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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1942 Volume 60, Number 04 (April 1942) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 60, Number 04 (April 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/240
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Editorial
Lr\ rA Teacher’s Diploma M Earn A CD u V HD, ffl 0 fl (B iJB frf U W s4rt M (Jj Wjusic a l \'rnianent N T H 1. Y p lJ BUS H E D M O Philadelphia, Pa. Bv Theodore Fkessek Co., what they are, because they were EDITORIAL A\D ADVISORY ST ATI few but no one knows just our Lord, 1941, it occurs to very there FRANCIS COOKE, Editor N THE YEAR of generation to generation by rote and DR. JAMES over the air passed on from Assistant FJirors of the music they hear date Guv McCoy and Priscilla Brown. people that much definite manner of determining the dn, was therefore no A Bachelor’s Degree William M. Felton, Music Editor century old. Bach, Handel, Gluck, Ha> used to I is over a of their origin. The method Krick Dr. Rob Ro\ Peery Robert Braine Dr. Henry S. Fry George C. Peter Hugh Reed and many mas- to compare Pietro Deiro Karl W. Gehrkens Blanche J.emmon Mozart, Beethoven establish their history is beth'Gest Dr. Guy Maier William I). ReveJIi Dr. Nicholas Douty Eliza long dead by 1841. Much of music asso- leading to Diplomas, and the Degree of Paul Koepke N. Clifford Page ters were them with the types Extension Courses by noted teachers, Chopin Bachelor of Music. FOUNDED 1883 BY THEODORE PRESSER of the finest of Schubert, ciated with other periods. For in- at your convenience You can prepare yourself for a better position by studying Mendelssohn had also been writ- legend by the Extension Method. i and stance, there has long been a are invited to for lessons and catalog. It may be the means of when this You send ten by that time. Yet, that the famous tune known as Mal- starting you upon a career that will pay dividends in increased cash earnings blossoms forth to-day, it dividends that couldn't possibly come to you under your present position. music brouck ( Marlbrough or Marlbor- HAVE YOU STUDIED HARMONY? Those who are making music their profes- j^or 194— and charming as (Contents ^ydfyrlf[ seems as fresh is extremely ancient. This sion are always interested in improving their own knowledge, in progressing. ough) heard. Indeed, it You can make your services more valuable. Openings in the music field are when it was first has appeared in so VOLUME LX, No FRICK, 25 CENTS theme, which growing very rapidly. ol is even more beautiful because be said to WORLD OF MUSIC 220 many garbs that it may UNIVERSITY EXTENSION CONSERVATORY the high virtuosity of the perform- EDITORIAL play a protean role in music history, Dept. A-286 1525 East 53rd Street, Chicago, Illinois in quality Music Art - 219 ers and the great advance a Permanent at one time was believed to have Please send me catalog, sample lessons and full information regarding course I have marked music, with an X below. YOUTH AND MUSIC of many instruments. Thus which .Blanche Leuunon 230 been the music for a hymn 1 Piano, Teachcr‘s Normal Course I] Harmony Violin Jdnossys and Johnsons 1—1 of the arts, has “ Piano, Student’s Course Cornet Trumpet Guitar the most ethereal of " — MUSIC AND CULTURE the Crusaders, under Godfrey Public School Mus.— Beginner's Advanced Cornet Mandolin art of singular per- Public School Mus.—Advanced Voice Saxophone Sir Thomas Beeeliam FTas His Say Rone lhuthut 221 become an sang as they Advanced Composition Choral Conducting Piano Accordion Shepherds’ Pipes for Modern Players Jennie ('"ssitt 222 Bouillon (1060-1100), Easter, the Alleluja Season /fatti < I'ln-t: 223 manence. Ear Training & Sight Singing J Clarinet Reed Organ Jerusalem. Later History of Music Dance Band Arranging Banjo Rhythm Must Be Felt Cheater /{arris 225 marched toward H Q Philipp 220 the of Europe at Name Adult Highlights in the Art of Teaching (lie Piano, Part II L Consider map or Juvenile it was sung to the words: Street No MUSIC IN THE HOME the time of Napoleon and his musical ” City State Handel’s “Messiah” Two Centuries Old Rafael Kammerer 227 “ Malbrough s’en va-t-en guerre Memorable Music Recently Recorded Peter llui/li Ivi ed 22s Beethoven. The map Are you teaching If contemporary, now? so. how many pupils have you? Do you r the Fhe Etude Music Lover's Bookshelf B. Meredith i 'adman 229 (“Marlborough goes to war”) hold a Teacher’s Certificate? Have you studied Harmony? Educational Music on the Air Alfred Lindsay Maryan 231 has changed with kaleidoscopic va- Would you like to earn the Degree of Bachelor of Music? words of which had to do with MUSIC AND STUDY riety. Empires and kingdoms have The Teacher’s Round Table Gnu Maier 232 the victory of the famous ancestor Look Your Best to Capture Public Favor Elizabeth s< arle 233 tottered and fallen. The proudest The Tone and the Word of Song Wilbur Alonzo s Files 235 of Winston Churchill at Blenheim. Get That Child’s Interest Jane Bradford Pari; in son 230 rulers have been vanquished. Thou- Problems in Organ Playing Pietro Van 237 However, it is definitely known that Practical Ear Training lames L. Mnrsell 238 sands of magnificent buildings have I he Ideal as a Symphonic Baud Curtis It. Larkin 239 Mme. Poitrine sang the song An Interesting Progression Millions of men Allen s/r , <,r 24^ been blown to bits. Niotm Bowings—How and When to Teach Them Samuel Apyhbanm 241 lullaby for the Dauphin of France tion ivctrdi l e8 8 Answers. perished in the .A °£ Karl TP. Gehrln as 242 and women have .r ! mToday s Popular Music a Place in the Teaching Repertoire?. Thomas Tafia r 243 in 1781. The child’s mother, Marie I he Smenhnc Approach to Singimr Conrad Thihimlt 244 bloody parade of the tyrants. Yet 1 —Melody with Flowing Accompaniment Antoinette, was fascinated by it; Heller ^ Op. 47, No. 2 . not one note of the chromatic fugue MEDALS and BROOCHES An Gin 205 Accordionist’s Defense Dutv ‘ pt 277 and, when Beaumarchais put it into Napoleon Coste, Guitarist of the “Creation,” and Composer. Georye ('. Krick 279 of the “Messiah,” Medal Brooch “The Marriage of Figaro” in 1784, MUSIC of the “Magic Flute” or of the MARS? This illustration is exact size. Same ORPHEUS OR design as Medal, without (lassie and. Contemporary Selections he even introduced it as a popular The name of recipient, or date chain and crossbar. Engraving Chlarina glorious “Fifth Symphony” has . . . .Robert of Welling- Schumann . Op. 9 245 When the Irish born Arthur Wellesley. Duke of presentation, may he en- of name, Prelude in F Minor date, etc. is possible /oh aim Bebofttian Barb 246 professional song. graved Afternoon on the Green been changed. ton, was a lad, he expected to become a on the bar, or on the only on the reverse side of this Donald L. Moore 247 Carnival in Vienna father. Destiny determined him to enter reverse side of the .Robert RtOlz. Op. 7 Id. Vo. 248 musician like his When Maelzel induced Beethoven medal. brooch. Dutch Windmills } How is it, then, that these spir- April Birds JHlCft Mathis 251 the army and pass on as a deathless hero to the British "No. 2A 10K Reginald to write the potboiler, “Wellington’s Gold $8.00 *No. 1A 10K Gold $6.00 To a Lily DFKorm 252 of speculate whether he might I.....!..!.. William itual reflections of genius—made people. It is interesting to *No. 2B Sterling Sil ver.... Vocal Hudson 254 3.00 *No. IB Sterling Silver 1.50 and Instrumental Compositions have become an international asset like Bach. Scarlatti. Victory,” later known as the “Battle Sharing (Vocal) a wealth of tones which vanish on or Elgar if he had fol- .Clement Flynn. O M. T. Debussy. Tschaikowsky. Brahms, Ask Me No More (Vocal) 255 Symphony,” he insisted that the ..Charles Gilbert S/irons 256 seconds after they are instead of Mars. Maelzel insisted that ADD 10% TO COVER FEDERAL TAX Easter March (Organ) the air a few lowed Orpheus ON JEWELRY. ETC Easter fohnson-Barrell, Jr. 257 Morn (Four Hands)I la i write his pot boiler sym- Two Traditional < when he induced Beethoven to composer introduce Malbrouck, Dainty Feet (Violin) Arr. Felton 258 heard survive great armies, great ’ — LYRE IN SHIELD PRIZE. ••••• Clarence Con phony that it be called "Wellington's Victory." The name CLASS or CLUB PINS Country Gardens (Morris Dance)- -Sole M. 260 tor I rombonr nr which was the rage of the hour. (Kuphouiuiu), Baritone cathedrals and great dynasties of was later changed to the "Battle Symphony." Bassoon. \V Bass. . f Clasp Pin No. 90) 0 • • • • -Did English Time— Winged Harp Delightful -Arr. Webber 261 Lyre and Wreafh Pieces for Young Players do so because they are Bizet, Delibes, and even Liszt were A brand Sabbath Morn rulers? They -new de- .•,••• Haydn-Spenccr sign in musical The Strife Is O’er 262 affected by it; there is an obvious t ram Palestrina -- part of the everlasting, rather than jewelry novelties. Voice of the Cello Arr. Richter 262 Ella Kettcrer 263 The lyre and Daffodils and Tulips. .... of the temporal. God speaks through similarity to the theme in Liszt’s border are in gold Technic of the Month Louise E. Flairs 263 or silver, the Melody with Flowing Accompaniment all real masterpieces. There is something very stabilizing Les Preludes. To-day Malbrouck is sung by millions of background in . . Stephen Heifer , Op. .J 7 , No. 2 264 black, blue, red or THE JUNIOR ETUDE which repre- crusaders of a quite different type, to the words of We green. (State color prefer- Elizabeth Gest 2S4 in the thought that these musical creations, ence and quality number in MISCELLANEOUS ordering.) sent the higher ideals of man, outlast those material things Won’t Go Home Until Morning, He’s a Jolly Good Fellow, These two designs Voice QuestionsQupsfions AnsweredAiiBwtM-cd ., _ are obtainable In the following qualities: - ...... T „ Organ and Choir Questions Answered. 7. j)r a icjiojas Douty 2B7 *90 , place so importance. Even after the and The Bear Went Over the Mountain. What other garb A 10K Gobi $2.00 IOR \ lolin Questions Dr. Henry Fry 26!) upon which we much A Gold—Clasp Pin $2.00 Answered *90B Sterling Silver 50 Bombs, Bands and Bonds •/. Robert Braine 271 B Sterling Silver Clasp ' will this hard working tune it Pin • fall, the music of the world endure. may assume, as goes on through — so Save the v elitar i J. Bhuqart pyramids great *90C Gold Filled Child Voice ; 221 so "C Gold Filled—Clasp Pin..... A Minimum Myrtle Holmes Naylor 90D _ Speed Limit 234 Gold Plated j0 is the oldest of recorded melodies? The best infor- the centuries, is hard to tell. Its general type indicates D Gold Dipped Clasp Pin..... Gossiping Fiddle Maker. Dorothy D. Freas 234 What 90E — ,30 Silver Plated 30 Notes- on Leger Lines F. Phillips 270 E Silver Dipped—Clasp Pin - ‘ ” .30 Doctor L Charles mation we have upon this subject points to the famous that it possibly originated at the time of the Battle of Asterisk I. Q. for Your Pupils McXeif 27fi <’) Indicates Pins Have Safety Catch Listening to Good Music . . .Jean Sherborne 281 rota round, Sumer Is Ieumen In. Dr. W. H. Grattan Blenheim, although it may have been derived in part from J. W. II niff 288 or Entered as second. class matter January SEND FOR FREE CATALOG OF 16. 1884. at the P O at Phil* p, Flood, a well known musicologist, in his “History of Irish far earlier roots. MUSICAL |EWELRY, NOVELTIES, PRIZES, ETC. /a79 ' C° 6> f™ ’ Theodore Presser ctjoDij. | afdtfj, S' “ffl Music,” contends that the melody is much older, and that The longevity of a theme has been discussed many times THEODORE PRESSER CO. it became the first tune of Moore’s Rich and Rare. There by writers upon music. One does not require very much 1712 CHESTNUT STREET, PHILADELPHIA, PA. f are many tunes that arq unquestionably of millennial age, familiarity with music before realizing that great themes msmmmmi. Continued on Page 270 218
THE ETUDE APRIL, 1942 219 — w
Music and Culture
Sir Thomas Beecham Has His Say
A Striking Feuilleton Upon England's Distinguished Orchestral Conductor THE FINAL AUDITION in the contest THE BERKSHIRE SYMPHONIC FES- IN HERE, THERE AND EVERYWHERE sponsored by the National Federation of TIVAL will be held again this summer at Music Clubs, the National Broadcasting Tanglewood, Massachusetts. As In former THE MUSICAL WORLD An Interview by the Juilliard School of seasons, the concert series will be sched- Company, and violinist uled on successive week-ends, with con- Music, to select a young to re- THE spring SEASON of the Metropol- REY DE LA TORRE, Cuban guitarist, certs being given on Thursday and Satur- ceive a year’s tuition at the Juilliard itan Opera Company will occupy five gave recently his first New York recital, day nights and on Sunday afternoons. School, will be held over the air in a weeks and will include performances in under the auspices of the Asociaeion Cul- The festival will open July 30 and close nation-wide program broadcast by NBC at least seven cities—Baltimore, Boston, tural Inter-Americana, Inc. Composers /so (bu t August 16. on April 4, from 2.30 to 3 P. M„ E. W. T. Cleveland, Dallas, New Orleans, Birm- of the sixteenth and seventeenth cen- ingham, Atlanta, and probably Rich- turies were represented on the program. MRS. FAY SIMMONS DAVIS, composer, THE PHILADELPHIA mond. Bruno Walter and Sir Thomas organist, teacher, died on February 3, at BRAHMS FESTIVAL, Beecham will conduct part of the tour. Glen Ridge, New Jersey. She was born RICHARD HORNER BALES, composer, which took place from 1 Virginia, is an- then came the summer of 1914. Foreign in Chelsea, Massachusetts, and her first conductor, of Alexandria, February 27 to March 7. fifteen years later that he found his And MISS MARTHA McCHESNEY BERRY, na- of important assignment was when she suc- nounced as the winner of the annual included among its spe- After studying at Oxford, artists in London were stampeded by rumors tionally known for her work as founder true bent. ceeded Philip Hale, the noted critic, as award of one hundred dollars offered by cial features, concerts impending war and the musical world in England and director of the Berry Schools for un- where some of his compositions organist of a church In Roxbury, Massa- the Washington, D. C. Arts Club. The by the Philadelphia Or- crisis of unpredictable derprivileged children in North Georgia, were performed, he founded an was confronted with a chusetts. She organized the Women’s winning composition will be given a per- chestra; Efrem Zimbal- died in Atlanta on February 27. From an SIR THOMAS BEECHAM orchestra in his native duration. In this emergency, Thomas Beecham Chorus of Glen Ridge and was a con- formance by the National Symphony amateur humble beginning in ist, violinist; the Buda- Phil- tributor a log cabin forty- Orchestra, about this time, the acted valiantly. He took over the London to musical journals. Hans Kindler, conductor. pest String Quartet; the town. At one years ago, the schools have grown under harmonic and the Halle Concerts in Manchester Perole String Quartet; famous Halle Orchestra, to an institution of four branches, with entire WANDA I.ANDOWSKA, DR. GUY MAIER, in his new home, Richter, visited the town; Dr. and directed their fortunes for the war 1200 pupils housed in one hundred Alexander Kipnis, bass; Ruth Kisch- Hans and period, contributing only musicianship but harpsichordist, gave a Rancho Pancho, at Santa Monica, Cali- Arndt, contralto; Elisabeth Schu- is ill; young Thomas Beecham, not twenty-five buildings and a waiting list and NTERVIEWING SIR THOMAS BEECHAM a Richter became and most successful recital fornia, writes that he and his son vast of Further, he formed the of five thousand. have mann, soprano. thoroughly agreeable job but by no means not yet twenty-one, took his place, directing the sums money. in New York’s Town been on active patrol duty as auxiliary Opera and gave opera in I an easy one. Not that Sir Thomas is unwilling concert with conspicuous success. This experience Beecham Company Hall on police, February 21, from 2.30 to 6.30 A. M. during the JAMES G. WARHURsr, organist and English. the unique spectacle of an william KAPELL, nineteen year old talk or uncooperative in what he says. Quite convinced him that conducting was his true England saw marking a return to the stirring days on the Pacific Coast. Nev- to pianist, has been announced composer of sacred music, died on Feb- efficient professional artist and a generous patron New York concert as the win- ertheless the reverse. He is urbanity itself, and his easy vocation. stage he is looking forward to a ruary 11, in Philadelphia, where he had ner of the 1942 Town Hail Endowment of art, in the person of this vigorous gentleman. after an absence of highly successful Master flow of words is colored by a pungent wit that After further serious study, he began his pro- Series Award, Class at Ashe- been active many years as director of fourteen the youngest artist ever to In recognition of his public services, Thomas years. She was ville, North Carolina, from July 20 to church makes his least observation seem valuable. The fessional work as conductor in 1902, with a three win this highly prized honor. A former choirs and a teacher of music. greeted by an immense August 16. There is a widespread Beecham was included in the New Year’s honors student at the convic- He was born in England and was a pupil difficulty arises in Sir Thomas’ attitude toward months’ tour of the Imperial Opera Company. audience which, Philadelphia Conservatory accord- tion that this summer will be an espe- in Philadelphia with a knighthood. He inherited the baronetcy, ing of Music, Mr. Kapell last year won of H. A. Clarke and C. music. To him, it is so vital, so individual, so im- By this time, he had composed two operas, a to the press, in its enthusiasm “re- the cially fine opportunity Philadelphia to attend master von Sternberg. He was a former dean of subject can be ap- choral instrumental works, and in addition, when Joseph Beecham died later that fused to leave the hall until Youth Contest, which car- mensely important that the number of and the artist classes. the ried with it an appearance Pennsylvania Chapter, American vital- Paris, year. had added a Ground of Purcell and with the proached in no more suitable terms than its many songs. The following year, he went to Philadelphia Orchestra. Guild of Organists. Rameau’s Tambourin as encores.’’ He is also a whi- ity, its individuality, and its immense importance. to study. He showed an unusual facility for coun- After World War, I ner of the Naumburg Foundation Prize. “THE ISLAND GOD,” THE “The only real problem in music study,” says terpoint, writing the most recondite fugues in as With the gradual return of normal conditions. THE a one act opera, with PHILADELPHIA CONSERVATORY MUSIC EDUCATORS NATIONAL Sir Thomas, “is how to give the most efficient many as sixty-four parts. Returning to England, Sir ventured text and music both OF MUSIC is honoring the memory of its Thomas the hardy experiment of CONFERENCE held its biennial by meeting late director, performance in the most efficient manner.” he founded his own orchestra and began giving giving in Gian-Carlo Menotti, had Mrs. D. Hendrik Ezerman, three seasons of opera within the year. For Milwaukee, March 27 to April 2, mark- its premiere with two concerts in March and April, If you think it over, that certainly covers the concerts of modern works, including the com- five years, carried the ing the thirty-fifth year of perform- he had fortunes of opera this very ance programs active on February 21, at of “Music of North and South territory—but what is “the most efficient perform- positions of Delius and of Richard Strauss. When in England under difficulties. organization. The program, as ar- (competitions war-time The result the Metropolitan America,” in which the participating ar- ance”? How is the student to discover “the most ranged by Fowler Smith, president of the Opera called to become permanent conductor of the was that his personal fortune was gravely im- conference House, with a cast which tists will be members of the faculty, and, and his staff of assistants, in- efficient manner”? That depends upon a great deal Birmingham Choral Society, the tireless young paired. He quit his musical career and plunged THE THIRD included as guest artists, cluded valuable discussions and NATIONWIDE COM- Leonard War- Sadah Shuhari, violinist, more than one musician can ever hope to express! lectures POSITION John and conductor gave his own orchestra into the hands into business life, to rebuild his holdings. Sir by some of the CONTEST of the National Carter ren, Astrid Varnay, Nor- Lais Wallace, Brazilian soprano. outstanding leaders of f “The most efficient performance is to be found Sir ederation of Music Clubs, to give recog- of Landon Ronald, and formed another new Thomas spent two years in a business office their respective fields: man Cordon, John Car- Dr. William Ber- nition to native creative talent, is an- ter, and Raoul Jobin. “THE in the composer’s indications of his wishes, along instrument for himself, the Beecham Symphony keeping his rien of the American Council This is Mr. Menot- EIGHTH SYMPHONY” by Gustav scores in an adjoining room. In 1923, of Learned nounced by the committee in charge of ti’s third stage work; Mahler will with the performer’s individual ability to pene- Orchestra, with Albert as leader. This Societies: Major Howard the event. the first two were be given a gala presentation Sammons he emerged from his retirement to resume his C. Bronson, The contest this year will be ’Amelia Goes to the Ball,” on April 12, trate and express those wishes. The most efficient Music Officer, Morale Branch, limited to two classifications and "The Old by the Radio City Music Hall orchestra gave the first complete performance of place in the musical life War De- —a chamber Maid and of England. partment; Dr. music work and the Thief.” Symphony Orchestra, conducted manner of performance results from exploring, the Life,” William G. Carr, Secre- a choral composition. The by Erno “Mass of by Delius. In 1927, he launched the Imperial League of tary choral Rapee. Assisting of the Educational competition closes on July 1 and in the choral parts learning, and mastering one’s own abilities and Policies Commis- the will During the next seven years, Beecham con- Opera and, some years later, brought sion; and chamber music contest on P UL WHI ’ “ be the Schola to London Dr. Carleton Sprague Smith. November 1 E S Sea Chanty Quintet” Cantorum, Hugh Ross, di- limitations, to the best of one’s capacity.” ducted Full details fnr h symphonic concerts in London and the the Russian There were also the may be secured from Miss for harp andJ strings rector; the Paulist Choir, Opera Company. In 1932, Sir Thomas usual orchestral and had its first per- Edward J. Slat- Helen L. Gunderson, National tery, provinces, and operatic seasons which gave Eng- choi al concerts by various Contest formance on March director; selected soloists; visited New York, as guest conductor of the New school groups. Chairman, Louisiana 4, when it was played mixed State University, Uni- by the Rochester vocal ensembles; and an A Model Artistic Creed land its first acquaintance of many notable York Philharmonic Orchestra, versity Station, Baton Rouge, Philharmonic Orches- augmented boys’ returning to Lon- Louisiana. tra, directed choir of one That, to Sir Thomas, is the true musician’s works. In 1911, he directed both his own and the MRS. arianna EFFIE sutro, by Jose Iturbi. Edna hundred and fifty voices don to take active part in the summer season of distin- Phil- This guished mother of lips, harpist, for whom the will be the first radio presentation artistic creed. His own eminent career serves as London Symphony orchestras, helped bring the equally distinguished R PRI E 0F 2 work was German opera at Covent Garden. This, ’ 000 the ARGEN- written of this symphony daughters, the duo-pianists. TINE1 liNL/ p Keno ? on commission from and also the first the best object-lesson on how he translated Diaghileff Russian Ballet to Covent Garden, Rose and and a second prize of 1,000 Samuel per- and fortieth year of his professional activity, Ottilie Rosenbaum, formance in sees him Sutro, died on pesos are the awards in a was the soloist. this country since this creed into action. His “best produced Strauss’ January 23, in contest spon- 1916, performances “Der Rosenkavalier” for the as guest conductor at the Baltimore, Maryland, sored by the organizing when it was given for Metropolitan Opera. He at the age of committee of the the first time in possible” have given new vitality to the music first time in England. Some years later, he gave ninety-five. first Pan-American America by has reached his present eminence by “giving A long life spent in music, Games, for a song en- the new friends Stokowski and The Phila- the titled OF MUSIC of New of England. His “best manner possible” has been England its first performance of “Boris Godunoff” her home had Hymn of Sports. It is open to musi- York delphia Orchestra, most efficient performance in the been the scene of many announce plans for the in a series of per- most efficient cians and poets resident in usual series achieved at considerable cost to himself. Thomas and of “Ivan the Terrible,” both with notable musicales at any country in of concerts formances in Philadelphia Chaliapin. manner,” without counting which world celeb- the Americas; for their seventh season, which at- the cost to himself. rities and full particulars may be and ti acted Beecham was born in Lancashire, the son of His next venture was to rescue were honored to appear. this m spite of world notables; followed the Denhof Opera Because of Sir During Micurcd from the committee difficulties incident to later by Thomas’ achievements in the the later part at Ave’nida war equaffy brilliant Joseph Beecham, a prominent British business Company from financial of her life she accom- de Mayo conditions. The founder presentations in disaster. His father, field of opera, 695, Buenos Aires, Argentina, of this group 1 New he was asked to answer a number panied Cl ' her A. ' ®’ of great artistic gifts. daughters on all of then- ooutn America. Hirschmann, announces y Mr Rape s Mahler Series man His musical ability Joseph Beecham, aided him in many of his artis- of that the pro- wTh ! questions put to The Etude by operatic stu- tours in Europe and a S America. W e deV°ted the Blue Network have showed itself at the age of five. He began by tic efforts and received a la *> s baronetcy in recognition dents. His pungent replies are works of ^ * attracted high critical indicative of his LS praise. studying piano and composition; it was not until of his services. famous wit, well ( ( as as Continued on Continued on Page 276) Page 288) APRIL, 1942 221 Music and Culture inestimable value, for it of requires Once again the joy- in working LLELUJA! ALLELUJA! discipline according to \ f\ season of Easter is with us. Lent with Music and Culture exact measurements—thus ous develop- -f A- and penance has made way in using the its austereness ing skill hands where consti- for Easter, the day of joy. The Alleluia tools must be employed—and it HE SWEET MUSIC of shep- re- the paschal time, and is heard to tutes the theme of ago quires ingenuity decorate the in- herds' pipes, which long Pipes churches of all denominations. The Shepherds’ in artistic designs. in Christian Season T echoed over the hills and valleys struments Easter in- the Alleluja the risen Lord bearing the Easter, playing, of course, image of of Albania, Sicily, Armenia, Russia, “The awakens trium- signia in His outstretched hand, stands and inspires an interest in music, India, and China, brings even to-day for worshippers may see, and in His requires phantly where hours of peace and gladness to a war- pipe playing no previous the first flowing white garment, reminds one of torn world. For the Pipers’ Guild of music study, and very young children Mag- Past and Present for Easter meeting He had with the penitent Music, Customs, Traditions England and of America has rescued may begin to play the moment their that the dalene as she wept because she found this ancient musical instrument from pipes are completed. Piping develops tomb of her Lord was empty. oblivion, bringing together pipers concentration and provides excellent Halleluiah, word, Alleluia, is identical with from all parts of the world to make The ear training in playing ensemble. Hebrew words retained in the friends through music. Players one of the few Modern Many violin teachers especially rec- know to what call of praise. We The Pipers’ Guild of America meets Church liturgy, a C. 3(ecL ommend it for this reason; majestic By -Mattie while word of praise in the each spring in New York City, fre- use Handel put this find that it: gives pianists them an Chorus, the crowning glory of his quently In Steinway Hall, to give its with Halleluiah A Conference opportunity for ensemble playing, yearly concert of beautiful music oratorio, “The Messiah.” without having to spend long hours made upon pipes which cost but six Hosanna, another ex- learning to play a more difficult in- to ten cents each. Of bamboo they altation of Jewish origin Day are influenced by its date; the former strument. in the liturgy, are fashioned, and with tools from remaining is celebrated fifty days after Christ’s Resur- Jennie C^ossitt “As a social asset piping devel- on the ten-cent store. Yet the music is the expression rection, and the latter, forty days after ops neighborliness, helps they give forth is people to Francois as sweet and pure which Charles Easter. Ascension Day is one of the high in tonal quality as that produced by emerge from their own communities his best Musical Director of Union Gounod spent- feasts of which there are four, the others the most expensive musical instru- and meet pipers of other communi- sanctus of efforts in the being Christmas, Pentecost and All Saints. Settlement and Director of The ties. our ment. Young and old are the players, Among own groups in Union his Mass which stands It has been mentioned that some com- rich and poor, and each has made Settlement, piping is popular with composition of Pipers Guild, American Branch alone as a posers make the most of the Amen, Weber his own pipe and painted it to suit both young and old Many a problem Hosan- such magnitude. foremost among these. This is his in New York City and Haydn individual taste. child, whose home life has been sor- na, the thrice repeated probably because it is the expression of Miss Jennie Cossitt, the talented in did and dismal every respect, has call creates an atmos- it be. It is of Hebrew and capable head of de- "agreement"—so let the music tffuntfn Rtf'S
Music and Culture
a Being aware of this fact—that rhythm is knowledge Music and Culture Bands and Bonds matter of feeling—we can apply our his sense of Bombs, in helping the student to develop Every spoken word. Mentioning this version of the of Dollars Worth Felt rhythm in the composition he is learning. Sells Thousands Day Rhythm Must Be If we Easter or Resurrection service introduces the Los Angeles County Band strong feeling has a physical expression. more serious outdoor Easter rites of the Moravian laugh; if we are veiy Shucjart are very happy we smile or Brethren whose whole religious striving is cen- Bu JCfrta music which has a ft It sad we cry—and if we hear tered in the fulfillment of the promise of eternal practical use of music of Rhythm by Tapping least tap upon Speaking on the in our Learn the Secrets strong rhythm we want to dance or at penetrated started dropping life. The early dawn, however chill, is HEN THE BOMBS emergency, J. K. Wallace, president head. Now it is undeniable of Los present of our foot or nod our with the Easter song in any Moravian center, Harbor, the musicians Pearl the Los Angeles Musicians’ Association said, that each of the preceding causes and effects Acre started to sell de- which takes place in or around the God’s Angeles immediately It lives on in the depressed one W “Music is tangible. hearts of can be reversed. No matter how (Gottes Acker, cemetery). soldier f everyone who hears it. The marching into feel, if he persists in acting cheerfully over to United States Treas- may It was our great privilege one Easter morn According to Los Angeles heart is battle with a song in his an irresistible dBarrii period of time, it is obvious that such action is more tnan Clieiter a participate in the early service at the Moravian ury Department Officials, music the primitive melo- fighting machine. Even savages will affect his spirits to make him happier—call Brethren’s foundation at Winston-Salem, North practical. Stirring patriotic proving itself this truth because they marched to will. bonds than other realized war it auto-suggestion, or what you Carolina. This is one of the important centers, dies are more useful in selling to the beat of tomtoms. old, and venerable, keeping the traditional Americans in their all- horn in New York City was a student oj means of encouraging music, Mr. Chester Barris, who was Good Psychology “And civilians must have too. One evi- and Deems services according to the strictest detail. The investment in National Defense. Lhevinne, Ernest Hutcheson, Daniel Gregory 'Mason, out” is the countless Josef holds a re- dence of this fact requests we both in Amer- The “Keep Smiling” motto has often been sub- Brethren refer to Bishop Christian Frederick The Los Angeles County Band Taylor, and has appeared as a pianist with notable success, receive from all money-raising organizations but none will Gregor the father of Moravian music. He was first musical oi- years he taught in jected to ridicule by intellectuals, as markable record of being the ica and in different European countries. For many for music. They have found from experience that certain sound psychology composer, hymnologist and compiler of a hymn the history of music to be sponsored he has been on the fine faculty of the deny that there is a ganization in The Treasury Department New York City. More recently book, which has been in use over one hundred approximately three million music gets results. has Wooster, Ohio. His back of them. The student can follow the same by a county of Conservatory of Music of the College of Wooster at years and which to raise Moravian Board figures in black and white to show that at the in developing his sense of rhythm has done much people. In 1940, the Los Angeles County and trenchant and will help many ivho do not have psychology Pershing Square the article is thoughtful music to the high standard which the Brethren fifteen thousand Victory House in sale of that is, he can act as if he already has it. If he of Supervisors appropriated perception of the value of rhythm . Editor s Note. Bonds and Stamps falls off to a keen claim. In this, what is termed the home Moravian dollars for the support of the band. The organ- Defense almost had a very strong sense of rhythm it would ex- when there is no entertainment, Church, strong emphasis has been laid upon the ization proved itself so efficient in publicizing nothing and press itself in physical the Church Band. And it is this body which is re- the county over radio networks from coast to sky-rockets immediately when band plays.” action. Therefore, to re- sponsible for waking the residents of the corn- thirty-thousand-dollar Also, the Los Angeles Philharmonic Orchestra verse the cause and ef- coast that 1941 brought a NCE, WHEN ATTENDING a musical comeoy powerful one; exemplified unity for the early Easter worship. Residents appropriation. just presented a premier “Victory Concert” under fect, he must begin with with a party of friends at the famous by the great success of gather in given places, and when a certain trum- Immediately following the Pearl Harbor inci- the baton of Bruno Walter. Attendance at the the physical action to de- O Adelphi Theater in London, I was enor- such rhythmically super- pet sound is heard from the distance, all repre- County broadcasts were concert was greater than had been anticipated; dent, Los Angeles Band conductor, who fairly lative dancers as Fred As- velop the feeling. Here wc sentative groups “strike mously amused by the up the band” at their temporarily discontinued. The band was enlisted the hall was filled to over capacity. The tickets reason danced the rhythm. Obviously he was doing it taire, Eleanor Powell, Ray have the logical stations. They move forward in procession, meet- States Defense of admission were a one to live dollar in the work of selling United Defense his Bolger, and “Bill” Robin- for the several ways of ing in with some instinctive idea of hypnotizing appointed places. Then all proceed toward at Victory House, a glass house built in Stamp or Bond. Bonds ideas son. In fact, the brilliant learning rhythm which the cemetery, called Graveyard or God’s Acre, orchestra in the pit to follow his emotional a down-town Los Angeles by the Standard Oil This is 1942’s demonstration of the importance clap-trap success of Carmen Miran- probably have been used site selected in April, 1766. The roadways are lined in the matter of rhythm. It seemed like Company of California. To date, the band has of music to National Defense. It is proof that I in singing Brazilian by music teachers ever with the Biblical Cedar Tree, the first of which to me at first, but upon thinking it over, came da to its credit the sale of a phenomenal number what Woodrow' Wilson said in 1914 can re- be is largely to since there were teachers was planted in 1770, when the ground was solemn- to the conclusion that one of the reasons why songs due of Defense Bonds and Stamps. peated with confidence to-day: "The man who ly dedicated. The first Easter service was held many pianists do not play rhythmically is that the natural, intoxicating and students. The first is Incidentally, the Musicians’ Association of Los disparges music as a luxury and non-essential here in 1771, following the first burial among the they do not feel the rhythm. That is, they do rhythms of the songs counting aloud. The stu- Angeles, started the ball rolling out West by is doing the nation an injury. Music now more Brethren; before this time services had been held not feel it all through their bodies, as do, for themselves. dent asks, "Why must I being the first to buy fifty thousand dollars’ than ever before is a present national need. in a hall but with the full Easter Liturgy as now. worth instance, the tapping, gyrating players in a jazz If the music student, as count aloud?" or "Why of bonds. Again this month, the Associa- There is no better way to express patriotism than Moravian Music is of the very best, music “which band. a performer, is to present can’t I just count to my- tion purchased a second fifty thousand dollars. through music.” lifts the soul high,” to use their own language. Of course the pianist must present an outward his compositions in a con- self?” or “Why can’t I just The gospel song is used, but “the stately and front of dignified reserve. Inwardly, however, he vincing way, it is obvious think the counting?” and more dignified and worshipful chorale” is always must have a “feel” of the rhythmic structure that his “sense” or “feel- the answer is, “Rhythm is given the preference. Thousands of visitors from no different from that which is so much in evi- ing” of rhythm must be not a matter of knowl- great distances flock to that service, and it is dence with a Budapest gypsy fiddler, an Anda- exact. The purpose of this edge; it is a matter of customary to expect- relatives and friends for lusian guitarist, or the director of a swing band. discussion is to shed some feeling, and the more the Easter Holy Day visit from any distance. The If this feeling were more widespread among light, if possible, on the positive the physical ex- High Dignitaries and clergy officiate at the Easter music students, there would be far less dead, commonly accepted meth- pression, the sooner the Revivals, going in procession to the graveyard, dispirited, heavy, stagnant, unmusical playing. ods of developing the feeling will be there in a place of burial, unique in conception and in All of the really great artists the writer ever rhythmical sense and to fact. Hence, if you count execution. Here one enters through any one of CHESTER BARRIS heard have this priceless sense of rhythm. point out the logical rea- loudly and vigorously you four gates, each of which has a suitable Biblical sons for using them. A student will always prac- will get the feeling in a fraction of the time it verse over head. And here the Moravians hold Rhythm Fundamental tice with more interest and conscientiousness if would take by whispering the their Resurrection Service, believing Implicitly counts or just Developing an accurate sence of rhythm, there- he has logical reasons for the method he is told thinking them.” The same reasoning hi the promise of life everlasting, because it is applies to fore, is one of the most important elements in to use a natural inheritance. to obtain his objective. tapping vigorously with the foot. In this con- the training of the music student. Of the three nection, to digress for a The music is the most outstanding. It is in- moment, there are two components of music—rhythm, melody, and har- Rhythm in the Unmusical spiring, as the band leads the singing. Moravians errors to be avoided. First, the tapping should mony—rhythm is considered by the greater num- The fact that will not admit to their hymnals the “cheaper” rhythm is a matter of feeling not be done to such an extent as to become a mat- ber of musicians to be the most fundamental. We rather worded sacred song which they claim has made than knowledge can be proved by obser- ter of habit which might crop out in performance inroads have heard over and over again the story of vation of the reactions into the dignified hymnology of to-day. to music of persons who to distract the listener. Second, the piano student With such high primitive savages whose music consisted solely have had no musical training. The large majority standards set before them, it is should tap with his left foot, so that the move- most remarkable that of beating drums in many kinds of rhythms; of such persons, when listening their associate Brethren to a military ment of the right foot on the damper pedal will in Bethlehem, how melody was added to this in the form of band or Pennsylvania, are exponents of a dance orchestra, will tap with a finger not become associated with the rhythm. Bach, and renowned for their great musical en- chanting; and of the final step of combining or nod the head or beat time with a foot. The deavors. melodies which led to harmonic construction. fact that this is done in time with the music, This Matter of Metronome If this description of the sequence of these ele- even though the individual knows nothing of A metronome is, of course, invaluable to certain ments is correct, then the sense of rhythm must time-signatures, note values, or measures, shows students whose natural rhythm is not thoroughly be the most natural or elemental of the three. that the music arouses his rhythmical feeling stabilized. It is not a substitute, however, for In Spain it is not unusual to see groups of in the same way that a humorous scene in a play counting An Amusing Musical Episode aloud or tapping with the foot but is peasant dancers dancing to the click of castanets will make him smile or laugh, or a tragic As a youth, Ludwig Spohr scene used to keep such counting and tapping steady. was anxious to see or even the snapping of fingers, without music of bring tears. In all these three—rhythm, joy, and it Napoleon when the latter visited When is used in this way the student should Erfurt. This it any kind. The very word “sense” in the common sadness—a feeling is communicated. Of course play at is said he did by learning the French frequent intervals without it, watching horn in an phrase, “Sense of rhythm,” shows that we recog- there are amazingly a few- people without a sense of rhythm, very closely to see short time and securing a position in that the rhythm is preserved nize it as a matter of feeling rather than intel- just as there are cold-blooded persons who can- and the theater orchestra for a performance attended that all phrasing and accents are correct ligence or knowledge. not be moved to tears by tragic scenes by the Little Corporal. or who This is just as important as the The appeal of rhythm to the public is scrupulously a very are deficient in a sense of humor. clean performance of ( Continued on Page 270> 224 APRIL, 1942 225 THE ETUDE !
