrapper shows the date to which I stand out in plain view. lover loses. Music Magazine, each to go to a different teacher wrote the notes G, A, B, C, five “And that friend of yours, was especially interested in 12137 Come to School. With Words— address, at a special price of $3.00. Just wait a bit; give me a chance Read carefully any contract presented Spaulding Manuscripts Ben Smith, he whistles un¬ what Mr. Chubby told him To show what I can do. to you before paying cash. Assure yourself Renew your own subscription now, and Manuscripts should be addressed to The “Now, Eloise, I am going to play one of der your window so you about being the kind of remember some good musical friend who of the responsibility of the representative. Etude. \\ rite on one side of the sheet these exercises for you and you are going cannot concentrate.” person he wanted to be. Canadian subscribers, especially, are warned will appreciate the fine issues being prepared only. Contributions solicited. Every pos¬ The NOTE’S the most IMPORTANT for 1936. Many teachers will want Uptake sible care is taken but the publishers are to listen and see which one I play.” And to beware of a man working under the alias SHEET MUSIC—TWO PIANOS, FOUR HANDS Miss Brown played, and with such a lovely of Bellamy, Davies, Jackson, Baker and advantage of this opportunity to make But I too, am worth while; 30314 March of the Tin Soldiers— staccato that Eloise forgot to listen care¬ other names. This man carries fake receipts Tschaikowsky-Sutro.2 $0.60 presents of Etude subscriptions to their I help to give good rhythmic swing. of the Curtis Publishing Company, Philadel¬ pupils. On all gift subscriptions we will Advertisements fully enough. “The first one,” she an¬ And other charm and style. phia, the National Circulating Company of PIANO SOLO COLLECTIONS send, it requested, a fine Christmas Card Advertisements must reach this office nounced. New York and the McCall Company of Souvenirs of the Masters—Spaulding.... bearing your name as the donor. Make not later than the 15th of the second “Listen again,” said Miss Brown, and Because I’m silent when you play, Gems of Melody and Rhythm—Steenman month preceding month desired. Rates on Dayton, Ohio. Help us to protect you from each number of The Etude during the com¬ listen more carefully. Don t slight me, girls and boys; Girl’s Own Book. ing year mean a monthly Christmas greet- application. being imposed upon. Sprightly Rhythms . “Oh, its the fourth one,” she said eagerly, For silence often can convey Twenty-five Primary Pieces— Wright Advertising Representatives for now she heard the detached tones she Autumn (Around the Year with Mus Eastern Western More meaning than mere noise. Changes of Address Remember this special subscription price had not noticed before. Winter (Around the Year with MusL, ... offer is good only until December 31, 1935 E. g. Beers. L. F. McClure When changing your address, we should Miniature Melodies, Vol. 3—Gaynor-Blafce 30 Rockefeller Plaza 919 N. Michigan Ave. And for the first time in her life she 3* °r7rLZStr be accomPanied by remit- New York City Chicago, III. If you’ll take careful heed of me, be advised at least four weeks in advance. tance of $3.00 for every two subscriptions. found out the difference between playing I’m sure you won’t regret; Always give both the old and new address. Pacific Coast what she thought was staccato, and Co-operation of the subscriber will prevent - yOU own subscription has not yet expired. _ Carl D. Kinsey AEf?(?Y ACPPY CHPISTAAS We all need caution, you’ll agree. will begin at the expiration of Roosevelt Hotel, 7000 Hollywood Blvd. REALLY making it sound staccato. copies from going astray. icales and Arpeggios—Cooke 1:50 the old. Hollywood, Calif. At times, “lest we forget.’’ Advertisement DECEMBER, 1935 758 759 \ THE ETUDE JUNIOR ETUDE- (Continued) A Serious Omission of an Accidental Music of the New Day By William Parks Grant (Continued from Page 707) Junior Etude Contest or to forget, near the over your playing of this Prelude and see Music and the Daily Dozen accidental which oc- if you also make this mistake.. pti___ _ measure, an dcuucmai -j There may be some musicians, who, By Gertrude Greenhalgh Walker The Junior Etude will award three before the eighteenth of December. after having their error pointed out pretty prizes each month for the best and Names of prize winners and their con¬ S-st-WrSimusic that is being done now, under the SKKSSfBSand our ideals cannot fail to be elevated. offredM fefrffeoT A wry serious in- alter naving wn> Y neatest original stories or essays', and tributions will be published in the issue tnem, insist mac ------Bradley was supposed to be practicing ball is only the last thing they practice. but that the flat was omitted through a answers to puzzles. for March. his scales. Now and then a sigh could be Each man must do his setting up exercises error, or that it is a matter on which var. Any boy or girl under sixteen years of Put your name, age and class on upper heard, then a scale and another sigh. His every day to insure accuracy and coordi¬ ous editions differ. However an examina¬ age may compete, whether a subscriber or left corner of your paper, and your ad¬ n the highest father sat by the reading lamp looking nation of the eye and muscles. That’s the IffielrXt^diences? Who knows? UCCU13occurs inm the third,.. measure, tion of a facsimile of Chopin’s original over the sports page. “Say, Dad,” called only way to achieve success.” not, and whether belonging to a Junior dress on upper right corner. If your con¬ note of the last chord. Club or not. Class A, fourteen to sixteen be like empty costumes, with no living manuscript disproves this claim. Bradley, “wouldn’t it be great to play the tribution takes more than one sheet of “But,” the persistent pianist, accustomed years of age; Class B, eleven to under beings inside. Place them on a stick and * * * piano as well as Babe Ruth plays baseball! paper, do this on each sheet. to the incorrect E-flat, may answer, “per¬ fourteen; Class C, under eleven years of they become scarecrows. No matter how And think of the money he gets, too!” Do not use typewriters and do not have haps Chopin really intended E-flat and “Yes, but think how hard he has to age. any one copy your work for you. gorgeous the orchestral hues or the har- monte colors, they will not stand by them- “We must have outlets himself forgot about the E natural of the work for that perfection. You think he Subject for story or essay this month, When schools or clubs compete, please “A Sense of Rhythm.” Must contain not selves* they must have an inner structure. Qualities and impulses of the right kind, second chord. has nothing to do but get out there and have your own preliminary contest, and Although this is possible, a close in¬ over one hundred and fifty words. Many’of the works I hear seem to have when given due scope, enhance the sest hit a few balls. He WORKS, I tell you.” send in the best five papers. spection of the harmonic construction and All contributions must bear name, age only a cuticle—no flesh, no muscles, no and happiness of our lives; when thwarted, The next day, which was a holiday, Competitors who do not comply with neiwes, no skeletal structure. starved or denied, they turn to poison unity of the composition tends to disprove found Bradley and his father going “Well, I never though those things were and address of sender written clearly, and all of the above conditions will not be within us. —Otto Kahn. such a theory. Examine the highest line straight to the ball grounds early in the very necessary, but maybe they are,” con¬ must be received at the Junior Etude Office, fessed Bradley. 1712 Chestnut Street, Philadelphia, Pa., considered. of notes of the first four measures—the morning—entirely too early to see a game. What of the Morrow? -— nearest to a melody this essentially har¬ But the players were there, and of course “But can you mention anything that can be a great success without a good founda- rp»HE MUSICAL FUTURE of Arner- monic piece contains. In the first two Bradley thought they would at least be measures the highest notes of the first playing a practice game, or having a catch, 1 ;Ca is of course tremendous. Up to a and third chords are identical, while in or just batting balls. But, no indeed! “Maybe not,” said Bradley slowly, My Favorite Composer My Favorite Composer comparatively few years ago, Europe had thinking that perhaps success was not just unquestioned advantages over America. the third and fourth measures the highest There they were, doing calisthenics! (Prize Winner, Class C) (Prize Winner, Class A) an accident, as he used to consider it. There were many times more opportunities . Next Month notes of the second and fourth chords are One player was jumping rope, to exer¬ My favorite composer is Beethoven. I My favorite composer is a man who is “And so, just remember in music too, like him because of his interesting life. I - -‘. the civilized world as the to hear music over there than here. This the "Master of ifasters, ___e of bis composi-r_ THE ETUDE for JANUARY 1934, Will Include These Features Rich in Prai you have to have a good foundation, and think he is interesting because of the fact tions and of liis...» ...jraimireformingr and *developing was due partly to the greater number of just as these great ball players practice that he strove to develop his talents even the stud,” -lj *—!.