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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1948 Volume 66, Number 02 (February 1948) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 66, Number 02 (February 1948)." , (1948). https://digitalcommons.gardner-webb.edu/etude/176
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BORN MAY 22, 1813 WED FEBRUARY 13, 1883 N. ARONSON. Sc ul*4-. — audience actually sees a handsome mov- IGOR STRAVINSKY is at work on a new ing picture star who has just mastered keyboard, opera, the book of which has been writ- Chop-Sticks act the role at the Wherever ten by the British poet, W. H. Auden. the technical word is “boffo.” AMAZING AIDS CHILD PIANO STUDENTS The theme of the opera, which is to be “Song of My Heart” has been seen, it M SHALL 1 GO TO STUDY? reviews. No WHERE in three acts, will be based on Hogarth’s has received “grandiloquent” ^ LABOR SAVING DEVICES/** PIANO TEACHERS famed series of engravings, “The Bake s doubt students will revel in it. will involve four or five Progress," and in Pianos are essentially built for adults. the two Private Teachers (New York city) PHILADELPHIANS are winners Illustrated below are Private Teachers (Westeml orchestra of approximately TWO The ADJUSTABLE soloists, an Gaul Memo- MUSIC RACK, FOOT aids attached to a Grand Piano. will have the Annual National Harvey REST thirty-five, and a chorus which AND PEDAL CONTROL rebuild HURLBUT MARY BOXALL BOYD rial Composition Contest. Robert Elmore, attached to any HAROLD It is hoped to produce the piano for tiny tots. Both the Music They can be (Leschetizky) an important part. York—Hollywood composer, organist, choral conductor, Rack and Foot Rest can be adjusted style piano, Spinet, Grand or p ar Is—New Pianist and Teacher the opera at Covent Garden, London. Assn, of Teachers of Singing "Of oil pianoforte teachers with whom hundred dollar prize with to any type of piano Grand, Upright Member Natl. 1 have had won the one — Upright. Metropolitan Opero, Chi- to do, either as pupil or associate, Mary Developer of Singers of Bosall Boyd his anthem for mixed voices. The Lord and Spinet in an instant. Bowl, Radio, etc. VO 1C E is. in my opinion, the best."—Leland Hall, ERNESTO LECUONA, / I—Adjustable to Any Style of Piano cago Opera Hollywood Prof of Bro N. Y. Pub ) Piano at Smith College. fifty dollar prize for a MUSIC )2—To Raise or Lower to Desired Height FUNDAMENTALS" (J. Fischer fc foremost composer-pi- Will Come; the Henderson (N. Y. Sun). Amato. JENKINS ADJUSTABLE PIANO MUSIC RACK 3—A Device on Back of Rack for was endorsed by W. J. Add. 113 W. 57th St., c/o Nola Studios, Steinwav choir anthem, went to Miss Frances ) that great era. anist of Cuba, whose small V Adjusting to Any Angle Bispham, Journet, and others of Hall, New York City, N. Y. Summer RACK can be adjusted to any desired Hollywood. Calif. classes for setting of O Little 2150 Beachwood Dr. teachers and students. Malaguena, Andalusia, McCollin, for her height and brought forward, so that Grant, and Siboney have been Town of Bethlehem. Joseph W. a child's eyes will be on a level with ISABEL HUTCHESON EDWIN HUGHES the world, of Albuquerque, New Mexico, won the his music and at the correct distance, Teachers PIANISTS PREPARED FOR PUBLIC PERFORMANCE heard around Teacher for Piano AND FOR UNIVERSITY, COLLEGE dollar prize for his organ eliminating eye strain. Teachers: AND CON- will make his first one hundred Modern Piano Technic: Group work for SERVATORY TEACHING POSITIONS concert pianists: Conducting Piano tour during composition, Scherzo. Coaching WINTER TEACHING SEASON: SEPTEMBER TO JUNE American Teachers Forum." To further aid the child’s comfort at MONTHLY CLASSES IN WASHINGTON, D. and April. He STUDIOS C. March BROOKS MAYS MUSIC For full Information address: will down in ANTONIA BRICO, who recently con- AT THE SEVENTY- the piano, tee have Phone C-6214 assisted by an MARJORIE LAWRENCE go l005'/2 Elm Street, Dallas 2, Texas 338 West 89th Street New Ernesto will be York 24, N. Y. the great operatic ducted her second post-war Sibelius Fes- FIRST Annual Conven- Tel. SChuyler 4-0261 Lecuona orchestra, vocalist Es- history as one of JENKINS (KAUFFMAN'S) FOOT REST EVANGELINE LEHMAN: MUS.DOC. also be tival in Helsinki, has been awarded the tion of the Music Teach- outstanding interpreter of his singers of her time, but she will Vocal Studio CHARLES LAGOURGUE STUDIOS ther Borja, Association AND PEDAL CONTROL two remembered as one of the most cou- “Pro Finlandia” Medal for services to ers National Individual, creative training and refresher course for VOICE PRODUCTION—SINGING songs, baritone Rene Castellar, and COMPLETE MUSICAL EDUCATION rageous examples of a human individual’s Finland and Finnish music. She was also held in Boston Decem- Can be used successfully on any type teachers. Latin dancers. Although Lecuona ’s music 167 Elmhurst Ave. Detroit 3. Mien. Mr. Lagourgue is tho author of "The Sec ret"—Daily the Finnish-Swedish ber 30 to January 2, Dr. it is pluck. In the summer of 1941 Miss Law- invited to conduct Vocal Exercises—Complete Treatise is widely heard in the United States, piano. on Transposition, early in February, Koussevitzky was etc. Classes held annually was stricken with polio and few concert at Stockholm Serge LEONA NEBLETT at a curious fact that this country is vir- rence The College International of CANNES, France I poet, Runeberg. an Honorary Life With this Foot Rest, a child sits Concert Violinist, Teacher. Coach world expected she would ever sing again. How- in honor of the made at the 1 in the New York Address: 35 West 57th Street tually the only one left piano at ease, From Beginning to Concert Performance Member in recognition with his feet resting on a has not already ever, she came back magnificently but platform Trained and Endorsed by Louis Persinger and through which Lecuona six inches from the floor, elimi- EDITH SYRENE LISTER operatic and concert engage- AND NOW TCHAIKOVSKY! Music is of his services in pro- Dr. Serge Georges Enesco (Teachers of Yehudi Menuhin) toured triumphantly. sang all her Koussevitzky nating the dangling of his legs. /I —Six Inches High Here AUTHENTIC VOICE PRODUCTION progress What Res. 601 S. Dunsmuir Ave. ments seated. Recently, for the first time furnishing much material for moving moting musical could 0T Rve lnc,'« s Hi h Here 405 Carnegie Hall, York be more uncomfortable for a child f?, 9 Los Angeles 36. Cal. WYoming 8354 New City distinction was be- Collaborator appeared standing at picture scenarios. The Hollywoodization in America. A similar than having no support for and Associate leacher with W. Warren CHAMBER PLAYERS, a new in six years, she his feet and legs. Shaw THE WOLLF Francis Cooke, EDNA GUNNAR PETERSON A. M. Endorsed by Floyd S. Muckey M. D. & a performance of “Elektra” given with of Chopin in “A Song to Remember” so stowed upon Dr. James C. M. Demonstration of correct chamber music group in New York City, Very important, to up-to-date piano teachers, action of vocal that the script of The Etude Music Magazine. is having the child learn the chords shown at Columbia Univ., the Chicago Symphony under Artur Rod- astonished the producers Editor Concert Pianist—Artist Teacher Cornell Medical made its first public appearance on De- *" ’ r FO REST is an Clinic, musical organiza- ottachn,ent *<» ^e pedal which Univ. of Vermont, Music Teachers Assoc.. East- zinski. During the War Miss Lawrence writers of the industry were set to work Several other national •xten°d«extends to‘‘hthe top °A b ?L 22? So. Harvard Blvd. Los Angeles, Calif, 26th. after Dr. Nathaniel of the platform. By pressing his foot on the ern Speech Conference, Hunter College— Physicians cember Named time at pedal attach- FE. 2597 singing ransacking the musical biographical dic- tions met together at the same ment. a child can operate & Artists psychoanalyst who made extensive overseas tours, the pedal without having to stretch his legs. Wollf, music-loving Wednesday: Troups Music Studios, Lancaster, treasures. Schubert, the Statler Hotel, and the event was Pa. the organization, for the armed forces. In 1945 she made tionaries for more THE SAMOILOFF Thursday: 309 Presser Bldg., Philadelphia, has helped in financing With the MUSIC RACK AND FOOT REST, Pa. Australia. Beethoven, Johann Strauss, and now considered one of the most notable as- a child at the piano is BEL CANTO STUDIOS 1 OPERA ACADEMY chamber music of all a 50,000 mile tour of her native comfortable, (FRANK) (ERNESTO) it plans to present educators and when comfortable, he is inclined The only place where you can learn the original sang for the Allied troops Schumann (“Song of Love”) have been semblies of prominent musical to practice longer types and periods. In 1945 she and progresses more rapidly. Samoiloff Bel Canto Method which developed such LA FORGE-BERUMEN STUDIOS seen upon the screen. Tchaikovsky has in recent American History. outstanding voices as NELSON throughout the European theater. In EDDY, BIANCA Voice Piano SAROYA, DIMITRI ONOFRI and many others. Now — the French Government awarded been turned into a musical operetta for Among those who have studied with Mr. La Forge are: POLISH AMERICAN CONGRESS, 1946 ADJUSTABLE MUSIC RACK—$6.00 FOOT under the direction of Zepha Samoiloff. THE TOE THIRD ANNUAL Midwestern Con- REST AND PEDAL CONTROL—$6.00 Marian Anderson, Lawrence Tibbett, Richard Crooks, her the Cross of the Legion of Honor the stage and now he is making his Write for Catalog, 3150 West Sixth St., Los Angeles 5 through its president, Charles Rozmarek, instrumental and Mme. Matzenauer. a picture called ference on school vocal and Phone FE 8294 No charge for Audition requested President Tru- and she recently sang a command per- debut in the movies in MOO Park Ave., Corner 89th St., New York has earnestly music was held in Ann Arbor on Jan- and Queen “Song of My Heart,” which is technically ELIZABETH SIMPSON Tel. Atwater 9-7470 that the body of the late Ignace Jan formance for King George A System lor Teaching Sight man uary 16, 17, 18. There were lectures, dis- pianist and Elizabeth. Her extraordinary recovery, described in the Hollywood Reporter as SPEED DRILLS Author of "Basic Pianoforte Technique" RICHARD McCLANAHAN Paderewski, world-famous cussions, and demonstration rehearsals “socko,” which is Hollywoodese for “very Playing to Little Teacher of Teachers. Coach of United States which has been a heroic inspiration to Tots, or Young Artists. Representative TOBIAS MATTHAY ! statesman, be kept in the conducted by some of the leading figures Pupils Prepared for Concert Work. Class Courses Private lessons, class in Fundamentals good plus”! It is produced by Nathaniel Flash Cards lessons once again is “truly free thousands, young and old afflicted with Beginners in Technique, Pianistic Interpretation, Normal until Poland in the various fields, including William of any Age Summer-class, Southwest Harbor, Me. to the constant care Finston and J. Theodore Reed, for Allied Methods for Piano Teachers. 801 Steinway City The Congress, repre- polio, is largely due Bldg. New York and independent.” D. Revelli, Philip Lang, Dale Harris, By WALLACE and 79 King, Artists. Iturbi is the invisible pianist and WINNING McAllister St., Room 1, San Francisco* Americans of Polish of her husband, Dr. Thomas E. senting six million Bovee, Cecil Effinger, David 2833 Webster St., Berkeley, EDWARD TREUMANN plays Tchaikovsky. At Kenneth Speed Drills—Consists of 32 Cards Cal. following Washington coupled with her tremendous spiritual Frank Sundstrom to be placed back of the Piano Keys descent, protested, Mattern, Marguerite Hood, Raymond Concert Pianist—Artist-Teacher expects that Miss Law- least we have learned a new’ word in On these cards are notes DR. FRANCIS L. YORK reports that the Warsaw Government “is faith. Dr. King corresponding to the key on the keyboard, Recommended by Emil Von Sauer, Moritz Moszkowski Kendall, and Otto Brown. showing Advance Piano Interpretation and the rence will eventually walk. Miss Law- the film world jargon. When a $500,000 the position of each note. Thus, the 9 Theory work and Joseph Hofmann. making efforts to have Paderewski's re- student learns through required for the degrees of Mus. Bach., and Mus. Studio, Carnegie Hall, Suite 837, 57th St. ot 7th Ave. rence has been an Etude enthusiast since a year virtuoso has his performance his eyes instead of the written or Mas. Special Chopin interpretation. mains moved from Arlington National spoken word. Tel. Columbus 5-4357 New York City Cards in place bach of piano keys DETROIT CONSERVATORY her girlhood. “dubbed in” upon the film while the The Choir Invisible OF MUSIC Summer Master Class—June 15 to August 15. With SPEED DRILLS it Detroit, is easy to teach little folks quickly Mich. and without effort the piano MME. GIOVANNA VIOLA (HULL) DR. E. EDWIN SHELDON, for the past keyboard. Private Teachers BROTHERHOOD WEEK, {New York citvl Dramatic Soprano AMERICAN years director of the Con- SPEED DRILLS stress visual accuracy, — thirty-four recognition of key- Teacher of Singing "Bel Canto" sponsored by the National Conference of Uni- board positions, rapidity of playing the HELEN ANDERSON Experienced European trained Artist servatory of Music at Susquehanna keys, producing will be observed rapid visual, Coaching Opera, Concert and Radio Christians and Jews, mental and muscular co-ordination. Concert Pianist versity, Selinsgrove, Pennsylvania, died Correct voice production, defective singing corrected 22-29. An annual observance Interesting course piano, February Pennsylvania. With the use of SPEED DRILLS — harmony Beginners accepted December 10 at Danville, a child learns quickly thirteen years, it is planned the Many Successful Pupils Phone: Trafalgar 7-8230 Mon., Tues., Wed., Thurs. for the past Obertin Con- location and position of the keys and Dr. Sheldon, a graduate of while learning; 156 608 West End Ave. New York City week even more his studies W. 72nd St., N. Y. C. Tel. Sc 4-8385 to have the present become a pleasant game instead servatory of Music, and the New England of an widely marked than heretofore. Music arduous task. SETH BINGHAM CRYSTAL WATERS Conservatory of Music, was a composer part in the program, Speed Drills should be Organist Concert Singer — Teacher will have an active used at the very first lesson, and a —Composer—Teacher of both organ and piano music. pupilP Director of Music, Voice Building, Breathing, special references to it by leading should have a set at home for Madison Ave. Presbyterian Church f with daily drill Head of Theory Diction, Expression, Style. Dept., School of General Studies radio personalities. Price 50c Columbia University In preparation for CESARE SODERO, widely known con- R IV T INSTRUCTION F0R CHURCH Radio, Screen, Stage, £, , .t !. COMPOSERS conductorial 921 Madison Concert, Opera. ductor and a member of the Ave. New york RACHMANINOFF FUND’S national c,^ 405 E. 54 St. York City THE Tel.: Monument 2-3426 New staff of the Metropolitan Opera Associa- Tel. Vo-5—1352 final auditions will be conducted in New tion until his retirement last May, died York City on April 27. The finalists JENKINS PIANO December 16 in New York City. Born in CHORD BOOK sectional auditions are Sell Etude chosen in the t s Ea Subscriptions to your students, thus helping them great- Italy, Mr. Sodero came to this *V to P lc, y + he chords in all MUSIC Naples, L . , keys with this TEACHERS! Geiger, Gary Graflman, Grace . ly in their work and increasing details. Ruth P,ctures of the Ke s and your income. Write for country in 1906. He served as conductor V fhe Fingers to Play Harrington, Seymour Lipkin, and Jeanne Them of various organizations, including the THE Therrien. ILLUSTRATIONS BELOW SHOW THE NOTES tut Chicago Opera Company, with which he STAFF WHICH nu CORRESPOND WITH KEYS ON THE KEYBoISd conducted the American premiere of Puc- DR. CASPAR KOCH, well known or- Many teachers ’ all cini’s “Girl of the Golden West,” and over ganist, composer, author, musicologist, the country are the Philadelphia Grand Opera Company. using this with other teacher, who recently celebrated his sev- material in teaching. birthday, has had a remark- enty-fifth WILLIAM WADE HINSHAW, well-known A copy will be mailed able career as City Organist at Carnegie for your singer and opera producer, died Novem- inspection. Hall, Pittsburgh, Pennsylvania. He has If not wanted, re- ber 27 at Washington, D. C. His age was just begun his forty-fourth season in this turn and money will retired the musical string of free eighty. When he from be refunded. In the book are instructions position and his unbroken for playing world sixteen years ago, he had made ; the keys and Sunday afternoon organ recitals now PRICE 50c POSTPAID other simple instructions. over 5,000 concert appearances here and numbers well over 2300. In 1941 he re- abroad. He sang with the Metropolitan tired, after serving twenty-seven years TCHAIKOVSKY IN THE MOVIES JENKIN.T MUriC COMPANY •• Opera Company from 1910 to 1913. From on the faculty of the College of Fine Frank Sundstrom as Tchaikovsky at a Command Performance before the (.Continued on Page 121) Arts, Carnegie Institute of Technology. Czar oi all the Russians in St. Petersburg, directs the Filth Symphony. 61 FEBRUARY, 1948 "MUSIC STUDY EXALTS LIFE” r S 2 1 — Editorial !Kuknk Piam IPuUicatumi tie oro: I FAMOUS THEMES IN THE MODERN MANNER Styl * SeHi " 9s of ,amous classical themes arranged by Jo Liefeld. Includes: RAINBOW rucuc . mwsS ! e t d , 0r Candid Snapshots of Musical Post-War Europe Learning How to Sing L, Victor 3. Seeoff Well-Known Pianist, Teacher, and Critic ly ^e n n ij nd Common Sense in g ’ a HE GREAT Readers of The Etude who have been reading Victor Seroffs articles upon ^° Swedish soprano, Jenny Lind, when is, use what you consider practical useful in the volume, will be and Playing," which have been published serially in advance of the appearance of this she was forty-eight, was asked by one of her training post-war musical of your pupils. Such use would naturally give interested to know that he has made two visits to Europe since the war, to inspect compatriots who was starting Bayreuth T a conservatory, to me the greatest pleasure. conditions. The following article presents his account of his visits to Prague, Munich, and give her thoughts upon the art Editor’s Note of singing. The termin- Now I am going, as far as I am able, to answer each — ology she employs in this extract is at times difficult point separately. Our dear, dear Fatherland is spe- to understand. The use of the word, “Binding,” for cially rich in raw material, in that you are perfectly instance, has little sighificance in these days first and we right—our Scandinavian voices have a charm which no NE of the great surprises which the Prague Fes- trio. I was particularly interested in hearing the cannot say whether she meant legato or the “binding” quintette, other voices in the whole world have. The poetry of tival had to offer this year was Dmitri Shos- two in the original version, so to speak—the of the different registers. the our country, the wonderful light summer nights with takovich in person. It was the first time that which nas many friends in the United States, and WOLFGANG WAGNER This letter, addressed O to Professor Bystrom, will be the midnight sun, Spring awakening Europe since 1926 when, after sonata, which failed to arouse any interest at its first Grandson of Richard Wagner, great-grandson of Franz Liszt, eighty as if by magic, he had been seen in years old in June. It was translated for The Mu- in and brother of Friedelind Wagner. The latter is now an our mountains, our lakes, the excellent and deep sen- participating in the Warsaw competition for pianists, performance on the air a few years ago the United sical Quarterly family. (October 1917), in which it appeared sibility States, and, as far as know, has never been per- American citizen. Here he appears with his given our people—all this is to be found in our he took a side trip to Berlin to hear Bruno Walter we some years ago, by V. M. Holmstrom, and is reproduced Scandinavian voices. They carry, has been in- formed in public since. » here by so to speak, the scent play his First Symphony. Since then, he permission of the publishers. A reference is of the pines ... So our Lord has done his part times come abroad and particularly to Had I not met Shostakovich two weeks ago my ap- made to this towards vited many to letter in the editorial in this issue. us unfair. Swedes—as He has for all others—but our excita- the United States, but always he has declined. He praisal of him as a pianist would have been "Oak Lea, Victoria Road. London. bility and his slowness, these two unhappy contrasts, pre- says that he was in Turkey in 1935. If he had sailed (To those who think that just because I wrote June 2nd. 1868. vent the development biography I have known him all my life, I must con- of our unusual natural gifts'. The into the Bosporus last summer, it would have been Dear Professor Bystrom. vocal instruction is everywhere miserable. I have worth mentioning. Last year he was invited again by fess that this was my first meeting with him.) I can Better taught late than never, says our old myself to sing, anyone in the musical world is as Swedish proverb. Garcia could only teach me a few things. QJRLHOOD PICTURE OF JENNY LIND the Prague Philharmonic and his arrival was an- not name who I hope it may serve me this time, for your letter He did not understand Shostakovich. Therefore, should my individuality. But that nounced in the press both here and in the United nervous as Dmitri whatever have been answered long ago. I really was too busy when it did not matter. What I most States. For three weeks everyone waited for him, but shortcomings one may find in his performances as a arrived wanted to know and perhaps I also was a little alarmed was two or three of letting his pupils sing at the things and with those he did help on too long a breath until he he was otherwise engaged. pianist, must be explained by this unfortunate state thought of me putting my ideas before your committee The rest I knew ruined their voices. Still, myself and the birds and our Lord his school is the only one I This year the Festival committee invited N. Rochlin, of the man. He is a good pianist, but not a great one. as you wished to do. as the maestro can recommend did the rest. and contains most things I can sub- the conductor from Kiev, and L. Gillers, the piano Nor does he have a powerful personality. Looking at It has always been scribe difficult for me to present in words I fancy the old Italian to. certainly never associate with the method is the only right wizard—a sort of Horowitz of the U.S.S.R. They ac- him one would him what has been so individual and The with me, for I have always most natural one. Italian forming of the tone is creator stirring pages in contemporary people are born with ‘singing the first thing naturally. cepted the invitation, but Eugene Mravinsky, the con- of the most been guided by a God-given instinct for throats,’ It must be what is right but the real Art is not formed on all vowels so that Oistrach, musical literature. What struck me as his most amaz- in to be found there now the rich and ductor of the Leningrad Philharmonic; David Art and on that I have always acted. different tonal Such persons I have heard nothing color in the words may receive the right Shostakovich instead. Since ing feature, as a performer of his own works, was that are seldom of the Real.-Mad Persian! the violinist; and came able to explain or offer arguments over what and shading. In the Lablache they were from same way as the vowels, the consonants Shostakovich is not a conductor everyone was very there is attributed to him a quality he seems to lack to them is the real time and so simple and natural. Rossini this must be also thought. Singing produced. All this with a quiet Ups anxious to hear him perform his works as a pianist. completely—a sense of humor. His quintette which Still, my experience nowadays is terrible mouth— is so rich, my mentality so much shnekmg stiff, and only without soul and with a small opening between the teeth. The I must say here, by the way, that Shostakovich has not won Stalin’s prize, is no doubt one of the most charm- clearer than ever before, that a pretentious manner I will gladly tell what That is lower jaw what one often hears. must drop, of course. yet written enough for a full piano recital. I mention ing of compositions. But in his hands it became a tedi- I know on the understanding that this letter remains °° you Singing is really know Garcia’s singing musical speaking. words are this only to explain at his concert he played ous affair, with too much emphasis on the serious side, with you and only extracts method? It is very When why, be used for others. That good. He has, j properly advanced much these pronounced the production is sonata, while there was not enough material in the score to last twenty years of the tones only one piano solo composition, his second remarkably facilitated. WHAT WAR DID TO WAGNER'S "WAHNFRIED” which was sandwiched between his quintette and his bear such emphasis. His own playing of his sonata did The registers The composer's home is now being rebuilt. are different with nearly every in- they mus t be taught individually, i. e„ first t neS Wlth ? the naturally closed larynx; then ‘he bin ding together or chest and middle voice th arynx is opened, till in the !. i the middle of 1 eg st r when it . , is completely so. Before the h j ? ; ln " °f the highest register, it- spif ,„ the larynx closes sopran ThP ~ ^ °—Just as it does in chest notes, 6nCe 15 thls that in the higher tones the , iS entIrely drawn up against soft palate so th.L ?h the 6 U er • ^ the head higher notp«? Tf forms the IS pr umab!y on this head V ' _f account that the name, nead voice, originated. tone color are words to which always seem ssary and Peking in not understand '?f clearness. I do thern ' for through the detailed Dlacinp Vvf „, . careful and v®w®ls as well as of the conscientious study the mn/ nant5 in harniony with the vowels, must all possible i/m°3 | 1” ** Pr° duced ’ and 1 need only choose according to need belongs according to my idea to the the S0Ul' ings My timbre must obey my feel- Therof 6 ,** correct declamation careful Phrasim? in fn and 1 fine with and endless shadings together a rfeht d' ^ evelopment of the inner abso- lutely hein being must tecmQue lo the re»l .object the vowels stand for. If I sing of joy, son-ow hnno i ”? y SavMur - folk-songs, moonlight, sunshine rtr 1 fee naturally and my voice tobol quite differently, n my 80111 s need in the oa,° timbre without that I least Wlth SHOSTAKOVICH al Prague. Every what tone color I sing, DMITRI thine » of composers iy ^ prepared when I deeply and quiet- , the meeting JENNY LIND'S studied the Addressingna BIRTHPLACE IN STOCKHOLM meanlnS of the when I drew a thread words and was held. poem ' S° apeak, through the whole The beginningho "MUSIC STUDY and (Continued on Page 124) FEBRUARY, 1948 "MUSIC STUDY EXALTS LIFE” EXALTS LI THE ETUDE . Beethoven, commodate all the hair; Aryan visitors to th in the with her bushy e Music and Culture The women are dressed mostly for esti ' her husband, the con- vals. As the Festival player, and itself i wide peasant dresses, for the frauleins sonata f greatly depend 1 Music and Culture Hoogstraten (both known in on the general » T AN EARLY age I entered the Chickering piano are not like sisters, and do ductor Van condm their French raving of the whole country lUons United States and both because the /\ factory to learn the profession of tuning. We not save it from the same fate not know how to make a dernier eri out the it had in off at their dans for the Bayreuth concert tuners who traveled with Nazis), are still cooling Festival XJL all envied the New York, though the work no doubt of two old rags. Were has Munich. Since chosen from some fifty artists. They were closely associated with the its homes in the country near theaters fr the great merits. The trio had by far the great- On the whole, the theaters have fair 0*” Elly Ney to play "at over Germany. Now with 311 leading figures of the musical world, such as Paderew- est success being excellently performances, but in order to appraise no one can forbid artists performed tered others. for “her guests” she performs throughout the different ski, Hofmann, Godowsky, Lhevinne, and by David Oistrach, the violinist and Milos them impartially, it is first necessary to home” zoneT!' as one hundred presents a new problem 1 real concert experience dates from my employ- Sadlo, the get used to the actors sometimes for as many which My Concert Tuner young Czech ’cellist. art of German at o’ Backstage With a Another, Herbert Karajan, ent cannot be solved. ment by the Mason and Hamlin Company of Boston. A week earlier, Shostakovich’s Eighth and to recognize it as such, otherwise and fifty. Since the w?' so lucky, for he is an considers that mediocre The tuning of pianos was really of relative lesser im- Symphony was given by Eugene Mravin- their acting seems to be only a mixture however, is not performaS conductor. His cause celebre will only harm the portance, compared with the task of dealing “diplo- sky, to whom the work has been dedi- of clowning and hysterical behavior. The orchestra reputation of n, through- reuth, they rightly y' matically” with the artists. When I say "diplomat- cated. This was the authentic . Germans have always been much better has been discussed by musicians prefer to perform- wait. relationship ance, young Austrian, who ically,” I refer to a mutually satisfactory according to all the wishes of the musicians than dramatists and their in- out Europe, for this cuter tuner, state not easily attained, terest is bench of the A New Plan lor between artist and a composer, for Mravinsky had studied the more marked in music than in soared from the school BayTeutR? score straight Music School) to due chiefly to what the public Has called “tempera- with the composer for years in theater. Mozarteum (Salzburg However, there is another plan on the ment.” Russia, and had consulted with a position at the Berlin State Opera way of which I him here heard later piano team. Maier is Franz n 7 Much depends on an artist not being disturbed of nature place him among the most delightful as the first really popular Guy constantly during the rehearsals. A Musical Boom House which made him a rival to Furt- ler. a human There Swiss citizen, the son full of “pep” and of iS previous to his appearance on the stage. I have always of companions. a dynamic, extremely capable man, was nothing wrong with the authenticity The programs wangler, has been “out of commission" Wagner who of symphonic concerts is the oldest a was enthusiasm, while Lee Pattison is of a more reserved of the performance, brought him daughteS made it a point to take the artist personally to My first extensive concert tour with Copeland but it left one less during the past season, as well as those because his “party ticket” the composer, has lately Maier. been gathering concert. I would sit in the taxicab silently, with my of 1919-1920, when he played over nature, the perfect balance for the energetic Mr. impressed than the performance for in disfavor a musician.” during the season of the the next season, are as international as material in Bayreuth on the season was at Mrs. Eliza- same work "another" book arm around his shoulder. Not a word would be spoken sixty-six engagements which involved two trips to the Their first appearance of in the United States, because in this “Capital of Nazi Movement,” Another hard nut to crack is Bayreuth, about Richard Wagner, and matter of fact, the late Eldon Jou- the period when the beth Sprague Coolidge’s Festival at “South Mountain,” Mravinsky, by no stretch of where has sue between us. As a Pacific Coast. It was during imagination, the original seven members of the the world famous playground of Richard Bested that the before can be Bayreuth bert, who traveled with Ignace Paderewski, told me had control of both the railroads and Pittsfield, Massachusetts. This was in the days considered a first rate conductor, party met and formed Wagner. The unique theater on “the FesUvIk Government the Nationalist should not be exclusively has read- Mrs. Coolidge’s concerts in the Library of Congress i As devoted that on more than one occasion Mr. Paderewski Agency. The country had not yet a matter of fact, Mravinsky Socialist Party, green hill” to the the Express was as those in the concert which is known for its acous- composer’s works, Mountain Musicales at that much better it seems that returned to his dressing room to compose himself, justed itself following the cessation of hostilities. at Washington. Her South at last year’s Prague Fes- halls of New York tics, the amphitheatre he City. During the past arrangement of would like to put outstanding gatherings for musical tival. This year he the whole project because, on his way to the stage, someone inad- Transportation problems were often acute, and we time were the has been aping the season, more than two seats whereby every one can have full on hundred and a an international celebrities, not only in America, but in the world. European conductors basis and even vertently had passed in front of him. His concentra- felt that an adequate supply of concert grands would he has seen, and fifty works of sixty-five composers from- view of the stage, and the orchestra 8d his proached Thomas Mann to been disturbed to such an extent that it Chickering Company, which em- Maier and Pattison were a distinct sensation and mannerisms are too newly acquired J. S. Bach head the or- tion had be imperative. The to Dmitri Shostakovich and which is “heard but not seen," was un- im- to be effective. Here ganizatlon. I understand that was necessary for him to return to his dressing room that time, created a tremendous is one man to whom Aaron Copland were given in damaged, but “Wahnfried,” this idea ployed me at about five