Music in the Home training of a musician is example if the chiefly have no power to express theoretical, he will his emotions, or if his training, on ideas or his the Music and Culture technical, his contrary, is chiefly performance feeling. It must therefore will lack dynamic be and practice understood that theory must pro- Two Centuries Did ceed hand in hand. Handel's “Messiah" before symbols. Fact should be taught This is of teaching. Just as a Art of a cardinal principle child Highlights in the the Oratorios speaks long before learning alphabet, so in of the World's Most famous every Picture of the Development every branch of study and at level of pro- A Colorful the existence of ficiency, the realization of facts must precede the knowledge of the notation that In music, the the Piano serves to express them. fundamen- Teaching and duration must be clearly tal facts of pitch Psammerer recognized by the ear before the staff and the J3u Pajaet various shapes of notes are revealed to the eye. Further on, in the higher branches of music, it would be folly to attempt to teach expression the dates, in Handel’s own coloring before the student feels the emo- YEARS AGO—on August 22, From l)3ij ll jaitre Plidlpp and WO HUNDRED Autograph Score of the 3. artistic expression of George Frideric hand, on the tional power in the another 1741, to be exact—when we has “Messiah” in Buckingham Palace, performer. T Handel sat down to begin work on what PART II completed the First Part was just fifty-six learn that he proved to be his masterpiece he the One Thing at a Time of the Oratorio on August 28th; and one-half years old, short of a day. Broken in Part on September 6th; and of teaching is of the King’s Second satisfied with this achievement, Another cardinal principle that health, no longer the recipient HEN THE PUPIL has attained a fair de- he may well rest that by September 14th, the work as a pleasant to him. one thing at a time should be taught. This does his fortune eaten away, forgotten by a gree proficiency in the realization of that will make music more Pension, even to the of the butt of whole had been completed memory should receive far not mean that only one subject of study should fickle public he was wont to please, pitch, he may proceed to the second step, The training of parts. W political intiigues filling-in of the than it usually does, for in the be taken up at any given time. Such a course vulgar jokes, and the victim of the realization of rhythm. At this stage he must more attention Handel accomplished in twenty-four very important wrong; for just as the body cannot be professional jealousies, Handel, nevertheless, concentrate his attention exclusively on rhythm; performance of music, it plays a would be and during threw himself days of intense concentration, part. Mastery of difficult technical passages is nourished exclusively with one article of food, with creative powers unimpaired, he must count very loudly and, in the course of which food and sleep were forgotten, occasional attained much sooner and more surely if the so the mind cannot thrive on one subject alone. reading, he must not only disregard a lesser genius would have undivided attention that taking what many hr pitch but, even if he loses altogether student is free to devote his It is universally acknowledged up mistakes months, if not years, to do. The control. required keyboard and is reduced to si- to the proper movements of muscular several subjects of study at the same time must the sense of the speed with which Handel composed the lence through sheer inability to place his notes form the foundation of education. Nor does this Freedom Through Memorizing “Messiah” remains one of the most in some difficult and fast passage, he must never principle mean that, if a subject of study has memorable feats in the annals of music be permitted to lose his sense of rhythm, but Innate musical feelings are more readily and several branches, only one must be treated at a must go on counting until he can again enter. powerfully expressed if the performer is free to time. Quite the contrary; for instance, in elemen- An Outpouring of the Soul For this kind of work, duet playing is essential. concentrate all his physical and mental powers tary mathematics, algebra and geometry are soul Nothing stimulates a pupil so keenly as being on interpretation. In other words, the rapid ac- studied side by side. Such a system of learning That Handel poured his whole HANDEL CONDUCTING A REHEARSAL deeply af- From a Contemporary Drawing. left behind by the other player; on a second at- quisition of technic is easier when the memory several branches of the same subject is far from into the “Messiah,” and was learn from tempt he will exert his mind to the utmost and is sure; the development and expression of emo- exhausting to the mind and tends to make it fected by its composition, we mountain thus will be able to take in more and more cor- tion are readier when technic itself has become more elastic and efficient. Biologically change of his servant who, finding this automatic. child, astonished Christmas portion of the “Messiah,” is based on rect notes while playing in strict time. In the The power of memory must therefore work whether for the body or the mind affords of a man sobbing like a little was fostered with the ink as that ancient tune with which the shepherds of meanwhile, as the pupil will have advanced in be unceasing care. May I add that rest. “to see his master’s tears mixing with Calabria pipe their welcome to the Prince technical skill, there will be little need of paying memory like all other physical and mental ac- divine compositions.” Handel, re- Old What this principle implies is that no attempt he penned his separate attention to fingering; yet it would be tivities, grows gradually. An unfailing Hallelujah Chorus, of Peace on Christmas Eve. < Handel had heard memory should be made to impart higher knowledge until ferring to the writing of the advisable for the teacher to grow ever more ex- is necessary for the performing see all Heaven the tune years before at a Christmas celebration of the virtuoso, the lower knowledge fairly well assimi- later remarked, “I did think I did has been re- acting in this particular. but even in training amateurs, it is Himself.” in Rome.) And a few of the choruses are a valuable lated. What would be the result of teaching before me, and the Great God It is also important to note that a systematic help in learning, for it induces interest and gives the man, like every- workings of earlier chamber music. coloring, perspective and shading to a student The creative fertility of course of aural training is a powerful aid to- pleasure. Playing from memory began suddenly prodigious. Ideas Until the late nineteenth century, Handel’s who has not mastered the elements of drawing? thing else about him, was wards reading at sight. The student who cannot with Liszt. Since Liszt there have been phenom- fecund brain faster than his music met with little favor in his native Ger- Of what sense would there be in discoursing on gushed from his realize the sound of what he sees cannot trans- enal memories—the most extraordinary examples pudgy fingers could many. The Germans found it “too English” for aesthetics and emotion to a beginner who is still mute what he sees into sound. being von Billow, Saint-Saens, Busoni, and Tosca- put them on paper. their tastes. struggling against the initial difficulties of tech- The technical and mental processes above de- nini. Some renowned virtuosos, who use was no shoddy One of the reasons for the singular appeal the nic? Anyone of Yet, he scribed cannot fail to produce result printed can see that the ultimate end some even sheet on the stage, play, nevertheless, workman. The lovely Handel’s music has always had for English- such illogical teaching must be disaster. with indifferent pupils; but reading at sight from memory and the printed everywhere the notes only lend As soprano aria, How speaking peoples may be due to means much more than the correct rendering security perfect and complete technic must be the which counteracts their nervousness. are the feet fact that from the time he produced his first basic equipment the beautiful of a page of print. This elementary training is, But how many of both the creative and artists suffer from the anguish of them that preach opera in English, in 1711, to the day of his death. however, th most executive artist, as well as of the scientist, it is important, as it is in this kind to feel suddenly a hole in the memory, to feel a obvious the Gospel of Peace, April 14th, 1759, Handel was an Englishman. An of worh that most students fail, chiefly for want precipitate beating that the imparting of technic must be of the heart, or to fear four eighteenth century Englishman in every respect to the first was rewritten of proper guidance. A student who can read at be obliged to care of the teacher. All the three funda- stop suddenly? Hence I repeat times before he was but one—he never mastered the language! His sight in strict time with reasonable correctness training the mental activities of the mind: perception, intel- memory is absolutely essential lect, satisfied with it. speech was a gallimaufrien mixture of French. of notes will find little difficulty in proceeding After observing the volition must concur in the formation of importance of sight read- German, Italian, English, picturesquely further. Progress, however, does not depend technic. Attention, Nor did he hesitate and on ing and memorizing, the teacher or in other words, concentra- transformed must be con- Handel as to borrow from his colored with a thick German accent. any further “secrets of technique”; no new men- scientiously tion of mind, is aim concerned with the subtle the means to achieve the by his wig and court tal or problems of earlier works when Naturalized as an Englishman in 1726, Handel physical processes are required. It is ob- of technic which eternally technical training. clothes. From a painting occur in every teach vious that If by Thomas Hudson. it suited his purpose. referred to himself thereafter as “His Majesty’s anyone desires to acquire the ability er’s career. A few words on the correction of faults. A pupil of Faithful Subject,” to take in at a glance long progressions of chords It is well trained The germ the most and when he died, at the obvious that a logical system from the outset is not likely to of teaching Hallelujah Chorus, ripe age of seventy-four years, three he must become master of harmony; and if he must proceed commit many faults who into the composition thousand from the simple to the of technic; but pupils wants to endow his readings with the complex have of the “Messiah” with for instance, can be persons paid him homage as he was laid to rest correct From he very beginning, been guided negligently or incompetently especially in art, teach-' phrasing, which is the substratum of will all the tremendous found in an “Ode in the “Poet’s Corner” of Westminster Abbey. expression, mg follows two parallel have acquired incorrect are diffi- lines: One intellectual habits that he must have more than a hazy notion of form. one technical. cult to and volcanic energy for the Birthday of On one side, the mind extirpate. Since the chief causes are im- English Influences Higher still ranks the musician must be Anne” which who understands trained to understand, on perfect perception, ner- for which he was Queen the other side the hnrt! want of attention, and style and can impart feeling and passion to his must vousness, noted. His pen flew he wrote for, and Although he was a contemporary of J. S. Bach, be trained to execute. The nothing could be worse than the passive hearings, or can identify two lines himself with a singer have equal attention. ^ correction of across the pages of which was perform- and like Bach, a master contrapuntist, yet as a If the each fault as it Constant or a player knowledge ^parted occurs. whom he may be called upon to ac- is in excess of interruptions the manuscript so ed on the Queen’s choral composer Handel was not greatly in- the technical ability could only increase the pupil’s company at sight. Not many do reach of the rtEnt such su- it must remain ’ nervousness fast that he reached birthday, February fluenced by the German school. The overwhelm- unproductive; if the tpcVmir. and wreck any prospect of progress. preme heights; if the average student succeeds parted is in excess of or this the bottom of a page 6th, 1713. The Pas- ing power of his choruses, the haunting beauty the inteflectual dPV reason, the teacher should first call the in mastering the two “secrets” we have described, S “l of the student, it must attention to while the ink on the tar ale Symphony, of his arias, and those stunning fanfare-like *eJTSl££Kg only the gravest faults. Later on, as ^ top of it still wet. ne pupi1 was trumpet passages that (Continued on. Page 1 226 Progresses, the (Continued on Page 283) 272 APRIL, THE ETUDE 1942 227 — —1 a
Music in the Home
of a 1 raoic Land of his symphonies, “The Master the quicker movements and of European country is more re- movement—marked Intermezzo- Probably no the fourth —pre- because she did not Ihc Home composer in a mood of rare spected than Finland, largely Music in sents the poetic and when she flinch in meeting her obligations; tranquillity. S. R. and attacked by the soldiers of the U. S. Walton: Concerto for Violin Orchestras Jascha was with a tenacity and courage that are and the Cincinnati Symphony Orchestra, she fought Etude Heifetz she was The Victor historic. Crushed in desperation conducted by Eugene Goossens. set 868. now she is “at it again was written for obliged to accept a peace. Now Music The present concerto Heifetz has Memorable back her lost territory and though she year when the distinguished English com- to get last ally of Nazidom there seems Walton, was visiting this country. become a temporary poser, William Lover’s Bookshelf hostility to the brave little land by those Music intensity be no music is marked by of expression to This detest the rule of Hitler. of spirit and rhythmic in America who as well as turbulence vital- Finnish Recorded best biography of the illustrious Recently contrapuntal writing is forceful and bril- The ity. The book here Sibelius we have seen comes from the pen Any simultaneous melodies often collide rather master reviewed may liant; of the resumption of Elliott Arnold, at the outset be secured from than combine as in much music of a modern THE ETUDE MUSIC Finnish struggle. the Walton is not lacking in senti- of the MAGAZINE at idiom. Although figure given plus Sibelius is the outstanding international price l^eeJ ment and composure, as passages in his opening postage. f^eter country which has a population of about tranquillo will prove, there is on the of his Andante York City. His life story is a whole a strong nervous half that of New and inspiring one and the new drive to his music— very engaging for home musical work is warmly recommended restlessness reflective of koff: The Golden Cockerel he foremost contemporary com- our own times. Heifetz libraries. by the Bridal Procession. Colum- “Finlandia: The Story of Sibelius” posers have been well represented plays this difficult score T phonograph. Both the knowledge and ap- bia set X-212. All played By: Elliott Arnold B. W.r.M Calman superbly; indeed the Bu in- of such men as Sibelius by Minneapolis Sym- Pages: 230 preciation of the music gratiating fluency of his probably as much to phony Orchestra, direc- Price: $2.50 and Shostakovich are due tone and his consum- Dimitri Mitro- this mechanical presentation as to public per- tion of Publisher: Henry Holt and Co. to Music, Musical Aesthe- Musicians mate technic make this Psychology in Relation Living formance. And such moderns as Paul Hindemith poulos. Theory, Musical Peda- of biographies work an interesting ex- tics, The Theory of Music The difficulty with all collections William Walton, among others, have been The playing of the second and perience from beginning Musical Knowledge and Research gogy, and Comparative Musicology. The of musicians is in the very complicated problem is both studied greatly benefited by the recordings of their mu- above ‘Historical Musicology,” and to be included to end. Goossens and his music is the quarry from part has to do with of making a list of who deserves of and cold, and there are The science behind sic. Indeed, it is to the recorded works the The Philosophy of Music one indi- fine orchestra are to be musicology comes. Up to forty or fifty concerns itself with and who .deserves to be left out. When latter that those who have been stimulated by evidences of poor record- which History, The Sources of Musical History, and this, he finds himself in an work. complimented for their years ago, musical research was restricted and vidual elects to-do his musical thought have had to turn, for very ing balance in each Research in splendid cooperative notwithstanding the fact that ever Problems and Methods of Historical unenviable position because he can at best in- little of Walton’s works are heard in the con- Grieg’s lovely Last Spring superficial, in all civilized Music. clude only a limited number and the thousands is devoid of nostalgic work. since Pythagoras learned men cert hall. forbidding to the Liszt: Mephisto Waltz; importance of know- All this sounds somewhat who are left out will find no favor in the book no Hindemith: Mathis der Maler; Philadelphia Or- feeling, and Dukas’ fan- countries have realized the elusive casual musical reader, but it is surprising how well it is written and how Impartial Victor tasy takes on the ele- and Rimsky-Korsakoff : The more about the mysteries of the most matter how chestra, direction of Eugene Ormandy. ing Haydon has is very glad to much captivating information Dr. judgment has been. David Ewen in "Living set 854. ments of melodrama. Battle of Kershenetz; Bos- of arts. The writer, therefore, his “Introduction to been able to bring to a subject that many might issued five hundred biographies Ormandy gives this symphony a splendid per- One admires the orches- ton Symphony Orches- recommend to Etude readers Musicians” has prac- consider dry. The bibliographical references are has inserted formance and Victor has matched it with com- tral precision and clarity tra. direction of Serge Musicology,” by Dr. Glen Haydon, the very of living musicians. In this work he voluminous and helpful. and parable recording. This is one of the composer’s which the conductor at- Koussevitzky. Victor set tical and widely admired head of the Music such personalities as the weight of Lily Pons “Introduction to Musicology” most easily appreciated works. It is made up of tains, but the ponderous- 870. the fact that Lanny Ross was once a boy soprano three portions of an opera Hindemith wrote on ness and angularity of An earlier version by Author: Glen Haydon in the Cathedral of St. John the Divine; the fact the life of Matthias Gruenewald, the noted fif- the performances leave PAUI DUKAS Coates of the Liszt work Pages: 329 that Calve, Bori, Eames, Garden and others, still teenth century painter. The three movements much to be desired in- was tremendously effec- Price: $4.00 living, entitles them to a position in the collec- Prentice-Hall, Inc. entitled Angelic Concert, Entombment and Temp- terpretatively. Eugene Goossens has played the tive in its day (1931), but recording technique Publishers: tion. The book is written hi a highly readable tation of St. Anthony—are named after three Grieg pieces (Victor disc) with greater insight has advanced a long way in the past ten years. style. Moreover, it is finely printed and there are and panels of Gruenewald’s world famous Isenheim sympathy, and both Gaubert and Stokowski Koussevitzky makes more of the sensuous orches- Present Day American Composers many illustrations. Altar. Since these are reproduced in the booklet have done better jobs on the Dukas score. tral sonorities recording "Living Musicians” than Coates did, and the As in the case of 'Mr. Ewen’s book, reviewed the set, graphic idea of Gruene- Berlioz: Roman Carnival accompanying a Overture; Philharmonic- given him is far enjoyable. The more realistic and upon this page, Mr. Howard, in “Our Contempo- By: David Ewen wald’s almost phenomenal intensity of emotion Symphony Orchestra of New York, conducted by Mephisto Waltz, based on an episode from Lenau’s rary Composers,” has essayed the difficult and Pages: 385 is provided. The symphony is not actually pro- John Barbirolli. Columbia disc 11670. “Faust,” depicts a village inn during a rustic the sheep from the Price: $4.50 impressionistic; thus the Brahms: ticklish task of separating grammatic, but rather Tragic Overture, Opus 81; and Minuet from wedding. the Here Mephisto and Faust join goats. Even where the responsibility of such a Publisher: The H. W. Wilson Co. last movement is said to portray the struggle and Serenade No. 1 1 , Opus ; Chicago Symphony Or- merrymaking, and latter seeks out the while the is large board of foremost critics tumult in the mind of Gruenewald when he con- chestra, direction of Frederick task left to so a Stock. Columbia company of a dark-eyed maiden, the former compre- The Amateur Choir Director ceived St. Anthony’s Temptation. The work can set X-214. as was the case in the excellent and very seizes a fiddle his playing. and casts a spell by hensive “International Cyclopedia of Music and It is not possible for thousands of choirs in be listened to and fully enjoyed as absolute music. Although Barbirolli gives a brilliant and power- This is one of Liszt’s most successful orchestral Shostakovich: Sixth Symphony, Opus 53; Philadel- ful performance of Musicians” modestly edited by Oscar Thompson, America to have a strictly professional director. the Berlioz overture, and scores. The although an Leopold Stokowski. Rimsky-Korsakoff piece, and including a vast number of the names of For them, “The Amateur Choir Director,” Carl phia Orchestra, direction of Stock gives a highly competent and sympathetic by effective instrumental picture, is a less significant Victor set 867. exposition of the music workers, there is a wake of those who have Hjortsvang, (pronounced “Yorts-vang”) is just Brahms Tragic Overture, neither work. The much publicized Soviet Union composer performance allows been left out who are merciless in their scorn. what it purports to be a very practical exposi- the imaginative insight into — Schubert; Symphony in B minor—Unfinished; All- has written, in the opening Largo, one of his the music that the Beecham recordings The chapters of the book include from Yesterday tion of the needful knowledge which the amateur reveal. American Orchestra, Stokow- greatest symphony movements; for it owns an Moreover, the direction of Leopold to Today; Bridges to the Past; UnfamiliarIdioms; advance in recording is not suffi- musician must have to conduct a group of singers. ski. Columbia set 485. expressive depth indicative of desolation and cient to eclipse the reproduction in Newcomers; Experimenters; Folk-Song and Ra- Every amateur musician of ability may be called the Beecham All loneliness well as finely wrought versions. the previous modern recordings of this fa- as emotional cial Expressions; Broadway and Its Echoes; To- at any time to conduct a chorus and it is a good miliar symphony intensity. The symphony is made up of a long Shostakovich Quintet, by noted conductors (Beecham, : Opus 57; The Stuyvesant day and Tomorrow. thing to know the background of the necessary (nearly twenty minutes) Walter and Koussevitzky) have been accorded slow movement and two String Quartet and Vivian Rivkin , There is also a lengthy appendix. The book is technic of this interesting work. (piano) Co- better shorter movements, neither of which is on the lumbia recording than Stokowski obtains here. set 483. written in the author’s distinctive style, and Hjortsvang discusses The Director and his per- There is a lack same plane as the opening Largo. The finale, sug- Again the composer exploits of balance and tonal resonance his instruments for should be very useful for a reference library. sonal qualities; Baton Technique, giving simple gesting take-off on military is which suggest that made in a a march, cleverly color, and his writing here for the this recording was There are fourteen portrait illustrations. piano is both a DR. GLEN HAYDON exercises; Expression; Directing without a Baton; written, but the second movement is too unpre- ingenious and highly radio studio rather than a concert hall. Stokow- imaginative. In five move- “Our Contemporary Composers” General Choir Technique; The Singer-Direc- tentious for its ski’s treatment per- own good. As in his previous ments, the quintet is, as of this score is neither as one Russian critic has Department of the University of North Carolina, By: John Tasker Howard tor and the Organist-Director; symphonies, Shostakovich relies instrumen- suasive nor Recommended upon said, lyiically lucid, human and as rewarding as those by Beecham Pages: 447 simple.” The and at Chapel Hill, and the present president of the Anthems for A Volunteer Choir. tal coloring as well as Ingenious rhythmic pat- first two movements are in the Walter; it is contrasted by a rhythmically classical idiom Music Teachers National Association. His ap- Price: $3.50 The reader will find this terns to provide variety. Stokowski gives this the third unyielding which a very sensible, work- and fifth movements are pace and some arbitrary ritards Publisher: reminiscent proach is unusual. His solo instrument is the Thomas Y. Crowell Company able book with no literary padding. music a' wholly persuasive performance, and the interrupt the music’s flow. clarinet rather than the piano, the organ, or the “The Amateur Choir Director” recording is richly sonorous. Strauss; Rosenkavalier Waltzes; Philadelphia Or- violin. Born in California, his degree of Ph.D. Author: Carl Hjortsvang Grieg: Two Elegiac M’elodies—Heart Wounds and chestra, direction of Eugene Victor disc Ormandy. was obtained at the University of Vienna. Last Spring (for strings). Op: 34; Columbia disc 11698 18390. Pages: 127 RECORDS Part One is designated as “Systematic Musi- Dukas; The Sorcerer’s Apprentice; and Rimsky-Korsa- BOOKS Price: $1.00 Those who own the older Ormandy perform- cology,” and deals with Acoustics, Physiology and Publisher: ance, made 276) Abingdon-Cokesbury Press with the ( Continued on Page APRIL, 1942 THE ETUDE 229 —
Music in the Home » n IMPORTANT MILESTONE in radio oc- A curred when, on February 22, Mutual’s New Voutli and Music AJL York station WOR celebrated its twentieth publicity birthday. Jerry Danzig, the station’s points out that the year of their start (1922) JANOSSY BOYS were fortunate in hav- man, i HE singing China Music the one in which everyone was Educational a was ing music loving parents, and particularly and Johnsons “The Sheik” Buddy. It was the year T:mother who had been denied music lessons Janossys Boy and My “The Outline of History” were best sellers; in her childhood. Such deprivation made Mrs. and headlined “Mellon Backs Up Hard- Janossy determined that her children should front pages Bonus,” “Giant Army Dirigible ‘Roma’ learn to play an Instrument and experience the ing on “Premier Lloyd George to Visit joy of ‘'making” music—no matter how great a Wrecked,” and ’ no the Air emmon No official ceremonies, on sacrifice these music lessons might demand. (Blanche oCe Premier Poincaire.” By WOR’s first broadcast. The A family of six children consumes an unbeliev- fanfare accompanied rug-draped room, able quantity of food, wears and tears an aston- event was held in a stuffy little radio depart- ishing amount of clothing, needs vast numbers in a corner of the furniture and store in Newark, New of school supplies, and is subject to numerous ment of a large department trans- Jordan diseases that call for the ministrations served as studio, office and jll, childhood done him by the school orchestra leader. With Jersey, which & .Jif^ en- m voluble argumentation recording of of a doctor—to name only a few of the claims sisters, hot words and inspiration of this sort mitting site. Some one put on a intervention. teaching and and a re- pocketbook. In the face of this sued to be silenced only by parental the big horn-shaped micro- upon the family sultant all-out effort on his part, progress was April Showers, pulled onslaught on the family budget, however, Mr. the phonograph; an engineer Rapid Progress bound to follow; and his next step was admission phone close to were determined about the two hundred and fifty and Mrs. Janossy of the National Orchestral threw the switch of the always signs off in the morning with the ob- and the exigencies to the orchestra Asso- musical programs, but the emphasis at this time music lessons. Somehow—and it took a lot of Due to the keen competition amplifier that DeForrest him- ciation (that outstanding orchestral training watt reconditioned and pro- servation that “if the good Lord is willing” he’ll Janossy children made is not in that field. News broadcasts stretching at times—music always received its of time and space, the once used in some experiments and music school about which a story appeared in this de- self had defense are in the fore. The be back the next day, obtains materials for allotment. rapid progress; and on all but one of them grams for national experience began its first broadcast. authoritative Government Olga, alone, partment last month.) The he gained WOR aiming at doing its part to help win his programs from Income was very small in those early years. exerted its lasting fascination. when the station’s staff station is him where he wanted to be Several months later sources. The Globe trotting reporter, author and music an avocation and go there placed —in a the war, and its roster of programs include such Mr. Janossy had come to this country as a young wanted to consider five) learned that WOR had i there were only the boys knew by fine symphony orchestra. This experience may Mutual Network series as war correspondent, Fraser Hunt, is now heard man without means, hoping to find here wider into business. But all five of distance least part credit, too, for an been heard at a Thursday and Saturday (6:00 to existed for in his native the reached high school that they be given at additional ‘This Is Fort Dix,” “The on Tuesday, opportunities than him time they miles, his in 1941: eight weeks of ten to fifteen broadcasts news in a new Hungary. By chance he went to New Brunswick, wanted to play in symphony orchestras. honor which was of Navy Anchors Aweigh,” 6:15 P.M., EWT). He they were both elated and New Jersey, found employment nearby, and met Gustav, being the oldest of the brothers, was travel with Leopold Stokowski and his widely ap- the Treasury Depart- pattern and brings his radio audience informa- proud. So, says Mr. Dan- the first to face the problem plauded All-American Youth Orchestra. ment’s “America Pre- tion regarding the rapidly expanding field of zig, they took a news- of seeking that desired career, ferred,” and the OEM’s electronics, which is expected to have a profound Following a Good Example paper ad "to tell the which seemed difficult for a “Keep ’Em Rolling,” pre- effect in the post-war period. Hunt has known world about it.” A couple boy without the power of in- Meanwhile the ambitious brothers had not been sented both in coopera- everybody who is anybody; he has interviewed of months later the chief fluence or money. Strangely idle, and close on Gustav’s heels, William had tion with Government kings and dictators. As a commentator on world engineer resigned because enough an incident occurred followed him into a New York Philharmonic- agencies and independ- events he has an established reputation from he didn’t think radio had at school that helped him Symphony Society scholarship on the bass viol; ently. “We’re looking Vladivostok to Buenos Aires. a future, so the assistant along the way. But Gustav did then into the orchestra of the National Orchestral ahead, not backwards,” On April 5, the Standard Symphony Hour Of operator took over. He’s not realize the opportunity at Association; and finally, on to the Minneapolis says the general manager, the Pacific Coast (heard Thursdays—8:00 to now the chief engineer the time for his disappoint- Symphony Orchestra, where he lias now spent Theodore C. Streibert. 9:00 P.M., EWT) gives its seven hundred and J. R. Poppele. In the past ment was too keen. It hap- two seasons. And he in turn lias been followed “Our history may be rich fifty-fifth broadcast. This excellent symphonic twenty years, he says, he pened that the school orches- by Thomas, Henry and John, all three of whom showmanship lore and program deserves to be heard in the East, and radio gradually in tra had idle bass viol, has seen an and have been able to meet the high standards neces- in public service, but this we would like to suggest that consider a future; and he WOR the leader, needing a player, sary for find its admission to the National Orchestral As- isn’t the time to pause rebroadcast of it later the same night for its persuaded Gustav, with has helped WOR grow a few sociation. In the history of that organization it for a review of our ac- Eastern audience. The Standard Symphony Hour fea- blandishments about versatil- from a two hundred and is unlikely that the Janossy record will soon be complishments. Our lis- tures a variety of leading conductors. Recently ity and talent, fifty watter to the max- to leave his equalled: two double bass players, two violists are interested Pierre of the fifty thou- teners most Monteux, permanent conductor San cherished violin and try play- and imum power of one violoncellist—all from the same family! in what kind of a job we Francisco Symphony Orchestra, gave a series of ing this “big doghouse.” sand watts and to a posi- To provide themselves with funds, the brothers are and how this in one of the nation’s doing today broadcasts with hour which the eminent Peeved, Gustav tried and dis- organized a Hungarian tion as orchestra, in which was and we are prepared for to- French musician’s abilities as a program maker covered, almost against his featured foremost stations— a czimbalom, an instrument always morrow. We’ve got a job were strikingly revealed. will, that the instrument the head of a big network. had found in Hungarian gypsy orchestras. Under the In the beginning no to do, and we’re doing it The Philharmonic-Symphony Orchestra broadcasts some possibilities after all. name, ERICH LEINSDORF, Conductor of German Janossy Testverek (brothers in Hun- to the utmost of our abil- Later he station did more in the Opera at the Metropolitan are scheduled to end this month. There will be THE JANOSSY BROTHERS. A Family Orchestra. found that bass viol garian), they played a large number of engage- ity.” only three afternoon programs. players were much more field of good music than Sunday John likely ments before seen and unseen audiences over a to be needed Good music had What WOR’s general Barbirolli is scheduled to conduct those of the by orchestras period of WOR. a family with an attractive daughter likewise four years, disbanding in 1938, when be said of all major radio — than the over-plentiful violinists. Now, been a tradition with this station from its be- manager says can fifth and the nineteenth, and Bruno Walter, the as a result Gustav went west from Hungary. It was natural that these two of that to join the Minneapolis Orches- chains in America. They have a tough job ahead, concert decision, his name is listed as a member ginning. WOR was sort of synonomous with the of the twelfth. The program of April 5 young people of similar tra. William was the czimbalom player and also backgrounds should be- in the bass section of the — Little Symphony, one of the first and we can believe that they are all endeavoring is to be an Easter one, and advance information Minneapolis Sym- the Bamberger come interested in each other, and that they czimbalom repair man, as he necessarily had phony Orchestra. And he has orchestral programs of its kind in this country. to meet it to the best of their ability. And not a says it will feature both soloists and a chorus. there the inesti- to be should decide to seek those wider opportunities one time when the instrument fell from mable privilege of playing under those programs have been replaced by small part of that job is keeping the general Following the Philharmonic broadcasts, it is ex- together. the direction the Today But first came the difficulties of gaining of a running board of the speeding car. His me- great conductor, Dimitri Mitropoulos. Alfred Wallenstein and his Sinfonietta. Then public entertained. Side by side with pertinent pected that Howard Barlow and the Columbia a foothold in a country where language and cus- chanical ability, inherited machinist Not all of this happened overnight, from his the broadcasts by the Perole String newscasts come programs designed to make us Broadcasting Symphony Orchestra will toms were strange of course- father, there were be fea- to them. the double also has come in handy other diffi- bass is not mastered in when were no other similar chamber laugh or musical shows intended to help us re- tured thereafter on Sunday The family’s a few easy culties Quartet. There afternoons. first musical milestone was the lessons; a young have arisen. He has to his credit at least man without means cannot music programs like those of the Perole group lax. Those Friday broadcasts (3:30 to 4:00 P.M., tenth birthday of Olga, the firstborn, af- two inventions when she ford to hire the services that were mothered by necessity. of the best teacher when they were first on the air. WOR was the Two commentators who recently began a series EWT—Columbia network) known as the British- received a piano and the news that she could even One of these mastery of an instrument’s inventions came about as a result Philharmonic- of tri-weekly broadcasts deserve mention here. have music lessons. Later, technic does of first to broadcast the New York American Festival are scheduled to continue, owing further milestones were not mean that living with Gustav, in Hotel a player can step fully the College Inn concerts. Both are heard over the Columbia Broadcasting to their passed. In turn, Gustav, William, Thomas, Henry, equipped on the Symphony wide success both in this country and in S maj °r campus of the University of Minnesota. orchestra - After Alfred Wallenstein, formerly first violoncellist System. Arthur Godfrey, long familiar to the East- John—each received a violin on his tenth anni- u Gustav The boys England. These programs, offering many new and left°eft highwhThschool,? he continued practiced in their room. This led to ern versary—and lessons were studying the bass of the Philharmonic-Symphony Orchestra, joined radio audience for his early morning pro- seldom-heard old works, are of considerable in- started immediately vioL Although he complaints by students received offers from that deep rumblings and in intervening years gram of informal observations and songs (7:00 thereafter. By the time John was ten, practice dance grotesque the station in 1935, and the terest. At the time of going to press we were able oichestras, he knew this was braying sounds distracted them when space in the Janossy home not the type of since, he has brought many worth while musical to 7:45 A.M., EWT) is also presenting timely only to obtain information was at a premium, career he wanted. ey were trying on the broadcast of He floundered a to concentrate on calculus or advice on the and rivalry was rampant. Piano lessons had be- little*’ then features to the microphone. Besides his “Sinfoni- what average American can do to the third. In this program two works will be wise counsel led him lench conjugations or come part of the to apply for a N the history of the Nine- Strings” help war production (Monday, older boys’ program, while een h etta,” there have been his “Symphonic Wednesday and given world premieres. The first is a “Sinfonietta” Philharmonic-Symphony Society Century. William gave the complaints clarinet, saxophone and drum playing were ex- scholarship it programs and his “Bach Cantata” and “Mozart Friday 11:00 to 11:15 A.M., EWT). Godfrey, who by Alexander Semmler, the was after he was assigned careful thought, found American composer- periments on the side. to the tutelage’ them just, and set about Whoever took over a room Anselme of devising Opera” broadcasts. The few hours of broadcast- pianist, and the second is a “Sonata for Fortier, bass viol virtuoso 3°me method would Chamber first and closed the door against disturbing of the Orchef of practice that ing daily in the beginning have changed, for sounds tra as a result of bviate further Orchestra” by the British composer Richard was winning the disturbance. result of this lucky. On the other hand, if he acted with scholarship The today WOR is on the air twenty-four hours a Gustav realized fully the was at he and Arnell. total disregard for the rights possibilities of Gustav now have an odd-looking of his brothers and voiced instrument, IS low en day, seven days a week. RADIO The Columbia Broadcasting and ™ ’ a network plans an appreciated the u- bass viol minus a sound box, on service WOR still continues to broadcast many fine ch they can Easter performance of ( Continued on Page 283) 230 practice ( Continued on Page 273) APRIL, 1942 THE ETUDE 231 ) —
Music and Study Music and Study Table Your Best The Teacher’s Round Look Busy Housewife Asks Help compiled by Lucille Earhart, a fine like col- I mu an accompanist and would to lection of thirty-eight classics—one a bit o' advice from you on how for Monthly of Favor dependable technic. every Sunday the year. develop a really Conducted almost Get it Capture Public to study with a piano To I do not care at once—you’ll love it. teacher, for I have tried to several times, but the usual result Is that I am given to learn and am a number of “pieces" The Strauss Burleske if asked to play at the teacher's next curls and exercise off that bulge piano “Crank up your recital. I have no desire to play Can you give me any information preferred ac- soioa. because I always about the “Burleske” by Richard companying to solo work and feel that Strauss, for solo piano or orchestra? x the public Is really my true forte. would succeed with that held a copy of It you like have tried to buy but can- I have a small hand and would not secure It. Grove's “Dictionary of hove a better stretch so that I could Noted Pianist to Music and Musicians” does not mention play octaves and sixths more com- Educator It at all either in the article on Strauss fortably. Can you recommend anything and Music — or in the complete list of his works.— for this? married and an- C. S., California. I want to add that I am artean “question” and the Goodman have two children and a big house to startlingly swer." Above all, he becomes run. so that my practice period Is neces- Mozart Tck! Tck! Yes, you are right. Even than two of the superiority of sarily limited to not more convinced old omniscient Grove consists good occasionally hours a day. My practicing now over Goodman! "Five Finger Exercises." In falls from grace. This, however, is a of Hanon's the piece is not at all scales In octaves, thirds Furthermore, all the keys, who inno- serious omission, for the “Burleske” is and sixths, and a few favorite exercises easy to play; the students very much alive. Unfortunately, it is like to practice. I want you how difficult a to succeed that I Just cently tackle it soon learn have conferred with hundreds of young artists, all eager understand this, that music Is not a foreign publication and I’m afraid you We to they love it, they per- art, and ive dabble it is; but because a deep reverence for the dignity of hobby with me. I do not Just will not find a copy of it in any store as public artists. We have it. They know then In music; It Is a very real thing to me. sist in mastering success unless it ivas founded upon just now. have never known a permanent great for I have always made my way, and that the real Mozart will be an even time and time earned enough money to show me that The “Burleske” is a sturdy, youthful combined with hard work. However, we have Cntrespondents with this Depart- harder nut to crack, but are so intrigued real ability I could be self-supporting. If need be. ment are requested to limit Letters ivomen and young men diet! work—written when Strauss was twen- been bold enough to make clear to young (Strange to say, my husband is proud to One Hundred and Fifty Words. that they want to go on a Mozart again ty-one. Everywhere In it you will find jeopardized by a careless, “sloppy” appear- of that fact, too, and has always en- It is poor taste to debase any “classic” that any thought of success was couraged me In my career.) the struggle between the conservative- is usually piece by jazzing, “boogie-wooging” or girl sings like an angel and looks like a “frump' Perhaps you can advise me as to what Chopin Preludes, some of the Etudes, and ance. The who not done ly reared Strauss cub, and the wild lion your ability are not all. Your X should practice dally and If you should perhaps the Doering octave exercises and distorting it. Templeton has at the start. Your appearance and wants to roar for himself. defeated be so Inclined, I would greatly appreciate phrases are his own, delivered who Much of quite as important. This studies? There is nothing more to offer this. His behavior, your manners, your stage deportment are It. (Horrors, I think I used a spilt “Burleske’s” as nearly as possible in the Mozart style. the rhythms, spirit and except to recommend you to follow the girl to another . Editorial Note. Infinitive!) —B. F.. Wisconsin. themes are pseudo-Brahmsian in ivriter talks to girls as one Round Table and Technic-of-the-Month He has turned out an excellent job. I quality. For the student It is a difficult the Metropolitan I’ve been spending so much time in a "pointers” in each issue. Get hold of the know several fine artists who use Mozart work to MONA PAULEE. Ol play, but extremely effective for in an effective concert dregs. futile search for your split infinitive that Etudes as far back as possible, and work Matriculates as an encore on their pro- an artist Opera virtuoso I almost forgot to answer your question. these out conscientiously. Take monthly grams. with technic. Von Billow, for whom Strauss wrote the "Burleske,” Perhaps some wise Hound Tablets can “check-up” lessons with some local musi- I’ll wager that you and your student de- con- applicants of equal musi- feet; poise and stage presence also require sleuth it down—but hanged if I can! At cian you respect not necessarily a piano love the piece too. Bad taste, my eye! clared it unplayable—so the composer PET PEEVES — WO practice to develop. Lucky the girl who, promptly dedicated to D'Albert. cal ability apply for the scientious any rate, a split infinitive is preferable teacher; or better still, go once every few it of mine are these: I. the road to study, has a teacher who anytime to a split note on the piano—for weeks to a larger center like Milwaukee, Too bad, isn’t it, that Strauss’ aston- same job. If musical Q. along Music for Church T the comment, “Oh, carriage, one can at least correct the infinitive! where there are excellent teachers of ishing later development has made us is equal, then one must realizes the importance of posture, she looks so charming It is gratifying to know that your hus- technic who won’t exploit you. I live In a small town with few mu- underestimate his youthful works? The possess an added some- make-up. clothes, and general grooming. These sicians; I have no teacher at present, that it really wouldn’t band is not only proud of your musical And how about planning now to at- early songs, Instrumental solos and personality to items can make or break a career. Fortunately and It Is sometimes hard for me to keep how* well she thing in accomplishments, but actually “eggs you tend a summer course? Your own and my interest chamber music are rewarding, possess matter at top speed. However, I land a contract. evei-y girl can develop poise, an erect, graceful on” in your accompanist career. Among neighboring states offer a wide choice work some every day, and play for astonishing vitality, and deserve frequent played” (or sang or what- en- church, It takes strenuous effort carriage, the ability to choose dresses which my large acquaintance with married wom- of intensive, short periods of work under funerals, community singing hearing. not) andf the girl who and what-have-you. (There’s ; the effect en who seriously practice, one in every to become a musician, no hance her good features and minimize play and teach inspiring teachers. The separation from town performs looking like ! (of which we all have the piano, I have yet to find one whose your family 1. matter what the instru- of her poorer features offers obvious difficulties— I need some suggestions for people Boogie-Woogie something the cat (or husband resents the time and energy and but if it could be arranged, I sure with no musical training. Pieces that fill Musical technic some). And she can force herself to maintain am in, with ment. the bill are Juba Dance, Country Gar- worse) dragged concentration devoted to music. On the that not only would your husband and Although I am not a Jitterbug, “boogy- hours hours of standard of meticulous grooming. Attention to dens, Dark Eyes, and such. Can you hair, cracking takes and a contrary, the spouse is invariably de- woogy” has fascinated me. Please explain stringy children cooperate—but your absence suggest others? untold dividends. it, faithful practice to per- these details will pay lighted, even if he is and tell me how I can attempt to nail polish, and crooked not “musical,” and would have a salubrious effect on the 2. Will you suggest some good numbers learn It. Where can I find examples of A girl’s hair can be one of her greatest assists in every possible way to further for church and funerals? seams. There is no ex- whole family! We use fine It to study?—F. W.. Montana. his wife’s musical music in our services.—L. M„ Oklahoma. assets. Regular brushing and shampooing ambitions. The only way to insure steady pianistic I bet you like boogie-woogie!—F. K., cuse for the first—a mu- If, in addition to Michigan. it shine, and in this day and her pianistic achieve- progress is to practice regularly and in- sician is trying to put will make ments, she can “bring home the bacon” telligently under expert guidance. age of permanent waving there is no ai,uueiH, uxb yourseii living Cf across a musical idea ex- in the form of a weekly or monthly check mac course I like good boogie-woogie, munity longer an excuse for stringy hair. Once with little opportunity for and fervently it pressed in a piece, and it —ah, that is something! There is nothing wish that I could rattle sical expansion, you find the right style for your hair, don’t like your own good, hard-earned money Mozart Matriculates I am filled with the off myself! But I’m afraid you’ll have is extremely thoughtless to become a musical to be afraid to wear it that way even when to add the finishing touch to his respect I had a talented pupil of twelve, a boy drummer—nc get your boogie-woogie from another of any one to forget that I have taught from the l egular ’ one but a sort source. Individuality is and to your feeling of independence. beginning foi- — of trave For instance, have you tried re- fact. But it is surprising custom dictates differ. three and a half years, to play teacher, to Fortunate indeed are Ehvu by act as stimulator, pep cordings? women who in ad- Nollet at a school Have you heard Will Bradley how often that inane re- precious. performance. As an upper, checker-upper, LUCILLE MANNERS. Con- dition to their household, family and so- encore, he played Alec or as you and his orchestra in “Beat Daddy, Templeton’s Me, mark is made. As for my cial duties, Mozart Matriculates, “what-have-you,” for music. to cert and radio singer in a can play and teach the piano and the school We l a Boogie-Woogie Bar”? and others Hands Tell Much — is teacher told him later that It was not hundreds of just such second peeve, there brilliant platform costume. successfully. They are among the hap- in persons—but w like it? There’s real B.-W. for you! good taste. are they The hands, especially of an instrumen- piest people in the world. ? The best advice I can even less excuse. Appear- I hope they I Just write to pass along iny give As I see it, you just take any lively experi- is to visit good of atten- realize it even if ence, some larger ance must be considered, Right. talist, come in for a share they are overworked. and to let you know that some of center every bass motive in sixteenths, like these: MARGARET us weeks to take Your letter is so searching and so seri- teachers are "modern."—F, K occasional lessons fro unless you play in the SPEAKS. Noted concert and tion. Bright nail polish these days is a Detroit. first-rate ous that I wish I could teacher. There radio singer in her latest If it,' sure be of more prac- are many ! dark; and carelessness matter of choice. you wear be your striking concert gown. tical help to you and others in m state. the same Templeton’s Mozart Matriculates about the details of per- that it is in perfect condition when you is a 1- It seems boat. Of course we all understand your to me that for your first-rate piece in every way. It is l sonal appearance dis- appear in public. If you play a harp, a prejudice against good b6tter the teacher whose am- music, good humor, good Stick t0 coIlec tion satire. By us- albumsalhumf^of tracts the attention of guitar, or any one of the instruments in bition it is to exhibit music. you for business ing it in concert There are dozen' and teaching I have good, the listener. the tone is the fingers reasons. If, like all good accompanists, reasonably priced In this day of streamlined competi- which produced by converted many more young students volumes I you possess facility, aie a few highly tion, the girl who sets out to win a career in the plucking strings, you will soon become ac- ease, flexibility, sen- to Mozart than recommended through any other means. Piano o sitivity in your playing, there is all the Dedicated Classics;” “Masterpieces held of music can no longer depend only on fast customed to the number of people who to Benny Goodman, it is writ- of P more reason for some teachers Music,. Mumil; wanting ten in the vernacular—the “Melodies Even fiddling or smooth as silk vocal cords. She must rush up after a performance and grab musical lan- Loves ‘ play them to death of to capitalize on your ability. But I’m afraid Felton; “Fifty-Nine on all degrees guage that young people of to-day Solos the realize that in cases where a choice between two your hands (without so much as a by- I cannot offer un- Like to Play;” diatonic .'cale, and anything and you much encouragement derstand. Each “Everybody’s add quasi-Mozartean phrase, Fav ( or more applicants is to be made, personal ap- your-leave) to “see how they look.” How if you work without P ano Pieee5 ;” everything but the kitchen stove in the guidance. You are at first enunciated -Music f°r the immaculately in the Advan right pearance and personality will count. Often an embarrassing that can be if your now very sensibly practicing just the rou- Pianist, arranged hand—the louder, wilder, more hands master’s “pure” style, is gradually by Wagness. turned 2. syncopated, employer is unconscious of the im- tine you need. What else is left for you to Speaking of more dissonant, the better. tremendous are rough, or you have a hangnail, or if “sour” (or perhaps “sweet”— albums, your best st- I can never • take • . And it pression which looks except the usual technical diet: h h just goes on and on into the and grooming make upon you neglected your manicure < thinking no tell the difference) until every young- /"vte; »««“ “Czerny-Liebling,” Volume in, the s**'h°.hr night until you and the neighbors lapse him, but they do go to make an imprint that harder ster recognizes and appreciates admirable new volume one would notice, just this once). So be the Moz- out,out “rw into delirium Classics for the Church tremens. That’s why they is worth its weight in salary. Many a time two as fussy as you wish about time reserved Pian call 232 it Boogie-Woogie, I guess! APRIL, 1942 THE ETUDE 233 —