•.«»echnie. concerts in the music centers and partly to after lie became deaf, and his family were _ imire this man, because when he llvei. their setting up exercises you must prac¬ living in poverty. While deaf he composed the vast distances in America. It is hard some of ins most famous symphonies. I like with his stern, selllsU brother he had enough tice your scales and arpeggios, and all him because he^did not give up all^of his time courage and love of music to copy score after to explain to a European that the distance score of music from a forbidden book. When from one end of Texas to another is greater those things that make a good foundation candles were denied him to work by, he THE WORLD’S GREATEST his parents, who Encouraged him through than from Paris to Warsaw, or from Lon¬ for success in music.” life. His mother was his particular guidance waited for moonlight nights and •used the OPERATIC SINGER moon for his light. This was such a strain don to Rome. In such a sparsely settled while she lived. on his eyes that in later life he became blind. One of my greatest ambitions Is to know country, only a small part of the popula¬ Feodor Chaliapin, the illustrious Russian basso, cise his leg muscles. Jumping rope! more about Beethoven and to understand and This beloved musician, who spent his leisure moments at the organ or the clavi¬ tion could expect to hear fine music more has honored The Etude with his advice upon Just imagine. enjoy his wonderful compositions more fully. the singer's art. No other living singer has so He makes one feel the spirit of his composi¬ chord, was Johan Sebastian Bach. He has -i.-n a few times a year. The radio has Substitute E-flat for E natural as the last Another was punching the bag, to im¬ tions. long held a pre-eminent place on the musical prove his arm muscles. Mixta Wallace McCalli h (Age 10). v changed all that. America, with its ite of the third measure and this scheme North Carolina. while at the same time anticipating al that Another was doing some queer things was to be written in the future.” lions of radios and its great number of is upset. The incorporation of this device A Ldcasting stations, has far more oppor- WHAT MAKES A SUCCESSFUL into the Prelude was probably done in¬ with Indian clubs, or something. “Right-O,” said Bradley with spirit, Roberta Sknu (Age 14 to hear the best music than Europe, PIANO PIECE Bradley certainly was surprised. “Why, “I’ll practice them well, beginning today.” stinctively and entirely unconsciously by Nationalities Game tetry has become music conscious I thought they practiced only baseball,” he “And remember the motto, too, POOR Proofs of this article by Herbert Stearns were the composer, but it is an unmistakable k and we have millions of music PRACTICE MAKES WORSE By Riva Henry My Favorite Composer sent to fifty famous composers. Many were so indication of the work of a master. (Prize Winner, Class B) f did not exist twenty-five years FEODOR CHALIAPIN Interested that they read It three and four “No indeed, son,” said his father, “base¬ PLAYERS.” The players gather in a circle, the leader times. It will clarify many problems of com¬ Beethoven—the Titan who freed music “ 3 of marvelous music in the center. The leader calls the name from its conventional fetters and who de- rnes every hour cannot poser, teacher and pupil. of a country and points to a player who veloped a technic of his favorite instrument I powerful impression far in advance of his time. BEETHOVEN’S LOVE OF NATURE Letter Box must answer with the name of a composer Beethoven—a leader among the musical younger generation. Surprises from that country before twenty is counted. Titans who have tried to scale Olympus. [ now, but in days to I consider him the greatest composer. Bengls.S1TOe -•< «* c“ “quick "“,e“ion,1 •* New Y 760 THE ETUDE