Richard Wag- gained the con- pression on both Mr. crossing the Russian border did hundred support of both the to compose himself. This upsetting of an artist’s furnished six pianos for more performances. This musical ner’s home, is a war casualty. local harm than In the German administration frequently accounts for a delay in his ap- Frederick Stock of the good. But to return to Shos- boom is owed ns well as centration the tour, and they were to Hans Rosbaud, the last days of the war a one hundred and the Or- takovich, I still Military Government pearance on the stage. consecu- Chicago Symphony have to mention that fifty-two-year-old Personally i to be routed in conductor, who came twenty-five-pound bomb destroyed most Ossip besides appearing think it will be is, after chestra and Mr. at the Festival as com- from Strasbourg in very sad Indeed if tive order. That October, 1945 to re- of the house, except for the front en- such Manufacturer poser and a performer, he organize an Idea ever materializes, The Part of the the completion of a con- Gabrilowitsch of the De- showed him- the Munich Philharmonic or- trance. Another it will reduce self as a bomb smashed the little troit Orchestra, who were lecturer at the International chestra. Austrian by Bayreuth to being Just another I have related these few facts to enable the un- cert, that particular piano birth (born in house where Franz Liszt died, but Richard German Congress of music critics and Graz) town which gives realize what “temperament” really is— to a point present. They engaged composers. after his studies at the Frankfurt Wagner’s annual festivals of mu- initiated to was shipped The aim grave in the garden back of and Pattison to of the Congress was to give an Academie of sic. Bayreuth cannot something that is expected of the average artist. five or six dates ahead, Maier Music, he became a con- “Wahnfried” is untouched. be compared to opportunity for a free discussion ductor in Salzburg which, are occasional exceptions to the rule. in order to guarantee de- play with their respective of all Mainz and later, in 1930-31, the due to its beautiful sur- However, there questions concerning musicians. director roundings, pianist-composer-conductor, time for the orchestras, and for a of radio programs in Frankfurt Hopes will always attract The famous Hungarian livery in Shostakovich of Restoring Bayreuth tourists years was going to tell where his even though Dohnanyi, was the essence of coolness at concert. number of they us work pleased even such a se- the actual Festival should Ernest von about the life I saw Wolfgang fix- of musicians in U.S.S.R. vere critic Wagner, the twenty- become all conditions. I traveled with were more or less a a as Maestro Toscanini. “When outdated. And finally, by all times and under subject which certainly eight-year-old destroy- Accidents interests every- I first came here,” grandson of the com- ing during all of his American concert tours. No mat- ture with the Chicago Hans Rosbaud told Wagner’s tradition, we only admit him one. Instead of speaking poser, in his little to us as every- me, “I found the flat in the house of its conditions, he never revealed a single Can Happen Symphony Orchestra. orchestra in a terrible symbolism and value to ter what the one expected, he read their former gardener, the Nazi a paper which had state. But Bavaria fortunately where Wolfgang cause, which trace of nervousness. He was always tranquil. This In the middle of one enough is is was false nnd artificial and been handed out by all living with his A Notable Debut Soviet Embassies better off than the rest of wife and their two was brought was doubtless due in no small degree to the fact that of Mr. Copeland’s pro- in Europe Germany and children. into existence by Nazi prop- six months ago and, there- soon our best It is he who fights conductor. My introduction to the musicians made their way now for the aganda. If we are he was both a great composer and a great grams, the border lights fore, said nothing new. rights to preserve so zealous to restore Shostakovich put here. Today I can say the old tradition the The piano manufacturer has played a most signifi- suddenly went out, leav- late Josef Lhevinne took the that after two what and old cultural value of Germany, we last nail into The Congress’s years of Bayreuth stood for coffin hard work and constant search before the Nazi should cant part in the presentation and development of ing the stage in absolute place early in the fall of when he answered rule. The Bayreuth be guided by something more the questions with for better members for the theatre and “Wahn music in America. In years past Steinway and Sons, darkness. Suddenly they 1922. Part of my intense Yes,” orchestra it fned” reasonable than the fact “No,” or “I don’t know.” is the best were Wagner’s that Mr. Franz organization next to the Ber- family property Beidler, an Mason and Hamlin, Chickering, Knabe, Baldwin, and came on again, and al- admiration for Mr. Lhe- After the death amiable gentleman of fifty, lin Philharmonic.” of Siegfried, son others provided concert artists with the finest Copeland was vinne was due, without of the 35 a certain facial have though Mr. German Theaters Today Hans composer (in resemblance to Rich- Rosbaud was the first 1930), the rights pianofortes that could be made. The instruments were on doubt, to the fact that he to reintro- to the ard Wagner, has disturbed, he kept It is hard to find even duce to the property went to his been the secretary to standing room Germans the music of their four children with the invariably shipped by express and the expenses borne playing. Three or four was not only an epicure m Munich Literary Guild in Switzerland, and, theaters or concert halls, own composers, which red agner, the marvel for was banned and W teVn as far by the manufacturer. They have also furnished minutes later, the same but a gastronomic drama oi ™ , as I could to and music have which the Han trustee » ascertain, is going become a great younger members while she is with capable of keeping the out like myself. This formed of alive. outstanding artists men thing again ; the audi fi-pri Wini- be a happened industry in this ences wagner writer after he writes on capital of Southern Ger- heard for the first tol d me that his book have con- time. I asked K she considered the pianos in first class condition. Also, they went the lights, only to a bond of common sym- many. There are more than him how he that ^she has composer. twenty thea- managed to get the done her dutv for «,? tributed much to the attendant publicity which is so come on again a minute pathy that lasted until his ters scores It which supply daily which were years i„ preserving is true that Bayreuth, besides the entertainment supposed to have the IradiUon ™ essential to a successful concert tour. Two or three later. Naturally, Mr. Cope- death (December 2, 1944) to been ot R famous suit almost anyone’s taste. burned, and what Festival Hall, middle Along with was the general reac has in the concert grands were generally assigned to an artist- land was upset. The au- One night, when we re- the old German classics tion of his of the city and plays of public. The soft spoken another Opera House—one instruments which in most eases he had personally dience laughed. Good- turned from Chicago to mu- of the Shakespeare and Bernard sician shook his head. most exquisite in Shaw, the “We have the *“ 10 ,lve baroque theatres selected at the factory. One of the pianos traveled naturedly he resumed New York on the “Broad- Broadway mu- “» reUM Europe. hits are enjoyed by audiences sic. Some of it was m ‘at'Th It was built years burned, but most of two hundred constantly with the artist, no matter where he might playing. Then, without way Limited,” Mr. Lhe- to whom the price of admission it was hidden nine '»» ugo by the doesn’t and as for the reaction famous Italian architects go, whether in North America, South America, Aus- warning, he stopped short vinne told me the story seem to be • of any concern, . . he Giuseppe for what else , smiled, “they Galli-Hibiena son thought it was and his tralia, or the Far East. If it had not been for the in the middle of a pas- of his debut in the United can one buy in very Carlo, 'this city which lies in beautiful.” Hans Rosbaud it was in ruins? has only this Margrafische cooperation of these firms and their generous as- sage. He said something States, which took place in Next to Shakespeare’s “The one concern now— Opern house EMIL NEUGEBAUER Tem- how to get scores from in 1876 that Richard Wag- sistance, many communities would have been denied to the audience and 1906. His narrative was so pest,” and Franz Lehar's, abroad for his eager ner “The Land of public. conducted Beethoven’s Ninth Sym- of hearing in person most of the exciting Smiles,” 3 very - the opportunity quickly walked off stage. that the hours one sees on the billboards able young fellow Uke phony “An- and planned originally to have celebrities of the musical world. o’clock the morning gel Street,” “On Richard Some of the crowd applauded, some few booed. I rolled on and it was three in Borrowed Time,” “The New Symphonic Music Wagner, his festivals Scarce thoughtless there. The small theater rushed backstage immediately. before decided to retire. His story had its incep- Skin of Our Teeth,” Molnar’s E to® we “Liliom” It is amazing seats only of how little 500 to 600 and is an ideal Duties the Tuner the matter?” I asked. his time he had been placed under and “Our Town,” which, purely sym- “What’s He stuck out tion at the when are presented c ™ US1C has Place for the almost “ been written in performances of Mozart’s The concert tuner must also look out for the com- hand and calmly said, “Please pull out that piece of Safonov, then the Director of the Moscow Conserv- without scenery. \ the too &nd l^st fast rauch c two decades in and sounds * *ks ’ 11 a country a hiE1 seems too bad this lovely artist. wood.” a large splinter third very the time. Later, The theaters, opera which was Stein ' ke Qertrud that fort of the He must carefully watch a thousand I took out from his atory. Lhevinne was young at and concert halls once the home of in a German e httle music in Europe verslon house is not in Salzburg where it details. He must take care that the artist finger. returned to the platform with his finger in with of the greatest artists of that open their ’ and one He competition some doors as early as five or Some tions can Hls inten- six in musicians blame it on the be put in really should be the afternoon, fact that the rdS: be, for Bavreuth can arrives on time, that he is kept out of a draft when still streaming blood, began the Blue Danube, and day, Josef Lhevinne won the Rubinstein Prize at Am- which would seem a little Nazis se Bayreuth 10 bring forced composers , associated too to write Wagner Fw° only with Richard Wagner. he is covered with perspiration. He a piano played it through to the end. The audience blood sterdam. It be of interest to note that it was the early for those who short old l must have saw may are working. But pieces for the radio standard and P ° the Germans are and movies, while to wait untn placed in his hotel rooms for practice purposes. He on the keys and were aware that some accident had first year that this famous competition and attendant not working so hard that others Plan can SUCh a claim that since the be realized they have to miss old dassics E f must also take care of hotel and train accommoda- happened. They heartily applauded Mr. Copeland for prize had been offered. After the competition the great an overture. one ~ Only the were considered so who has seen ° any theater perfect in their Bayreuth f tions and the schedule of every railroad train for his artistry. Safonov, “If that boy Lhevinne is ushers are dressed in the form war that th after know his fortitude as well as While I never Rubinstein said to old and expression any it will take the MEN WHO SING traditional new invention 7 and determine which are the best hotels in each city. able to discover exactly what caused the ac- Liszt, you will be to blame!” black coats. The was little was had not a second audiences thought to be Ume ’ Men aie frivolous and town which u-ho sing get along with their dressed just as one sees them undesirable population Ehave He must be congenial and compatible with the artist, cident, my surmise was that a bit of wood had lodged Some time later Safonov was engaged to conduct on the As no German had anything of 40000 a fellow men. streets. Men wear anything from to do with one-third With inasmuch as he acts as his personal companion and between the keys in such a manner that it did not the Russian Symphony Orchestra on its proposed short the Nazis, all the of almos t Men leather performers whom the’ city who sing are good citizens. as pants with bare legs to what was thought we Population h3S confidant. interfere with their action. While X have seen an American tour. He wanted the young Josef to go to be on the black of 55,000 3 Men who sing very fashionable here list are balk dueEb^’he are open-minded, George Copeland was one of the first great pianists artist split his finger, this was the only case of soloist with the orchestra. When Safonov left Moscow fifteen years ago again in refugees from taflux of circulation. However, in the East * ten who sing the —a white, double-breasted at least great acquire a sense oj with whom I traveled. He was also the first to intro- “splinteritis” of which I have ever heard. for America, he told Lhevinne to go to Berlin and there coat with a two cases, the lack of ^ there is a n,cer dark blue denazification material^ ^ things of life. shirt and any kind of trousers. authorities ««. la,M duce Debussy’s music to American audiences. He had My next assignment was to take care of the duo- to await further word as to when to sail for the are still showing « mi wotk- Our prisons men character. Elly Ney be“«trbe; are filled with, largely, lived in Spain for many years and was thoroughly pianists, Maier and Pattison (Guy Maier and Lee United States. He had been but a few days in Ber- 66 be „ rebu.t city an(+ women who never sang. nature. His . lin sail " familiar with the Spanish wit, his per- Pattison) These two young men had worked together when the cable arrived, instructing him to MUSIC STUDY N. R. Howard News. ception, his sense of humor, and his broad knowledge for a long time and were beginning to win recognition for America. On the ( Continued on Page 123) exalts LIFE" in the Cleveland THE ETUDE FEBRUARY, 1948 "MUSIC STUDY EXALTS LIFE" 67 . ' . Music and Culture HEN I took up my very pleasant duties at Music and Culture the Radio City Music Hall, I was bombarded with questions as to why I had forsaken W is that I have not the field of symphony. The answer ftlusic Appreciation •forsaken’ anything—on the contrary, I took what highly favorable opportunity of extending Sunday afternoon. The “Five Lines and seemed a of the symphony, and of all good music, to Four Spaces Club’’ is holding a music the field audience than the average conductor even appreciation meeting at the home of a wider Music? the annual What is “the Best” in Radio City Music Hall has an president. While awaiting the time signal dares dream. eight millions. That is fantastic! Fantastic and the opening of the symphony broad- audience of and fantastic as to the character of the cast, the chairman for the day delivers as to numbers lahle ’the world’s Conference with Round itself, for the people who come to A a paper on the new composition soon to The Teacher’s audience represent The Public in its widest be heard: Fritz Fret’s Double Concerto will be 3-2-1. For a pattern largest theater’ of four . are not predominantly students, or mu- for piccolo and bassoon. She is the mod- 4-3-2-1. sense. They ‘long-hairs’ or ‘low-brows’—they ernist of the group and just Speed, of sicians, or faddists, or back from course, has much to ^^Kexander Amalieend Correspondents with this Depart- Conducted by say for people, coming solely to N'Yawk with all sorts are the rank and file of the of high-falutin’ ment are requested to limit letters however flexible your wrist may be ’v0 u stimu- Distinguished Conductor ideas. to One Hundred and Fifty Words. find entertainment. There is an enormous and never could play with one finger Now (at the lating challenge in providing the best in music as part the program is on, and reactions proper tempo, such .Radio City Music Hall H/laurice o&ume&mi repeated notes conviction that Musical Director, begin to take place. As the discord as of this entertainment. It is my deepest grows one finds in Liszt’s ’’ Rhapsody No. 13 people. horrific, faces become wry, story or the good things of art properly belong to the puzzled behind it, such as the Chopin Bal- Ravel's Alborada del gracioso. Eminent French-American task, I prefer to speak of my glances are exchanged, a few lades have. But originally called “In approaching my hushed it was However, the use of ROSE HEYLBUT one finger is plans. Plans call for definite SECURED EXPRESSLY FOR THE ETUDE BY murmurs are audible here and there. Ballade Slave. Personally I never de- ad- aims rather than my Pianist, Conductor, Lecturer visable if top-most consideration Finally, one member who arrived tected anything goes to selections, and in this work, where the entertainment late in it that could justify the evenness, the and' smoothness of the tone a production made up of various well- doesn’t even know what is being the word “Slave” and contrary, I and Teacher is built around on the at a moderate, or slow played, manifests tempo. An excel- established elements (the Rockettes, the Corps de her candid opinion: always found it very French. If it hasn’t has taken another lent example of New Yorlc's great Radio City Music Hall “Must be very this is the repeated Ballet, the Glee Club, and the orchestra itself), defi- high-hat music, for it reached as much popularity as the Cathe- of standard-raising by securing the services G-sharp In the step in its policy certainly sounds awful!" middle section of Chopin's nite selections cannot be mapped out too far ahead. Mr. Smallens dral or the Reflections, it is because it of Alexander Smallens as its Musical Director. Prelude in D-flat major. Here, considered from the point late Erno Unmitigated approval greets her words. does not belong to Debussy’s greater a single All kinds of music must be has had but two predecessors in this post; the Then, yielding to finger permits a much more of adaptability to the needs of these elements. both of whom made their greatest an impulse which ob- period. However, though lighter in style, mental rubato. accurate of view Rapee, and Charles Previn, Smallens viously sums up control of volume and quality. aims, though, are a very different matter. They reputations in the Field of lighter entertainment. Mr. everybody’s thoughts, it is indeed quite charming. In it one Books on Debussy, his Ufe and works: My theater a solid background of the president chokes the radio, finds if you want In conclusion: students .should consist in seeing that only the best kind of music, in brings to the world's largest pulls an an abundance or what I might information on the latter, study and album from repeated notes the discipline and tradition of opera, symphony, theater, the record shelves. Soon call Debussy’s fondness for I recommend Oscar Thompson’s excellent with change of fingers, as any field, be used. restating. addition to motion picture music as such. Born in the beautiful strains valuable gymnastics ballet, in of a Beethoven From beginning to end there is book. If you look for a novelized life and indispensable repetition Classifying Music Russia, Smallens was brought to America as a small child Symphony have replaced the unendur- after repetition story, I might part of a well-rounded technical of the same groups of mention “Claude Debussy, equip- and received the basis of his musical education in New York. able cacophony. ment. “The next thing, of course, is to determine what the measures. Some find this Master of Dreams,” of Later on and when reaching York public schools, and was gradu- a defect, but . . which I am the He attended the New Once more good best music is. I have the habit of classifying all music taste prevails, and is it, since it passes unnoticed author. higher spheres of pianlstlc achievements, ated from City College and from the Institute of Musical and the ear good harmony reigns. interpretative into two categories good and bad. There are and studied piano). Next he went to Paris, where listens only to the constant flow of discrimination can dictate — Art (where he symphonies* good and bad began his golden harmonies? the ultimate choice. bad operas, good and bad he studied conducting at the Conservatoire. He On Pedaling, and Age Limits hit tunes. From long experience I know that the best conductor of opera ift Boston and New York, Years ago in Paris, career as a ^ he Debussy Ballade - the noted musician 1924 to 1. How can I find a book that treats those which have, over a long period of earning calls to Chicago, Berlin, and Madrid. From Jean Hure published the works are Does the Debussy Ballade have a a little album in various functions of Self I nition the Philadelphia Civic story the pedals. If possible. time, come to be the favorites of the vast popular 1930, he was Musical Director of as the Chopin. Brahms, and which he discreetly teased I prefer a others have? the idiosyn- rather scientific treatment, as To whnt extent. In in 1934-35 he was Co-Director, with Friti Reiner, I I your opinion, can a craze that Opera, and would also like to know if you am a teacher public. This does not mean that any new think crasies of several French composers: of advanced students. serious student of piano opera with The Philadelphia Orches- it should be played the be self-taught? I of an historic season of exactly as written in 2. I think Ute girl have enjoys a six-months’ run of popularity is destined to passage concerning who asked about the been studying with a very fine teach- directed the premieres of many im- regard to tempo and velocity Debussy consisted Conservatoire tra. Mr. Smallens has suggestions. de Paris ought to er, but Neither does it mean that a new Why isn’t of six measures, know my lessons necessitate a long trip become immortal! Gershwin's Porgy and the Ballade as popular as the each one with a repeat about the very portant American works, including strict age limits. After to the nearest largest city critics destined to Engulfed Cathedral and the mark! and as my own form which is condemned by the is "Four Saints in Three Acts." In Reflections in graduating in Copenhagen, schedule Bess" and Virgil Thomson's the Water? Can I intended to becomes heavier. It is increas- you suggest a good book go to Paris, but oblivion. It means, quite simply, that art belongs to the symphonic field, Smallens has served as conductor of The Tempo suggestions? I found out that I was ingly difficult for on Debussy, his life and works? quote Debussy years two me to make this trip. beyond the age limit. the people and not to any one group of the people. Philadelphia Orchestra; he was ten seasons at Robin Hood himself: “The metronome is During the summer I have discontinued —R. Y., Alabama. good . . . for Miss H. L., these lessons Mozart, Schubert, Gershwin are great because the Dell, seven seasons at the Watergate Concerts in Washing- one measure.” Flexibility Denmark. but have practiced much and is the rule, but have completed his fourteenth consecutive The Debussy Ballade also listened to piano recordings. I people have made them so. My aim, then, is to respect ton, D. C., and has (1890) has no it must be discreet and The best book I free from senti- can think of, dealing succeed in working Philharmonic-Symphony Orchestra with out technical prob- the sovereignty of the people in choosing the music for season with the New York the pedals, is the lems fourth volume of without assistance, and the record- at the Lewisohn Stadium. He has also given symphonic con- Dr. William ings are the Music Hall. And, I may say, it is one of the finest Mason’s “Touch and Technic helpful, but my chief difficulty is certs at the Hollywood Bowl and for three seasons directed foi pedaling. I fear dial theaters in the world in which to present good music, At tistic Piano Playing,” I may miss the fine the Essex County (New Jersey) Festivals. Early in his career Op 44 in it points. Any advice that you will find you may give me not only in terms of the building and the acoustics and he toured as chief conductor for Anna Pavlova; he has not only °a will be scientific ex- very much appreciated. tone of planation of the the facilities, but in terms of the prevailing directed the music for many government films in Hollywood, function and use of —Miss C. H.. California. pedals, the kindliness and gentle manners (which might well be and has made many distinguished appearances as guest but some exercises leading to a There radio. recording for RCA- Is no more widely emulated ! ) conductor in He has done much complete mastery of objection to self-tuition pedaling pmblems after Victor and Decca. —Editor's Note. One of them reaching an advanced grade and it is a study on the memdv may Home Sweet be that this statement applies to The Soul of Music Home, and it is ALEXANDER SMALLENS to be plaved you. is with one finger However, and since you admit that “Shall we present modern music? Certainly—if it only! Wonder how thi can °" certain as well as modern. I have little sympathy for be • points in not music done? Well it is mnet your playing do satisfy musical laboratory experiments, outside the laboratory. “I have a word of counsel for the young conductor. Symphony; very good—easy enough—only four notes you , I feel that you are still in need after the Once he has acquired the necessary background of an with only two tones. The veriest beginner can read them. of an occasional check-up especially Much of the queer cacophony we endured with I believe, the sterility of instrument, harmony, counterpoint, techniques, and But how can anyone say for certain just what idea can obtain this a teacher whose ability you rec- first World War was due, to book through (placed last in the list for the P-Mbub_ ognize art. To hide this sterility—this woeful lack of articulate wide general culture em- was in Beethoven’s mind when he wrote them? The lishers of The Etude and respect. phasis) he should as quickly as possible get in touch great handicap of musical form, of course, lies in musical ideas we indulged in experimentation. The , Becoming self-sufficient in piano play- — group, of musicians he can the written notes. It is place in mg soul of music is, always has been, and always must be with a band, or on whom the world of meaning behind th^Sla&^en might be likened to the expert driving value their melodic begin the actual practicing of his craft. What makes a question whether any conductor has ever captured tional de Paris, ^ of an airplane. —melody. Works live by the of At first the instructor cobbler is experience with his last. What makes it completely. Certainly it takes more than a mere slon pleased to offer suggestions. Music and Culture hensive list and would be Your I.Q. As What's To America's Music and Culture made, Patriotic Songs? and I made it with a curiously assorted group Piccolos and Flutes of amateurs. The only way to learn conducting is to being manufactured? 2. 1. Are F alto and C bass flutes Timely conduct 1CC° 1 “ “ A Quiz —what and whom you are to conduct may have Will you advise me as to the merits of a wood P professi to be 3. I have seen found through your own ingenuity. And that, compared to the metal piccolo? by Janies Aldridge to have heaajo perhaps, is part piccoloists whose instruments seem of the necessary schooling! material, ca which were made of jet black, hard thick "As OU MAY THINK you know , for the orchestral L. IN. your , players themselves, I have two you advise me as tcxthe merits of such headjoints. coun pieces of advice to give. songs, but don’t be too sure. This To young women students, I H. , Minnesota. quiz are Music say— fool you. There ten Beauty in go and get married, quotations and keep a clean, thrifty house, Y below Play being an& I. The F alto and C bass flutes are no longer from and raise fine, healthy children. To young of which come some of America’s best men stu- wood piccolo kn WQ dents, I made insofar as I can ascertain. 2. The melodies. say—learn to be good shoemakers. No, that patriotic is preferred by most professional players. The tone isn't said in jest. It is important that How many can you recognize? we begin to dis- be The name of courage mediocrity. quality and response of the wood piccolo seems to th We have been, perhaps, a bit too song belongs in the blank underneath each The headjoint quotation S^eadhore tender-hearted in encouraging superior to that of the metal piccolo. 3. jbr. darl young people to do For each correct answer, allow yourself lo Lf whatever of either flute or piccolo has much to do with the final points they ‘want’ to do. Well, life is fair, pays very little score of 70 80 is good, and 90 is heed to one’s wants! results. Many professional performers of these instru- excellent Eminent Psychologist The person who is not fitted for Answers will be found on page 119. a cai eer ments are constantly changing the headjoints of their in music finds himself weeded out by competi- tion, at which instruments in the desire to improve their tone and time the' disappointment is all the 1. Firm, united, let us be, keener because intonation* As to the material to be found in these he has been allowed to follow a will- Rallying round our Liberty; in since early childhood. He was educated at o’-the-wisp various headjoints, that can only be determined by in Sweden, Dr. Seashore has been America of false hopes. Better by far to administer As a band of brothers joined, Althouah born University, Ph.D. 1895. Most of his adult life has been as a member the making a study of each joint since all are different. Gustavus Adolphus College and Yale disappointment of a truthful opinion while Peace and safety we shall find. he State University of Iowa, where his activity in connection with psychology as applied still has the time Flutists differ in their opinions as to which type of of the faculty of the and the hope and the energy to of the best of his many bools, "In Search of Beauty music has attracted international attention. From one devote himself to headjoint is preferable, just as clarinetists disagree to something for which his inborn following extract is printed with permission of the publishers, The Ronald in Music"Music (copyright 1947), the aptitudes fit him. as to which mouthpiece produces the best results. In 2. Let music swell the breeze, Editor's Note. the Press Company. “Finally, we must school our audiences and man- final analysis I am of the opinion that it is an And ring from all the trees agers and boards individual matter. of directors to deal honestly with Sweet freedom's song; American musicians. That means to engage them or Let mortal tongues awake. to play their works, only if they are worthy of being Let all that breathe partake. neaid. The Ossia Passage Some years ago, no American musician Let rocks their silence break. the kindergarten up through the public schools, and got a The Etude Magazine hearing. Today the pendulum has been a source of great help to DR. CARL E. SEASHORE acquired academic status in colleges and uni- has swung so far in the me and I The sound prolong. have am turning to you for help once again. I have opposite direction that, a versities. traditional conservatory is passing out. whether through patriotism or friend who plays the bass clarinet in our high school The mere fad, every American band. He does not understand the musical artist, musician has ‘an edge’ in his passage marked ossia, 1HE1 stimulation of the senses is a New demands are being placed upon the art simply as shown here. His band instructor because he is American. That’s is not able to help. I 3. Our flag's unfurled to every breeze is one of being proficiency in the art of diction. bad, too. The play the piano source£ of play. Basking in the sun them answer but cannot interpret the passage either. is to use American works and American Can From dawn to setting sun; play. Sweetmeats are artists you help us?—Mrs. C. H. M., Ohio. Ta£ temperature only if you believe Artistic Diction in them as artists. The public de- We have fought In every clime and place frequently eaten not for their food value serves only the best in art. That is what we at the Where we could take a gun. but for the agreeable stimulation of the The composer who writes the music for poetry al- Music Hall shall endeavor to give it.” sense of taste; even bitter and sour sub- ready available—lyric, comic, heroic, dramatic—aims stances are played with. Color in nature, in to adapt his composition so as to fortify and enhance 4. On the shore, dimly seen through the mists of pictures, in dress, and in ornaments is part the meaning of the words. The poet who writes words You will note the work “ossia” above the deep, and below the of the enjoyment of life; so also is form, for music already existing applies dramatic art to the notes m the above example. Where the foe’s Evidently you failed to hnughty hast in dread silence drawing, paint- of words to every aspect of the complete both in real objects and in finding and fitting the example in your letter to reposes, me, since the ing, sculpture, and architecture. The music music. Knowledge of phonetic art is a relatively new onginal copy must show a What is that Band Questions Answered substitute passage which which the breeze, o'er the towering work, but the artist in demand upon poets and composers as a whole, although may be lesson may become used in place of the original. The steep, means term “ossia” music “plays” and reaches his highest mas- beautiful illustrations of the principles have always “or else” and is used to mark As it fitfully blows, ?