and Study music and rhythm of ner voice Music which the wifi Voice! produce. Music and Study Save the Child mother sang to A child, whose her and read the manner suggested, sang to care for the hands, daily! to her in the tune !%'/<” Bunting perfectly, at Clothes for the girl who intends to appear of Bye Baby the age &j W A Mm 0f r She also recited little before an audience are immensely important. eleven months. poems, in she will be clear voice that expressed real She must plan her wardrobe so that RIGHT of a a sweet feeling IT IS THE DIVINE These are not able to appear well-dressed at a church service, ECAUSE tf at the age of three. radical state- he finds eypr»ss,.n of Song recitals, and at to M happy, fanatic; neither are Word at an informal tea, at morning “d ments made by a they mere Tone and the infancy, The almost from formal evening affairs. Perhaps she has plenty B this happiness, They are actual facts that theories. have been of money and unlimited charge accounts. If so, and will continue to be proven in scarcely recog- proven a very still in attempts may be this is no problem for her. But if she is "mSrst feeble natural way. cooing sounds which struggling stages of the game (as so many the gurgling and loosely open position and the nizable in Learning the correct use of the voice in speak- nevertheless he is singmg relaxed upon are) then she is probably called on to use every he emits, but singing as a child, should rank HE BEAUTY OF the tongue perfect comfort ing and equally effort to keep the wolf out from under the piano baby way, thus giving vent to the TONE QUALITY in the floor of the mouth, in importance with learning to read and write. dress prac- feels, subsequent to as a low- bench. In which case she will want to or satisfaction he -with T singing comes the tip touching the It is possible to take a child only an aver- tically and economically. This calls for serious feeding. freedom in the stroke the ing bath or and, by careful, judicious result of er front teeth, gift to ma . age voice cultivation, UL’ile.S thought. Dresses of good material and simple The human voice is God’s greatest tone production and of 1 ['illjitr mionza tongue very easily with this make that voice beautiful. Voice cultivation for still be the cultivation of lines can go many different places and Is it strange, then, that having proper mental an index finger from childhood? The children is simply, in the last analysis, voice in good taste, while eccentric styles and fussy voice should begin in earliest concepts and ideals. If a rear towards the tip, -preservation. To cultivate the voices of the frills quickly does not neces- dream of making a boys are dated. Economy horticulturist would not free tone with beautiful through the center. Use of harmful and girls of to-day is to insure better, finer voices sarily mean buying cheap dresses. Usually one garden only to leave it to the mercy produced, the quality is think their no physical pressure with the finger. Continue it. Then, in the men and women of tomorrow. To cultivate Battista Lamperti; “All singers who beautifully tailored and fitted dark dress will weeds which would, in time, destroy taking his first steps toward artistic singer is placed where they this stroking now for only a minute or two, and prove itself invaluable because it is at home in be neglected, left a child’s voice is like taking out an insurance to voice is a thing to be put and why should the child’s voice success, and this is the reason why he should P. Mario Mara- a natural yawn should occur. Next, after allowing so many different scenes. Every girl (musician sure destructive power of protect the voice of the adult he will become. singing. It will, come to grief.” And, too, Dr. to the merciless and by all means master the technic of exer- book, “Caruso’s Method of a few minutes to elapse, repeat this same or no) must discover what styles are right for misuse? Never should the child sing in any but soft, that the vocalist may really fioti, in his excellent is by technic only carefully as before. Through this stroking her. Then she must stick to her credo. And she his voice, the pure tones of the Production,” warns; “The laryngeal sounds cise as For all know that a child will use sweet tones, head voice. message of his song; and it is Voice express the true action upon the tongue the vocal muscles are must never allow herself (if she is on a budget) will sing; he will These should be developed throughout the must be transmitted to the mouth free of any regardless of cultivation. He entire always the meaning of the song that people want to be stampeded into Italian vowels are induced to respond to the impulses of your mind, on the spur of the moment speak, and in most cases, unless otherwise taught, register of the child’s voice; the result is truly interference.” When the five from the singer. relaxation. Remem- buying a dress which will be perfect for Mrs. in time, will heard find their correct “place,” in a natural, the impulses of freedom and he will do both incorrectly. Thus, gratifying. I have never more beautiful For complete expression of a song’s message, allowed to mental effort is to be employed, Jones’ garden party next Tuesday, but will there- and ignorance destroy all than the voices of our children’s class involuntary manner, they constitute the stepping ber that only the weeds of neglect music sing- the words must be sung, rather than just spoken. after be at only in closet. strain or pressure. Ten minutes each home her wardrobe the natural beauty of the child voice, leaving ing, at Christmas time, that ever lovely and ap- stones from which spring the concomitant joints not physical is, the singer must sustain the tone on a Clothes which are graceful, well-fitting, and That should be devoted harsh, rasping, throaty tones. pealing old French carol, Bring a Torch. of speech the consonants. An open throat, an period, five periods each day, only Not a definite pitch in singing, whereas in speaking — comfortable should be the dressing goal of every arched chest free from any sign of to this practice for about six weeks, after which One need only listen to the voices around him, forced tone among them! All singing with utmost required to prolong the tone or the adequately girl. The musician will find, too, that the knowl- he is not in find himself, and the natural propelling action of the time a very definite groove should be evident in whatever walk of life he may ease and pleasure in beautiful, flutelike tones! vowel sound, and no definite pitch is necessary. tension, edge of being well-dressed adds immeasurably to to prove that the muscles beneath to prove the truth of the foregoing statements. It is this flutelike quality that will deftly managed breath—all work together to bring the tongue enable one As the tone is sustained, the vocalist must simul- her self-confidence as she walks out before an impulses of What do we hear? Harsh, unlovely voices! Tones to recognize the true child voice. the middle and higher tones into what is fittingly it are responding strongly to your audience. And this quality taneously mold the vowel, the word, from the that are completely lacking in beauty, color and “the resonator,” which is authoritatively freedom and relaxation. And when these muscles developed patiently, with much perseverance, will tone. Then the vowel sound, which constitutes termed sweetness; dull monotonous voices; tired, rasping the head. Through this under the tongue so respond, their affiliated Special Problems compare well to the playing of this sweetest of the body of the word, must be prolonged with recognized as being in voices; sharp, thin voices; loud voices! In short, the singer has within his muscles (the intrinsic vocal muscles of the throat Some instruments present special dressing instruments. the flowing tone, for the purpose of bringing wonderful resonator, for the most part, we hear only tones that are make whatever he wills of and the mouth) will be gaining strength and problems. For instance, the playing position of Children should never be urged to sing loudly. about intelligible, fluent enunciation. This mold- power the ability to jarring to our finer sensibilities. is singing. liberation; and it is the power and freedom cf both harpists and violoncellists is such that full To do so is to spoil the natural beauty of the ing and sustaining of the vowel from freely pro- the composition he The psychological effect alone of these these vocal muscles that mean everything to you skirts, not too short, are a necessity. There must voices child voice. The more softly he sings, the better, duced, beautiful tone constitutes the nucleus of also be plenty is such that one might well give pause to con- Flexibility of the Tongue in your efforts towards good, pure tone produc- of room in shoulders and back to for it is only as he sings softly that he can use good singing. allow full freedom the sider the benefits of correcting them. Harsh, is of essen- tion intelligible diction. of arm and shoulder these free, flutelike tones of the head voice. There “The flexibility of the tongue most and muscles. Big buttons or strident tones are irritating to those who Organs this of can ornaments down the must is nothing more thrilling or soul satisfying than The Enunciaiory tial importance in voice production, as organ (C) As soon as the muscles the tongue front of the waist are usually in the way. Violin- listen to them. If one associates constantly with of singers, often be controlled, eliminate the use of the finger, and to hear the voices of a large group of children, The lips, the tongue, the teeth and the palate is decidedly the worst enemy ists must take special notice of sleeves, and a person who uses such tones, he is apt to become to buy singing in this perfectly natural, beautiful are the organs of enunciation. If the tone is well constituting the most obstinate impediment learn to let the tongue drop into this relaxed only dresses with sleeves that will in no irritable and dissatisfied with life in way general. manner. produced, the articulation will take place freely freedom of their voices. By an instinctive act position. It is this mental power that Is so im- hamper free bowing. Pianists and string players On the contrary, if one is so fortunate as to the throat, perative to natural voice production in singing. Of course, deep breathing breath con- in the front of the mouth where these enuncia- they usually retract the tongue toward as a rule have developed, through be in daily contact and good arduous prac- with the unique and rare it tension, thus preventing the trol also play an study. tory organs can mold the tone into syllables most and keep in tice, strong arm muscles. person who important part in this Often these muscles possesses an easy, flowing beautiful laryngeal from freely coming out and The Use of Diagrams But this i: not simply a treatise on the method advantageously. But this must be the flowing, sounds are large, and consequently sleeveless dresses are voice, with properly pitched tones that are color- reaching the mouth. This causes serious inter- “It is truth,” states Louis of cultivating a child’s voice. It is plea for more sustained tone of singing, or it will clog some- a Mr. Arthur Russell not the best choice. A cap sleeve, at least, or an ful, alive, vibrant, one cannot a help absorbing ference, which must be overcome at any cost in his “English Diction Singers attractive universal understanding of the unlimited poten- where and be rendered inferior in quality. Stu- splendid book, for short sleeve, even in formal dresses, some of this depth of beauty in his own nature. tialities the words at the beginning of voice training, for the flexi- and Speakers,” “in voice culture, both in the mat- makes a much more A quiet of the child voico! dents of singing should remember that appealing picture than bare “Good morning” spoken in a cheerful Just as of song must be sung, and not merely spoken. bility of the tongue assures the freedom of voice ter of diction and of singing tone-production, arms, unless one has unusually beautiful arms. pleasant voice will start one the lover of flowers cultivates a bare well along the way production.” Vocalists and players of to having piece of ground by hours care, Many novices involuntarily think of the words that local mouth effort, instead of aiding, hinders wind instruments must that good morning and good day! of painstaking This until as they are in speech, and speech does not This well expressed truth comes from the book us. To attempt to learn to enunciate clearly guard against tight belts and such tight-fitting habit established presently that strip of soil has been trans- used with a young child will make waists that deep breathing very formed into require that the tone or the vowel sound be pro- by Dr. P. Mario Marafioti, previously mentioned, through the use of diagrams showing forms of is restricted. And it a real contribution to the formation a garden of glowing colors and deli- of his longed on pitch. and should be conspicuously placed in every voice should be remembered that the back of one’s character. cate blooms, so the child voice can, with the any definite mouth, has always appeared to me a folly. This dress will be seen by the audience too. same painstaking studio. method is in favor, especially with elocutionists; The clothes It is too late for those who have guidance, be made colorful and one wears now attained Correct Deep Breathing Towards acquiring and maintaining this neces- can set off the music. Therefore the manhood and musical A thing beauty be, but, for reasons which I shall try to make plain, womanhood to reap the reward of which will truly artist should buy carefully; and then when she of this early in its deepest “The control of breath begins in the throat at sary flexibility of the tongue, students of singing I believe the principle false. Nature supplies the voice training. It is meaning, a joy forever. begins to true, however, nothing better to play, she can forget all about her dress. that by careful study the moment the tone is started. This control is can do than practice first the machinery for voice-production and for language and analysis of their Beautiful skin is own following exercise priceless. Find the soap, 3 never stationary but spreads downward as the each day: or speech; and this is, the ’ thCy machinery in the Can d6Velop pleasant well main, cream, or - modulated the combination of soap and cream tones pitch rises or the breath energy diminishes.” so subtle as to be, so to speak, out of reach of Exercise Number 1 which keeps the face soft and A Minimum Speed Limit This great clean and radiant. But, as in all truth came from the famous teacher our direct control; this machinery is, of course, building, the strength and (A) Stand before a mirror. Allow your Study make-up as carefully as though you preser- of yesteryears, Giovanni Battista Lamperti, and mouth had ln a perfect foundation. muscle power, and the action is what we call to pass an examination Begin with the B, 2)orothy. 2). Urea 5 to drop open loosely and naturally. Now take on it. Don’t be afraid chi d! Every it should be kept at the fore of every voice stu- involuntary.” child should learn the to practice sometime behind footlights, correct use careful account of your tongue as you speak with a of the voice, both in Sometimes, as speed dent’s thinking. This bit of wonderful speaking and singing on the road, a “minimum firmly instruction should find friend in front to tell you when you have applied The limit” Without but not too loudly the sound of ah, as in two go hand in hand; they clears up a trying pieces con- correct respiration, right control of a place in the teachings of every voice instructor. the correct amount are, indeed" insep ! situation. In word “father.” If your tongue retracts from of rouge, lipstick, and eye- ar taining outgoing breath, and complete utilization of every the triplets or runs, the pupil may play one It is not necessary to add a word to it, it is com- shadow. Remember that a few little tricks, such bit of lower teeth in front and rises in its middle or The best time for a wrong note after has breath by the vocal cords, there can be no plete in itself. as a dash of child to hpp-in another. If the composition rouge on your chin, can add just of ^ been excellence of back portion, your vocal muscles are not strong “Voice Cultivation” is practiced carefully must tone; but without correct formation the final touch needed. at birth' From —and the teacher Too little make-up can of its the^ use and delivery enough and are in need of cultivation. birth, a child should good judgment as fingers of the vowels, respiration, even Correct Larynx Positions be as unpleasant as too much. he^oStoSlSS to that—and if the (B) And incidentally, express harmony. are well though carried on Now, with your mouth in this natural, A mother should trained, those wrong sometimes perfectly, is of no real value. A low, retained position of the larynx on the subject of footlights, if you sing simme notes is always cannot see little songs to her mp e Vowels must be allowed seemingly baby, daily i eliminate d a to impinge, your violin strings or your piano ust as ch* L f by suggesting the use of recommended by reputable teachers for the clear keys, when the read £.* n-ffittie * or focus, beautiM poems to 11 faster tempo, in- as nearly as can be described, above singing amber foots are on, do (Continued on Page m* throughout. Perhaps this of florid music. The student may best 282) do aught but bast auces greater and back of the nose. But again we must remem- contentedly !„ th" ^'" concentration on the pupil’s part, VOICE obtain this position of the larynx, and that in- but it ber another 234 works very well great teaching principle of Giovanni voluntarily, in most cases. by securing ( Continued on Page 266)
APRIL . 1942 THE ETUDE 235 Music and Study This singing has normal approach. been done or by rote. chiefly by imitation, It follows and Study child should first play playing in recital Music logically, that the by rote! viding them with the means of your child comes home from his in theaters, or in private So when firs ; halls, in churches, and playing melodies, before providing my students with lessons singing he Organ Playing homes. In addition to the lines and Problems in registrations knows the names of spaces, do not practical repertoires, I give them hands in horror, and say on all organs. Interest hold up your that is not for their music that can be used Get That Child’s you were taught. Just be thankful alike, yet the principle the way that with No two organs are exactly girl has an up-to-date teacher. A Conference registrations your boy or of all is the same. Thus, I give them outcry against matter There is still some this principle similar to symphonic orchestrations; no teaching the first piano lessons by rote as on which they play may be doing to make music lessons of a how the organ What are you “by ear” performance that will interfere with equipped, they can find the suitable groups. This objection of later ability to read. is not made Von The preparation of the church director who know that present day teaching It must include har- delightful experience? by those music is more extensive. a presenting new ideas, make produc- methods, in use of famed Organist and Composer mony, composition, a knowledge of voice World ; the things a child already knows. “By ear" and training of different sets of vocal Vatican tion, and the distinct things, Honorary Organist at the “by rote” are two but the child choirs. As a rule, I prepare all church candidates with the “by ear” instinct of who is blest is to be Organist and Musical Director in the liturgies of the Roman Catholic Church, 't envied, and should be encouraged by his teacher, are the most difficult and also the St. Patrick’s Cathedral, New York because these and his parents, to use intelligently and happily more comprehensive. Again, many Protestant one of nature’s greatest gifts. churches prefer organists who are familiar with think of saying that a child have No one would must SECURED EXPRESSLY FOR Gregorian chant, even though they may J^ane Js'riuljon! before he can read the words artistic J not talk from the little contact with it beyond its purely printed page. Nor would anyone say that he must values. not sing before he can If I have spoken read music. Why then of organ work in Pietro Yon was born in Piedmont, Italy, should he not play, in terms of advanced began his musical education at O YOU LISTEN to your child practice? If The understanding the same way, by imita- where he study, I have done the guidance of his so, what do you hear? An intelligent per- teacher is the one who tion, before he can read the age of six under so because all organ D formance of something pleasing, and watches the child as he notes? Constantino. Later, he at- elder brother, work, properly speak- within his reach, of to bang upon the or a jumble wrong notes, begins Rote teaching is a def- tended the Royal Conservatories at Milan ing, is advanced in keyboard, and then de- inite, planned way of in- and Turin. He entered the Academy of nature. The student velops this instinctive struction that has its ap- St. Cecilia, Rome, graduating with full takes his first steps curiosity into the ability plication to every branch in organ piano, and composition, in musical develop- play real honors , to tunes. of a child’s learning. at the piano. and receiving first and special prizes. He ment One of the surest ways Playing the piano by rote Tli ere he learns tech- served as organist at the Vatican and the to arouse and hold the is as consistent as learn- touch, gen- since nic, and child’s interest is through Royal Church at Rome and, 1926, ing to talk by rote, to eral hand manipula- the increasingly popular has been in charge of music at St. sing Dy rote, to copy a tion. He should have piano class. For in group in York City. Mr. picture in a drawing les- Patrick’s Cathedral Neiv a better-than-aver- work there is companion- composer, son, or to learn manners Yon is also distinguished as age understanding of ship, competition, and by imitation. concert organist, and teacher. hand work before he evaluation. When John The child of nine years, Editor’s Note. comes to the organ says, “I can play my or younger, should first at all. Then he finds piece in more keys than play a few two-phrase that he has a num- Bill can,” he is doing the or four-phrase melodies best kind of practicing. ber of adjustments that lie within the five- course, When Mary says, “Ruth to make, of finger position. These played better than HE GOOD ORGANIST is not made; he is but that his hand should be played with Susan, to-day,” or “Anne born and developed. In addition to a gift action should need either hand alone, seldom always makes her T for music, he must feel a special affinity for little drill, as such. music with both hands at the sound the prettiest,” the organ which amounts to a vocation. The His hand work, at same time. Two hand there is genuine feeling student who turns to the organ in the hope of the organ, is con- A B unison playing permits for comparison, and in- ’other Team finding a lucrative career will never go much pianistic preparation, especially in the polyphonic cerned chiefly with problems of touch. One often terpretation; one hand to obscure the which is a much desired further than manual and pedal manipulation. In music of Bach. Only a creditable Bach player hears it said that the organist requires a special condition. faults of the other, and this should be discouraged. my experience, the organists who have made the should go on to advanced organ work. There legato. This is not so. He needs only an exact Effectiveness After a few melodies are well played, the pupil of Song Approach greatest artistic success are people v: ho simply seems to be a curious notion prevalent that organ legato, such as the pianist should have but often is ready to recognize on the printed page the Since the child sings cannot leave the instrument alone! During one does not. is long before he is able playing “spoils” a piano touch. Nothing could be The pianist inclined to depend too to little melodies he has been playing with so much play, the song approach of my tours, I found a small, barefooted child in legates to the piano is the further from the truth! In most of the great much upon the pedal; he sounds his notes At a Costume Recital enjoyment. The enlargement of his knowledge is Texas; he had ragged clothes and a great hunger European conservatories, including my own Alma but does not hold them for their correct dura- thus made from keyboard notes, for the to in his eyes. He told me, shyly, that he “needed” tion, faulty Mater, the Academy of St. Cecilia in Rome, two counting on the pedal to do this for him. It rhythm, and discontented bangs? Do you printed page comes to life as a perfect the organ, and asked me what to do. I helped years of organ work is required of every candi- is this defective legato technic which must be know that getting the child’s Interest and hold- picture of the performed. piece he has just him as best I could and, for a time, heard no ing the interest date for the pianist’s diploma. Pianistic prepara- overcome in organ work. Every note must be held is half the battle? His understanding is in- of this picture more from him. Later, I on Playing the learned that he was tion is absolutely essential to organ playing—and for its entire duration. Further, the organ legato piano should be a pleasure to every creased as he syllables, sings with words, the road to eminent artistry. He was a real artist child from the time of his organ work is valuable for the perfection of demands high finger action, so that the succes- first lessons. He should finger numbers, key colors, letter names, come home and recognized his own medium. pianistic technic. sive notes will be clear and without interference. from these lessons playing pretty and neutral syllables. He learns to recog- Fortunately, of little melodies, rhythmically America is full of native artists Staccato notes, on the other hand, which are and expressively. In nize, and to and play at sight, musically this kind. When they grow a bit older, their feel- Preparing for Concert Career most cases, he should be singing attractive words harder to achieve on the organ, require their own rhythmically, whole groups of notes that to them. ing for the organ drives them to serious study, Organ playing, as such, requires a different adjustments in comparison with piano work. A have been a part of the experience of some The child not for gain but sheerly for the love of it. They preparation I prepare piano should not come from these first other from church musicianship. staccato may graze the top of the keys; the piece. find themselves lessons, to which he has gone so expectantly, little jobs, as waitresses or all of my organ students for concert work. When organ staccato may not. It requires full, deep bogged errand-boys, in order to go on studying. When down with a weight of lines and spaces! A Gradual Development they have an acceptable repertoire and a thorough finger pressure, quite to the bottom of the key- they worrying about hitting, in some jerky reach the age of twenty, they feel the great understanding of the instrument, I subdivide bed. Also, it fashion! Incessant natural must not be too short in value. the proper keys, appeals to the child’s desire to live with the organ and already beginning to dislike permanently; that their work into concert and church music, pro- Otherwise, insufficient time is allowed for the imagination should be sustained by the the word practice with all is, to make their livelihoods from the work they its dread implications. wind to go through the pipes, and the full use of books after the type of the well How often does the parent hear, “Oh, love. Then is the time for them to prepare for Mother, known which voice of the note is not heard. These adjust- why I “Music Play for Every Day,” the do have to practice these old exercises? organist’s career. ments are based adds fancy and without on the fact that the organ is Why can’t I play something pretty?’’ colorful interest The organ should never be studied first as a not a percussion instrument, but a wind instru- Practicing with departing from sound teaching principles. ORGAN Keyboard Charts instrument. It requires a firm and thorough ment. ( Continued 236 When a child (Continued on Page 274) on Page 268) APRIL, 1942 THE ETUDE 237 —
Music and Study he YEAR 1942 MARKS the Centennial Anni- clarinet choir, which T versary of America’s the “body” of the Music and Study and the world’s third comprises the oldest, stringed in- “Major-league” sym- Band band just as the oldest Symphonic The Ideal are the bulk of phony orchestra—the New struments ordinarily understood The majority AR TRAINING, as York Philharmonic-Sym- the orchestra. part of what Training is treated as bands usually and conducted, Ear phony Orchestra. The Lon- of symphonic called musical Practical E is most unfortunately Philhar- contain a minimum percent- don and the Vienna an advanced level as a ^9 "theory." It is given at orchestras only are age of forty per cent clari- a monic subject, usually by a conservatory or ensemble. special more venerable. And this nets out of the full department of music; and it consists, university year sees in the It is our belief that a still interval and hundredth almost entirely of such things as $9 exist. United States of America a Courtis JarL in larger ratio should chord recognition and melodic and harmonic established tradition of There should be a range of scheme fails to well dictation. All too obviously the clari- fine symphony orchestras, a thirteen to twenty-one yield practical results. We constantly find that r£- Wurid( number world famed, nets in bands of thirty to musicians who have passed courses of this kind 2V. JLmeJ goodly numerous others exist- fifty members; and this and who come back for further study after some and ing in nearly every city of should increase in the larger years of professional work, seem to have lost Education At Teachers in the series presented in the Professor of coast. The following article is included approxi- presumably at least- any size from coast to bands until there is almost all of what they— Orchestra Department because it is a careful and the “Big Four” Band and fifty per cent pro- one time more or less mastered. The only College Columbia University Headed by instru- mately had at thoughtful approach to the problem of Symphonic Band their studies York Philharmonic- portion in bands of one possible reason is that the content of 3. New subject will be mentation. It is felt that this handling of the relationship and applicability to Symphony, the Philadelphia hundred performers. had so little in a purely manipulative approach. But with are either directly or indirectly ought to sound, gained from the Boston Sym- found interesting to all who E-flat their daily professional and artistic problems to learn to execute perseverance the power can Orchestra, The high pitched by the teacher. patience and be de- associated with the band field in America. there was no occasion to keep it in mind. recordings, or from performance phony, and the Chicago soprano clarinet has its spe- that veloped, and it will go far towards transforming great many varying himself in imaging- The editor is cognizant of the fact that a And usually it takes only a very simple test to He should be led to train Symphony—our American cial niche in band and or- stage one’s whole command of music. band instrumentation for the hearing music expertly music ought to sound. At every compare favor- viewpoints exist in the matter of B-flat prove that their powers of how the the pupil should orchestras chestra alike. The is produc- 5. In the same way be led to Some the viewpoints and opinions are exceedingly limited. cheek the effects he himself all respects with present or for the future. of the and with precision he should actually ably in soprano clarinets replace Manipulative s’tudy the score without performing it. essay do not coincide with the ideas of the editor. Yet any musician who cannot hear and image ing against the ideal effects desired. those of the Old World. put forth in this orchestral violins; the E-flat frequent assignment should be to study a problem grievous handicap. be treated as a means rathei A score But believing that Mr. Larkin has admirably tackled a music adequately is under a expertness should But what of the natural alto clarinets replace the problem on which for a week without performing it, and then to general interest, the editor is glad to present his He is handicapped as a teacher and critic, be- than an end. And always the associate of the symphony that is of great the B-flat bass clari- as possible of it from memory violas; analyze by ear the performance be trained to center his at- play as much for opinions in The Etude.—Editor’s Note. cause he cannot the learner should orchestra—the symphonic nets replace the violoncellos; the teacher. This is one of the soundest and most 1.others. He is handicapped as a performer, be- is that of making the music sound as of tention bands? Bands are an inevita- while the E-flat and BB-fiat judge effective of all methods of learning how to think cause he cannot precisely and certainly he wishes it to sound. ble part of American musical and teachers contrabass clarinets are the his own work, and also because many problems encouragement and promotion of intel- and image music. Musicians unac- The history, but no one would replacement of the this method may consider it impos- ideal supposed to be “technical” are really aural rather ligent listening should receive far more emphasis customed to the sym- suggest as yet that double bass viols. Yet very can be solved with sur- musical' instruc- sibly difficult. So it is, if imposed as a sudden than manipulative, and in elementary and intermediate phonic band is on a par with requirement on a person who has never done few of the professional sym- prising ease once the proper rendering is pre- tion than it ordinarily does. The great develop- orchestras, our symphony instru- give thought to the use of the cisely and precisely heard. Indeed it is no excuse for anything of the sort in his life. But if systemati- purposes. The harp is the sole stringed phonic bands imaged ment of mechanical music leaves from point of recognition, at least. Perhaps one 4. both the band and magnificent contrabass clarinets. How many not too much to say that any plan of musical restricted listening. Yet a great many teachers cally developed over a period of years as a natural symphonic band recog- ment properly belonging to of the biggest obstacles to contrabass clari- education which does not center upon hearing whatever in the and normal part of musical instruction it is the orchestra. It possesses a shimmering loveli- bandmasters are aware that the seem to feel no responsibility nition on a greater scale has been the indeter- duplicated nets are quite as effective as the stringed basses from the very first is radically defective. Skill matter, and their lessons do little or nothing to certainly no harder than a great many other instrumentation. ness of intonation which cannot be minate, often indiscriminate they be in hearing is the very essence of a working influence pupils to take advantage of the im- things which we require without the slightest elsewhere; no adequate substitute for it can be in pizzicato passages, and that can practical ease? musicianship2. worthy of the name. And mense wealth of opportunity now being offered. question. Indeed, it is easier—and also far more The Modern Symphonic Band located. In bands numbering eighty-five instru- played in rapid tempo with ear training aims simply at building the power A student of music in the modern world should rewarding. or more, pair of harps should be included, And certainly the oboes and bassoons are ex- True, the modern type of symphonic band in- ments a to hear and to image the tonal and rhythmic know, through hearing, anywhere 6. Every have some ex- great symphony orchestras. tremely important to the symphonic band’s from twenty music student should strumentation was “standardized” not long ago just as they are in the pattern in all its reality and detail. How, then, to a hundred times as much music as he plays. perience with more than one medium of per- formation of the various choirs instrumentation! They both deserve more appre- by the American Bandmasters’ Association. Re- What about the should it be conducted? If a pupil is led to cultivate his opportunities for formance. And it is desirable that the two media the true symphonic band? ciation and utilization than they receive at iterating a well used phrase credited to Vice- which constitute listening, and if his teacher gives him some sug- should be as contrasting as possible. Thus the Should not these choirs be made up in accordance present. What about the oboe d’amore, cor anglais From the Very Beginning President Thomas R. Marshall many years ago, gestions about how to listen intelligently and ideal second medium for a vocalist would be the the groupings of the symphony orchestra? (English horn—tenor oboe), heckelphone (bari- “What America Needs is a good five cent cigar!” with Begin with the beginner. Ear training should with discrimination, these experiences are sure piano rather than one of the homophonic in- cornet of the concert tone or bass oboe), and the contrabassoon? All of we take the liberty of paraphrasing and say (the For example, the B-flat not start when the student enters the conserva- to be reflected both in his playing and in his struments. And the ideal medium for place of the orchestral these instruments are members of the symphony secondary A. B. A. to the contrary notwithstanding), band should not take the tory. It should start with his first music lesson general musical development. For he will be almost every instrumentalist is the voice. The within the genuine symphonic orchestra, and ought not to be omitted from the “What America needs to-day is a perfectly bal- B-flat trumpet and continue from then on. One of the chief learning something of momentous importance reason is that every medium of musical perform- band. The most important factor in the develop- genuine symphonic band. In addition, the giant so people fail anced genuine symphonic band.” reasons why many to develop prac- the great fact that music is primarily something ance upon has its own specific and unique effect Why do we emphasize “genuine”? Because no ment of symphonic band instrumentation, how- E-flat contrabass sarrusophone (in reality a con- tical skill in hearing is that the whole business to be heard rather than something to be pro- hearing. The person whose experience is entirely Ordinary concert ever, is the full recognition of the value of all trabassoon constructed of metal) would be a tre- is begun too late, so that the ability has no time duced other description is necessary. by the laborious manipulation of an in- pianistic and the knows nothing of intonation or military bands include reed woodwinds, the reed woodwind instruments found in the mendous reenforcement of the entire bass foun- to mature. When a student is ready to enter a tricate piece of machinery. shading of pitch to conform to the requirements symphony orchestra. We shall take up these in- dation of all the reed woodwind choirs. professional school of music, there is no great brasses, percussion and sometimes the harp. A of tonality, and is quite likely to be weak in struments separately. It strange to some to include the need for him to be able to write a good harmoni- great many modern symphonic bands include may seem feeling for phrase and melodic continuity. On saxophones in symphonic formation ensembles, zation or a good counterpoint. But there is a The pupil should one or more double bass viols. Here is the rub. be urged and encourag the other hand, medium of Importance of Balance very great need for him to the one whose only Double bass viols are purely orchestral instru- yet these fine instruments have already won be able to hear to do a good deal of his practicing away frc musical expression is the voice, is quite apt to symphonic increases its total music well and exactly. He can be taught to do ments, and are utterly out of place as members As the band their spurs with the symphony orchestra, and the instrument. That is to say, he should have a feeble grasp of precise tonal relationships number of instruments, a corresponding propor- the this if the matter receives constant emphasis tiained to think of the band. Though many bandmasters may not they logically belong to symphonic band. through and image the compo, and want in all his previous harmonic values. So what one should tion of flutes and piccolos should be included in There are compositions which require the instruction. Then the formal tions on which he is endorse this statement, there are not a few com- many at work, as well as to pi and abstract study of “theory” is not necessarily any considerable expertness order that balance shall be maintained, and so mellow nuances of the saxophones in order to becomes fruitful them. We know that it is petent music critics who will agree with this possible, by consiste with counsel because it has a proper basis in musicianship. a second medium, which would be a that they may be heard easily. Even in the case achieve the proper desirable results. As effort, to build up a very precise contention. and and adequt of perfection enough With all students from the beginner onward, mastery of musical imagery for most people, but just The presence of the stringed basses in the band of bands numbering not more than thirty per- played by recognized legitimate artists, the saxo- to carry and competence music the proper hearing and imaging of music should through with it to hear and experience creates the organization as formers, there should be at least two flute-piccolo phone is capable of beautiful expression, and of a composition in one’s mind. This impression that the pov in terms of it. can not be made a separate study, but should be inte- is not an Six months of voice lessons a whole is members in the ensemble. In this connection we tonal qualities far superior inborn gift, but an acquisition something of a musical “mongrel,” a and removed from grated with their regular musical A be an eye-opener vice versa, instruction it is a very valuable one. for a pianist, and sort of half-breed group which is neither band might liken the flutes to the coloratura sopranos. the idiosyncrasies of the spectacular and tem- When one is playi and practice. In much of the ordinary teaching six months of similar oi singing, the motor problems piano lessons can be a nor orchestra. Back in 1913, the writer listened They have this status among the woodwinds, pestuous jazz idiom. of piano, constantly- te revelation violin, voice, and so forth, almost every- to pull one’s for a vocalist. while the clarinets are the bravura or dramatic attention away from the to a concert by the Innes Orchestral Band, the thing seems to be emphasized except hearing. mush 7. By far training effects. More than this, the greatest bulk of ear forerunner of the sopranos, and the oboes are the lyric soprano The Brass Section when one is playing- modern symphonic band. That The pupil is set to work on problems which are singing should simply be the pre- one can hardly avoid hearing a concentration upon band included two double bass viols. Frankly, voices. We turn now to the brasses. Despite the con- purely manipulative. He must decipher one’s inte cise one the score, tions rather hearing and imaging which group is, than one’s actual performance of music even then, as a youngster, we felt that Innes The most important band of course, sideration given to the rulings for standard in- and then build up a certain T Is facility of execution. only really satisfactory learning to play, or to which one enjoys listen- way out is to be was mistaken in his efforts to create something stumentation by the A. B. A., there was a failure This is a great mistake. It is even the wrong able ing. way hear and to perform the Special exercises and drills may have a place, new. music in one’s imagin to correct the prevalent preponderance of brasses. to approach the manipulative problems them- but it is At flrSt thlS is is a very minor proper use certain to be quite one. Their The late John Philip Sousa, Arthur Pryor, Pat- The overweight of brasses is a deterrent to per- selves. And certainly it is the ini!' . differ wrong way to de- although young to clear up difficulties, grasp and children will often and establish a firm rick Conway, and other renowned bandmasters BAND ORCHESTRA fection of balance throughout the velop musicianship. The pupil should always surprise of Edited by William O. Revelli ensemble, and teacher by succeeding with tonal and rhythmic relationships where this did not favor a naturalness the use of string bass for band a proper scaling should ( Continued on Page 275) begin with a clear idea of how the music he is a is ease impossible to older students not secure. They are in the nature of medicines long establish rather than 274) 238 the staple (Continued on Page APRIL, 1942 239 THE ETUDE 6 98
Music and Study ENTERS the studio for his first used several times in he CHILD example is the more thoughts crowd major of lesson on the violin. Many familiar Toccata in A Paradies (I 7 i 0 _ all, perhaps is Music and Study T into his head, but clearest of 1792). soon he is to pick up the knowledge that very Ex. 7 He does not know the violin and bow, and play. what he will play. He will just play. upon Bowings-How Because of his anxiety to perform at once Violin pupil should be taught, Progression the violin, the beginner Interesting how to hold the bow, and An at his very first lesson, the A string. how to draw the bow on Rameau (1683-1764) also, has his own of time to teach the names char- It seems like a waste acteristic use of the progression in The Three spaces and the parts of the violin Them lines and Teach of the and When to Hands. of this detail the pupil at this first lesson. Much Ex. he learns to play. In present day t Spencer will absorb as iSi JMfen are taught to read by F—$32 + mP grammar schools, pupils JgLLTjj U- W ' 0 heretofore, mem- actual reading. They do not, as alphabet first and then learn to build ^cunuel S^ppfebtaum «L orize the progression - p in minor this rr Handel’s Gigue G it. T IS ALWAYS INTERESTING and profitable In words upon occurs six times: begins. Youngsters respond to to the student of piano literature, to take t0. The lesson now teacher should display I simple and basic harmonic progression enthusiasm, therefore the some Ex. 3 leave the early classic period We cannot with- beginner pupil also requires a right el- and trace its use through the music of different plenty of it. A smooth stroke with no pause finger firmly against the stick. The out bringing forward one more use of this pro- be re- 1. The Detache is a deal of repetition, and this should should be inclined slightly upwards. great composers. of great the notes. bow gression. In the Arietta Leonardo Leo ( 1694- between the pre- when teaching the first steps necessary ways: first, Occasionally some short work from membered should aim for a smooth bow 10. Practice should be done in two 1778) the insertion of the four chromatic tones 2 . The pupil period creep into the programs of to- correct grip of the bow. (the stroke Bach may to a flexible use of the right wrist, with the upper third of the bow in the counter voice gives it an entirely different stroke of the bow. change by a day, but almost all of our entire piano repertoire follows the very first second, with the entire Then the fingers. ending at the tip); the meaning and piquancy. the bow, starting about aided by is to be found somewhere in the creations of Ask the pupil to draw be used, upper half of the bow (from middle to tip). 3. The full width of the hair should hundred and fifty years. We all are Ex. the nut and ending about thiee past two three inches from The pupil is required to practice this special quite familiar with the output of the last hun- inches from the tip. study for about five minutes a day. After two or dred and fifty years, but we have only begun to Each note is to receive three weeks, he may begin the study of the explore the works of that earlier century. For four counts. He is to Detach^ in the lower third and the lower half example, we are only beginning to know the after be told to stop of the bow. Several rules should be observed. works of Scarlatti; and Couperin is hardly known for about each stroke 1. In this stroke, the upper arm as well as the at all. A quite different usage may be found in a work letting the two counts, is used with a supple shoulder tell the har- lower arm The modern composers us that of Bach’s distinguished contemporary, Telemann on the bow remain joint and a flexible wrist. monic systems of the past are too limited to ex- in minor." (1681-1767), the “Concerto G string. (This is as im- press all that music can say, and possibly they 2. When playing below the middle of the bow, portant as the bow are right. But it can hardly fail to benefit us if the little finger must remain on the stick. stroke itself, as it de- we take a standard harmonic progression and 3. The pupil should practice softly to avoid a velops muscular con- study its possibilities for different musical mean- tendency to play roughly since the bow is The beginning ings, as treated by some of the great composers. trol.) heaviest below the middle. of each stroke should One of the most used progressions of the Bach- It might be advantageous for the pupil to prac- This is one of the many toccatas that Leo wrote, not be accented, and Handel-Scarlatti period might be called the tice the Detach^ below the middle of the bow, “Circle of Fifths,” which in its and in modern editions has been retitled the strokes should be most simple and both softly and loudly. When playing piano, the elementary form would appear thus: “Arietta.” As far as the writer knows, it is the performed in a mod- stick may be tilted edgewise towards the finger only composition of Leo almost as celebrated, erate tempo. — board to avoid using all of the hair. In forte, all in his own time, as either of the Scarlattis—that If, before the end of Ex. I of the hair should be used. is available to us at present. the lesson, the pupil Just as soon as the student has acquired a As we move through the years, the use of shows signs of draw- fairly successful Detache, he should begin to prac- the progression becomes much more free. In ing a fairly even tone, tice it in the middle of the bow. This stroke Beethoven (1770-1827) we find the rather strict we might ask him to The progression is often used by Scarlatti is very commonly used and should be thoroughly use of it in the passage, so often repeated, in the draw on the D string. (1685-1757). The two examples mastered. The performance of this stroke requires selected have final movement “ 26.” At home, he should of the Sonata , Op. been chosen from the many because they differ practice this assign- the cooperation of the upper and lower arm, as so widely in color. The first, “Sonata in D major,’’ Ex. to ment about ten min- well as of the wrist. If, later, we add sevenths to all but the final shows Scarlatti at his happiest, utes each time, three When the pupil has mastered a fairly good chord, the harmonic richness is greatly en- FRANK GITTELSON, CONCERT MASTER hanced. Ex.r> times daily, drawing NATIONAL SYMPHONY ORCHESTRA. WASHINGTON. D. C. Detache in all parts of the bow, we take up the the on the string. of Martele, bowing which will find The composers of the Bach period used it bows on the A and An excellent photograph, showing the position of bow study the a he often, with great frankness, usually beginning D strings, for about less interesting; >et it is a most important one, and ending with the tonic chord. Later com- And three days. Then he a fact which should be impressed on the pupil. in the earlier "Sonata in D major. Op. 1 the must be kept parallel to the posers frequently removed the starting chord to should report to the studio for a check-up, and and bow This stroke should be practiced as in the case of No. 3,” in the first movement, the progressio some secondary degree of the scale and added the assignment should be repeated and perhaps bridge. the Detache, for about two or three weeks, in is continually suggested, though not quite con a chromatic passing to strings. the pupil 4. Only the lower arm (forearm) , is used, with tones, which automatically and in the “Sonata extended the G and E As two ways; with the upper third of the bow, and in B minor,’’ he is in plete at any time. These are poetic beautifu changed it from his and slightly flexible wrist. The upper arm must a progression to a modulation. saddest mood. develops control, the stop after each bow stroke then with the upper half of the bow. The teacher but the use of the progression, in the last move It is deeply interesting to note how the widely is eliminated. remain quiet, except in string changes. must freely demonstrate the analysis of this Ex. ment of the same sonata is still more so. differing idioms of the composers of the period 5. The up-bow should be as strong as the down- major bow-stroke. The material used for the spe- show above the common harmonic basis. Ex. II bow. This will require more pressure on the cial study should be written in quarter notes only. Both Bach 11685-1750) and Handel (1685-1759) up-bow. Both strokes should be even. etc. In practicing the Martele several rules must be used the progression so frequently that we can- The student has advanced to the study of 6. The bow is held slightly nearer to the finger observed. not possibly show their many and varied uses of board than to the bridge. eighth notes, and now we can begin to teach the 1. This stroke is divided into three almost it, so we content ourselves with one illustration 7. playing above the middle of the bow, Detache stroke. (It is interesting to see the in- When simultaneous operations: from each. One of the most compact examples of the little finger is permitted to leave the crease of enthusiasm when the study of eighth a. a sharp attack, using the first finger its use is found in Bach’s It is strange that the "Sonata and Toccata in G major. in B minor” from stick. which the above notes is reached.) The Detache stroke should be the wrist, without the assistance of the example is taken, has not been a special study, the violin method 8. The upper arm should be in the same plane played by other pianists than regardless of arm or shoulder. Myra Hess, who with the string that is being played. includes it in her being used. The teacher should write out a melody b. an immediate relaxation following “Album” of favorite short the piano 9. A round tone is obtained by pressing the first be which should comprise a series of eighth notes; attack. Said t0 be at his best in t e lightei mood, but in somewhat like the foregoing example. c. a quick drawing of the this sonata he succeeds bow, using the m maintaining a deep and nostalgic The first lesson in Detache should include a lower arm only. which seriousness invites comparison with study to be practiced in two ways; the upper 2. There must be a clean stop after each many of the VIOLIN stroke, greater sarabandes vxcmauus, m delivery, subtlety third and the upper half of the bow. Several rules of Bach. Another charming all the tonal Edited by Ro b»rf Brains the bow remaining motionless on the string. that the pianist 274) for the playing 240 can (Continued on Page of the Detache should be stressed. (Continued on Page 270),
APRIL . 7 THE ETUDE 942 241 :
Music and Study Where Study Music?
Q. I am a young man planning to fol- Music and Study career of a musician. I realize low a now for so many years. it Is to make a living and held its favor how hard j ust world attending in, the starting out. I am Long Beach let us see where the child comes Is a History of So What Good Junior College. I am studying harmony, the guardian, and music history, child of to-day destined to become Music? Questions and theory, piano, if tn years I am unable to to come. a few make a liv- Music in turn, of children in days his- Popular Q. 1. I would like to know what ing playing the piano, I wish to teach To-day’s Has is popular music? I have after reading First, how popular tory of music I can read either privately or In a school. I am Music," also "His- authoritative answer "Standard History of planning to attend a music school after before me a distinctive and by W. J. Baltzell. tory of Music," I have completed Junior College. Could question from one approach. 1 would like to know what to that 2. Also, you give me any information about a after completing the New York book I should study music school in or near Los Angeles A writer in a recent issue of 299." by Answers Velocity Op "The School of where I could get a diploma of this state- studying good Times (Mr. T. R. Kennedy, Jr.) makes Czerny. Right now I am not If you could give standing? me any ad- Place in the offerings teacher.—M. D. a to-day’s radio with a vice on planning my career I would ment: "More than half of appreciate it very much.—K. D. are musical. In 1940, upward of ten thousand A. 1. You might try one of the latest Service Music Information probably meant) volumes, namely, "History of Music," by A hours of melody (“ipusic” is A. You are fortunate enough to be liv- Theodore Finney. were carried by WEAF-WJZ networks. Nearly one ing in a section of the country where 2. It all depends on how well you did thousand of these hours were devoted to the there are many good music schools. Teaching Repertoire? the Czerny and what your other musical Conducted By * to chamber music.” (The Pomona College comes to my mind at classics, from symphony and technical needs are. Probably some report once, and I know that both the Uni- reader will note that in this broadcasting work In the Cramer studies would do versity of California at Los Angeles mathematical formula comes forth: you good, and you are probably also " and this the University of Southern California music in the pro- ready for some Chopin etudes. You may U Popular music is to classical have good music departments. If secure all of the above from the pub- «' you portion of nine to one. more complete information (f3ij <2V. 3homaS 3cupper lishers of The Etude. « want I sug- To continue: “Popular music evokes a large gest that you write to Miss Helen Hef- mail response from listeners but few letters are JU feman at the State Department of Edu- inspired by the classics.” (The reader will deduce At \\ hat Age Shall Music cation in Sacramento, asking her fqr a per schools approved This from this quotation that of the less than ten Study Begin? list of music by the NE MIGHT DEVOTE many paragraphs to is often decidedly abbreviated by the radio. Music, listen to the broadcasting of these sta- Is a Professor of School State. the teaching reper- cent who Q. My daughter who four and defining what may properly be included in fact reacts immediately upon half years old has a remarkable "car" tions few pay any particular heed to the matter Oberlin College “Popular” music. To sim- toire. Compositions come and go so rapidly that for music. She sits "practicing" on the O the classification, classics of classics. This does not mean that the piano altogether about two hours every there is not time for them to take up residence plify the matter, let us agree that, in this article, day. Any familiar tune she plays with not enjoyed but it does mean that the public, Musical Editor, Webster’s New Metronome Markings and the so-called on our lists of preferred material. Once upon a are one hand, and she does not have to hear popular music shall be limited to purchas- for years or decades making taken at large, is a comparatively poor the tunc many times until she plays It. International Dictionary Other Mailers lighter product of the day, many units of which time a song might be Our piano Instructor would like to teach ing customer of the more serious musical offer- acquaintance. its way into permanence. But a catchy tune her ten minutes every week, but I have Q. 1. In the ‘‘Standard Graded Course are well worth intimate example, on Broadway, ings. had the Idea that piano lessons should of Studies" (Grade III) I found a llar- But before we venture upon this limit let us brought out tonight, for begin the child Is when ready for the cttrolle marked M.M. . 104. On another Is that, strictly speaking, many is whistled in San Francisco the next morning. second or third grade and not earlier. page there Is an Allegro moderato remind ourselves The Teacher's Problem of music Recently I have searched back num- I truly there something in this ceaseless spread Which Is Correct? marked M.M. J = 88. know that the compositions of years gone by are to-day bers of The Etude trying to get advice greater the figure of the M.M. with the pause and The teacher’s stunt, however, runs in the op- Silent Night is a unique example, a among our people that should make us relative to a beginner's age. trying to 1. Which of these versions of the popular. Q. same note, the faster the composition posite line of mathematical equation. She must, learn If an Inherited “ear" for music Is in Coupern's The Sun is ask: Just what, in to-day’s popular music belongs grace notes Is to be played. There are many more beloved favorite of countless people. Therefore, beneficial or a hindrance, and matters correct? What would be the approximate large extent, develop the taste for classics. tempos like the two studies above. How flows on the popular to children and is essential to making them in- to a pertaining to my music problem, but my metronome markng for this piece? not all music that ebbs and csji we play them? Both notes are quar- Usually, she uses a relatively small amount of efforts have been to no avail. Will you stream is merely a passing irritability. Frequently heritors of its value? ter-notes? 1. frankly tell me If you think It advisable popular music as seasoning. And there is a 2. What Is the difference In rolling popular, have a strong flavor to have my child, who has been playing nPw-T rfij—, compositions, truly chords when the wavy line Is broken Appraising Our Musical Assets tremendous amount of it appearing. Even the for more than a year, and who would -j =| of classicism in them. By reason of this they and when It Is unbroken? like to have piano lessons, begin taking In business and professional activity it most prejudiced must admit that a great deal of 3. Which of the two pedals is the pedal range2. high in evaluation and they persist. The every music now?—Mrs. J. C. in 7 simile? pays to take inventory. Let us look at our current It is amazingly interesting. It presents many - marches of the late John Philip Sousa are a case U ft... j 4. Which pedal Is to be pressed down A. Congratulations on having such a f ^i f beyond musical assets to determine wherein they are instances unique melody, no less unique harmonic In Chopin’s Prelttdi in C minor? when in point. They became popular far and precocious child. My advice is that you No question will be answered in THE ETUDE to cherished, or liabilities to and rhythmic combinations often of amazingly unless accom banied by the full name Is the pedal pressed down, during the countless contemporary works. There is a reason. valuable property be have her begin lessons at once—if you eighth rest the eighth note? and address of the inquirer. Only initials, or be marked off. intricate structure; briefly, much that is certainly 2. are notes a bove high played They3. make a unique rhythmic appeal plus a no can find a good teacher. But ten min- How C or pseudonym given, will be published. 5. What does the following mark on the cornet and what Is the highest attractive tune- Now and again over a fairly long period I have interesting, wholesome and characteristic of our utes a week is not enough mean?—S. B. T. less potent appeal through their time—better possible note? of joyousness, asked teachers of distinction (and I mean real times. ten minutes a day! I suggest also that 3. Will you please suggest a few com- fulness. And still further, a spirit is influenced by all you encourage your child to sing, using positions (Grades 4 and 5) by American of happiness, of elan pulsates in them; all of distinction) whether there is any harm in per- The child studying music composers?—Sr. M. I. A. 1. The climax, if simple, children’s songs and having her not already which means that they are vital and alluring. mitting children to dabble with popular music. this. Imagine a little Annie in a family of six marked, sing with a light, fluty tone quality. It must be determined by your own in And more than once I have been set back a con- members. She is being taught by an earnest 1. is no They will be played just so long as men march A. There authority for either musical feeling. Yes, there be would help her musical development can more teacher is interest in version. Fifty years ago most pianists the streets or gather for any purpose where en- siderable distance by practically the same query. whose aim to arouse and also if she were encouraged to than one. make A. 1. far I have an- would have used version 2. 1 think, to-day, As as can see you thusiasm flames high. They appeared, if I re- "How can it possibly hurt them?” Then con- preference for the best music. Incidentally, the bodily movements to 2. Yes, I think you have included about rhythmic music- swered your question. M.M. 104 the reverse would be the case. About own J = succession. tinuing, the burden of testimony of these teachers rest of the family delight in filling the Tara’s Hall skipping, clapping, swaying, and so on. everything except tempo and fingering. member correctly, in rather rapid M.M. — 144. means that you set your metronome at It is a great advantage J> 3. This might be answered They will probably never disappear. of distinction has run always about like this: of home with radio “entertainment” that to have a “mu- in the same for 2. High tones are produced by a change this figure and play a quarter-note sical ear" and I hope you and your way as your first question—by your own In these days a veritable flow of compositions “By all means let them have it. First of all, by threatens entirely to defeat the teacher’s effort in the embouchure, which involves espe- each beat. You set it at 88 and do the daughter may have many happy hours musical feeling. Of course, whether you appears like leaves upon the trees in the reading what they like they will learn to read to find salvatioc for the one pure white lamb of cially a tightening of same for a slower tempo. If you have no new as the result of her the lips and a de- can feel these talent for music. qualities or not depends in with fluency. They will also develop appreciation. the sheepcote. crease in the size of the aperture be- metronome, you may beat seconds to the spring, destined to be blown in all directions a on the quality of your past practice: and tween them, thus enabling more rapid ticking of your watch. This will give you few weeks. This fact tempts us to posit these Further, in this matter of taste, it will be found Well, most important, keep your hands off the perhaps still more on how musical you Harmony or Melody First? vibrations a to if help children little, trivial will family. It its ideals. to be produced by the lips, are. tempo of 60, and if you beat twice questions that you a the too has Then determine Q. To settle a dispute will you tell me therefore higher tones. There is no actual each tick that will be a tempo of 120. Is there in the lighter, often alluring, offer- gradually disappear from their interest. There is, never to give a piano lesson even to the dullest which came first la the development of limit, but the highest tone ordinarily These two tempos will then give you a ings of the day a message so characteristic one finds, an inherent quality of fair if not good child, without a few minutes of simply worded music, harmony or melody.—P. J. M. used is the F above high C. Again Music Notation basis of comparison and will help you of our times that it is a factor not to be taste in most children who care enough about talk about what is good music. Don’t try to sell this 3. A. Melody, that is, Macdowell—To a Waterlily, To the Q. In The Etude for to figure out other tempos at least ap- one-part music, of September 1941, music to study it with someone who is a good idea by argument or lifting Sea, From a under your Questions ignored in the education of our youngsters? by a blood pressure. one sort or another has existed for many, Wandering Iceberg, and and Answers proximately. there is an Inquiry from R. B. Are jazz and its kin, for example, something guide.” Do it in the spirit of “once upon a time.” This other pieces. Ethelbert Nevin.— R. as to 2. the many centuries, but counterpoint and “A Day an Improved scheme When the wavy line is broken of music notation. that the against I finally got it into my head that popular music procedure is amazingly powerful. harmony, that is, in Venice,” four pieces: Dawn, Gondo- I two to- young should be guarded But remember, music having several am exceedingly Interested In the sub- chords are started and rolled liers, A Venetian Love Song, ject of music as is not something to fear or even to ignore. Rather this is parts sounding simultaneously, has been Good Night. notation which might gether. When the wavy line is unbroken we protect them from mumps and measles a wholy purposeless procedure if it con- enable amateurs more easily to plav the it is known only about a thousand years. The piano; you start at the bottom bass note and and the like or is it all so characteristic of something to appraise and to understand. sists only of talk. Either by your own playing at and if you would give me the earliest record of music in parts is of names of roll to the top. the times that it it the kernel of One runs into poor specifics of it just as one does the piano, a Mental Plan those who have put any new has within or by turning the knob of the radio, lower voice sounding A method in tones a fourth or operation I would very much 3. The mark pedal simile is not the the divine spark? in books, pictures and people. It is only by make it entirely plain, with words and music a fifth below that Q. How may one determine the climax appreciate it.—E. G. R. which the melody name of any particular pedal. Simile is Is arrive of a piece? Could more than one occur? piano teaching, for example, falling into acquaintance that one can at values. both addressed to the ear, that popular music can voice is singing. This developed into a an Italian same.” 2. Please explain what Is meant by A. I word meaning “the "soft and Then again, what are the lower voice which know of no scheme that easy” ways of procedure through composers of songs be bad or that it can be good but that good music did not “follow” the having "a mental plan” for a piece. Does has gone The mark pedal simile indicates that the beyond the stage music cast in the is it of the day and of piano teaching material, is upper voice exactly, and this plan Include more than the notes, of the author trying popular idiom, and trying always good. You may do this a long time with- thus arose pedaling from there on is the same as mood, and expression marks of to find some publisher losing counterpoint—which means two or more the num- who will agree to thereby something of the rigor of old to do? They are distinctly trying to make a out arousing much enthusiasm but some day ber? use before. you melodies sounding it. In other words, no school simultaneously. What 3. How can publisher 4. training—a rigor, by the way, which popular hit Instruction book writers fight for it will see in little Annie’s eyes, the of a student pianist learn to would be The damper pedal (the one at the gleam under- we call “harmony,” listen so foolish as to that is, a melody ac- for all of the qualities such as risk money in right) produced marvelously equipped exponents of as hard as anybody else. And often they score a standing, putting a is used. It is put down at the and it will be worth as much to you, at companied by chords, came much tone, shading. dynamics. phrasing, new type of notation later on the note and let its value? distinctive degree of success. Popularity is by the very tempo change and so on, In his market. My advice up at the rest. no least, as the tuition fee. —not until about 1600, in fact. play- is that you stick tn ing?—G. E. McC. the notation 5. This mark usually means a breath- I meet few teachers who seem sufficiently aware means equivalent to the lack of value, else “Uncle We can now answer the queries that is universally used. which were ing point between two phrases. of the fact that the life of to-day’s popular music Tom’s Cabin” never could 242 have captured the propounded in the ( Continued on Page 276) THE ETUDE APRIL. 1942 243 — — — — —
CLASSIC AND CONTEMPORARY SELECTIONS Music and Study countered singers who feel that they are wonder- Nature ful fellows, simply because put a special construction of cords into their throats? Have CHIARINA* long, glowing accounts when >hc was a gn 1 of we not all heard of how picture of Schumann’s future wile once said, “If ‘Chiarina’ from the Carnival is really a tonal how “I” interpret that, how Euo-enaugeii Ud’Albertn.1 ns tic/' “I” sing this, effective .. rhythm that ^s^very^chara^ote 'number^ hasT^in^of breathless"breat hless emotionalemotiona personality is, and so on? Compare have been a very lively^e'xuberalt'^M ndos Approach “my” this she must magazine, t The Scientific year-old Schumann started his famous of the scientific twenty- four- attitude with that researcher! The Carnival was written in 183434, when the does not exist for him. He knows appeal. Grade 7 The ego the art and fortissimos make this short work a burning love in the Op. 9 of losing himself completely higher de- ROBERT SCHUMANN, = mands of his work, realizing that the work itself Passionato m.m. J 168 . 4 3^. 5 ;> Singing for more and will benefit more to counts people 4 3 4 -1 than he himself can. Indeed, the names of some
A Conference with
(Lon ra cl (LJh 11tin (t
SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST
Conrad Thibault, who ranks, perhaps, as the most promising of our younger baritones, ivas born in Massachusetts. Although his fine voice and sensitive musical gifts asserted themselves early, he had no instruction except that ob- tained in choir work and the routine drill afforded all the young members of that choral group. His serious studies began
he a scholarship at the Curtis & i when won 5 4 3, — Institute of Music, in Philadelphia. There, I Mr. Thibault came under the guidance 4 KTT1 of the celebrated baritone and teacher, - = -=F ==F Emilio De Gogorza. He has had no other hf- Sr 3 teacher. Although he accompanied Mr. 1 1 =F= ft ^ ft= — ft ' De Gogorza to Europe, to continue his f f f«==t ^ T— work with him there, Mr. Thibault pre- mf (teft) Conrad Thibault with Emilio de Gogoria. p fers to think himself as V of American (Above) Conrad Thibault. trained. He has appeared in opera in — -* — c=: 7~> ~ t * \ i Philadelphia, singing leading baritone -4 % * —^ p 4 i ? J 1 rdles ivith marked success. He is most ft" ¥= ¥= widely known to the American public for of mankind’s greatest benefactors h -M his radio work, having appeared as star are not so well known to the general of the Show Boat hour, the Packard public as that of the newest crooner! hour, the RCA Victor program, and others, including ft a joint program ivith Real Greatness Is Humble Albert Spalding. Between radio programs, % * The scientist is self-effacing, • P Mr. Thibault has done extensive con- i W— humble, devoted to his task—and certizing. Currently, he' is dividing his f 1 f f f=E exactly this attitude contributes > > T time between a Sunday evening radio sf of his hour and a concert tour.—Editor’s Note. toward the ultimate value work. Einstein and Noguchi would hardly have contributed what they HE SINGER Who has his eyes upon the itself with the ability to sum up all goal problematic did to world progress had they been busy watch- of competent and effective musician- solutions into a single, well-knit penetration into ing T ship, must early learn to the effects of their methods, their per- adjust himself to music itself. The student does well to remember the mastery of two different sonalities, their popularity. Why cannot the pro- sets of problems. The therefore, that his immediate problems are but fessional attitude? immediate problem, of course, concerns the dif- means musician cultivate the same to a greater end—and to keep that end The ficulties of the task at hand; his whole thought best way for him to begin is to forget him- well before him in the least thing he does may at one time center in correct breathing, Thus, self. Remember that you, yourself, are but the the singer’s first task is to next in tonal work with medium of com- focusing, then in oral projection or diligent, persevering expression through which the concentration; to want to enunciation. And while these difficulties poser speaks. Perfect your technic solely in order remain sing well—and to find himself unsolved, a competent to they naturally appear to be the most teacher. become a better instrument. Direct your atten- If he possesses these essentials, he Important matters on his horizon. But beyond has tion, not to your interpretation, personality, taken a long step toward approaching your them—beyond any vocal the great but to the problem—there lies the goal that lies interpretation the composer desired beyond the immediate technical more important matter of achieving and indicated! of his musical difficulty. Next, the singer should —to express the personality mastery. And the student must try to cultivate song. never lose sight what I like to think And do. not think you are the least re- of as a scientific attitude of this. The ultimate test of vocal art is not a markable God gave and the toward his work. By that I — you your throat; mean the state of matter of breathing, or projection, or enuncia- scientific precision of perfected mind that animates the scientist, centuries of study tion; at work in his it includes these, to be sure, but it cannot laboratory. the means of developing you need The average singer inclines that voice. All be measured by them alone. too much do Rather, it concerns to think in is regard yourself as well-put-together terms of self. Have we not a M™® Clara Schumann all en- piano, that must be ( Continued Page 266) 244 on APRIL 1942 THE ETUDE 245 PRELUDE IN F MINOR pp 4 WELL-TEMPERED CLAVICHORD From THE written for The Well - , ,• “Forty-Eight,“Forty-Eight,” Tempered ... J -lowedaye ofalltheall the Bach readily understood and easi y p The Prelude in F Minor is one of the most ct duration of the sounds. Bach was within checks up uupon tthej,e exaexact one so as to make sure that^your eaj Clavichord. Learn it first without the pedal, twenty.four major and minor keys. Grade 6. two ^ ^ year of sixty when he completed the“Forty-Eight,” providing Andante espressivo m. M. J =104 JOHANN SEBASTIAN BACH 3 sernvre legato ir AFTERNOON ON THE GREEN Grade 4. DONALD L. MOORE Allegro M.mJ-=54
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246 Copyright 1941 by Theodore Presser Co. British Copyright secured THE ETUDE APRIL 1942 247 IN VIENNA CARNIVAL like announcing a new waltz from the . composer, is great Waltz an „ nmic ot)eraV King of the Living Viennese dash of a great court ball, Presenting a new waltz from Robert Stolz, ^ ^ col Con delieatezza M.M. J«-6Q International Copyright secured APRIL 1942 THE ETUDE 249 * — ^ — Moderato m.m. J = io8 & 1 * 5 DUTCH WINDMILLS n Valse grazioso M. M. d--C 5 , 9’ 9* g; 9’ r 2 J i 4 ^ • JaVj^ - — 2 I . — / h*rf)1 o 2^ 7?r a — f ^ J — « — — fL. ^ 0 m L i: 31 r_ J pq 1 \ %T~ r- P* f'1 tL M- JL 0- i _t\* — -1- 1 -rte 1' —L_ ^44 f f — b i T Meno mosso Grazioso m.m. J-144 =zz> : -= — . j- (4=: 0 0 ,L > .fjj >— ^=i = = f J » » ^F rf-f- i !T. f f rit. «:* J : -«s^ 5” f t t i : — f * • U9 i- ff =F- //j - 1 bz; ' Fftfc-4- 1 a L : q «b^ Tin 250 Copyright 1941 by Theodore Presser Co. British Copyright secured THE ETUDE APRIL 1942 251 APRIL BIRDS AIR DE BALLET advent of Spring, la A rU Bir K y i i APRIL 1942 253 H — — VOCAL AND INSTRUMENTAL COMPOSITIONS Words and Music by SHAKING CLEMENT FLYNN, O.M.I. Moderate quasi animate toy to charm some lone - ly mite; cheer while yet it Jives, Go bring a good of you to hush a sigh; fright to smile at fear. Go share the 9 J I S1 S 17Z7 r l r l r f TZl -W M or -6- r 1st time poco rit. -e- - house and prom - ise light. Go find a strick en a tempo UO sweep the -=j -4 •! J 1 1 , m— — 1 b1, * f * i - - J t~* • (If *v-f- — — 0 0 \ — — ~^is $ ./ f ’f poco rit. - —t-J 4- J jf fj —U *- 7?—^ * => j ^ — m 4* — * • r-P -tr' 1 ? r molto rifp^ clouds, so dark, from out life’s sky.. r\ /Cn piii rit. . a> ?=±t & -tv tt 7 j 5 ? * * * S - f PI r r fsf > ± ^ XT * r fmolto rit. .// /C\ T •tv 4—i. 4 ±J= tv rrx* r If e- Copyright 19415by Theodore Presser Co. British Copyright seeux-ed APRIL 1912 255 — J J — « J 1 ASK ME NO MORE EASTER MARCH CHARLES GILBERT SPROSS Words from “The Princess'’ by Tennyson, r Andante Moderate* m.m. J=52 cape;- But 0 too fond, when have I an-swered of moun-tain or of and take the shape With fold— to fold ^ • 1 =1=13=1= -i ~ -rrpi A, • ^1 ’'W* ip • IS . - • n ^ - — 0- tv ^ J* i r t accel. — ji ¥ p 1 ^ j' 1 * £-i , —5 — *• -M ' . O # 73 -£. K * — w Us J— j N thee ." - i dl g — L -ms m 1 m. m B 11 j * <9* J 1 - r -3 J— lit if r i r p h ® J ^ — * ' give? I love not hol-low cheek or fad ed eye, Yet, O my friend, I will not have thee j -f jTTTi h -r * si _ . O ^ J -er Ik f' i si jl Sw.< iSoft 8] Hr'r rJ^ V-f . ^ Of_ i r L 1 o ' F8=3| i 9 — • 6~ —— 1~" rf- r TH1 I — ~ = 1 i ' — w p= r r p- '-X_Lr i *Ch. Ch. p (Chimes) 1 ~1 =»):, ==- 1 i 1 i i =4== ^ >— ii - j ----- O Ji J O -J JiJ» j o O- - _ o * p • » — H11— — (ipp-lp E- LpJ bp. & nuf — / ?«/ < C h or Gt _ J *1 m Viill. 1 * JCHIMES $— /Tn J |- " =p f- 1 1 __ fcdl i i ®— ^ hj-..i , kH i 1 -J~j- « J ^ d J '-utr J. J i Copyright MCMIV by The John Church Company *0r Soft Flutes 8'and 4' 256 International Copyright Copyright 1930 by Theodore Co. THE etude Presser British Copyright secured APRIL 1942 257 EASTER MORN Poco maestoso Copyright 1942 by Theodore Presser Co. APRIL 258 1942 259 THE ETUDE COUNTRY GARDENS (MORRIS DANCE) OLD ENGLISH TUNE Arr.by Carl Webber Baritone (Euphonium), Bassoon, B!> Bass Solo for Trombone or Copyright 1941 by Theodore Presser Co. APRIL 1942 261 — - — — , — OF THE CELLO VOICE ELLA KETTERER Grade 3. Moderato M.M. J - 112 5 t 3 '3 5 13 1 3 British Copyright secured Presser Co Copyright 1.94 1 by Theodore *) — “ » - — — —.. DAFFODILS AND TULIPS ! =] jp 1 > Grade Jg. #=f-4- - i.i—j ? i-hg- r —& • J ^ w- g- Andante m.n. J =444 LOUISE E. STAIRS — m |i mf _ -P- _ f- -p fL - -f- ~L-.r a > hf ap=» i 1 1 J - i r ==*= - ! — — 1 ^ l 4 — -i 4=^ - their heads 3 3 » - - Tu - lips are lift ing i Daf fo dils are bloom mg, mJJ Copyright 1938 by Theodore Presser Co. British Copyright secured Anonymous 4 THE STRIFE IS O’ER FROM PALESTRINA i 3 5 4 3 i Grade 2. I Arranged by 3 4 5 M . M . # = Ada Richter 1 3 3 Z 1 1 / ) i j j ! , J .-=1 — — — J j > j * + 4* hf-j I hod s From a •long night’s slum ber Deep in their warm sand - y " -j©-*- ^ m — * • - = — —hr 1 nr 1 1 1 +U- ' i i = 1= j — l rJ'\, r MM Copyright 1941 by Theodore Presser Co. 262 British Copyright secured THE ETUDE MONTH WK THE >. V *£} TECHNIC OF The Technic of the Month gne6A j-^u (Ilea lionS Bf WAGNESS ADULT PIANO COURSE Vols. I and II Conductedc by instruction book for Adult, High School, and College A first Approach. Students featuring the highly effective Chord the throughout to appeal to the older beginners, Designed manner course progresses in an easy, logical and precise provide with ample foundation material at each phase to Accompaniment choice Melody With Flowing substantial progress. The musical content includes a well as selection of Classical and Operatic melodies as litera- favorite folk songs and extracts from standard piano 2 edited. Stephen Heller— Opus 47, No. ture, all of which are especially arranged and Price One Dollar per book. echnic of the month ad- flowing easily one into another until from dicts will, I am sure, welcome the music slips, unimpeded, into the piano. T the new series of intermediate sensitive finger tips ONE, FOUR, FIVE PIANO ROOK Memorize the first grade studies by Stephen Heller, of Now try this: less and William B. Coburn. A practical this month’s etude is the first. eight measures of the melody on the By Bernard Wag, which harmony study for the advancing student. Ail music, not de- opposite page. Don’t play the left approach to Heller’s charming indispensable aid in developing and furthering student at all. As you memorize, count signed for artists, but to quote him, hand proficiency in fluent chord performance. The procedure principle is youthful students and amateurs,” gently, sometimes by three eighths, of this book is unique, in that as soon as a “for played^ the swings. stated, it is used as a Secondo to the melody by enjoyed wide popularity in the early sometimes by full measure teacher. Price 75 cents. . are sure of it, stop; years of this century, but is unac- . . When you your countably neglected by the present look at the notes again, take of music teachers. Are his hands off the keyboard, sit easily in generation I PLEDGE ALLEGIANCE studies—in reality nothing more than your chair, and hum the tune. Note pieces too mild-, too (1) that no tones are accented; (2) tasteful salon — * A patriotic album for all Americans. Contains cas> piano be- modest for our mad, strife-torn that the phrase curve or stress solo arrangements (with words) of eight famous national phrased especially for teaching pur- world? comes greatest on the C in Measure songs. Fingered and poses. Beautifully illustrated in Beil, While anil Blue of you, I find in working 3, with a lesser stress on the B-flat Like many throughout, this folio makes a delightful, interesting anil in Measure (3) that Measures 1 with young people that adolescents 7; appropriate gift for every young student. Brice 35 cents. often require simple, direct, senti- and 5 are the weakest. it hands mental, yet quasi-adult music which Now sing again (keep your 738 So. Campbell Ave. they can easily grasp and affec- in lap!), leaning back in your chair Chicago, Illinois. sing, FRANK. Inc. gradually as R tionately play. For many of them as you begin; you such music offers a fortunate escape move your body forward over the from what they call the hard, driving keyboard up to Measure 3; then slow- insensitivity of their environment. ly backward to Measure 5; then LOVERS bar- lucky for us if in the search for again forward to Measure 7, and Fine records at How MUSIC gain prices Bach, again. such music we find “etude” material finally back Beethoven, Brahms, Moiart, Wagner, etc., playable on any phonograph. Original imports cost $1.50 to offers this escape. which $2.50 each—American duplicates only 50c and 75c. Heller, it seems to me, fills the bill Send for FREE catalogue containing hundreds of r selections. perfectly. He himself lived USE 1 almost The GRAMOPHONE SHOP, Dept. E life tranquilly in most of his adult 18 East 48th Street, New York Paris where he died just at the thresh- ReC old of the “Gay Nineties.” In the PED ALIZ ATION! preface to “Opus 47,” from which Color your Plano Playing with artistic use of P the Pedals. How to produce the striking effects most of our etudes will be chosen, he that make your music •‘different”. A new N presentation of this subject. says, “There already exists a great ' l? important A quick forward backward /hi correspondence course. Write for information. number of studies to develop finger SOLD EVERYWHERE REED STUDIOS 2912 Alta Vista Bakersfield. Cal. dexterity. So, for these pieces I have Your inner rhythmic sense in- "The pedal * are the *oul of the piano'* a different aim—to provide students variably shows you when actively to with the means to play a composition surge toward the instrument and Advertisements are printed salesmen. They frequently introduce you with expression, grace, style, and when to subside passively back from to valuable opportunities. The advertiser likes to know where you saw his advertisement. Don't forget - “I saw it in THE ETUDE". with energy and spirit.” Then he it. . . . adds, “Above all I aim to awaken Now, finally, with freely coordi- within the musi- and light arm (floating- student the sense of nated body Masterpieces of Piano Music cal rhythm,” . . . and right there we elbow tip), play the melody. As be- has been termed the library stop, for this is one of the most im- fore, start with body away from the of Piano Music in one volume. The more than portant statements an artist can piano, elbow low and close to side; 200 selections by great composers con- make. swing the body forward, curving the tained in its 536 pages, comprise 53 How is it possible to develop this elbow in a circle, with the elbow Classic. 75 Modern, 38 Light. 25 Sacred indispensable inner rhythmic sense? highest (top of circle) on C in Meas- and 29 Operatic Compositions. This vol- ume is truly a source of constant enjoy- Teachers and artists talk a lot of ure 3; then swing your circle back ment and entertainment bosh to the pianist about it, but give little practical low again to Measure 5; then slowly who delights in good music. help to the rank and file of students out again to Measure 7, and finally For sale at your favorite music counter or sent POSTPAID upon receipt of price. whose bodies are not well enough back again. Treat the rest of the Money re- funded if volume does not meet with your ap- coordinated to produce it naturally. piece similarly—but I warn you, dif- proval (NOT SOLD IN CANADA). Illustrated folder with contents cheerfully sent upon Whatever you want to call it, rhythmic ferent phrase curves require different request. THE LARGEST COliFCTlON swing, surge or flow, it has primarily body surges and elbow curves. You OF STANDARD HANG MUSIC CONTAINING MI MIL PUBLISHING a CO.. INC. physical origin—set up at the base must find out for yourself where the MORE THAN TUt>IIUND»D CLASSIC 1140 Broadway. New York, N. Y. of the spine where the bodily frame- forward stresses and backward “eases” MowmorowiK am> sacro> comwims Enclosed find % for which send post- paid Masterpieces of Piano Music. work is tied together, where in play- come. ( ) Paper ( > Cloth ing the piano occurs its most solid Inner rhythmic sense must first be Name contact with the earth. Above this felt physically—the periods of activity Street “seat” the body must swing in large and passivity carefully observed by a City & State and Paper Edition—$2.00 Cloth Edition —$3.00 K3-42 small coordinations, muscles ( Continued on Page 281) THE ETUDE APRIL. 1942 265 y C ^ - —- ^ light breathing, me wuuw throat; miunymy rilUh lUi The Tone and The Word breath should begin in the very about and this control will come Young Student s of Song most naturally after the intrinsic NATION-WIDE and the vocal muscles of the throat B.) Prisciffa Voice Ouestiums strengthened and W. PennJt MRmbbBMHUHRUM (Continued from Page 235) mouth have been extrinsic made dominant over former Finding suitable trios for SERVICE.. mti intrusions. a correct automatic placement and muscular players on violin, violoncello and (3) Involuntary mental control in by deep breathing. In order that the piano is a difficult task; but a of all vocal or- parent NICHOLAS DODTY pupil may dovetail his physiological making adjustments or teacher, who ^ntwrJLy DR. knows one instru with gans and in the handling of all ...FOR knowledge and consciousness ment and has a little understanding consonants must be es- the science of psychology in his ef- vowels and of the other two, can one easily arrange forts to low tablished. Again exercise number bring about a normally folk songs for the veriest in unless accompanied by the full name beginners vt„ aueslions trill be answered THE ETUDE of this article will serve well towards Only initials, or pseudonym given, will be published. AMERICA'S position of the larynx, it is necessary to play. and*address of the inquirer. this powerful inception. to require him to imbue the tone Many of the tunes from foreign with a little darker color than is ordi- What Is Articulation? Briefly, ar- lands are known under so For tuirtr-eUht ticulation is the shaping of the many run Craiury mu»lc Ins m)ovi.,l narily evident. This, of course, will Is Changing hesitates to specify any one. Select the most UNDERWOODS U« dktlliMicn of bring names that it is difficult Soprano Whose Voice one of tho flntol editions to designate The Boy and write puhIMird yrt Its nr n*o Is into words, and famous one in your neighborhood but 15o a cmnr. require more feeling to be put into flowing tone or vowel an a pupil, a hop soprano who In tiro folltmlnf list them, but n I hare, are fHtured solus of our titt among the universal favor- gear and to the singing teacher there for an audition I nlost Issues, lm-lmtlng Uio works this by certain involuntarily man- beginning of his fifteenth of four of today's the tone, since the presence of feel- is ai the before you decide. most popular oomposers, ites are All Through the Night. remarkable range. He ran sing as Tr.rhrr,. pupils Flow ,’rho has a sod plsyrrs will flntj them all of ing in the tone influences its color. aged adjustments and interruptions eieepUMiat Tslue. with comfort and flewmhty. ospecfally Ksy Amour's "Mrs lent Gently Sweet Afton, Old Black high as B-flat Contralto or Dramatic Soprano; the Letter “R“ Huw Method" anti Waller Itolfe's by the tongue and lips. Indeed Joe his mice completely "Hook ou liar- There should be a sensation as the white singing, tells not to pronounce uiooy. 1 uu can buy them at your and Silent Night, Often, Q. 1 —My teacher me dealer or direct Holy Night. had been shut off. Last I rum uu. though he were singing in rather fluent articulation is the insuring These stops as if a valve the letter “It”. Where this is not natural I who Use and reoooimrad uml 1 am of the Ontury rntislo and many others will lie had bronchitis, singers do wjn the «vorla,stii>B be found vear dislike it very much. Do really fine V gratitude of«»* pareutsparents who can't than out though medium of pure diction and unaf- in Is V. , —as he were singing that this defect in his mice due their 55* hlgh generally uked for teaching song books opinion thist What is your opinion? “ Thei” for tnuhlo.JSH Century, and in very easy advice diuaIo helps you hold your old pupils through small fected tone. violin asking pour professional “ shim and also aids a double door deep to it 1 am and “fai” for fair are bad enough, but In enrolling new one#. and piano collections. map he. I have been Tow money refunded without In some as to what the cause shimmer and “shephad” for shepherd , question if not down in his throat, which opens “English cannot spoil singing un- cases ma” for fully satisfied with your exercises out of Shakespeare's purcha.se. it will only (tiring him arc terrible. less be necessary to add many In the downward rather than upward, while singers spoil English.” a Binging.’' You hare helped tone, You are fortunate if your typewriter is an Underwood. ’...I } -f deep part for the of S— I had a contralto voice with a he consecutively violoncello. Middle-C they can stand NEW and intones each respec- —Clara Kathleen Rogers ranging from several tones below first place, Underwoods are so ruggedly built To make the trios teacher says I am a tive pitch upward and downward. equally easy for to A above the staff. My In the second place, when ? up under exceptionally severe use. all three players, The voice of the boy soprano changes dramatic soprano. What is your opinion For this acquistion much flexibility the arrangements A. thoroughly trained IMPORTANT somewhere between his thirteenth and six- M. C. repairs become necessary you will find W of the should be confined to of from real vocal the pause muscles of the keys of teenth years. Then comes a A—To omit entirely the letter “R” is to service representatives operating out of 436 offices from one The Scientific C, G, D. years, during which he cannot r mooERti throat and the mouth is Approach and F. The violin and two to four mispronounce the word as you say. Whether pinna oiethod necessary. violon- without hls of this country to the other. soprano, tenor, or bass, it be rolled or softly sounded depends end 1 1 cello parts sing should The use of the previous exercise should not go beyond Is devel- for the voice breaking. In other words, he upon many things; and there is no space FOR becirrers the to Singing range man. Hls with the rapidly increasing demand for typists and tongue muscles will serve well to- of the first position. The piano oping from a boy Into a young here to mention them all. In the June 1939 Today, lengthening, and the mus- that typewriters be wards encouraging part should be vocal cords are issue of The ETCpb this question is discussed secretaries, it is more important than ever the larynx to be kept as nearly as pos- strengthening KRTHLEEI1 RRmOUR (Continued from Page 244) cles that control them are at length and several authorities are quoted. subservient to sible to the five kept in good working condition. PRICE 15c EACH PART the singer’s will as he finger position and during this period. Please get a copy and read our answer care- riere Is something decidedly new boy. we could not and original It endeavors psychologically to easy chords; for, however 2. Without hearing the fully. In Samuel Arthur King’s book "Gradu- i« «heet music and control arranged, XtS iich tuned and cared with certainty that his voice is chang- in Articulation” several para- ELLIOTT FISHER COMPANY his larynx without physically holding for, but that finds the little pianist say ated Exercises UNDERWOOD will have the However, it seems to be the logical ex- its purpose ing. graphs are devoted to this subject, which YORK, N. Y. it in any specific only in the expression doubt about it, ONE PARK AVENUE NEW sissas position, and it is of greatest number of notes to play. planation. If you have any might help you. music. Pianos are throat doctor. It is extremly therefore a medium to neither conceited For the consult a good 2. Quality of tone determines the classi- Through A Nation-wide Organization *•”* **"*! employ first Everywhere uiusirai for selections all three of bronchitis should Service outstanding not temperamental. unlikely that an attack fication of a voice almost as much as range. 