«//•„,„ 2>. a passage which half conceals, half discloses? tery through play. The racial development abounded in great music. It opens up a distinctive h may be substituted for the original Now it catches corresponding one the gleam of the morning’s first poetry is largely the spon- division in experimental acoustics, which will lay scien- The substituted of music and passage is generally a simplified beam: Choice of Clarinet sion ver- taneous result of play; when genuine and a tific foundations for this aspect of musical esthetics. of tjie original. If you In full will refer to your solo glory reflected now carries artistic I Wish to buy a clarinet will you shines on the stream. true expression of impulse, art ever It is a common error to assume that phras- for concert and symphonic undoubtedly find that a work. I would simplified version of 126) appreciate very much if you would advise the the quality of play. ing in the vocal art pertains ( Continued on Page me as to what Wmten direCHy make clarinet you would is variety of recommend— 2 5. The exercise of memory a C., Rhode Island. Swear upon your country's altar play. The power of reminiscence is one of Never to submit or falter. The choice of a clarinet is quite the charms of life. Primitive man was a Planet Xtm, Ltd., London an individual mat- Till the spoilers are ter. Many leading defeated. storyteller. memorize a great deal for clarinetists disagree as to which Assignment of Parts Till the We MAKING PLAY OF MUSIC instrument Lord’s work Is completed. Recogni- is superior. However, all play I would greatly the mere pleasure of memorizing. only the finest appreciate answers to th„ f„u„ . Bright English children let loose with drums and cymbals clarinets made. These tion gives a feeling of warmth and posses- are as follows: Buffet Selmer at a Percussion Band Concert in old Queen's Hall, London, Lablanc and Penzel-Mueller. 6. The sion, as in the appreciation of the drama or The above-mentioned in- old D-flat piccolo A rather star-spangled banner bring by Klotz . hither, is marked . stiuments are not listed E flat rim the interpretation of historical events. The in the order of preference, but *» “ ' -» »“» Oer Columbia’s true sons » «»< let it wave; play. There is a book dealing with words in music called merely represents the choice of sas rs.*« a> the exercise of the imagination is a form of mental symphonic clarinetists wreaths they have wither, description throughout won never his characters. It is The Neglected Hall. That title is a very apt the nation. or its stars The effective novelist lives with alVe cease to shine on the brave. in music. Notorious are trombone the play illusion that makes the writing artistic; and of the present role of words flaf fun should Pplaj- methe EE-flat alto hornf parts, the neglect by music schools of training in phonetics, and occasinnniiv ir , , the spirit is transferred to the reading of fiction the desire same E-flat cornet ’ singers or B-flat cornet trnnsn 7. I have nature as well as by acoustics, and articulation; the ignorance of Seating Arrangement read a fiery gospel writ in burnished rows and poetry. The theater is by comet. II. I c.„ fits music to words and how of steel: name a playhouse. The imagination invites play, even about how the composer Will you kindly suggest the best seating two "* 5 arrangement6 C t possibilities; indifference of sing- for an elementary band?— The Insteument F,!? As ye deal the shocking and the grotesque. Imaginative play con- the poet fits words to music; the A. G., Louisiana! colo fc » with my contemners, with you my and not a D-flat. Are so message the words convey; the slovenliness you certain grace shall stitutes the charm of reverie, of mental romance, of ers to the Many °' flat? deal; The answer to your question is of these old phrasing in so-called artistic per- difficult, since I am German flutes and nio 1 Let the Hero, musings and idlings. The child plays with sticks and in articulation and not informed of made below p ccolos were born of woman, crush the serpent the personnel nor the 440 pitch Also v, !, . formance; and the lack of development of the good instrumentation with his heel .» toys; the adult plays more in images. A score of men of your group. However, the be out of adjustment, 1 ^ . . are not many usual seating chart can thus kusinfthe^tehte' engage in action on the footall field, while thousands speaking voice. Strangely enough, there be secured from any music store. below the proper tonality Sound the very You will probably find (b) The replay the game in the grandstand. who are concerned about these facts. Witness it necessary in the be to make some changes lettering; that is 8. There subordinate position given to the subject in manuals in order to adjust Mat in^ead o ^n was Captain Washington the set-up ever, I • for your particular group. I believe it is an old f 'flof Upon of Witness the public applause accorded to am sure that E flat plccol° a slapping stallion, music. you will find Of adjustment which is Words in Music: Beauty in Diction the information you desire out A-giving singers despite gross neglect or abuse of this phase by calling at t orders to one of the his men; several music stores located in 1 gUess song. New Orleans. tilere was a million. The exercise of the most distinctive mental process, of While there is abundant laboratory material for a A Choice reasoning, may also be play or its close parallel, a of Instruments wit, the art technical chapter on this subject, diction in music is 9 game. The guessing of riddles, the flash of I play the piano but ready f0r Available wish to learn fo wi ' the such a primitive stage that a greater service can be Material play Jubilee - Hurrah, hurrah! of conversation, and chess are all plays of thought. at strument which is an°ther w,m portable and S t in- give the to Can you assist me in my search semble. I have USed hero three times three; Hurrah, Tlie emotions enter distinctively into mental play, in rendered to esthetics by using the allotted space for solos for the no illusions of ever * an «- marimba and xylophone? I find that musician; beinc a n nurrah! very little material is however, I love j» accomplished that their very presence reflects the enjoyment of the describe as realistically as possible the significance, available for these music anrill® instruments.—A D. M., for my own contin 1 aUrel Tennessee. pleasure. I would nmf* ue to WTeath 15 reacJ nojv play impulse. Even the despondent misanthrope plays rights, relationships, and esthetic values of words in which would not fer an a y require too°° l mstrument ToTonlplace upon You will find considerable pitch MUch dif his loyal brow. with a morbid craving for bad news, tragedy, and mis- music. There are two main aspects of this subject: repertory that has been —M. M„ California ^u!ty whh transcribed from the violin literature. fortune. Indeed, we enjoy or appreciate most the trag- first, diction, or the artistic articulation and phrasing Piano duets are I recommend also frequently used. Mr. Evan either mnrimHo „ 1°. edy that is the truest picture of great misery. If it of words; and, second, the message conveyed by the Hallman, 1052 Spruce accordion O beautiful for you play - heroes Street, Reading, piano, either of / Since proved printed on the program that the crucifixion words. Pennsylvania, also can provide these In liberating were not RHYTHM AND PLAY IN MUSIC STUDY the prove less difficult ShouId strife, titles of many works. Mrs. Elaine than scene in the Passion Play at Oberammergau is a trick The present generation is becoming voice-conscious, Barkway Bell 1932 This group of students in California is trained to give bodily wind families. he strin than se *f Second Street, Merced, California, Either would movil S or their country loved, illusion, many in the audience would be overwhelmed speech-conscious, and ear-minded. We hear the morn- also has a compre- and mUCh mercy expression to rhythm. The photograph was secured through satisfaction as solo pleasure more than life. the song, the drama, the comedy on the instruments. at the sight of it; yet people travel far for the emo- ing news, the kindness of Dr. Henry Purmort Eames, Former Director tional play which this spectacle represents. radio. The various arts of speech are now taught from of Music at Scripps College, Claremont, Caliiornia. (Answers on "MUSIC STUDY Page 119) EXALTS LIFE" FEBRUARY, 1948 "MUSIC STUDY EXALTS LIFE" 71 THE ETUDE 7 — ” Music in the CUIIullLi uiax iC^UiLS Music in the Home Home Will bg fthf ine( Music for “Jam Sessions” by a reduction of bass. If one’s bass & control d permit this, the clarity of the not recording mav h “JAZZWAYS.” Edited *by George S. Rosenthal and paired. Mr. Miinch, who has been *m' heard with th Frank Zachary. Pages, 109 (8 x 10 Vi inches). Price, York Philharmonic-Symphony New Orchestra in $3.00. Publisher, Greenberg. months, needs no introduction recent to our . readerS " one of Prance’s foremost conductors. His 6 is The Etude Music Lover’s Bookshelf perfo This is a story of Jazz, done in very excellent mod- of the familiar Franck Symphony and 11063 Ravel's*? ernistic style, with many extraordinary photographs are admirable for discipline and Boler° cohesion r and pages of informative text. The book places the former, the conductor effectively tbe emphasizes for Jazz where it properly belongs. In some th'* Con' credit trasts of the first movement in a favorable m ninety-five illustrations, three-quarters are definitely but in the finale his forthrightness 61’’ leaves som? Negroid. The book is a compilation in which Frederick Any book here to be desired. Only as a recording does ng reviewed may this set Ramsey, Jr., Eugene Williams, Frank Stacy, Art Hodes, be secured from challenge the Monteux one. 7 The English pianist p?' Dale Curran, Peter Fischer, and Rudi Blesh have also THE ETUDE MUSIC 66n MAGAZINE at the Joyce, plays meticulously but rather contributed, chapters. In the opening chapter Blesh ummagina? 67 price given on in Franck’s Symphonic Variations suddenly to appear on the receipt of (one of tin; writes: “Jazz, that seemed poser’s finest works). She cash or check. replaces the elegance nr!!"!' American scene, actually is a music of remote origins that Gieseklng and Cortot formerly 6 gradual development. Two hundred and fifty years brought tn ? and music with too much sentimental stress MUnrh-.u of Negro slave music, the work-song brought over from dling of the orchestral part is far and above any n!-' Africa, as well as music developed here—the spiritual, ously heard on records. the ballad, and finally, the blues—preceded this instru- If ever a score asked for extended mental music. This crowning musical achievement of range recording hj ^iliereclith C^aJtman Ravel’s B ' R Bolero is the the dark race needs to be seen as part of a continuous one. MUnch effects a conrnrnm with the composer’s intentions-Ravel process that led from the Gold Coast of West Africa laid the st?? on the the vocal and percussive music of the Ameri- percussion rather than on the solo through Instrument there, either to break the monotony or to introduce a Everyone is entitled to his own opinion about Jazz Munch subdues the rhythmic background can South, to blossom shortly after Emancipation in in the carlv new sound, whichever the arranger saw fit. I was part and Swing. That millions like it is attested by the part of the score, gradually y the romantic city of the lower Mississippi Delta, New giving it ii nrnmi. cmi of a plan that had been previously worked out. Now huge income derived from swing bands, swing music, ,l“ I!,*!;: Orleans. -STS other city of the South did African customs then, don’t get the idea that a ‘hot musician’ dislikes and records. Your reviewer occasionally finds Jazz and the conductor’s discipline is “In no advantageously emn'inv? order, or that small bands don’t go in for arrange- Swing music that is very interesting and exciting, from and this set emerges remain as pure and strong and survive until so re- as the best version of ments; hand, the flote? cently. Nor has any other American city the wealth of they do. But here’s the difference. Small bands a rhythmic and melodic standpoint. On the other on records. Roussel’s ’’Petite Suite’’ is less pretcnS do their arranging on the spot, and one of the mu- he hears much that seems so obviously the product of music. His different kinds of music, as well as the strong institu- instrumentation is obviously employed to tion of the brass band which combined with hot ex- sicians in the band will ‘dream’ something up that’s low grade, banal minds that it is annoying, monstrous, create mood pictures, which in our e'.timatlon given a try and if it fits, is accepted. We call this a strident, irritating, and senseless, that he, in concert both piquent and aS citing African spirit to give jazz its lusty vitality and delightful. The Faure Pavanne head arrangement. Introductions, interludes, organ with numberless other people, instinctively claps his of those charming one its pungent richness. Thus, if it was inevitable that poeUc cameos backgrounds, last which reaffirms its jazz would be born, it was equally as inevitable that and sometimes choruses and codas hands over his ears. However, the Jazz elements are worth, is a welcome encore. Here, are carefully original again, the" lie Orleans would be its birthplace.” worked out by small bands. But all this possibly most widely hailed as the “all out” enhances the New musical enjoyment. still leaves plenty of One singular feature of the book is the fact that the hot man room to get around contribution the United States has made to the inter- C U rt Symph0ny No ’ 8 (Unfinished) in.” national musical picture. The Jazz flavor, like catsup, ; rf of h i L The Phila- names associated with Jazz and Ragtime in the past ? tr8 ' COndUctcd by Brui, ° Walter. Colum- Irving Berlin (Alexander's Ragtime Band), George In a following chapter Dale Curran, the writer, pre- has been poured into many compositions of our fore- * bia p . . AuniNiixl vUARTFT 8^699 Gershwin, Paul Whiteman, J. Rosamond Johnson, most composers, here and overseas. It has given zest Rachmaninoff: Symphony No. to numerous works which otherwise would have been Symphony 2; The MlnneaDolis Samuel Wooding, and many others are dismissed with Orchestra, conducted pretty flat. by Dimitri1 MlcroMitro- a passing line. Paul Whiteman, the “King of Jazz,” poulos. Victor set 1148. certainly did much to glorify Jazz motives and present Alexander King, one of the writers of “Jazzways,” 1C adatl°nS ° f th° them with most interesting, exciting orchestral treat- states: “In 1936, a Chicago bandleader named Benny abhTatShTed are admir- hm S°me organized a special trio, in which played Pe°ple lnform lw "mt the sur- ment in the great music halls of the country. Samuel Goodman he face ?u?d? f ? reC°rdlMK are Wooding, Jazz leader who took the “Choco- the clarinet, Gene Krupa the drums, and Teddy Wil- ? obtrusive in the pianis- Negro band pressinKS vary greatly late Kiddies” Jazz Band on a remarkable eight year son the piano. It was a very popular combination and can never l ; 2®?? and one r am in tllesc journey through Germany, France, Italy, Spain, Rou- it made some excellent records, but its chief importance Quality in days of uniform quality, Master Our set was n pianist Negro. Records ParenUy a flrst rate Pressing, mania, Austria, Yugoslavia, Czecho-Slovakia, Lithu- came from the fact that only the was a had no rie?D H since we t n8 SUrraCe ania, Scandinavia, South America, and parts unknown, Consider that even to this day outstanding colored sounds ’ of With the aid of one America’s fi 1 f musicians like Duke Ellington and Louis Armstrong orchestras. Walter gives one in the early Twenties, was one of the best known bestoest performance,perform,? of his of this work pioneers of Jazz in the Old World. It would seem that have never been able to find employment in any first- 0f class hotel.” eter reProduc“on of the Rachmaninoff he deserved some recognition in a book of this type. ^9 HtuJi synmhon? dL0 P Peed n0t “«*“> Us; Benny Goodman and Woody (Woodrow Wilson) taU it lacks sufficient rSonan ? ma Herman are recognized as the outstanding White ex- ^e 11 83 aurally pleasurable the Music In a Picturesque recent Rort?., dt as Age Performance of ponents of Jazz. Herman, we are told, ranks second MitroDoulos this work. However, “MUSIC IN THE BAROQUE ERA.” By Manfred F. trivS only to Duke Ellington. Igor Stravinsky wrote the * m°re brilliant and searching ex- ploitation of thi Bukofzer. Pages, 489. Price, $6.00. Publisher, W. W. 1C Ebony Concerto expressly for Herman’s concert in than the first While better than Rodzlnski did. which Norton & Company, Inc. Sfft«w (made in 1935) recommends it*? 1946 at Carnegie Hall. million records of Herman’s 5 ftom ?? One mter S standpoint it still Pretative t0 Wh°m reveals et tempi om P K qUamyiSn° Woodchopper Ball have been sold. and dramatic ideas of ™? The terms Baroque and Rococo have been variously excesses “Lel^ P Highest honors are given to Edward Kennedy at the 8* n D anCeS " ” end of the first of speed fr° m Prince '9 or: used in derogatory sense to generalizations of movement “l” The London (“Duke”) Ellington, who proudly points to the fact a make of the and tbeP sl pMhar,aimonic, finale. Only °wer pacing ij Orchestra, conducted by extravagant over-decorated art. from the rem^n Gregor Pit Pihor that his ancestors were brought to America in 1619, and The period reaches F - "“ “‘ tlm set 6 g Decca set eclipse the aSP6Ct does eDA 34. from the latter part of the Sixteenth Century to the ^^TZLTrZi’S, Toscanini and FuZ « a year before the Pilgrims landed. He is reported to Koussevitzky’s wWalter?? versions, y P y n at: * Havdn is i Strlng 0r middle of the Eighteenth Century. The best examples hnth egant chestra:DecTa ^ have composed one thousand tunes. Over twenty mil- sound, but his and splendid X K i68!. in art, architecture, performance il ^ an lion of his records have been sold. He has commanded of and music of this period are now lacking in ^meUcuIou 9 mS: Fantasia interpretative subtleties^ s and Graing ofl Greensleeves, and wide held in high regard by intelligent critics. The move- questionably Ver er Hanri ^ respect, not merely for his unusual gifts, but for the best ’ U 15 ' S ‘ rand: ‘ most elsua available in d^ ? m tra. B°yd N6Cl °rCheS the fact origin. ment stemmed from Rome and spread over much of P sive . Decca that he has never forgotten his humble achieving . powers, mestic disc a caressing , Franck: catalogues, k 5 nnart Symphony in Europe. In it the magnificent th Ve Scene D m- yt He is reported to be a Bible student and attends church France included courts makes tliis recording that servatory 6 Paris UyanCy one o/thethe outsf P Orchestra, conducted")?’ Con ’ and vitaUty °f the Borodin of the Louis XIII, XIV, and XV. It has left many ments of tandmg achieve- Decca ” d by Charlesi? mSc a?e eSu?i regularly. the year. set EDA 36. Munch. ^ rea^zed by the Gregor Polish conductor, To the original Memphis Five is given the credit for striking monuments, ranging from the splendid colon- k Pitelhor S * he realistic qualities of the nades of Bernini at St. Peter’s in Rome to the Zwinger ) The i recording doing more to influence the country in favor of Jazz SymphonyXirchestrl? CtUiUi/ Music —a>~ UX ‘cwtpo m and Study re The A-flats murmur somnolently, 84 expiring . . Music and Study Sl in Measures 87 and 88 . The right °wl hand Dlavff y top tones of the final chord. thfee Hold tills last “1 ord It becomes almost Inaudible. until Treat the D-Flat Prelude gently and loving,,, , is one of Chopin’s most sparkling ’ for and nerf«Y It l ect Pennsylvania’s Colonial Influences The jewels, Pianist’s Page Pianistic Points Scales: Very few technic books can be used year-in-and-out routine. One of the y°Ut best r u Musical History Dr. Cooke's “Mastering the is American Scales and Ai-Dessi* n by 2)r. Cjiay tV later other volume remotely equals this remarknw 1,0 pendium. It’s the scale book to end all seal h®' * boolK Development Students love it and need no persuasion - Quaint Pictures of Dur Early Musical Noted Pianist and to ret Three and again to its fascinating presentation f”, agaitl of Male Music Educator arpeggio patterns, forms and variations antl The Finger Tip: Did it ever occur to vou that , outer or finger tip joint could be considered » « ^ itself? Good pianists often ” CLncetL use It in almost 5^ PaJ Q. isolation from the rest of the finger One of thAi?®’*" teaching fallacies Is that the whole 0 28-34 and 43-50. The menacing linger tAf reiteration is ruined used. Not at Part One—Philadelphia all! That last outer joint by changing to 4-3-2. Better stick to the third finger is the control spot connecting the body throughout. with the piano kev? must be trained to yIt extraordinary nivitv anu n! r ' In some piano touches It Etude sketch of his achieve- The is employed to the »v ff Mr. Paul G. Chancellor, author of this article, modestly sends The this skeleton Melody of most of the rest of the finger For e aml f At the very beginning M. Levis Memorial Human- the melody sings caressingly, ger Up pluck touch, the Up "Urdversity of Pennsylvania, M.A. Director of the Library and Director of John almost ^rcn- um the l^' mezzo forte with the left caress. Hill School. Pottstown, Pa. Author of articles on American folk-song, library and hand reduced to the Develop this “Up finger” In ities Program at The softest piano. your^JS Speaker at various library and educational association meetings. Don’t articulate sharply the melodic for addlUonal control and audio-visual work, and educational topics. -pure” finger strench, Board Library Group. Vice-President, Pottstown D-flat in Measure 2 or the v*U Organizer and first chairman of Secondary Education final F in Measure 3, but will be surprised at ay what it will do for your Cummington School of the Arts, Cummington, Massachusetts. Clarinetist, p these softly. The long notes t£hniI° PAUL G. CHANCELLOR Public Library Board. Trustee, which precede these Articulation: Did you spot music works, with the following quarters are that example of bad and ardent devotee of chamber music. Composer of songs and chamber much more-xichly played. sical 1 articulation which popped up performed: "Two American Folk-Sketches" for string orchestra and "Beggars’ Airs"— six part suite of oirs and reathe the Iast bea re,!eatedly 1 toe E UE®T are stin t (eighth notes) of Song of N 1791 the Marquis de Chastellux, touring the new and bass, later reset for string quartet." Located for coming in v? , , Measure 4, Love” film? dances for quinfon, viola d’amore, viola da gamba, . for more Chopin °a t0 Whenever the pianist ^ f ’ and ln a Slngle performed Prelude lessons” to elbow curve. The melodic Schumanns United States, was in Philadelphia and had tea at magnificently equipped Hill School, Pottstown, Pennsylvania, Mr. Chancellor has had un- supplement the twelve al- \ repeti Trtiumerei he played years at the the melodic eiehth Editor's ready offered in notes. I Mrs. Shippen's. Of this he wrote: “This is the first usual cultural advantages in one of America's finest preparatory schools for boys. — Note. R.. the Etude E, F. and Technic-’of-the- A which mes 1-4. The five came alter the flm Month columns from October melody notes in Measure S time in America that I have seen music appear in 1943 to September 1944 10 are Udl> nnd wooden Consequently, !° ‘y doing .so he vio- study-analyses ; society, and mingle with amusements. Miss Rutledge The irrepressibly musical Germans filled their church of the remaining twelve latedSlated the obvioush pianistic in Colonial America. U rule that short melodic notes e n°W Cheduled to coming played on the harpsichord and played very well. Miss three more services and home life with hymn singing. In the aPPear from time to after a long tone We can wish now that, in 1788, or in the Ume onthh* s l mast be played voice. Mr. h page - For Shippen sang timidly but had an attractive English colonists the musical picture correlated study I advise S years remaining in his life, Hopkinson had written his churches of the using U,e f a th ^ ot thc Trdumerei to the Chevalier de la Luzerne, had -singing; " Calvinists fast to psalm °rit tive Presser "t Ottaw, secretary memoirs. The was darker. stuck bare Edition phrase*" enernnh**^' ’ autobiography, or at least his musical Preludes of the phasl/-lnK the E. P. and A * * * f P™; Wooden, unmal- also ' The first of his harp brought, accompanied Miss Shippen, and Quakers were unique in having no church music. the ' fragile to him, the t-j new series, No. 15 remem- latter idea probably would never have occurred ,. lf in brance, and N°W ‘ ay p with a slightsi eh ft P U aKaln ’ thla tlme 15 “nvenientl iu ritard. In l^easurp*; 97 uniting or played some pieces. Music naturally leads to dancing; man, who The Anglican churches—Christ’s Church and St. Peter's y Printed in the music savmVuils T ° " for music was just one shining facet of this section y U pl“y ; ofX?this month s T« V • and then to C Vicomte Noailles strung some harp strings on a Etude. aand**F”d the de has been placed second only to Franklin as the most —did struggle to reproduce ( Continued on Page 122) ’ fler the me to c0rrect the ’ ,* P the phrase starts softly, violin, and then played for the young people to dance, impression once and L' ent versatile man of the colonies. His main busi- foTan t t !LtlUS g y t0 C and fl nally p ular ” ! mounting to high F. while the mothers and other grave persons conversed £?. °P Prelude is the "Raindrop TZT, , ness had been his country’s. When the great ThatPL £ Intolerable it is to dubious and dripping honor St n° emphasize or play loudly, the in another room.” (according to all ures 26 ritard ln Meas- words “and crisis with the mother country arose, he took authorities) and 27 leafto thf- f ?, then to!” goes to the lugubrious This is all very pretty; in fact it is too pretty. It one in E minor! simo (soft an unequivocal stand for our freedom, fought ‘ ‘ ‘ pedal!) in 0 ' f the onomatopoe tic Me'asme students fir-.t tx-rotne aware of creates the false impression that American „. . reiteration of the A- solemn Tl'ftaT* common with his persuasive and satirical pen, signed fl left hand quarters 0se a er*weight» floating ‘ in , elbow eternal silks, satins, D flat prelude two-note^hr1 f they are usually colonial music was a matter of resembles measure phrases of bow , the Declaration, and energetically adminis- rain “waves”, one d0Ver’ a”at all, surely Tit with a slight- „ Most of their faulty harpsichords. mustT , minuets, recall glistening cresce pianistic approaches, and tremblins? quarter of each ^° to the third defl tered his big job during the war—a post that °n lpsh ^een foliage measure and bad hftbUs Philadelphia after a shower. are pr« -uptly cured. . . In the same year of 1791 there died in . . For the Navy. In years timetTmf the a S maglCmaTworks we now call Secretary of storm has subsided, the hnmediatelyl a man who could have given the Marquis a more re- rainbow has faded 35 and p,ay - nL of peace he was the friend of our most prom- and a pure, 35 39 Si a,,y cleansed melody sings in are often flrst convinced elbow alistic impression. That man was Francis Hopkinson, the serene sun-' ly faster and tin s of the inent colonial men, who knew and respected light of tempo. . r " an . r azure sky. Only at Measure Measure ^ Whcn any better than anyone else what our coloniar 28 do the dark out. tear the mac hlne” analogy 1s used, who knew him as graceful poet, inventor, painter, de- Play all these loud heart that ° C 68 o.lf f b°W dps are the music was like and what it meant to establish music tbeir fOTces key-top; never 7 fr° anrer “steering wheels”, bal- voted alumnus and trustee of the University St'^eshonslaugw jab them m the 0** from 0**5 • • to notable accomplishments stove thfv • the motive power of the two in a new land. In honor his lawyer, business man, and ractice the fortissimo armshoffL f^ of Pennsylvania, E * con t begin as major chord ^ r°hed and smoothed out bv the gear- as a pioneer in American' music, it is only just to an isolated Measure 40 shifting n!f finally, Federal Judge. up chord letting of him. The “PS ’ and 80 fort any account of Philadelphia music with mention Nightmare your h . . . any such imagery lap afterward. ^ bound to If, on that November day of 1788, he had TOs is wSShJTtn L IT k ' Be Four years before the visit of the Marquis and the e in r nightl are (power) ^ bodiIy sure to tell Uiem that the balanc- °f this °- and at sprin ine tins f been thinking back over the thirty-odd years sharP minor section the same time^o 1 » m 33 finished the reJche® two n !; te assure StaUc or may the death of Hopkinson, the latter had just emendous climaxes lease feel. Keep necessary tip move -'hghtly; but interest in music back to his late in Measures 40-42 ud the re- confm, ^ Unlike of his — andamiLfi56-53. mea “ however Powerful is second group of songs of his own composition. What masterful strokes through 40-42; UIe wa and Instantaneous, ’teens and early twenties—he could have said Chopin at ves” alwavs 1 , h’t swings in Measure 43°' a^ays light * his first in manuscript, these these measures! a S,di moltf and unobtrusive. group, which remained With disarming simplicity swift diminuendo <> and make that Philadelphia’s secular music history had, he merely at 44 ’ changes the "perpetual 1 ftesume as were to be printed. Moreover, he wanted to dedicate motion” eighth notes from before. by coincidence or something more, really be- r them, and to no less a person than his friend, George Writing-Fun Books gun with his own dawning interest in music. Further Details Washington. To the President he wrote a modestly and In 1757 John Palma gave Philadelphia’s first The second practlce ; climax in ’ a!1 Momentary felicitously expressed note that contains several things Measure's ' Intermedia^ sible, 6 5950 r. TadTT known concert at the London Coffee House, ble be Sh0UldSh° uld if P d° pdplIs more keepingsweeping than Ar„J, / -' Pos- several should ^ of interest. “With respect to this little work, which I substde thrMeM ures pages fn a ‘f and Thomas Arne’s “Masque of Alfred” was too much 40 -«- m iC WTitlng or ,heorv *’ [wrote 110 during Mel Don’t excellent h00 M have now the Honour to present to your Notice monotony of 60 ' exTmn, es the University of Pennsylvania, the rather loudly 6 ' P are produced at G-sha^To^ and firmly /'' P ay thcse now Procurable. Virginia Me Hopkinson], I can only say that it is such as a Lover, A-fla^n^Um^ ^ aSdonTf gomerv ho, certainly Measures 68-72 tIy a performance in which Hopkinson are quieter produced a e°od Music Fun Be not a Master, of the Arts can furnish. I am neither a (t, Ch fflt Tlumes had a large part. In 1759 Hallam’s theatrical ^ were called Work-Fun Books, profess’d Poet, profess'd Musician”; and further ssi-staiaaa 6 mUSiC the nor a must name |t J° last ctouTdisJppIar? si ^h deeply se€ndall company produced “Theodosia,” called the aHhe into >' by the pupil, would insinu along he wrote: “However small the Reputation may his ; performed in America by those 011*11685 first opera usually the fact ^at rewarding : be that I shall derive from this work, I cannot, I Study Details 73 In* com^ft-° . who allow this work to be called opera. Most ^>. ' t r anqui Tsunsthne^rle) (Mea^es m intereating work, believe, be refused the Credit of being the first Native ' Any of Hopkinson wrote the first he I lat ^haU important, in 1759 D PreIude S of f - a Jong nocturne-like tfigue Theory or Writing books will the United States who has produced a Musical Com- tion,tinT can comnosi earlv T American song, My Days Have Been So become intolerably Stddcnts “ position.” accepting dedication of the dull in the - to Mi Washington, the hnTTr in Land" by 0n Our Way in inexpert or unimaginative time; only the P ay these Sister^tan Wond’rous Free and five other songs found pianist. Like several slightest hint almost ^laus. Loofbourow’s “All Aboj songs, rather playfully disclaimed an ability to judge other 0f thL sible Theory T ^ manuscript volume now in the slow preludes (Nos. before the rUard is " the precious 2, 4 6 9 13) J k n themed^retu and Ad Lar the value of any music, but, said he : “I have, however, U8Ually rn in 11 P*S- are ventures in Theory played at too lame tenderiy / ideal f™ , Library of Congress. But lacking Hopkinson’s during 76 ’ a pace Better’ fn’ twL^ the soft, Hesita beglnners one argument which will prevail with persons of true f 11 te the - - • • And of course, (andantino). faster br^htet^n books °off try to piece together our and let the ifft hlnL m Measure ” sixteenth ^ Etcher’s taste is memoirs, we must TT° 79 . (at least in America ) I can tell them that it FRANCIS note -Theory Papers" are *ops. . — HOPKINSON Play story of early Philadelphia music. the B-flat in Meast,™ the work of Mr. Hopkinson.” own with up *101 t0 happened before 1757 (Hop- America’s first composer of standing. Musician, author, statesman. touch, use ° IoudIy Both men were right in judgments. History has Of what had the ' these third fin and changing to ger for then twenty) there is not much Judge Hopkinson was one of the signers of the Declaration of In- the fifth " this B-flat confirmed Hopkinson as our first American-born com- kinson was 0f ™ r dependence. He was a member of the Continental Congress and had not rh ld tell. What we know is chiefly of 0ngm on the ‘ 11 poser. History was that we can " the A flat r< would also concede, gently, that he an important part in designing the American Flag. He wrote several the^ptiT" "o mke a W’ Exert music. The Swedes strove zealously to no great it would go church ’ master of the musical muse; but excellent songs. His son, Joseph Hopkinson, was the author of Hail, don dislinguish vourse'/ ’ 74 t thi *k% - develop their Lutheran liturgical music, and Measure"ure 8 1 teuTletmng T* further than Washington and name Hopkinson as an Columbia! Francis Hopkinson was an intimate of Washington, Jef- 3. win b from the world until the v "MUSIC V that amateur and promoter of unparalleled Gloria Dei Church became noteworthy for it. ferson and Franklin. STUDY y°v retire."— music who was EXALTS LIFE Johnson. FEBRUARY, "MUSIC STUDY EXALTS LIFE" 75 THE ETUDE 1948 ™ FTEN we hear expressions such Music and Study as, “Singing is good for the Music and literature had been much the Study same as that health,” “Singing strengthens Useii American and English schools. in O Now let us see how, through the But now ci lna the lungs,” “Singing is a fine outlet for have songs that were Chinesd. mus study of artistic singing, the less active And she pr t forth. do 0di CCd the emotions,” and so But, —produced them by the hundreds, tbe,n of the intellectual faculties and senti- it was th we ever hear the expression, “Singing a " a activ- ing of a latent talent, the pent-up folk cet>- ments are awakened to greater ,S0 ,T ! builds character?” Does singing, the 8 Spirit this New centuries finding expression. They of ity. Let us approach it in way. were , singing build charac- Music . artistic for an Ancient Land si °W study of or sorrowful, °r fas of these are indispensable in the spirited major or minor f us see. But first an understand- Singing Builds Character What ] on ° ter? Let laments or marching songs. f sbort acquirement of a singing voice, and in They were in if . ing of the basis of character. Ueneecl Western hymns and folk-songs, by the interpretation of songs? and bv p u „. Character defined is, “The sum of but they were essentially Chinese. *** mU5iCl one First, reverence, that we may have How Western And as qualities or traits which distinguish Music Went to China they were good—tuneful, °dies that respect for the experienced teach- rhythmic, expre«iv» ' person from another.” To these dis- ' " e ’ var er that leads to confidence in his abil- —some, even inspired. ied tinguishing elements should be added 'lAJidicun Cj. ^Irwidtron ity realize desire. Not content with unaccompanied corresponding cast of the features. Inj l to for us our songs th a mUst Second, ideality, that we may draw a have choruses. This was a different story Dr. Henry Gray, celebrated anatomist, Witt?'D fine line of distinction between superior perience of harmony from their ° ex' in speaking of the features says: “The native ’music Inj innate d no evil and inferior tone qualities, and that the ^dfler sense of harmony, they floundered habitual recurrence of good and w to “look through nature up to nature’s God.” texts of our songs may be noble and beautiful. inevitable pitfalls, 0 the indulgence in particular modes of life, without knowing it thoughts; the Student !^ To exalt the mind “to all sublimer things,” to afford Third, comparison and causality, that uT e may dis- sang with equal pleasure the awkward call Into play corresponding sets of muscles which, by ° us the most exalted conceptions of beauty and per- cern resemblances, analogies, identities, and differ- °°™T one "'ould search in vain harmonies of their untrained producing folds and wrinkles, give a permanent cast in the an- tional singing was composers ana Tu fectibility, we have ideality. ences, thus assuring that complete analysis of our texts something utterly new. The people chorales the and speak language which all can for a movement com- of Bach, or the fine choruses to the features a narabie . found that they could sing, of 'their To secure respect for the opinions of others, and which makes our conceptions vivid, distinct, and com- N ° and liked it. Mission European-trained Wn understand and which rarely misleads.” Then Schiller U h has taken P^ce in the schools Chinese, such as Orient in the a t introduced into Dr Hu especially for the aged, the experienced and the wise, plete or, to use a common expression, “bring out of T their curriculum, along with Mr. says: “It is an admirable proof of infinite wisdom that Y’ namely the adoption of Chu Yuan Jen. Benjamin Ylng Westernestem m,™?, l science and western languages, Such men aTthl®' and most of all to secure a deep and solemn venera- our songs all that there is in them.” music by V®?Eastern music courses—vocal, is noble benevolent beautifies the human ' and lands. This movement has whose works deserve to take their what “ instrumental, and pin, ,. j„ the tion for the Supreme Being, we have reverence. Fourth, marvelousness, our part-singing. The spread of Ame is base and hateful imprints upon that minds may be tuned ”« ", or”.. music can choral repertory, realized countenance, what „“Sir was slow at first, and limited the urgent To secure gentleness and kindness of demeanor and to the source of all things noble and beautiful. 5 °f to the few who were ne^ft it a revolting expression.” Wholesale thorough race adoption by one leached by musical training for their of a nhase ?„ ' churches and mission people and mercifulness, we have benevolence. Fifth, benevolence, that our tones may be softened the cultul e of another. schools. But those result, conservatories J 8 Incidentally, Schiller could just as truthfully have Music had who and music . ,' developed , had opportunity to ‘ho, Jl That we may have a love of little children, we have and beautified by kindness, gentleness, and merciful- smuiHaneoaslyZn^L in learn it, at once showed ability " ere es- said: “What is noble and benevolent beautifies the hu- the various lands of the and tablished. ea Unt keen interest. Choruses gave philoprogenitiveness, the maternal feeling. ness, and that our interpretation of texts may be given y §iVing t0 “ its own sacred concerts and man voice; what is ignoble and selfish deprives it of sclc eharacter- r s on just, S cotorcoloi—lhythm,rhvih harmony,h “ the church festivals. Students That we may be disposed to right, and be we that emotional appeal that draws a ready response, melodv but all ™^ used every The Growth its natural beauty and charm.” mentally available instrument of Music conscientiousness. related and all influencing and minute to practice from what do our distinguishing qualities or have and the expression, “He lives in his songs.” one^ aSt£r to The tale of the Now 2 t S Wh founding and growth secure discreetness and caution, r e a S y arriVed “ China at the of the National traits spring? From a predominance of To prudence and Sixth, philoprogenitiveness, that all other sentiments g a , " °, turn ol the Conservatory certain of our sim centurycentSv tellsJeuf f of Fukien Is truly Now Chir^ w1th of waking the first an , uic ,,nd o ! we have cautiousness. may reach their spiritual fullness by love of little chil- a cutore ol^er fean morning to hear in «ie intellectual faculties, sentiments and inclinations. Hu- tMt ^ gll s only one of Its kind the dormitory the sound war has product That we may discern resemblances, analogies, iden- dren. No love of little children, no spiritual emotion, of a dozen little organs to cifina mans are of two constitutions, a physical and a men- h When I returned to my For several mornings own school tts tities and differences, we have comparison. and no spiritual emotion, no interpretative artistry. Tesirr? this continued the m „ tal constitution, but since the former plays no direct srs scales aim arpegglosa^" and Utile That we may perceive the connection between cause . Seventh, love approbation, that so arrange pieces starting promptly part in our present investigation, we shall leave it of we may - at sfx nn qUmng leads faculty to °f °le Chinese Dean and pass on to the latter. definition and effect, we have causality, the that our programs as to meet the desires of the many thif the ™ the reason for A correct of srsi- T s ary was toid the investigation of causes. members of our audience thus paving the w ay to suc- that u was ™ *s “mental constitution” would be, “A grouping of the Scf^ r That we may have a desire for distinction, we have cess distinction. intellectual faculties, and rather this sentiments, and inclinations heartless music school h„l I,.,,, love approbation. But in excess, love of approbation 1 establlshc.l which characterize constitution.” the of Eighth, self-esteem, that we may have confidence in on pSPracticeIV*at six with nvc Rira' the mental Now, winter moraines in 1 leads to love of indiscriminate admiration, and hence °“““ ...a purpose of this investigation is first, to show that it our ability to attain what others have attained, thus sionanes. ment. and Itr'S:P At the tune of the S library brought to a weakening of a fine character builder. defeating enemy of progress, bv sen ,nd that that mental handi- advent of missions into is the sentiments, and not the intellectual faculties respect for ourselves that which are the basic character builders, and second, to That we may have that cap so unwisely created by psychologists, "inferiority leads others to respect us, we have self-esteem. Buf, ’ss st: draw attention to the significance of the fact that the complex.” in excess, self-esteem leads to personal pride and r C occupation of the artist of song is essentially that of PlQy ™ the ‘ a"° haughtiness, and again, a fine character builder is The Basis of Intelligence P "^eWoh^'tnSw expressing sentiments; not only his own sentiments, isszzzzsss* 1 coZoTe. to weakened. rr but those of the multitude; or in other words, he, as Inferiority complex! Frequently it is said that ob- ton Pnmpi^ yeB Now let us see how through awakening to greater S 1 was 1{cpt t0° it were, lives in a world of sentiments. servation is the basis of intelligence, hence one finds mus'ic u busy with the S h°o1 to it person activity five sentiments and one intellectual faculty, difficulty in associating inferiority ipn v,slt thc new institution. Often has been said of a that he was led mental and observ- AsS “mes » When i was ^. N<"" Importance nM™ fr astray a character is transformed. ance one’s shortcomings. 8 °m °ne V ‘ lla " by his inclinations. Putting it simply, this means of Experience has shown that s™ Vree Ch nTf ' : ,0 ailother ^ ' is dominated combative- ’ I ftas that his Suppose that a person by in cases the «' ,ralnhig bands and choruses, intellectual faculties had been made the many person is hyper-sensitive, and of a “ »- pianists and sin . m POOChOW servant of his evil inclinations. Now, in this degrada- ness and acquisitiveness, the roots of all evil, and we retiring disposition, thus giving the impression that he dynasty, r Col,,, e - some six « My contacts hStodySS S Se new awaken to greater activity, love of approbation, be- is mentally inferior. TS^wS how tion, it is difficult to see how the sentiments could What he is in need of is a degree close when fl cvcr. became more PUp have been involved, but let the reader judge for him- nevolence, causality, ideality, conscientiousness and of combativeness. In most cases, the person is over the Laurence Lee, left to join the just the „„„ *» faculty as nrofe 1 SELr.*"™-th self. Here are the basic sentiments as given two cautiousness. victim of preference for that which is entirely in spread piano - by not from the churches movement fert Recltal tours and a con- and Tl , trip with q In such a case, the conflicting elements will qualify accord munity. t0 ‘ ar et ° f stu medical investigators of historic fame, Dr. Gall and with his first, or special aptitude. Consequently, This development 1°* the com inland dents took me to various called cities and regulate other, so as out of the whole, to new song & quantit b8Ck to Dr. Spurzheim: marvelousness, benevolence, reverence, and each his progress will be comparatively slow, but, if he will material, in the y of chow our home cit .v of Foo- Chlef entertain churchy v, on thp cm ideality, conscientiousness, cautiousness, mirth- form a harmonious unity of character. Combativeness persevere, his very slowness will the ment at had been ofthe ’ happlIy then hope, prove a blessing in Imperial court !hi! used, for th " Ws frec - But not till the 2 the I war ended provincial 1? will carry the individual forward with an energy which yamens. ’ fulness, firmness, love of approbation, and self-esteem. disguise, for he will note and retain many details The decadence Lf 1 adaptation of a S yCars trpk a «d exile, our school and Ohi^^^jJ-Jg ret Ura^ Tf? ° TJnable to see how anyone of these could possibly be will surmount every obstacle, and subdue every re- missed by the quicker grasping one who “grasps the W" Campus ln Foochow, did I have an every opposition. opportn^e^PPo unity to made the servant of evil inclinations, and considering sistance, and overcome Acquisitive- whole picture” with one sweep of the mind. The writer visit ( Continued on Page H2) that the intellectual faculties can be made and com- ness will prompt him to pursue a course of gain. And had a friend who became a great surgeon. He was so SHSSgSSS awakening. of approbation will ^-indulgence of the monly are to serve evil inclinations, our personal now the Love prompt slow in learning, that he was rejected Emperor and his C made and rejected. ot t jnLhe c tton the neglect !£*™ of music to conclusion Is that it is not the intellectual faculties him to seek his gain in a manner by which he may Finally he was graduated, and with honors. Later, of affaim Vf i t Purely had beei1 which are the basic character builders, but the senti- distinguish himself and be the object of admiration. when lecturing, he would continue for hours without N cultivafed art of tt Tv* ’ Benevolence will lead him to seek his gain and glory relation to the common itUe ments; especially the spiritual sentiments. Benevolence, the aid of a single note. Slowness and steadiness had peoplfThe f lk to in Slk 'mn^tmuslc referred ideality, reverence, conscientiousness, these four, in some enterprise of philanthropy which aims at the won mental superiority. to the ancient legends of r'.,TT and But continue. These elevat- died out at t0 haVe and the greatest of these is benevolence. general welfare of mankind. Causality will lead him ing influences qualify and regulate combativeness, this time as if folk song meagre to pursue his enterprise of gain and philanthropy in acquisitiveness, and adhesiveness. literature of China ® M^ic Tththe , the people hves of Elements Which Transform Character an original track and manner, and in a philosophic Combativeness is necessary to courage, seems to have been confined to meet and *f Professional entertainments in From Dr. Gall and Dr. Spurzheim we learn that form. Ideality will give an elevated character to his overcome difficulties and discouragements which crop celebration °off f auspiclous occasions. enterprise, and enthusiasm to his effort. Conscien- The decadence of native mm' there are thirty-seven basic intellectual faculties, # up on the way to success. Acquisitiveness is necessary sentiments, and inclinations. These, with the exception tiousness will prompt him to be strictly just and to gain knowledge that will be of use to us in our principles, of the faculty, tune, are in various degrees of develop- righteous in all his operations, and actions chosen career; while adhesiveness is necessary for ment and activity, inherent in every living person. But, by which he seeks to gratify his combativeness and clinging to our idealistic conceptions in opposition to through childhood environment, lack of education, or acquisitiveness; while cautiousness will prompt him to all degrading influences, thus protecting our interest conscious or unconscious imitation, the less developed be extremely careful to do nothing that will profit or and preserving our art for posterity. 810 eclined during next five - the jeopardize his interest or his fame or to in hundred yesms^th^n f and less active of them are caused to remain under be the least Thus, through the demands of artistic singing, “all in Where 14 Was universal disrepute Me? held the dominance of the more developed and active. But, degree inconsistent with his principles of philanthropy things work together for good.” reputation for theil‘ and strict righteousness. Thus, through increasing never Indulged Tn since they are only less developed and less active, they the Through serious, enthusiastic study and interpreta- TwSmg 01 Paying, frequented • or activity of one less active intellectual the places where m, are subject to development and activity to a degree faculty and of tion of songs, thoughts such as are embodied in the ragged professionals. performed by that will five less active sentiments, a character is transformed. Into th^aL^Tha equal or exceed in power those under whose songs The Lord’s Prayer, The Blind Ploughman, The sionaries, mosphei’e came mis- with their dominance they have remained. Of these thirty-seven Hills Home, Invictus, and kindred songs, hvmm dj Spel of engage People to songs ' To a whom mu ic hlTt, l° intellectual faculties, sentiments, and inclinations, we more and more the conscious mind of the student. In vated art than m°re a culti ‘ a fX medi^nL^ now shall consider only those necessary to show first, time these character building thoughts find lodgment iigions had nothing canAV^S. *£%£ how a character is transformed, and then how singing in his subconsciOTis mind, and once so lodged they be- Welcoming LAURENCE builds character. VOICE come Mr. Faurotrt^Nlr LEE a dominating, unyielding influence in his life; 76 First, then, rrederic we have marvelousness, or the disposition unyielding because no other (Continued on Page 112) " . MUSIC Fauro1 STUDY ' EXALTSEXALT* t rams b^rence 1 LIFE Lee. FEBRUARY, 1948 "MUSIC STUDY EXALTS LIFE’ 77 THE ETUDE ^ ' 1 ” . Music and Study — ~ Study wnen he **ay ITH the hundredth anniversary of the death Music and the tune correctly, teach him to Can aim at a Mai just passed, and with 0od of Felix Mendelssohn smoothness of ’ r tone and rhythm. By °Unn te,pM the appearance of a new edition of the Six listen to what he is doing, in a him surprisinei* to W Preludes and Fugues edited Sh Sonatas and the Three his power of self-criticism will be °n awakened revised by Edwin Arthur Kraft, it seems well for consistent, careful guidance, and and musical eT’ UBdtr works a bit. us to discuss these organ will develop toward a higher minatio and >' of the piano, the higheri I believe that, with the exception achievement. Technical explanation andaid of the !{ of organ has the greatest wealth of literature of all the scale will come more ructur appropriately «of instruments. It is perfectly amazing the amount j other Keeping Up Mendelssohn order to avoid the last-minute °n jerk - with which, by whir* & of fine music we have for our instrument, ginners bring the manybe thumb to Its key - too familiar. think i n sni for the most part, we are not We have found it helpful to use the 8’ neglected by some of the simile of a lm" that the organ is perhaps passing under an arched bridge. boat times, but all we need to This sueee i great composers in modem pupil correct arched hand l° the works by Sowerby and position and th do is to look at the newer gradual passing-under 06 smoot Kexcinder ^Yjc Church of the thumb h other American composers, the modern Frenchmen, Musicianship and technique go and the Variations on a Recitative by hand in h Hindemith, Editor, Organ Department cannot be taught nd anct mater- separately. They are rnm„i. Schoenberg to realize that there is a wealth of terdependent. try “' of Instruments.” To to teach technique ial still being written for our “King defeat its 18 to remains to be own purpose. Since only one Of course, how much of it will survive asnanV 0, sicianship-the ability * mu ' undoubtedly alike for of us who have had some experience to handle' the kevWrf seen. until Mr. Kraft’s edition appeared, was those ciently for the performance SUffi" is interesting to note that there was a lot of little doubt that these and for the student with little experience. One will of even the simni It .the most widely used. There is —requires nice P‘ece for the organ in Mendelssohn’s time. developing finely notice at once that great care has been given to the judgment of interval distant music written works are not easy. However, for the Julius Andre, and fingers, the keyboard, the neat, precise manipulation ofTT Hesse wrote tons of it; Rinck, detailed organ playing, there is nothing like the care- fingering, so that in the changing of obtain good tone, and the l° others wrote plenty. Most of this music we never hear legato is well preserved. The indications are clear, abllltv to reco il transfer to the keyboard aM now. I think that in the last twenty years I have and the repeated notes and the changes in hands are the printed note V u or rather, it should not be heard one number by Hesse played in a recital, and Ex. 2 all indicated. The pedaling is particularly well done a matter for sSmrJ? S* the attainment of ^ that was somewhat of a bore. Of course, other music by Mr. Kraft which, of course, one expects from a any marked degree of Mendelssohn’s time has been found fine player and experienced ciency involves time, and yet written during man who is such a many adults appJenS expect a few months to be of greater importance. We need only to mention teacher. We call attention to this in the first line of to suffice for learnine 1, Mendelssohn is played by Such a specialized art Schumann and Chopin. the Second Sonata (see Ex. 1). mast be .slow and iHi ments to the ^‘ organists constantly; perhaps only a movement or The difficulty of the change in manuals in the second contrary, there is no short 1ut played. I plead for easy two of a particular work, but it is part of the First Movement has been made so , Fundamental Training more Mendelssohn. The music itself is so good, that in Mr. Kraft's edition, as shown in Ex. 2. International yms Plioto of preparation, an organist can The difficult pedaling, along with the moving manual It is a mistake to aim at with a minimum a quick, ,superficial Khmr< n which surely make Mendelssohn sound well on almost any parts, is particularly well done by Mr. Kraft. I like royal princesses only too often ends In complete . stress Z^ck p music study n of InterS organ, small or large. the clear indications of the phrasing also (see Ex. 3) ““ pan the 1 11 P ^ when he suddenly realizes is, stuck rather he This is the method pursued by Mr. Kraft throughout. than thorough, fundamental train Excellent Study Material The registrational indications are good. They show nnUf,,y more *? ““sfactoy that Mr. Kraft expects the organist to use his head results '"par^mor ^ There is no question about the fact that for the registration at his command. particular period the Mendelssohn Sonatas are im- about developing the the Second Sonata the student portant. As we know this form of writing, however, After the study of any more lovely set of they are certainly sonatas by “courtesy.” The sonata will enjoy the Sixth. Is there variations these “Vater Unser”? The Chorale form is not uniformly adhered to and some of the than on Playing itself is beautiful, and then the way that Mendelssohn by Touch writing is in the manner of the Fantasia. There is - -oS used it and developed it, makes it something at which important part of our education as y the tcachl,,g perhaps no more ~of fort>arm rotation.’ indications for repeti- It to marvel. Note the method of k when m gK' Cn organists than the study of the Mendelssohn Sonatas P««** *»r which they are (Ex. not realv Fugues. I shall never tions in the Chorale by Mi'. Kraft 4). M fCaT r and the three Preludes and y ° technte»“y. 'hat they stiffen up in me.r anXlous, cease to be thankful to my teacher, Mr. Wallace A. effor* to Pl«.v them, UlUf Sabin, for having me, as a child, study these works Ex. 4 by £ve(ine S,C f Wjt Vltal ln, P° r, once—the steadily onico ’ Chordli* t Jrm recurring n.mH W hlChJ? u in detail. He was very careful to see that I enjoyed ,s thc ni,cleus of rhythm, and no S , n l ; my work with them, although they were so hard for ful study of the Sonatas by Mendelssohn. Just as S * Bl> P ^°r a PUPH l hat he cannot, reasonable after a in teaching, seem to give our students so that he UM 01 me. Today, we soon as a student of the organ has gotten practlce nnd ‘ ! “fly. play rhythmi- earn i nil' the Bach Chorale Preludes and the Eight Short Pre- his feet understands the first principles The W rd " " can use and ,° KtUdy 85 os “practice.” be- dule n fM C< ludes so early. It might be well first to study some of phrasing, he can study the Second Sonata. In the ‘their ««»* °.ny to° oftcn tends to become mechani- A « » «h cal renet pi Mendelssohn. I am also thankful for the opportunity 1th quite and “0 attempt at an understanding of unnecessary f ^ “ b later, when I was a little older, of studying again the or the piaffist a SS"S \ Py m ‘ ltS said, “The haS rhythmic shape, its phrasing. Ex. 3 beginning is the ^ Just as the Mendelssohn Sonatas with Mr. Farnam. “st1 part ofIf 0r and meanin tt di. this cannot be ton ^ work,” « of P«fm must be T 6 Std TCan of music " * the Parly 1)6 recited intelligently, so must study! when correct the structure Lemare Mendelssohn Student or^ a ece a formed. The eyes haWts are P* be studied and understood are for the before it reading printed1 d page ° bPeome Intelligible When I was a little boy, Edwin H. Lemare was the a book, and ’ Just as in to the pupil or the part of Pn I i SSOn listener municipal organist of San Francisco, California. the first year, ’ at Ieast during should be devoted ? 1 Every week he played programs that were full of meat teacher insisting that 163 the Technique mmiMM the pupil kMp ^' ^' a Means h to an Objective Page and feel for eyes on the the keys a nirfi ? 6 0ng Ex. 1 essential, sense °* tlle the the fingers being arm are puDii^ t^h!f| is developed, qUe Wl11 Wfih the eyes members lm Prove to take of It. but free - care to travel the musimi c note across the fingers feeling n°te by mUS be the oh^th'0 and be con- sensitively for stantly kept u * 0r thef he^’ ' CW mg keys, facility corre ' the tcchni( means ” 0 in readme- spond- to l ue being the *«££ attain it Thi »£T, -. the pupil is no rapidIy S approach TSTr longer ’ for Rives the word "technique" hinderhJ meanine in Sonata is not considered the by trying T**,fUSing m U Although the First to look at himself U Who ot herwisc is apt to tliink of two things'* a t-n it as somethin* S S greatest, it is probably my favorite. The way Lemare thp, keyboard 8 and thus repeatedly Page and titious tod,ous involving much repe- Playing jo ing^g hls practice *wui played this in San Francisco was truly something to . pIace ltbout with the eyes - an dear some- closed Music and Study of years ago a procession of Egyp- Music and Study lrd fin HOUSANDS resting against the stick more lightly Ser s tians marched slowly toward the shrine of Technic of the bow hand depends of Healing. The instrumentation upon 3 Serapis, God of pressures and counterbalances of master T thumb y of that group of men probably consisted of reed pipes, give control of its use. 3 fin which In the 8ers initial^?' tamborines, and drums. In the Bible we read about developed largely control is through ^ ttlls the use "an hundred and twenty priests sounding with trum- legato strokes and by lifting and br°a( Advancing replacing th °i i peters.” We know that in ancient Israel, no ceremonial the ’Cello Section strings. relaxed bow the A position of 0,1 the thumb ! meal was complete without its accompaniment of in- tial to a light grip. The eS?en ' thumb should be music, and that victorious warriors were s tra i strumental gradually on the down stroke, ghten bent forward m met at the city gates by “the band.” the It is held straight at the frog ?*! up. only for sp In those days there were horns which only the such as playing pianissimo. e£Eects Fingers likewise m - Priests were permitted to play upon, and our present- 1 slightly on the up-stroke, and thumb bend band undoubtedly began its development only '' and fi day cJeCancl dConc^ well as the wrist contribute 6^ to smooth cham*- 48 after the nobility’s exclusive rights to drums and 8 8t tip and heel. It is difficult to describe the trumpets ended, and the common people were permit- the?6 accurately without illustrating ?°tioils use of those instruments. on the ’cello ted the may verify the use of ne OT THE LEAST of the finger motion in ° In Athens every boy was taught to play the lyre; difficulties in connec- ers, places instrument the -k and fingerboard in a more ver- by holding of tion with developing the string bow the right wrist with the double-flute and Cithara were also favorite in- choir in the tical position, which the Ln f modern does not permit the natural arm while producing perceptible band the people of Greece. In Rome, the N high school orchestra is the motion of struments among problem weight to contribute to finger pressure, in the case of the h of securing an adequate number haps as much as an inch, while Per ' tuba, the corna, the cavalry trumpet or “lituur” and of well-trained 'cel- the left usingB lnethe hand, to the same degree that it does in our fingers lists. It is too late to develop competent thumb alone. and the short horn known as the “buccina” were the popu- players of the recommended position. Also, 'cello, as is the bow receives less sup- of the period. In Greece and sometimes done with the basses, after lar brass instruments stu- port from the strings in the dents reach the more vertical position, Importance of the all processions were headed by trum- secondary school age. 'Cellists Bow Rome triumphal should requiring more effort be started in the on the part of the player in hold- The value of particular upper elementary grades or in concentration peters. the ing. Legs should be out of the unon the nrst year of junior high school way of the bow on both hand in acquiring this b°* In 570 B.C. Servius Tallius introduced bronze trum- at the latest. The fifth sides technique Is very crie? of the ’cello, left leg ' grade appears to forward and right leg back, though the action army. That was indeed a great be the most logical time, since of the arm and wrist pets into the Roman by with the knees gripping the are Vi ? then most pupils have sides at the top of the portant factors. Tills the band, for the bronze trumpet was without attained physical and mental smallest .notion day for matunty lower bouts. The hol- is the^rntj sufficient to enable them to cope doubt the ancestor of the brass instruments as we with the low on the under closely controlled, demands of the instrument. side and them to-day. its know of the knee joint fits contribution he the to a cell° has always Presented a formid- 1 7 uT snugly over the corner smooth change abie obstacle to the player, of di- both in its transporting, re Preceded the Orchestra without discomfort ; >n in any as, well as its manipulation. to part of Anyone who has carried the tin a cello player. The sharp- how is the band preceded the orchestra, but the on a crowded bus or street most im- In history car knows that this ened end portant. bulkiness may at times pin should The move- imperfection of workmanship, inaccurate pitch, limita- interfere with the joy of living. be anchored firmly nieiil of inferior tone quality THE UNIVERSITY OF MICHIGAN BAND IN 1859 U p ayl“S the 'cello, the means in the arm. tation of range, and made it , for circumventing the the floor, or whirl! /# disadvantages accruing from a floor should quite impossible to satisfactorily perform the music This rare photograph of a group known as Les Sans Souci" is repre- its size are found in the board be senes of mechanistic attached in thought of as the of that day. sentative of collegiate musical interest in America nearly ninety years ago. devices which are employed by some con- one who is way to the chair. necting Unfortunately, those handicaps persisted for cen- .acquainted with its technique wire to the All of e or “tering the strings body. U ’largely turies, and although people followed the band just ® into a discussion of these con- t / f devices should be in a fined the factors entering into position to the forearm as they do today, the string instruments were much a wise selection of available to talent deserve play upon without and more popular, because of their advantages in tone, more than passing bending of the el- notice. If a child is change a conformist and of position, bow, the intonation, and general workmanship. shows no inclination to be upper ann different and the instructor Past-Present—Future from his classmates, he can remaining In addition to all these difficulties was added an- Bands; is in all probability a better more sta- prospect determine whether equally serious one: It not until the twelfth for some other instrument or tionary. The tendency other was than 'cello Indi not the vidualistic tendencies instrument is century that musical notation was accepted; before and characteristics of beginners to “saw,” should be held solidly noted duiing the screening by grasp- using more that time all music was played by ear. In the thir- process, and should be of the up- The First of Three Discussions Relating to given additional mg the scroll. teenth century Edward III of England maintained a weight in evaluation in per arm than is actu- cello selecting Turning pupils along with other to the bow, ally band composed chiefly of the wind instruments of attributes of physique a necessary, may be and musical endowments. comparison of meth- that period. Henry VIII had a band that must have An instrument which combatted by shorten- The History and the Future of the Band mateiy uhi- ods with those requires of the player the used by ing rated “first division” in its day; its instrumentation ability to read in the the length of the violinist will help consisted of fourteen trumpets, ten trombones, two technic* 1 bow *ni> uitonational us used for a time, Sultira'.JrnS f to distinguish viols, three rebecs (forerunner of the violin), one points confining the motion of difference arm bagpipe, four tambourines and four drums. which are until the habit is due to dif- It was at this particular period that a great deal ). *““ “»• ferences entirely to the fore- Lj 'Wdhlum 2 IZeJti - in srssssx? size and of experimentation took place and many new instru- weight. acquired. a rn nber of school The ’cello bow ments made their debut. There was for example, the . instruments are s f available it is both By this time it is better to organize a separate shorter and sackbut which looked very much like the trombone of class made up entirely hoped reader thicker tliat the one or two trumpets, two or 1838, a concert was presented in Berlin at which 10 tu ‘'”h ««» than the violin today; the rankett, olyphant, trumpets with slides like two oboes, two horns, mixtuie “ *T*. bow. Also, will have assumed the bass trombone. Only very few twelve hundred musicians performed en masse; six- 2S?orT,of the other,l Tstrings. Many it must be trombones, and the zinke (an instrument like the three bassoons, and a a of the technical direct relationship be- bIei S supported more of the bands included drums, a rather difficult thing teen cavalry and sixteen infantry bands joined to- 06110 playing require specialized by the comet but with six finger holes and made of wood rionrin°n H instruc- hand, since tween the details of wh^h would . the to imagine today. gether and over two hundred drums were added. lmpede progress in the verti- covered over with leather) . The eunuch flute was also m xed cal holding position and a gl °UP ° f ’ Cell position of a At the close of the eighteenth century, the typical Composers were becoming much interested in writing ° S may proceed J the popular instrument of the day. at Marly the cello right iiand technique same rate a pupU does not afford During instrumentation of the French Bands -was as follows: for these bands. This development continued to such taught individually, with the reign of Henry VIII many innovations addedndriert ] f the the same whicii have been pre- 1850 advantages of group participation amount of in the instrumentation of the band took place. As six clarinets, one flute, three bassoons, two horns, one an extent that the bands of were not unlike the string sented and the topic support as the A we know, he was quite a musician and played on the trumpet, one serpent, and several drums. bands of 1900. Elementary horizontally WOODLAND IDYL under discussion. It is Instruction held vio- dulcimer at every opportunity. At this period the fife One of the world’s greatest bands was La Guarde Factors which are lin. Therefore, the the writer's conviction Continual Improvement Republicaine of France. This ensemble important in early training all of ^anonal^Mu^^Ca'mp'or^h^i'ir'a r b took favor over the bagpipe in the bands of England; A Band famous th the a^ funda- deVCl°pment of fingers are Inierl^chen, bAi™ °| that these are tower was organized in 1802. When the French Revolution correct habits in holding placed iya trumpeters became bandmasters and following Throughout the seventeenth and eighteenth cen- ’cethr d , in a position mental to successful to afford a firmer arm the Reformation they had to perform three times turies wind instruments continued to improve, al- came, the great opera houses and concert halls were principal f the should difference bow ' 1116 teaching, and close. is in the takp daily to call the people to prayer. it was not until the early part of the nine- forced to This had a marked effect upon the ^gle at enCC over though cross which hand the stick and in they for development of the left wind of France, of the instru- the „ , some !? The fifteenth century proved another period of teenth century that the various wind instruments were bands as most best is used not bttle lger Was wlth considerable only as - which a feeling of a counterbalance .