3lflS2iiS work. the induction of singing in. Note parts bears such a re- n, * n k^ors the should follow the produce this result, which heavier thicker 3197 ar * it on tho Keyboard same general The contralto is usually and UNDERWOOD ELLIOTT FISHER HELPS SPEED VICTORY p v^J n following The secret of artistic phenomenon exercise. interpretation rhythmic pattern, with markable resemblance to the than the dramatic soprano, and the latter is the violin Be extremely sym- liHS always simplicity. If you called “Change of Voice.” voice has two or three more high tones. If 3200-Part Exercise concen- playing the melody, often train him, dur- Number 2 trate on in unison pathetic with the boy and you are dissatisfied with your teacher’s diag- the composer’s in some CRNTVir PIANO (A) Initiate meaning—as with the piano, ing this trying period of hls life, nosis. do you not write to a famous SOLOS. l ,«. the five Italian vowels the and the violoncello why FREEMANTEL 5c scientist concentrates other form of musical study, until his well singer TRAIN YOUR VOICE WITH P key-mini her with upon the a operatic conductor or a known SCHOOLS-COLLEGES 3 |V»* the madel m and n and sing in an counter melody or harmonic part develops. "At Shanghai, China, / attended a concert given easy exact “man’s" voice for an audition? This point should be clari- a wife formulae of his problem— by Mary Stewart Touuaaint.an Ambataador 0-2' manner on you drawn / warn 3121 A Llttfa BaHaTftio '°'?n-Ho!fo moderate pitches as fol- from the piano bass. Length fied immediately for the repertoire of the to Siam, and a pupil of Frederic Freemantel. 3143 Chopln-llolfe have the clue The Young Dramatic Soprano that i decided to A May Day Danes r—i'—'# to any interpretation. different. go impreaaed by her fine tinging SCHOOL lows: mah-nah, me-ne, and variety two voices is entirely teacher, and I have traveled mi-ni, mo-no It is can be achieved by re- girl, seventeen years old. with a study with that same OF all there Q. I am a kCit for t he before you! As 10 000 miles from Shanghai to NewYor y MUSIC moo-noo. Free action soon as peating the range from G below Middle C to B-flat above with Frederic Freemantel. CONVERSE COLLEGE I jsfe>wvscfii of the tongue,’ the song, sometimes allowing What Is Head Voice? privilege of studying Krnst Bacon, Dean, Mpartanaburg. 8. C. 3189 Kchubvrt singer begins Priscilla Pote-Hunt Barberlni’s Minuet.’ —2 the lips and the injecting “tricks” the High 0. My biggest fault is too much volume. (Signed) 3168 Bounce the Ball. C-2. jaw must be evident violon cello to play it as solo, Q. / am a lyric tenor with a range from A 3168 and mannerisms a When T turn my voice loose, the house fust rum- FREEMANTEL STUDIO t, V s0 in of his Middle-0 to E above Iligh-G all the 3179 pF*S2i.' ^Am----2"/ucliter practicing this own into the and below New York City Ch'lsada| *^-mp^ gj exercise. Let the sometimes the piano, with piz- bles. 1 have taken lessons for four years, but 205 W. 57th Street 3155 reading of his score— tones being taken with ease. I sing all my Galesburg. III. throat expand into distorting the I am still unable In control it when I get into James MaeC. Weddell. Chairman. 3175 an open channel zicato accompaniment high tones in the head voice, that is, the TD AIM 3170 composer’s on the strings. KNOX Catalogue aent free upon request 1 meaning, a song with my soul. Js this volume a draw- T"’ ' through overlooking 3190 nrWX .V'ru.ln-lTrZ which the tone may his Loose leaf binders highest octave. I am able to sing the two 3184 come indications, for each part buck that will never be an nssel l My teacher spontaneously. obscuring his notes, E and F (fourth space and fifth line, 3188 This exercise should simplicity keep the says / am too young to learn languages, al- 3154 ~he Io s manuscript sheets in good treble staff), in two different ways, by carry- be carried stature as though be oycra singer. My CONSERVATORY 3134 out in a . . an artist, T want to an reasonably rapid f no condition. New pieces can be added ing the chest voice upwards or by bringing OF MUSIC 3162 WeU teacher says I am a dramatic soprano because W*i. £. M>il«r. FT. but not hurried ^ may manage the head voice down. My problem is, in which Results GUARANTEED! SHENANDOAH fashion, his [/ repeatedly vofal from time to time, of the heaviness of my voice, yet she has me strengthen the vocal organs- 33173II1 73 Laces and " frfr and they can be to sing them. I read a book by Frances We build, Courses leading to Frills. Am—12 •.'PEMfiP as many voice not with singing lessons—but by sound, scl- 3176 : 'Chopln-Rolfe times as and March Militaire r_H» comfortably removed singing the Waltz Hong from “Romeo silent and vocal exercises, the B. Mus., and B. Mus. Ed. degrees. Rates ' pos- or in which her teacher is quoted as saying entiflcally correct 3182 March of jfchuhert-Itolfe arranged in required Alda tho 8ardai^* ‘r.— * ' to absolutely guarantee complete satisfaction 3156 5-0-111 sible from one Juliette.’’ Is this the correct thing for her and reasonable. In the heart of the Shenandoah Moonlight W.lTrYitl. ' breath. Vocal order “Head Voice, always Head Voice.” If I use results. Write for Voice Book, FREE. Sent to no 3164 Mr, -Armour Problems when they are to be performed dot signed by parent. Valley, Dayton, Virginia. Third Takes a Wait (B) Analyzed will it affect the voice eventu- one under 17 years old unless ‘ Next both voices, 3051 My Little tlc U r prefix these CHICAGO Pet ( Va*se)* C*— vowels with at a 2. Please name some operas in which the PERFECT VOICE INSTITUTE, Stafie SSH,ME.lik. IL, 3150 2 i i\ Vocal recital. Nannette 1-eeo Anlmatol i— JJoplitlia l, and problems as ally?—T. K. * sing in such 3117 Out on the * ‘ Pn ur the same have mean lead is sung by a dramatic soprano. Ocean (Wait/) fV_V‘ 'A J® manner as In supervising 3169 Pussy willow 2 p they the trio practice, let A. It all depends upon what you mean by Val»eirri|! 'm f prescribed for stand 3. I graduated from high school this year. 3(51 Booming Up and DownlM.rV ' ' ilc| iter exercise A: lah-lah ^ obstacles the head voice. If you mean a production of 3054 Robin 1 'i rm APRIL . 1942 267 — — 1, — the beginning breath. Most people at Problems in COLLECTION each movement Organ THE GREATEST Shepherds' Pipes For Modern Players use more breath for This should not be. of the tongue. OF MODERN MUSIC , breath Playing Rather, the fine thread of ( Continued from Page 222) unchang- VOLUME/ should be continuous and PUBLISHED IN ONE action with a very soft tongue ( Continued from Page 237) ing, When Boston. A course in pipe making was Lovers of music, we give you—the for clarity of individual tones. S. FRY, Mus. Doc. conducted during the summer of lowly pipe.” fingers move simultaneously with JinMvrrJ L HENRY the The actual problems in organ t 1940. One flfteen-year-old breath is steady plav boy from the tongue, and the ing center around Directions Pipes that part Ex-Dean of the Pennsylvania Chapter of the A. G. O. the North End of the city—a boy so for Making the tone will be per- of the and continuous, work that is new rough to the pianist— and bold in appearance and To make a pipe, one needs a piece fectly in tune. Good phrasing comes the technique of pedal playing manner that you would wonder at of bamboo, a cork, and such simple through judicious tongueing and, as The greatest problem to the average accompanied by the fa his interest in making a musical in- tools as: a saw, a pen knife, two files through anticipation, or- No questions will be answered in THE ETUDE unless on the organ, be pu - gan student is one of initials, or pseudonym given, will strument. was so delighted when he one square .and one and a body position name and address of the inquirer. Only — round— release, and so forth. express no opinions With his lished. Naturally, fairness to all friends and advertisers, we can heard the tone his hands busy at the m from pipe at the brace and bit. manuals instruments. 2. The Adjusted Treble Pipe as to the relative qualities of various end of the first and his feet busy at the pedals, lesson that he told The pipes forming a quartet are he the teacher: If you feel hampered with, the lim- finds difficulty, first in ‘Gee, I’m proud of my- in four ranges: in maintaining soprano in D; alto treble pipe, self. Y'know, it’s the ited range of the ordinary good balance, and, second, first time in my A; tenor in D; in Simple in cover- and bass G. are the life when I’ve ever been proud of try an' adjusted one. Here ing the distance between low ORGAN pipes have a range of an octave and pedals Q. As Director of Church Music, I wish to PEDAL measurements:, size of bore, of an 16' 44 Pipes myself. And am I proud!’ Need any % and high pedals without support. briny to the attention of the Board of Trus- Bourdon two or three notes. Adjusted pipes The 16' 32 Notes further inch; joint, 6 inches from top of pipe; tees a recommendation for the reconstruction Bourdon (Dolce) praise be offered in favor secret of overcoming these ' of have a greater range. of difficulties 8 32 Notes By means of our old trucker action “straight” unjan. I Flute piping?" length, eleven and inches. The lies in acquiring the 8 ' 32 Notes opening or closing three tuning peg % correct sitting would like to recommend the rebuilding nf the Flute (Dolce) 16' 12 Pipes Aside from her work at Union Set- mouthpiece, window, and channel are position. organ as a modern instrument, using as much Posaune (Extension) holes, it is possible to tune each pipe 8' 32 Notes tlement. Miss Cossitt the same as in a regular treble pipe, of the old material (pipes) as possible. Wliat Cornopean has had the to three different Do not sit the 4' 32 Notes pitches—roughly on organ-bench as is the technical meaning of the words, “uni- Clarion satisfaction of seeing the interest except that the window is 7/32 by 7/32 two ex- in between a half-tone thus you would on a fication,” “extension," and “duplexing” ? What Usual couplers and accessories, with — making piano stool. That is piping llie truth, for a Wicks be extended advantage- Great). We suggest grow to such an extent inches. Avoid too sharp an edge to the ], la) on words yes, but ranks of pipes may pression boxes (Swell and ensemble playing possible. to say, do not sit in — build- the middle of ously to pipest To SS pipest What ranks communicate with various throughout the country is fine, lasting musical instrument, 07 that you that she has sill or the tone will be piercing. Be- A Organ a reliability and 1. The Little Pipe the seat, distributing of pipes should not be extended beyond 7.1 ers, making Investigation as to included G your weight superb in lone and action. a chapter on the subject in fore fitting the cork to obtain the first excellent iu contraction, What ranks should not be extended Use an 8-inch evenly between front pipes' cost of Instrument. her new book, piece of bamboo and back. stop names are usually asso- "Music for Life’s Sake,” note, the adjustment must be pushed smaller at all? What without Rather, sit Wicks residence installations range from tbc to help joint. The bore should be well to the front of the ciated in the make-up of various extended been an organist for the past those who live in remote dis- in. Put it in l Q. / have one and /2 inches from models, priced under a thousand dollars, to pipes? understand that a Stopped have at- narrow. First make a saw cut inch bench—almost to the point fine ranks of I eleven years, during which time I tricts to establish their own y2 (but not 8 pipes to in- groups the top of pipe. ’ be extended to 97 However, up from the Now tune the pipe gorgeous, elaborate works of art. Elute may tained reasonable proficiency. top of pipe. The middle of the quite!) of falling off. Balance 16' 8' d’ of pipers. And to your- i- latte Bourdon (Jedekt Flute Amour l pinged almost alt those city' dwellers to C-sharp, not D. When tuned, play — — until about a gear ago, window is 5/10 of self —Savant 2%' Fluiitino 2'; or Cornopean the foot, ie- an inch from saw on your haunches, give is a sound investment. THE ETUDE APRIL, 1042 269 1 true and , . >„ '6s, ftps yb'dfiS'Ki': variations in tempo make their Violin Bowings-How When Rhythm Must STUDY? effect on the listener. SHALL 1 GO TO technic which an Violin Questions WHERE Every practicing to Teach Them Be Felt ' is a short cut to the de- ^ i ' artist uses TTTTT short cut to an (Continued from Page 241) .e —TTTTTII sired result. The M ( Continued from Page 225) exact sense of rhythm is positive and (Eastern) (Western) Private Teachers BRAINE S Teachers j vigorous physical expression. Edgar up-bow must By this time, after having _Aniiverecl by ROBERT Private the notes themselves. 3. The attack on the spent H Allan Poe once said, “I would de- on the five or ten minutes a Those who have sung in choruses be just as strong as that day on the scribe, in brief, the poetry of words above special studies, the CORYELL KATE S. CHITTENDEN ; or choirs, or played in orchestras, down-bow. pupil h MAY MACDONALD HOPE has ETUDE unless accompanied by the full name « of beauty.” auestion will be answeredin THE Repertory — Appreciation as the rhythmical creation the bow is used. developed fairly good proficiency No Teacher Pianoforte — know that when the singers or play- 4. The full width of j n the inquirer. Only initials, or pseudonym given, will be published. h Concert Pianist—Artist playing upon a and address of 853 7»h AVE., x The piano student should come the use of the Martele and * THE WYOMING, ers are not sure of the rhythm the Following this stroke the De- Pupil of Teresa Carreno and Leopold Godowsky « to a NEW YORK percussion instrument depends in the tache strokes. He is ready L.A.S. 5530 X conductor will stamp with his foot, the presentation of the Martele now for 775 Colusa Ave., Berkeley, Calif. for JJ very unusual extent upon rhythm the more subtle 2. Henry Ford, the great auto manufac- or shout the count, or both. Why? lower third and lower half of the forms of Detache Germain — beautiful and The Maker _ turer of Detroit, has quite a collection of many of his most The Detache in n. mis o irtnim FREDERIC FREEMANTEL I Not because the group does not is not used the middle Louis Germa ‘ know this stroke of the Joseph , of Cre- OUGH bow. Though 1.— valuable violins, including a number : ROSE poetic effects. considerablen is Instruction where count one is or count three is, Martele in the upper bow: To perform it, only the maker of . monas. I do not know whether he stUl - VOICE Voice „ so often as the wrist 2-lt370) ie Is list.wunoerunder i(182: (France) collectlon . * Samoiloff lessons^ * but to is only Paris add(ng t(j h , s Former Assistant to Lazar S. Author of 24 home study in order dramatize the used, and about ' rhyth- the bow, it is equally essential one and one- school of 1 ° B Production and h half of the French Y “ 3.—There were two makers named Hopf * in Hollywood "The Fundamental Principals of Voice f ( famouf mical feeling and so communicate it inches of bow. Gand an aume * Studios at Tones and How to Sing Them x for future bow arm development. half The use of any worked for ^L (Germans) who made violins of mediocre Reopened Her Voice Singing"; also "High makers), many f hl fln vlollns N CALIFORNIA violin . of these 1931—8TH AVENUE OAKLAND, West 57th Street to them. arm motion must French quality. I have never known of any Studios: 205 N Several rules require attention. be avoided. In pre- Iheirnsi Telephone Glencourt 6115 Circle 7-5420 been sold under sell for than one hundred dol- York City phon« The writer has often to have Hopfs to more JJ New H quoted his senting this stroke, the spelled — - Gossiping Fiddle Maker 1. The attack at the frog is not pupil will sometimes lars. There is a vast number of imitation M M ls ^ any violas. Ger-r.nr. students an incident described in an l whether he ever made N made with the wrist, but with place the bow on the A string now warrant Hopfs which sell for from five dollars up. at eminent enough to ! PETERSON interview several years ago with main was not Violinists do not consider Hopf violins as EDNA GUNNAR best be de- the middle. The teacher biographies of his life, ALBERTO JONAS ; the fingers. This can will then, extensive published valuable. Frank 3. PUhp. find a m Concert Pianist—Artist Teacher La Forge, the noted vocal au- & with his left do not know where you could Spanish Piano Virtuoso scribed by pinching or pressing hand, hold the right arm so I Celebrated J length. 2.—You can no Los Angeles, Calif. pianist. thority. There was a heavy tapping hioeraphy of any S 22? So. Harvard Blvd. Teacher of many famous of the pupil just below the Violin Does Anyone Know Him? 2-8920 the bow with the thumb and the elbow, and Stainer's "Dictionary of FE. 2597 85TH ST., N. Y. C. Tel. Endicott “Why can’t a new violin have as doubt get L. T. O. Sorry I can get no Information of J 1? WEST N on the ceiling of the room in which publishers of The Etude. — first three fingers. This will pro- with his right hand, grasp the Makers" through the 132 South 18th Street. « thin old violin?” screw a maker of musical instruments—Abraham On Thursdays in Philadelphia, the conversation was taking place a graduation as an 9409 M duce the desired attack. im- of the bow, and in this Prescott, Concord, New Hampshire. He may Tel. Victor 1577 or Locust An position force Conservatory. » and Mr. La Forge told his interviewer The play of the elements on a have made some excellent Instruments for all LAZAR S. SAMOILOFF Not connected with ony mediate relaxation must follow. the pupil’s wrist to move independ- Will He Be Successful? l that it violin, after it has been worked out, the study of that. There are thousands of obscure instru- singers was Lawrence Tibbett in the L g j.—Having commenced Voice teacher of famous 2. The bow is then quickly drawn ently through the proper makers scattered all over the world and J the motions violin at twenty-one, you have had up ment room above learning a new operatic has a great deal to do with the M From rudiments to professional engagements this four years of study. You little known to fame, Maybe some of our sub- SYRENE LISTER not only with the forearm but of stroke. In this way the pupil to the present time m Beginners accepted. Special teachers' courses EDITH role. Obviously, Mr. Tibbett, like all density of the graduation. When a scribers may know something of this maker. the violin with the express purpose M AUTHENTIC VOICE PRODUCTION with the entire arm, with a sup- will memorize the physical started J experienced violin is matter sensation wish to M 610 So. Van Ness Ave., Los Angeles, Cal. artists, knows that the new made, no how of becoming a violin teacher, and 405 Carnegie Hall, New York City » ple shoulder joint and wrist. of using the wrist tell whether you and your Another Obscure Maker M * short cut to learning the correct old the wood used, one must allow The only. know how you can Collaborator and Associate Teacher with the late W. I can find very little information « attack the Drosnective pupils will be successful. This is A. G.— Warren Show and Endorsed by Dr. Floyd S. Muckey is for thickness of on up-bow is made The Detache at the tip: This stroke rhythm through positive physical a approximately two * answer, without know- about the violins made by Joseph Giemonse ELIZABETH SIMPSON ml pstion no one can ; Troup Music Studio. Lancaster, Pa. with the first finger - ’«« »" the vast Wednesday: J expression. Can any to three one-hundredths of an inch and hand. is performed with the wrist and hearing you play, observing your In the year 1758. He belongs to Pa. music student mg you Pianoforte Technique" Thursday: 309 Presser Bldg., Philadelphia, , makers scattered all over Author of "Basic There of your pupils. 2.—Your number of obscure J do better? more than the original violin. What must be a clean stop be- fingers, using about an inch and one- progress, and that x conservatory, the world. Books on the violin give such n Teacher of Teachers. Coach of Young Artists. tween notes. best plan would be to go to a N It must not be inferred from any- is the reason for this? An illustration half of bow. The little finger is per- study makers only a line or two. Your violin may n Pupils Prepared for Concert Work. Class Courses or college of music in a large city, and (Ernesto) Next, N in Technique, Pianistic Interpretation, Normal (Frank) thing written here help to clarify comes the Grand Martele. mitted to leave the' stick. year. At the end of that time your be a good one for all that, that the serious may the subject. The bow for a * Methods for Piano Teachers. Its institution would be able to LaFORGE-BERUMEN STUDIOS S student is referred analysis is: should teacher In the to a “jam session” A block of wood, perhaps one hun- be drawn slightly nearer to San Francisco; advise you as to your best course. You can A French Expert H 609 Sutter St., Voice—Piano 1. In this stroke St., Berkeley, Cal. J or to “boogie woogie” for lessons in dred years old before being the entire bow is the finger board than to the you start D. A. F. Georges Chanot, Paris (1801- * 2833 Webster worked bridge. judge of your ability to teach, when — Frank LaForge teacher of Lawrence Tibbett since 1922 „ was one of the great French violin N rhythm. It must be observed, how- out and shaped, is mellow used. The full width of the teaching, and observe the progress of your 1873), 1100 Park Ave., Corner 89th St.. New York x brown in hair is used. reputa- * your advantages you specify makers. During his life he had the Tel. Atwater 9-7470 « ever, that if it 2. The attack at frog pupils. 3.—Among were not for rhythm, color. In working it out to shape, this the is made The Detache at the frog: This tion of being the finest connoisseur of old (Mid-West) one year of piano study, regular attendance ; Private Teachers these fabulously successful by pinching the bow violins In Europe, and this helped him very- swing ancient brown exterior is entirely cut with the stroke is performed with the wrist at pupils’ recitals. You have much patience, much in the building of his famous violins. orchestras would not be bringing off, leaving an almost new white fingers. and fingers, and have worked much with children, and ex- using about one and one- Francois Chanot, also a McCLANAHAN I studied child psychology. It will take He was a brother of 3 ARNOLD SCHULTZ RICHARD their leaders 3. Relax have n salaries that run into terior. In reality, the wood immediately and draw the half maker. His son George made remark- N Representative TOBIAS MATTHAY under- inches of the bow. The tip of years of hard work, however, and much ex- famous Teacher of Piano Private lessons, class lessons in Fundamentals » five and six figures. neath, never bow quickly to the tip teach- ably fine copies of Joseph Guarnerius del Author of the revolutionary treatise on having been exposed to without the little finger should rest firmly on perience in practical music study and Lecture-demonstrations for teachers N violins. The violins of Georges Chanot piano technique The success of the the touching the other ing before you can know what the future Jesu distinguished elements nor oxidized, is compar- strings. the bow. The and command high "The Riddle of the Pianists’ Fingers” 806 Steinway Bldg., New York City bow should be drawn holds out for you. are of very fine quality, J concert pianist is due in atively 4. There must be high as published by the University of Chicago Press no small less than half the age of the a clear stop be- slightly nearer to the prices. Dealers quote his violins as finger board FINE ARTS BLDG. CHICAGO. ILL. measure to a feeling for tween the eight hundred dollars, or in some instances, E 622 rhythm. All pieces cut off the top in shaping. notes. than to Concerning Difficult Sevcik Studies the bridge. higher. M we have to 5. EDWARD E. TREUMANN do is to remember the The beating down of the The attack on the H. C. answer to a correspondent In the elements, up-bow is The lighter bowings — the spic- —The whirl of refer to the more m RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., Concert Pianist—Artist-Teacher n Paderewski playing the oxidization, and the made with the first June issue was intended to Preparing for a Career years of constant finger and cato. the sautille, the staccato, the Recommended by Emil Von Sauer, Moritz Moszkowski N Sevcik, for ad- 2 Dean mazurkas of his homeland, hand. difficult studies written by B. 1. Without hearing you play, and Hofmann. * Percy vibration in an old violin have caused richochett A. J. — Central Y.M.C.A. College and Josef —should not be taken up vanced pupils. H you will examine the "School J Hall, Suite 57th St. at 7th Ave. N Grainger incisively 6. knowing you thoroughly, it would be pure School of Music Studio Carnegie 837, playing the ex- the fibres of the The attack " wood to shrink and must be as firm as until Tel. Columbus 5-4357 New York City the solid bowings are thorough- of Violin Technic." by Sevcik. Op. 1, Part 4, guess work for me to attempt to tell you Complete courses leading to degrees. Coeduca- uberant Country Gardens, Jose that of M Summer Master Class—June to Sept.—Apply now. Iturbi congeal into a semi-petrified state. the down- bow. "Exercises in Double Stops,” you will find what you can accomplish in violin playing tional. Fully accredited. Day or Evening. Low tuition. speeding ly mastered. The more control the H J over 7 - octaves, progress - the glistening keys in An old violin, The full width some terrific technical work, in in the future. Whether you could n S. Wabash Ave., Chicago, Illinois H when sandpapered on of the hair is pupil Kimball Hall, 306 De has of the bow, the easier it thirds, sixths, tenths, exercises on the pizzi- so far as to be able to become a violinist in n " Falla’s Ritual Fire Dance, or Horo- the inside, reveals the used. wood coming will cato for the left hand, exercises in harmonics, a symphony orchestra, no one can tell. The Private teachers in the larger cities will find » witz playing Stravinsky’s be. “Petrouch- off in a powdery form; whereas, in in scales, major scales in thirds, sixths, and logical thing for you to do would be to go : DR. FRANCIS L. YORK this column quite effective in advertising their « ka,” to note what rhythm means to the octaves, and alternations of harmonics with to Minneapolis, which is not far from your new violin, the wood is gummy * Advance Piano Interpretation and the Theory work stops of violinists are able spend the winter season there, courses to the thousands of Etude readers an audience. regular pitch. Few home, and N required for the degrees of Mus. Bach., Mus. Mas., J and mushy. Thus the aged violin, cover to leading to play this volume through, from as a pupil In one of the music N and Ph. D. in music. who plan to pursue advanced study with an “ As rhythm is so fundamental, the with its oxidized varnish and dried cover, In perfect pitch and technic. These schools. You would of course study with a n DETROIT INSTITUTE OF MUSICAL ART student, studies players. the n Detroit, Mich. established teacher away from home. „ whose feeling for it is in- shrunken wood, are Intended for virtuoso first rate violin teacher, and play in is much more dense N X exact, is This book may be procured through the pub- student's orchestra. In a like a painter who is trying than the new violin, with its fresh lishers of The Eti he. teacher would be able to to paint a water-color on paper varnish and new wood, and your future possibilities. 2. The five years’ which a greater is not white, but already has amount A Famous Family study on the piano is a great advantage, also of moisture and mineral salts blotches T. A. A. The Gagliano family. Italian the fact that you listen to all the operas, of various colors on it. If not — he yet oxidized, dried, or and concerts you can on the radio. 3. As you puts red congealed. violin makers, were famous in this craft. A False Rumor Quashed paint on a spot which is al- If, in are only thirteen. I would say that the two the beginning, a new violin Works on the violin list twelve members of ready blue, daily practice are sufficient. In a few his picture will not have is the family. Gennaro (Januarius) Gagliano, hours' graduated as thin as an old one, the red it who made violins In Naples, 1700-1770. was years you should Increase your practice to The following telegram is being with an understanding of the im- color he wishes in that place. will, when it dries—within two the finest family. four hours daily. Reading musical works Suppose the to maker of this gifted He sent to all advertisers, advertising portance of magazines in the creation student who does not five years was the second Gagliano. from the public library, is also a great ad- —develop a whoopy or son of Allesandro know what a It is vantage. agencies, and members of the National of national unity, the maintenance steady rhythm is de- barrel-like tone with said that he had a beautiful varnish poor quality for which handwrit- cides to retard in a place where he and the recipe, in his own Publishers Association: of morale, and the distribution of carrying power. ing, still remains with the Gagliano family, has always unconsciously “Our attention has been called to that country-wide information neces- hurried. Various tests but his ancestors have never been able to REVELATION IN RESIN have proved, many for Violin, Viola, Cello, Bass Where he thinks reproduce it. letter he is slowing down, times over, There is a very large number a with accompanying ques- sary to the accomplishment of war that a finely made of his rhythm is new Gagliano violins in existence, which com- “OLD KENT” actually steady and violin, tionnaire sent out over the signature aims. There is nothing in the exist- after having been played upon mand good prices, sometimes running Into Used by Greatest Artirts, Teacher? and Students the interpretative effect Price — Transparent or Black — 50c per cake of the Research of the retard for a year the thousands. M. HAUSMAN, 32 Union Square, NewYorkCity Bureau. Therein it ing situation which would lead to or two, is the equal of any is not there. He is like the is strongly intimated that owing to any painter fine old violin. Of course, apprehension or uncertainty as putting there is a Musical red on a spot already blue. Instrument Makers Special Henning Violin war conditions many important na- to the continuity degree of mellowness possessed of the services But when he feels his by the DEEP - MELLOW - SOULFUL steady rhythm, old C. D. 1. tional magazines may be obliged to rendered to instruments which is —Your request for a list of the For a limited time you can pur- readers and advertisers it is like the painter’s unequaled names white paper,’ by many and addresses of all the makers of chase this high-grade violin, with discontinue publication within twelve by magazines. new ones because the qualities of the finest, at a price The magazines will and, like of their musical instruments in America is a rather the colors which appear far lower than ever asked for such in vibrant youth. But, large order. months. Such an intimation is de- continue publication without as a whole, they "Jones, I would advise you to write to an Instrument; made possible by serious their true quality on the sheet, have you been the his compare very favorably. eating onions again?" Bureau of Statistics, at Washington. D. C. our many years of experience in structive and unwarranted. We have impairment of either quality or if they violin making. Satisfaction guar- do not publish such a list, they could probably Write anteed. been closely in touch with Washing- quantity. 270 inform you where you could get one. for GUSTAV V. HENNING if published. Information 301 Fischer Studio Seattla, Wash. ton officials and have found them National Publishers Association APRIL, THE ETUDE 1942 271 — THE ANSWER TO TOUR TEACHING NEEDS largely the individual teacher’s con- Handel's “Messiah” Two Scientific The Approach cern. It is the result of projecting suf- A New tones that are too open, not Centuries Did tu Singing Often it occurs in ALL PLAY TOGETHER ficiently covered. LET'S | , singing a broad EE sound. The prin- Easy 227) A Collection Of Rounds, Canons and Catches = ( Continued from Page 266) Continued from Page VARIETY ciple behind its correction involves a ( Adapted From The Classics For Band or Orchestra = _ . lifting of the glottis without distorting Or Any Combination of Wind Instruments. = of Solos Duets TriOS that he slip the mouth, so that the tone is once could "get away with" a splendor, he he was ever really devoted to, and ring out with such regal he Desired or two . . . more to sit in the masque Selected and Arranged by For Any Combination not because his slips were brought harmonic art of saw her rarely. = can ge Used chambers derived from the Baritone any the less wrong, but simply be- —to vibrate freely In the Pur- Handel harbored no grudges For Violin-Flute, Eb Alto, Bb Tenor or E b that great Englishman, Henry and ll! cause he was Caruso! As Emerson of resonance under the eye-sockets DON WILSON (or Cornet) even in adversity never failed to Saxophone, Bb Clarinet and Bb Trumpet cell. aid H tells us, though, one of the great and back of the nose. In tackling those who were more Some Possible Combinations: Then again, no matter how high unfortunate With Piano Accompaniment dangers of genius Is that it defeats problems of this kind, that involve Trombones Handel always than himself. He founded The 3 Flutes 3 = his inspiration soared, Royal Trumpets Flute, Clarinet, Oboe, Bassoon . - genius! After Caruso, clever boys with individual facial structure, the 4 j t Society of Musicians for Flute, Clarinet, Horn, Bassoon ArtdtlgCCl by kept his feet planted four-square on the sole pur- 4 Saxophones = small tenor voices began copying the teacher’s advice should be sought. more Clarinets Full Band ==: pose of aiding indigent 3 or __ _ _ good earth. And the English, for musicians. Any Combination of Violins and Cellos IS great man’s superficial effects, with- The fact remains, however, that if the y n Ih OL Ml spiritual He remained its loyal K all their imaginative and supporter to out possessing the other qualities the tone is properly in the masque, Complete Set $1.25 §1 the end of his qualities, are a practical and prag- days. Separate Parts: that tended to excuse them, and for it will be covered enough to avoid all Contents matic people. Deeply and fondly For forty years he lived a simple Instruments 40 HI a while we had a crop of tenors who fear of whiteness. B b Instrument* = of Th Wooden Soldiers In The Little Red Schoolhouse Instruments .. -40 Bass Clef Instruments .40 their little green isle “set in and unostentatious life at 57 c App,e Cider El Rancho Grande actually cultivated that little click rooted to Brook = Idfda ' Sweet ™As Apple or The singer’s interpretive problems Percussion (Drums, Tympani, etc.) 25 Play Toymaker’s£ Dream F,a > Fiddleriaaie nay objec- Street, London. He . . . e • = scoop In approaching a high the silver sea,” they have no had little time r t i t note. are solved by sincerity. Take the Excellent Selections tor the Development ot Independence in = Marines’ Hymn Andaiucia The scientific attitude hi singing tion to a bit of worldly pomp and cir- and still less inclination for amuse- Camimto composer at his word and follow his Part Playing for Band or Orchestra. |e| sublime. ment; for recreation would not have allowed that to indications as completely and as cumstance mixed with their he preferred the picture galleries. Every student plays harmony! • Relieves the monotony of learning! = Price 50c happen. simply as you can. But, one may ask, And Handel, with a sure unerring He had an eye Actually, instinct for the dra- for painting and was the the voice must always how is it possible to sing sincerely a Shakespearian owner of Send For Your Free Copy Of Our Recently Published Band And Orchestra Thematics remain In one place, showing no gap work in which one does not actually matic never failed them. In the some Rembrandt landscapes. or break whatsoever originated and In many ways he between the believe? That is often the case when oratorio, a form he resembled his • York registers. B. MARKS MUSIC CORPORATION • RCA Rldg. Radio City New A completely relaxed throat the vocalist is confronted with a developed, he found an ideal medium great eighteenth century contem- EDWARD nf ovnrosciAn a helps achieve this. One should sing ready-made program for some special exoression rolioioilS milSlC porary, Dr. Samuel Johnson. Both quite as he speaks—which is in a event, or even were “unwieldly a radio program which from corpulency,” call themselves Janossys, for they are heel on the backward part of the natural flow of voice. The intonation other opinions have helped action. Handel being perhaps Shepherds’ Pipes to plan. not quite so Janossys and Johnsons proud to be descendants of the land pedal. The foot should be lightly rise may and fall with the sense of The answer is, try for Handel got the text for the “Mes- grotesque a figure a truly musical as the good Doc- that gave the world Franz Liszt, and, flexed at the ankle, so that toe fol- the words, but the voice itself re- approach regardless of your own siah” from his life-long friend, tor; both had booming (iContinued from Page 230) for Modern Players voices, gruff in addition much great music, a lows heel, and heel follows toe, at mains in one place. The only place tastes. The song may not please you, Charles Jennens. This compilation of manners, testy tempers, gargantuan traditional dances and the same point of the pedal. All of for sudden shifts wealth of of voice from high but it does please passages ( Continued from Page 268) others. Try, simply from the Scriptures is be- appetites, a dynamic gusto for living, hour. Thus they continued to points should be formed on an treble at any songs that will never die. But, as these to low bass is on a comedian’s and honestly, to discover the spark lieved by present day musicologists an overflowing reservoir of energy,' live in the hotel. imaginary straight line. The motion radio program. Singing citizens, they are Johnsons, proud should be as that strikes fire in the hearts of those to have been the work of the joint and place them 7 8 of an Jennens’ and kindly hearts tiu ked away under all of bass viol player’s diffi- similar to that in tap danc- easy and as natural Not a and glad that they were born in is quite as talking. And others. It frequently happens that a secretary and chaplain, the inch apart. The thumb hole is in the poor more or less forbidding exteriors; culties come from human sources; rapid succession of heel and toe it is, whenever the America, where opportunity—as they ing— singer really per- song takes on entirely different value overworked Rev. Mr. Pooley. Jennens, both usual place, directly behind the C- knew practically everybody Enemy No. 1 was, for years, atmos- limited to the few. on the same spot. This technique mits himself to sing. The difficulty is and meaning after well know—is not one has thus however, palmed it off on Handel as worth knowing in sharp hole. that many singers London—a London pheric changes and the resultant quite the opposite of the older toe- persist in making examined it—in the objective, scien- his bu- own. that was bubbling kept far Type of Bamboo. Through the tone instead of simply releasing over with wit, expansion and contraction that out-heel-in-method—will produce it tific approach. During this summer of plant industry in Washing- of 1741, Han- talent and genius. Unlike Johnson! fingerboard and in speed, and, which is reau freely. The tone (and the breath pro- Until the the space between better results singer has his vocal del, who had been the D. C., Pipers’ Guild has greatest opera however, Handel had it free or- ton, the ducing it) must never be held; mechanism under few intimate strings varying until, at times, was Organ Playing Problems more important, it will the complete control, composer of his day and the idol of friends. obtained American grown bamboo rather, it Among these was Dr. Ar- play. William tension, fatigue, and should be sent out freely, he should work diligently almost impossible to ganist from at scales the London public, was on ( Continued from Page 268) adaptable for fully. True, the verge bunoth, the coiner of the appellation Fortier, of which has proved most wc control our dynamics and vocalises, leaving the and his teacher, Anselme wasted motion. glamorous of bankruptcy, and the fear of more satis- by breath, but never losing John Bull as a personification of Philharmonic-Sym- of this kind are pipe making, and much by held breath. arias for later days. Scales build the the New York of awkward “scrambling” around over Technical hints the his mind often haunted him like the type imported be- Even for the most pianissimo a British character. Orchestra, to work on organist must valuable in helping the organist to factory than tone, organ and develop the breathing ap- specter. phony went the pedal board. The It is not at all unlikely, fore the war, which was prone to the breath, with its resulting sound, paratus Handel as he waddled along the this problem and finally designed a relaxed and flexible, express himself and give pleasure to as nothing else does. If you considering the keep his ankles must be sent tremendous driving streets of crack because of drying in kilns. An out freely. In that case, have the chance for radio London in his gold-laced regulator, by means of which the quite as he does his wrist. his hearers as efficiently as possible. work, keep energy, of the man, that the only a small amount of “Messiah” coat with ruffles, excellent holder for pipes that are breath is away from special tricks or “micro- was cocked hat and fingerboard can be raised or lowered Another problem in pedal tech- But the important thing is that he taken. written at the white heat The singer who attempts a phone and sword, had the habit of talking to of value to express! being sawed or bored may be made techniques.” There are none. luiious pace to any desired height. This device nique has to do with repeated notes has something piano tone by that it was, out of sheer box. drawing a big breath The sound engineers himself and often startled innocent has been bass viol the average With this in mind, I return to the of a small wooden cheese with control the despair! Besides, he used by countless in rapid tempo. Ask and releasing only part of it was accustomed passersby in and a strap of while he mechanics of the work, with his stentorian solilo- players and violoncellists, who pro- illustrate for you first requisite I listed as the sine qua a “v” cut each end and the to Herculean labor, not young organist to holds back the rest, produces a tense singer need to the luxury quies. Sir John inch wide elastic nailed on the bot- only project his tones as of leisure Hawkins, describing nounce it invaluable. And, although the means by which he achieves rap- non of organ playing—a deep sense sound that indicates and Idleness muscular strug- he would in his his gait, said it tom, at the end. teacher’s studio. It is had in it “somewhat stretches are not so great on the viola idly repeated notes, and—in nine of vocation. The organ is, in a cer- gle to his hearers and ultimately a of that Airs mistake to do otherwise. Many rocking motion which dis- and violin, of instru- he will move his tain sense, different from other in- For trebles only: ‘‘Twenty-Two tires Talents players these cases out of ten— out his throat. If the voice is tinguishes Most important those whose legs are ments have also that this of the first danc- struments. For one thing, it is more for Pipes” arranged by Margaret properly placed, perhaps of all In his operatic heyday, found feet in the manner and the breath is he not only bowed.” James; For Pipes Only: “Trebles All- vocal work, though, are the wiote “floating” fingerboard alleviates their position; that is to say, he will cumbersome—one cannot take an freely vocalized and sent studies operas but managed ing out through opera As a Z. Miller. that have little to do with voice companies gourmand, his reputation is comparable trouble. toes out and his heel in. organ on tours as one can a Stradi- Arranged,” by Anne For a completely relaxed throat, as well, and traveled point his the building all second to trebles alto: Airs as such—a deco, continued, over Europe none. The story is told of At present our country is at war; quite incorrect! It is im- varius. Further, it is more intimately and “Exercises and breaks and gaps disappear. to engage singers Which is endless poring over He him that one day, stopping inn, for Pipes” arranged by M. James. For song literature °Ser at an the Janossy boys’ ages range from to move the foot quickly, associated than any other instrument _ P ’ impresari0 possible ' business he Budget the Breath and music history. Each song r„,rCUtlV6 ordered dinner for three. The host, nineteen position. with the spirit of the church. Not all treble, alto, tenor: “Duets and Trios one ’ and to twenty-seven a com- from front to back, in this diplomat r°lled into seeing — learns stimulates the imagination one he was alone, made no effort bination organs are in churches, to be sure, for Bamboo Pipes,” by Hunt; “Piping The budgeting of breath, so that a of facts that makes their He will have better results if he re- and rounds off the to bring him the order. Times, Book II” by James; “Twelve short phrase does not sound breathy interpretive Whereupon next moves, or at least the moves of verses the position to toe-in-and- but the aura of divine service is corners for future Handel, and a long phrase work. The efficient manner, becoming impatient, called four of them, toe-backward-and- never absent from them. Thus, the Simple Trios for Pipes” by Barnard; does not sound irascible in problematical. Already heel-out—rather, singei must be able to build temper the host breathless, is a programs patient over to the table and de- Thomas bringing the foot spirit of the organ repertoire is, on “Twelve More Simple Trios” by Bar- matter of self-criti- with fools, and Johnson has enlisted for heel-forward. In in all languages, and he must a slave-d manded to cism and experience. No set rules do to those know why he was not service in the United States Military the toe will naturally be closer the whole, more dignified—one would nard; “First Book of Tunes for Pipes” can more than who worked for back, merely sing them. him V ( being served. be given, because no two pairs of He man of his The host replied’ that Academy Band at for pedal and the heel further hardly think of performing jazz by Holst; “Five Pipe Pieces,” by Fer- must project, time had a greater* West Point— to the lungs have exactly along with his tones he was waiting for the company. guson. For treble the same capacity. ation for Johnson is Thomas Janossy’s legal from it. Similarly, in bringing dance tunes on an organ! These in- alto: “Quartets the aura of the land honesty, integrity away By trial and error, and the age of ‘Company,” stormed the singer learns SQUare dealing Handel, “De name. Few Americans know that s in the foot forward, the heel will be dividualities of the instrument carry Book I” by Margerison; “Quartets which he sings. And to achieve than Ha debbil, the feel of how much breath he this EvenTEven more I am de gompany. Bring on Hungarian the toe fur- over to the performer. The organist Book II and Book III” by Margerison. must he must remarkable in sounds like sh in English closer to the pedal and take for know it himself. Just as the the fa. de dinner any given phrase. The chief he moral prestissimo!” and that is the toe and heel needs first to love his medium of ex- Textbooks: “The Pipers’ Guild Hand- scientist must laxity that pre J pronounced like Y; and ther away. Again, point is know the previous his- VaHe If to take just enough. Culti- the opera Handel sometimes chafed under so, after pression so devotedly that his life book” by James; tory of the houses of his a struggle to make them of the same foot should (in repeated “How to Make and vate the problem he approaches, day is what Boswell scientific attitude in learn- called “the insolence of understand successions) play (regardless of his income!) would be Play a Shepherd’s Pipe” by Zanzig; so must the singer SCandal has that Janossy was pro- notes or white key , ing to recognize your know what lies wealth.” own limitations. ached to This he had the great artist’s nounced the pedal. They less rich to him if he were deprived “A Tutor for the Bamboo Pipe” behind every song. Try the name. No rom- Yonoshe and that Yonoshe at the same point on by The common scientific episodes usual distain for those problem of "white approach color the pages who were his was spelled J-a-n-o-s-s-y, the family should not go through the scram- of it. Then, by applying himself James; “Charts for Pipe Making” by and watch your progress of superiors tone,” among student raphy, nor did merely by birth, position in decided singers, is along the vocal road. he marry. to change to an English ap- bling motions of playing the toe on diligently to musicianship, he stands Cabrera. (All of this material may seems His society, or to have been wealth. He could and did proximation part of the pedal and a good chance of becoming a fine be procured through the publishers 272 the only wo of their Hungarian the forward ( Continued on Page 282) uame. Now, as musicians, the boys then jerking the leg back to play the organist. of The Etude.) THE ETUDE APRIL, 1942 273 — . ws. He should ,\vf melodies min anaii major interesting Progression The Ideal Symphonic Band harmonize these with the (jpt That Child’s Interest be able to to transpose three major chords, and (Continued from Page (Continued from Page 239) them to other keys. 240) understand the (Continued from Page 236) He should also structural differences be- o' V tonal and control, even though we do not re- be able to fol- be made without delay, else the goal the necessity for a revolutionary tween major and minor; Riemann in his low attempt to “dig A Definite ensemble formation and transpose some of perfect balance in instrumenta- alignment of the play, harmonize, out” the three note motif of and Practical System has learned or three simple one boy says to another, “I can the tion cannot be attained. of the genuine symphonic band can- two When melodies in minor; Students of the simpler movement from the i ALL Piano scale,” and inner voices or overemphasized. melodies within the five tones of the beat you in playing the G minor, and Investigate While we continue to recognize cer- not be overstated and to change major to This motif, by the way— and Teachers Should five-finger position, he should be the teacher uses the metronome as a form by as Harold tain basic similarities between the To deny the presence of this need is minor to major. He should Bauer once showed easily to decide the contest, the writer oc- symphonic band from taught how he may transpose speed gauge scales, and also symphony orchestra and band, we to prevent the pattern all major the fifth, will scales with the same curs as sixth and seventh Vol. 2— For Students with dynamic any one of them to the keys of other boys play minor scale, on must not forget the natural distinc- becoming the outstanding three forms of the Fair Knowledge . . *1.00 ball. notes at the opening of the finger positions by simply moving the interest with which they play He should first tions which make them separate part of the world musical structure any white or black key. 3—Advanced Students *1 .00 hand to the different positions, with They will work excitedly for a long movement of the same sonata. Vol. right. of rhythm, groups. The B-flat fleugelhorn and which is its present and future have an accurate sense idea of the do, of course, as the starting point time at this game which otherwise The progression evi- band properly bal- counting, but by feeling. He SHEFTE PIANO IMPROVISING B-flat double belled euphonium, for The symphonic of not by dently intrigued Chopin, for for each one. they might consider the drudgery he uses is the logical counterpart of should compose simple melodies, and instance, belong to the band although anced The ability to play chords comes practice. portions of it constantly. The ex- not simply harmonize them. they are strangers to the orchestra. the symphony orchestra, gradually. After be well amples of its complete Piano teachers the hand has ad- The child’s hand should use are more write us “sport” or curious outgrowth of the In addition the child should read should The first bridges the existent tonal a justed itself to the should rare. This illustration, special adver - five-finger posi- arched, the fingers and thumb from the for of instrumental organiza- fluently at sight music that is of the Using plan. gap between the French horn and older type tion, it is a simple matter for the be curved, and there should be free- Etude, Op. 10, No. 4 is complete, 0 grade of difficulty that the B-flat trumpet, and the euphon- tion. It is urgently desirable that the same type and WAIASH AVI. falter a child to learn the tonic chord, fol- dom of wrist and arm movement. A and there is a similar one in the MUSIC 21* SO ...When the timing cannot ruiLisMia inc. • CHICAGO fills similar the American Bandmasters’ Association he is able to perform well, and should ium in a gap between ... it is lowed soon by the dominant seventh, well demonstrated hand-position on Etude, Op. 25, No. 11. FORSTER split-second from the score from memory, with good B-flat tenor trombone and the bass take immediate and constructive teachers and and the subdominant, in easy inver- the part of the teacher is soon perform then that professionals, feeling, a number of small tuba. Not even the use of the F bass action in the matter of instrumen- turn to the musical sions that lie beneath the reach of imitated. dynamic Rebuilt Band & students alike free form built on scale and trombone should justify the exclu- tation, in order that the ideal of a world's standard of accuracy . . the child’s hand. Melodies harmonized For the first few months, technic pieces in Many such piano ji Orchestra Instruments sion of the euphonium’s heroic bari- genuine symphonic band can become with these chords are fascinating should be taught by the use of hand- chordal designs. ELECTRONOME solos of real loveliness are available. rebuilt- fully guaranteed tone voice. a vital reality. two-hand solos, easy to perform and shaping games. There are many de- Honestly (Trade Mark Re*. U.S. P«». OH. I Please specify instrument you are In- with Above all child must like his prices. B-flat cornet is generally rec- The writer finds concurrence to transpose. lightful games for the larger motions, your terested In and »e will quote The n i.i.ih.iinrc Kina Band Instruments. reapportionment ELECTRIC METRONOME When the child understands the about blackbirds, and falling apples, music. If he does not, either he is not ognized as the predominant soprano his views on drastic instrumen- of science’s smallest precision playing of simple melodies, and the and see-saws, as well as fascinating musical, and should be allowed to ex- voice of the brasses in the ordinary of the tonal balance and One motors ticks off supremely accurate structure of the three major chords, ones for the smaller motions of press his creative ability in some concert or military bands. Yet it does tation of the modern symphonic tempo from 40 to 208 beats per min- he should be able to hear mentally fingers and thumbs. games, other field, or he should be sent to BANDS ORCHESTRAS PINS not belong, in the writer’s estimation, band, and wishes particularly to The and — ute simply at the flip of a switch. Amaz- the proper use of these an alert teacher keeps acknowledge with deep gratitude a chords for the melodies and chords, are about who abreast AND RINGS — AWARD PINS to the symphonic type of ensemble ingly convenient; tempo changeable harmonization, and should be en- all the small hand can well achieve, of the times, and who can approach GIVEN BY MUSIC TEACHERS and cannot be substituted for the cordial statement in behalf of his with one hand and right while it is couraged to play and harmonize the so that technical exercises are not the piano from the child’s point of — SINGING SOCIETIES. B-fiat trumpet without loss of tonal theories by Dr. Howard Hanson, the running. No springs, no winding. melodies he sings in year written guarantee. school. A good needed in the first year’s work. view. Design Book free. Write to brilliancy. The trumpet is a distinc- eminent American conductor. In a Covered by 5 ear directs the harmonization, but Obvious drill is 2nd, 1939, unnecessary, and is C. K. Grouse Co. tive instrument, and its particular letter written November PRICE *12.50 the child soon discovers the technical likely to drive the child 18 Bruce Avc. Dr. said, “I also interested away from tone cannot be duplicated on the Hanson am See It at your local music store. Six-day Examples, such as near N. Attleboro Mass. tor details principle of harmonizing his melody the piano. the close of in your reaction to the modern sym- FREE trial at our risk. Send the cornet. of money-back offer. tones with chords containing Etude, Op. 25, No. 4, where the If your child has the gift of play- Practical Ear Training he contrabass phonic band, and I find myself in uses four Concerning the BB-flat same tones. ing by ear, help him to chords from the progres- understand trombone, a careful investigation considerable agreement with your FRED.GRETSCH mfc co. It is best for the child sion, and lapses into WM. S. HAYNES COMPANY to play in a the value of such ability, and to (Continued the Neapolitan Since HIS * use from Page 238) forth indications that theory about the proper balance of Makers ol Musical Instruments variety of keys sixths, are seems to bring from the beginning, it intelligently. Let him harmonize much more frequent. Flutes of Distinction BROADWAY, BROOKLYN. NEW YORK this particular instrument has not woodwind and brass instruments.” 60 so that he will not acquire a de- the melodies Schumann (1810-1856) he can play with the diet, As uses the STERLING SILVER—GOLD—PLATINUM particularly gratifying pendence a matter of fact, the imprac- yet reached that state of manufac- It would be on the C position. Children chords as he learns them. progression, either entire or In part, He may ticality of a great deal on requeit to get a response from the A. B. A., often exclaim of ear training often. Catalog tured excellence which would entitle with excitement, when then compose and harmonize his He makes it wholly his own arises from its use own, widespread interest in they of exercise ma- Avenue, Boston, Mass. it recognition in the modern sym- and to evoke first find a piece in the key of melodies, making small imbuing it with that 108 Massachusetts to complete terial which has noble, pas- of proper symphonic SWING PIANO! C, but little relation- band. The combination of the the problem (or free Home "What a funny piece. It doesn’t pieces. He may select sionate feeling, phonic Learn to plav real Swing Piano. Send pleasing coup- ship to so characteristic of business qfler have any black actual music. trombone, euphonium, and band instrumentation. Perhaps the Study Folder. TEACHERS: write for keys in it.” lets and quatrains, and create his musical thought. F bass CHRISTENSEN STUDIOS. 52 Kimball Hall. Cbltaao little 8, Finally a word The example, MARIMBA proving-ground would be the The bass staff should be taught should be said from PLAY A DEAGAN bass tuba, however, gives a solid best accompaniments. He may be stim- the beautiful second number of from about the relationship to practical in their organization of a symphonic band the very first piece, as it is just ulated to read the Easy to master ... foundation to the brasses new pieces from the ear training "Kreisleriana,” Intermezzo V, as easy to of the skills and tech- after the pattern suggested in this play from the bass staff as music, through the displays this always popular ... bass register. reward of learn- niques of quality. from the treble. If the so-called musical theory. BB-flat bass article, whereby actual demonstra- two are taught ing an occasional one entirely richly satisfying. As for the E-flat and from These should always at the same time, no confusion arises. ear imitation be regarded as the sousaphone types should tions could be made in public per- PROTECTS as parent or teacher the Ex. 13 Write Dept. E. tubas, Scales should be outcome of a long and formance. an outgrowth of plays it. continuous employed exclusively within the J. C. DEAGAN, be the music experienced. sequence of development. INC., attention the SHEET The formation Nature has richly Indeed they symphonic band, not merely for the To encourage this to endowed the cannot be of major scales by the addition handled satisfactorily problem, the writer submits herewith of creative child, and his efforts should on sake of their impressive appearance, la ti do, or two any other basis. Revised steps and a half-step, not be discouraged nor theory text- they were specially in- a series of Symphonic Band Charts MUSIC/ suppressed. books which but because to any five-finger position that There purport to embody LEARN TO TUNE PIANOS six ip number with suggested in- would be no great music to- vented for the band, and are apart — — already superior methods Our unique system of teaching the Art makes precision sounds do re mi fa so is an day if the and plans of or- strumentations for bands ranging in hand had not been allowed tuners. Modem facilities for personal Instruction and the ordinary E-flat bass tuba Beautifies Your easy ganization are extension from matter. When the child sees to create now appearing in of the method for those who prefer to utilize thirty-piece what mind and soul con- their spare time learning our symphony orchestra. size from a modest en- Music Room 'that his could siderable at home by the aid of used in the scale is made up of steps, numbers. Certainly exclusive teaching device, the Temperameter. Our hear. there school consider the “batterie semble to a fully equipped band of with the exception has been plenty operates under a license granted by the Michigan Let us briefly Only’ Tonkabinets of two places, Do not be afraid of room for improve- otate Board of Control for vocational education. one hundred instruments. These have this file drawer ar- to let your Write today for percussion section. At times rangement. where the child ment for the Illustrated Booklet, it s FREE. choir” or Keeps sheet half-steps come between hear older texts in music Instantly and eas- the piece he is to learn. this field BRYANT SCHOOL, Augusta, BB. overstress the charts and the comments represent mi How Michigan, 75 a bandmaster may ily accessible. and fa, and ti and do, or between St erf6Ct illustr else can he learn ations of the fruits of extensive research by Ends mixed-up stacks of three interpretation? No what T weight or importance of this choir to and four, and seven and eight, T 101131 materials •’dog-eared” sheets of artist hesitates to listen should the writer, coupled with correspon- music. Protects scale to another not detriment of the whole, and the against building becomes an interesting L ftfWe need the fraying, tearing or loss. perform a composition. Rather not exPect any dence with noted musicians and in- game. he radicalras V, tendency to preponderance here is are hand- Minor scales are also easily seeks betterment of IMPROVE YOUR PLAYING TONKABINETS to hear others that he results by strumentalists. somely crafted from finest taught by pattern. may changing the similar to the manner in which the When the child have some basis method of treating cabinet woods In beautiful of evaluation of the modern period styles. builds his own scale, he his subject and Brahms (1833-1897) has so ab- brass often overwhelms the reed and sees that the own performance. leaving the student’s r^anmnn Symphonic Band Charts They harmonize perfectly Let a child hear ap- sorbed reading and playing thru raenial- has number of proach this , sections. Someone with the most luxurious stu- black keys he uses estab- to it the basic progression that it touacular woodwind how a piece should be same as before co-ordination. Quick results. Practice effort dio furnishings. You'll be interpreted; If minimized. Used by 1. Thirty-piece Band lishes the signature. In other a student has appears constantly, throughout all famous pianists, teachers and sapiently remarked: “The percussion proud of the beauty: thrilled words, then expect a good aural students. No obligation. him to measure grasp of with the great convenience. the scale up as S1C his Broad well the spice 2 Flutes and Piccolos makes the signature, not e can take works. One of its most free uses Studio s, Dept. 62 -D Covina, California is the piece de resistance— nearly as possible to that the most crabbed WRITE FOR free literature the signature the interpre- ”Td .,f is in the d'orchestre 4 1st B» Clarinets showing many styles. We'll scale. tation. 11-organized theory exquisite Intermezzo, Op. which the skillful chef text and Clarinets send name of nearest dealer. To relieve the possible suggestion get a great deal 117, No. 2 (one of the most beautiful (the composer) adds to the musical 3 2nd Bb By the time the average out of it, because TONK MFG. CO. (Dept. 212) of the child has IS ft LEARN "SWING" MUSIC 3 3rd Clarinets mechanical in scale playing, Simply a short pieces ever written for the Too little percussion imparts Bb 1980 N. Magnolia Ave., Chicago had one year of piano re-formulation in 10 Of all instruments—make your fare.” scale lessons, he more ,fern n, of “ hot ” breaks, choruses, obbligatos, contests in classes, club general terms Piano) in emh«?nn!£eillshments.r 2 flat flavor. Too 1 Alto Eb Clarinet meet- should be able of what which the idea of the fifth figurations, blue notes, whole tones, etc. to the performance a to play, and to sing he alreadv ings, or at little home recitals, circle M0DERN DANCE ARRANCINC enough 1 Bass Bb Clarinet may appears and reappears. 0 , the dish. Just with words, finger tw s much spoils numbers, ’ quarle, *es and ensembles special choruses be employed to letter — nirwi. i IV — whip up interest. In the Ballade, he tln 8 lo olher keys—suspensions—anticipations tang, the appro- 1 Contrabass Eb Clarinet TONKah;nets names, and neutral Op. 118, No. 3, — . gives the proper syllables, many n,s—color effects—swingy backgrounds uses Write ti | the progression, in the first zest to the harmonic feast. 1 Oboe 274 ELMER priate ,t B. FUCHS ( Continued 37n Lewisi au Avenue. of the writer that (Continued on Page 278) for £*>heet on Page 276) Brooklyn,f N. Y. It is the feeling Alusic THE ETUDE APRIL, 1942 275 — ; has been strangely lovely work which An Interesting artists. The Popular Music a Place neglected by recording Has To-day’s and the vana- theme is ingratiating Progression ' Piano Accur with the best of The tions are in keeping in the Teaching Repertoire? The Etude is the composer’s output. (Continued from Page 274) welcomed; it is AMERICAN less imposing but is Schumann’s contrapuntal ( Continued from Page 243) one of part, with almost Bachian frankness, performances here are studies. The and, as the example shows, quite An Accordionist’s Defense Duty and polish, but models of discipline differently in the middle section. CONSERVATORY by feeling. beginning of this article. scribed as unique types, inspired somewhat lacking in depth of craftsmanship, to arouse Opus 48; Lotte 1. Popular music covers a multi- excellent Schumann: Dichterliebe, 2. even Wal- tude of types. Many of these are happiness, enthusiasm, and Lehmann (soprano) and Bruno e/’MUSIC and are ready physical response (in the case set 486. as passing as the wind ter (piano). Columbia As Told to ElVera Collins type as soon forgotten; but now and of the march and dance) . This Despite the fact that this set is not CHICAGO 56th SEASON the part then something appears, which of music, easy to detect on wholly satisfying, it is certain that is always good organ and all other branches of fully meets the classification of a skilled teacher, many will cherish it as a souvenir of Accredited courses in piano, vocal, violin, we shall devi- be nervous before an audience should and Dramatic Art leading to of “popular” but which also pabulum for the pupil. a great singer and two beloved musi- his month Music rule their first is of and Therefore, in conclusion of ate from our usual procedure remember the old that worthy attention cal personalities. The romanticism BACHELOR OF MUSIC those advice and instead number should be one which they DEGREE— acquaintance. Use it, by all 1. Acquaint the pupil with Schumann, as exemplified in this T of offering MASTER OF MUSIC intriguing rhythms that are so voices in a sincere plea have previously played in public on DEGREE— means. cycle, is of a delicate but definite shall raise our yet that they numerous occasions. The “jitters” 2. What pleases through a happy unified and new masculine sort. Because of this, few to accordionists. Under Authority State of Illinois of health in during the combination of melody and may have the virtue feminine singers can project these Many of our accordion colleagues will probably disappear future. Unsurpassed faculty of artist instructors, many of national and rhythm and whose title is not them to persist into the convincingly as a man. True, joined the armed forces, and playing of the opening selection so songs as have international reputation. 2. original harmonic color- vulgarized is apt to be of more Choose Mme. Lehmann sings exceptionally others are engaged in defense work. the second number will go smoothly. than passing interest. ing. For this factor, like that in several cases (notably are some of us, however, who The rule for the finale of the pro- preparation for concert, radio, opera and teaching posi- well, and Capriccio in There Thorough 3. be in popular above, will undoubtedly carry Also, in the C major, in students There may to-day’s thirteenth songs) as yet been called for duty, gram is to be sure to make an exit tions. Weekly recitals, lectures, school of opera, training the twelfth and there have not production something that as a forward and become a part of Op. 76, No. 8, is another de- for symphony orchestra, bureau for securing positions. her artistry is truly unforgettable, so the question arises, what can we while there is still a demand germinal idea may reach to the theoretical material for com- lightfully free use of the progression. but considered as a whole the essen- do while we are waiting? The answer encores. It is better to leave an levels of expression even as high position. tial feminine quality of her voice with music, music and audience wanting to hear more music is, “Fill the air SCHOOL as the classic model. One can 3. Melody. Taking this from the SUMMER MASTER seems unsuited to these songs. more music!” Let us do our bit in than to give it too much. detect these relatively rare in- negative side, always avoid that Coloratura Arias; Militza Korjus (so- keeping up the good spirits of our We also suggest that a group of Three Summer Sessions—May 14 to June 24, stances and make the most of suggestive or imitative factor prano) with orchestra. Victor set 817. by using our accordions to late popular songs be kept in re- 25 to August 5 and August 6 to September 16 them. They are really worth which emphasizes the groan, country June All of these records were made by cheer. Although we seldom hearsal, subject to requests. These while. drone, wail, or the sob effects. spread the soprano dozen suitable for Special Summer Courses in Public School Music, School of Acting, over a half or think of it, we all know that music should be played in a key To sum it all up, the world lives on They are merely incense burned Children’s Musical Training (Robyn System), Oxford Piano Course more years ago in Europe. The album its own, and singing. Some old time favorite songs an increasing repertoire of music, on the altar of vulgarity. has a potent power of contains The Carnival of Venice and defeated when it may also be used. There are quite a “not yet classical” but of high value 4. And, fundamental to it all, select no nation can be Member of the jVutionid Association of Schools of Music The Bird in the Wood (disc 13806) light opera selections by in that it contributes pleasure, has a song on its lips. Sad hearts number of “clean” titles; those that give ” “Dinorah Shadow Song and “Bar- Friml, Romberg, Send for free catalog. Address John It. Hatlstaedt, President awakens the imagination in terms of the imagination a wholesome — never won wars so let each one of Rudolf Sigmund ber of Seville ”—Una voce poco others, which our own day and custom, is in no sense send-off into the realm of the fa us do what he can to keep up the Victor Herbert and (disc 13807) ; and the Mad Scene for the accor- CONSERVATORY OF MUSIC vulgarly suggestive but is in short, fanciful. This is always very im- morale of our nation that it may go have been arranged AMERICAN from “Lucia” (disc 13808) . All except like Mr. Sousa’s marches, to be de- portant. forward to victory! dion, and these are always popular the Carnival Venice 573 Kimball Hall, Chicago, 111. of and the Mad Scarcely a week passes in any com- with audiences. Tangos, rumbas and Scene are sung The more these almost perfect mu- in German, which occasion arises boleros add zest to an accordion pro- sical munity but what some does not facilitate the most effective examples are studied, and the which calls for entertainment to gram; and let us not forget that the more we come to realize how one har- projection of the operatic arias. marches have been ar- raise funds for a branch of war work. most famous - JUILL1ARD SCHOOL OF = Memorable Music Recently Gounod: Faust Avant monic progression may be used to MUSIC= Recorded — de quitter ees talents ranged for the accordion, and these project completely Accordionists should use their lieux; and Offenbach: Le Contes d’ Hoff- different musical Ernest Hutcheson, President now as they have never used them make spirited opening numbers for (Continued, from Page 228) mann—Scintilfe diamant; Leonard War- personalities, the more our wonder before. not wait to be a program. ren grows at the possibilities of They should (baritone) . Victor disc 18420. musical called upon but should volunteer their All accordionists, young and old, JUILLIARD SUMMER SCHOOL Halevy: La Juive—Passover Scene: Jan expression. Then, if we compare this Minneapolis Symphony Orchestra, tral background, services for such benefits and grasp who are able to play a group of solos George A. Director and Victor engineers Peerce (tenor) with music of the past with the best of Wedge, will find the chorus and or- in plea to spread conductor has different have achieved most vital and realistic every opportunity to be of service. are included our chestra. Victor disc 18401. our present output, we can hardly ideas about this music at this time. reproduction. They should remember that the ac- cheer with their instruments. Even July 7 to August 14, 1942 Mr. Warren sings with a healthy fail to ask ourselves the question: Whereas the earlier version was Chopin: Waltxes (Complete) children can be coached on simple ; Alexan- cordion is a portable instrument Accredited music courses leading diplomas, exuberance if not with great subtlety Are the harmonic experiments of to- to teacher’s straightforward and glittering, this der Brailowsky little programs for benefits. Lady (piano). Victor sets The which can be taken many places certificate, and Bachelor of Science Master aria from “The Tales of Hoff- day leading toward deeper musical and of Science one is languishing and sentimental. 863 and 864. accordionists will delight in knowing mann is where pianos and other instruments degrees. Instrumental and vocal instruction for beginning The interested particularly impressive. Mr. expression—or away from it? listener, before buy- Few among modern Chopin that they have an opportunity to use inter- Peerce has are not available. and advanced students, repertoire classes, methods and ing, might well vitality and power, al- make comparisons preters, can compete with their talents as a patriotic contri- Brailowsky though there are materials, public school music, theory, composition, and with the Rodzinski and Walter ver- for disturbing evi- discipline and facility of expres- dences Suitable Programs bution. sions of these at times of unsteadiness musicology. Department for high school students. delectable waltzes. sion. The question of in rubato, so es- his singing. Notes Perhaps a little discussion about It seems apropos at this time again Rachmaninoff: Concerto But his is a full-blooded on Leger Lines No. 1 in F- sential to Chopin’s music, provokes accordionists about the Special one-week Unit Courses in all branches of music performance here of programs will be helpful. Accor- to remind sharp minor. Op. 1 Sergei an effective ; Rach- endless discussion and opinion. op- and music education. If one eratic scene. dionists who are scheduled to play proper care of their instruments. maninoff (piano) and Philadelphia £,#. CLrL WIcTIJ sees eye to eye with Brailowsky on conservation Catalog on request Orchestra, at benefits or to entertain soldiers at These are the days of direction of Eugene Or- his use of rubato, which Many students have difficulty in mandy. incidentally the various camps should be sure to in all things, and this may apply 120 Claremont Avenue Room 122 New York, N. Y. Victor set 865. we have always admired, learning the notes that occur on leger one will un- arrange especially to our accordions. No This concerto, first written an appropriate program. It in 1891, doubtedly agree that these are lines—a line above or below the musi- the World of Music is well to that the doubt many of our readers possess was revised in 1917. It lacks the cal bear in mind best all-around performances of the staff. I have found that, as soon wonder melodic distinction, outside ( Continued from audience is a diversified one, and the very fine instruments, and we of the waltzes on records to date. Modern Page 220) as a student learns that there are INCREASE YOUR occasion calls if they fully realize and appreciate haunting main theme of the first for a fast moving, SEE it, recording places this set in the fore- four lines or four spaces involved in INCOME ! movement I> colorful group their value, especially at this time. —one of the composer’s front, SFUj’ com of selections. Variety Easily Substantially but the student will P°ser of Pack Up an octave, it simplifies the matter of — - Pleasantly do well Your TroublesT these in- TRY IT. best, which is to be found in his sec- to m Your Old Kit should be the keynote of the pro- Under present conditions — Take Subscriptions for — contrast and study the effects Bag the leger lines. A note is added ob- marching song of which an You too ond and third concertos. Indeed, if World War I, died gram, both from an entertainment struments could scarcely be dupli- THE ETUDE MUSIC MAGAZINE tained by both Cortot and on space is the octave line will want Goldsand February 10, m of a note on a the later concertos are unfamiliar, Brighton, England. standpoint and to the versatility cated at their purchase price; in fact — Write jot particulars — to play it. in their recordings of these four lines show same below or above this note; 1712 CHESTNUT ST. PHILADELPHIA one might be prompted to remark works. of the performer. None of the selec- there might even be a doubt of their PA. AUGUST DAMM, and also a note line the New York that this work widely known on the is was indicative of a Schumann: sician, mu- tions should be long. Difficult clas- being duplicated at any price. and Andante and composer, octave of Philadelphia promisingly Variations, and arranger, died a note in the space four cultivated talent who Opus 46; Boston in sical compositions which tax the Let us review a few rules for the Team to play the Agents and Etude in the Form of on February 22 lines above a , at the or below There had not developed as age of 9 this note. ACCORDION BY MAIL) PIETRO DEIRO yet any pro- Canon (arr. Debussy) He was bom in technic of the performer are best proper care of accordions for the ; Bartlett Halle, is always ACCORDION phetic revelations. and German* a involvement of four lines The composer is Robertson came to America reserved for have be- HEAD- (duo-pianists), Columbia about seventy^years to every some other occasion. All benefit of those who may at his pianistic ago. octave. QUARTERS best, Ormandy pro- set X-213. During the early numbers should careless and also for those who has years of the Boston This be thoroughly re- come tten two—tried 46 Greenwich vides him with a magnificent Symphony is actually a very simple solu- Correspondence orches- The Orchestra hearsed result*. Ave . N.Y.C. “Andante and Variations” he was a flute tion, so they can be played with have not been previously instructed intee is a Player and, when is information Write for with that organization. put into practice, of self-assurance. on this subject. The first rule is to HEAOQUARTERS Free Catalog 276 great aid to the student. York City rard Ave., Phi la.. CMC INC. Accordionists who are inclined (Continued on Page 280) Pa. ACCORDION CO.. to 43 W. 16th St.. N. V. C. (Bet. 5th & 6th Ave? ) THE ETUDE APRIL, 1942 2 77 Band The Ideal Symphonic 'retted Instruments Page 275) Consiertiatorp of jflucsic (iContinued from Cincinnati JOHN A. HOFFMANN, DIRECTOR 4 French Horns Coste, Auspices Cincinnati Institute of Fine Arts -yfnother 1 Bassoon Napoleon Under 2 Bb Fleugelhorns Saxophone Affiliated with University of Cincinnati 1 Eb Alto Trumpets 3 Bb Guitarist and Composer Association Schools of Music OF SII EHWOOD'S 2 French Horns Institutional Member National 2 Tenor Bb Trombones 1 B» Fleugelhorn niSTINGl'ISHED 1 Bass F Trombone 2 Bb Trumpets 2 Baritone Bb Euphoniums NOBLE CAIN, nationally prominent choral ARTIST-TEACHERS 2 Bb Tenor Trombones hen we look back into of the revolutionary Marat. Music 1 Bass Tuba Eb Sousaphone countless compositions for Euphonium guitar, we helped to form bond of friendship conductor, whose 1 Baritone Bb BBb Sousaphone the history of the a Sousaphone 1 Bass Tuba ensembles have brought him wide- 1 Bass Tuba Eb are unable to escape the fact between these two men; and it was a choral 1 Harp W visiting member rendt 1 Harp with one exception, France has few moments after listening to an spread popularity, will be a SlseHarthanA 1 Tympani that 1 Tympani ’ produced any greatly gifted impromptu guitar recital by his friend Conservatory summer fac- 2 Percussion not of the Cincinnati 1 Percussion true, however, that Gatayes, that Marat was mortally Renowned as u concert unit oratorio singer guitarists. It is ulty from July 20 to 31 inclusive. For the vocal in the United Stairs, Europe, and South Band 5. Eighty-five-piece Band French musical public has always wounded by the Frenchwoman Char- 2. Forty-piece the supervisor, and of value to the instrumental America. Teacher 0 many successful sing- 6 Flutes and Piccolos out a welcoming lotte Corday. / 3 Flutes and Piccolos been ready to hold supervisor, an intensive course (accredited) ers. Honorary Vice President oj the School, 2 Clarinets figure in the It was not, however, until the dawn 4 1st Bo Clarinets Eb hand to any outstanding and Artist Teacher oj Voice. Clarinets years of nineteenth century that the will be given daily from 1:30 to 4:30 P.M. 4 2nd Bo Clarinets 10 1st Bb guitar world, and for many the Clarinets of France to realize divisions: 4 3rd Bb Clarinets 8 2nd Bp Paris was the magnet that attracted people began The course will combine two Instruction from eminent nrtisl-teacherg is available to talented students Clarinets 8 3rd Bb Clarinets guitarists of Spain, Italy that the guitar was an instrument Noble Cain from the beginning of their studies at Sherwood. Degree courses in all in- 2 Alto Eb the great 4 Alto Eb Clarinets worthy of serious study. Paris now devices. For the stadium and struments, voice, public school music, conducting, theory, and composition. 