^ shock progress for the wind band, since it was at this time taken seriously by critical musicians. At this period, mentalists became members of municipal bands ’ 3S C heard but to assist in Wltb tbe ^cUn, a teacher remark at a recent holding The fine ’cello clinic ? „ that the common people were permitted the playing more innovations and improvements continued to be throughout France, thus creating many outstanding stick laid 6 * S nearly to acros* the the tone " and lle held up his theSnd ltat left hand nn^hf of trumpets which up to this time was reserved for made. The trumpet, for example, was equipped with concert bands and providing an opportunity for the finger iheT °f the "°" ' touching the outer second to Tllis was not only contrary the nobles. band to gain its rightful place in the musical world. ns edg” ofthe? the em'nh aS1 valves in 1828, and ab6ut ten years later a swivel s ibic eai. with the silver. The tip W hair P Wbicb kis upon smallerr instrument it i* of the at the own teachers placed thumbIs the use nf t) l After the Thirty Years’ War another progressive action introduced, and more exactness and pre- The personnel of these bands was composed of ap- its br0uvhi was inner edge, 50 that 113 eXperience aS 3 the USUal with the joint step occurred in the evolution of the band. Up to that cision of measurements was brought about at this proximately seventy musicians, and balance, effective- £ aga8nst the ^ ben ^concentratin^upon^tone! ^^pStr^” euiug, octagonal ^’ rests time, «/-» r J ana vice versa bevel nearest C military forces had been recruited at the begin- time. With these inventions and changes came a great ness of instrumentation, and tonal color were care- thet ie “G”G string% *since“ againsfcagamsfc tftethe undUn be ° invariably becomes the ebony of dersitfeerside and d ne 10 b” Prove tlie sonority of the bee^^Wn^hortf’sharn chnrfi 5ft- of thp fmo- t and 'cello sectfrm ning of each war and promptly disorganized when improvement in the standards of performance of the fully conceived. Many of the French composers wrote tuning. The °' ** «- *«> 11 ’ 0" to the ualit of tone pr the original SSfsz&Zftz - ££.*££2- ST. £ duced, by ernnha^f fi y war ended. However, at this period, standing wind instrument musicians themselves, all of which works and on numerous occasions large festi- - Pha iZ ng the importance bowing, in — forte passn?f.c of armies were created. The stepping together of large resulted in better tone quality, intonation, and dexterity. vals were held. - ^ sharpest ’angle “ r a a flat bow con- SS - "itb aU of the hair in groups of tact men in exact cadence and rhythm necessi- At various times in the past, the outstanding Dands from the “whS%“ better whh fhf , At this time massed bands composed of hundreds standpoint of breakage and as as expedient close to the bridge tated a new musical form and it was at this time that of musicians became the rage. As for example, in of France, Italy, Belgium, and England have toured sand, d b Used one orchestra Plays - Nornially, the higher the “March” was introduced. the United States. The over-all musicianship, virtuos- on the c, f. ngerboard should be - the closer the bow The British army with ity, and performances achieved by these bands was (md to the hria began the Restoration and CHORUS any Pla>'ers will keep their bows at its bands date truly A higher mezzofor tp from the latter part of the seventeenth remarkable. This was particularly true of the pesition. Ed 'ted by 3 10n BAND and ORCHESTRA 1 between W i 1 i q m at all bridge and fingerboard century. At the beginning of the eighteenth century bands of La Guarde Republicaine, the Belgium D - Reveifi times v > Edited by William D. Revelii 8 dIeSs of tessitura, they are the usual 80 urged to chnnef unless instrumentation of the band was—two flutes, Royal Guards, and the ( Continued on Page 118) — ^A no &at 6 scratcscr b which is so objectionabl close010 6 ouar^QUarters "MUSIC * 18 not STUDY a ( Continued Page 119) FEBRUARY, EXALTS LIFE” on 1948 "MUSIC STUDY EXALTS LIFE” 81 THE ETUD. ! Music and Study Bowing Differences Music and Study “In reading over your work 'The Mod- ern Technique of Violin Bowing’ I have easier to use, and may well begin with able to see any discussion of the not been them. Saltato bowing. I would appreciate it if Chamber Music and Its Bole in Musical you would discuss the difference between An important point of shifting tech- Education the following three bowings: Saltato, nique may be mentioned here: When the Sautille, and Ricochet.” student is using the first or second fin- —J. H. H., Maryland. The Violinist’s Forum gers he should be very careful to keep Saltato (Italian) means “leaping” or the fourth finger over the string on “bounding”; sautille (French) means Conducted by which he is playing. This will insure a llj ^JrilffO J^ortsclal the same thing; and ricochet comes from correct shaping of the hand in all posi- the French verb ricocher, meaning “to tions. rebound.” Quite apart from its value as a means The Saltato and the Sautille, then, of developing the thumb extension, this Hugo Kortsehalr an are springing bowings. Nowadays, and type of exercise speedily develops in the outstanding authority on chamber music, was born in Grai. Stvrio Austin : He was originally particularly in America, the word spic- student a remarkable finger-board sense. destined for a career in engineering. His higher musical education was oblo' j the Conservatory at pra gue, under Dvorak ond d cato is increasingly used in their stead, And he need not wait to work on it until Sev^ik. After graduation his first position hW4i Withwith th©the Berlin Pflllhfirmstm/* Ol ml Music and Study Music and Study wane utgree. .ror How Much Shall 1 Charge? such chords.Chords. IZ would study * chapters I and it hat ** Harmony." A Questions and Answers Book II bv gAJ PPUed -«•' the ’ P-sharp minor J^. key of Music SSr'S.TS',^ (which 0{ Masters I A Master Painter on the musically correct analyst 7* to * does not K'SSsr.s Conducted by illustrate pie<* the tonfc all. But if analyzed m the at ' Pater, the distinguished creator of minor, it C shar WAS Walter actually is a P T curious Pi prose style, who declared in one of ei d constant mple an inimitable 2a.«6 use of an of eece srSS?S®.“Ye”hTng implied J art constantly aspires towards the Lj CUde & differenffor^ex^r essays: “All // /) 0 1 / /J,) ) r*. dominant built ®Ppare his ^P me as to noh \ /7 / on the tonic nt I up the of music. ... It is the art of music which ®.hr,“,,S““uiattendance at lessons? Such chords as Male condition —Karl IaJ. (jelrLeni, Yfiui. 2)oc. Mr. Pearce - 0 r i, h?® completely realizes this artistic ideal, this perfect 0 t r a ^ however, usually USSin most, en he occur - s-£iAJristJsrjf.iss!g ^ **" K'« elub! nnd only orrf of matter and form.” By which he im- I shf) uld ’ identification ! ik e io h in the course 3115 h° “ of a the ”!* W ° r romposltinn t" music is the only art in which the end is very F° r plied that ^e^nd^whlt *° simple use of a that Beethoven has written, though that applies What Work on ' Prafessor Emeritus an apparen of the Gallic mind.) “The rest of the program,” he thing age . t the means, the form from the mat- girls should built not distinct from glee club? 6 in such a on H of the nant only to the first half. ... I was thinking, as I listened Jl. M. scale L? subject from the expression. It is perhaps for continued, "was devoted to virtuosi who wearied and OberJin College formula), ter, the seek to see the third been absorbed bored me,” a complaint as perennial as music itself. to the first piece, of the way that musicians nieasitT^ this reason that so many painters have — 0113 chorus of Dixie. the return of the motifs vary so greatJ that An equally have never heard of Pater’s He then added: “I was venturesome enough to remark establish unity in their works. The is ImDoShfiA y it Music Editor, Webster's New sinml in music—even if they °r an ° f they look on as the me 10 rec apparent domlnan, “the perfect identi- that Beethoven’s compositions are in general too long, is, in general, the thing that standard r °mmend a built on r For in striving to attain International scale ? theory. c°“petitor’ Dictionary (tonic formula) the despite the astounding variety that he introduces in most efficacious; it is also the thing that is most seems a S rate Ls torn* fication of matter and form" in their own medium, little high,?Tbut b mediocre talent. If, in certain on the other hand ™ measure of fulfill his manner of returning to the same motifs. I do not accessible to men of 1 have unconsciously endeavored to the 661113 t0 ° low Oood-^gZVdl^ they for really good this struck before in that places, this return is the cause of a great satisfaction fn^ ^ teach- understand 1(10,1 writer's celebrated dictum. recall that defect ever me 311 jr thatVAAU.U youjuu haveua not which make! English depends on the confided . ‘Pastoral’) be that as it it is for the mind and for the ear, it seems like a second- quality painters, it is perhaps Delacroix, the Symphony (the ; may, to me in your letter, and “Pertonlcjomt Of all great I believeDeneve that . rather pure as Mala century French romantic, who was evident that the artist diminishes his effect by de- ary means, when too frequently used, or a these personal matters to do of famed nineteenth can be straight- formula. toni artifice. Is memory so fugitive that one cannot es- completely saturated with the love of music. manding a too prolonged attention.” The problem of ened out only by means of a frank most and prolonged attention which seemed to trouble Delacroix tablish relationships amongst the different parts of a friendly talk between Delacroix was not only one of the pillars of modern the parties con- unless the principal idea is affirmed h oW»“* Caused intellectual of artists. The caused him to make this further observation: “Paint- piece of music cerned. hy Tensim art, he was one of the most f J I it will be Q hnv< studying man who had the temerity to say, “Perhaps Ret'olitd Chopin's „ '• 1 find discovered that Rembrandt is a far greater painter In left hand beeo that my \\7io t Key is '•d II ? when I try Raphael” a rank heresy in the 1850’s expressed speed U up (ha | 0 than — — 1. Q. Will you please dnlsh It My in- analyze the har. utructor ha* to himself in other fields with equal critical discernment. omc 1 I construction 0f the do not relax, piece Stalaguca but I do not k at a time when the creative genius of the nine- P=SS= 'o relax. Do Living think you It might >e lb flower, he was in the van- my Inno that makes teenth century was in full Z&r&'XilTuZZ hand *o tlr I? D u think it could rare souls whose mental and spiritual be the dlffereti guard of those me key action tween a grand be- curiosity is only equalled by their talent for self- n, id an upright? 2, In a reeen art, no less absorbed t Is ' of The Etuoe expression. In love with he was advised a you peno 1 ng to enter in music and in literature. He knew and was intimate :"£S *ervatory a con- 5 to wr £=s= the Secretary of the the outstanding figures of his age— with many of National Atooeh itJor ( Schools of Music Ieast a P‘tle w. Pearce, by Charles for a list of reei Merimee, Chopin, George Sand, Gautier, Dumas, and e^ifBuTThav^h l Pages T-O-??! desl schools, but you Encyclopedia,® S,C LoverV did not give hi* Baudelaire—to mention but a few. Renoir, no mean edited hv « u What is It, please? s and l 'ghes, Taylor, 3. Do Kerr. The main,. ,u- P you thin tv!-. judge, called greatest artist of the French th 'rd ib I e to study the him the tically ls used prae- violin before on necessary to use throughout ?h a conservatory? of star"and lo “ 1 ° school, and Odilon Redon, that curious precursor otlferAewa^ not everr^nTand wer«1 thlS rt sP ea k to me. Dm- mTAnilnor -C. F. ’ 1 Su^est tag r Is used sevenUt the surrealistic movement in art, ranked him highest that you constantiv in « thhe0 v,H° write to W° our publishers intciwals rUs ' ,h instructor of as < I probably all the moderns. The “Journal” a diary to The Etode forTcL? pty^'a e an ,/• .V ,T rk among — iogue of next flat key t0 U “ e r UtlnK teachers' which is your fatlgue tcnsii Delacroix his reflections, remark- supplies But T mi, u E-sharp ^r Pat min to which confided is a minor. °r. or andin/!I advise7 faU t0 carefuU you to nsk him for spec! able document; not only does it give a vivid picture y selected mitsfif r'te^h h ce as to mother does not her connecUon^etween ^ there is no relaxation. However, of intellectual life in the French capital in the middle have her it because stont p ^ less°ns the nSt the childd is Piece and tion of Ulls UP t *lat pln,1 S "Tonic Fnrm° . .P'^ ° “' linns vary greai of the . nineteenth century, it reveals a personality as have grown CaI 3nd 1 explain mula but in »iff atmosphere fo„d of her shah ? i why Will cannot m stillness, and in which the same S° °n Wlth PleasC part of your trouble m colorful as his paintings, a man who could say of him- IvitTf ’tolraeSp «-> sort of material "J a where thta «*Ph>in with fun you sug- dV o i°“v due to cooperation between gest something g°od d give a hard action in your piar self, "What an adoration I have for paintings!” and teacher else? I Puesc ft example ot 'Tom t" ">« a to please somf hard also Formu‘a" or o tiie Ppeople r one of-SurertoTieP and difference between the actii who at the same time was continually quoting and like to have yo comes a " n ur advice.-F ^ readily U 0ne grand- and expounding It c?M to7hnd)_L°K'w an upright. I should lil on Byron, Shakespeare, and Goethe. is w . 10to point out t( this A. I have > you aim that this to famed “Journal” that we are indebted for some Ult t0Uch Wlth the rofessor qUestion com Po-slUon-|. of the author’s pronouncements on life, letters, art, teacher lif t music aoi„ss=— u.vuouuns »- SobmT,Robert ^,1°" «*««. to„ S,.n7l “StoTmat trouhie r and music. • or less, all of us in both our personal and P eSS 0nal iiVeS ‘ My own Art At Its deling is • Summit that the i ErJzrSLZ*months In music it Delacroix revered “s s%25 - meanwhile trying \ was Mozart whom iv’szi KftsiSS? r , m ght find resux 1"‘ to lear above all others. "Mozart,” said, “is superior to all n to he yourself in analyzed nor - . play your other pit some verv iw ; in the When , kev n7 Fw' i the others in the entire Sharp npnor. kind of controlled relaxat the way he carries his form through to its comS,s£n°f “” mat is so necessary conclusion” penetrating observation for a its r «• chords of V UP°U the if one is to becc —a man 7 and VI a really exa witofre^fr '' flne ’ what you tly domi eqUenteque»t p*'’ fine pianist.1:1 who was not a trained musician. Of the composer’s FREDERIC FRANCOIS CHOPIN GEORGE SAND mu.st nant . useUse doAnd' f pedaldal, , of yo/mavy U , In/t/an/;/ / ' .... “ay alsoa find 6 clos Prof, "Magic Piute” he that there are .. dominantdonp«ant Cl0sing“g on ssor Burnet Tuthill. Met remarked: “This is in truth a master- two ’sides”' is charame,-/charaew^f the r 7i The Delacroix portrait in the Louvre Gallery. As painted by Eugene Delacroix “toT7tllee matter eilst;lc °off °f piece. I was convinced of this once on hearing the and that music. , thisthia MuSic ' 182 at you have rmt f, n If the n,,,,. *ndkind of " O' erton Park ““uc,5 St?/? of nuenue. their iderstood«'Ooa of° apalyzed ' music by their side.^side. f Cc-sham . in the r-„.. Memphis 12.12 Tennessee Gluck’s successor. Here, there, is where x suggest twelve So IT suggest that ‘^ A ^e key Tennessee, to u. eighteen. you ask tho e C' ° mother the both130111 rds are .canno t Mozart found the art. here is the step which it ing has this advantage, among others, that it is more almost to satiety by continual repetition? . . . The to allowafiow considerahi’v 1 and ' answer this question And you to mm«come t+„ , considerahlv .,,.ii IIIiIi. „ * S ®e n Positive and her ’ ' caused him to take. is really the creator I will discreet; the most gigantic picture is seen in an in- art more than the others, it seems to me, is the little scarcely and VCSyes or a ' He — of music girl ]!?'?' this a definitedf finitf no.no - In A for a cote en musically i s lAZZ Psychological you adopt ^’ that chose Wlly Jellcve 11 not say of modern art, for now already, no more of stant. If the qualities that it contains, or certain parts dominated by the pedantic habits of the profession, Problem a genuinelyy fnendIf?e?/ to use the Lecuona to be a fine thing I y attitude signa? 1)n it is toward them ton i.i rather four W being produced—but of the art carried to its of it attract the attention, that is quite as it should things that give a certain satisfaction to purely mu- 3®0 3 thirteen ' than three sharps ?° eXpects to be a professi year-old°gh-/'came - I do to m^fnme n?°Jfc summit, enjoy it longer time, one always the listener who iano ---•**6 2 * know n to beyond which perfection does not exist. . . be; one can a even than can sical people, but which weary Other P lessons. j UU , asK By tonlc have some experience teachers hori + tnem to tell and . - . tUr ed vou frnnL- " u sunprf an nt cause l her down be- ly what beheve P 1C ° Chextral High praise, indeed, but not unjustified by current a piece of music. But if the painting seems to you has not gone far in his curiosity about technique, as she w tl, P K ^ troubling for instrument as n them Mr. Pearce ?°? mulas, I as well when a ° her left h^d Be? t/t/i ^ critical baby and U*!? , as possible, ply 8 But opinion. It is curious to reflect that much as mediocre, all you need to do is to turn your head to represented by such things as fugues, learned repeti- Sm f°r trying hard instruction means since you are primarily But her age ' to see of ^L// the she said 'she Invert theto ?m I?!/ , he 7 ’ nt 1 liked ed music and no matter °r 7th Beethoven, the romantic Delacroix preferred keep from being bored.” tions, and so forth. . . to and wanted what 13th ch - 9th, “ the piano, and since you learn to nlav ti- J they Saysay °rds on n th l??/ 6 pi ' dondon't?t lose h? the classical and 7°' 50 1 too-k her, your temper. grees. U'° to 0,1 Mozart to the creator of the Ninth Sym- Perhaps what the painter really meant is that the All through Delacroix’s reflections we find him although Xe Such chords soale de-’ « music school a t0 teach a?? Z 'J phony. while because for Se eq P,pC' The latter he called romantic to the supreme ear is more sensitive than the eye. An unpleasant troubled by the conflict between Mozart and Beetho- I ha/to rearranrS ™ t0 me that Parent eptIy cialIy because the e all , you are called fingering of S the doing dominants" ? so dim . the left banH a/tlythe right ex m?hey ? .‘ cult degree, and one “who moves us the more because sound offends us more than an unpleasant sight; we ven—in reality, the struggle within himself between well and sbe has done thmgs so far have ah X chords.” and exacting an instrum plays as the the interval! it mg is concerned. t/ch J. dom Rht be he is the man of our time. ’ On hearing Beethoven’s can overlook a person’s lack of outward grace, but the classicist and the romanticist, between the Bee- second-grade book er Your choice inant /*ld qualitie wiser for you to spend better^L^mh of chords s V0I ‘ dren u- S mate?? b7? “ rr Leonore” who have g od ’ and mplete d ava ‘ Iable Overture, he confessed to finding it “involved we cannot forgive a bad intonation. thoven who poses unanswerable questions and the all th Tngers i ? y°ur plan of ° not ca Practice time at the pi* Now, ^ anda nrt thumbs.th' giving ??! modulat?on s use 0 in however , ? q y style.” At a concert on another occasion, he said Mozart who resolves them in musical form. V°10e 1 ' I ln Ch00sing &re domin however ch< thought the happened - her most fr ant - sing in some mothS wonfrt7e , material e Music and Study - short cut to musicianship, &S7SX f °f lightenin Imagination and W burdens one oTthPh T?* g its Technique LOVE’S TENDER MISSIVE as 18 begln as possible to give early the vouna 7! 7 is a Valentine Day appeal in this effective salon the. suggest sustained playing, rather than musical tudent a well-rounded There piece. The lines above notes in the first four measures perspective Thi * Tf the getting away accents. Do not over-senlimentalize this work. Grade 3|. prevalent habTt ZtZ Z™ and Wng an lnstrument A Conference with covering upP deficient first HAROLD LOCKE nu'SicaI some ' awareness Moderato expressivo ( J = 120) later time The wise h Z at student 1 solfege be/ore ^ ^ SmaU taki- ^h 'n f°mally to his . strument; in in- , e other words f eduA ana — alphabet before Ws musical janromu he is ZtdZZZZ™ thorough lead ' An ear study of solffW a ! *y and the 1 the association of noSs ’ devel°P* with Jitf° sonontlesZ Internationally memorizing, . helps in Distinguished and prevents Pianist not really l“; acles that arise from knowing the relationshipsrelatin' to be played. between the notes SECURED 1 "Uroduced EXPRESSLY FOR THE ETUDE BY STEPHEX boa^rthe^greatSfcS^ w to the key- REST him exercised in training to correct finser a^h,!^ I 5 posture ' approve the idea of alloting'a childh ld to” at the keyboard to amuse himself before he t® WS hands, but 7° *hat to do with his it is harmful to . 10 to pron ° u " into tense, h ' S Way discover his instrument. e# d 9'ft«. it unnatural ^ Hearinq • tool time the town k. I for posture/that^hS * band fill L him tion subsequent correc- orrlve t th point can never fullv * e where he col undo w plov^e solo'in Sollo'm ': »• 0 11 rhaps ^'her H. ^ tendency ' is 4ba amonf£ghmersTo '^!"Z'’’ f ‘ or fiPgers ’> bend inwards at theZln break JZ eXerClSeS tBaChe^ etn hX£e 3Z overcome ChnlCal difficulties are ’by alert* concentrated 611688 we practice ' ActualIy with om minds ' and^nr ears far than with our fingers more alone At e ’ vents, we Practicing by rote with th should! •«». miiM minutes practice in complete mental end 7 of is worth al con<*ntration, hours of finder wort a T important 0™ °f the ° mental quafities m St ‘ for101 Marti —Eoitor’s tion. Practicing is imagina- Notc. “The important task of develonln„ te v. • made pin ° technique can more interesting , be end : 1 it too, effective by n making ' the a field iZliZn T who tove°S °f Pe°ple Z Sr ^dth toolTfindi to confuse imagination tend of doing g T*Ut the best develope 4 « « • • • 4-4 ** • ‘i 31? jirw wwwwwww W WWW ¥WWW wm ¥979 ft 40 = lUPpf 3==^= 3 s^ii 10 <> 2 3 I i^:I F* #* it* IP »S W 3 r.h. 50 l » "*r»: J j j. J.J -J A ®-!- FEBRUARY 1948 89 theme from piano concerto in a minor One of the most (2nd MOVEMENT) demanded of all piano concertos is this masterpiece of Grieg. It was written in 1868, when the composer 01tJ was twent r ra ^ ua *’ on f rom the Leipzig Conservatory. years later he went to Rome, where he met ars certo at £ Two Liszt, who pl ^ si»ht -w' ] a SeC0I1< C011 ' ^ ^ ano - of P* When a student at Leipzig, Mr.Theodore- Presser dined with Grieg and had the hearing him thrilling , j,j t y tl EDVARD GRIEG Arranged by Adagio (Jl = 84 i Henry Le» ine Si LA FLOR DE VALENCIA . (THE FLOWER OF VALENCIA) The f r meaSUreS are an * m >tation of the Spanish guitar. Play these without pedal, phrase as marked, and play the right cate utacca hand °T * U:> )e w ^ * accompaniment rp, . continues throughout of melody should be played as though most the piece. The sung bv a rich PP into section makes an C °”* r4 effective climax. The quick change to morendo (dying out) in the last measures is a striking ^o. effect Q Allegro con molto MARJORIE ritmo (J-= 56 ) HARPEr 4 5 5 2 4 . i a 1 ^ r « 7 i rj * I I 1 (tr * ] Z f F r p eresc. mm j £ m _A_ i Appassionato m. •P» 4> S I «< 1 y i: 0 T0 9 # i y t * 4 2 3 1 £ £ ]5 •_ i ll I SSI 4 D.C.al^ 1 ^2 4=Jd W % i Be & s £ ¥ ET poco rit. f irf ditn. i£ 90- pv r v £ E* cs?* r w* vr ^ CODA ±= 33E 1 V J. J. J, T j? s ffipsp I 2 rEr PP 1 ^ ap A-; 3 2 1/2 _5L* i i P— y IP nij) X morendo f p HI f rail. PP r\ XX CpjT^h. MCMXLVI, b» ZZ* Oliver DH.on c a »„p„ y £ l i Ffi I 3 L -A A_ FEBRUARY 1948 0$ Thurlow Lieurances Romance ROMANCE IN A melodic th,rt y-three years ago, persists It is also great lines, it has in popularity. a favorite as a violin solo had a ' Si,™. WHEN LIGHTS ° LOW consistent ARE and enormous ,m Ple appeal. Grade 4. j n j, s one of our A twilight reverie by most fascinating melodists. It makes an excellent slow waltz for dancing. Grade 3|. Andante con mote thurlow (J = 84 ) ueur ANCe MORGAN WEST In slow waltz time ( J = 1 12) CODA * From here go back to the sig- n (&) an ,? , ? ° A * ° back Copyright 1915 by ^ S to the be Theodore Presser n„ ?inninning and pl ay y to 4. , Y» then play CODA. British Copyright secured THE ETUD5 FEBRUARY 1948 95 A little faster and brighter tn time again 3 — _ 4 in U Ir CHICAGO This theme is familLn THEATRE OF lls1 1St ners THE TR T ttpatI? and makes afirst X folks rate -tliliMB looking- for colorful„w*? idioms. , ! ppianoano solo of its type. Grade 5. Very florid and chromatic, Moderato con moto it will have a wide appeal to young ADOLF G. HOFFMANN Copyright 1945 by Theodore Presser Co (Tm^ 96 British Copyright secured THE ETUDE SCENTED’ SHOWERS ss British Copyright secured ETUDE THE FEBRUARY 1948 99 \ - DRIFTING THOUGHTS FINALE, FROM THE SIXTH SONATA 0. SCHELDRUP Soft Flute 8' Grade 3. OBERg sw Voix Celeste 8; 8,' to ’ Flute coup, Sw. FELIX MENDELSSOHN Gt Grosse Concert Flute 8' Ch Unda Maris 8; Edited and revised by 16', coup. to Sw. pe d. Soft . k Edwin Arthur Kraft Andante (J’=76) manuals * -i. L-Lr te— fe[- V 10, f. ^ V v V > / p r 0 t): — i— t_Lr -f—i— / - a J• ^ •J— ±=^5= P — jt-'-s-l-i. J J-«* -jL j d_: — Ji4- ^ pi A Y A A ^ A A ^ pA - A A 7 A A JlL lui ^ f P ~~P F 1 7 ! Y— ~T — . "2 •L~~2^1 r!~f\ O kp3 1 I m m m I I ^;-Lt -•fp- G, ; K - VK 1 —-A 5 —¥ .1 7 7 Jf=#P=Pi >\f?mw =g=M * " ; 2 1 2-3 2 - 3 ' 4 3 1 21 2 1 1 2 3 1 2 1 2 - 12 3 2 3 23 4 5 5 5 4 5 5 54 ' 5 i 5 4 5 3 | 3 5 4 V V 4 V 3 V V-/ W V il * V x- v _4_ : ^ - * - -0 ‘ tw ! — ft -ttr i Ki -=is :V -ft / 1 +' ^ 1 11 r a n- * "*\ V A ^ Tic/ »d.J A U A 'C - A A ^ A "4 1 a tempo \ ^ RQ 4 . 5 45 23 4 Q - 1 4 5 3 2 5 45 4 3\o 3*5 01 13 4 3 I 31 2 L - i 45 3 t g Copyright 1947 by Theodore Presser Co. seeutf* Copyright 1947 iOO British Copyright by Theodore Presser Co. THE ETUD* FEBRUARY 1948 101 — P— 3 — — 4 „ 4 * 1 pp -— 1 — 1 1 — r pj." — jpf r r it =e Alt -JP-—PJ— P&, 1 Pt ? r A— T t Reduce 5E 3= ^ 7 J -J*) cresc. *: -m » > jpp 1 4 5 12 i i f 1 1 2 3 1 t 4 i> £ J~~3 J-=j £ J- . J> ir f f 3“T* II Corda A V H — r, V. i fcMS • • 1 l*-p • * * - . ji=^= y P ? L f 0 F = = 7 Ff Pr.i i S k a 1 i5 -tu tl V CANZONE AMOROSA V n -m. ' _ i i _? ' (VENETIAN LOVE SONG) a [jr ETHELBERT NEVIN. Op. 25, No. w ^ Arranged by 1. Adamowski Andante con espressione ttt „ IV Corda » » • *=0=\• i* "fi"" JT hi i' r~ *-* F#=i f4=^ nj a F£=f-•-= fr » t t J- # • it VIOLIN SI 5 IP PIANO TV Corda n Church Company CopjT'6 Copyright MCMVII by The John International FK Ru Q ARY 1948 103 102 the 00 WITH HUMBLE HEARTS WE COME Hugh Hollifield* DONALD LEE MOORe r f ebruARy 194s tos — 1 VALENTINE DANCE SECONDO _RAPElJE Allegretto grazioso ( J- = 56) # ^ 5-#- # i • ^ ^ • 4b -4b -4b -ib 3-r ~ : — p~= t rv; *1 1 1 g:~p i-=r-T ] rf=±rE3 1t dolcc { — \ £- — - —<5 * .. f— t, j! -6 * • d H 5 i i - 4 ^ 1 l i l 1 2 3 li l F- 1 1 1- : —; 1 JL —lr» -I--J — — -i i ,,44 \ J ii # 1 r-Hf TT* ~~a — 1—s ^ £J-* f- TT a — — t ITl ff* TT* * 4 JP y. 4b #j rr f HJ \4 f SJ ^— ' r 6- f — — .. — r ' / _i • 7^ 77* V- Z7- 1 i -A 107 — — BETTY’S HIGH CHAIR This piece is for the this chord; then let very young beginner. There is only one chord in the right hand. First teach the pupil pl ay the j, gether, atlds learning the playing. Grade 1 . names of the notes as they occur. Young pupils usually enjoy the cross-hand to- a tempo i "3 C) A. ^ 1 r" 4 A 2 3 H 2 1 2 — i— a9 " =2i e — —J— / < p 4P * ns 1 c\‘ \ C \ ( V \ « A . fN~ t f f 1 J— «L_ hr r -1 i iT * 1— — $ Melody in F (Rubinstein) 5 2 Grade WINTER ECHOES 1,. ]yj0(ieratO (J. = 56) J. J. THOMAS ^ > W 9 0— ' ... 