2 Bass Bb Clarinets and other countries. 1. CHORAL LABORATORY. Chorus to be with training military formations and Clarinets high school seniors and the field bands, for U. S. Shorten nil's low-cost Summer Courses, June 22-Aiigust 1. 1 Contrabass Eb Clarinet 4 Bass B b Llobet, pupil of Tarrega, experienced an influx of the great made up of Enroll now for Miguel units. adult members enrolled in this class, with bands in R.O.T.C. Ask for all-expense estimate. 412 S. Michigan Avenue, Chicago, Illinois. 2 Oboes 2 Contrabass Eb Clarinets in Paris for many years and be- guitarists and composers, whose lived daily rehearsals of two hours' duration. ORCHESTRA, conducted by CHARLES F. 1 Contrabass Clarinet forever in guitar his- 2 Bassoons BBb came a favorite among the celebrities names will live This class will embrace all applied work STOKES, director of music for 13 years. choral numbers for per- 2 Eb Alto Saxophones 3 Oboes time. He gathered around him tory. These were the days when from in preparing Western Hills High School, Cincinnati, and of that will be dis- formance. Choral problems in charge of instrumental division of Con- School 3 French Horns 1 Cor Anglais Alfred Cottin, Luigi Italy came Giuliani, Carulli, Carcassi usic such men as cussed, as well as demonstrated, also in- servatory’s Department of Music Education 1 Heckelphone and selection of INSTITUTIONAL MEMBER OF NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 2 Bb Fleugelhorns Mozzani, August Zurfluh, David del and Castellaci; from Spain, Aguado terpretation, repertoire in Public Schools. All students of orchestral elementary, intermediate, 2 Bb Trumpets 3 Bassoons renown, Sor. The recitals of these artists material for instruments have the opportunity of playing Castillo and others of lesser and glee clubs junior and senior high school, in summer orchestra without tuition. Nominal 2 Bb Trombones, Tenor 1 Contrabassoon later by Emile Pujol, also a created unbounded enthusiasm for and a capella choirs. JUILLIARD SCHOOL OF MUSIC followed fee if credit is desired. 1 Baritone Bb Euphonium 2 Alto Eb Saxophones wife, Matilde the guitar and the publishers were Tarrega pupil, and his 2. SURVEY OF CHORAL LITERATURE. COMPLETE PUBLIC SCHOOL MUSIC President 1 Bass Tuba Eb Sousaphone 1 Tenor Saxophone ERNEST HUTCHESON, Bb Cuerras, who through their concert kept busy supplying the ever increas- A lecture class 1 hour daily which will DEPARTMENT, under direction of SARAH dwell on the development of choral music YANCEY CLINE. In addition to the Music 1 Harp 1 Baritone Eb Saxophone and teaching activities popularized ing demand for the music from the from earliest times to the present will Education courses offered at the Conserva 1 Tympani 1 Bass Bb Saxophone INSTITUTE OF MUSICAL ART the guitar. When Andres Segovia ar- pens of these masters. discuss the larger forms. Masses. Oratorios tory, Miss Cline will give an intensive one- 1 Percussion 5 French Horns Cantatas and outstanding examples week (accredited) from June 29 to GEORGE A. WEDGE, Dean rived there about fifteen years ago, In this atmosphere grew up the and course will analyzed. The style 4:00 at Uni- 3 Bb Fleugelhorns welcome; one who was destined to become the of choral music be July 3, from 1:00 to P.M., the 3. Fifty-piece Band he received a tremendous of famous composers will be used. versity of Cincinnati. This course is identified Individual vocal and instrumental instruction. Classes in Theory, Com- 3 Trumpets 4 Flutes and Piccolos Bb and he enjoyed the greatest triumph only French guitar virtuoso and com- as Mus.Ed. sl69.2, “Methods of Exploring CHORUS. In addition to Noble Cain’s inten- position, and all branches of music education. 3 Bb Trombones, Tenor ranked with the Music for Young People". The University will 1 Eb Clarinet of his career, when he gave a recital poser worthy to be sive 10 day course outlined above, a class also offer a course in “Junior High School Courses leading to diploma and B. S. and M. S. degrees in instru- 1 Bass F Trombone other time. of Choral Voice and Diction will be offered 6 1st Bb Clarinets before an audience that filled the greatest of this or any Methods in Music Education” (Mus.Ed. mental, singing, and under the direction of JOHN A. HOFF- public school music departments. 4 2nd Bb Clarinets 2 Baritone Bb Euphoniums Paris opera house, Napoleon Coste was born on June sl69.3) under Lilia Belle Pitts, from June 23 auditorium of the MANN during the 4 weeks from June 2 Bass Tubas to June 27. Further details on these courses Catalog on request. 4 3rd Bb Clarinets Eb Sousaphones voice of the 28, 1806, in a village of the depart- 22 to July 18. This will consider the the first time that the will be furnished by the University of Cincin- 1 Bass Tuba BBb Sousaphone technical problems of voice production, Room 2 Alto Eb Clarinets guitar ever had been heard within ment of Doubs. His father was an nati upon request. 122, 120 Claremont Avenue, New York breathing, tone qualities and diction. 2 Bass Bb Clarinets 2 Harps the imperial army and ex- the walls of this venerable institu- officer in Vocalises for chorus will be introduced. ACCELERATED COURSES FOR FRESHMEN. 1 Tympani 1 Contrabass Eb Clarinet tion. pected to train his son for a military This class will also include Choral Con- Planned to assist young men and women 3 Percussion ducting with participation in directing toward advanced curricular standing, special nORTH PARKXOLLEGE 1 Contrabass BBb Clarinet It was during the sixteenth century career. However when the youth was the chorus by the members of the class. classes will be offered in the fundamental 2 Oboes -SMOPOLITAN that the guitar first became known eleven years old, he contracted a Daily classes, 1 hour each. theoretical courses—harmony, sight reading E. Clifford jStckpol 6. One-hundred-piece Band SCHOOL 1 and ear training—during two consecutive Toren, OF MUSIC Cor Anglais in France, when the names of two serious illness and after his recovery 50th SHIRLEY 8 Flutes and Piccolos To meet the additional needs of music summer terms of six and five weeks each, Director ( ) GANDELL. M.A., Oxford 2 Bassoons realized that a military career JMuSic, Year University, Enoland, President. 2 Eb Clarinets guitarists, Adrien le Roy and Jean it was supervisors in service throughout the aca- thereby enabling such students to complete 38th year. Accredited. Offers courses 2 Alto Eb Saxophones demic year, the opportunity of combining the the first year's work in or all three in all out of the question. At the age each branches of Music. Certificates, 12 1st Bb Clarinets Antoine Baif, were frequently men- was diplomas and degrees. Desirable board- above courses with profitable study for credit courses. Trains students for active musical careers in 1 Tenor Bb Saxophone to ing accommodations. Located in down- tioned in connection with private of six the boy had already begun their chosen field. Progressive faculty. Conserv- 10 2nd Bb Clarinets value toward Graduate and Undergraduate town musical center. 3 French Horns FOR THE PRIVATE AND CLASS TEACHER. atory occupies own building. Piano, voice, guitar, and since the mother degrees is available in all departments of Ap- Box E, 306 8. Wabash Ave., Chicago. 10 3rd Bb Clarinets musicales. Somewhat later we meet play PIANO NORMAL, embracing the aural ap- violin, cello, reed and brass instruments, church 2 plied Music and Theory, Music Bb Fleugelhorns performer on this Education proach to piano playing and choral music, theory, music education and 5 Alto the name of Francesco Corbetti, an was an excellent with special emphasis 2 Eb Clarinets (public school music), Dramatization and expression. Fall semester begins September 16. Bb Trumpets him in the development of ear training as regards Elude Advertisers Open the Doors to Real Italian guitar virtuoso, who gave con- instrument, she now encouraged Foreign Languages during 5 Bass Bb Clarinets pitch, phrasing and nuance and correlated in Write E. CLIFFORD TOREN, Dir. 2 Tenor Bb Trombones Opportunities certs in his Spain, to study it seriously. In the mean- the use of the fingers, 3201 Foster Avenue, Chicago, Illinois. 2 Contrabass Eb Clarinets native land and hands and arms for 1 Bass F Trombone family had moved to Valen- 6 WEEKS reproducing what is heard. Children begin 2 Contrabass BBb Clarinets and who, after his arrival in Paris, time the 1 Baritone Bb Euphonium ners and at advanced levels will demonstrate - in this city Coste, when from June 22 to August 1 3 Oboes became a favorite at the French ciennes and the approach and MILL1KIN CONSERVATORY OF MUSIC 1 Bass Tuba Eb Sousaphone the results obtained from BALDWIN-WALLACE eighteen years old, began to this method. DECATUR, ILLINOIS 1 Oboe court. A few years later Corbetti he was SPECIAL SUMMER FEATURES Graded lists of teaching mate- 1 Bass Tuba D’Amore CONSERVATORY OF MUSIC BBb Sousaphone his first rials will be furnished and discussed. Daily Oder* came to London performed be- teach the guitar and gave thoro training in music. Courees leading to 1 1 Cor Anglais and For Music Supervisors and Educators BEREA. OHIO (suburb of Cleveland) Harp classes (accredited) 6 weeks, conducted by Bachelor of Muaic Degree. Diploma and Certifi- also appeared as Affiliated with 1 fore Charles II of England and sub- public recital. He Ilona Voorm. cate in Piano. Voice, Violin, Organ, Public School a first class Liberal Arts College. 1 Tympani Heckelphone BAND DEPARTMENT, under direction I’"ur and five year Music Methods and Music Kindergarten courses leading to degrees. Facility the Phil- Methods nr sequently received an appointment soloist at the concerts of FRANK SIMON, conductor of the famous Artist Teachers. 8end for catalogue or informa- 2 Percussion 3 Bassoons 76th SUMMER SESSION Bulktin nni frtt upon request tion to: in the harmonic Society. When, in 1828, the ARMCO Broadcasting Band and past presi- W. ALBERT RIEMENSCHNEIDER. 1 Contrabassoon Queen’s household. ST. CLARE MINTURN, Director Dean. Berea. Ohio dent of the American Bandmasters’ Associa- 6 weeks—June 22 to August 1 4. Sixty-five-piece In Luigi Sagrini, came Band 1 1686, there were published in guitar virtuoso, tion. Daily rehearsals and weekly concerts. Contrabass Ef> Sarrusophone 5 weeks—July 28 to September 1 5 Flutes and Piccolos Paris give several con- 2 Alto Eb Saxophones some new compositions by to Valenciennes to (for Freshmen only) 1 BAND CLINIC, with FRANK SIMON, in Eb Clarinet Robert was so impressed with the For students pursuing advanced study and 1 Tenor Bb Shxophone de Visee, who had been ap- certs, he which student conductors participate in re- 8 1st professional training. Bb Clarinets pointed guitarist of playing of young Coste, that he in- hearsals and public concerts. Special em- 1 Baritone Eb Saxophone to the Court For students desiring 6 2nd Bb Clarinets phasis on baton technique, repertoire, inter- degrees of Mus.B. and 1 Louis XIV. This artist great vited him to take part in his con- Mus.M. Bass Bb Saxophone enjoyed pretation, contest materials, etc. Frank Simon 6 3rd Bb Clarinets For students desiring 5 French popularity for a number of years, certs and together these two artists will also be available for a limited number of degrees B.Sc. and 3 Alto Horns M.Ed. in Music Education Eb Clarinets both as performed the beautiful “Variations lessons in cornet and trumpet. —Public School 3 Bb Fleugelhorns performer and composer. Music (in affiliation with the University A.. 3 Bass Bb Clarinets of 4 Bb Guitarists of a later period were Concertantes, Op. 130,” a duo for two BAND FORMATION, by MERRILL VAN Cincinnati). 1 Trumpets Contrabass Eb Clarinet PELT, director of University of Cincinnati Normal methods and stimulating courses for 3 Tenor FranQois Campien and Labarre guitars, by Giuliani. / Engravers 1 Contrabass Bb Trombones Band and director of instrumental music in private teachers. BBb Clarinet Trille, in 1 Bass also Antoine Lemoine, who is Two years later we find Coste two of Cincinnati’s high schools. An exposi- Courses offered in every ¥ AND 3 Oboes F Trombone branch of musical best tion of maneuvers, floating designs and stunts instruction. 2 Baritone known as the founder of the Paris, where in a short time he be- LITHOGRAPHERS 1 Cor Anglais B-> Euphoniums 2 Bass Tuba publishing house of the same name, came famous as soloist and teacher. Write to us about anything in this lin 3 Bassoons Eb Sousaphones Write for Summer Catalog 2 and J. Meisonnier, also turned Here he also came into personal con- SEND FOR 2 Alto Bass Tuba BB"t> Sousaphones who ITEMIZED PRICE LIST Eb Saxophones to 2 Harps the publishing of music. The name tact with the great masters Sor, c,n n afl 1 Tenor Bb Saxophone Dept, e Cincinnati Conserbatorp of the Carcassi, of jElustc o h io 1 Tympani guitarist, Pierre Antoine Aguado, Carulli and and 1 Baritone Eb Saxophone Gatayes, is ( Continued on Page 280) 278 3 Percussion closely linked with that THE ETUDE APRIL, 1942 279 : 2 ( — Defense Duty Ail Accordionist’s Melody with Continued from Page 277) ( Flowing Accompaniment ^==1 OF MUSIC k — \ (2 fi JSC SCHOOL of order. The mechanism is EASTMAN when out ( Continued, from Page 265) 4-VUJ accordion in its case keep the which delicate, and we urge accordionists use. Instruments it is not in their instruments to expert of cha1 to take carelessly placed upon free, pliant body. Plenty of time later are being repair men. The tuning of reeds always in danger of ^ to fuse with these the more subtle of Rochester tables are should be intrusted only to men who The University permanently injured. freedoms of the spirit! dropped and this line of work. Reeds sllN< dust and specialize in MUSI CAL T raii gather The rest of the study is routine Howard Hanson Director Furthermore they , an. may be permanently injured by im- moisture from the teaching. The left hand offers a valu- TECHNICAL SKILL AND PROFICIENCY Raymond Wilson, Assistant Director dirt, as well as the same token, DEVELOPS to ac- proper tuning and’by heat is injurious able compendium of finger patterns Excessive reeds which never before RCA Victor has released seventeen com- small leather other Eastman School broadcasts of “Mile- cordions, as it dries the helped by a slight rolling arm to “oil by American composers re- the sounded better than mediocre may stones in the History of Music” heard positions which cover the vents of ’em up.” The difference between a Eastman-Rochester Or- strips greatly improved in tonal quality over CBS Network each Sunday, corded by the them from be reeds, and thus keeps rotating forearm and a rolling arm chestra, Dr. Howard Hanson, Conductor. tuned by men who have made 11:05 A.M.-11 :30 A.M., E.S.T. also softens when functioning properly. It is obvious. Slight, invisible rotary of accordion work their to mount this branch include: beeswax which is used exertion is for each Eastman School Publications by members of the faculty the Accordionists should forearm used block. The life’s study. ConiPWatotij the reeds on the reed tone; rolling arm is used over the never think of their instruments as pre- “Answers to Some Vocal Questions,” T. Austin-Ball; direct rays of the sun should possessions, which must be entire measure pattern. Avoid low as they may cious of Organ Playing,” Harold Gleason; fail upon an accordion ojJtlubic. wrist; either keep it level or slightly “Method the care they deserve. to get out of given of Counterpoint,'' Gustave Soderlund; cause the celluloid raised. Often practice left hand with- “Examples called Pietro Deiro will answer questions SPIRITUAL EMPHASIS shape, a condition sometimes A Division of Urenau College Karl Van Hoesen; playing. out holding that first tone. Here are “Handbook of Conducting,” about accordion Letters Distinguished fac- All branches of music. PUTS MELODY IN THE SOUL “buckling.” Preparation for a few useful combinations: TUNES THE HEART AND Methods for Double Bass,” Nelson Watson; should be addressed to him in care ulty. Splendid equipment. “Modern Accordions should not be exposed careers as teachers or performers. Elvera Wonderlich. to of The Etude, 1712 Chestnut Street, Symphony orchestra. Choral club. Military “Chorale Collection,” to dampness for this is harmful band. Vested choirs (a eapella and accom- Ex. vocal and string ensemble of the Philadelphia, Pennsylvania. panied). Smaller the complicated mechanism units. Performance of two operas. Frequent address: school music. Course For further information even cause the student recitals. Public instrument and mav in conducting. Opportunities for hearing concert artists. H. Secretary-Registrar Moderate rate for board and room in ARTHUR LARSON, Accordion Questions 350-acre campus. accordions at the beaches or on boats College Dormitory on School of Music CECREES: B.Mus. and A.B. with major in music. Eastman place them in should be careful to For catalog address: Private instruction in voice, piano, Rochester, York Answered , New the case as soon as they are through BRENAU CONSERVATORY BOX M 4 GAINESVILLE OEOWOIA playing. Dry cold will not harm an Q. 1 am fourteen years old and play violin, pipe organ, art, and speech the accordion. Also have had six years of accordion, but it does cause the reeds — It II.I.1ARD SCHOOL OF MUSIC piano work. I play in a forty piece ac- without additional cost above to make a peculiar sound as though problem is this. I I Ernest Hutcheson, President instru- cordion band. My start something were loose in the 1 to high school this fall where they have enwooa regular academic tuition ment. This sound will disappear as Courses for Piano Teachers a ten piece orchestra. / am told that 1 up. soon as the reeds have warmed accordion in orchestra, to be given by cannot use my an CONSERVATORY OF MUSIC If given the proper care, accordions as there are no accordion parts. Is this Division of L indentcood Colleo> will last almost indefinitely, as most correct?—M. D., Kansas. for Women. Thorough prepara- BERNICE FROST tion for careers in music under Repeat all the above four and eight of the wearing parts can be replaced. B.M. A. We urge you to insist upon getting in a distinguished faculty. at the degreo, certificate and diploma times. It is a well known fact that good the school orchestra. The experience will in piano, voice, violin, organ, harp, other instruments, pub- Nos. 5, 6, and 7 are fine for stretch- JUILL1ARD SUMMER SCHOOL reeds continue to improve the more be good for you, and the orchestra will lic school music, theory, har- strengthening that pesky Bob College is located in the lovely Ten- they are played upon. The back of mony. history and appreclat Ion ing and Jones George A. Wedge, Director benefit by the addition of an accordion. If of music. Well-equipped stu- fourth the bellows, which usually wears first, “third” interval between the no regular accordion part is provided, you dios. beautiful buildings on nessee Valley section of the South and stands July 6th to August 14th, 1942 can be relined at a minimum ex- can play from the piano or violin part. 138 acres near Rt. Louis with and fifth fingers. Adapt the exercises its frequent concerts, operas, 13 New York, N. Y. pense, and even this can be saved if The orchestra teacher will mark in the other musical attractions. For to basses of Measures 3, 5, 6, 8, 120 Claremont Avenue catalog ami view h^k. write without apology for the ''oldtime’’ religion and chord accompaniment for you. as it can 14. a player is careful to see that his Harry Morehouse Gage. Pres. and be taken from the piano part. We re- clothing has no buttons or buckles to Box 1242, St. Charles, Mo. The original of the study has been the absolute authority of the Bible. Bob Jones ceive so many letters like yours that we rub against the bellows as they are cut to fit into a single page, and to wish we could make publishers of school College of Fine Arts manipulated. INSTITUTE OF avoid too many different technical College is accredited by the Department of Summer Study in New York orchestra music realize that an accordion flETDATT Many accordionists ruin their in- problems. Syracuse University part is needed. A little insistence on the lie 1 Kill 1 MUSICAL ART RICHARD McCLANAHAN struments by taking them Chairman Education of the State of Tennessee. Credits Bachelor of Music apart to part of school orchestra directors would DR. FRANCIS L. YORK, Matthay representative. Degrees Master of Music try to find the trouble when they are help. DR. EDWARD B. MANVILLE, President Schools. are accepted by leading graduate schools, uni- New technical methods should first be Piano, Piano Teacher Training, Voice, Member of the National Association of Music Founded Dramatic Art. learned in connection with the simple 1897. All branches of Music and Violin, Organ, Cello, Harp, Composition, School of Sacred Music. Faculty of 70 artists. Accredited " elements of music, gradually built up Pupils Public School Music Teachers' Certificates, Diplomas and Degrees. “Dr. 1.0 for Your versities, and conservatories in all sections of into a vocabulary of performance. H. B. All the advantages of a large University. Special MANVILLE. Business Manager 52 Putnam, Detroit. Mleh. dormitory, with 35 practice pianos for women IB, St,erlurne the country. RICHARD McCLANAHAN'S music students, 5 pipe organs Napoleon Coste, Guitarist and Composer JU SUMMER SESSION—July 6 to Aug. i4 Foundation Course In the Matthay Principles of Piano Greensboro College Technic is useful either players For bulletin address to or teachers. ( Continued from Page 279) “Doctor I.Q.” solved for me the 12 lectures—facts, principles, procedures, materials. Dean H. L. BUTLER SCHOOL OF MUSIC Private lessons, playing-classes, and two lectures on high school 3 Greensboro, N. C. problem of teaching my A wide variety of courses offered includes: ‘•The Language of Music”. Room 5, College of Fine Arts Syracuse, realizing some of Mark Hoffman, Dean little history of music along Six week*—July 6 to August 15 N. Y, his shortcomings compositions and was awarded the pupils a Private lessons any Conservatory advantages with small college atmosphere. at time. he now devoted most of their piano lessons. four-year college course . . . four-year high his time to second prize among thirty-one en- Distinguished faculty. Offers B.M. and A.B. in music with Particulars from supplement his with majors in piano, organ, voice, violin, public school meet knowledge of har- trier, of These high school students 806 Steinway Building, the first prize being awarded to music, etc. Member National Association Schools New York City school course . . . four-year secondary ele- BOSTON . COLLEGE OF mony and composition. In Write for bulletin and catalog. to play their pieces, and Personal 'phone: Kingsbridge 9-8591. UNIV 1840, he the Austrian guitar virtuoso, J. K. once a month Thorough preparation for careers n/l began to publish some of his history (and to eat). 1 " 1 1 ^ I C*. works, Mertz. Coste published about sixty absorb some in music. B.Mus., M.Mus.Ed. and ^ ^ mentary teachers’ course . . . two-year elemen- A M. degrees, and diplomas. Voice. Piano. Organ. which however did Vacation While You Work to the study of the not bring him compositions, all characterized by an When it came Violin. Cello. Brass. Wind and Percussion instru- great ments. Public School Music. Theorv. History of pecuniary success, since it difficult to get them at this original HIAWATHALAND CHORAL CAMP evening, was tary teachers’ course . . . SINGERS -:;r fWiene Music. Musicology, Composition. Church Music. charm and vigor. The best one-year business and Apim*ntlre Thontre—Now Casting principals & chorus for Distinguished faculty, including many Boston time the piano began to grow in A Master Choir School Certificate Issued research beforehand; in light & heavy opera. Broadway, also Summer Theatre pre- Symphony Orchestra pub- known of his works are “Grande — to do any sentations, Producers Scouts Invitcn. members. Cultural opportu- A nities lic (Also Separate Screen Youngsters’ Dept.) of Boston. Attractive dormitories. Catalog. favor; this caused the HENRY VELD atten- Alfred popularity Serenade, fact, they did not pay much secretarial course. For terms. Apply Sec’y Suppe, 1780 B'way, N. Y. II. Meyer, Dean. 53 Blagden St.. Boston. Op. 30”; “Concert Rondo, Conductor Faculty Mass. of the Augustana Choir, on guitar to decline. I had to say until we Op. 12”; “14 Pieces, Op. 51”; “12 June 21 July 2 Inc. tion to what A Revealing New Book in Two Parts — The music of Coste shows Write pro- a decided Vaises, Op. 41”; “Le Livre d’Or, Op. Phil DeGraff, Sec’y, Box 2-A, Trout Lake, Mich. began to copy the popular quiz PARAGON OF RHYTHMIC COUNTING influence of Ferdinand Sor. His they really FOR ALL RHYTHMS RIVERDRIVE SCHOOL OF MUSIC & ARTS com- 52”; “Andante & Minuet, Op. 39”; grams of the radio. Now WRITE FOR ILLUSTRATED LITERATURE AND CATALOGUE TO positions, however, 84 Riverside Drive reveal a mastery Valse concentrate. PARAGON OF HARMONIZING Favorite, Op. 46”; and “25 Con- Normal Classes for Piano Teachers New York City of invention and a thorough applied to knowl- cert Etudes, Op. 38.” REVISED DUNNING COURSE OF MUSIC STUDY After the talk on Bach, for in- DR. BOB edge of JONES, JR. FOUR KINDS OF HARMONIZATIONS FREDERICK G. KOEHLER, Director counterpoint. In the Mrs. Laud German Teacher inter- Coste died in his land, Phippen, Normal stance, we had a “Doctor I.Q.” pro- Send for explanatory Dormitories national native Pre-school through High School age. Musicianship, circular music contest harmony, SUMMER SESSION organized etc., preparing for College entrance. when, with a pile of gold- EFFA ELLIS PERFIELD February 17, 1883. He a true XNOt gram, Students may enter at any time. by the was ven ky correspondence. BOB JONES COLLEGE CLEVELAND, East Russian nobleman, /?. TENNESSEE 86th St. (Park Ave. 1 New York City For catalogue M. Maka- Also Carrlck Creative “dollars” before f and information addrrtn Secretary artist and the foremost guitar vir- Music Normal Course covered chocolate roff in 1856, Coste submitted Dallas Classes open June 10. in four tuoso and composer of France. SOUTHWESTERN CONSERVATORY me, we began on a list of questions. For 280 Information write: Mrs. Phigpen, 3513 Potomac, Da as, Te*. ( Continued on Page 288) THE ETUDE APRIL. 1942 281 — s Educational Music on the Air performance of the “Messiah, Best to Dr. Burney, then a sprightly lad of first Look Your Capture (Continued from Page 231) finished piece of called it “a most Handel's 'Messiah” Two fifteen, was attending school in - the “most eleva Public Favor time and caught his music” adapted to Chester at the moving words. “Requiem” on April 4 (11:00 composers), features first “The Centuries Did ing, majestic and Rrahms’ first glimpse of Handel while the latter, were (Continued from Page 234) EWT). Erich Dance” and secondly “Modern Euro- and his co-workers to 12:15 A.M., 272) was enjoying a pipe of tobacco over Handel PM ( Continued from Page Opera pean Composers.” On April di- not only for their splendid of the Metropolitan 17, a “dish’’ of coffee at the Exchange praised t Mnsdorf for their gen- not be afraid to insist that they be the orchestra. At the vision of program Series A (Or- extremely curi- performances but also b to conduct King as at a Coffee House. “Being stage manager will swear as easily at the volunteering their services turned down. The writing the soloists and chestral instruments) and C (The ous to see so extraordinary a man,” erosity in time of fiddler who played a wrong note. understand if he knows his business. employed were not an- musical forms), illustrates at first wrote years later in his “His- in so worthy a cause. chorus to be Burney if Suzy performance of the “Mes- If he doesn’t, or Aunt has a not inappropriate at “Percussion Instruments” and later A Biting Wit tory of Music,” “I watched him nar- Another nounced. It is 3rd, and fit at turning some footlights off, work “The Modern Suite.” Returning to in siah” took place on June Eastertide that this great be stinging as a rowly so long as he remained this His wit, too, could public appear- they will simply think you are being feature per- Series B and D, the boadcast of the Chester.” Burney also tells an amus- this was Handel’s last be presented in a whip lash. When a singer once com- Lon- temperamental, nothing more. should rehearsal at the ance in Dublin. He returned to to the American people. 24th is divided between “Human didn’t like Handel’s ing story about the formance plained that he to visit A good class in modern dancing, of these singers, don in August fully resolved the Americas, Columbia’s Emotions” and the “Modern Amer- OF MUSIC way of accompanying him, and Golden Falcon. One Music of CONSERVATORY friends in Ireland interpretative not ballroom, will do morning ican Composer.” The NBC Music Ap- from the stage Janson by name and a printer by his hospitable “School of the Air” Tuesday threatened to jump for posture, as well as teach the best again the following year, but he wonders (9:15 to 9:45, preciation series ends on May the and smash it, trade, was reputed to be programs onto the harpsichord of walking. It musical did. Other things intervened, the fundamentals is with its first, with the “Students’ Achieve- in an attractive back with, “Zo, you sight-reader among the choirmen of never continues this month A professional music school Handel flashed few people really EWT), repeated at- and having regained his old prestige, amazing how know These early ment Program.” vill you? Den let me know the town. But after of “art music.” (Member of tlic National vill chump, correctly. Think of survey college town. certain parts in London kept him busy to the end. how to walk this unusual On Sunday morning April 5 (9:15 you vill chump and I vill ad- tempts to read bass broadcasts are of ven see group of morning Association of Schools of Music.) “Messiah,” he failed “so egre- However, his Dublin triumph was the next time you a peo- to 9:45 Columbia network) Julius wahrtize it in de beels. More people the to all listeners, even though — a platform, or interest giously,” that Handel, after swearing one of the happiest episodes in his ple walk out on to even edu- Mattfeld, the organist, will be heard for carefully selected vill come to zee you chump den to are designed primarily for Thorough instruction the the street! stiff walk out they at the poor fellow in half a dozen career. Dublin gave him not only down A series this in his one hundred and sixth con- artist teachers. hear you zing!” cational purposes. The students in all branches of music under “ that he the stage does nothing to set On another occasion when Dr. languages, cried out, ‘You schaun- appreciation and assistance onto featuring music of secutive broadcast. Mattfeld’s gifts as year has been Special training in band and clioir direction. trel, did not you dell me dat you needed at a dark hour in his life, the audience in a relaxed and appre- Morell, who had written some words and South America. The ac- an organist and a program maker in him- for your performance. North set to music, com- could sing at soite?” “Yes, sir,” said but she renewed his faith ciative mood have made his program, “From the describing Oborlin’s conservatory that Handel had at first on folk music has given Write for catalogue gracefully, and neither too slow cent plained that the music did not fit the printer. “So I can. But not at self as well. Walk "art mu- Organ Loft," one of the popular organ practice way in the past month to courses and its superior equipment (200 first sight.’’ In the two hundred years that have nor too fast. Learn to acknowledge the words, Handel flew into a rage in the path of the recitals of the air. Bachelor of “Messiah” sic.” Following rooms, 23 modern organs, etc.). Degrees: yelled, ‘ Vat, sir, you teech me come and gone since the applause easily and pleasantly. Stiff night broadcasts of and of March 31, presenting The Tuesday A Royal Welcome of its program of School Music; Master of musick? De musick, sir, is goot first brought tears to the eyes bows can mar an impression fatally. Orchestra end this Music, Bachelor symphonic works, the program of the NBC Symphony When Handel finally arrived in creator and filled him with the vision When you have finished bowing, musick. It is de vords is bad," and he course in month. There will be only two pro- Music, Master of Music Education. April 7 pursues a further flustered Doctor scurrying. Dublin on the 18th of November, the of Heaven and the “Great God Him- leave immediately. No lingering ex- sent the the American grams, on the seventh and the four- this field. Works by II. Shaw, Director, Box 542, Obcrlin, Ohio. Sir Charles Burney—historian, viola city gave him a royal welcome. self,” it has moved and thrilled more its, when you cannot quite make Frank Aaron Copland and Rob- tenth. The conductor for both is Leo- player in Handel’s orchestra, and the Faulkner’s Journal, announcing his music lovers perhaps than any other up your mind whether to go or stay, composers McBride are to be featured, pold Stokowski. father of the famed diarist, Fanny arrival by packet-boat, dubbed him choral work in the repertoire of please! Watch every performer you ert compositions by the Latin The Sunday morning Music and says he was somewhat “heavy and the “celebrated Dr. Handell.” Handel choral societies, church or secular. see. Try to incorporate their good and also Domingo Santa Cruz, American Youth programs will ema- sour” but that he had a smile which must have chuckled when he saw the The message of “Peace on Earth to points into your own stage technic. Americans, Lorenzo Fer- nate this month from four varied was like the “flashing of the sun out notice. Back in 1733, on the successful Men of Goodwill” and the inherent practice Luis Gianneo, and Watch and in front of a the fifth, April 14 program, called sections of the country. On of a black cloud.” Burney also tells performance of some of his works at promises of a better world to come, mirror until you automatically be- nandez. The features the broadcast emanating from Des us that Handel was so fleshy that it the University of Oxford, the Uni- embodied in the text and clothed “The Abstract Modernists," have gracefully, without self-con- the “Boys’ versity had offered him composers Roger Moines, Iowa features was impossible to distinguish the an Honorary with the vibrant power and beauty sciousness. When you actually appear music by our own Roy Glee Club of Eldora, Iowa” under the QLrbelaniignBttlulP nf (T)uatc fingers from the hand when he Degree as Doctor of Music. However, of Handel’s art, are as potent to-day Sessions, Walter Piston and before an audience you will not be Luce. the played the harpsichord. there seems to have been a fee con- others by Julian Carillo direction of Mildred On as they were two hundred years ago. able to think about letting your Harris, and Degree, Master of Music Degree, Artist Diploma twelfth, the “High School Choral and Confers Bachelor of Music After he had completed the “Mes- nected with the granting of this de- “Messiah,” J. C. Paz from the southern The unless the world we hands fall easily to your sides when and Faculty of Nationally Known Musician siah,” did not gree for Handel refused it. Asked why, the Air’ Instrumental Group" of Little Rock, Handel know which have known is completely shot from bowing, hemisphere. “The School of or swinging your legs straight direc- RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland. Ohio way to turn. His situation was des- he is supposed to have replied, “Vat terminate on April Arkansas, will be heard. The ERYL under us, will stir the hearts and in front when you walk. Remem- musical programs perate; he needed money; opera was de debbil I drow my money avay for that date, called tors of this group are Ruth Klepper minds of generations yet to come. ber only your music. You’ll find 27. The broadcast of dead in London—his last effort in that dat wheech de blokheds vish? I no Speculation of the Settle and L. Bruce Jones. The “West Handel has been called the “most people right and left complimenting “A Resume and direction, “Deidamia,” proved it by vant!” London was full of mediocre re- High School A Cappella Chorus” of superb personage” in the history of you Future,” will be arranged from — on poise and grace. 1867—Seventy-Fifth Year 1942 its utter failure earlier in the year. “Doctors of Music” and Handel had music. The Minneapolis, direction of Peter “Messiah” remains his All the points of general good quest material. He hesitated to perform the “Mes- been snubbed by them more than most enduring monument. scheduled for Tketch, provides the program of grooming must be iron laws to the Three programs are siah” in London for fear that the once. He hated mediocrities and per- Damrosch’s NBC the nineteenth; and “Public School musician. Never a sagging slip or April in Dr. Walter oratorio might meet an even worse haps he was just getting even with Groups from Dallas, Texas” under rundown heels Music Appreciation Hour. The broadcast COLLEGE fate than the opera. Should he them by spurning to detract attention, CHICAGO MUSICAL re- their much Series B the leadership of Marian Flagg are even if you are only playing for the of April 10, divided between turn to Germany? While he was de- vaunted title. for the twenty-sixth. Here President Music a neighborhood (Music as an expressive medium) scheduled RUDOLPH GANZ, bating with himself whether or not Handel spent the winter in Sunday School assem- Dub- is opportunity for contrast. bly. and D (Lives and works of great to quit London, a stroke of good lin giving concerts of his works, Who knows, that might have Permanent Art been Member ot the North Central Association of Colleges and fortune decided the issue for him. always appearing as soloist at the Stokowski who just slipped into the This came in the form of an invita- harpsichord or organ. Society vied in rear seat. Temperament in a Secondary Schools; Institutional member of the National Associ- (.Continued from Page 219) musician tion from the Duke of Devonshire, entertaining him. But it was not is all very well, especially ation of Schools of Music. who was also Viceroy of Ireland, to until March 27th, if kept well under control. However, 1742, that Faulk- whether they come from the heart give some concerts of his works in ner’s Journal announced it will never counteract careless a first per- of the steppes of Russia, the moun- A Professional school of music conferring accredited Bachelor and Dublin for the benefit of certain formance of Mr. Handel’s—not Dr. tains grooming. So, whether you are having — of Spain, the banks of the Highlights in the Art of Teaching the Piano Master of Music Degrees with major in Piano, Voice, Violin, 'Cello, charitable organizations. Handel ac- Handell’s “grand new oratorio called an audition at 8 A.M.; playing for a Danube, the coast of Italy, or the Organ, Orchestral Instruments, Musicology, or Composition. cepted the invitation and planned to the Messiah” to be given at the New cotton luncheon at 1 P.M.; entertaining in Page 226) fields of our own South—are ( Continued from offer the “Messiah” “to that generous Musick Hall on Fishamble a Cocktail Lounge Street on so clearly the result of spontaneous at 4 P.M.; or giv- Faculty of internationally and nationally famous artist teachers. and polite nation” as a token of his Monday, April 12th, “for the ing your own recital relief inspiration that their contact at 8:15 P.M., teacher inter- ings and to express them most freely, appreciation. with should, intermittently, of prisoners in the several gaols, and the Infinite look your best, act your best, and put be stern- AVAILABLE TO NUMBER OF DESERVING STUDENTS. cannot be disputed. rupt the pupil fault, but he the hysterical student must STUDENT AID A He left London on the 4th or 5th for the at every support of Mercer’s Hospital, There is your whole soul into your music. something very stirring in should until ly checked. Much also depends on of November with the manuscript of and the not make a correction Charitable Infirmary.” A the thought that Crank up your curls and exercise off teacher; only an ethereal tone the pupil has failed to detect and the personality of the SUMMER MASTER SCHOOL OPENS JUNE 24th the “Messiah” safely tucked in his further notice, on April loth, that bulge re- poem like Schubert’s Hark! (you know where). We’ll teachers who are sincere artists portmanteau. Unfavorable Hark' correct it, for himself. those winds and quested the ladies to come without the be seeing you all Lark will outlive all soon in Television, should be permit- now for Free Summer Catalogue; Address the Registrar a stormy sea delayed the battle- At what stage of training and to in their teaching Write his departure their hoops. The ladies, by leaving ships on the you know! seas and all the great what emotional- ted to stimulate or control the emo- from Chester for a fortnight. Pend- their hoops behind them, enabled extent the study of ships of the air. A little * * * * of perform- tune, by an ity in is a tions of pupils. Vagaries ing a favorable change in the seven hundred people to crowd the unknown art should be introduced composer, such as that are a bad substitute for real CHICAGO MUSICAL COLLEGE weather, Handel quartered at the hall we “Where there is problem that cannot be solved by ance on the day of the concert. The sing to much that is good, Ben Jonson’s words, is not emo- Golden Falcon Inn where, “Drink we can afford general rules. poten- feelings; eccentricity with the sale of tickets brought in $2,000 to to find the faults; The emotional R. A. Elmquist, Business Manager me only with thine eyes,” aid of some singers borrowed from which was laughs inhere there is tialities of men vary from the utmost tionality. divided equally between at the pomp and much that is bad, we the Cathedral, circumstance of can This valuable discussion will be he tried out the the three “great and pious charities.” afford to 'point out its good fea- coldness to hysterical extravagance. 