1 a)* iJ. J —o h-fij j mp 1 %- HN -j* . f f -vf- 0 notes, hears them, knows about them, Imagination and and reaches for them, all together! You can find fascinating entertainment in Exciting moments are in store for Mother and child in Technique memorizing a piece this way. If I certain passages look easy to the eye, get your Continued from Page 86) (. ear to recognize their their sonorities; if cer- introduction to the famous Acrosonic Piano. tain sonorities are unusual enough for and bring it back to proper why it does your ear to seize upon them, train your Tone uniquely resonant in the small piano field, beauty and grace of proportion. Only in third place, then, eye to a mental picture of what their finger carry out the analyzed does the notes look like. If your fingers find solution their solution. And if the is not im- way into Styling, will charm the eye and delight the ear. certain measures rather easily, clear, experiment! Try various mediately pull back and analyze the harmonic pressures. Let your mechanical structure finger of those measures. There are imagination take over. endless combinations! “The actual Slow Practice things you do, in the end, are not so important; the big point is to “Another clue to the development of get away from finger practice and to de- technique lies in slow practicing. good velop that coordination of brain, ear, and faster the passage must go, the more The hands which strengthens mechanical im- slowly you should practice it in the early agination. Take your practicing apart as when these coordinating controls stages you would a watch; learn how and why being built up. And when you begin to are it ‘ticks’—and your technical progress feel the passage securely in your fingers, will be assured.” speed it up gradually. One of the ‘tricks’ of fast passage work is to acquire a gradual speed, while practicing, that ex- Quality in Master Records ceeds the normal tempi indications. Once you can play the passage faster than it (Continued from Page 72) needs to be played, you have a speed- reserve; you can relax back to the normal by Arthur Fiedler. Victor set 1147. free tempo and thus yourself from all Tchaikovsky: Nutcracker Suite No. 2; worrying about ways-and-means. Fiedler and the Boston “Pops” Orchestra. “A good way to develop mechanical Victor set 1164. surety at the piano is to practice in the Beecham’s is always a refining and, af- dark. It is surprising to note what hap- fectionate hand with the music of Mozart. pens to your playing when you cannot Here, he is eminently successful in the guide yourself by the look of the keys. first two movements, but his Minuet and You develop a kind of second-nature con- final Rondo possess more elegance than tact with the keyboard; your ear be- spontaneity. A comparison with the Wein- comes more alert; you feel your positions gartner version reveals a freer feeling for better; and you strengthen an instinct the latter movements. This new set, how- for spacing. ever, offers the better recording of the two. Broaden Musicality One of the most delightful and enter- “But no technical proficiency is worth taining ballets in the theater is "Gaite more than the musical meaning your Farisienne.” The score, arranged by Ros- fingers can release. Which leads us into enthal, is a series of pieces selected from the very different question of how to de- Offenbach’s works, ending with the Barca- velop musicality. At first glance, the mat- rolle from the composer’s “Tales of Hoff- ter of musicality seems to be one of in- man.” Fiedler handles this music with born endowment—either a person is admirable buoyancy and technical skill, talented or he is not. And that, of course, and the recording is excellent. is a fact. But even a less-than-great en- The familiar suite from Tchaikovsky’s dowment can be developed. One means is ballet, “The Nutcracker,” is incomplete. to get away from an exclusive concen- The present set contains five dances not tration on one’s instrument and study included in it—Winter Scene, Waltz of the secondary subjects—theory, harmony, the Snowflakes, Pas de deux, Divertisse- music history, style, and so forth. An- ment du chocolat, and Valse finale. The other means is to play ensemble. Working Snowflake Waltz and the Pas de deux at chamber music with others is the best are the best sections, but all are equally way of strengthening a sense of musical well written ballet music. Fiedler’s per- proportion. Pom- hands at one piano formances are zestful and the recording makes a good start, which can later be is ricii-toned and brilliant. expanded to two piano playing, and to Tchaikovsky: Piano Concerto No. 1; combinations of piano with voices and Artur Rubinstein (piano) Dimitri Mitro- with , other instruments. poulos and the Minneapolis Symphony Memory Orchestra. Victor set 1159. crosomc Development Rubinstein’s 1933 recording of this con- The problem of memorizing again certo has long been the preferred version. BAUD WIN calls imagination into play! There are His latest set again reveals his closer several accredited methods of developing affinity with this music than any other memory. Some teachers rely on seeing the soloist who has recorded it, but it also image \ of the printed page before one’s reveals the pianist has become more the- mental eye is and ‘reading’ from it imagina- atrical in his playing of this music in The Acrosonic available in seven distinctive models, including traditional Ive y- There is also the aural memory of recent years. tles: ™ an<^ raethod of harmonic Beethoven: Sonata in F minor (Ap- and modern designs, analysis all finished in rare and attractive woods. whereby you school yourself to passionata), Op. 57; Rudolf Serkin. Co- reproduce inters! relationships. Last of lumbia set 711. THE BALDWIN PIANO COMPANY, CINCINNATI, OHIO there is the old , tried-and-true Chopin: Sonata in B-flat minor; Robert _ (but x BALDWIN, ACROSONIC, HAMILTON ANO HOWARD PIANOS • BALDWIN a ways THE ELECTRONIC ORGAN so true!) method of rote, or Casadesus. Columbia set 695. iiecnamcal, memory whereby you simply Debussy: Preludes— Book II; E. Robert The Baldwin Piano Co. ece '* ong enou?h for the fingers Schmitz. Victor set 1138. Mail coupon today for to a Yi Cincinnati 2, Ohio ' • own way into the proper Levant Plays Debussy. Columbia set free copy of the new kecc. Please send ine postpaid, the latest Acrosonic Brochure. ’ ch is the best? To my mind, 710. Acrosonic Brochure in , 1S . is which latest models are Name T , • to put your mechan- Liszt: Etude in D-flat (Un Sospiro); nation t0 work, described and illus- Street and No 5^ using a little of and Schumann: Aufschwung, Op. 12, No. orthodox trated. method, so that you end 2; Ania Dorfmann. Victor disc 11-9672. City and State wjth a memory pattern that sees the ( Continued on Page 114) February, 194s "MUSIC STUDY EXALTS LIIE" ® ’ — Singing Builds Character gray mud, with gray wzo zwzo. - versation was carried on to the accom- EN dozen pianos, ( Continued from Page 77) paniment of music from a |ss\j and voices, and violins, drifting up from yy-r Voice Questions influence has the power to cause a yield- the unglazed windows of a dozen little ing, for his newly formed thoughts have gray mud huts. £nV» given him what he set out to attain; that We spoke the English of many lands, At DEALER is, the ability to sing artistically, hence but our common language was music. 0 "' he is 1- /vf nVin»viV\nr milfi/i i satisfied. Prof. Manczyk told of chamber music in Sidy* _JnMerJ L DR. NICHOLAS DOUTY The instant a student to be steps over Berlin before the war. Anecdotes of f '" P,resen,in these the threshold fquanidT/t .g will only be of a studio of vocal art, he Sevcik and his pupils were the contribu- P ° a Sure n using ,hem because leaves ineythey qreare outstandingoutstnn^r . J a world of acquisitive combative- teaching material. tion of Prof. Nicolof, whose English bore You will welcome fhe odHic— , ness, and enters a world of mind-exalting a Slavic accent. Mine. Manczyk in a B eOSy 9F0UP seem to beh " P' e c«s— PETITE sentiments, hence a Is enough. there n SUITE new environment. German brogue told of her teacher, e»si French “Diseuse” you were to give up singing ALEXANDRE GRETCHANINOFF there anything more The Art of the because you love ,770 conducive to char- Schnabel, and of experiences while ac- ,ep R!ver F-2 to j//o Etude, £6-2 ?!?? P . smoke a’nd eat excessively. 3779 acter building than 3831 Nobody Know, 0"’ should like to assemble a program of Romance, F-2 enthusiastic associa- companying Elena Gerhardt. Director |N, Troubl. 0 I 3780 j',, those used by Yvette Guilbert, the Polka, Bb-2 tion with others in an atmosphere of songs like 3781 Tang’s strongly French accent betrayed 3832 Roll Jordan °"- have any song litera- Some Interesting Questions From Palestine Wistful Mazurka (Maz. Roll. Reide/d French diseuse. Do we Melancollque). ennobling sentiments " °'r and emotions? K n k ' SeWe, either original, or in transla- his ten years’ life in Paris, as told tales ° c 1 Ponchielli Master Records and da ^ duality in Leoncavallo: Barca | Paa? ro i Leonard Warren /vf*." l,,eel-C* (Continued from. Page 111) Organ and Choir Questions Lecuona: Malaguena, and Gould: CANTATAS Guaracha;WOU.HVIIOI —Arthur* V—— Whittemore..—VV...V.V and" Jack easteh LoweT.nwe /(duo-pianists).rtnn-nia nisho Victor disc 11-9759. ORATORIOS Chopin: Ballade No. 3 in A-flat; Guio- _/4nlivered by FREDERICK mar Novaes. Columbia disc 72345-D. Keepimj PHILLIPS Up Menddsal, Serkin has not the true inner dramatic PAGEANTS (Continued from force for the Beethoven Appassionata, Page 79) • . . selected the and tnethe recording Jackslacks thetne lustre tnatthat helping the right, from and so D1TSON CATALOG Rubinstein'slincfpin’c recentrpppnt. moremnrp ardentarHpnt perform-nprfr»rm_ forth. anceflnrp had.hnrl Ex. 5 I have access to a large four manual organ be standard pitch? Any of These Works May Bo Q. Would it be worth-while to Casadesus’ Chopin Sonata, admirable our church. We have an eighty foot dome, do this until Had for in we are able to arrange for an Examination gallery and dome are octagonal in electric its rhythmic flexibility and grace, and the organ?—F. C. design. It is hard for the organist to tell what lacks strength and bigness of purpose playing sounds like because of the deplor- A. As far the his as we are able to ascertain the EVERLASTING Here again, Rubinstein, with better rec- acoustical properties of the octagonal manufacturer LIGHT—Claude L. Fich.hon, able of .the organ you mention is no (I) What is the best combination longer in ording, sustains the listener's Interest dome of business. The use of the full organ Cantata for Soli, '-'"viChorus,us, andana Organurgan bass pedals for accompanying the choir in is suitable for congregational more. If unevenly recorded, Miss singing, but if Novaes’ also the congregation in hymns, the r anthems, and text of the hymn calls for softer effects despair 31 lhe performance lhen""fr«^«*U death of Je s o„, of the ubiquitous third bal- 1 ”To^ o?^ keeping acoustics in mind. We have ten pedal the organ volume should be reduced m”Mr. Firhthorn has *«*“?«"»»• For Biblical accord- written dignified oLin.l text lade is none-the-less including violone 16' resultant 32 ittgly arranged 5 admirable for stops, , » at least to the f„r women's !'' Imp» r, anl pads arc its extent of releasing the ehoru.andforbardon'" I 16’, 8’, tibia 8’, three other of cx s musicianly diapason gedeckt knee swell controlling the exultation" , ' a ‘ , °" by Mlos ' Three taste. crescendo, general- rwww full choir *'*“« a 16' bourdon. Recommend “^.phai eXr Neither 16' stops, and a (2) ly on the right. For moderate volume accom- THE CRUCIFIED—rripir Schmitz nor Levant are our general George B. Nevin at least two competent books on organ panying of anthems and quartets, we suggest idea of the ideal interpreter for Debussy's technic, and the proper way to master the the Diapason, Vox Angelica, Cantula Cremona and for Soli, -‘ music. is to 5 KChorus,,LUI us, ana The former is intellectual pedals. (3) What the correct way play Celeste, and for soft effects Begins and OrganUrgan where the Dulcet and will “Ti : line in other words Celeste. others are intuitive: the bass of hymns— what Stops in different organs do not al- Gclhsomane, 1'* EaS,er St °ry ,hr0n h the latter is punctili- th^BelraJalf °th? ^ step, of I with my feet? Do I play above middle ways have the choir Ju^cLen^cJ , do do the same tone quality and volumd, of mixed ' nd Resurrection. ous and less voices doing f„ ur c) Beside, evocative than others 16’ voices, a chorus who C as well as below? I have been using so these suggestions are subject to actual test „f men's voice,. Zl "re"» *"”? a ' h»ru, of women's have performed sMo^and, the Great and Choir Organ in a baritoner "°" e al,° V°fce same music on rec- coupler on the the on your own organ. As to the Schubert voiceV0ICC for,or twolw° solos.sol '’ eaCh tm * Ave ' ° ! ' Ttoe.Time Tminmes25 ords. — THETHF RF<5im» c'”/^ absence of specific instructions. Z. Z. G. Maria, there are so many different arrange- RESURRECTION—Charles Miss ments that we could hardly advise you pre- Fonteyn Manner Dorfmann gives a rythmlcally A. It is difficult without actual observation cisely how to play the particular Cantata him performance arrangement 1for Soli, ^-uuir,Choir, of the Liszt etude, acoustical conditions to make recommenda- you are a .a _ andana UrganOrgan and of using; generally speaking, arpeggios an intelligent though tions, the 32' stop should be used very are not effective mannered one of N t h but very on reed organs, and if 6 '18 V Ces SO, s a ca ella nd Cn,1 1S f0r °- *** j“ PP Cartel, the ,‘ the rule you find ! . sparingly, and as a general the bourdon such passages ind lhe 'lexj ? Schumann. Fine “tiphonai inclined to blur, we “ e," ,r,!l5 Rrhliral Work 15 " 'hree recording. sectionsectio^ f„r ? with . division, The for 7-fio i, tl,e «m „ changing hands and violone should form the basis for most suggest playing solid chords. The bass coupler a,'° is Lecuona and and gettine Gould pieces, well prepared wfw™ per- for a return to of your pedal work, adding other stops for does not give the effect of pedals but should formed and recorded, the main orgat? THE will appeal to those special needs. The pedal should be coupled to be used only with the full organ. We doubt RISEN KING—P. who like brilliant as a general practice, adding the the feasibility A. Schnecker two piano playing. Ex. 6 the Swell of installing new reeds, and Great where greater volume is required—often about the only place we can suggest Oamata Beethoven: Quartet as a for Alto Solo, In F major singing congregational possibility is ’ Choir, Op. 59, in the of hymns. One the firm whose name we are Considerable ’ and Organ No- varietyarielv noi.; i . L Quartet in is achi d , E minor, Op way to check on the acoustical results would sending you. You might write to them to get l0 59 , No a P,ai,e ilh 2 , ", a " al ‘« ‘"lo Quartet in... stationed their advice he.tact |ha,that IribT/ womeT" C- major, Op.ixp. be to have a friend in the congre- in the matter. '“i|only ' a " d 59 ,„I oisl is r “[* choruses for 03>, N0n 0i 3;3 The ui d men. The gation to observe and report in detail the als “ is QUartet ViCt°r Sets 1151 & and n53 1152, results of various phases of the organ playing Q. Our Lutheran congregation is considering THE and registrations. This friend should prefer- building a new church and purchasing a new NEW LIFE James H. ably be an organist, and the check-up should organ. The church is 52 ' x 88', with a seating — Rogers ®“' ntet ln D major, K. 593; be during regular services, as course capacity of about three hundred. u Thp°R?m’ made of On the left Cantata The Budapest Quartet for Soli, Chorus, with Milton Ra- the acoustics change considerably between an side of the chancel is the sacristy, and on the t/ourJinge/s touc/i t/e and Organ tlins (viola). Zeys Columbia set empty church, and one fairly well filled with right side an office. These are 8’ x 10’ and 10' (OrchestraWiW,rau « ^ansParts available) 708. An p a , 14' The people. (2) We recommend • Carl’s “Master- x respectively. Is it possible and advisable superior quality of ,he the reproduc to place the narraf ' ve studies for the Organ”; “Systematic Organ organ above these rooms? The " of the ,,P l a ' a7icZ n i ifi < rie “"“ Pedal console the balcony. music /eaps to ! e 0*"' '' Technique,” by Goss Custard; “Primer would be in Should the in 'heir requ, rem ”''"»«* hich v :' life/ en” a nd A th Th“ dJl' ^performance. T°rU5eS »“"SrT,r of Organ Registration,” by Nevin; and “Organ swell shutters face the nave or the chancel? Buffi-initial Tet.^lexi. “'^d for' .IlveS.”"^ V" Registration,” by Truette. All may be obtained Definite plans have not been made for the CHRIST IS church, it RISEN-Eric H. Thima„ through the publishers of The Etude. (3) The but I thought would be better to At the slightest touch of your bringing enjoyment to the homes pedals should follow pretty closely the bass have the organ specifications so that the archi- .75 fingers, the full-throated notes of of thousands of music lovers for Cantata for part of hymn tunes, and both feet, as well as tect could consider them in his plans. Speci- Soli, Choir, and Organ on domestic as the heels and toes, should be used to obtain fications follow. Would an Octave be better the Hammond Organ swell out. many years. It has long been used smoothness and legato than a Fifteenth ? Would a hautboy or horn those of us who effect. Most decidedly, and acclaimed by the world’s most •»™', S'* »*»»««. are cosstantly where 8' be better than some the stops men- Rich brasses, soft woodwinds, SEE? of looking the music runs above Middle C on the of of q te su for beautiful i-.TB.rv,, ^ P er, or to the avera Ch er Works service music, one pedals the playing should follow. How would tioned for the Swell, or the mixture? Will the stirring strings all the vast eminent musicians. a most appreciableP ,s cannot — FROM DEATHEATH ^0“pS! nil i(r^ have anything better than some you like to hear a singer drop an octave when- overtones overbalance the fundamentals when To'rVrrZTrTO LIFE-J. C.?Bartlett' »enda,, h " IeC“' resources of a great organ are at The Hammond Organ produces of ever playing organ? Our budget is limited to — ^rtoX« the movements of the Mendelssohn the range became a little inconvenient? full .75 That’s $5,000 to $7,000. Are these plans too extensive? your fingertips. all its tones electrically and is the Cantata for Soli, Sonatas. exactly what the listener hears when — Choir, and F The Final Movement of the In two parts ’ Organ~ *'«a-0 an organist drops an octave in the pedal part Our congregation sings with considerable vigor, The CrucifixionCnieifiviAw .... I rrr E* F„. only organ in the world that can’t and The*,C H Sixth presentation Kesurre *'Don "all'S is a gem and possibilities for corresponding required. You can play a single piece a separately nn I r i — and lias fine greater convenience. The right foot should so volume will be meZZ SOprano) get out of tune. It is hardly larger With Prieder for be just as active as the of Would you suggest any substitutions? Is it WeiSani i°' modem organs. The Second and left in taking care thousand different ways! You can 0* Third the pedal work, and the upper part of the better to have Great and Swell in separate than a spinet piano, and is easily SS&asanSi&S&m• nil 1IICI1I OichesfiTSSe" Movements of the First are also range at will from a mere whisper ..'pV pedal board is really intended for use. chests under expression? Should the tremolo moved. CROSS Giordano: worthy of our attention. Preludes Crescendo to full voice. AND CROWN—Grace Andrew ri,' The be on the Swell only? Does the You can gain new Pi™. " 01 Is really — ' Fueues have not too much to offer Q. I would appreciate information regarding work irrespective of pistons and couplers? inspiration To appreciate it, you .60 "'«bBio; and Vorri;. i. from the unsurpassed Pageant m IJEErtSBall the organ in our church. It is a reed there more unification in the Swell than you for Soli and Maschera ° the m0st of us. They can be made should see, hear and play the Choir — Barcarola f°f organ, recommend? Are there more flute stops wealth of tone and color this re- (tenor) B^ erUng lnterestin with the following stops,’ reading from would with E' if time is taken to stud” Hammond Organ at your dealer’s. Nils Grevlllli.. and. J Jf left to right: Viola, Dulcet, Diapason, Vox than you think advisable?—M. S. markable instrument gives you. tra - °rches - themtnem. Victor disc Wwithith all of the Bach that we hea Angelica, Bass Coupler Fortissimo, Treble 10-1323. , Mail the coupon for the of Coupler name now, it , Echo Horn, A. There would seem to be ample space And it’s all so easy! If you Massenet* Thav* >. isIs somewhatsompwhnf ofnf a rplipfrelief to heahea; Cremona and Celeste. can a Please rooms mentioned, and the dealer nearest you—and for fur- Puccini:Kcini: '*7M0rt de°S ThaTs:Thai some fugues Roman suggest combinations to use for hymns, for the organ above the play a piano, you can play the Mh? an£i of other periods. Manon"' I"™ rnthems and for a light soprano soloist. I have the effect should be satisfactory. Better volume ther information about this com- Ut~‘1 tic Trine n Quelle composers are disreput been will obtained by plac- Hammond Organ. Morbide' in rather using full organ (both knee swells) on for the congregation be plete organ that costs no more than prano) ‘ "'ith some of organists. A hymns; Vox Angelica and Bass Coupler and ing the swell shutters facing the nave, but with (s0 our leading The Hammond fine Robert 4^" Echo practicable. It will be all right Organ has been a piano. Thais,” any rate, then Horn on most anthems and for soloists, this may not be and J m the organists do not give ean p„i» but this if you find it necessary to place them facing much time. combination seems too heavy for our light coloratura soprano. Would you suggest the chancel, as not too much volume will be fn this neec .30 day of specialization we Cremona and Dulcet (4'), or is this too reedy? lost. We do suggest, however, that the console more interests With all other soloists stops seem be placed downstairs convenient to the choir. l men who have diversified the 8 foot till a - right, the specifications on the Great we sug- ““* One inter but the bass is too heavy with the As to Hammond Oj}gan ria'”«« * nwee-Nb, of the things that is always s„l;'a d soprano of the quartet. Also please suggest gest the Octave 4' instead of the Fifteenth, The h esting Biggs MUSIC'S Abduction " 0n tarda about theuie work 01of £i.E. PowerJro^ effective accompaniment Schubert and an 8' Stopped Diapason might be better MOST GLORIOUS VOICE from 1 ri for the Ave th c inill hishi.Q ror1I/\ «wu>u.u AV.t BOt Maria. 8' Flute, but keep the 4' tures Serag|j 0_ radio recitals, is that he (Jo6S— Should the notes be played portamento than the Harmonic unabating; Tor_ js on Swell the Stopped P^ano nmitlimit his compos*comp°se piano, or should they be tied more as a Harmonic Flute. On the With St€ber (s<>- programs to one yroken Jean chord, with each note held. Would the Flute and Stopped Diapason are somewhat RCA STZ How important recitals Victor and the and fine his lass coupler give pedals on similar in tone quality, so we would suggest Orcheftra the effect of foot Hammond Instrument Company V t° Bach havehntro haan k.a o refreshirt tieavy 8' instead of the Stopped Flute. Instead Puccini: r set been, but what a — passages in organ solos, or would this an Oboe 4210 W. Diversey 0 “57. 4'. Ave.. Chicago 39. III. Mimi Prea th of son11 be too heavy. Please of the Mixture we suggest a Violina It i - .. cool breeze when we hear advise, if the manufac- Without obligation, send full vet — .crui- 1 „„„ details about all models of the coition orn urer to reduce the specifications F ’ of this organ is still and if may be necessary Co Solenne uT;4“°rza del Schuni ann, a new work by an American in business, Hammond Organ to: ^ompanu | not any Theodore n nU.J Destine could new reeds another a little to come within your funds, but Pre.ser Co., 3 othei be obtained from m.trihutors, 1712 Jan and ,nvann Mozart Sonata for organ and manufacturer? builder will be glad to advise you ChettnM / Peerce (tennri ° Alvaro- i* f Would it be advisable to install reputable ^ and lnstruments our oth o tremolo specifically in this matter. We see no particular Name (baritone) Leonard - So, along with (fan type) in this organ? We would with t Warren e and Swell in '? an eomposers our Men- to hsc a piano with the organ but the advantage in having the Great Erich Pau l we need to keep up m f Address Leinsdm-f ! Morel Egan is pitched chests under expression—both could the ( elssohn him about Vs of a tone above the separate 114 ehestra . teach pCA and we need to piano and - one chest. The Tremolo should affect Victorvictor set VictorVlctor Or-nr the tuner does not recommend pull be in the City H56. our students; important and mg up Crescendo pedal operates P.O. Zone State "MUSIC he is an the piano strings that much. Could a both manuals. The STUDY valuable ow set of regardless of pistons or couplers. EXALTS LIFE” part of their education. reeds be obtained, and would they ©1947 EXALTS LIFE” THE ETUDE EEBRUARY, 1948 "MUSIC STUDY 115 — 1 A GIFTED STUDENT WILL RESPOND TO The Violinist’s Forum ( Continued from Page 83) 4 WILKANOWSKI Violin Violin Questions the left is If, after mature consideration, an exper- arm the habit ' many vim- < have ienced player feels that the indications of pushing the shoulder ^ t War A SUPERB on the pages do not convey the true con- and upward in order to d VIOLIN OF TRUE ARTIST-CALIBRE hold BRILLIANT Vlolin Tbe AMERICAN CRAFTSMANSHIP tent of the music, then he should feel firmly. This will inevitably WiJkanowski Solo Violin is Ca n in This free to change them in such ways as will cramp to develop a u M!:r< J hj HAR0LU tiie great outstanding, master-made vio- sooner or later nT _/l BERKLEY tradition of the old mas- h° * musically convincing its effects Ueh ters. "" s the personal handiwork of allow him to give a may not be I Body and neck are made of Mr. noticeabie extremely W. Wilkanowski, one of the interpretation. the player is under the old maple of distin- greatest enrTs^l living luthiers. readers of this page will performance. If °f guished flaming; All his famous in- The younger you have this | the top is spruce hahi struments are “experienced should Benoit Tononi Violins of superlatively choice notable for perfection please note that I said get a chin rest and v'-Una Made By j grain. The shoulder n°a Colorado. Very little is known of wood and fine player.” Such liberties With printed that will d ^Mrs M. S. D-, ^ ova Scotia. Carlo oil the enable . F"’’ Tononi varnish is finished workmanship — you to hold Benoit, except that worked in golden the viol maker Eugene he m Bologna and Venice, and for their rich, text are not for the unfledged student! f the Italy from 1689 to brown and shaded to lustrous oil- Brussels in the seventeen-fifties. A about 1730. amber. varnish worked in His instruments are beautifully Choicest (Mr. Wilkanowski’s The effect desired in your second quo- instruments known to be his work h<*ve made and are Madagascar ebony, trim- own fir much sought after for their fine secret). and they were very well made. He tonal mings. A magnificent tone Noted for their brilliant tation could have been equally well in- Cramp can also develop been seen, qualities. Their prices range between of true if the nio, and generally modeled his tonal qualities, ( good wood $1500 and $3000, although a lyric quality is the Wilkanowski violins dicated by a dash — ) or by the ab- continues to practice used few outstanding outstanding are after his hand on a large pattern. His varnish is usually specimens have brought feature of the treasured possessions breviation ten. (short for tenuto = held) f violins as much as $5000. | this of fine instrument. hun- arm is tired Many violinist., brown. In good condition, one of his in- However, not every dreds of virtuosi dark violin bearing a Carlo and concert artists over the G-sharps and the B’s. But per- fatigue in this could be worth about four hundred Tononi label way in the struments was made by him. If you wish to THE CASE—is Strongly throughout hope of built in grace- the country. haps the way it is printed is more ln be sure that you have ful em- creasing their powers of dollars. a genuine Tononi, you lines with sturdy, laminated endurance should have veneer phatic; it demands that the notes con- This the violin appraised by an ex- body, covered with heavy UNUSUAL 6 DAY is an entirely mistaken notion perienced top-grain nected As r dealer. leather and plush linings. to the eighth-note bars be pow- have said THE BOW TRIAL OFFER many times in these Is il Genuine? is vYou„, erfully stressed pages If your violin is a genuine An- genuine Pernambuco etuit ij m can actu- and held a little longer the first sign of G. A- Ohio.— A Great Violin Maker SEND NO MONEY fatigue the worth as wood stick and ally have a Wil- than their player tonio Amati it could be much as accessories — actual rhythmic value, and should stop Miss M. G.. Washington. Next to Stradivari include r~~~ — kanowski practicing for some But there are very many violins labeled an extra set of Violin the open E’s ten nr $7000. Joseph Guamerius (del Gesu) was the hand r somewhat slighted. Played twelve seconds of the Amati label which are greatest tested artist-quality examination on 6 day and allow his with a facsimile violin maker of Cremona. trialTR^^Loffer. \f° in this way, the passage hand and He was born there strings; Here s how it works, builds up a big arm to relax not worth a twentieth of that amount. How- in 1698 mute; chin rest We’U completely. and died there in 1744. Instruments of ' climax. and E-string P vilege of 6 days’ ever. your instrument has an interesting back- his make adjuster. ? exam- I would suggest that have sold for as much as $50,000. inSionfnmation in your ‘for the next and it might be worth vour while to home or studio. Your I was glad to hear from few ground, But I cannot assure you money stays you again, for weeks you do that your grand- in Express nine-tenths of have it appraised by a reputable dealer. Company’s office your letters always bring your prac mother’s violin is a genuine Guarnerius; the up some point ticing very slowly and with instrument is much more likely that is musically or complete re- to be a fac- technically inter- laxation. tory copy worth r_l Don't try to draw around $100. It would not be chandise. Abso- a powerful Reference to Vibrato Article a bad idea, though, to have it repaired and tone or seek to maintain York. The answer to let- lutely no risk! No teachers an intense fin- Miss C. F., New your appraised. As it is at present, in pieces, it is chance for disap- N/ gei grip. Don t increase the ter concerning the vibrato appeared in the Oc- not doing PERFECTED finger pres- anyone any good; repaired, it would issue of this magazine, which, however, pointment! 100% take sure until you tober at least be worth advantage are quite certain you playing on, and it might be satisfaction can came out after your letter was written. I hope or OF SPECIAL PRICES filuscular Cramp do so without tensing worth a few hundred dollars; there’s muscles which are the article has helped you. If it did, will you no sale. AND TERMS not Constant Refrigeration throughout processing, concerned with making let me know what part of it was most useful the grip I In’ Old Question— Is it (»ciiuiiic? ... (1) What is the best humidity-eon- way of over- The same principle to you? from slaughtering rooms to coming and preventing applies equally to Mrs. R. L. G., Indiana. The fact that a vio- what you term trolled drying rooms, protects the top quality The chronic muscular the right arm. It need lin is labeled "Antonio Stradivarius Cremo- FRED.fiRETSCHMFG.Co. cramp” in the left arm not worry you if during performance? your nensis Faciebat Cremona anno 1735" gut in Armour Strings from deterioration. The Wilkanowski Musical And in the playing sounds flaccid The Violin or tin* (ilariuet? means Solo Model Instrument Makers Since arm, richt for a while; nothing Violin 1883 if the cramp occurs whatsoever. Over the years, fac- Thus, Armour Strings retain greater strength (only) . during a this Is D. M. T., Virginia. I wish more young fel- . . SI7S.00 218 So_ Wabash vigor- tlie easiest and quickest Complete Avenue ous passage? (2) Is there way to tories in Germany and Bohemia tumed out Outfit . . 60 any lows had your earnest desire to play in — lifeless, as are . $200 00 Broadway reason thy overcome a and resiliency are never CH ' COga4 Ml 6 CX rCises the tendency to stiffen. such violins by the hundreds of thousands, ’ - “ y°ur symphony orchestra when they Brooklyn II, N Y. 'Basic Violin get older, for the old-fashioned process of Technique'Tet-hf shouldl *21 Certainly violins not worth $100. Some quite good strings made by not be done (more the mute exercises can there is a real shortage of trained young play- restfully) in the makers also inserted Strad labels in their in- "Brining” lamb gut. Armour quality control sitting position?" be practiced as well ers, a shortage which is likely to continue for sitting as standing struments. If you —J- L., Saskatchewan. a number of years. But at your present have any reason to believe maintains this refrigeration at exactly the acoustheorist rev. Just be careful to stage GUARANTEE U> The keep your violin in your violin is a good one. you should have it new life to your violin for SALE: commonest cause of of advancement I cannot advise you to make correct temperature at all times. Investigate cramp in good playing appraised. today position— that is, well such A written description of a violin New and old vi up! a career your goal in life, particularly as ion, o»«ns VIOLIN offers 1381 6th STRADIVARIUS no evidence upon which anyone could The perfection of Armour Strings is the Avenue New York you have not yet taken lessons. You to 19, N. Y. ( The Dacitlotf seem _ »EL. CO. 5-4078 VIII 1712) form an opinion. have covered a good deal of ground in the six result of six important steps: (1) Getting taU ne ne t 0n - Price S60M0 - months you 250 GENUINE VIOLIN Wri coJ° „ f Stradn-rri!, have been playing, but perhaps finest raw materials; Protecting quality LABEL FACSIMILES AND BRANnM adicc * i “anuscrlpt (2) of the most important Makers oNANUMARKS information on and lull you Stainer Violins each mnri™ t as,0 request have been pushing yourself along too Color or Vernlsh. aiid N«'lonalHy. constant refrigeration; Controlling , by (3) e s newly fast. Miss M. G., Minnesota. Jacobus Stainer bookie, t. the "mie Sod onlyn“f ;t/h Published Write Henri Lupien, It may be that you have a fine natural for Violinists. Dealers, K fs a "‘vst 316 Douglas and Collector^ *„\ . Street aptitude for never branded his violins on the back, or any- quality by laboratory tests; (4) Precision Manchester, N. H. New Music lor the violin, and can learn quickly. an Ancient where else. had too Land But that is not enough: you must have a good He much respect for the splitting of gut; (5) An exclusive Armour Irvington, N. teacher, fine instruments he created. So your violin is 1 J. if you want to play really well. After tanning process; (6) Polishing to exact di- ( Continued frbm certainly one the tnd - Page 112) you have studied with him for a year, he of many thousands of cop- fP/T/ON—COMPI FTP TD t: a ti c|- desired. When you specify Armour ies. some of them little better than mension Cf WM. S. HAYNES could tell you what the future holds for you caricatures, COMPANY you know you are getting the best TRANSPOSITION Women’s College as a violinist. You say that which have been produced in the last two Strings, covering ALL called “Hwa you have played problems of transposition Flutes of Nan” elan by the hundred years. It is probably worth between duplicates Distinction (Flower of the a full chorus and soloists, clarinet for eighteen months in your high More Musicians use Armour Music because no other manufacturer Scnd folder to the author South) had been to band . fifty and one hundred dollars. Charlesrh Laaourgm,, carrying rchool band and that process of perfecting strings. 35 W. 57th St.. New STERLING SILVER on during the accompaniment. At your director says you Strings than any other brand the Armour York in _ GOLD _ PLATINUM war years. They the second concert, have good learned having a benefit tone and technique. It might be of my visit in for the Foochow College Library much Supplies for Violin Making Catalog on request Yung-an‘ had better for you to concentrate on the an 1 ost in nounced a recital the war) I clarinet, for it R. F. E., Idaho. The Metropolitan FREE for the opening was assisted by a few is a far easier instrument. You Music Co., BT Sam ple 108 Massachusetts Avenue. tight could Quality Controlled ARMOUR Record Boston 15. an music majors, and become a very good clarinetist in half 222 Fourth Avenue, New York City, could Mass. b ge “e 0 the voice teacher. Miss •—revealing t0 Ue li ie ** would take probably supply you with the materials and how you can be taught singing Point them lene Hsueh, r you to become a good i the gir 0f who had recently given a violinist. and speaking th But by all means take violin lessons tools you need for violin making. It is a fas- Many Artists of the fa- by famous teachers through ^ enefit concert of her own to raise ear or * wo and hnd out what cinating hobby, and I hope you find great mous NBC TOSCANINI JOHN MARKERT & CO. Educational Records. •u y your pos- r I Orchestra are using G. B. Virzi for study sibilities are. As pleasure in it. 141 WEST I5TH ST., NEW YORK II. N. Y. MUSIC abroad, sang arias from a clarinetist, it would be very • Instruments. Write for record LOVERS good for VIOLINS Senr aWure/y free Othello you also to play the violin pretty Expert repairing our specialty. OLD & HBT Singers—Musicians and “The Marriage of Figaro,” TTU Expert Repairing. Send for Catalog A Stratton Violin E.J.&J. VIRZI CORP..5Q3 Fifth Ave„ New York and a Chinese composition 1ISTR1ICT-D-T • to by Dr. Huang Mrs. M. L. G., Delaware. I have not been- BIES SO S. MK Kill • *“ HEW nsIDEM 5 • MUF. song consents 1, £" I ze, called T£i/c°A Mr , Sea Rhythm, accompanied by able to obtain any information regarding a K NE Dr MUS,C C ° a double auartet. maker named John F. Stratton. About the MPANY (BM1) 1 Outstanding Musicians W ‘ A FLEXIBLE HANDS 173l 73W h t As I ?’• ” Oklahoma. The label you middle of last century there was a violin fac- PIANO Washington St, watched from back-stage audi- rtisrJLo e TUNING PAYS Borre. Vermont g their the Q is that of J. B. Germany, that wishes for S°Qd Guadagnini, but that ii tory in Leipzig, used the trade mv7 approachl, * over two guarantee praise Manuflex . . . Learn this 7* thousand each • that Independent Profession ng year Chinese, the violin which bears il name of Stratton. Possibly your violin came *P with the In 1775 the Continental Congress au- President of the United States, Bands: Past— Washington, al- izations were making rgan ' Present- thorized the establishment of the Marines. exception of George progress b that he heard it general were guilty of As a part of the unit, a band of lifers though it is presumed presenting w Future following his ior music and indifferent nfer ' and drummers was organized, and serv- in concert or on parade nerfnrt Ces By the middle of the ' ed as the beginning of our famous United retirement from the Presidency. nineteenth !^ A New Series for ( Continued Young Pianists from tUry Page 81) himself an amateur little progress had been States Marine Band. Thomas Jefferson, made- h of the Marine remained rather small During the Revolutionary War, fifes musician and godfather in EAsr arr Coldstream Guards of England, member^ angements of favorite tunes everyone likes whose and drums were the only instruments Band, was greatly interested in its future and were very poorly equipped P performances would compare very favor- used by the Colonial forces and ten or and activities. Undoubtedly, much of its About 1874, came Patrick My dcileton)50c GLOW-WORM (P. Lincke) 60c ably with Gilmore r the best concerts of our top a new era for F?A^OIfiTA^i^A^cS U RENADE more players composed and support can be attributed bands and F - Lehar 50= the membership. progress band < ) MALAGUENA (E. Lecuona) 60c flight symphony orchestras. That these m FLIGHTpi ^ 2r ^ T^ Following the establishment to the cooperation and interest of this Mr. Gilmore was without OF THE BUMBLE BEE great musical of inde- doubt the PARADE OF THE WOODEN organizations became cas- pendence, Eleventh Regiment standing band (Rimsky-Korsakoff) the army and of course the great American. The conductor, organizer 40c (L. Jessel) . . . . ualties of World War II is indeed a tre- SOLDIERS 60c bands were disbanded, but in 1798, the first authorized band in New executive of his day. an mendous loss had excellent to the band world and it Following Congress re-established the Marines and York; organized in 1810, its perform- cian, competent conductor, arrangements by LOUIS SUGARMAN is good indeed to learn. that La Guarde and a sh again a band of drums and fifes plus a ances were received with great enthusi- man with a keen Insight intq ANDALUCIA (E. Lecuona) Republicaine Band is prograT 60c POINCIANA (N. Simon) 50c well on its way to drum-major building and a fife-major was or- asm and admiration particularly by and possessed with AMAPOLA (J. Lacallej being re-established, and a “hv,;" . . 50c undoubtedly ganized. The band Park. how” of selling his PLAY FIDDLE PLAY (E. Deutsch will kept pace with the strollers on Battery band to the GITANERIAS (E. eventually take its place as one of Americl" Lecuona) 60c times and in 1800, two oboes, two clar- In 1823 there were five bands in the public. Mr. Gilmore soon and A. Altman) 50c the great became the IDA SWEET AS bands of the universe. inets, m APPLE CIDER two French horns, one bassoon, and city of New York, all amateurs serving tion’s most noted band As in the European countries, the band conductor p (E. Leonard) SONG OF THE ISLANDS (C. E. King) 50c a bass drum were added. It was in this without although working for the band was the largest, 5qc of America was born pay, the personnel as a military or- year ana LA COMPARSA (E. SPRING BEAUTIFUL SPRING also that the band presented its Militia. Later a few “professional” bands instrumentation the Lecuona) ... 60c ganization, although at a most highly deve much later first open-air PAPER DOLL (J. (P. Lincke) concert in Washington. were organized and vigorously competed oped of its period. A “great E. Black) 50c 60c date, as well as on a less pretentious concert gar The Marine Band is the oldest American for the various engagements formerly den” in which PEANUT VENDOR (M. Simons) scale. daily concerts . . . 50c YOURS (G. Roig) 50c military were ore’ band and has played for every given to the militia bands. sented served to keep the band constantly EDWARD B. MARKS MUSIC CORPORATION RCA BUILDING • RADIO CITY • NEW YORK before the public. The outstanding suc- have been led by a view of the whole main indifferent to its motivating cess of the Gilmore Band had a national which did no.t permit him to make any rhythms. But the great man is inevitably Classical teachers ev- upon bands both professional sweeping TEACH influence — changes in his original idea.” drawn to the society of his peers; only erywhere are finding amateur, and as a result, hundreds Here, as the answer to the prob- and always, we find Delacroix with genius of his stamp is he thor- MODERN PIANO own lems of teaching popu- bands were organized throughout the acutely conscious of of the classical ap- oughly at for in the last analysis lar music, in our home; by note . . . the mod- Not only did this period witness proach—the em, up-to-the-minute nation. ability to see the thing as it is the universal masters who alone method. Based on sound a tremendous growth in the number of a whole—the quality that marks Poussin CHRISTENSEN can speak his language. As the French principles of music, it bands, but also brought great strides in and Raphael and Mozart; and yet will help, not hinder Dela- writer, Montesquieu, put it, classic books WAY Why the quality of performance and band croix himself was destined classical studies. Fran- TRAINED to live in a are for the writers; new ones for the MUSICIANS chise contract will give literature. romantic era that exalted the particular, readers. And though Delacroix was re- you exclusive right to teach and advertise our The close of the nineteenth century that precise moment which is less the ceptive to, and indeed fought the good method in your community, if not represented. Our 43rd year. Write for complete details. En- Command a found professional or community ama- sum of the parts than the glorification fight for new modes of thought and ex- Better Income 1 close $2 for complete, 91 page instruction book. teur bands performing in the majority of a unique experience. pression, at heart this great romantic cities, towns, and hamlets. cities of Many was an incurable classicist. PLAY POPULAR PIANO passed taxation bills which called for ap- Chopin on Logic in Music LIKE A PROFESSIONAL propriations and support of their civic Another afternoon, shortly before bands and made liberal appropriations with our BREAK SHEET SERVICE University Chopins death in 1849, Delacroix went Extension It Conservatory for their maintenance. Leadership, though brings you clever arrangements for playing extra for a drive with the ailing composer. “I choruses of eight popular “hit parade" tunes. Gives 1903 still Inadequate, was also being gradually Advancing the Cello you breaks, _ THE WORLD'S LARGEST asked him what establishes logic in novel figures and tricky embellishments, HOME ready to fill in. Single STUDY CONSERVATORY OF improved. Yes, the civic concert band copies 25c, -.stamps or coin. MUSIC 1947 music. He made me feel what counter- Send $2 for ten consecutive issues. was making definite MEMBER OF a contribution to point and harmony are; how the fugue Section the cultural and entertainment life of the Extension Courses by is like pure logic in music, and that to THE CHRISTENSEN METHOD noted teachers, leading ( Continued from Page 80) Suite 754, Kimball Hall, No entrance American public. know the fugue deeply is to be acquaint- Chicago 4, Illinois to Diplomas, requirements except for Degree — and Degree of Bachelor of Music. Next month we shall discuss "The ed with the element of all reason and Courses. musical sound and does not carry well. Credits earned by using your Band of Today.” all consistency in music. I thought how spare It is often necessary to bring players Original compositions for the Piano by fou can prepare yourself for time for happy I should have been to learn all a better position advancement. to the verge of a scratchy tone in order about this—which is the despair of the by studying at your to develop a broad fortissimo. LEOPOLD WOLFSOHN convenience by the Ex- of 'musicians. feelihg common run That New intriguing Catalog and illustrated Next month we shall discuss the four melodies and harmonies that linger. tension Method. lessons sent without gave me an idea of this pleasure in Ideal for studio and concert. Used by progressive obligation fundamental conformations of the left teachers and artists. to you. Check science that is experienced by philoso- Elementary, coupon below. A Master Painter on hand and the effects of these upon ’cello Intermediate, Advanced and Difficult. phers worthy of the name. The thing is Thematic circular upon request. technic. true science is not what is ordin- A DISTINGUISHED FACULTY OF ARTIST that LEOPOLD WOLFSOHN EDITIONS TEACHERS — term, that Hotel Ansonia, B’way at 73 Street. New Masters of Music arily understood under that York City. WHAT °F MUSIC PROGBESS ARE YOU MAKING? WO* YOURSELF INSTRUCTION is to say, a department of knowledge Ton A Bette, ( Continued Po“mo,T from. Page 85) which differs from art. No, science, look- Your A proof of quality ~our Opportunity musical knowledge your is important for — ail the Today! demonstrat- Answers to ‘What s Your /.Q. LEARN — position and in- one inter- Coupon ed upon in the way I mean, "SWING" MUSIC come ested in further musical ’ was looking forward visit aulck course to players of all instrument's—make your today—are the result of the training, Our to a from a ed by a man like Chopin, is art itself, ot breaks, choruses, training you courses offer ‘Jl obbligatos, r s u 1 e young as to America s Patriotic Songs? Sj ? • whole tones, etc. have you the same high man who was said to have great L°l\ A, BV. given your natural ability. quality of preparation 28 CONSERVATOBY.Dept *612 and, obversely, art is no longer what the MODERN DANCE ARRANGING Additional train- which TSri*??East Jackson Blvd.. has Chicago. Illinois talent, as a pianist the Duets, trios, quartettes and ensembles—special choruses ing will open developed and trained and composer— vulgar think it to be, that is, some sort ( Continued, from Page 70) up new fields, new many successful musi- —modulating to other keys—suspensions— anticipations opportunities, S CC ,alog twenty-year-old —organ cians and ' sam le Brahms. Who would not points—color effects— swingy backgrounds— teachers in the ! P lessons and full information of inspiration which comes from no- greater income and past. regardinqgararng courstf T Write today. higher standing in the musi- course I have envy 1. Hail, Columbia, Happy Land by Jo- marked with an below. Delacroix the pleasure of hearing ELMER B. cal X where, which proceeds by chance, and FUCHS world. NATIONAL ^lano ' 335 East HOME STUDY U Teacher's Normal Chopin 19th St. Brooklyn 26, N. Y. COUNCIL Course Voice render his compositions in per- •presents no more than the picturesque seph Hopkinson. The Council is an Association Piano, son? of which Student's Course The Polish master’s name occurs things. It is reason itself, This valuable we are a externals of 2. America by Samuel Francis Smith. training, through our member It includes Choral Conducting frequently Extension the outstanding Public School in the “Journal.” On July 8, adorned by genius, but following a neces- Courses, correspond- Mus.-Beginner's may be taken at home with no ence schools in the United Clarinet 1847, for instance, 3. The Marines’ Hymn—Author Un- interfer- States with headquar- Public School O Delacroix records that sary course and encompassed by higher ence with ters Mus.— Supervisor's he your regular work just by at Washington, D. C. Dance Band Arranging was “at Chopin’s house at three back the differ- known. devoting to Members are admitted Advanced laws. This brings me to self-study the only Composition o clock for many minutes each day after rigid examination Violin a session. He was divine. His between Mozart and Beethoven. As PI# IMG that of the ence ordi- training courses Ear Training Trio 4. The Star-Spangled Banner by Fran- narily go to onered. 4 Sight Singing was played for is ob- flmpidiTuiuucd^auria waste. The progressive musician, Guitar him with Fauchon, he said to me, ‘when the latter as cis Scott Key. History and and so forth. unity, the busy as he may be, realizes Analysis of Music Then he executed it him- scure and seems lacking in the value of such We are the only school giving Mandolin self instruction Harmony and with a what people 5. Dixie by Albert Pike. Choose your piano technician as care- study and finds the in master hand.” Another cause is not to be sought in time for it. Well paid positions music by the Home-Study Saxophone evening fully as you choose your professor. Method, which includes he spent talking music with the rather wild originality, are available Cornet—Trumpet look upon as a 6. Columbia, the Gem Members of the to those who are ready in its curriculum all O of the Ocean American Society of for them. the courses necessary Double Counterpoint renowned composer for; the reason Piano Technicians to ob- Professional and pianist. “Cho- the thing they honor him are master crafts- tain the Degree of Cornet-Trumpet Pui, by D. T. Shaw. men who have passed Bachelor of Music. Banjo he relates, “thinks was turns his back on eternal a most rigid Beethoven is that he examination as to their YOU can do it too! ” ability and It's up to Name ormented by .’ 7. Battle integrity. YOU! A D.ploma Is the idea of Bach. He based principles; Mozart never. . . Hymn of the Republic by Your K ey to AgB s Success! work on and The extra skill they Street No Bach a great deal. Haydn, As it was the classics in painting Julia Ward Howe. offer is your as- e ™an surance of satisfaction. ,. whose second and third parts, literature to which Delacroix returned, City 8. See your phone S Yankee Doodle—Author Unknown. book for members, sa v back to University State - ’ tlle pieces which follow so in music he always went or write to jXtension th c' Are t 9. When Johnny Comes Marching You teaching ’ are best, is not to say that the Home Conservatory • sometimes did Mozart. Which 28 ’ now’ „ thp EAST JACKSON you? SO, how many pupils have em m three a whole- LVD. (DEPT. - 6 1 or four ways, all different, French painter did not have Louis Lambert. A 2 ) U h°‘ ' by CHICAGO 15, i d ° Teacher s Certificate? a LL Have you studied°H° astonished me. Mozart, he says, hearted interest in the work of his con- 10. America the Beautiful by Would you like to earn a Katharine the Degreeee sreat deal also. a temporaries. He was much too sensitive, OF PIANO TECHNICIANS y of01 bachelorBach , Beyond 118 of Music? 1022 W. • But Lee Bates. Garfield Ave., Milwaukee Wis. MUSIC not in that wav. He must too alive to the spirit of the age to re- 5, STUDY EXALTS LIFE” FEBRUARY, "MUSIC STUDY EXALTS LIFE ” THE ETUDE 1948 119 channels with- to their mood of the for the budding pianist and violinist to guiding them into proper moment Chamber Music and Its enthusiasm. It takes It is hard for some get together and make music, no matter out loss of initial young D pnm learn to judge realize the fact that to how elementary, from a technical point time for young players to although a J of compositions might of playing and to masterwork is to a great different styles Role in Musical Education view. the sonority of their degree th self- of inspiration, it is a result much to be desired. Fairly easy music by such old masters achieve a balance of tone without inspiration *.5* h covered, eci this it is as Purcell, in an ob- into a rational form; addition to all of important Frescobaldi, Gluck, and so on denial, to hear the ensemble the intern-,- In * years , ne was (.Continued is d,,an are « great stress on the study of scores; director of from Page 82 ) now ably published in this country jective way. M.c.ted „/ lay music and organist of S5£? in the is par- tempi and degrees awaken interest not only the Wanamaker and some of it can be used in various The problem of proper balance of intensity— •t will Store, Philadelphia. also iT but also in combinations of in chamber music contrasting forms, moods, of the music the instruments. If it will ticularly pertinent and tonaliu 'ructure In the regular course of individual in- tonal qualities of the other help to bring music into the family, use with piano. Above all it must be taken of its various movements. All technical and struction, too, it this m is of advantage to de- of and in the functional char- KARL JORN, noted these publications will be a fruitful into consideration that a room does not be grasped and translated back instruments tenor of the days of velop a sound elementary feeling into tvf Caruso of thing indeed. concert original artistic of their parts. and Scotti at the give the same effect as does a impulse that caused acteristics Metropolitan rhythm by means of accompaniment, th already Opera House, tells that a piano part comP°sition ’s birth. violinists, who have ac- died December preferably at hall. Experience Truly an To 19, at Den- the piano, for contrast of Valuable Material inspiring degree of technical ver, Colorado. which may sound somewhat aggressive quired a satisfactory He was seventy-four years tone. And while the mathematics in- of age. Two great masters have favored the not prove to be so in a it is recommended that they A brilliant career covering volved must be clearly in a room may assurance, nearly grasped, the whole somewhat Well Planned viola. The half a century more advanced players with hall, but rather it needs more color. Halls Courses to play the necessary included a period process should be learn as lead- relegated to the sub- particularly fine ing tenor of and grateful material: differ very much in this respect—and so To carry this out in adjustment is less difficult than often the Berlin Opera and some conscious as soon as every step has been practical wavs Schubert, with Three Sonatinas, many cases no special ten years a't the mastered. Op. 137 do rooms!—but it is well to consider that within the curricula of Music imagined. In Metropolitan. He was tor violin and piano, Schools considered and Dvorak with a willful suppression of the part will al- and Music Departments teaching is needed as, for instance, one of the greatest Siegfrieds One cannot help but observe, at this requires care his Sonatina, Op. 100 for the same in- more the of all time. point, ways give a static quality to playing. ful consideration as to the where the aim is no than mu- how many well advanced students struments. right groun" There are also the Haydn Here again the nature of the music ing of students in experience of playing the part. lack subtility in rhythm. Is the regard to their sical fact, per- String Quartets, Op. 1 state , No. 1 and No. 2 is wind instruments will find haps of our popular played a deciding factor, even within of advancement musically as Players of music being so ex- which (especially in well the second violin, compositions of the same composer. Take technically. satisfaction in the participation plosive rhythmically, a sign In the actual working joy and of general viola, and ’cello parts) out make very slight for instance Brahms’ Trio in C minor of the course studying the wide scope of master- lack of sensitivity to rhythm? This two aims should be of type technical demands. A plea should go out kept of (piano, violin, and ’cello) as contrasted in mind: the first, written for the combination of music seems to need a powerful stim- to develop quality works Competitions some day to our contemporary com- with of ulus to come through. his Piano Quintet (piano and string musical understanding and string and wind instruments. The mu- posers to consider the 0f interpre- needs of these ear- quartet) the Trio will for all participants Pianists in general ; demand a more tation; the second, to tual benefit will be A NATIONAL conquer the afore- lier stages in the musician’s acquire fluency COMPOSITION CONTEST mentioned progress. transparent treatment than does the each group can learn problems somewhat sooner, not only in technical reading great since from conducted by the Senior Division of the Na- From this phase onward one can begin but also the elementary Quintet; and this not solely because of in that kind of other in matters of phrasing, tone tional Federation of Music Clubs instrumental approach to build up an ready mental adaptabil- the is announced ensemble along systematic the for the spring being easier; also there is instrumentation but foremost be- ity that good color, and intensity. Teachers will feel of 1948; this in addition to the abundant ma- lines provided ensemble playing requires that it concerns fairly cause of annual contest for terial for four-hand playing the very inner nature of the The technical fully rewarded for their efforts in behalf composers in the eighteen covering stable groups of players. demands of the material With a string work. to twenty-five year bracket, conducted by the every phase of progress. But for selected for study should come of chamber music if, aside from profes- them group (quartet or trio) well with- unior Division. consideration must Then J A cash prize of $500 is also it is of great value to cultivate there are the contrasts within in the ability of the sional aims, they have contributed to en- be given to movements weakest member offered in the semble which can serve one and the same of Senior Division Contest for a playing with string or wind in- movement in a compo- the ensemble. The first bringing back this form of musical en- for a time as exercises in approach to the composition of fifteen minutes playing time struments as soon particular sition-differences due to the as possible for the problems— mood of music at hand should be by joyment to where it originated, the for orchestra, chorus, such as apply to bowing facil- reading at and soloist. In the con- stimulus of contrasting the music itself and often not bight family. tone color. Un- ity, to marked with as few interruptions test for young composers, cash awards total- sustained slow melody, and true as pos- fortunately, few of the but dependent on the sensitivity of the sible, ing collections of easy intonation. Also in order to test and to develop $300 will be awarded in three different to special forms like player. the pieces for violin and piano quick classifications. Details concerning the have the fugue or other intricate grasp of the general outline Senior piano polyphony. On Our contemporary and Division part of the same elementary grade that composers are much the musical message. contest may be secured from Dr. basis it will be possible to study This should be of difficulty, presumably more explicit in these things, for Fabicn Sevitzky, chairman. Murat Theatre, because it is complete works what- followed by careful study which, which exemplify the ever in the Indianapolis Indiana; taken for granted that the violin teacher else the difficulties may be, the case 4, the Young Com- various styles of the great of the less advanced, might be con- will play masters. Care nuances are usually posers contest has as its national chairman, the piano part. However, much most clearly marked fined to must be taken to avoid one or two selected movements Playing Dr. Francis Pvle, would suppression of and not left by Touch J. Drake University, Des be gained by making it possible to the speculation of the natural gifts for interpretation which can be brought up to satisfactory Moines, Iowa. while performers or, what might be still worse. (Continued from Page 78 ) performance. In this way a field of wide- there is nothing of an active nature that AN AWARD of one hundred dollars is does not require determination, enthu- offered by the Church of the Ascension, New siasm and consistent effort. If we would York, for the best original cantata or anthem learn to skate, we must learn how, and for mixed voices, fifteen to twenty minutes five^ practice. If we would play table tennis, in length, suitable for Ascension Day. The POUR HANDS we must learn how, and practice. And work will be sung at a special Ascension Day Companion ilume to fl***®, most certainly, Service, May and it will be published . . F ONE R if we would interpret 6, 1948; NE W. "wOPPt what is worth by the H. W. Gray Company. All details PIANO jrVING playing, we must be pre- ART SONGS (First Year and Second may be secured by writing to the Secretary, Year) BOOKS pared for a considerable period of day- Church of the Ascension, Fifth Avenue at CLASSIC ITALIAN SONGS by-day effort under the guidance of a Tenth Street, New York 11, N. Y. FRENCH ART SONGS teacher who knows how to teach. John M. Williams CLASSICS. Collection of Irving Mopper PLAY ME A DUET-Five Duet Classic and standard piano selections care- for one piano, THE PEXXSYLYANIA FEDERATION four hands. - . $1 0< fully edited with regard OF MUSIC CLUBS has announced its tenth CjERMJN to several months. In addition t PIANO prevalent there. Philadelphians could also Pennsylvania’s Colonial Philadelphians were these London. For about twenty-five also DpI° . years it choose between the subscribe to ltted was to be the repertory of Haliam’s benefit concerts f? to musical capital of America. American Pr Company at the Southwark Influences on American sional musicians. A °fes- This was meager smi?, to be expected. The founda- Theater or °f at Reinagle and WignalPs certs for some con ' tions The NEW NOTE in fifteen yyearsars had been laid by Hopkinson’s dazzling MODERN PIANO INSTRUCTION ’ but group new Chestnut Street Theater. Musical History beginning. still a The city was now Perfect Uninferropfed the political capital Here were opera, ballad opera—English, Sequence — Natural Progression Benjamin Franklin, where the important “born in people were and the European, and American and mixed ( Continued from Page 75) vm, — MICHAEL AARON PIANO phia at the age of ade1 ' sigmficant took place. Social PRIMER 60 seventeen” anri i amusement concerts. There was music also at public tous in the colonial blqui - official and Michael Aaron Piano Course what they had known in the mother city’s intelw private, had to be more occasions—and they did occasionally GRADE ONE 1.00 51 country. They had organs at an early cultural life, had his and abundant and a la mode. The dance Michael Aaron Piano Course finger £ S anti-thea- those minuets in silks and satins. GRADE TWO 1.00 date, and choirs which sang the Anglican Pie, His invention 11,!","^”“™ ter bill was finally repealed Above Michael in 1794. Hop- all, the informal playing of the Aaron Piano Course Liturgy. ted a vogue for a' kinson, at the time of best GRADE THREE I .IIZ L00 that instrument ^ his death in 1791, music at home continued. We can probably astonished hlctl still lent his zeal Michael Aaron Piano Course And it seems just to say that it was the Doctor t and prestige to pro- justly imagine that the latter gave these GRADE FOUR 1 00 moting ~~ among the Church of England people, Actually it was a new concerts, and saw younger musicians their best MICHAEL AARON mechanized verslfl moments and their ADULT COURSE an old of men ready to carry 1.00 and»chiefly by their help, that public con- game—that of rubbint on his work Old- opportunity to discuss better things. Se"‘[ /°r /rff Michael Aaron glasses with country performers, „ „ thematic brochure cert and theater music grew. There was moistened fingers teachers, and com- We owe a great debt indeed to Hopkin- this tuneful technic posers— . none that new and English, French, and son, Reinagle, we know in the early days of pretty-sounding tov he German- Carr, and many others. e saw a great 3 Philadelphia’s eighteenth century; for something of a rage not Compiled and edited by opportunity and came here They were not great musical geniuses, only th P ~ 0 to take it. Penn and the Quakers, however admir- onies but in Europe IAN MININBERG These men, professionals but their idealism, as welLR^ ? CHARLES KING & with good taste, and patient COBB ti aining and talent, HAZEL al ably tolerant and liberal in became a parlor became the work established BOOKS by other respects, accomplishment The forming of correct habits Is stressed. The dominant music in a young coloni- urnwjFour and that motor actions and phys- influence. were severe in composers d hook is planned so Alexander Reinagle, al city ; the matters of concert wrote music for yet lead to a Benjamin and made it pre-eminent musically it, i„C]J° ical movements are made easy, clear movement of arm and Carr, Raynor Taylor KEYBOARD ; hail and stage. In their laws these were no lesser men than definite end— free, ,ffenri Capron, Victor in America. They linked us with the best WITH THE Beethoven the mind is at liberty to consider ACQUAINTED ^ - and Vn hand so that Pelli^ier, GETTING written off as “immoral and indecent.” zart. One of the problem of Interpretation, Alexander Juhan, John Cristo- of Europe’s music; they gave latter’s last the us some of - pher Moller, • - 75c Yet there were (K.617) is built studies Charles Hupfeld— our first native • * = many in their colony who a very lovely Adagio Seven technical problems round these are best. PRACTICE PATTERNS and of Technic. - from eight Masters names we Book One— wanted to follow a broader and mellower for armonica. flute, oboe, should know and remember in c viola, and ’cell r . path and Philadelphia music of SCALE PATTERNS. . who also remembered what Tbe ^tile-brained Grades 2-3 75 cents this time. It was Book Two— Hopkinsin , de °d : Merrie England was— a keyboard they whom our ancestors something of gaiety for playing it, knew as the a rather be- h e kS and charm, as well lated chief performers, composers, and arrang- as nobility and dig- refinement, for the armonica Backstage with a TSSSSST i? was i SS nity. ers of r ndplc° They remembered London soon to lose its GREAT MUSIC music for all occasions. They wrote I will welcome these studies. music vogue. Hopkinson feathers and students and amusements was concertos, sonatas, symphonies, and knew it from visits. rather unfortunate in the operas, of timing of his Compiled and edited by Concert Tuner And REASON Some at least knew the musical grand and ballad types; chamber music, WITH RHYME ; great Handel’s inventions. He also RHYTHM devised an IAN MININBERG & FANNY G. ECKHARDT works and those and songs. Most of this music ( Continued, Page of Italian composers Improved method for quilling has been from 67) the harpsi- classics are in their original, of course. The then in vogue. Even more d These lost, including what seems to have been SXgX knew the riot- aPparerUly n V6r literary material and the pictures give the student y great aid entire thirteen-day ous . to background necessary for proj>er un- voyage he was sea- “Beggars’ Opera” and its successors. bothhot°h ItstV tone the complete some of their best. Much was certainly ; and Price 75c execution. But the era derstanding and appreciation of the composition. sick and miserable, and Students, teachers, concert pressively. These were the routine and derivative; but the best was dejected Philadelphia people who of the harpsichord was Grade 3 $1.00 of musicians. ..all have praised had over; even Hop __ ("Then he at last arrived in New York. music at home and who kinson’s their serious efforts would make a good- the lovely 75c patronized improvement could not There he found new Gulbransen the music make it sized anthology. that the Russian Sym- MUSIC and dancing masters who be- compete with the Sound in taste and truly Spinet Pianos...for their easy THIS WAY TO powers of the new phony was bankrupt and the tour reading ofnot«- gan to appear earnest as of was responsive action, brilliant correct way to the intelligent with increasing frequency. pianoforte. many these men were, they A simplified, A FIRST HAYDN BOOK definitely off. He said to Jacob Altschuler, - It was they who cultivated were, however, not free to follow their tone and volume... for their the great de- In other fields - music was also (Memories of Old Vienna) brother of Modest Altschuler, “I have lights of informal strug- best inspirations. One of the features no beauty of line and gleaming chamber music, in gling upward and doing of which things at least of A FIND in the early classics — 12 easy original money. I have no friends. I am six thou- satiny wood finish. Write for amateurs and post-Revolutionary music was that its 1 0 CH professionals joined. historical pieces never before published In this country. ARACTERISTl7DANCES^or7ian^ interest. In 1762 James Lyon, sand miles away from home. I can’t speak free booklets of new models. our ___ Grade 2 75 cents public base was broadened. Suscription second American composer, a word of English. I am truly a stranger Amateur Musicians Dominate wrote' concerts gave way to the public-support- GULBRANSEN CO. by William while in Philadelphia in a strange land.” Scher The years his "Urania: or A Dept. E, 816 N. Kedzie Ave. from 1759, when Hopkinson Choice ed concert—an idea then still in its in- Collection of Psalm-Tunes, An- Lhevinne shortly thereafter played Chicago 51, Illinois wrote his first song, HERITAGE fancy—and to the theater. This was a o( to 1774, thems, ?»' *• •« when the and Hymns." for William «* « b, troubied dawn Hopkinson com- Steinway and Ernest Urchs, of war virtually put posed Music Publications, Inc. mixed blessing. More people heard mu- an and compiled church music, and the latter then concert manager for end to music in 47 West 63rd St. New York 23 sic, but lower taste demanded its money’s Recently ^Published Philadelphia, might developed ' be a children’s choir at Christ Steinway and Sons. Neither of the two called a period of worth. Accordingly, these same men sup- dominance byli na Church. At tive amateur the University incidentally men, however, seemed to be especially Henten anb Caster musicians. True, there the plied the stuff for cheap ballad opera, were most musical of colonial colleges impressed. They did not make any com- C ry Pr feSSi0naIS extravaganzas, bumptious patriotic af- like John PaI - he assisted as mitments, but only ^ntfjems Ia"ma, John p °i composer and harpsichord- told Lhevinne they jX Beals, and James fairs, routine dance music, and sob-songs ^01 Bremner ist at commencements MAGI C would see what could be done. ™” FEN0E who taught and benefit con- • f°o.H Ih, student R BINKLEY and guided them, E —all pretty sorry stuff. The situation of / t etttthl.jf ) J and pro-’ certs. FINGER EXERCISER j 5™ Even Haliam’s stage company cir- A concert was arranged by the Stein- ay r either t6aChers DEVELOPER the earnest musician of this time seems Palm Sunday Anthem be?s°ofoers or mem - cumvented the law with way people, to be held in Carnegie Hall, of the orchestrao I i increasing suc- up by John Henry Men's Voices of Haliam’s Dre cess by admirably summed 10 ly disguising its performances as and Josef Lhevinne was to play the Liszt situated theatrical Schmidt, a Dutch musician then in Phila- . company readings,” MARRYOTT, RALPH E. Butp these’f '“moral lectiu'es”, and so forth. E-flat Concerto. As the time for his ap- could never delphia. He wrote a sonata, and adver- 15282 Hosanna! Blessed ) have thrived if That Is He. j the agent of sin and corrupter of public pearance approached, Lhevinne realized tised it thus; (his) (4 part) (a cappella). . .