64 EAST VAN BUREN STREET, CHICAGO, ILLINOIS kingdoms long since laid choruses of his new oratorio. low in dust. tures.” The continued in the next issue of The The Dublin papers, reviewing this Yes, cold student should be urged music is eternal, everlasting. —Moritz Hauptmann and encouraged to cultivate his feel- Etude. 282 APRIL, 1942 283 ; : ' I Went to the Concert Compositions Class A) Outline Scrambled (Prize ivinner in Junior Club are my impressions whil® These then slowly the concert. Soft notes waver, Puzzle to then softer, gather volume; chords, majestic, for April tinkle and Assignment forming a poignant melody; notes t)3ij ^Jiarueij f^eale into a biilliant Joan: What has that to do with it? flash; louder, faster, bursting living room oi Joans the volume Scene: The -vave of sound. The mind takes of a ship Elaine: A lot. My teacher explained Musical Program sounds. What are There is a painting History apart into separate little home. look at the pic- at the beauty (Such a it to me. When you their begin- -they? The breath quickens view of the audience. and oratorio had while there are many arias and I feel as in do you see? Opera and brilliance; the heart pounds. purchased at any ture, what of Handel, the breath- picture can be before the days other numbers from operas arranged th^u^h I were suffocating from a ship, of course. nings long mind; the Joan: Why, we have taking ecstasy instilled in the 10 singer in select- 3rd B- real aid to the aspiring PIANO, A I err First Exercise of college and graduate groups also, and Clarinet, 2nd B-flat Clarinet, STUNTS FOR songs which will prove most effective to the thousands of people E-flat Alto Clarinet, B-flat ing troduction Ada Richter—Ada Richter’s re- the Theodore Presser Co. is preparing to flat Clarinet, public performances. with his Concert Tran- R k bv B-flat So- for auditions and who are familiar originality continue to amaze handle the rush of orders expected as a Bass Clarinet, Oboe, Bassoon, THIS MONTH—We are nurc’es in in interest-holding style and THK COVER FOR of Favorite Hymns or the Alto Saxophone, Written scriptions following of teachers result of the wide-spread interest in- prano Saxophone, E-flat will to the Acme Newspictures, Inc., ! steadily growing easy to digest, this book indebted countless religious workers who have Saxophone, B-flat Tenor in a manner military And all for good reason, for dicated by the advance of publication 2nd E-flat Alto voice studio New York City, for the fine superb performances on and students. have a definite place in the thrilled to his fails orders Saxophone, E-flat Baritone Saxophone, reproduced on the front of charming and gifted lady never now being received. Single copies valuable acquisition for photograph organ at Ocean Grove, N. J. this (B-flat Bass or and will prove a Richter, com- the work with a freshness of requested and paid for now', at the spe- B-flat Bass Saxophone 01 pro- lliis issue. Mr. Wilmer S. to touch her singer student, amateur, The selections comprising this volume Clef) Solo B-flat every — Philadelphia, executed sustain the interest of pupil and cial price of 40 cents, will be sent post- 3rd Trombone, Treble , mercial artist of the works of the great ldea to fessional. are taken from paid as soon as publishing details are Cornet or Trumpet (Conductor), 1st B- lettering superimposed on this pho- throughout. prepared for publica- the masters and include such pieces as Ave teacher 2nd B-flat Cor- While it is being the striking poster, em- of her every colleague, completed. flat Cornet or Trumpet, tograph to make Andante from the 1st in the case tion, a single copy may be ordered now Maria, Schubert; As 3rd B-flat Comet, 1st E-flat Horn phasizing the great value of music in has learned by practical ex- net, of $1.25 post- Brahms; Andante from the Mrs Richter 3rd and at the special advance price Symphony, dis- or Alto, 2nd E-flat Horn or Alto, these war days. that almost every student will be made as soon as Tschaikowsky ; The Swan, perience paid. Delivery ways, 5th Symphony, Horns or Altos, 1st Trombone, As many have said in various technical side of his lesson. In THEMES FROM THE GREAT PIANO CON- 4th E-flat Saint-Saens; and the Adagio from the likes the 2nd Trombones copies are “off press”. there would be little use in lighting to a problem, she has 2nd Trombone, 1st and Sonata, Beethoven. Also in- view of so persistent CERTOS, For Piano, Compiled and Ar- of living if the chil- Moonlight or Tenors (Treble Clef), 3rd Trombone, preserve a freedom this delightful introduction to ranged by Henry Levine These are amaz- are two fantasies on Christmas prepared — Basses, OFFERS are not given the oppor- cluded Baritone, Baritone (Treble Clef) , ADVANCE OF PUBLICATION dren of to-day a sort of “magic bridge” by ing times such classic works as the Easter themes by Mr. Kohlmann. technic as when that have en- tunity to Incorporate in their lives those and Drums, Piano-Conductor. WITHDRAWN—Two books extremely well the child may avoid such early Tschaikowsky piano concerto in b-flat and ennoble living. The arrangements are Which of this col- excellent sale in advance of things which enrich titles these While the parts and score joyed an moderate diffi- Under imaginative minor sweep the country as a popular art which Providence written and are of only fears. single copy will be released by our Me- Music is a great pictures of the lection are in preparation, a publication and should present no great prob- studies form musical song. From present indications, the Grieg Fol- lias put within the reach of young and culty of each may be ondered at the Advance chanical Department this month. pursuits. Running on Tip- is in the refresh, in- to the pianist or organist of aver- child’s daily Concerto in A Minor headed this old, rich and poor, to bless, lems of Publication cash price (postpaid) of lowing is a brief description of each, instance, requires a light stac- this tendency needed. ability. toes, for same direction. Sensing spire, and solace as age 20 cents for each part and 30 cents for note being the customary “withdrawal for this fine collec- touch; splendid jumping work for toward the streamlining of major works, It would be a catastrophe for a nation Place your order cato w'ill im- that the special ad- in Hurdles; the Conductor’s Score. Delivery notice” announcing up to be mu- once at our special advance of the hands is introduced it is with special pleasure that we are to alloW children to grow tion at mediately follow publication. The sale of vance of publication prices have been 40 cents post- hand-over-hand playing in Relay Race; able to announce the publication of this sically inarticulate and unable to make publication cash price of United the books now may Climbing; and hand this publication is confined to the withdrawn, and that proper use of the great spiritual and paid. The sale is confined to the United scale work in Rope important book of transcriptions from States and its Possessions. be obtained from your local dealer, or their ma- in Stretch Yourself. Other titles the great piano concertos. emotional values of music in States and Its Possessions. extension Publishers for examina- Vaulting; Broad direct from the turity. So thus it is that the music pro- are: Somersaults; Pole Mr. Levine is a well-known concert Listen- tion. well be proud of their pres- avail- SYMPHONIC SKELETON SCORES—/I and Skipping Rope. All in all. pianist and teacher of New York City. CHILDHOOD DAYS OF FAMOUS COMPOS- fession may Carl Wilhe’m songs of outstanding quality are Jump; Waltzes, For the Piano, berger, Frederic Groton, Guide for Radio and Concert, by Violet Ellsworth Strauss Album of ent contribution to the nation’s morale includes songs of a er’s Stunts for Piano is destined to become As an arranger he has established an ERS—The Child Mozart, by Lottie S. Mallard. A feature able. Catalog C-3 piano solo arrange- Kern, and Cyrus Symphony No. .1 in F Major presents playable and their future help in this nation’s includes Katzncr. No. 8— companion to the same com- enviable reputation for himself by his Coil and Ruth Bampton—This first book inclusion of several pieces sacred character, while C-4 a fitting popular waltzes will also be the Brahms—Again Miss Katzner has lives ments of a dozen most living by rallying to the call “Forward secular songs. by poser’s My Piano Book, Parts One and excellent piano transcriptions of such in a new series devoted to the early for seasonal use, such as Easter, Christ- many celebrated great Viennese com- Music”. taken a famous symphony score and famous from the pen of the March With Novelties introduced into the program Two; My First Song Book; My Own favorites as Gershwin’s Rhapsody in and music of mas, etc. poser. Only those frequently heard in broken it down in order to give the aver- Sing. is eagerly will create interest on the part of both Hymn Book; and Play and Blue; Tea for Two by Youmans; Ah, composers LITTLE PIGS, A Story ivit/i Manic A single copy of this book may now be including the numbers THREE age lay musician greater listening pleas- by hundreds of radio broadcasts, Advance of Publication students and audience. Ask about Rhythm Orders for a single copy of this work Sweet Mystery of Life by Victor Herbert; awaited for the Piano, by Ada Hicliter—Those of ordered at the brings deeper under- that have been featured by leading sym- Operettas and Musical ure. Miss Katzner at the low Ad- Desert to mention piano teachers and pu- patrons who have had previous con- cash price of 40 cents, postpaid. Deliv- Band numbers, are now being received and Romberg's Song— our • phony orchestras, are included. The all standing about the symphonic form in is not only fas as soon as copies come Playlets. Leaflet Q-8 will tell you vance of Publication cash price of 25 just a few'. With his fine musical back- pils. In it tact with such other numbers of the ery will be made remarks valtzes are printed in full sheet music from the Lives of Great general by a few introductory be cinating reading matter "Stories With Music” se- from the press. about “Scenes cents, postpaid. Delivery will made ground and knowledge- of the piano Cooke before outlining the form of the Brahms arrange- ,ize from beautifully engraved plates; Jack Composers” by James Francis when the book is published. repertoire through his own appearances but also expert ries as Cinderella, Symphony. they are not photographic reductions, it’s interesting and educational! carefully selected and the Beanstalk, and SPRING CONCERTS AND RECITALS-With with major symphony orchestras of the S ments carefully edited arrangements by ex- very attractive program may be In the skeleton score the melodic line house of music left by but the Nutcracker Suite will the arrival of tire first robin action must A An Operetta for Men’s country, Mr. Levine is exceptionally well from the treasure isolated from the complete score so IN ROBOT LAND, perts who have adhered closely to the spring festivities and con- given by following suggestions outlined is this the genius of Mozart. be pleased to learn of this be taken on Voices, In Turn Acts, by L. IE. Yeaman*— qualified to compile and arrange it becomes very easy to follow, and original orchestral harmonies. The book, the result of the in “Music Club Programs from All Na- that authors of this book are well new and attractive addi- certs, which, revealing Now, more than ever before, music is book. The Elson. The program a notation is made of the instrument too, is attractive in appearance and sub- tion. Mrs. Richter con- winter’s work, must make teacher and tions” by Arthur contents include ten of the fa- knowm in the field of music education. serving the American people, not only by The cents. search- could consist of numbers from one coun- which is carrying the melody at all times. stantially bound. Price, 75 tributes new color and pupil proud. Hours could be spent forti- vorite concertos of all time. Of course Mrs. Coit is Director of Children’s Classes Annotations are made which clearly in- engendering the confidence and Lawrence Keating's Junior Choir Book to old, familiar ing for the proper material, but through try or many—with selections for Easy, Introduction to Music at the Eastman charm the vital in maintaining national no such book would be complete without in dicate the formal structure of the work tude so is a collection that many a choir leader childhood tales by adding the Theodore Presser Co. "On Approval” Medium and Difficult performance. A School of Music, Rochester, N. Y„ and to fill their the Tschaikowsky or the Grieg concer- so that a mental picture of the construc- unity, but by helping them will welcome enthusiastically. It’s a year- piano music service the difficulty of music selection circular will gladly be sent upon request. is Associate Professor of descriptive away tos. In addition to these, Mr. Levine has Miss Bampton tion may be easily formed. Greater ap- occasional moments of relaxation, around book with 80 pages of beautiful and a text that can be easily employed is minimized. Through this service, mu- The Theodore Presser Co. staff will be Music Beaver College, Jenkintown, from the strenuous tasks of war times, selected the superb Schumann Concerto at glad to help in any of your needs preciation of the music may be had when 2-part or unison songs for general use in a playlet. sic selected by the well qualified Presser you the title suggests, the text mat- with the enjoyment necessary for physi- in A Minor, the familiar Rubinstein Pa. As Three Little Pigs is particularly adapt- staff may be looked over and the unused they are qualified to make your program the pattern is known and each new pat- and for the great church festive days, of the D Minor, Rachmaninoff's Second Con- ter is given to stories from the childhood enjoyable and easily produced. tern may be anticipated in advance. cal and mental well being. Music Easter. are both able to this form and as a happy blend- music returned for full credit. music, however, is se- Christmas and There more serious type continues to give many certo, and Edw'ard MacDowell’s Concerto of Mozart. The ing of work and play it should be a Catalogs or folders of music for Piano, P.S.—Don’t forget your student’s re- The seven scores already published are original compositions in Mr. Keating’s in Minor. Beethoven, Chopin, Liszt, lected from both early and late com- for effort available for During individuals a “lift” and countless others D source of huge enjoyment and satisfac- Voice, Instrumental Solos and Ensembles, wards fine and performance 35 cents a copy. the Included are best melodic vein, and skilful arrange- in turn- and Mozart complete the group. Techni- positions from the master. children participating in Band Orchestra groups, as well as Folder V-15 will help you make your advance of publication sale a single copy increasingly great numbers are familiar to and tion to those and Allegro, composed when Mozart was ments of melodies known ing to the lighter music and mirth-pro- cally, these arrangements are of a grade an its performance. In addition to the text Cantatas, Operettas and Musical Plays selections. of the Brahms Symphony No. 3 Skeleton loved by children and grown-ups. These voking which the average player can manage six; two Minuets; a duet arranged from matter of the story and the easy but may be secured upon request. Only a few Score may be ordered for 25 cents, post- type of entertainment for the are really arrangements for Junior same readily. The editing is complete with Mozart’s “work book”; the familiar delightful descriptive pieces, the book folders may be named here, but the sup- ALRUM OF DUETS For Organ and Piano, paid. rejuvenescent effect. Choirs, in none of them will the limited phrasing, fingering, and pedalling. Theme from “Sonata in A Major”; and offers many attractive illustrations that ply is practically unlimited. Arranged by Clarence Kohlmann- Here in- In Robot Land will serve in this latter voice range of children be extended. ADAM GEIBEL ANTHEM BOOK, for Choirs No piano teacher or pupil w'ill want to an Air from the opera, “Don Giovanni.” can be colored by the pupils. Timely piano music featuring love of deed is an unusual opportunity for capacity admirably since it is a hilarious Price, 60 cents. of Mixed Voices In the field of church opportunity to se- Special features of this series are full Take advantage of our special advance our country is listed in Folder L-64 church pianists and organists who wish — musical entertainment that is up to the miss this exceptional music the late work, directions for a presentation of the story of publication offer now and order your this includes numbers for solos, one piano to combine their talents in organ and Adam Geibel, celebrated minute (and beyond) in story matter cure a single copy of this novel blind composer and organist, a short time as a recital correlated with stage set- CHANGES OF ADDRESS Where a sub- copy at the moderate cash price of 25 four hands, one piano eight hands, and piano duets suitable for church use. The was most and crammed with the crazy antics of a w'hich may be ordered for a — interesting personality. publica- ting in a miniature theatre, or, for older scriber to The Etude changes address we cents, postpaid. two pianos eight hands. For a complete demand for this type of arrangement has Especially have group of characters, that are a trifle un- only at our special advance of his compositions for choir, soloists and postpaid. students, as a musical playlet. should be advised at least four weeks in list of piano ensemble music ask for made itself felt, and we are happy to usual (to say the least). A few situa- tion cash price of 50 cents, ti /Ilham Sacred CIIAFEL M U.SINGS—I of for organist attained prominence. Churchly, Prior to pubheation a single copy of advance. Give both old and new ad- Catalog A-7; a complete list of piano announce that we are prepared to fill tions arise that are not entirely unbe Compositions for the Piano, Compiled by dignified, not too difficult, this work may be ordered at the special dresses when writing us. This will music in sheet form, send for Catalog that demand. and yet never lievable since our two heroes, the stranded make Roll Roy Pcery. A-l. Mr. trite, his writings have enjoyed many price of 20 cents, postpaid. it possible to correct our records, insure Kohlmann, the compiler and ar- aviators, do successfully woo the only two LET’S CHEER! BAND BOOK, by James M. This important addition to the piano For the vocal presentations and the delivery of future issues recital, thematics of ranger of this collection, needs no in- today promise to en- ladies available and “love conquers all” With to your new literature for church use has Fulton and Major Ed. Chenette— been com- dure for years to come. address, and prevent delay, inconven- even in the queer land of mechanical of this new book there THE SINGER’S HANDBOOK, by Lazar S. piled and prepared by a man well-known, Among the publication recent acquisitions of Theodore men that is ience, and added postage expense. only as a the setting of this fantastic will appear a work of genuine excellence Samoiloff—Success in the field of singing not composer, but also as an Presser Co. was the purchase from the musical for an all-male group. excellent church musician. The result is. and merit. The names of the sponsoring involves more than just the possession successors of the Adam Geibel Music Co. of course, a collection of wisely chosen -~ylducuice oj? f-^u ( lication OpperA Saneness is the exception to the rule, editors are, in themselves, assurance of of a good singing voice. Musicianship, SWINDLERS ARE ACTIVE—Before paying of some of his finest anthems, composi- and particularly suitable works for the however, and the eleven principals offer that. Too. there is a contents list which poise, a knowledge of languages, reper- any money for magazine subscriptions to tions that never previously have been religious service, and one which will be- APRIL 1942 almost as many opportunities for comedy at once suggests constant usefulness for toire, even physical fitness, are of vital strangers examine his credentials care- published in book form. Realizing that come Invaluable to every church pianist. characterizations expecially since all but such occasions as football games, rallies importance. These practical elements, as fully. Those representing The Etude Mu- All of the books in this list are in preparation for publication. The volunteer choirs having a limited budget four are Teachers of piano and countless “home low Advance Offer Cash Prices apply only to orders placed of the “superman” type possess- of various kinds, assemblies, athletic well as such problems as tone produc- sic Magazine invariably carry the official NOW. frequently rely on collections of anthems, players” will also delight in Dr. Peery’s Delivery (postpaid) will be made when ing many strange has text in all tion, voice placement, etc., are authori- receipt book of the books are published. the powers, to say noth- events, etc. Each number the Theodore Presser Co., Publishers have selected for this new ing new book, for it will gain distinction by Paragraphs describing each publication appear on these pages. of their ideas. Of course, two of the the parts so that, W'hen desired, some tatively discussed in this forthcoming publishers of The Etude. Sign no con- work thirteen of these excellent Geibel virtue of its splendid assortment of remaining parts are female impersona- of the musicians can lead their listeners book by Dr. Lazar S. Samoiloff. tracts and pay no money until numbers. There are you have Adam Geibel Anthem Book In anthems of medium meditative recreational material. Too, of .3535 Robot Land— Men’s Operetta tions that are guaranteed to bring down in singing. An eminent teacher of teachers, coach carefully read the receipt which the can- Yeamans difficulty, for general use (some with special importance are the facts that Album of Duets— For Organ and Piano .40 the house. The Let’s Cheer! Band of a number of world-famous artists, vasser offers The Singer's numerous choruses lend Included in the you. Do not accept any Kohlmann .40 Handbook solos) , anthems none of the contents ever before has Samoiloff 1.25 for various festivals, themselves Stunts for Piano well to presentation by a Book will be such popular favorites as: creator of many young singers, and ad- ordinary stationery store receipt Musings Richter .25 Christmas, Easter for appeared in a collection and that every Chapel — For Piano Peery .40 and Thanksgiving. large group Symphonic Skeleton Scores—Kotzner In and the four solos, three Yankee Doodle; In the Gloaming; vocate of the Bel Canto method. Dr. money paid. A reputable canvasser, man is Childhood Days of Famous Composers order to afford choirmasters an op- number copyrighted and controlled by No. 8, Symphony No. 3 in F Moior duets and one Mozcrt Coit-Bampton quartet afford a variety Massa's in de Cold, Cold Ground; Home Samoiloff is well qualified to prepare this or woman, carries the official contract .20 Brahms portunity to become acquainted with the Theodore Presser Co. .25 of sure-fire musical Let's Themes from effects. on the Range; Captain Jinks; and The “handbook” for singers. From his rich for the company for which he Cheer— Band Book. . Fulton-Chenette the Great Piano this new works, and Among the composers represented in Concertos book single copies only may be Band Books, This Each .20 Levine .50 ordered work is within the scope of a Marine Hymn. Parts will be provided for; experience he also has compiled, for this which is prepared for your protection. Chapel Musings will be such Piano in advance of publication at the well-known Conductor .30 Three Little Pigs— For Piono . proficient Richter .25 high school male chorus, but, D-flat Piccolo, C Flute and Piccolo, book, a special list of songs suitable to We cannot be responsible for musicians as Ralph Federer, C. special cash-with-order price, 35 cents, the work O. Horn- it is surely postpaid. destined to become a favorite E-flat Clarinet, Solo, and 1st B-flat voices of various types and registers— of swindlers. 286 APRIL, THE ETUDE 1942 287 ! and who cannot play an instrument. A. Take up some really useful oc- Good Music They do, however, enjoy every num- Beecham Listening to Sir Thomas cupation. ber on the program. If they can find HISTORY • THEORY Q. Is an operatic career worth the pleasure in such music, so can you, TECHNIC Has His Say struggle? j. W. JJJff listening is active not ^ if your — pas- entirely upon your Wontl, A. It depends sive. 1%a 221) ( Continued, from Page also upon your idea of own efforts— Young people of the present day, Music is the greatest of the arts, what is meant by “worth” and by have who are taking violin lessons, for it possesses more than art and SPECIAL of his refusal to allow the trees of FOR CONDUCTING "struggle.” more advantages and oppor- poetry can express; but it demands to blot out his many temporary difficulties Q. What is the right way to learn thirty or NOVELTIES IN MAY tunities than did those of of everyone, who would enjoy it to the THE ETUDE FEATURES larger view of the forest of music. an opera? CLASSES IN MUSIC forty years ago. full, the ability to listen. Listening in A. Begin at the beginning and go elimi- Modern methods of teaching itself may be termed an art. It re- A Beecham Quiz through it efficiently. and nate the' tedious violin scales quires concentration and a real de- Q. Do you know parts other than for Q. What physical requirements are etudes that are meant primarily sire to dismiss from our thoughts your own? Musical History necessary for a successful operatic those who wish to become profes- anything that may, even in the A. Not being a singer myself, I career? sional soloists or members of concert slightest degree, mar or obliterate the HISTORY OF MUSIC A COMPLETE HISTORY parts. the sense STANDARD A. Except a voice, none. Some of have no To answer orchestras. beauties of good music. America is Latest Revised and Enlarged Edition of the question, however, if I were a our best operatic performers have moderate Baltxell Then, too, the present listening and if you, my young By James Francis Cooke By Wm. J. I certainly not learn been large and ill-favored. singer, should or A history of music for adults, or students of tuition rates for either private student of the violin, are not one of parts other than my own. Mastering college age. In reality it is almost like a con- Q. How does one get an audition? to many encyclopedia of music, rather than a class instruction, available the 3,000,000 children who listen to Ideal for Summer Classes, densed my own roles efficiently would be musical history, because it covers so much A. By never being discouraged, and and self-study. Reads thousands of our young men music so freely offered or for ancient, classical and modern quite enough. The mastering of all good by the data upon you know who like a fascinating story, of all by worrying everyone women, the public school orchestras, music, and the important composers prac- radio, you are denying yourself some- yet each chapter is fol- standing of this book might even remotely be able to as- parts is a beautiful theory; in come times. The academic the fine musical programs that thing that you cannot afford to miss. lowed by questions to test is excellent, due, no doubt, to the fact that tice it doesn’t work. Singers have not with the sist you. radio, and the the student’s knowledge leading authorities collaborated to us daily over the The boy or girl who grows up with- author on specialized subjects. the salaries of the the time to learn more of the other of the subject matter. Q. What are the music of the concerts featuring out knowing how to enjoy illustrations. Cloth Bound—Price, $2.25 operatic stars? parts than is necessary for the ef- a sym- Over 200 great masters, all combine to help phony concert misses A. The best they are able to extract ficient fitting in of their own. one of the young students of the violin. richest sources of happiness. from the Cloth Bound—Price, $1.50 management. confronting The Opera Star's Life One of the handicaps Attend all the OUTLINES OF MUSIC HISTORY Q. What, if any, are the advantages good concerts pos- of violin students and By Clarence C. Hamilton the majority — sible. Hear all the noted violinists— of being an opera singer over those Q. How long does the average YOUNG FOLKS’ This fascinating survey of music, from its it. is a self-imposed handicap is the — and when you do, listen, listen, primitive beginnings up to ultra-modern of concert and radio? opera star last? listen! HISTORY OF MUSIC thought that the ability actually to PICTURE movements, is based on the lecture courses of A. Usually the operatic singer is A. That depends upon his personal By lames Francis Cooke the author at Wellesley College. It is fully enjoy Wagner and Beethoven is given with maps, pictures of instruments, the recipient of greater adulation classes of youngsters of grammar school illustrated ideas of the necessities, the luxuries, For portraits and musical to only a few fortunate music lovers. A packet containing over 100 "cut-out' music of ancient times, though the reason why, up to the age and the indulgences of life. “Doctor pictures comes with each copy. examples. These students, unless they really I.(T Cloth Bound—Price, $2.25 present moment, is unknown to me. Q. What type of life does one lead Board Bound—Price, $1.00 strive to educate themselves to enjoy "Dr. Bartolo" Q. Is social background or “pull” while in opera? Salvatore Baccaloni as symphony concerts and grand opera, for Your Pupils necessary to get into opera? A. The most prosaic and matter- actually grow to hate good music. (Continued from Page 281) Theoretical Subjects A. Not into a respectable institu- of-fact; in other words, a complete COMEDY IN GRAND OPERA tion. And why do they hate it? Because “Two dollars for the answer to this contrast to the make-believe world HARMONY BOOK THE ART OF Now and then a great comedian comes to grand opera. Most they do not listen. It is true that they question! This one pays four dollars.” the new Q. Does the singer need a speaking of the theater. FOR BECINNERS INTERWEAVING MELODIES of them have indifferent voices. Salvatore Baccaloni, may look over the audience and see After we went and surprisingly successful comic star at the Metropolitan is knowledge of Italian, French, and around the group with By Preston Ware Orem First Studies in Counterpoint Q. Can you ever feel that you have not only a great actor, but has a beautiful voice. many who seem to be actually suf- questions dealing of all ages. German? mastered your profession? with facts of Bach’s A first harmony book for students By Preston Ware Orem Beginning with the rudiments it takes the fering while listening and some who life and music, we Not a dry, pedantic series of exercises, but a A. It A. Very infrequently personally, I went around with student up to the study of the dominant depends upon what you mean — breezy, colloquial discussion of this subject may be asleep! However, among the questions seventh chord and an introduction to writing RADIO'S MOST POPULAR SINGER often feel on music itself — much that actually makes good reading. The author by “a speaking knowledge.” As a rule, that my profession is melodies. Ruled staves are provided, right in listeners, will be seen many happy harder treats counterpoint as a method of making is an anomaly. She has made herself one of the the operatic singer mastering me. —and we payed more for cor- the book, for making a permanent record of Kate Smith has a true speak- enjoyable music. the devotion of faces of those who are enjoying the rect the student’s work. highest paid singers in radio and has won ing knowledge of no Q. Can one sing and smoke? answers. At first I had the Flush Cloth Bound Price, $1.25 tongue what- Flush Cloth Bound Price, $1.25 — millions of listeners. How she has accomplished this is one music and are so carried away with listener — ever, not even his own! A. It is extremely difficult both to decide which one of two com- of the unusual stories of music history. the works of musical geniuses as to positions was composed Q. Is study abroad advisable? sing and smoke at the same time! by Bach, and MANUAL OF FUGUE be oblivious of their surroundings. THEORY AND COMPOSITION Q. Does a voice have to be truly took distinctly different styles; a A. Not at the moment not even By Preston Ware Orem THE BACKGROUND OF OPERA — When trying to cultivate for OF MUSIC great to sing in a love Bach prelude was followed It is absolutely essential for the modern com- opera? by a Walter, one of the most forceful of living conductors, desirable By Preston Ware Orem or arranger, to have a thorough knowl- Bruno A. Most of the truly good music, do not be discouraged if, Chopin waltz, an invention poser, great voices by some An ideal text book, class or private instruction, edge of fugue. Here he will begin with Canon, has added new laurels to his long career by a number of sen- Q. What type of voice is most in the first time, find this year. do not sing at all, in opera or else- you no pleasure in MacDowell. Before long the style for students past the elementary stages in Imitation. Double Counterpoint, etc. and his sational successes at the Metropolitan His talk on demand in opera? the study of harmony. Helps the pupil to studies should prove intensely interesting as the background of opera has a present interest to all Etude where, through lack listening to a good orchestra. Do not begins to of musical in- be quite clear to even be- make a practical application of the knowledge the work is presented in Dr. Orem’s inimitable readers. A. Generally, feel that such gained to the loudest. telligence. Most of the great singers music is only for the ginners. Then increasingly hard ex- the composition of music. style. Cloth Bound Price, 75 cents Q. What type of of this few music lovers who, somehow, Flush Cloth Bound—Price, $1.25 Flush — opera is most in world have had moderate have amples are played: Bach as opposed THE STORY "GENERAL" acquired the right to enjoy OF TUBMAN demand to-day? voices. what you to Beethoven, Mozart. In this cannot understand. The story of the Negro woman who is believed to have been A. That type which the management Go again and manner they hear lots of music and Piano Technic responsible for many of the existing “Spirituals” is a genuine again to hear good symphony or- advertises the most successfully. listen with an attention which is novelty which will come as a surprise to many of our readers. chestras. The time will come when MASTERINC THE SCALES COMPLETE SCHOOL OF TECHNIC Q. Why is not opera sung in most gratifying. Yes. even if the ef- you will appreciate By Isidor Philipp English? and love the fort is all due to the gold AND ARPEGGIOS dollars. technic, exhaustive ACQUIRING SKILL IN READING MUSIC works of the great By James Francis Cooke A compendium of modern masters, and then The last A. It is! Letters to class meeting was a “Take in all details, including all forms of finger THE ETUDE A thorough mastery of the scales is the foun- Dr. James L. Mursell of Teachers College. Columbia Uni- you will realize that you would exercises, scales, chords, arpeggios, double have It Or Leave It” program. Instead dation of piano technic. This book may be versity, has given The Etude a very practical and Q. What of notes, octaves, trills, tremolo, glissando and helpful constitues box-office missed much in life if you taken up by pupils as early as the second had not one composer I had a bravura. Copious annotations and directions. article upon one of the most needed phases of the student's appeal? variety of musi- grade, and it supplies material for practice learned the secret of Price, work. appreciating cal topics to choose throughout the entire student career. $2.00 Speech Improvement through the from: Chords, A. The capacity to put it over ef- classics. That secret is simply the Price, $1.50 Scales, Rhythms, Haydn’s life, Schu- ficiently. Singing art of listening. MUSIC OF THE AFRICAN VELDT mann’s, and so on, and recognition No FINCER GYMNASTICS Millions have heard Josef Marais in his To F.ti iib : matter at NBC broadcasts of Q. Is opera more appreciated today The what age you take of A young woman piano literature we have studied. OCTAVE VELOCITY African folk programs. who was teaching in a nira up the study of By Isidor Philipp music Mr. Marais has given The than formerly? school district was iom-rr-t!od the violin, determine By James H. Rogers about the uii All the questions, then, This original work on piano technic Etude a very fresh and original article upon this little known cultivated tout- quality asked of each should of her pupils' speech that you will learn to play 24 short, interesting exercises and etudes of musical field. A. Just about the same. She realized and enjoy student be the prized possession of the ambitious that the condition was due, ii were from the medium difficulty. All forms of octave the works one classifica- work student, not only for summertime activities, Part, to I lie fad that of they heard very little Wagner, Beethoven are introduced, and there is Q. Does it take tion he had plenty of work but for daily practice of its exercises through- much training to oral reading—other than the halting chosen to answer. The for each hand. effort Brahms, Grieg and out the year. sing in of the classroom—and very little music. Tschaikowsky. As first FOUR SCORE AND THEN the chorus of an opera? question brought dollar, Price, 60 Price, She began to read to them from a student of one the cents $1.50 their schoo the instrument, you will A. It decidedly renders, then to encourage them to read aloud second, two dollars, the third, Walter Damrosch. beloved by vast audiences of children takes some train- using find a vast four poetry as much as possible, hi this wa- number of compositions from nine to ninety, gives The Etude his significant ing. they became dollars, then eight. If remi- sensitive to good rhythm an! that will a question was in this his quality. make it possible to be niscence eightieth triumphant year. among answered incorrectly Q. What can one do She then encouraged the the pupil re- to overcome them to sing their plai fortunate ones who have directions. ''You can make learned ceived nothing; Andy Qrrr ; as stagefright? ftu how to on the radio, The music for the Moy issue of THE ETUDE lists mony interest- III!/, i oh re It. sound delightful enjoy music which by singinj is good double ing works, including ottractive playable hem she explained. "Sing or nothing. THEODORE PRESSER CO. arrangements ot Cesar A. Outlive it or die! instead of speakp and enduring. — ing whenever you can." Franck's Bread ot Hearen and the ever popular Theme from The response has been the Tschaikowsky "B-Flat Minor They enjoyed the novelty of In audience enthusiastic, Music Publishers, Dealers and Importers Plano Concerto." Q. What if you are a flop after all the idea am of a symphonic nt ' , and P t , Prfore ionjf, the qualiti crowded as their schedules are, the training? ofnf^htheirJ speech? T' hado V concert there are always immeasurably improved many men the pupils make 1712 CHESTNUT STREET, PHILADELPHIA, PA. —Aoxes S. Thompson and women who a real effort to at- are not musicians tend 288 these meetings. THE ETUDE ) — So we’ll all join hamla and work with a will to make our coun try strong. If 0 0 0* w o • f -UJ -- 4 - Stirring ev - ’ry one does all that he can the task will not take long No A New and Historical Pageant r for Narrators and Chorus of Mixed Voices n m THE SONG OF AMERICA i; j' |i f Compiled and Written by WALTER RAIGUEL Music Composed by H. ALEXANDER MATTHEWS This is the story of the people of many lands who have come to America Copyright 1942 by Theodore PreMsr Co. to find new hope and freedom—to build! To make America their own! Dr. H. Alexander Matthews, well known for his eminently successful choral works, in an outstanding manner has woven into this choral work fa- miliar folk songs and national airs and has given to his original numbers GIVE US THE TOOLS a warmth and depth truly representative of the courage and good will of A New Song by William Dichmont p rite( the first settlers and their stalwart descendants. Mr. Raiguel’s libretto also 50t is vividly descriptive in his presentation of the heroes and heroines of the REFRAIN pageant. It is appropriate for high school students or adult groups to In march time present at any season of the year, either indoors or out. It may be staged elaborately as a pageant with large choral group or be presented simply as a story told by two narrators assisted by a choral group and an orchestra Give us the tools and we ll fin-ish the job, There’s a job that has to be (or piano). Performance time, approximately one hour and fifteen minutes. 3 VOCAL SCORE, $1.00 J , , , Stage Manager's Guide and Orchestration an Rental j ' f- r r r / '2nd ttme j THE CALL TO FREEDOM A Patriotic Ode for Soprano Solo and Chorus of Men's Voices New and Favorite Patriotic Choruses Copyright 1942 by The John Charch Comp.oy 0 VlC Y ed) (2 1478) Elmore and Reed .10 X« ?o s icu. u ODE TO AMERICAJ^(Triumphal March from "Naaman”) Service Version Other Striking Patriotic Songs (Mixed) (21195) „ , Costa-Davisa ,S ,l315 Orchestra Paris Available THE STAR- AMERICA THE BEAUTIFUL (Mixed) (0.0.13233) Ward 10 DEFEND AMERICA Available by Fisher, Hamihon, Sleeper and Randolph SPANGLED BANNER Text by RUFUS THETup "railCALL ntOF Tumr,"AMERICA STICKNEY Music (Mens) (O.D.15109) Matthews 10 by A gTHUR HADLEY TO THEE, O COUNTRY! (Mixed) (John Stafford Smith Price, 60 (O.D.4128) .mcnoergE hbZ .IS5 cents Orchestra and Band Pans Available AMERICA'S MESSAGE Published for: (Unison Double Chorus) (13198) Johnstone Also published jor: .10 Vocal Solo in A -flat. OUR Mixed 1 3231) ,2c; Men’s AMERICA (TTBB ) (13250) Wc B-flat, and C 40c DEFEND AMERICA (Men's) (O.D.13222) Words . and Hadji 10 Mixed Voices 6c Music by ANNA CASE THE STARS AND STRIPES FOREVER V ° Men's Voices 6c Price, 2 50 cents Treble Voices (3 Part) 6c AhyPlubed)lr Mrxed Voices (35260) Wc Unison Treble SAB (35233) 12c Treble mT^Wc-^ Voices (4 Part) 6c ; (SA) (35234 2c BaTd Parts AvaiUble THE STARS AND SONG OF THE MARCHING MEN Orchestra and Band STRIPES FOREVER ^(Mens) (13589 \ uIm Orchestra U ' Hadle^ ' 20 Parts' Words and and Band Pans Available Available Music by JOHN PHILIP SOUSA Price, 50 cents