$.16 morals, Shakespeare’s pre- that in reality he would be fighting for “Hamlet”, was consisting sented IMPROVES YOUR InT" Eas^ sonata for beginners, • as “a moral instructive tale df TOUCH his life. He walked* onto the stage grimly and ten minutes! Many distln- called 1 of a larghetto, minuet and trio, and Easter ‘Filial Piety, Exemplified in the His- guished professional pianists determined to give the very best that Anthems say ^ fash- tory of MAGIC EXERCISER is Yankee Doodle, turned into a the Prince of Denmark.’ ” Philadel- L the perfect finger developer. A was in him. He told me that as he sat Mixed Voices Thousands in ionable rondo, may be had of him at phia saw and heard Opera”, use! at the piano, awaiting the time when he MARRYOTT, the “Beggars’ he has RALPH E. Milton’s No. 50 Green Street, where “Comus”, and some of the would come in with the orchestra, he de- 15276 Wake From Your Slum- WRITE FOR FREE LITERATURE furnished rooms to let. n * w ephemeral cided to put everything he had into those bers, (a cappella) $.16 llUHUiutimiinVmiiiiHuim^fI?I|, ) ! stage hits of London. The MAGIE finger DEVELOPER CO* gatheringS stage So, Philadelphia of President Washing- heroic opening octaves. 15246 Joy Comes With Easter. Thee. I can is 89SE 64'" As the concert BEETHO VIM SONATAS ' be clearly mentioned here simply because AVE* VANCOUVER B * C * CANADA M„„ EAl.eA .„ K Critic., inferren^n Adams’ day had (Carol) (S) 15 ' y °ne President Annot'aii’en, Has had the y Who eighteenth century performances were ton’s and continued he could sense that the entire pleasure I 15312 Lilies, White (a cappella) . by SIIVIO the through all well larded plenty of music, and it could choose. It audience was literally sitting on the edge .15 SCIONTI volumes of Francis with songs and instru- 5 Hnnk^ series MATTHEWS. H. A. music library, .^°pkmson ’s own hiental music. PIANO could go to the splendid concert of its seats. A tremendous ovation greet- SONATE PATHETIQUE now in (Opus 13) 15321 Easter Morn. (As it Began Mr. Possession of The SWING MADE EASY inaugurated by John Bentley in 1783, ed him at the finish. After taking curtain SONATA Edward Hnnlrf Revolution put end to all this. No. an * to Dawn) (Based on a 9 (Opus 14, No. Jr' Prom yslem teaches Beginners or Advanced years and supplied the call call, 1) volumes these Congress * which ran for ten after curtain he finally had to and enacted severe against all Radlo R<*ord Artists! Learn runs, breaks, blu* " ™ from oth6roth laws trSl. k Sarum Plainsong) 20 SONATA evic StS Corelli No. 10 (Opus ' know *ence we public negI effects, chimes. Boogie Wooglc. intre best: Handel and Arne of course, play an encore. Then, for the first time 14, No. that the, ? and the cn,k min(> ; , ? 2} . . . even private music. While < e st 0 . , y P‘*« futuristic, weird styles, off-color, ridin SELLEW. DONALD and »»“«'. Purcll! British melo(lv jam-hot-blueil J^L . Z and Vivaldi, and the newer names, Haydn, in America, Lhevinne played the Schulz- v'v„ held the city there were social choruses, etc. HUNDREDS of effeci 15313 The World Itself Keeps e” end for Free Monsigny, Stamitz and Elver arrangement of the Blue and liniani > music Booklet No. 17 and low prices. Mozart, Gretry, Danube. Pergolesi-in and amateur shows, but nothing Easter Day 16 short^he ? PACHERS Use Uranian of their best music of more new loose-leaf system. Writel P. E. Bach. Richard Adgate’s His success was so great that he returned day in thrfr « J* consequence. The one great work WHITEHEAD, ALFRED (Arr.) 5 STANFORD KING Piano Books P SLONE something of Wnson ances H of SCHOOL. 2001 Forbes SL.PiMsburgh 19. P< Society Concerts supplied to America to play one hundred and took the lead f °P' the war years was Hopkinson’s self- 15314 Three Easter Carols. (Tra- • GIRL a ^tbe har note- BOY and HIS PIANO A and HER PIANO Lord Psichord; fact gave the most three concerts the following season. A Penn is ment- styled “oratorical entertainment”, “The the same; in ditional English) 15 88 a a chorus of I Prom these vioIinis t. Temple worthy concert of all, when Earlier spoke of there being literal- LET’S PLAY HOBBIES actives of Minerva”, written to celebrate FICHTHORN. CLAUDE L. 8 r at fifty and an orchestra millions of notes in an artist’s reper- appeared least the alliance This Important two hundred and ly 15277 Behold, the Angel of the JUNIOR MISS Plays the Piano * JUNIOR MISTER Plays the Piano concurrentlv WlthwIr° with France in 1781. Notice To first real them— were assembled for a program toire. Some idea of what this means Lord. (S) series nf „ u the dramatic cantata ambitious of fifty 20 Price 60c Each was his most of under the 011 0nc6rts work Etude Piano ending in the Hallelujah Chorus would be gained by comparing the task sponsorship^^ ' and is that Teachers! the ,5 another candidate for and Phia Dancing pHiladel- wiil-o’-the-wisp Handel. There were subscription of memorizing the entire Bible so that Assemh?, °L, honor, the first American your students' interest by incorporat- Send for complete list of Cantatas. Lenten P the Chicago III. of the 0nsist6d ar P no Instruction. Boston Con- at Oeller’s Hotel, one could recite it all from memory, and Easter Anthems, Services, 4, best music opera. Unfortunately lost' Jrva^ £ i? The benefit concerts Vocal Solos folloled f the music is a Popular connection and Duets. Examination. Privileges 64 E. Jackson Bird. u,Loi Angulos dancing, bvl tmg with - Department in University. Summer even remembering every comma extended. nL 14, Cal ’ and and and the and MILLS a happy so u r,cu^ City Tavern, MUSIC, combing we know nothing of its quality. sought T am- You now may have thus long- INC. 4114 fi° lost that W. 7th 11. since we have instruction. Your students will thank were a success at Grays every period. Yet would be no more we were After the war, back im- you anA, concert series 1619 Broadway, music sprang C a wiU S^ow. For the first time, than the feat of ©liber IBitSon New ^rd and be *> in- Cavananah°P^ f? , Gardens, although remarkable Hans von Co. York 19, N. senoUS 2*1° mediately into More ? lano Schools are giving Etude Teachers Gardens and Vauxhall Y Philadelphia’s life. full rS- give THEODORE PRESSER CO. concerts 1C ' *®ac Piano free “dish of ice- Billow, who would a different pro- were advertise 111656 ran that, an C°ur2. h their famous Popular the added lure of a ! \ u it was now to flourish with r* te the^ Distributors occurrence, ° 6 Weekly fb A'.,_ New York Office for full details. the fire- gram every night for a month, or of over a in V punch” and “a view of 122 penodpell unprecedented vigor. In quality and AUGH PIANO SCHOOLS cream 1712 Chestnut St. Philadelphia - sometimes, the 47 «; (.Continued on Page 132) 1. Pa. of variety ^lfth Avenue the note of extravaganza "MUSIC of concerts, in the work of com- HJ New York 17, N. Y. works” suggests STUDY EXALTS LIFE" EEBRUARY, "MUSIC STUDY EXALTS LIFE” THE ETUDE 1948 123 ) —— want to say, but I am sure that is the foundation of all y0Ur The breathing Myself to deeply musical sense and great “I Have Taught intelli on that almost entirely depends gence will be able to put this together T character and firmness of the tone. of my own fh LAii.iiL.uiLy as HELP speak experience consists in naturally to breathe well a sav- when one tries Sing” The power of ’dramatic Ttip art to jump up from below. declamation was outgoing breath. The breath The lowest the note of the trill Page 63) with me such a free gift in of goes of itself FOR PIANO ( Continued from given with quickly and steadily kept such L be taken when it has been practised liberality, that the spiritual W in connection CHILDREN Not only needed only very slowly letting it with the average vocal teacher. lungs, higher note. The trill exclaims the the opportunity, life (Leben) to come the must not several other into the song. be sung; it must at all. Boghetti also taught expression. L With be done with a stroke, great successes. can be practised without singing must be done in this ('Jusi cJ\eleaseJfrom (UDuvofn singers who proved As concerns my voice, This manner: ENJOY the difficulties the pupil, and, most not ask us who are the great not to tire Please do with my throat were so great, as Ex. 3 for the hin- sing with the last breath. vocal teachers. A fine vocal teacher •moortant never drances were so tremendous, necessitat- a very poor teacher extremely weakening, and never ALEXANDER GRETCHANINOFF Algernon may prove ing such constant energy and That is take patience so-called ‘sobbing' to accom- MUSIC Album of Andrucha, for Penelope. We do not want to any Op. 133 (Ten Easy Pieces). . . .$1.50 (two virtues which for me were, allow them. alas al- diaphragmatic action. Album of Nina, Op. (Ten Easy the responsibility of selecting impossible) nanv the 141 Miniatures) 1.50 most that only my 1 i. e., burning matter if one breathes often this interval of a whole Most of all, in this hour of musical does not or a half Arabesques, Op. 150 1.45 love for Art in its spiritual sense It tone (the half learn through rec- could singing as long as the phrasing is is more difficult than the opportunity, one can enable to go through when with this Capitol Record album me the dreadful whole) is the last exercise ARTHUR HONEGGER ords, radio, books, and magazines. We interfered with. for the trill. slavery. My breathing was naturally not The real unusual very imperative to breathe trill exercise ought to begin Sept Pieces Breves 1.50 can never forget the case of the It is therefore short, not a sign of coloratur and an im- with the octave and of "talking” instruments Filipino prima donna, Tapales Isang, who anywhere and at any time so that it is so forth till one ar- JOAQUIN NIN possible attack. I never heard such an rives at the half note such a sensation in Europe as perceived. In passionate things, one interval. made attack in anybody else. For not Chain of Waltzes 3.60 twenty-five breathe oftener because Madama Butterfly. Her only musical must naturally Three Spanish years have I steadily worked on the Rusty in Orchestraville Dances: training in the Philippines was in the emotions affect the breath and make awakens new chromatic scale and only five the Danse Andalouse or six years interest 1.20 public schools of Manila, and most "of all, shorter. Also in singing forte the in music appreciation through Danse Murcienne ago did it come perfectly—when I it . j .20 no wasted. ex- through studying hundreds of talking breath is a good deal The a charming, dramatic appeal to Danse Iberienne No. longer needed it . . . But study 2 1.20 is always with machine records and trying to excel are therefore to be done re- a youngster’s imagination. Rusty is a 1830 Variations sur un Theme frivole. 2.80 wholesome. ercises The under note should as in this; only hang ‘in them. Then, after eight months’ study gard to the breathing little boy who rebels against piano the air,’ so to speak; both notes in FRANCIS POULENC in Rome, she walked upon the stage of the Ex.l trill practice ... until he begins this dream- must be ‘led,’ but the lower one lets Intermezzo in Ab the Opera Comique in Paris and made |.80 world tour of etc.. go and the upper one holds fast. Finally Orchestraville, w here Melancolie an immediate smash hit. She might also | .80 KM /'SPANISH it becomes one stroke the instruments talk in their natural have said with Jenny Lind, “I have taught and this stroke LUDWIG VAN BEETHOVEN must then be repeated. This exercise one voices through the use of myself to sing.” PORTUGUESE that the lungs may get time not only m so can begin with at Piano Sonatas, Book III once, for there is Sonovox. A refreshingly new If students could only get it through to give out, but to take in sufficiently Edited by Heinrich Schenker • nothing so helpful for coloratur and 2.60 their heads that but a very small part FRENCH RUSSIAN deeply for the new phrase. teaching aid, and wonderful In your own home learn portamento as this trill exercise when of their advancement rests with the to speak entertainment. At your Capitol For Ex. 2 the Finest in Music, Ask for your AMP catalog any of 29 languages by the world- done properly. But it is not easy to de- teacher, and that by far the greater part Record dealer — now! famous Linguaphone Conversa- scribe with pen and ink. Sing depends zeal, an octave upon their their eagerness, tional Method... quickly, ASSOCIATED MUSIC PUBLISHERS, INC easily, and bind upward, only letting the notes Capitol Album BC-35 their industry, their persistence, and correctly. Made by noted language (Wholly Owned Subsidiary Broadcast ‘hang together’ (not cease when going — Music, Inc.) their faithfulness to a high ideal, a vast teachers; endorsed by educators; $2.55 plus tax This is a good exercise to learn the down—is as near as I can put it. 25 West 45th Street York 19 amount of time, money, and disappoint- used in colleges and by thousands —New portamento. These are about the elements ment could be saved. What the teacher of home-study students. Send for of Sing- FREE book. Call for The Binding is next in importance after ing as I understand them. does at the lesson is most important, FREE demonstration. the breathing. Naturally this exercise My husband may possibly himself give but it is what the pupil does away from Available under G.l. Bill of Right! ought to be done slowly, ‘dragging' up- you this letter. With the lesson which makes his greatest my most heartful ward with time for the breathing between wishes for the success of the achievement possible. LINGUAPHONE INSTITUTE new Con- each figure of two notes. In an exactly, servatorium and with every good wish, RECORDS 39 RCA Bldg., New York 20. CI-7-0830, opposite way, the trill is ‘bound’ down- Very sincerely yours, ward and is quite a peculiar study. I JENNY LIND GOLDSCHMIDT” JVeiu Learning Haw to Sing (Continued from Page 64) ‘METRONOME TECHNIQUES’ end belonged thus together and the shad- by Frederick Franz ings were links on a chain 52 pgs. 5x8-$? Postpaid ptv.v.t* which I will The FIRST ever 1£e£ea6ed liken written describing many s to a snake biting its own tail. BOOK practical methods of using a metronome. See how *r' 5co^eS To be able to sing, the whole person- conductors, performers, educators and other serious "ce '°r students of music use the metronome for the rapid IT’S ' c r ality HERE AT LAST! hA' must be developed. and pleasurable learning tricky ,des Pf°' So is it with of complicated and musical rhythms on any Instrument. everything in life if we o'O' would reach any Four Information-filled chapters contain hints, cV\es sort of beginning Cavanaugh’s Brand New BOOK teo “’“ of perfection. We must do’s, don'ts, and answers to many questions con- w cerning metronomes. look widely around us; The book Is crammed full of on a**: no one-sided de- practical illustrations and examples. Old and new How to Play Popular Music velopment. Any one who wishes to methods are given of using the metronome, not toaster only to define tempos but to master difficult rhythms vocal art, must and develop beautiful re- Chock-full study many other things. expression. Your money of New Ideas . . . Fascinating, n9 turned if S 'Nr '" not satisfied. Send one dollar today to H ' d Singing is peculiar Easy, ' n a pS° ndice*£> w Tno gift more difficult Bigger, Better and the Best that to develop F. P d than is believed. The FRANZ Alleluia! C. G. Spross .50 Hosanna Jules Granier .50 !._„r TW'T l0ds vocal Cavanaughs Have Ever Published V, teacher’s 51 Wallace St. New Haven 11, Conn. High Voice—Low Voice High Voice profession is difficult and im- portant. Difficult ISO — because each voice PAGES Showing You How Christ Hath Arisen. G. N. Rockwell .50 In the Dawn of Early- must be treated High Voice—Violin Obb. Morning F. N. Shackley .70 individually and the to Just What You've oW Be Your Own PIANO STYLIST High Voice—Violin Obb. whole character be ‘spread Been Wishing For! eS e out’ or ‘drawn Christ, the Lord, Low Voice—Violin Obb. odc^ dc ds out.’ C Co or No stupid person can Is Risen O. Delalield .40 ^ ^ learn to sing Resigned fully and thoroughly 60 with for the Beginner. Medium and Advanced Student. Each section is Medium Voice Lift Your Glad Voices. C. B. Hawley .60 ed expression. Syncopation Jump \n<^ Ptice- n ^ ^ complete under one cover. You receive Jaiz— Swing High Voice—Low Voice Q irn oeW His profession boogie \y is important because Christ's Victory.. W. H. Neidlinger .60 a Light of Hope, The A. Geibel .60 wrong THIS CONTAINS: . High Voice—Med. Voice method ruins the health. P J MAGIC BOOK „ m For al3 M,,,:ic Introductions and High Voice Low the ‘ Theory. Profr^ionnl Voice Note Rhv?b °jL Timing of No!, * and TS* Low Voice — whole body sings, h hm“' ch“rds3 -' 110 *• even the legs « - Bo-* Apply to any song: fosses—How a' I S0 ^ to Harmoniz- Place Lord Is Risen, The. .A. W. Lansing .70 HR the myself could barely Modulatinn^M^0 Music and.How to Apply tbe 6th, 9th, Come, See drag myself ing. ern, 8ric Playing. Blues. Arrang- All Chords of to ^ - , Voice pup myy Chord n®?flJJ.rTn,, Gracerace ixuuio,Notca. .rurns.Tnils,— Ambrose .40 High —Violin Obb. ' , Chromati d Lay.Paui carnage pj?’ How to improvise any Pop- Uth. nth. etc, . Where Jesus after my “lar Sona K ,*i Patterns Operas. y >ar, How to Apply Piano Rhythms. Low Voice—Violin Obb. Piano H” rrn °ny. Radio and Recording Gliazandos. Bells, Medium Voice Thpn^v |^ i Syncopation, Chimes. So does the soul s or w hole. Half and Quarter and illustrations for react on the Notes- / Melody, Hokum, Jamming, Off body *°J}PPly these Breaks Piano» >o»v Tricks.. . .• . Thumb Resurrection Song R. M. Stults .60 I and Witv.W,th Any? to any Voice Note — Easter Dawn C. P. Scott .40 «>isr-sr^r.v. write such rhapsodies Chord in Any Song. Beat and 1001 Extras. High Voice that perhaps Medium Voice v °s cn * you do This Orchestra Pianist T>me Y eor ‘ not understand Course Will Assist in Becoming a Professional e . 53 0 half of You '" p,»ce. what I A. P. Risher .50 Risen Lord, The A. Geibel .50 use this fine book is complete Booklet containing lesson Easter Morn t0 rafeWwig, a P High Voice—Low Voice eaf*nner. Medium and Advanced Student. These assignments High Voice—Low Voice 2sneeialto°rpeually **8jfi Indicator. for HOME receive a full 88 Keyboard STUDY TRAINING. You also Songs of Joy Wm. Hodson .60 Easter Triumph H. R. Shelley .70 The Kind in the World High Voice—Low Voice LEADING Cavanaugh Book is the Only Book of its High Voice—Med. Voice PIANO TEACHERS Low Voice b Voice Triumphant, The.R. M. Stults .60 h l l Fl .A. Rotoli .70 High Voice—Low Voice the piano benefit ANO TEACHERS ASSOCIATION. Students of Glory To God by a T1 one r not completely ^dyin^ r om^ , the ? * back guarantee. After 4 days if you are High Voice this th GSe eac ers book andnmi Low Voice— organization ,^ ' as *he teaching requirements set by get your are conducivp + money back. Med. Voice Send for Free Complete List of Solos and r er ceive PIANO °.? n<^ progressive piano playing. Members re- Duets for Easter Services NEWS, the offirinl k ^| ? Geibel .70 " °* I Morn. ... .A. motion ,he P ' ' Glorious of • T A is to the pro- Hail, greater skill an which dedicated Everything in Music Publications 18 North ' A N ° TEAC at Risen Raul Ambrose .60 Perry Squ a ° HERS ASSOCIATION are He Is r 1 pe nn J* Cavanaugh piano schools Medium Voice 1712 Chestnut Street, Philadelphia 1, Pa. THE ETUDE Feb EXALTS LIFE” 125 RUary, 1948 «MUSIC STUDY — * h . — — bilities, both for education and for en- personality. Ugliness of speech i s ads For Thoughtful raost CLASSIFIED tertainment. Radio, also, is modifying Music repulsive when associated with and Beauty in beauty in the speech of our youth to a surprising Play other respects, such as beautiful — features GALANTI ACCORDION—120 ~ puosuuuiues 01 good degree. Witness the good diction in “This Musicians . . . roB SALE! new. Cost speech. or form, or a good singing voice. Shift:HhTf'ts Practically $440, We must begin by educating ass 3 Box BLIP par- is the Army.” Page 71) index to character. B ;/J»275.’ C / o ETUDE, ents to a full ( Continued from An Consider Sacrifi££. realization of the value the Ml Sic exchanged and When we once become thoroughly Everyw here significance of the fact that speech UNWANTED beauty of good speech. They must is an VOVK iece, each; quality matched. learn speech-conscious, the training will in index to character. Here, I Jo that the young child use speech Specialty Shoppe, Delton, Mich. has natural possi- large it must in part take care of itself ; but What we are com- broad sense, including bilities for good to the music. a gesture, laugh- -^LtPTvvT' Composition. Orchestration, speech; that it is pos- begin early, because the speech habits only artistic now is that ter, smile, attitude, and the HAB»0”*’o . private or Correspondence sible to create and countless 1 good speech; Music recognize ing to re- ,. ,.,| and that are set in on the play- us scripts r v | s a il All Instruments , Singing , Composition Fine, Holly; said I’m so glad” INDIVIDUAL INSTRUCTION • SUPERVISION Madge.. SPECIALIZED Ijwbara ra ,,s ” Illinois SchrfAi *V Lullabv Ensemble, Streator, Lincoln Place R‘tch,e, Elias Diane Seventh Ave.. at Brooklyn, N.Y. D ick M r ia Rankin Alicia Westwood. Gayle Hill. Bud BarrpH i v P • Jftt. Alice Adamson. Laurence Maniglia, John Fomof. Judy P Carolyn Fomof, John Schroeder, Rose Ann Leto. 129 — — — . — piano by Wi,liam Scher— THE COVER FOR THIS MONTH—A half NOAH AND THE ARK, A Story with f°r ' This 0«r. of Famous Music style, Composers, by years or for Piano, by Ada Richter— to the Music Mastery Series will Lo,,^ dozen more ago a strong and Continuing in edition the fascinating “Story every pupil. Each piece has an virile likeness of the great dramatic com- with Music” series inspire which has included title. The teacher will find poser, Richard Wagner, as sculptured by such popular books Attractive N. Aronson, was brought to the attention as Cinderella, Jack and the etudes, to be excellent assignments Beanstalk these of The Etude Music Magazine through a Three Little Pigs, Peter Rabbit, phases of practice as: legato, the for such photographic copy sent to this country Nutcracker Suite, and Peer thirds, trills, rhythmic Gynt, Mrs staccato, double Now 111 its from Paris. During the intervening war PUBLISHER’S NOTES Richter now turns her attention alternating hands, syncopation, to the recisioh, years it was not possible to make ar- best-loved Bible stories, which open Scale passages, arpeggios, up left hand rangements for a reproduction of this A Monthly Bulletin of Interest to all Music Lovers an entirely new and fertile field motion and for this chords, rotary hand repeated photograph, but eventually through the series. the ever popular notes. Troika, besidesThe in the good offices of the great master pedagog, Interwoven in the telling of may be ordered now at the sob cultural heart the fa- One copy 15 Tkene of Mr. Isidor Philipp, formerly of Paris Con- miliar story of Noah and the from the “Al- Ark are Adrairte of Publication Cash Price, 25 legm^oTThth « Chicago, with greatly servatoire and the Pountainbleau School SlXth ^Phony; Theme ex- descriptive piano pieces, some with verses postpaid. from °L l cents, Marche Slave”; panded studio facilities- of Music and now teaching in this coun- These may be assigned to different Theme from TO MEMORIZE MUSIC, by James pupils PRINTED PRESS- 'NC. IN THE U. S. A . ET THE CUNEO ; ; SOUVENIRS OF THE BEST LOVED THEMES FROM CELEBRATED PIECES IN MASTERS THE GREAT MASTERS EASIER ARRANGEMENTS For the Piano For Young Piano Soloists In Easy, Playable Piano Arrangements By GEORGE L. SPAULDING Favorites from classic as well as from recent composers, are There are not only students coming along in grades 3 and 4, in grades 2 3. There are presented in this book for players and but also many home players who never develop great technical for pupils in the 2nd 26 numbers in superb simplified arrangements, including such This very popular book of piano solos play the great musical selections * TW” lr « M* MotherM n ,h,r abilities, who want to which grade gives 27 simplified arrangements of some of the world s favorites as Rubinstein's Romance,—— Dvorak's Songs My Unfortunately in their original forms, most famous gems of music. Each piece begins with original Taught Me, Tschaikowsky's March Slave, and numbers from every one knows. many introductory material by Geo. L. Spaulding with ad libitum Brahms, Chopin and Schubert. of these selections are quite difficult, but competent arrangers Jessica Moore. The very attractive title page design texts by with clever musicianship have brought the 28 numbers selected shows- pictures of the various composers represented in the PRICE, $1.00 contents — Beethoven, Cham for this album within the ability of the inade, Chopin, Dvorak, Engel average player. There is a superior musical tnann, Gounod, Gottschaik value for the student who works on these Grieg, Handel, Haydn, Lange Mascagni, Mendelssohn, Mos pieces as sight-reading material. kowski, Mozart, Paderewski Paganini, Rubinstein, Schar PRICE, $1.00 wenka, Schubert, Schumann Strauss and Wagner. PIANISTS. ..from PRICE, $1.00 STANDARD STUDENT'S CLASSICS FOR Beginners to Virtuosi May CLASSIC ALBUM THE YOUNG For the Piano By PAUL FELIX Printed from special large plates, and con- Sixty-two remarkable tran- densed as much as is consistent with legibil- scriptions of favorite composi- Enjoy the Music of the ity, this book presents a large collection of 48 tions of the great masters simplified for little hands in study and recital pieces, by the best writers, grade to grade Here IV2 2 Vi. that can be assigned to pupils from grades 3 is a list of the composers and to 7 and which probably will be retained the number of their composi- in tions included: Bach 6, Bee- MASTER COMPOSERS their permanent repertoire. Most of them are thoven Boccherini 5, 1, Chopin original compositions, not transcriptions or 4, Clementi 1, Corelli 1, arrangements. In addition to pieces by the Couperin (F) 2, Dussek 3, These Volumes of Carefully Selected Compositions Field 2, Gluck 2, Handel 2, great masters, there arc selections by lesser- Haydn 4, Hummel 2, Kuhlau known composers such and Arrangements Offer a Real Economy in as: Kirchner, von Fie- 1, Lully 1, Martini 2. Men- delssohn Mozart Rameau litz, Karganoft, Kopylow, Chretien, etc. 3, 5, Collecting a Repertoire-Library. 1, Schubert 4, Schumann 5, Steibelt 2, Weber 3. PRICE, 75 CENTS PRICE, $1.00 FIRST PIECES IN CELEBRATED COMPOSITIONS MASTER PIECES WITH THE CLASSICS BY FAMOUS COMPOSERS MASTER LESSONS Compiled by CHARLES W. LANDON For the Piano For the Piano This very successful volume was originally compiled as a book of studies to be used as supplementary material to a standard Just as the reading library of every graded course for the piano. But teachers, who found the work Thousands of advanced piano students who longed for the ' cultured individual contains invaluable, urged the change in the title to pieces", as that is certain opportunity to enter the master classes of the world's famous just what these miniature classic gems and fragments of classic volumes of classic literature, so the piano pedagogs and were prevented from compositions are. There are choice melodic bits from sonatas, attending because of library of every good concertos, symphonies, operas and other works in larger forms, pianist should the expense involved and the dis- all brought "under the hands" for young pianists. have the imperishable gems of music tance from their residence to the contained in this album. There is place where these master classes PRICE, $1.00 are no better way to describe the worth held, have found in this volume of this album than to list the con- much that they would have ob- tents. It will be seen in reviewing tained had they been able to register these contents that the 34 selections MUSICAL VISITS with these teachers for private les- are ones which it WITH THE MASTERS is essential for the sons. Imagine having under one sincere lover of music to know, and cover master teachers' analyses and the surely every advanced For Piano student of directions for playing fifteen of the piano playing should have them: Fur Hlise, Beethoven Inter- ; great master pieces for the piano! Sixteen Simplified mezzo Ep, Brahms; The Flatterer. Chaminade; Scarf Dance Here each master lesson is given not Arrangements Chaminade; Funeral March, Chopin; Nocturne. : Chopin only once, Humoreske, as in a class, but always from the Classic Dvorak; The Golden Wedding, Gabriel-Marie’ is in possession of the MUSICAL VISITS Second Mazurka, student Godard; Second Valse, Godard; Berceuse WITH THF MASTtRS Composers and may be read and reread before and during the practice Grieg ; Butterfly, Grieg ; The Celebrated Largo, Handel Compiled ; Gipsy by Rondo, period. The following authorities have contributed master Haydn ; The BRUCE CARLETON Mill, lessons to this volume: Mark Ham- Jensen ; Prelude, bourg, John Orth, Sigismund Sto- with Kopylow ; Idilio, Lack jowski, Walter Spry. Edwin Hughes, m Biographical Notes by Valse Chromatique, Leschetizky Katherine Goodson, Victor Biart. ; The Music PRESTON WARE OREM Theodore and Moriz Rosenthal. The composi- Box, Liadow ; Spring For the laudable purpose of tions which are included in this ac- Song, Mendelssohn Sere quainting young pupils with the ; nade, Moszkowski volume are completely cued with works or the classic composers, and ; Men the master lessons. thus early developing in them a taste for the best in music, uet a 1’ Antique, Paderew easy arrangements classic many albums containing of composi- ski Presser ; Poupee Valsante tions have been published. This album presents a new idea in Co. Poldini Prelude, such publications. Here, just one composition of each master ; Rach MUSIC PUBLISHERS PRICE, $1.00 is presented, a work considered truly representative of the com- maninoff ; Romance, Ru poser’s style. A page showing a picture of each master in binstein Polish 1712 CHESTNUT ; Dance STREET pengraph style is included. These pictures are to be cut out Scharwenka Serenade and pasted in designated places throughout the book. Brief ; PHILADELPHIA biographies also are given preceding each piece. The 16 numbers - Schubert Heller ; Trau are attractively titled in order to arouse the interest of young merei, Schumann ; Little Romance, Schumann pupils. The original source, however, always is given as many ; Reverie, Schutt FREE Traumerei, EXAMINATION PRIVILEGES teachers prefer the classic title for program listing. Strauss ; Simple Aveu, Thome ; Chant Sans Paroles, Tschaikowsky June, Tschaikowsky. Examination ; privileges on any of these hooks will PRICE, 75 CENTS be cheerfully granted by your dealer or the pub- PRICE, $1.00 lishers.